AUGUST 2013 Welcome to
N. Richard Nash may have penned The Rainmaker nearly 60 years ago, but director Maria Mileaf’s production does not turn back the clock. Instead, she offers us a fresh look at an American classic, reminding us that love and longing, dreams and self-discovery are as timeless as rain. This production marks Maria’s Globe debut, and we are delighted to welcome her here for the first time. She is joined by an exceptional design team, including scenic
DOUG GATES designer Neil Patel, costume designer Katherine Managing Director Michael G. Murphy and Artistic Director Barry Edelstein. Roth, lighting designer Japhy Weideman and sound designer Bart Fasbender.
The Old Globe’s campus truly comes to life in the summer. Productions run simultaneously on all three of our stages, and the plaza bustles with pre-show excitement. In the Lowell Davies Festival Theatre, the 2013 Shakespeare Festival is already underway, featuring productions of Shakespeare’s The Merchant of Venice and A Midsummer Night’s Dream, along with Tom Stoppard’s Rosencrantz and Guildenstern Are Dead. Despite the prominence of the Summer Shakespeare Festival, our indoor venues are by no means in its shadow. In addition to The Rainmaker, the Globe’s summer season includes a sexy, stylish adaptation of the noir classic Double Indemnity. This is a truly remarkable group of productions, and we hope you will have the chance to see them all.
We also look forward to having you back this fall for the start of our 2013-2014 season! With two sensational new musicals, three award-winning plays about contemporary life by thrilling young American voices, a tour-de-force by an American comedic master, a poetic classic by a 20th century giant, and the return of Shakespeare to the indoor stage, this remarkable and wide- ranging lineup of productions stays true to the Globe’s storied reputation even as it edges the company forward in some exciting new directions.
Enjoy the show!
Barry Edelstein Michael G. Murphy Artistic Director Managing Director
Mission Statement The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: Creating theatrical experiences of the highest professional standards; Producing and presenting works of exceptional merit, designed to reach current and future audiences; Ensuring diversity and balance in programming; Providing an environment for the growth and education of theatre professionals, audiences and the community at large.
PERFORMANCES MAGAZINE 1 Board of Directors LEADERSHIP GIFTS The Old Globe recognizes and thanks the following generous individuals who have made extraordinary gifts of $1 million or more. These major contributions have been designated Welcome to The Old Globe’s production of for artistic, endowment and facilities the classic romantic comedy The Rainmaker, projects, and help The Old Globe where you’ll learn whether Starbuck is the key to remain one of our country’s great everything Lizzie desires, or just another traveling theatre institutions. salesman filled with promises of bringing rain. $20,000,000 or greater Whatever the outcome on the stage, we already Donald† and Darlene Shiley know that our Production Sponsors shower us with $10,000,000 or greater support. These generous and noble individuals and Conrad Prebys institutions make a critical difference to the Globe’s work all year long. $5,000,000 or greater For their sponsorship of The Rainmaker, we thank Peter Cooper and Norman Sheryl and Harvey White Blachford and California Bank & Trust, stalwart leaders in our community who Kathryn Hattox understand that the Globe’s ticket sales cover only 55% of our costs. Karen and Donald Cohn $2,000,000 or greater We ask you to consider joining our family of donors as Members at $50, Circle Viterbi Family Foundation Patrons at $2,500 or at any level you can afford. Just as important is your help in $1,000,000 or greater spreading the word of the Globe’s mission among your colleagues, friends and California Cultural and family. Bring others with you the next time you come so that they, too, can learn Historical Endowment why The Old Globe has led San Diego to its place as, in the words of Artistic Estate of Dorothy S. Prough Director Barry Edelstein, “a big famous deal” in the national and international The Rivkin Family theatre world. Estate of Beatrice Lynds Audrey S. Geisel/San Diego Thank you for all you do for the Globe. Foundation Dr. Seuss Fund Mr. and Mrs. Victor H.† Ottenstein Mrs. Helen Edison† The Stephen & Mary Birch Foundation Harold W. Fuson, Jr. The Kresge Foundation Chair, Board of Directors †In Memoriam
BOARD OF DIRECTORS Harold W. Fuson, Jr.* Donald L. Cohn* Anthony S. Thornley* Elaine Bennett Darwin* Harvey P. White* Chair Immediate Past Chair Vice Chair, Vice Chair, Nominating Secretary Finance & Treasurer
DIRECTORS Sheila Lipinsky Jordine Von Wantoch Gordon Luce (1925-2006) Mary Beth Adderley* Ramin Pourteymour Pamela J. Wagner Dolly Poet (1921-2007) Elizabeth Altman Paula Powers* Jim Wening Deborah Szekely Pamela Cesak Conrad Prebys* Lynne Wheeler Hon. Pete Wilson Nicole A. Clay Tim Rafalovich Debbie Wilson Joseph J. Cohen David L. Reagan Karin Winner EMERITUS DIRECTORS Peter J. Cooper* Sandra Redman June Yoder Garet B. Clark Valerie S. Cooper Crystal Sargent Vicki Zeiger J. Dallas Clark (1913–2005) Ann Davies Jean Shekhter *Executive Committee Member Bea Epsten Silvija Devine Ann Steck Sally Furay, R.S.C.J. Stephen P. Embry Steven J. Stuckey HONORARY DIRECTORS Bernard Lipinsky (1914-2001) Pamela A. Farr Daniel L. Sullivan, Ph.D. Mr s. Richard C. Adams Delza Martin (1915–2005) Karen Fox Rhona Thompson (1912–2005) Darlene Shiley Victor P. Gálvez Evelyn Mack Truitt Clair Burgener (1921-2006) Patsy Shumway Kathryn Hattox* Debra Turner Mrs. John H. Fox (1908–2003) Carolyn Yorston-Wellcome Daphne Jameson Linda Van Vark Audrey Geisel Jo Ann Kilty Stacey LeVasseur Vasquez Paul Harter
2 PERFORMANCES MAGAZINE Production Sponsors
Peter Cooper and Norman Blachford Peter and Norman are longtime supporters of The Old Globe and are well known for their major philanthropic activities and community activism. Norman serves on the Board of the Mingei International Museum and is on the Founders Council of the Williams Institute at the UCLA School of Law. A native of Montreal, Norman founded a manufacturing firm that produces noise control materials for the transportation industry and many international corporations. In 1981, Norman and Louis Stankiewicz were awarded a Technical Achievement Award (stage operations) by the Academy of Motion Picture Arts and Sciences. Peter, now a retired businessman, is a member of the Globe’s Board of Directors, chairs the Education Committee and also serves on the Executive Committee. He is also a Founding Council member of the Williams Institute at the UCLA School of Law and is on the Board of the Fishman Fund at the Sanford Burnham Institute.
For more than two decades, California Bank & Trust (CB&T) has been a generous supporter of The Old Globe. This summer, the Globe is pleased to announce the Bank’s additional 2013 sponsorship of The Rainmaker. CB&T has consistently provided both volunteer and financial contributions to the Globe over the years, including service on the Board of Directors through the leadership of CB&T’s Senior Vice President Sandra Redman, who was instrumental in the Bank’s generous support of the Globe’s Securing a San Diego Landmark Capital and Endowment Campaign. Their previous sponsorships include such plays as Floyd Collins, Henry V, Pericles, Julius Caesar, Antony and Cleopatra, The Lady with all the Answers, Boeing-Boeing, God of Carnage and, most recently, A Gentleman’s Guide to Love and Murder, which has announced a Broadway opening for November 2013. The Old Globe is truly grateful to California Bank & Trust for its unwavering support, generosity and commitment to the arts.
The Rainmaker is Dedicated to the Memory of Forrest N. Shumway March 21, 1927 — December 4, 2012
A life-long passionate advocate and not-for-profit institutions. He and his wife patron of theatre, opera and the arts, Patsy, who served on The Old Globe Forrest N. Shumway was a regular Board of Directors for many years, have theatregoer in San Diego for more than served as generous sponsors and annual three decades and served on boards fund donors, acting as Globe Production around the country for numerous arts Sponsors and Season Sponsors since and education institutions. When he the early 1980s. Forrest and Patsy moved Signal Companies from Los were generous donors to the Globe’s Angeles to San Diego in 1980, it was one Advancement Campaign in 1992, which of the first major companies to establish built new administrative offices and corporate headquarters in this region. rehearsal halls. The Old Globe is honored He was deeply committed to the arts that Forrest N. Shumway was a member and encouraged employees at Signal of its extended family for so many years Companies to become active arts supporters. His vision and is grateful for his Renaissance approach to support for creating a lively and robust arts scene resonated of the arts. He will always be fondly remembered for his throughout the business community, and his leadership friendship and abiding affection for The Old Globe and prompted other civic leaders to invest in San Diego’s for all of San Diego.
PERFORMANCES MAGAZINE 3 PRESENTS
THE RAINMAKER
BY N. RICHARD NASH
Neil Patel Katherine Roth Japhy Weideman Bart Fasbender SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN
Ryan Beattie Scrimger Caparelliotis Casting Monica A. Cuoco VOCAL AND DIALECT COACH CASTING STAGE MANAGER
DIRECTED BY MARIA MILEAF
The Rainmaker is presented by special arrangement with Samuel French, Inc. —————————————————— Donald and Darlene Shiley Stage OLD GLOBE THEATRE Conrad Prebys Theatre Center July 13 – August 11, 2013
4 PERFORMANCES MAGAZINE THE CAST (in alphabetical order) BILL STARBUCK...... Gbenga Akinnagbe FILE...... Tug Coker NOAH CURRY...... Peter Douglas JIM CURRY...... Kyle Harris H. C. CURRY...... John Judd SHERIFF THOMAS...... Herbert Siguenza LIZZIE CURRY...... Danielle Skraastad
STAGE MANAGEMENT Stage Manager...... Monica A. Cuoco Assistant Stage Manager...... Tarin Hurstell
There will be one 15-minute intermission.
PRODUCTION STAFF Fight Director...... George Yé Assistant Director...... Jessica Bird Assistant Scenic Design...... Sean Fanning Associate Costume Design...... Charlotte Devaux Assistant Lighting Design...... Jason Bieber Stage Management Interns...... Meredith O’Gwynn, Sonja Thorson
The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States.
Si desea una sinopsis de esta obra en Español o en Inglés, favor de pedírsela al acomodador que le entregó este programa. If you would like a synopsis of this production in English or Spanish, please request it from an usher.
PERFORMANCES MAGAZINE 5 They know that the earth will not thirst forever; they know that one day they will awaken to a green morning.”
When drought hits the lush and terrible phenomena thirst forever; they know is faltering. Because the grasslands of the richly of sudden poverty and that one day they will again hopes of Lizzie and fertile west, they are green loss of substance — is an awaken to a green morning. H. C., of Jim and Starbuck no more and the dying is incalculable and febrile Young people like Lizzie, and File are finally brought a palpable thing. What kind of desperation. Rain his daughter, cannot know to blessing, because the happens to verdure and will never come again; the this as certainly as he people of the play are vegetation, to cattle and earth will be sere forever; does. Bright as she is, she deserving and filled with livestock can be read in and in all of heaven, there is cannot know. She can only love of one another — and the coldly statistical little no promise of remedy. count the shooting stars, most important, because it bulletins freely issued and hope. is not always that the hopes by the Department of Yet, men of wisdom like of deserving, loving human Agriculture. What happens H. C. Curry know to be The play is set in such a beings are blessed — this to the people of the west — patient with heaven. They drought-beset region in the play is a comedy and it is beyond the calculable know that the earth will not moment when Lizzie’s hope a romance. —N. Richard Nash
6 PERFORMANCES MAGAZINE from the Artistic Director
The Rainmaker is the first production on the The minor theme that emerges from our past Donald and Darlene Shiley Stage in The Old season is that a majority of the stories the Globe Globe’s 2013 Summer Season, and I’m as told this year were focused on women. Allegiance excited to share it with you as I am proud of the was driven by a strong female protagonist; remarkable year of work that preceded it. When Pygmalion is of course Shaw’s great proto-feminist I was appointed Artistic Director, Allegiance — play; A Doll’s House is the feminist ur-text of the A New American Musical was in this house; its modern theater; both Good People and Other commercial backers just weeks ago announced Desert Cities boast female roles that the major that it is en route to Broadway. Dr. Seuss’ How actresses on the American stage rejoice in playing; the Grinch Stole Christmas! was next, and the and Be a Good Little Widow is nothing if not a Globe scheduled a special and very important revelatory exploration of two generations of the performance that shared this beloved San Diego American female experience. Widow was written holiday tradition with an audience that hadn’t by a woman, as was Carnage; Doll’s House and had a chance to see it: families with children on Brothers Size were directed by women. the Autism spectrum. The New Year brought me and my family to San Diego and Shaw back to And that brings me to The Rainmaker. This mid- the Globe in Associate Artist Nicholas Martin’s century American classic was ahead of its time in delightful production of Pygmalion, and then its sympathetic view of a young woman’s search another old friend, Darko Tresnjak, returned for self in the context of an overwhelmingly with the sparkling musical A Gentleman’s Guide to patriarchal culture. Lizzie Curry’s self-discovery Love and Murder—also now bound for Broadway. may not be the stuff of the countercultural Other Desert Cities, the latest work from the explosion that swept the country a decade pen of Jon Robin Baitz, one of America’s leading after this play’s Broadway premiere, but her playwrights, set a provocative story of the core conviction is no less powerful: that the intersection between private affairs and public vast expanses of the American west must hold a events against a southern California backdrop. As promise for her as full as that it offers her brothers, all this extraordinary theater unfolded in this room, and that hers are the terms that matter more than next door on the Sheryl and Harvey White stage her family’s or her town’s as she decides whether another list of fine productions held sway: God of to love, and whom. Thinking about a director for Carnage, Good People, The Brothers Size, A Doll’s this play I knew that I wanted to find an artist House, and Be a Good Little Widow. who would illuminate Lizzie and her world in ways I’d not seen in previous productions, and I Reviewing these titles I am struck by a major am thrilled at all the richness that my friend and theme and a minor one. The major one is the colleague Maria Mileaf has found in every scene. sheer eclecticism of The Old Globe’s Maria’s visual sense complements her interpretive programming. There truly is something here for powers, and I think you will agree that she and every taste, and the range of periods, styles, her collaborators have found the beating heart in genres, and even stories and characters, is as wide a play that deserves its place in the pantheon of as can be found at any theater in North America. American classics. And for me, still the new guy at just over six months in, this breadth of material is a testament In 1937—coincidentally not long after the time less to the Globe’s programming acumen than to chronicled in The Rainmaker—The Old Globe San Diego’s sophistication. I don’t mean to flatter produced its first non-Shakespearean play. It when I say that outside the half-dozen cities that was called The Distaff Side. The title is a now- are the world’s great theater capitals, I would be antiquated phrase that refers to all things female. hard pressed to name another metropolis with a The distinguished female playwrights and large and loyal audience for a program as broad directors who will feature in our 2013-2014 as ours (and that’s not to mention the breadth season and the women-centered stories they of theater that’s available in dozens of other will tell attest that these many decades later, institutional theaters around San Diego). That this the distaff side remains very much on this audience is here is a reminder to me—although I theater’s mind. rarely need one—that I really am fortunate to be in the position I am. Enjoy the show.
Barry Edelstein PERFORMANCES MAGAZINE 7 WEATHER WARNING Talking with Director Maria Mileaf
What drew you to The Rainmaker? What made time — the wealthy ranch house with its verandas this a project you wanted to direct? and outbuildings and barns — but we didn’t want to burden the audience with pounds and When Old Globe Artistic Director Barry pounds of scenery. I think what scenic designer Edelstein suggested The Rainmaker to me, I sat Neil Patel came up with is very evocative — very down with the script, and I discovered that it’s beautiful and deceptively simple. And I’m lucky a page-turner. I’d never seen or read it before, to be working with a fantastic design team. and I hadn’t seen the movie. I had a really Lighting designer Japhy Weideman has created strong emotional reaction to the play — I found an amazingly lit sky that is so important to the Maria Mileaf it compelling, engaging, refreshing. I loved the visual world. Katherine Roth has imagined story, and I loved the characters. And I love the clothing that places the characters in the ‘30s challenge of bringing older plays to life. while underscoring their personalities in a fresh way. And Bart Fasbender has located a musical universe. For all of us, the challenge is to bring What kind of challenges do you think the the world of the 1930s to life without suffocating play presents? that world in a museum panorama from another decade. Any time you do a play, there are three time periods at work: when it’s set, when it was Even though it’s set in the 1930s, the politics and written and today — when a group of artists the family dynamics of the play are very much of comes together to make a new production for the 1950s, when the play was written. The main an audience. The challenge is how to place the character, Lizzie, is 27, and she’s very fearful of story in its original time period, acknowledge becoming a “spinster” or an “old maid” — those the issues raised by the period in which it was are the words they use in the play. In 2013, we written and then still keep it alive for an audience don’t think that a woman’s sole destiny is to be a today, with their contemporary sensibilities and wife and mother. We don’t think that’s the only expectations. In other words, we want to give the way — or even the best way — for a woman to find play new life while still respecting the heart of fulfillment. However, Lizzie’s dreams — finding the original and the intentions of the writer. love, starting a family, searching for a soulmate — I think they still resonate for us today. And Lizzie The Rainmaker is set in the 1930s on a ranch is very articulate about what she wants — and somewhere in the West. It takes place right how she wants it. She’s not like the other women before the Dust Bowl, but the family in the play in town, and she doesn’t want to be like them. is wealthy; they’re not poor farmers like the She’s strong; she’s smart. She’s capable, and even Okies in John Steinbeck’s The Grapes of Wrath. though she longs for love, she isn’t willing to put They’re dying in a drought, literally; their cattle on some kind of act, pretend to be something are dying, and the characters are worried about she’s not, to get what she wants. She’s standing their workers and their ranch. We wanted to by her own sense of authentic self, and that to capture some of that 1930s world in the design: me feels very contemporary. I’m thrilled that the iconic images of the West, the dryness and Danielle Skraastad is working with me on this the sky. We needed a sense of that place and production to bring Lizzie to life.
8 PERFORMANCES MAGAZINE It’s interesting that Lizzie is the only female central to the play, and it’s key to understanding how character in the play, the only woman in this world the story works. of men. Then you have the love triangle: the girl torn between But the offstage characters are so specific. You almost this local guy she has a secret crush on and the think you see them. If we do our job well, people will sexy stranger who comes into town and blows her know what Jim’s girlfriend looks like and what the world apart. I wanted to make that dynamic really girls down the road look like. Playwright N. Richard compelling. And when it came to Starbuck — I mean, Nash really gives you a sense of the world offstage. listen to his name, “Starbuck” — I wanted to find an And Lizzie also imitates those women, so you have actor who could be smart and sexy and dangerous that trick where you think you’re seeing them. The and inappropriate, and who was able to make you one person they never talk about is the mother. The believe in that character’s fascinating history. I saw a absent mother — that’s a common trope in a lot of lot of great actors in the audition process, but Gbenga fairy tales. To me, this whole play is like a great fairy Akinnagbe was the first person who came into the tale: Lizzie is a motherless child on an adventure room and gave me not only what I was looking for in toward growing up and coming into herself. Starbuck but more than I even imagined.
I was looking for a company of actors who could bring Are there particular aspects of the play you wanted all the characters’ dreams and relationships to life in to explore in this production? an astonishing and dynamic yet completely honest way. I wanted their love and struggles and fears and The family relationships in the Curry family are hopes to be palpable. I’m looking forward to creating stunningly beautiful. The bond between the father the universe of The Rainmaker with this group of and his children, the relationship between Lizzie and artists on the remarkable stage of the Old Globe! her brothers — that’s what’s timelessly interesting. And I think the father-daughter relationship, the striking Interview by Danielle Mages Amato dynamic between H. C. and Lizzie, is absolutely
PERFORMANCES MAGAZINE 9 SCIENCE OR SNAKE-OIL? THE HISTORY OF RAINMAKING By Danielle Mages Amato
James Rodger Fleming, Jewell “rode the rails as a kind of traveling fireworks and vaudeville show, detonating dynamite, launching exploding balloons and rockets, and dispensing foul-smelling volatile gases charged with electricity.”
But America’s most famous rainmaker lived right here in San Diego. In late 1915, at the height of the Panama- California Exposition (the event for which Balboa Park was created), the San Diego City Council promised Charles Mallory Hatfield $10,000 if he could make enough rain to fill the Morena Reservoir. Hatfield, who preferred to be called a “moisture accelerator,” built a 12-foot wooden tower, climbed atop it and mixed his rainmaking chemicals — double the dose he would ordinarily Robert Dyrenforth orders his assistants to speed up. Cartoon by H. Mayer, 1891. have used. Within a week, the rains began. Within a month, the San Diego The Hopi had their rain dances; the water out of the air like a sponge.” They River had overflowed its banks, Mission medieval Europeans rang church bells. did not. Valley was flooded, two major dams had In the 1800s and early 1900s, the burst and whole communities had been American West produced a bumper The true stock-in-trade of the American destroyed. The event became known as crop of rainmakers: men determined to rainmaker was not science but “Hatfield’s Flood,” but the City Council coax storms from an unforgiving sky. showmanship. A rainmaker rolling into declared it an Act of God, refusing to town might not bring storms, but he pay Hatfield a single penny. Some rainmakers operated under was guaranteed to draw a crowd, much the aegis of science, with great public like a traveling Hatfield’s support. In the mid-1800s, James magician or circus biographer, Garry Pollard Espy, a respected pioneer in troupe. Rainmaker Jenkins, called this the science of meteorology, proposed Frank Melbourne, age of American setting huge fires across the central also known rainmaking “the era United States to ensure rainfall for the as “The Rain of technology, of nation’s crops. His assumption: super- Wizard,” was once practical miracles, heating the air would force raindrops described as “a of Progress.” As to condense. Espy failed to secure kind of cornfield great inventors federal funding for this plan, but in 1891, Barnum.” His captured the Robert Dyrenforth was more successful. Australian American The U.S. Government invested nearly accent and imagination — $20,000 in Dyrenforth’s experiments in self-aggrandizing Charles Mallory Hatfield. Courtesy of Special Thomas Edison, “rainmaking by explosives.” Dyrenforth stories were Collections, San Diego Public Library. Henry Ford, believed, as did the ancient Greeks as vital to his success as his secret Alexander Graham Bell — nothing and Romans, that the loud sounds of rainmaking formula, which he kept could better encapsulate the spirit battle shook water loose from the sky. in a black bag he called “the baby.” of the West than the rainmaker: a man He traveled across Texas, detonating Rainmaker Clayton Jewell plied his determined to use his ingenuity to balloons full of hydrogen and rackarock, trade from a specially rigged boxcar beat nature at her own game, or at a coal mining explosive, expecting the lab with the help of a hunchbacked least make a good old American dollar resulting explosions to “squeeze the assistant. In the words of historian in the attempt.
10 PERFORMANCES MAGAZINE Profiles
GBENGA AKINNAGBE “The Office,” “How I Met Your Mother,” He recently recurred as Seth throughout (Bill Starbuck) grew up in “Rizzoli & Isles,” “Law & Order: Special the first season of “The Carrie Diaries” on the Washington, DC area. Victims Unit,” “Raising Hope,” “CSI: Crime The CW and guest stars on the critically His first role was at The Scene Investigation,” “Torchwood” and acclaimed web series “High Shakespeare Theatre “Chuck.” Mr. Coker will next be seen in Maintenance.” His other television and Company in DC as a The Amazing Spider-Man 2. He received web credits include “Blogger Girls” soldier/servant in The a B.A. in History from the University of (MTV), “Guiding Light,” Tony in “Web Site Oedipus Cycle, followed by Henry V at Virginia and an M.F.A. from the American Story” (CollegeHumor) and “Submissions Shakespeare in the Park in New York. On Repertory Theater/Moscow Art Theater Only.” His Off Broadway and other the hit HBO series “The Wire,” he went School Institute for Advanced Theater regional theatre credits include Mrs. from being an extra to a recurring role to Training at Harvard University. @tugcoker Sharp (Playwrights Horizons), Hair the lead role of Chris Parlow by the end on Twitter. (Arizona Theatre Company) and Dream a of the series. His first film was the Oscar Little Dream (Florida Stage). He received Award-nominated The Savages with PETER DOUGLAS (Noah a B.F.A. from the University of Arizona. Philip Seymour Hoffman and Laura Curry) is a Maryland Love to family, Russell and Emi at Linney. Next he appeared in The Taking of native and Juilliard School Regarding Entertainment, APA and Stef. Pelham 1 2 3 with Denzel Washington, graduate who has been kyleaharris.com. followed by Edge of Darkness with Mel performing for more than Gibson. Mr. Akinnagbe recurred on “The 20 years and is proud to JOHN JUDD (H. C. Curry) Good Wife” and “Nurse Jackie” and is be joining the Globe family makes his Globe debut currently on the USA show “Graceland.” in this production of The Rainmaker. His with The Rainmaker. His Mr. Akinnagbe’s most recent play was the theatrical work includes the title roles in Chicago credits include one-person show The Thin Place at Hamlet and Henry V (Interlochen Center Measure for Measure, Intiman Theatre. He has produced a for the Arts), Agrippa in Antony and Sweet Bird of Youth, The number of critically acclaimed films Cleopatra (Washington Shakespeare Iceman Cometh, A including the 2013 Sundance hit Company), Herakles in Prometheus (The Christmas Carol, Magnolia and Shining Newlyweeds and Dances With Film’s Studio Theatre), Hal in Picnic (The City (Goodman Theatre), Three Sisters, 2013 Industry Choice Award-winning American Century Theater), Oberon and Clybourne Park, Last of the Boys, The Home, in which he also stars. As a writer Theseus in Joe Dowling’s production of Dresser, The Butcher of Baraboo, Orson’s Mr. Akinnagbe freelances for The New A Midsummer Night’s Dream and Shadow, Our Town and Golden Boy York Times in various sections and was Canterbury in Sam Gold’s production of (Steppenwolf Theatre Company), The one of the writers on Sony’s record- Edward II (Lincoln Center Theater, Feast: an intimate Tempest and Romeo breaking web series “The Unknown.” He REDCAT). While at Juilliard, Mr. Douglas and Juliet (Chicago Shakespeare is also a frequent guest on HuffPost Live. originated the role of Max in Mark Theater), Othello, Crime and Punishment This spring Mr. Akinnagbe launched Wing-Davey’s production of Craig Lucas’ and The Price (Writers’ Theatre), Great Liberated People, an eco-friendly, socially musical The Listener and was privileged Men of Science Nos. 21 and 22 conscious brand that celebrates the to study with the likes of John Stix, Brian (Lookingglass Theatre Company), Lettice liberation dates of nations around the Mertes, Michael Kahn and Moni Yakim. and Lovage and Gross Indecency (Court world and partners with non-profits He recently appeared on ABC’s “Modern Theatre), The Lieutenant of Inishmore and around the world. weareliberated.com. Family” and just wrapped filming the Fox The Cripple of Inishmaan (Northlight Digital feature ETXR. He gratefully Theatre), Gagarin Way (A Red Orchid TUG COKER (File) is acknowledges the support of his family, Theatre), A Number (Next Theatre delighted to be making his his parents John and Peggy Douglas, his Company), Angels in America, Part One: Globe debut. His most manager Chris Wright and his true love Millennium Approaches and Part Two: recent theatre work was and best friend, Brittney Lane. Perestroika (The Journeymen Theater on Broadway portraying Company), Long Day’s Journey Into Night basketball legend Larry KYLE HARRIS (Jim Curry), (Irish Repertory of Chicago), Come Back, Bird in Magic/Bird originally from Orange Little Sheba (Shattered Globe Theatre) directed by Thomas Kail. His other County, is incredibly and many others. Mr. Judd’s Off theatre credits include Lisa D’Amour’s grateful to be back at The Broadway appearances include Crime The Cataract (Women’s Project), A Old Globe where he was and Punishment (59E59 Theaters) and Midsummer Night’s Dream and Snow in previously seen in the Orson’s Shadow and An Oak Tree (Barrow June (American Repertory Theater), Take world premiere musical A Street Theatre). His other regional and Me Out (The Studio Theatre) and You Room with a View. His Broadway and international appearances include the Can’t Take It with You (Capital Repertory National Tour credits include Sondheim Steppenwolf Theatre Company Theatre). His television credits include on Sondheim and Tony in West Side Story. production of American Buffalo
PERFORMANCES MAGAZINE 11 Profiles
(McCarter Theatre Center), Shining City world premiere of The Eyes of Others Among Mr. Nash’s screenplay credits are (Huntington Theatre Company), Orson’s (New Ohio Theatre), Lidless (Page 73 Nora Prentiss (1946), Dear Wife (1950) Shadow (Beaver Creek Theatre Festival), Productions), Carrie: A Period Piece and Top of the World (1955). Adapting the Long Day’s Journey Into Night (Town Hall (Theatre Couture/PS122), Lascivious works of others, he wrote the script for Theatre, Ireland) as well as Williamstown Something (Cherry Lane Theatre Mentor The Sainted Sisters (1948) and Porgy and Theatre Festival and Westport Country Project) and Big Times (Women’s Bess (1959). Later in his career, Mr. Nash Playhouse. Expressive Theater). She has appeared focused on writing novels. East Wind, regionally in the world premiere of In the Rain (1977), inspired by his time serving HERBERT SIGUENZA Wake (Berkeley Repertory Theatre, with the Office of War Information (Sheriff Thomas) is a Center Theatre Group), for which she during World War II, took seven years founding member of the received an LA Stage Alliance Ovation to research. Other novels include Cry performance group Award nomination, the world premiere of Macho (1975) and Radiance (1983). Culture Clash, the most Tomorrow in the Battle (Stageworks/ Mr. Nash also lectured on drama and produced Latino theatre Hudson), Death Tax (Humana Festival of philosophy at colleges and universities troupe in the United New American Plays), Magnetic North throughout the United States. He died States. Mr. Siguenza has co-written and/ (Portland Stage) and Becky Shaw and Big on Dec. 11, 2000, in New York City at the or performed in the Culture Clash plays Love (The Wilma Theater). Regionally Ms. age of 87. American Night (commissioned by Skraastad has also worked at Hartford Oregon Shakespeare Festival), Palestine, Stage, A Contemporary Theatre, Capital MARIA MILEAF (Director) has directed New Mexico, Water and Power and Repertory Theatre and Two River Theater the New York productions of Lee Chavez Ravine (all commissioned by Company. Her film and television credits Blessing’s Body of Water (Primary Mark Taper Forum), Peace include 27 Dresses, Michael Clayton, The Stages) and Going to St. Ives (Outer (commissioned by the Getty Villa), Zorro Business of Story, “Law & Order,” “Law & Critic Circle Award for Best New Play, in Hell (commissioned by Berkeley Order: Special Victims Unit,” 2005), Alexandra Gerston-Vassilaros’ Repertory Theatre), The Birds “Unforgettable,” ”Mercy” and “Fringe.” The Argument (Vineyard Theatre), Kira (commissioned by Berkeley Repertory Ms. Skraastad received a Master’s degree Obolensky’s Lobster Alice (Playwrights Theatre and South Coast Repertory), from New York University. Horizons), Vijay Tendulkar’s Sakharam Bordertown (commissioned by San Diego Binder and Eric Emmanuel-Schmidt’s Repertory Theatre), Radio Mambo, N. RICHARD NASH (Playwright) was Monsieur Ibrahim and the Flowers of Nuyorican Stories, Anthems, S.O.S., A born Nathaniel Richard Nusbaum the Koran (The Play Company), Brooke Bowl of Beings, The Mission and others. on June 7, 1913, in Philadelphia. He Berman’s A Perfect Couple (DR2 As a solo writer Mr. Siguenza is currently studied philosophy and literature at the Theatre), Oren Safdie’s Private Jokes, touring his one-man show A Weekend University of Pennsylvania and earned Public Places (Center for Architecture), with Pablo Picasso. He is a recent his bachelor’s degree in 1934. While in Erik Ehn’s ‘Maid (Lincoln Center Festival), recipient of Theatre Communications school he directed plays at Bryn Mawr, Neena Beber’s Hard Feelings (Women’s Group’s New Generations grant and is a nearby women’s college, and received Project), Julia Cho’s 99 Histories (Cherry being mentored by San Diego Repertory great reviews for a play he wrote Lane Theatre) and Dawn Saito’s HA Theatre’s Artistic Director Sam featuring only female characters. Mr. (Dance Theater Workshop). Regionally, Woodhouse (2012-13). Nash received the Maxwell Anderson Ms. Mileaf’s favorite directing credits Verse Drama Award for Parting at include Patricia Wettig’s F2M and Joanna DANIELLE SKRAASTAD Imsdorf (1940). His other notable Murray-Smith’s Ninety (New York Stage (Lizzie Curry) is proud to theatrical plays include Second Best and Film), Going to St. Ives (La Jolla make her debut at The Bed (1946), The Young and Fair (1948), Playhouse), Lucy Prebble’s The Sugar Old Globe. Her Broadway See the Jaguar (1952), Girls of Summer Syndrome, John Belluso’s A Nervous credits include All My (1956), Handful of Fire (1958) and the Smile and Noël Coward’s Blithe Spirit Sons, and her Off musical Wildcat (1960). During the 1950s, (Williamstown Theatre Festival), Neil Broadway credits include Mr. Nash was one of six writers selected LaBute’s reasons to be pretty and Tracey Baby Screams Miracle (Clubbed Thumb), by producer Fred Coe to create serious Scott Wilson’s The Story (Philadelphia The Mound Builders (Signature Theatre drama for television. His most famous Theatre Company, Barrymore Award Company), The Intelligent Homosexual’s play, The Rainmaker, appeared in all for Outstanding Direction of a Play), Guide to Capitalism and Socialism with a three mediums: on Broadway in 1954, Wendy Wasserstein’s The Heidi Key to the Scriptures (Signature Theatre as a motion picture starring Katharine Chronicles (Berkshire Theatre Festival) Company/The Public Theater), In the Hepburn in 1956 and as a television and Wasserstein’s Third with Christine Wake (The Public Theater), Anon production in 1982. A musical version of Lahti (Geffen Playhouse). On the West (Atlantic Theater Company), The Pain The Rainmaker, entitled 110 Degrees in End, Ms. Mileaf directed Richard Schiff and the Itch (Playwrights Horizons), the the Shade, debuted on Broadway in 1963. in Glen Berger’s Underneath the Lintel.
12 PERFORMANCES MAGAZINE She received her M.F.A. from University Girlfriend (Berkeley Repertory Theatre), Lonely, I’m Not (Second Stage Theatre). of California, San Diego. She lives in New Jesus in India (Magic Theatre) and Mr. Fasbender’s other credits include York City with her husband, set designer Creditors (La Jolla Playhouse). His recent designs for Playwrights Horizons, Neil Patel, and their two children. Broadway projects include Cyrano de The Public Theater, Women’s Project, Bergerac and The Nance directed by LAByrinth Theater Company, Cherry NEIL PATEL (Scenic Design) is pleased Jack O’Brien, for which he received a Lane Theatre, Manhattan Theatre Club, to be making his Globe debut with The Tony Award nomination. Mr. Weideman’s The New Group, Ars Nova, Clubbed Rainmaker. His recent productions with other projects in New York include 4000 Thumb, Page 73 Productions, Les Freres Maria Mileaf include F2M (New York Miles and Slow Girl (Lincoln Center Corbusier, Lincoln Center Theater, The Stage and Film) and A Body of Water Theater), Sons of the Prophet and Tigers Juilliard School and Brooklyn Academy (Primary Stages). Mr. Patel’s work is Be Still (Roundabout Theatre Company), of Music. Regionally he had designed for well known on and Off Broadway and in Wild With Happy (New York Shakespeare Kirk Douglas Theatre, Seattle Repertory regional theatres and opera houses in the Festival/The Public Theater) and Jack Theatre, American Conservatory Theater, U.S. and abroad. His film and television Goes Boating and The Last Days of Yerba Buena Center for the Arts, credits include “In Treatment” (HBO) Judas Iscariot (LAByrinth Theater Virginia Shakespeare Festival, Two River and Neil LaBute’s Some Velvet Morning, Company). His other regional credits Theater Company, Williamstown Theatre featured in the 2013 Tribeca Film Festival. include American Conservatory Theater, Festival, TheaterWorks, Barrington Stage neilpateldesign.com. Arena Stage, Alley Theatre, Cincinnati Company and Berkshire Theatre Festival. Playhouse in the Park, Houston Grand KATHERINE ROTH (Costume Design) Opera, Huntington Theatre Company, RYAN BEATTIE SCRIMGER (Vocal and designed the Broadway and National Santa Fe Opera, The Shakespeare Dialect Coach), M.F.A., is nearly tongue- Tour productions of Twyla Tharp’s Come Theatre Company, Westport Country tied at joining The Old Globe for The Fly Away and the recent New York Playhouse and others. Internationally, Mr. Rainmaker and Double Indemnity. She production of The Twenty-Seventh Man Weideman designed the world premiere is on University of San Diego’s Theatre directed by Barry Edelstein at The Public of David Harrower’s Blackbird directed Arts and Performance Studies faculty, Theater. Her other New York credits by Peter Stein (Edinburgh International teaching acting and theatre classes. include La Mama, Vineyard Theatre, Festival and the West End). His other She specializes in acting and audition Playwrights Horizons, New York Stage work with Peter Stein includes Troilus and techniques; musical theatre, voice, dialect and Film, Theatre for a New Audience, Cressida (Royal Shakespeare Company, and singing techniques; and career The Play Company, New York Theatre Edinburgh International Festival), Electra entrepreneurship. Ms. Scrimger is a Workshop, Primary Stages and Rattlestick (Ancient Theater of Epidaurus, Greece, member of Voice and Speech Trainers Playwrights Theater. Regionally she has National Theater of Korea) and the Association and a private coach for public worked at The Old Globe, Signature double bill opera Bluebeard’s Castle/ speakers, singers and actors, and she has Theatre Company, Williamstown Theatre Il Prigioniero (La Scala, Nederlands received awards for her performances Festival, Alley Theatre, American Opera). His awards and nominations in musicals, Shakespearian comedies Conservatory Theater, Alliance Theatre, for lighting design include Tony, Drama and contemporary dramas in San Diego, Yale Repertory Theatre, Asolo Repertory Desk, Lucille Lortel, Hewes Design, San the Bay Area and New York City. Locally, Theatre, Cincinnati Playhouse in the Francisco Bay Area Theatre Critics she has performed with New Village Park, Intiman Theatre, Mark Taper Circle and San Diego Craig Noel Awards. Arts, Moonlight Stage Productions, Forum, Huntington Theatre Company, japhyweideman.com. Diversionary Theatre, San Diego State California Shakespeare Theater, University and Cygnet Theatre Company. Oregon Shakespeare Festival, Dallas BART FASBENDER (Sound Design) is Her favorite roles include Libby in Theater Center, La Jolla Playhouse, very happy to be at The Old Globe. The Maiden’s Prayer, Fefu in Fefu and CENTERSTAGE, South Coast Repertory His previous designs for Maria Mileaf Her Friends, Meredith in Bat Boy: The and Milwaukee Repertory Theater. Ms. include Reasons to Be Pretty and Ruined Musical, Betty Blake in The Will Rogers Roth’s film credits include Neil LaBute’s (Philadelphia Theatre Company), F2M Follies, Diana Morales in A Chorus Line, Some Velvet Morning, and her television (New York Stage and Film), A Body of Miss Flannery in Thoroughly Modern credits include “All My Children” (two Water (Primary Stages) and Sakharam Millie and Beatrice in Much Ado About Daytime Emmy Awards). She received Binder (The Play Company). His New Nothing. Her other professional credits her M.F.A. from Yale University School of York credits include Alex Timber’s include vocal and dialect coach for Drama. Bloody Bloody Andrew Jackson La Jolla Playhouse’s 2012 production (Broadway), Jesse Eisenberg’s The of Glengarry Glen Ross and musical JAPHY WEIDEMAN (Lighting Design) Revisionist and Asuncion (Rattlestick director for San Diego Coastal Rotary previously designed lighting for the Globe Playwrights Theater), John Patrick and Jack in the Box. Ms. Scrimger is production of August: Osage County. Shanley’s Storefront Church (Atlantic directing The Spitfire Grill at University His notable West Coast designs include Theater Company) and Paul Weitz’s of San Diego this fall.
PERFORMANCES MAGAZINE 13 Profiles
CAPARELLIOTIS CASTING (Casting) Report (La Jolla Playhouse), American starring Uma Thurman in her stage debut; recently cast the Globe productions of Night: The Ballad of Juan José (La Jolla and the world premiere of novelist Double Indemnity, Other Desert Cities, Playhouse, Center Theatre Group), The Nathan Englander’s play The Twenty- Be a Good Little Widow, A Doll’s House, Sound of Music, Rent, Joseph and the Seventh Man. He has also directed new The Brothers Size, Pygmalion and Good Amazing Technicolor Dreamcoat (San and classical work extensively at regional People. Their Broadway casting credits Diego Musical Theatre), miXtape and theatres around the USA. Edelstein has include Lyle Kessler’s Orphans, The Trip The Servant of Two Masters (Lamb’s taught Shakespearean acting at The to Bountiful, Grace, Dead Accounts, The Players Theatre), SummerFest 2011 (La Juilliard School, NYU’s Graduate Acting Other Place, Seminar, The Columnist, Jolla Music Society), The Tempest (North Program and the University of Southern Stick Fly, Good People, Bengal Tiger at Coast Repertory Theatre) and To Kill a California. He has lectured on theatre the Baghdad Zoo, The House of Blue Mockingbird and Rabbit Hole (Indiana around the USA and the world and has Leaves, Fences, Lend Me a Tenor and Repertory Theatre). Ms. Hurstell has written on the subject for The New The Royal Family. They also cast for also worked in stage management for York Times, The Washington Post, The Manhattan Theatre Club, Second Stage Moonlight Stage Productions, Marin New Republic and American Theatre. Theatre, Atlantic Theater Company, Theatre Company, PCPA Theaterfest, His book Thinking Shakespeare (called LCT3, Ars Nova, Goodman Theatre, Utah Festival Opera & Musical Theatre by New York magazine “a must-read Arena Stage, Ford’s Theatre and three and Illinois Shakespeare Festival. She for actors”) was published in 2007 and seasons with Williamstown Theatre holds a B.A. in Theatre from James is now the standard text on American Festival. Their recent television credits Madison University. Shakespearean acting. He is also the include HairBrained with Brendan Fraser, author of Bardisms: Shakespeare for All “Ironside” (NBC) and Steel Magnolias BARRY EDELSTEIN (Artistic Director) Occasions. Mr. Edelstein is a graduate of (Sony for Lifetime). is a stage director, producer, author and Oxford University, where he studied as a educator. Widely recognized as one of Rhodes Scholar. MONICA A. CUOCO (Stage Manager) the leading authorities on the works of previously worked at The Old Globe Shakespeare in the United States, he MICHAEL G. MURPHY (Managing on Oscar and the Pink Lady, Hold has directed nearly half of the Bard’s Director) served as General Manager Please, Ace, Lincolnesque, The Violet works. As Director of the Shakespeare of The Old Globe from 2003 to 2012, Hour, The Prince of LA, Moonlight and Initiative at The Public Theater (2008- overseeing the Production, Education, Magnolias and the 2004 Shakespeare 2012), he oversaw all of the company’s Human Resources, Information Festival. Her Broadway credits include Shakespearean productions, as well as Technology and Facilities Departments, Memphis, A Catered Affair, Cymbeline, its extensive educational, community as well as Front of House operations. South Pacific, The Lion King and Gypsy. outreach and artist-training programs. He also managed the construction of Her Off Broadway credits include At The Public, Mr. Edelstein staged the Globe’s new theatre and education productions with The Public Theater, Julius Caesar starring Jeffrey Wright facilities. Prior to the Globe, he was including Barry Edelstein’s production for Shakespeare in the Park and The the Managing Director of Austin Lyric of The Tweny-Seventh Man, as well Merchant of Venice featuring Ron Opera in Austin, Texas, Director of as Rent, Angels in America, Part One: Leibman’s Obie Award-winning portrayal Administration of San Diego Opera Millennium Approaches and Part Two: of Shylock. He was also Associate and General Manager of San Diego Perestroika and My First Time. She Producer of The Public’s Broadway Repertory Theatre. Before relocating to has stage managed regionally at Dallas production of The Merchant of Venice San Diego from New York, he held similar Theater Center, Long Wharf Theatre, The starring Al Pacino. From 1998-2003 positions at Theatre for a New Audience 5th Avenue Theatre, Signature Theatre he was Artistic Director of Classic and the Joyce Theater Foundation’s Company, San Diego Repertory Theatre, Stage Company, where he produced American Theater Exchange. He also La Jolla Playhouse and Shakespeare on and directed some of New York’s most served as negotiating assistant for the the Green. Her touring credits include memorable classical productions. League of Resident Theatres and sales work with Aquila Theatre Company. Ms. Mr. Edelstein’s Shakespearean directorial representative for Columbia Artists Cuoco received a B.A. from Western credits include productions of The Theatricals Corporation. Mr. Murphy Michigan University and M.F.A. from Winter’s Tale with David Strathairn, Timon has served on the Board of Directors of University of California, San Diego. of Athens with Richard Thomas, As You the San Diego Performing Arts League Like It with Gwyneth Paltrow and Richard and serves as a Management Trustee TARIN HURSTELL (Assistant Stage III with John Turturro. His additional for San Diego County Theatrical Trusts, Manager) previously worked at The Old credits include the Lucille Lortel Award- the pension and welfare trust for IATSE Globe on A Gentleman’s Guide to Love winning revival of Arthur Miller’s All stagehands in the San Diego region. He and Murder. Her selected credits include My Sons; the world premiere of Steve was also an adjunct faculty member of Chasing the Song, Glengarry Glen Ross, Martin’s The Underpants, which he the Music Department at the University Little Miss Sunshine, Peer Gynt and Surf commissioned; Molière’s The Misanthrope of San Diego. Mr. Murphy earned his
14 PERFORMANCES MAGAZINE B.F.A. degree in Stage Management from CRAIG NOEL (Founding Director) was University of San Diego, Honorary Webster University in St. Louis, Missouri first appointed director in 1939, directing Doctorate in Fine Arts, San Diego State and his M.F.A. in Performing Arts 15 productions prior to World War University and the annual Awards for Management from Brooklyn College of II. Since then he directed more than Excellence in Theatre named in his honor the City University of New York. 200 plays of all styles and periods and by the San Diego Theatre Critics Circle. produced an additional 270 productions. In 2007, he received the National Medal JACK O’BRIEN (Artistic Director His vision for The Old Globe resulted in of Arts — the nation’s highest honor for Emeritus) served as the Artistic Director the establishment of the Shakespeare artistic excellence — in a ceremony at the of The Old Globe from 1982 through Festival and the San Diego Junior Theatre White House. Craig Noel died on April 3, 2007. Mr. O’Brien most recently directed in the late ‘40s, the expansion to two 2010 at the age of 94. Nathan Lane in Douglas Carter Beane’s theatres in the ‘50s, Globe Educational The Nance on Broadway. His Broadway Tours in the ‘70s and Teatro Meta and the credits also include: Dead Accounts, Old Globe/University of San Diego M.F.A. Catch Me If You Can, Impressionism, The program in the ‘80s. During the 1940s, Coast of Utopia (Tony Award), Dr. Seuss’ Mr. Noel served as dialogue director for CASTING How the Grinch Stole Christmas!, Dirty the 20th Century Fox Studios and was CAPARELLIOTIS CASTING Rotten Scoundrels (Tony nomination), the former director of the Ernie Pyle David Caparelliotis Henry IV (Tony Award), Hairspray Theatre in Tokyo. Described by Variety Lauren Port (Tony Award), Imaginary Friends, The as the eminence grise of San Diego Invention of Love (Tony nomination, theatre, Mr. Noel is one of the few San Drama Desk Award), The Full Monty Diegans to have had an entire year (1987) (Tony nomination), More to Love, Getting proclaimed in his honor, and to be named Away with Murder, Pride’s Crossing, one of San Diego’s “Living Treasures.” He The Little Foxes, Hapgood (Lucille was a founder of the California Theatre Lortel Award, Best Director), Damn Council and a former vice president Yankees, Two Shakespearean Actors of the California Confederation of the (Tony nomination), Porgy and Bess Arts. His numerous honors include (Tony Award). Metropolitan Opera: The San Diego Union-Tribune list of 25 II Trittico. London: Love Never Dies, persons who shaped the city’s history; the Hairspray (Olivier nomination). National Governor’s Award for the Arts; University Theatre: His Girl Friday. Six movies for of Arizona Alumni Association’s PBS’s “American Playhouse.” Awards: Outstanding Citizen, for his contribution This theatre operates under an agreement between the League of Resident Theatres 2008 Theatre Hall of Fame Inductee, to their Fine Arts department; San and Actors’ Equity Association, the union of 2005 John Houseman Award, ArtServe Diego State University’s Outstanding professional actors and stage managers in the United States. Michigan 2008 International Achievement Alumnus; Conservator of American Arts
Award, Honorary Doctorate, University Award from American Conservatory The Directors are members of the Society of Michigan. Honorary Doctor of Humane Theater; the San Diego Press Club of Stage Directors and Choreographers, an independent national labor union. Letters, University of San Diego. Film Headliner Award; San Diego Gentleman (actor): Sex and the City 2. Jack Be of Distinction Award; and a combined This Theatre operates under an Agreement Nimble: The Accidental Education of tribute from the Public Arts Advisory with the International Alliance of Theatrical an Unintentional Director, his memoir Council and the San Diego County Board Stage Employees Local No. 122. about the early years of his career, will be of Supervisors. Mr. Noel was particularly released this summer by Farrar, Straus proud of the following three honors The Scenic, Costume, Lighting and Sound and Giroux. representing education and theatre: Designers in LORT Theatres are represented Honorary Doctorate of Humane Letters, by United Scenic Artists Local USA-829, IATSE.
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PERFORMANCES MAGAZINE 15 Corporate Donors
LEAD SEASON SPONSORS ($75,000 or more)
SEASON SPONSORS ($50,000 - $74,999)
PRODUCTION SPONSORS ($25,000 - $49,999)
DIRECTOR CIRCLE ($15,000 to $24,999) National Corporate Theatre Fund is a not-for-profit corporation created to increase and strengthen support from the business community for ten of this country’s most distinguished professional theatres. The following foundations, individuals and corporations support these theatres through their contributions to NCTF: Acquis Consulting Group Marsh & McLennan Companies American Express Foundation The McGraw-Hill Companies AOL MetLife Bank of America Morgan Stanley Bloomberg Pfizer, Inc. BNY Mellon RBC Wealth Management James E. Buckley RVM Inc. Steven Bunson The Ralph and Luci Schey Foundation ($10,000 to $14,999) Christopher Campbell/ Sharp Electronics Palace Production Center Skadden, Arps, Slate, Holland America Line ResMed Foundation Cisco Systems, Inc. Meagher & Flom LLC Citi George S. Smith, Jr. FOUNDER CIRCLE ($5,000 - $9,999) Clear Channel Outdoor TheaterMania.com/Gretchen Shugart Cleveland Clinic John Thomopoulos Bertrand at Mister A’s CMT/ABC The James S. and Lynne P. Turley Ernst First American Trust Nokia Inc. Hyatt Regency La Jolla Datacert, Inc. & Young Fund for Impact Creativity Dorsey & Whitney Foundation UBS Epiq Systems Wells Fargo ($2,500 - $4,999) CRAIG NOEL CIRCLE Ernst & Young Willkie Farr & Gallagher LLP Cubic Corporation HoyleCohen Luna Grill Goldman, Sachs & Co. Public Support
Major funding provided by the City of San Diego Commission for Arts and Culture. The Old Globe is funded by the County of San Diego.
16 PERFORMANCES MAGAZINE Education
SUMMER PROGRAMS FOR STUDENTS
The Old Globe is filled with activity The SUMMER SHAKESPEARE day and night during the summer INTENSIVE for high school months. Shows are performed in students is a highlight of The Old all three theatres, and each one is Globe’s year. In March, hopeful supported with audience engagement teens line up to audition for one activities such as Insights Seminars, of only 35 spots in the program. Post-Show Forums and Shakespeare Students who participate have in the Garden lectures. Audience the rare opportunity to be members have a lot to choose from, treated like professional actors and many do it all. as they rehearse one-hour versions of two Shakespeare At the same time, even more is plays. They prepare tirelessly happening behind the scenes. In with their directors and stage July and August, the Karen and managers in a rehearsal Donald Cohn Education Center and process that mirrors that Globe rehearsal halls are swarming of any of our regular with teenagers immersed in classes, productions. They see all three shows Every department workshops and rehearsals. They’re in the Shakespeare Festival and then at the Globe is involved in this studying acting with some of the top study with those very actors. And then, program, and it shows on the stage that theatre artists in the country — the on one glorious evening, they perform night. The performance this year is on very actors you see on our stages all on the Lowell Davies Festival Theatre Monday, August 12 at 8:00 p.m. Join us summer. stage before a packed house of family for an evening you won’t soon forget. and friends. It is an experience they’ll It’s just one more reason to enjoy your The Old Globe’s MIDDLE SCHOOL remember for the rest of their lives. summer here at The Old Globe. CONSERVATORY introduces eager young actors to a variety of acting styles, equipping them to tackle everything from Shakespeare to contemporary playwrights. Students learn skills ranging from auditioning to stage combat and prepare scenes and monologues for a showcase performance on the last day of class. The Conservatory instructors are professional actors who love sharing their knowledge and skill with these talented young people. The program has become so popular that registration fills by early April each year with students ready to commit three weeks of their summer to building new skills and finding new friends at the Globe.
(top right) 2012 Summer Shakespeare Intensive participants; (above) 2011 Summer Shakespeare Intensive participants.
To learn more about these programs, contact [email protected].
PERFORMANCES MAGAZINE 17 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 donors who have generously supported the 2012-2013 season.
LEAD SEASON SPONSORS
Karen and Donald Cohn Darlene Marcos Shiley Audrey S. Geisel Sheryl and Harvey White Charter Sponsors since 1995 In memory of Donald Shiley Sponsor since 1998 Sponsors since 2000 Charter Sponsors since 1995
Conrad Prebys and Debra Turner Mary Ann Blair Peter Cooper and Norman Blachford Sponsors since 2004 Sponsor since 2007 Sponsors since 2008
SEASON SPONSORS
Elaine Lipinsky Family Foundation Globe Guilders John A. Berol The County of San Diego Charter Sponsor since 1995 Charter Sponsor since 1995 Sponsor since 1996 Sponsor since 1996
Kathryn Hattox Joan and Irwin Jacobs Mary Beth Adderley and Valerie and Harry Cooper Sponsor since 1998 Sponsors since 2002 Elizabeth & Ryan Williams Sponsors since 2005 Sponsors since 2004
Brian and Silvija Devine Paula and Brian Powers Rhona and Rick Thompson Sponsors since 2012 Sponsors since 2012 Sponsors since 2013
Photo for Globe Guilders: Euan Morton and Miles Anderson in Divine Rivalry, 2012. Photo for John A. Berol: Dana Green and Dan Amboyer in As You Like It, 2012. Photos by Henry DiRocco. 18 PERFORMANCES MAGAZINE Corporate 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 deeply grateful to its Corporate Season Sponsors, each of whom has generously supported the 2012-2013 season.
LEAD SEASON SPONSORS
Sponsor since 2000 Sponsor since 2007
Charter Sponsor since 1995
SEASON SPONSORS
Charter Sponsor since 1995 Sponsor since 2005 Sponsor since 2004
For additional information on how you may become a Season Sponsor, please contact Todd Schultz, Director of Development, at (619) 231-1941 x2310.
Annual Fund Donors
The Old Globe’s ability to maintain the highest standard of excellence, while keeping ticket prices affordable, is due in large part to the financial support of more than 2,000 individuals, businesses, foundations and government agencies. Please join us in giving a warm thanks and recognition to these leaders who have made tonight and our 629 other performances possible. The Old Globe appreciates the support of those who have stepped into the spotlight.
Benefactors ($100,000 and above) City of San Diego Commission Globe Guilders The Shubert Foundation for Arts & Culture The James Irvine Foundation Wells Fargo The County of San Diego Microsoft Sheryl & Harvey White Foundation Audrey S. Geisel/The San Diego Darlene Marcos Shiley, Foundation Dr. Seuss Fund in memory of Donald Shiley
Season Sponsors ($50,000 to $99,999) Mary Beth Adderley and Valerie & Harry Cooper Paula & Brian Powers Elizabeth & Ryan Williams Mr. & Mrs. Brian K. Devine Conrad Prebys & Debra Turner The Legler Benbough Foundation Edgerton Foundation Qualcomm Foundation John A. Berol Kathy & John Hattox Rhona & Rick Thompson Mary Ann Blair HM Electronics, Inc. United California Bank & Trust Joan & Irwin Jacobs Fund of the Karen & Donald Cohn Jewish Community Foundation Peter Cooper & Norman Blachford Elaine Lipinsky Family Foundation
PERFORMANCES MAGAZINE 19 Annual Fund Donors
Production Sponsors ($25,000 to $49,999) Anonymous Inn at the Park Patsy & Forrest* Shumway Bank of America Jo Ann Kilty Mickey Stern Alan Benaroya Barbara G. Kjos Ms. Jeanette Stevens Richard & Kathy Binford Jeffrey & Sheila Lipinsky Family Foundation Gillian & Tony Thornley Pamela & Jerry Cesak National Corporate Theatre Fund Torrey Pines Bank Cohn Restaurant Group/Prado Restaurant Neiman Marcus Union Bank Elaine & Dave Darwin Random House Children’s Books U.S. Bank Ann Davies Gloria & Dick* Rasmussen Mandell Weiss Charitable Trust Nina & Robert Doede San Diego Gas & Electric® Pamela A. Farr Shakespeare for a New Generation Hal & Pam Fuson a National Program of the Higgs Fletcher & Mack, LLP National Endowment for the Arts Elaine & Leonard Hirsch in Partnership with Arts Midwest The Hull Family Sheraton San Diego Hotel & Marina
Director Circle ($10,000 to $24,999) Jane Smisor Bastien Brooke & Dan Koehler Nita & Henk van der Werff The Anthony Cerami & Ann Dunne Carol & George Lattimer Jordine Skoff Von Wantoch Foundation for World Health Rebecca Moores Pamela J. Wagner Nikki & Ben Clay National Endowment for the Arts Dr. Steve & Lynne Wheeler Joseph Cohen & Martha Farish Rafael & Marina Pastor Karin Winner Karen Fox & Harvey Ruben Tom & Lisa Pierce Brent Woods & Laurie Mitchell Diana R. Glimm Allison & Robert Price Pamela & Marty Wygod Lee & Frank Goldberg Price Family Charitable Fund June E. Yoder Dr. & Mrs. Harry F. Hixson, Jr. Jean & Gary Shekhter Carolyn Yorston-Wellcome Daphne H. & James D. Jameson Evelyn Mack Truitt
FOUNDER CIRCLE Money/Arenz Foundation, Inc. Linda Birch Jean & Sid Fox ($5,000 to $9,999) Caroline & Nicolas Nierenberg Charlotte & Charles Bird Samuel I. & John Henry Fox Lawrence G. Alldredge & Dawn Moore Matthew & Judith Pollack Joan Bishop, in memory Foundation at Anonymous John & Marcia Price of Harold McNeil Union Bank of California Melissa Garfield Bartell & Family Foundation Paul Black Chuck Freebern Michael Bartell Rivkin Family Fund I at Dr. Herman & Irene H. Boschken Charles & Millicent Froehlich Bradford W. Bates The San Diego Foundation Dr. & Mrs. Edgar D. Canada Joy & Dr. Fred Frye Joan & Jeremy Berg Chrissy & Roger Roberts Edward & Pamela Carnot Elaine Galinson Barbara Bloom Bob & Julie Sullivan Harry & Sandra Carter Barbara & Albert Garlinghouse The Louis Yager Cantwell Kathryn B. & Daniel L. Sullivan Family George & Ellen Casey Bill & Judy Garrett Private Foundation Fund at The San Diego Foundation Rudy & Carol Cesena Teresa George Carol & Jeff Chang Pat & Jack Thomas Garet & Wendy Clark Nancy Reed Gibson Colwell Family Distributable Fund at Cherie Halladay Tirschwell Ms. Heidi Conlan/ Wendy Gillespie The San Diego Foundation Carol Vassiliadis The Sahan Daywi Foundation Robert Gleason & Marc Matys R. Patrick & Sharon Connell Pat & Bob Whalen Richard & Stephanie Coutts Sheila & Tom Gorey Bernard J. Eggertsen & Susan Barlow Cowell Timothy P. Haidinger Florence Nemkov CRAIG NOEL CIRCLE Gigi & Ed Cramer Ms. Cheryl Haimsohn Marion Eggertsen ($2,500 to $4,999) Carlo & Nadine Daleo Guy & Laura Halgren Barbara & Dick Enberg Dr. & Mrs. Wayne Akeson Darlene G. Davies, in memory Pat & Rick Harmetz Carol Spielman-Ewan & Joel Ewan Gail Andrade and of Lowell Davies Drs. Patrick Harrison & Eleanor Lynch Martha & George Gafford John & Jennifer Andrade Pat & Dan Derbes Liz & Gary Helming Drs. Thomas H. & Jane D. Gawronski Anonymous (4) Dean & Mrs. Michael H. Dessent Rhonda Heth & Thomas Mabie Norm Hapke & Valerie Jacobs Hapke Judith Bachner & Eric Lasley Jim & Sally Ditto Richard & Janet Hunter Gordon & Phyllis Harris Jan & Rich Baldwin Devora & Ron Eisenberg Hutcheson Family Fund at Alexa Kirkwood Hirsch Bobbie Ball of Great News! The San Diego Foundation William Karatz Diana J. Barliant* & Nowell Wisch Mr. & Mrs. Ira S. Epstein Drs. Sonia & Andy Israel Peter Manes & Yoko Sakaguchi Jan Bart Mary & David Fitz Jerri-Ann & Gary Jacobs Paul & Maggie Meyer Mr. & Mrs. Bear Susanna & Michael Flaster Pat JaCoby
20 PERFORMANCES MAGAZINE Mary & Russell Johnson Jan Harden Webster & Raul Ortega Richard Seer & Douglas Wallingford Drs. Betty Joan Maly & John Meyers Jackie Johnston The Patricia and Christopher Weil Alan & Esther Siman Ron & Mercy Mandelbaum Katleman Family Fund of the Family Foundation Dave & Phyllis Snyder Rev. Stephen J. Mather Jewish Community Foundation Mary Kay West Ann & Robert Steck Ronald McCaskill & Robyn Rogers Dr. Gerald & Mrs. Barbara Kent James E. & Kathryn A. Whistler Greta & Steve Treadgold Mr. & Mrs. William M. McKenzie Gladys H. King Stan & Anita Ulrich Charles & Billie McKnight Ken & Sheryl King ($1,500 to $2,499) David & Irene Weinrieb Rena Minisi & Rich Paul Webster & Helen Kinnaird Anita Busquets & William Ladd Howard & Christy Zatkin Dr. Robert & Anne Morrison Jane & Ray* Klofkorn Gary & Carrie Huckell Charles & Susan Muha Curt & Nancy Koch William & Edythe Kenton GOLD Shirley Mulcahy Betty & Dr. Leonard Kornreich Sherry & Larry Kline ($500 to $999) Marsha J. Netzer Rosalie Kostanzer & Michael Keefe Marisa SorBello & Peter Czipott In Memory of Freda Altschuler & Evy & Ed Newton Bob & Laura Kyle James & Ellen Weil Sylvia Goldin Rod & Barbara Orth Jean & David Laing Shirli Fabbri Weiss Anonymous (7) Dr. David & Elizabeth Ostrander Peter Landin & Michelle Cardinal George Amerault Barbara B. Oswalt Terry & Mary Lehr DIAMOND Earl Asbury Julius J. Peal Fund at Ms. Sherrill Leist ($1,500 to $2,499) Alicia Atun & Elaine Rendon* The San Diego Foundation Dr. Ronald & Mrs. Ruth W. Leonardi Anonymous Bruce & Patricia Becker In Memory of Margaret Peninger James & Pamela Lester Jeff & Donna Applestein Amnon & Lee Ben-Yehuda Dr. Ken Pischel & Sandy & Arthur Levinson Mrs. Lazare F. Bernhard Drs. John & Karen Berger Dr. Katherine Ozanich Robin J. Lipman Steve G. Bjorg Jay Biskupski & Catherine Imrie Drs. Paul & Katherine Ponganis Barbara & Mathew Loonin Jane Cowgill Deb & Brand Brickman Mr. & Mrs. J.S. Rekettye Sue & John Major Dr. Robert & Marcia Malkus Ruth Bunn Rowling Family Charitable Fund of the Jackie & Charlie Mann Fund of the Holly & David Bruce Beth & Tim Cann Jewish Community Foundation Jewish Community Foundation Dr. & Mrs. M. Joseph McGreevy Greg & Loretta Cass Crystal A. Rubin Lois & F. Dale Marriott Akiko Charlene Morimoto & Luc Cayet & Anne Marie Pleska Frank Ruyak Ms. Kerri Martella Hubert Frank Hamilton, Jr. Lynne Champagne & Wilfred Kearse Simon & Ruth Sayre Dr. Ted & Marcy Mazer Susan Parker Jack & Carol Clark Brigid Hom-Schnapp & Elizabeth & Edward McIntyre Shearn & Linda Platt Ronald Culbertson Russell Schnapp Elizabeth B. Meyer Jack & Louise Strecker Honorable Vincent Di Figlia Linda J. Seifert Sara F. Moser Margery & John Swanson Dr. Donald & Eilene Dose Stella Shvil Professional Fiduciary Nancy & James Mullen Jacqueline & Stanley Drosch Beverly & Howard Silldorf Jim & Ruth Mulvaney Foundation at PLATINUM Bill Eiffert & Leslie Hodge Mr. William D. Smith & The San Diego Foundation ($1,000 to $1,499) Victor & Louise Engleman Dr. Carol Harter Elspeth & Jim Myer Anonymous Drs. Susan & George Fee Peter & Frances Splinter Bette Nagelberg Drs. Gabriela & Mike Antos Richard & Beverly Fink Ronald & Susan Styn Joyce & Martin Nash Sondra & Robert Berk Fund of the Family Foundation Clifford & Kay Sweet Bob Nelson Jewish Community Foundation Pauline Forman & Jack Burke Brenda & Robert Tomaras Lyn Nelson Bob & Joyce Blumberg Susan & Steven Garfin Doris Trauner, M.D. & Richard Sanford Arthur & Marilyn Neumann Cecilia Carrick & Stan Nadel Theresa A. Georgi Jeffrey & Sheila Truesdell Lawrence Newmark Walter & Cheryl Deegan Arthur Getis Ms. C. Anne Turhollow & Patrons of the Prado Dorothy R. Dring Norman & Patricia Gillespie Mr. Michael J. Perkins L. Robert & Patricia L. Payne Clare & Paul Friedman J. M. Gillman Marlene G. Lipsey Turrentine Col. & Mrs. Ben Pollard Gay and Lesbian Fund for San Diego Robert & Edry Goot Natalie C. Venezia & Paul A. Sager Bill & Mo Popp at The San Diego Foundation Drs. Barbara B. & Leonard J. Gosink Karen Walker Daniel Porte Jr., MD Arthur & Marlene Greenberg Chris Graham & Michael Albo Kathy & Jim Waring The Arthur & Jeanette Pratt Kaaren Henderson Carol & Don Green The Washkowiak’s Memorial Fund Hexagone Richard & Candace Haden Ms. Sandy Wichelecki Joseph & Jane Rascoff Bill & Nancy Homeyer Helen M. Hammond Dennis & Carol Wilson Sarah B. Marsh-Rebelo & Kenneth & Marilyn Jones Jeff & Judy Handler Cass Witkowski Family John G. Rebelo Louis & Mary Beth Kelly James & Ruth Harris Fund of the Brendan M. & Kaye I. Wynne Nancy Robertson Robert Kilian & Kathleen Slayton Jewish Community Foundation Carole Sachs Gayle & Jerry Klusky Virginia Hawkins Beverly & Warren Sanborn Bill & Linda Kolb Jamie Henson & Robert Houskeeper *In Memoriam Sanderson Family Donor Advised Dr. & Mrs. James E. Lasry Bruce & Jane Hopkins This list current as of June 5, 2013. Fund at the Rancho Santa Fe Edward & Nancy Lyon Stephen Hopkins & Dr. Carey Pratt Foundation Jasna Markovac & Gary Miller Joseph & Donna Hynes For additional information on how you Sherry & C.A. Sheppard Marcia Mattson Isaacs Brothers Foundation at may support The Old Globe’s artistic, Drs. Joseph & Gloria Shurman Jack Meek The San Diego Foundation education and community programs, Dee E. Silver, MD Judith & Neil Morgan Dr. & Mrs. Clyde W. Jones please visit our website at Elene & Herb Solomon Mark Niblack, MD Bob & Janice Kayler www.TheOldGlobe.org or contact Nancy & Alan Spector and Family Virginia Oliver Dr. Marvin Kripps Rachel Plummer, Major Gifts Officer, Barbie & Dan Spinazzola Dr. Julie Prazich & Dr. Sara Rosenthal La Farfalla Cafe at (619) 231-1941 x2317 or Nancy Steinhart & Robert & Doris Reed LABS, Inc./Silvia Dreyfuss [email protected]. Rebecca Goodpasture Jordan Ressler Charitable Fund of the Barney Lanz Hannah & Gene Step Jewish Community Foundation Rick & Sherry Levin Karen & Don Tartre Esther Rodriguez Marshall & Judy Lewis Fund of the Suzanne Poet Turner & Michael Turner The Ralph B. Rogers Foundation Jewish Community Foundation Lou & Doris Vettese Sabuku Sushi Carl Maguire & Margaret Sheehan Mary R. Warkentin Jay & Julie Sarno Sally & Luis Maizel
PERFORMANCES MAGAZINE 21 THE ROLE OF THE BOARD OF DIRECTORS
Not-for-profit organizations like The Old Globe are an integral part of our community and, as independent private
entities, provide countless services DOUG GATES and programs for children and adults of all ages. By definition, each or all of these organizations must Equally vital, Board members serve as advocates for the Theatre, depend upon the financial support, advocacy and volunteerism of enhancing the organization’s public image. One of the many their patrons to meet their goals and must also rely greatly on the reasons for the Globe’s 78 years of success and achievement leadership and governance of a dedicated Board of Directors. comes from a spirit of collaboration set forth by Craig Noel, who greatly valued the volunteer leadership that helped lift You have likely seen the lists of members of the Globe’s Board of the Globe higher and higher. The Globe’s Board continues Directors many times but may not be aware that these individuals this legacy, reaching out through personal advocacy efforts to are generous donors and volunteers themselves, providing neighbors, friends and community, forging new relationships and invaluable time and talent in service of the mission established partnerships. by the Globe’s founders. The Globe’s Board currently consists of 46 members, representing a broad range of community leaders, We are deeply grateful to the Globe’s Board of Directors for educators, businesses and family affiliations. In addition to their shepherding this great institution, the largest performing arts own generous financial support, the Board provides countless organization in San Diego and the sixth-largest regional theatre in hours of guidance over fiduciary matters, institutional policy, legal the nation. concerns, administrative management and long-range planning. These functions are carried out through regular meetings of the Photo: Board Member Peter Cooper, Board Members Debra Turner and Conrad Prebys, Board Member Sandra Redman of California Bank & Trust, Richard Wright and Board full Board and its committees. In addition, ad-hoc committees are Member Mary Beth Adderley at the opening night celebration for A Gentleman’s Guide formed as needed, such as the recent Artistic Director Search to Love and Murder. Committee.
Thank You City of San Diego
The Old Globe appreciates the production schedule of world-class theatre as well as City of San Diego’s recognition of education and community programs. how effectively arts and culture foster creativity and innovation and The Old Globe is pleased to welcome Denise stimulate the local economy. Mayor Montgomery as the new Executive Director of the Filner and the City Council are Commission for Arts and Culture, appointed to this firmly committed to allocating 1% of critical post by Mayor Filner in May 2013 following a Denise Montgomery, Executive Director, Transient Occupancy Tax collected national search to replace former Executive Director City of San Diego from tourists for reinvestment in Victoria Hamilton after 24 years of dedicated service. Commission for Arts and Culture. the City’s not-for-profit arts and Under Ms. Montgomery’s leadership the Commission culture organizations, providing vital will continue its exemplary work while moving programming for both residents and visitors. At The steadily toward the achievement of new goals and Old Globe, this funding helps support a year-round accomplishments.
22 PERFORMANCES MAGAZINE Associate Artists of The Old Globe
In recognition of their unique contribution to the growth of The Old Globe and their special talent, we take great pride and pleasure in acknowledging as Associate Artists the following individuals who have repeatedly demonstrated by their active presence on our stages and in our shops, that wherever else they may work, they remain the heart and soul of the Globe. William Anton Tim Donoghue Mark Harelik John McLain Steven Rubin Deborah Taylor Gregg Barnes Richard Easton Bob James Jonathan McMurtry Ken Ruta Irene Tedrow* Jacqueline Brookes* Tovah Feldshuh Charles Janasz Stephen Metcalfe Douglas W. Schmidt Sada Thompson* Lewis Brown* Monique Fowler Peggy Kellner* Robert Morgan Seret Scott Paxton Whitehead Victor Buono* Robert Foxworth Tom Lacy Patrick Page David F. Segal James Winker Wayland Capwell* Ralph Funicello Diana Maddox Ellis Rabb* Richard Seger* Robert Wojewodski Kandis Chappell Lillian Garrett-Groag Nicholas Martin Steve Rankin Diane Sinor* G Wood* Eric Christmas* Harry Groener Dakin Matthews William Roesch Don Sparks Patricia Conolly A.R. Gurney Deborah May Robin Pearson Rose David Ogden Stiers * In Memoriam George Deloy Joseph Hardy Katherine McGrath Marion Ross Conrad Susa
Patron Information
TICKET SERVICES HOURS may be given alternative seating and will be seated at an Monday: Closed appropriate interval. Tuesday – Sunday: Noon – last curtain Hours subject to change. Please call ahead. YOUNG CHILDREN Phone (619) 23-GLOBE or (619) 234-5623 Children five years of age and under will not be admitted to FAX (619) 231-6752 performances. Email [email protected] ELECTRONIC DEVICES AND CAMERAS ADMINISTRATION HOURS Monday - Friday: 9am - 5pm The video and/or audio recording of this performance Phone (619) 231-1941 by any means whatsoever are strictly prohibited. Please Website www.TheOldGlobe.org silence all digital watches, pagers and cellular phones prior Address The Old Globe to entering the theatre. P.O. Box 122171 San Diego, CA 92112-2171 ASSISTED LISTENING SYSTEM For the convenience of our hard of hearing and hearing- ORDERING TICKETS/CHANGE OF ADDRESS impaired patrons, The Old Globe has an Assistive Listening The Old Globe accepts Visa, Discover, MasterCard, or System in all three theatres: the Sheryl and Harvey White American Express. Phone orders for non-subscribers Theatre, the Old Globe Theatre and the Lowell Davies are subject to a $3.50 per ticket service charge. Ticket Festival Theatre. A limited number of the lightweight exchanges are subject to a service charge for non- headsets, as well as induction neck loops, may be obtained subscribers. If you have moved, please notify the Ticket from the house manager prior to performances. Services Office to update our records. Call (619) 234-5623 during Ticket Services hours, mail your change of address PUBLIC TOURS to the Ticket Services Office, or email us at Go behind the scenes at The Old Globe to learn about the [email protected]. history, three stages, shop and craft areas. Open tours: most Saturdays and Sundays at 10:30am. Groups by reservation. UNABLE TO ATTEND? $5 adults; $3 seniors and students. Phone (619) 238-0043 If you find you are unable to use your tickets, please give x2145 for information/reservations. them to a friend, or turn them in to the Ticket Services Office and receive a tax receipt for your donation. Tickets LOST AND FOUND 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 RESTROOMS soon as possible. If we are unable to locate your item, Restrooms are located in the lower lobby of the Old Globe we’ll happily take down your contact information and a Theatre, the lobby of the Sheryl and Harvey White Theatre description of the item and contact you if it is found. The and adjacent to the Lowell Davies Festival Theatre. Old Globe does not assume liability for items left behind on the premises. SEATING OF LATECOMERS Although we understand parking is often at a premium, the Natural Herb Cough Drops — Courtesy of Ricola USA, Inc. — seating of latecomers is extremely disruptive. Latecomers are available upon request. Please ask an usher.
PERFORMANCES MAGAZINE 23 Barry Edelstein, Artistic Director Michael G. Murphy, Managing Director
Amy E. Allison...... General Manager Properties DEVELOPMENT Dave Henson...... Director of Marketing and Communications Neil A. Holmes...... Properties Director Annamarie Maricle...... Associate Director, Institutional Grants Todd Schultz...... Director of Development Kristin Steva Campbell...... Assistant to the Director Bridget Cantu Wear...... Associate Director, Planned Giving Mark Somers...... Director of Finance Kristine Hummel...... Prop Assistant Eileen Prisby...... Events Manager Richard Seer...... Director of Professional Training M.H. Schrenkeisen...... Shop Foreman Rachel Plummer, Keely Tidrow...... Major Gifts Officers Robert Drake...... Director of Production Rory Murphy...... Lead Craftsman Jessica Burger...... Development Manager, Roberta Wells-Famula...... Director of Education Josh Camp, Chris Carignan, Chad G. Dellinger, Individual Annual Giving Trish Rutter, Tom Stephansky...... Craftspersons Angelique von Thun...... Major Gifts Associate David Medina...... Properties Buyer Diane Addis...... Membership Administrator ARTISTIC David Buess...... Property Master, Globe Kacie Bluhm...... Development Assistant Adrian Noble...... Shakespeare Festival Artistic Director Seamus O’Bryan...... Stage & Property Master, White Rico Zamora...... VIP Donor Ticketing Eric Louie, Justin Waldman...... Associate Producers Andrew Recker...... Property Master, Festival Serena Famalette...... Development Intern Danielle Mages Amato...... Literary Manager/Dramaturg Bernadette Hanson...... Artistic Associate Lighting Donor Services Desiree Nash...... Community Outreach Coordinator Shawna Cadence...... Lighting Director Janette Jack, Barbara Lekes, Richard Navarro, Katherine Harroff...... Community Teaching Artist Sarah Lawler...... Lighting Fellow Stephanie Reed, Jackson Smith, Megan Smith, Jan Gist...... Resident Vocal Coach Tonnie Ficken...... Master Electrician, Globe Susie Virgilio, Stephen Wade, Jim Dodd...... Master Electrician, White Judy Zimmerman...... Suite Concierges PRODUCTION Kevin Liddell...... Master Electrician, Festival Debra Pratt Ballard...... Associate Director of Production Bradley Bergholtz, MARKETING Suzanne Conway...... Company Manager Kristen Flores...... Follow Spot Operator, Festival Jeffrey Weiser...... Public Relations Director Carol Donahue...... Production Coordinator Dominic Abbenante, Katie Chen, Mark Dewey, Ed Hofmeister...... Associate Director of Marketing Jonathan Cohn...... Assistant Company Manager Steve Schmitz, Tyler Whitehead...... Electricians Mike Hausberg...... Public Relations Associate Kelly Boyle...... Digital and Print Publications Coordinator Stage Management Sound Susie Virgilio...... Marketing/Events Assistant Leila Knox...... Production Stage Manager Paul Peterson...... Sound Director Carol Ann Malley, Stephen Wade...... Distribution Staff Mark Hartshorn...... Master Sound Technician, Globe Technical Dana Pickop...... Master Sound Technician, White Subscription Sales Benjamin Thoron...... Technical Director Jeremy Nelson...... Master Sound Technician, Festival Scott Cooke...... Subscription Sales Manager Wendy Berzansky...... Associate Technical Director RJ Givens...... Deck Audio, Festival Arthur Faro, Andy Fink, Janet Kavin, Pamela Malone, Travis Barrett...... Assistant Technical Director Rachel Doemelt, Austin Taylor...... Sound Technicians Yolanda Moore, Jessica Morrow, Ken Seper, Cassandra Shepard, Jerome Tullmann, Sean Fanning...... Resident Design Assistant Grant Walpole...... Subscription Sales Representatives Eliza Korshin...... Technical Assistant/Buyer ADMINISTRATION Shana Wride...... Assistant to the Artistic and Christian Thorsen...... Stage Carpenter/Flyman, Globe Ticket Services Carole Payette...... Charge Scenic Artist Managing Directors Bob Coddington...... Ticket Services Manager Jessica Amador, John S. High, Boris Mitchell, Darlene Davies...... The Old Globe Historian Marsi Bennion...... Ticket Operations Manager Ed Roxburgh...... Scenic Artist Dani Meister...... Group Sales Manager Eszter Julian...... Automation Operator Information Technology Tony Dixon...... Lead Ticket Services Representative Gillian Kelleher...... Master Carpenter Dean Yager...... Information Technology Manager Thad Steffen...... Information Technology Assistant Manager Kari Archer, Kathy Fineman, Alejandro Gutierrez, Robert Dougherty...... Festival Master Carpenter Tyler Jones, Lydie Lovett, Alyssa Lucas, John Ralston...... Information Technology Assistant Jack Hernandez...... Charge Carpenter, White Michael McCullock, Caryn Morgan, Sean Chaffin, Matt Giebe, Josh Haner, Michael Harris, Jordyn Patton, Danielle Porath, Human Resources June Higginbotham, Eszter Julian, Laura McEntyre, Christopher Smith...... Ticket Services Representatives Jason McNabb, Emelia West...... Carpenters Sandy Parde...... Human Resources Director Jason McNabb...... Deck Crew Kathy Silberman...... Interim Human Resources Manager PATRON SERVICES Jerome Kinchen...... Irvine Intern Mike Callaway...... Theatre Manager Maintenance Mary Taylor, Jane Zwerneman...... House Managers James Ford...... Facilities Manager Costumes Kristen Cairns...... Front of House Assistant Violanda Corona, Ismael Delgado, Roberto Gonzalez, Stacy Sutton...... Costume Director Elaine Gingery...... Food and Beverage Manager Charlotte Devaux...... Resident Design Associate Bernardo Holloway, Reyna Huerta, Jose Morales, Albert Rios, Maria Rios, Leonardo Rodriguez , Timothy Acosta, Missy Bradstreet, Maureen Mac Niallais...... Assistant to the Director Nellie R. del Rosario, Sondra Mejia, Benjamin A. Murrell, Vielka Smith, Nicolas Torres ...... Building Staff Shelly Williams...... Design Assistant/Shopper Stephanie Passera, Paige Plihal, Amanda Rhoades, Michelle Hunt Souza...... Design Assistant Michelle Thorsen...... Pub Staff PROFESSIONAL TRAINING Wendy Miller...... Tailor Linda Bahash, Jessica Piatt, Llance Bower...... Program Coordinator Erin Cass...... Draper Stephanie Rakowski...... Gift Shop Supervisors Brian Byrnes, Maria Carrera, Cynthia Caywood, Babs Behling, Anne Glidden Grace, Ray Chambers, Gerhard Gessner, Jan Gist, Jordyn Smiley...... Assistant Cutters Security/Parking Services Fred Robinson, Abraham Stoll...... M.F.A. Faculty Rachel “Beahr” Garcia...... Security Supervisor Mary Miller...... Costume Assistant William Hartley, Corey Johnston, Eddie Alvarez, Dallas Chang, Sherisa Eselin, Jeff Howell, Maria De La Mora...... Stitcher Nate Parde...... M.F.A. Production Staff Erin Carignan...... Craft Supervisor Janet Larson, Jeffrey Neitzel...... Security Officers Stephanie Parker...... Craft Artisan/Dyer/Painter EDUCATION Oscar Gonzalez , Cameron Wheeler...... Parking Lot Attendants Cammery Blevins, Alysha DeVries, Sharon Granieri, Kim Montelibano Heil...... Education Programs Manager Michael Prince, Alexander Thomas...... VIP Valet Attendants Emily N. Smith...... Festival Craft Artisans Carol Green...... Speakers Bureau Coordinator Molly O’Connor...... Wig and Makeup Supervisor James Cota, Jo Anne Glover, Lisel Gorell-Getz, Kim Parker...... Assistant to Wig and Makeup Supervisor Brian Hammond, Jason Heil, Stephen Hohman, Anna Maldonado...... Wig Assistant Erika Malone, Erika Phillips, James Pillar, Beverly Boyd...... Wardrobe Supervisor Damon Shearer, Cynthia Stokes...... Teaching Artists Beth Merriman...... Crew Chief, Globe Jack O’Brien...... Artistic Director Emeritus Craig Noel...... Founding Director Anna MacDonald...... Wardrobe Crew, Globe FINANCE Rick Corder, Kimberly Eddo, Carly Bennett-Valle...... Senior Accountant Danielle Griffith, Sunny Haines, Rebecca Morgan, Sue Trish Guidi...... Accounts Payable/Accounting Assistant Noll, Noelle Van Wyk...... Wardrobe Crew, Festival Adam Latham...... Payroll Coordinator/Accounting Assistant Anna Noll...... Wardrobe Crew, White Tim Cole...... Receptionist Marie Jezbera...... Rental Agent
24 PERFORMANCES MAGAZINE