JULIANNE ARGYROS Stage / December 11 - 23, 2008

David Emmes Martin Benson Producing Artistic Director Artistic Director

presents the 15th annual production of LA POSADA MÁGICA THE MAGICAL JOURNEY

written and directed by Octavio Solis music by Marcos Loya

Christopher Acebo Shigeru Yaji Lonnie Rafael Alcaraz Marcos Loya Scenic Design Costume Design Lighting Design Musical Director

Gabriela Estrada Nicholas C. Avila Joshua Marchesi Jennifer Ellen Butler* choreographer aSSistant director Production Manager Stage Manager

Socorro and Ernesto Vasquez Honorary Producers CORPORATE PRODUCER

The Lila Wallace-Reader’s Digest Fund has provided major support for the commissioning, workshop and production of La Posada Mágica through its New Works for Young Audiences Program.

La Posada Mágica • So u t h Co a s t Re p e r t o r y P1

La Posada2.indd 1 11/25/08 6:38:01 PM CAST OF CHARACTERS (In order of appearance)

Horacio ...... Miguel Najera* Eli/Bones/Lauro ...... David DeSantos* Gracie ...... Gloria Garayua* Mom/Mariluz ...... Erica Ortega* Papi/Jose Cruz ...... Danny Bolero* Refugio/Buzzard ...... Sol Castillo* Consuelo/Widow ...... Denise Blasor* Caridad/Widow ...... Teresa Velarde* Musicians/Ensemble ...... Marcos Loya, Lorenzo Martinez* ­

SETTING Christmas Eve. The present.

LENGTH Approximately two hours, including one 15-minute intermission.

PRODUCTION STAFF Casting Director ...... Joanne DeNaut Production Assistant ...... Wendy Leef Costume Design Assistant ...... Peg Oquist Stage Management Intern ...... Julie Renfro Dresser ...... Bert Henert Additional Costume Staff ...... Pauline Good Deck Crew ...... Steven Burhoe

ACKNOWLEDGEMENT Las Amigas de la Cultura, Sylvia Krenzien, Teri Rocco and Alice Rumbaugh for the special exhibit in the Julianne Argyros lobby.

Cellular phones, beepers and watch alarms should be turned off or set to non-audible mode during the performance. Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons.

The use of cameras and recorders in the theatre is prohibited. Smoking is not permitted anywhere in the theatre.

* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

P2 So u t h Co a s t Re p e r t o r y • La Posada Mágica

La Posada2.indd 2 11/25/08 6:38:02 PM Th e Gi f t o f Gr a c e

hen I was commissioned to write a family I had just settled on that name for my protagonist. Christmas play for South Coast Repertory, I How could she have known? She hadn’t read the play, W had no idea there would be deep synchro- nor had I spoken of it to her. And yet here now, our nicities with my own life. I simply thought I would daughter was not only coming write another play for another theatre and that would into our house, she was fill- be that. But while my talented collaborators (director ing our play. It seemed José Cruz González and composer Marcos Loya) and fitting. I toiled away on our first draft of Posada at the Sun- Gracie was born dance Theatre Lab in Utah, I received a call from my on September 24, wife Jeanne that she was pregnant with our daughter, 1994, and the play and that changed everything. itself was delivered The play suddenly revealed to me the essential three months later. universal sanctity of life, the glowing sense of hope and love that babies always suggest for the world. But the confluence of this play with my wife’s news also trans- formed the holiday of Christmas for me. The adora- tion bestowed on the infant Jesus spoke more deeply and directly to my

Gracie has been played by four actresses since its pre- miere in 1994: Ruth Livier (1994), left; Crissy Guerrero new status as a father. (1995-1998), top; and Tiffany Ellen Solano (1999-2006), The Nativity became a with Mauricio Mendoza as Papi and Crissy Guerrero as metaphor for the pro- Mom in 2002; and Gloria Garayua (2007-2008). found responsibility we all owe to the fragile in- nocent children we dare to We brought her for one of the first performances, and bring into this brutal world. to this day, I can’t help but feel that the wide brown Later that spring, as I continued to write Posada eyes of the infant Graciela have shone their grace on and Jeanne pored over all the books of baby names, La Posada Mágica. she told me that she wanted to name our baby girl Gra- –Octavio Solis ciela, or Gracie, for short. This stunned me because

La Posada Mágica • So u t h Co a s t Re p e r t o r y P3

La Posada2.indd 3 11/25/08 6:38:02 PM Th e Hi s t o r i c a l Pr o c e s s i o n o f La s Po s a d a s

he familiar story of Joseph and Mary’s long-ago search Tfor lodgings is related every year at Christmas- time in churches and homes the world over. But in many Latin coun- tries, it actually comes to life again each December, reenacted for nine con- secutive nights in the fes- tive ritual of Las Posadas, which means inns, or lodgings. The idea of com- memorating the Holy Family’s journey to Beth- lehem can be traced to St. Ignatius Loyola, in the The 2008 cast of La Posada Mágica features from left: Miguel Najera, Marcos Loya, 16th Century. He suggest- David DeSantos, Lorenzo Martinez, Denise Blasor, Sol Castillo, Teresa Velarde, Gloria ed a Christmas novena, Garayua, Danny Bolero and Erica Ortega. special prayers to be said on nine successive days. In 1850, St. John of the Cross all the musicians. Singing or chanting special posada made a religious pageant out of the proceedings, and songs, they all walk slowly along, each person carry- seven years later the nine-day remembrance was intro- ing a lighted candle. When the procession reaches duced to the Indians in Mexico by Spanish missionaries. the house chosen for that evening, it divides into two Solemn and deeply religious in feeling at first, groups, one representing the holy pilgrims, the other the observances soon became imbued with a spirit the innkeepers. of fun and, eventually, left the church and began to The pilgrims line up behind the angel and the be celebrated in people’s homes. The posadas have children bearing the figures of the Holy Family, and become community affairs with friends, relatives and they file through the house until they arrive at a closed neighbors sharing in the festivities and visiting a differ- door, behind which the innkeepers have stationed ent house each evening. themselves. The pilgrims knock on the door and call The posada begins with a procession that sets out in song, asking for shelter. A chorus of voices on off as soon as it gets dark. Often a child dressed as the other side asks: “Who knocks at my door so late in an angel goes first, followed by two more children the night?” carrying figures of Mary and Joseph on a small litter The pilgrims respond. “In the name of Heaven adorned with twigs. After more boys and girls come I beg you for lodging—my beloved wife can no longer the lead figures, then come the grown-ups and last of travel, and she is weary.” But the response is a stony,

P4 So u t h Co a s t Re p e r t o r y • La Posada Mágica

La Posada2.indd 4 11/25/08 6:38:03 PM for fireworks and fun. Small baskets of sweets, called colaciones, are offered along with sandwiches, cookies and a fruited punch. And then it’s time for the most exciting mo- ment of all, the breaking of the fancifully decorated candy and nut-filled piñata. Some- times there are separate parties for different age groups—one for teenagers and another for the younger children. In Mexico City, es- pecially, so many posadas are held that active partygoers can manage to attend four or five in one evening… and the festivities often go on until dawn. Over time, posadas have been tailored by their respective communities, so that a remarkable variety of posada styles can be hardhearted refusal. “This is no inn. found throughout Mexico and the Southwest- Go away!” After repeated requests ern United States. for shelter, the pilgrims explain who they are and that Mary will soon give birth to the Son of God. The innkeepers relent and welcome the exhausted travel- ers: “Enter, Holy pilgrims. Come into our humble dwelling and into our hearts. The night is one of joy, for here beneath our roof we shelter the Mother of God.” Everyone enters the room and kneels in prayer, after which the party moves out to the patio

Denise Blasor, Teresa Velarde and Gloria Garayua, above. Gloria Garayua with Marcos Loya, right.

La Posada Mágica • So u t h Co a s t Re p e r t o r y P5

La Posada2.indd 5 11/25/08 6:38:10 PM Th e Ma g i c o f t h e Ce l e b r a t i o n Th e Ch r i s t m a s Ca n d l e Po i n s e tt i a s

“It begins with one simple candle— favorite flower for the posada celebration is so full of golden light” the poinsettia, with its beautiful red star shape. – La Posada Mágica A The legend of the poinsettia relates the story of a girl named Maria and her little brother Pablo. They fter Gracie reluctantly joins her church’s pos- were very poor but always looked forward to the Christ- ada, she sets about trying to extinguish not mas festival each year, when a large Nativity scene was A only the candle that has been lit in her honor, set up in the village church and the days leading up but all those that represent the other members of her to Christmas were filled with posadas. But the two group. With each flame she blows out, another charac- children were saddened because they had no money ter disappears until Gracie is left lost and alone. to buy presents. They especially wished to give some- The tradition of candles at Christmastime began thing to the church, but they had nothing. in medieval Europe, where a very large Christmas One Christmas Eve, Maria and Pablo set out for candle was burned until the Twelfth Night in remem- church to attend Midnight Mass. On their way they brance of the arrival of the Wise Men to Bethlehem. picked some weeds growing along the roadside to In Victorian times, candles represented good will to- present as their gift to the church. They were merci- ward those less fortunate. They were placed in lessly teased by the other children when they arrived windows from December 25 to January 6 with their humble offering, but Maria and Pablo knew to welcome any passersby they had given everything they had. As they needing shelter and food. began to place the weeds around the Nativity Some people be- scene, the green top leaves turned into bright lieve that flames from red petals. Soon the manger was surrounded burning candles frighten by the bright red, star-shaped flowers and ev- away evil spirits during the eryone in the church believed they were wit- darkest days of the year. nessing a true Christmas miracle. Since that In Norway, candles that day, these beautiful flowers that bloom dur- burn out on Christmas ing the Christmas season have been known Eve are thought to bring as Flores de Noche Buena or “Flowers of the bad luck for the fam- Holy Night.” ily. Another ancient tradi- Nochebuena, the Mexican name of the tion suggests that placing flower English-speakers call poinsettia, was a candle in the window discovered in Taxco and the valleys surround- symbolically lights the ing Cuernavaca. Known by the Aztecs in their way of the Holy Family as native Nahuatl language as cuetlaxochitl, it is it provides a welcome for believed that they brought the plant from the friends, neighbors and tropical climate of Cuernavaca to their Aztec holiday guests. highlands for cultivation in special nurseries.

P6 So u t h Co a s t Re p e r t o r y • La Posada Mágica

La Posada2.indd 6 11/25/08 6:38:11 PM Prized for the curative proper- ties of the milk that dripped from the leaves, stems and flowers when cut, the plant also produced pigment from the red leaves used to dye cotton fibers. The poinsettia plant was brought from Mexico to America by Dr. Joel Roberto Poinsett (1770-1851), who served as U.S. ambassador to Mexico following that country’s independence from Spain. Poinsett fell in love with the nochebuena plant when he first saw Aztec emperor, Moctezuma II. it adorning the churches of Taxco in 1823. He sent On certain holidays, it decorated the idols specimens back to the States to decorate his man- in temples and palaces, and priests embodying the sion in South Carolina one Christmas, and upon his gods and the cosmos wore elaborate costumes of return home several years later, he was astonished to colored paper. Cutouts of dark paper were made to find the entire town of Charleston growing the festive represent evil spirits, while white paper represented red flower. good spirits and was used by healers and witches in their rituals. Color schemes selected for papel picado are Pa p e l Pi c a d o frequently linked with specific festivities. Sky blue or pink and white are commonly chosen for celebra- aper cutting has been a folk art ever since tions in honor of the Virgin Mary, yellow and white paper was invented in 105 A.D. by Ts’ai Lun, for patron saints. Vibrant pink, orange and purple P an official in the court of Ho Ti, emperor of are the key tones employed for ofrendas (offerings) Cathay. The humble nature of its origins and the associated with El Día de los Muertos, or the Day of anonymity of its practice has caused paper cutting the Dead. Shades of purple are also widely used at to be ignored as an art form, though artists, artisans Easter. The colors of the Mexican flag—red, white and collectors are becoming increasingly aware of this and green—are set aside for venerating the nation’s valuable folk heritage. patroness, La Virgen de Guadalupe, as well as for In Mexico, the technique is called papel picado, commemorating Independence Day, September 16. which means “pierced paper.” After the Spanish Con- Rainbow hues are appropriate for Christmas and non- quest of Mexico, papel de China (tissue paper) was religious festivities. introduced and became the material of choice for Cut from colored tissue paper (or plastic) to Christian holiday decorations. Paperwork was appar- simulate lace, papel picado can be seen today hang- ently among the imports that poured in from the Ori- ing from Day of the Dead altars and decorating graves ent via the annual Pacific treasure fleet that traveled during November. Also during Christmas, papel between the Far East and Acapulco, laden with such picado decorates indoor and outdoor festivities exotic goods as silver, ivory, spices and porcelain. in Mexico. Once the craft arrived in Mexico, it became the basis for many important and widespread folk art forms. In Mexico, the art of paper-cutting goes back to pre-Columbian times, when bark paper (made by women from bark collected by men in the spring) was used as an offering to the gods and a tribute to the

Visit the online Playgoer’s Guide to La Posada Mágica at www.scr.org to read more about these and other Mexican holiday traditions.

La Posada Mágica • So u t h Co a s t Re p e r t o r y P7

La Posada2.indd 7 11/25/08 6:38:12 PM Si n g Al o n g w i t h t h e Po s a d a ‘Vamos A Pie’ ‘We Go On Foot’ Vamos a pie caminando We go on foot Caminando, caminando Walking, walking Una posada Buscando Searching for a posada Buscando para El. Searching for Him Velas prendidas alumbran Burning candles shine on La noche más santa de Dios God’s holiest night Este camino termina This path ends En oración. With a prayer Vamos con fe caminando We walk along in faith Caminando, caminando Walking, walking Los angeles saben cuando The angels know when Saben cuando llegará. They know when He will arrive A la posada más linda To the most beautiful posada Llena de luz y amor Filled with light and love En esta noche veremos On this night we will see Al Redentor. The savior Vamos a pie caminando We go on foot Caminando, caminando Walking, walking Una posada buscando Searching for a posada Buscando buscando. Searching, searching ‘Este Canto Mio’ ‘My Song’ Este canto mío canto con pasión I sing my song with passion Por el Niño Dios quien es mi salvación For baby Jesus, my salvation Si mi voz al cielo no alcanza If my voice won’t reach heaven Es porque le falta esperanza It is because it lacks hope Gloria gloria gloria al Señor Glory, glory, glory to the Lord Eschuchame y hazme el favor Listen to me, do me a favor Quiero ver el Rey de la humanidad I want to see the King of humanity En la Noche Buena de la Navidad. On Christmas’ holy night Mucho gusto siento en mi corazón I feel pleasure in my heart Cada vez que canto, santa es mi canción Every time I sing, holy is my song Ya se acerca el momento de The moment is near El Nacimiento de la Nueva Fe. The birth of a new faith Gloria gloria gloria al Señor Glory, glory, glory to the Lord Eschuchame y hazme el favor Listen to me, do me a favor Quiero ver el Rey de la humanidad I want to see the King of humanity En la Noche Buena de la Navidad. On Christmas’ holy night

Words by Octavio Solis; music by Marcos Loya. Translation by Santiago Uceda.

P8 So u t h Co a s t Re p e r t o r y • La Posada Mágica

La Posada2.indd 8 11/25/08 6:38:12 PM Artist Biographies

the world, as a production singer for Royal Caribbean De n i s e Bl a s o r * Consuelo/Widow Cruises Lines. Last year, Mr. Bolero was awarded the Ida B. Payne Award for Best Actor in a Musical by the Critics returns for her 13th appearance in Circle of Theaters in Austin, Texas for his portrayal of La Posada Mágica. This year she Cesar Chavez in Ed Begley’s Cesar and Ruben, which performed in the world premiere of he reprised again last year at the NoHo Arts Center. On Octavio Solis’ June in a Box at Inter- Broadway, he appeared in Joseph and the Amazing Tech- section for the Arts and worked with nicolor Dreamcoat, with Michael Damian (cast record- Solis’ daughter Gracie. She recre- ing). A new member to L.A.’s Musical Theater Guild, Mr. ated her role of Amina at Stella Adler Theatre in Los Muer- Bolero has performed in the Guild’s recent productions tos by Timothy McNeil, with Mark Ruffalo. Los Muertos of The Fix and Seesaw. Other credits include, Bark, Is was first presented at Elephant Theatre directed by David This Any Way to Start a Marriage?, El Gallo in The Fan- Fofi. She appeared in Electricidad by Luis Alfaro, direct- tasticks, Twice Upon a Time, Beggar’s Holiday with Carl ed by Lisa Peterson at Mark Taper Forum and Ten Tiny Anderson, Mark Taper Forum’s Lalo, Man of La Mancha Love Stories by Rodrigo Garcia. She has performed at Los with Robert Goulet, Selena, Pacific Overtures, World Angeles Theatre Center (LATC) in Blood Wedding, direct- Goes ‘Round, (Robbie Award nominee), The Mystery of ed by Margarita Galban, Yerma, The House of Bernarda Edwin Drood (Inland Empire Award), Zorro the Musi- Alba with Carmen Zapata and The Threepenny Opera. cal, currently receiving rave reviews in London’s West She was part of Ron Sossi’s Odyssey Theatre Ensemble for End, Guido in Nine and Che in Evita, (Drama-Louge many years, where she last performed Faust. She was Ar- Award). He recently enjoyed a short run of Dance with tistic Director of Los Angeles Diversified Theater Compa- Me, the Lucille Ball and Desi Arnaz musical, which was ny, where she performed and adapted The Three Sisters, showcased at the National Alliance for Musical Theater designed and appeared in the Ovation Award-nominated Festival in NYC. Film and television credits include Viva production of He Who Gets Slapped with Bud Cort and la Causa!, the 2007 remake of the The Hitcher with performed and produced the original musical Caderas. Sean Bean, “The Mullets,” “The Young and the Restless,” Other stage credits include leading roles in the world pre- “Ally McBeal,” “Ghost Whisperer,” “Beverly Hills, 90210” mieres of The House of the Spirits at LATC; Cervantes’ In- and “Malcom in the Middle.” Mr. Bolero is in the final terludes at Stages, directed by Florinel Fatulescu; Made in phase of completing work on his one-man show entitled Lanus, directed by Lillian Garrett at The Old Globe; and Shadowboxing. Keep an eye out. Accelerando by Lisa Loomer. She played Juana in The False Chronicle of Juana La Loca at Festival Cervantino So l Ca s t i l l o * in Mexico and has performed in Europe, Latin America Refugio/Buzzard and Puerto Rico. Film credits include The Disappearance of Garcia Lorca with Andy Garcia; Univers’l directed by returns to SCR for his eighth season Ana Nicholas; Noriega: God’s Favorite with Bob Hoskins, in La Posada Mágica. Mr. Castillo directed by Roger Spottiswoode; Happy Feet with Robin was also seen at SCR in the world Williams; and indie film Love Simple directed by Mark premiere of The Hollow Lands, Von Sternberg. and the Theatre for Young Audi- ences productions of The Adven- tures of Pør Quinly and Sideways Stories from Wayside Da n n y Bo l e r o * School, Charlotte’s Web, the Pacific Playwrights Festival Papi/Jose Cruz workshops of Sea of Tranquillity and References to Sal- Thank you SCR, and Octavio. It’s vador Dalí Make Me Hot, the Educational Touring pro- great to be back. A graduate of the duction of Bad Water Blues and the reading of The BFG American Center for Music Theater, (Big Friendly Giant). At San Diego Repertory Theatre Bolero has performed from region- he appeared in Zoot Suit, The Imaginary Invalid and al theatre throughout the United Barrio Hollywood. Other theatre credits include the na- States, to Broadway, and around tional tour of Veteranos: A Tribute, West Side Story, Bye

Words by Octavio Solis; music by Marcos Loya. Translation by Santiago Uceda.

La Posada Mágica • So u t h Co a s t Re p e r t o r y P9

La Posada2.indd 9 11/25/08 6:38:13 PM Bye Birdie and Talking to Yellow Roses. Mr. Castillo was “ER,” “Cold Case,” “Life,” “The Shield,” “Strong Medi- seen in Showtime’s “Resurrection Blvd.” and Valor Pro- cine” and “NYPD Blue”; and co-starring roles on “Six duction’s Who’s James Cagney? He also wrote a screen- Feet Under” and “Joey.” play that was shot by Valor Productions in February 2008. Mr. Castillo dedicates his performance to his lovely wife, Ma r c o s Lo y a terrific daughter, and is expecting his second child in Composer/Musical Director/ January. A proud member of Actors’ Equity. Ensemble

Da v i d DeSa n t o s * is an accomplished musician Eli/Bones/Lauro and composer and a master of acoustic guitar. He is also adept returns to SCR for his second year on requinto, jarrana, cuatro, after appearing in Hamlet and the 12-string, mandolin, electric gui- Theatre for Young Audiences pro- tar and various indigenous folk instruments. Cur- duction of The BFG (Big Friendly rently, he is a visiting artist and adjunct instructor Giant). Theatre credits include at California State University, Dominguez Hills. He A View From the Bridge, Othello, teaches a Multicultural Performing Arts course and The Further Adventures of Hedda Gabler the upcom- a course on Chicana/o Latina/o music. Recently, he ing Paradise Lost and Octavio Solis’ world premiere scored Looking Back, Severo Perez’ documentary on adaptation of Don Quixote all at the Oregon Shake- renowned visual artist Carmen Lomas Garza. In 1996 speare Festival; Anna in the Tropics at TheatreWorks; he composed the score for the “American Playhouse” King Lear and Liliom at Kansas City Repertory The- film adaptation of Tomas Rivera’s and the earth did atre; King Lear, The Tempest and The Merchant of not swallow him (y no se lo trago la tierra). Mr. Venice at California Shakespeare Festival; Hamlet at Loya’s debut CD, Love is the Reason, garnered an Ojai Shakespeare Festival; Dracula at Allied Artists; Independent Contemporary Jazz Album of the Year So It Is! If So it Seems to You and Twelfth Night at A nomination. His music is featured in the films Deep Noise Within; The Threepenny Opera and A Midsum- Cover, The Waterdance, A Million to Juan, Old Grin- mer Night’s Dream at Theatricum Botanicum; and go, Vibes, Stand and Deliver, Born in East LA, Hold Romeo and Juliet and The Taming of the Shrew at The Me, Kiss Me, Thrill Me and Kiss Me a Killer (for which Pasadena Shakespeare Company. Film and television he received a nomination for the Independent Spirit credits include Delta Farce and Face Value; roles on Award) as well as Director Robert Rodriguez’ Once “Ugly Betty,” “CSI,” “House,” “CSI: Miami,” “Crossing Upon a Time in Mexico. He scored and/or composed Jordan,” “Seven Days,” “American Family;” and recur- music for several plays, including the Los Angeles ring roles on “General Hospital” and “Spyder Games.” Theatre Center productions of La Victima, August 29 (Drama-Logue Award, Best Original Music) and Stone Gl o r i a Ga r a y u a * Wedding (Los Angeles Drama Critics Circle Award Gracie nomination). His television work includes the musi- cal scores for the PBS productions “Dreams of Flying,” is delighted to return for her sec- “Elders,” “Between Friends” and “Los Pinateros.” His ond year in La Posada Mágica. music can be heard in the “Mangas” episode of the Theatre credits include A Very Old PBS series “Foto Novela” for which he also composed Man with Enormous Wings at the the theme. He served as musical director for Univi- Kirk Douglas Theatre; illumiNA- sion’s long-running “El Show de Paul Rodriguez,” the TION at Mark Taper Forum; Two Buenavista/Disney “Navidad en las Americas” spe- Sisters and a Piano at The Old Globe; American Tri- cial, the ABC special “Latin Nights” and NBC’s “Vida age at Marin Theatre Company; Inbetween/Peacemak- Awards.” Mr. Loya has performed and/or toured with er at George Street Playhouse; Purim Day at Lamb’s a variety of performers including Placido Domingo, Theatre; The Threepenny Opera, The Tempest and Linda Ronstadt (with the Houston Symphony Orches- Medea at Long Island University; Romeo and Juliet at tra), Celia Cruz, Tito Puente, Lalo Guerrero, Chick the Bloomsburg Theatre and The Skriker at Kennedy Corea, Chaka Khan, Hugh Masekela, Phillip Bailey, Center Stage. Film credits include Henry Poole is Stephen Stills, Vicki Carr, Luis Enrique and Jose Feli- Here, Fun with Dick and Jane and House of D. Televi- ciano. With Madonna, he appeared in the video “La sion credits include a recurring role as an intern on Isla Bonita.” He can be seen performing solo, with his “Grey’s Anatomy”; guest-starring roles on “Weeds,” acoustic ensemble Trio Los Cinco, or with the Marcos

P10 So u t h Co a s t Re p e r t o r y • La Posada Mágica

La Posada2.indd 10 11/25/08 6:38:14 PM Loya Latin Jazz Band. He dedicates his performance military bases. It was a life changing experience to to his mother, Bertha Loya, and the memory of his remember forever. father, Arthur Loya, whose courage and love remain a constant source of inspiration. Mi g u e l Na j e r a * Horacio Lo r e n z o Ma r t i n e z Musician/Ensemble is a veteran actor and award- winning filmmaker who returns was raised with the rich, cultur- for his seventh year as Horacio. ally diverse music of Los Angeles Recent television credits include and has traveled and performed “Grey’s Anatomy,” “The Shield,” throughout the Southwest. He “CSI,” “24,” “Lincoln Heights” represented Chicano music in and “Alias” among many others. In recent years, he Paris with Lalo Guerrero and has devoted his passion to creating socially relevant Flaco Jimenez. His education includes Music Theo- documentaries and shorts. Recently he completed ry and Instrumental Studies at Cerritos College and a documentary on cancer research at Charles Drew UCLA’s Ethno musicology program with emphasis University of Medicine and Science. His documen- in Mariachi music. His vast musical experience tary went on to win the Outstanding Documen- includes Tex-Mex, conjuntos, orquesta styles, ma- tary Award at the 2005 IMAGeNation Aboriginal Film riachi, zydeco, jump blues, jazz, jarocho, huasteco, and Video Festival in Canada. Najera’s film, Phil- nueva cancion, trio romantico, early California lip’s Story, is a documentary dealing with a Native and Chicano movimiento music. Other groups Mr. American teenager stricken with HIV/AIDS. This Martinez has performed with include Hermanos tragic and inspiring film is used by the Association Baca and Lil Joe y La Familia. He was part of the Ma- of American Indian Physicians as an educating tool riachi concert Las Tres Voces de Oro, backing Lucha and shown on reservations across the nation. He Villa, Lola Beltran and Miguel Aceves Meija. He per- wrote and directed Libertad, a short that screened formed with the UCLA Mariachi under the direction to critical acclaim at WGBH Boston as part of their of Nati Cano of Los Comperos, and in the Universal Latino film series. DreamWorks also screened this film Who Will Sing the Songs starring Freddy Fender film as part of their in house film series. Current and Vikki Carr. He performed and recorded with projects include Mayor of Arvin, a feature film he Los Perros del Pueblo Nuevo and Trio Los Cinco co-wrote with Yareli Arizmendi and Sergio Arau (A with Marcos Loya, Mundo Armijo and Ray Islas. The Day Without a Mexican). Mr. Najera is the execu- group performed Dia de Los Muertos and La Virgen tive producer and director of the 2008 Oscar Night del Tepeyac by Luis Valdez at the Japan Theatre, the America Los Angeles, an Academy of Motion Picture opening ceremony of Luis Valdez’ Bandido at Mark Arts & Sciences sanctioned charity event in Los Taper Forum and with Culture Clash in La Carpa Angeles. Mr. Najera is the president of Americua at Mark Taper Forum. He toured with The Four Films—a company that produces and develops films Brown Hats theatre production of Veteranos: A and documentaries. He has an MFA in Film, Theatre Legacy of Valor between 2002 and 2004. This year and Television Directing from the California Insti- he performed for the troops in Iraq and Afghanistan tute of the Arts, received his BA in Drama from San with Los Tex Maniacs, a Texas based band. He per- Francisco State University and attended the Ameri- formed through these countries for nine different can Conservatory Theater in San Francisco.

La Posada Mágica • So u t h Co a s t Re p e r t o r y P11

La Posada2.indd 11 11/25/08 6:38:15 PM Er i c a Or t e g a * area. She has two handsome sons, Justin and Lucas, and Mom/Mariluz has been married to drummer David Page for 23 years. She wishes to thank her family and friends and wishes appeared at SCR previously in everyone a blessed Christmas. Feliz Navidad! Scrappers and staged readings of La Posada Mágica and The Old PLAYWRIGHT, DIRECTOR & DESIGNERS Matador. Theatre credits in- clude The Three Sisters at LATC; Oc t a v i o So l i s (Playwright/Director) is a playwright People Like Me at Playwrights’ and director living in San Francisco. His works Lydia, Arena; He Who Gets Slapped at Hudson Theatre; A June in a Box, Lethe, Marfa Lights, Gibraltar, The Bal- Midsummer Night’s Dream and A Touch of the Poet lad of Pancho and Lucy, The 7 Visions of Encarnacion, with the Latino Classical Repertory; This Land at the Bethlehem, Dreamlandia, El Otro, Man of the Flesh, California Youth Theatre; The Old Matador at Ari- Prospect, El Paso Blue and Santos & Santos have been zona Theatre Company; The House of Bernarda Alba, mounted at the Oregon Shakespeare Festival, Denver Cross in the Mirror and Fuenteovejuna at the Bilingual Center for the Performing Arts, Dallas Theater Center, Foundation of the Arts; as well as touring produc- Magic Theatre, Intersection for the Arts, San Diego Rep- tions with Will & Co. and Blue Palm. In addition, Ms. ertory Theatre, San Jose Repertory Theatre, Shadowlight Ortega is a supervisor at Kaiser Permanente’s Educa- in San Francisco, Venture Theatre in Philadelphia, La- tional Theatre Programs. Film and television credits tino Chicago Theatre Company, New York Summer Play include Panic, “The Division,” “Strong Medicine,” “Air Festival, Teatro Vista in Chicago, El Teatro Campesino, America,” “Babylon 5,” “The Pretender” and “Chicago Undermain Theatre in Dallas, Thick Description, Campo Hope.” Most recently, she was seen at the Cannes and Santo, Imua Theatre Company in New York, and Corner- LALIFF film festivals in A Day at the Theatre produced by stone Theatre. His collaborative works include Burning Valor productions. Dreams, co-written with Julie Hebert and Gina Leish- man; Shiner, written with Erik Ehn; and Great Highway, Te r e s a Ve l a r d e * written with Wendy Weiner. Mr. Solis has received an Caridad/Widow NEA 1995-97 Playwriting Fellowship, the Roger L. Ste- vens Award from the Kennedy Center, the Will Glickman returns to La Posada Mágica, Playwright Award, a production grant from the Kennedy where she originated the roles of Center Fund for New American Plays, the 1998 TCG/ Mom and Mariluz. She also ap- NEA Theatre Artists in Residence Grant, the 1998 McK- peared in SCR’s Man of the Flesh night Fellowship grant from the Playwrights Center in and participated in many of SCR’s Minneapolis, and the National Latino Playwriting Award Hispanic Playwrights Project read- for 2003. He is the recipient of the 2000-2001 National ings. Ms. Velarde understudied the role of Eponine in Theatre Artists Residency Grant from TCG and the Pew Les Misérables at the Shubert Theatre in Los Angeles. Charitable Trust for Gibraltar at the Oregon Shake- Some of her other theatrical credits include leading speare Festival. Mr. Solis is a Thornton Wilder Fellow roles in Latins Anonymous at San Diego Repertory The- for the MacDowell Colony, a New Dramatists alum, a atre; B.C. Historia, produced by the Bilingual Founda- member of the Dramatists Guild and an Associate Artist tion of the Arts at the Los Angeles Theatre Center; the for SCR. award-winning A Piece of My Heart at International City Theatre; and multiple roles in Happy Birthday, Angel, Ma r c o s Lo y a (Composer/Musical Director) See biog- an anti-gang play produced by SCR. Some of her star- raphy on page P-10. ring television credits include “General Hospital,” “Hotel Malibu,” “Days of Our Lives,” “Down the Shore,” “Sunset Ch r i s t o p h e r Ac e b o (Scenic Design) designed SCR’s Beach,” “Empty Nest,” “Beverly Hills, 90210,” “The Bad world premiere productions of My Wandering Boy, The Land,” “Brother’s Keeper,” “Malcolm in the Middle” and Further Adventures of Hedda Gabler, The Beard of “The Practice.” Ms. Velarde has also appeared in films Avon, Hold Please, California Scenarios; and the West including The Addict, Choose Me, The People Under the Coast premiere of The Countess and Habeas Corpus. Stairs and Outbreak. She has leading roles in My Indian Recent productions include the world premieres of The Summer, a CBS After School Special and Mi Casa Es Su Clean House at Yale Repertory Theatre and Lincoln Cen- Casa, an award-winning film produced by AFI. She is a li- ter Theater; Electricidad at The Goodman Theatre and censed therapist who works with adolescents and adults Center Theatre Group; and Water and Power, Living Out and trains new therapists in Los Alamitos. She is also cur- and Chavez Ravine for CTG. Other regional design work rently assisting the homeless and underserved helping includes productions for The Guthrie, Berkeley Reper- to provide mental health services in the Orange County tory Theatre, La Jolla Playhouse, Oregon Shakespeare

P12 So u t h Co a s t Re p e r t o r y • La Posada Mágica

La Posada2.indd 12 11/25/08 6:38:15 PM Festival, Denver Center Theatre Company, The Children’s of the Shrew at the Great River Shakespeare Festival Theatre Company in Minneapolis, Hartford Stage and Port- and A Holtville Night’s Dream, Warriors Don’t Cry, land Center Stage, among others. He received his MFA LETHE, I Ask You, Farewell to Manzanar and Waking in design at the University of California, San Diego and Up in Lost Hills with Cornerstone Theater Company, is a past recipient of the NEA/TCG fellowship for design- where he is an Associate Artist. He was also a designer ers. He is an Associate Artistic Director for the Oregon for Universal Studios, Japan, where he designed the Shakespeare Festival. live shows Terminator 2 in 3D and Monster Makeup, the attractions Jurassic Park the Ride and Snoopy Stu- Sh i g e r u Ya j i (Costume Design) has designed costumes dios, along with exterior architectural facades through- for over 50 SCR productions including most recently out the park. He is a member of the United Scenic Art- An Italian Straw Hat: A Vaudeville, A Little Night Music, ist/IATSE - Local 829. My Wandering Boy, The Further Adventures of Hedda Gabler, Habeas Corpus and Cyrano de Bergerac. His Ga b r i e l a Es t r a d a (Choreographer) was born in Los other recent work has been seen at Lincoln Center Angeles and graduated from the University of Califor- Theater, Yale Repertory Theatre, Oregon Shakespeare nia, Irvine with a BA in Dance. In 1996 she founded Festival, Cornerstone Theater Company and San Jose Dance Collage School of Dance where she taught bal- Repertory Theatre, as well as Nashville Ballet. He is the let, jazz, tap, flamenco, Mexican folk and Latin Ameri- recipient of numerous awards and recognitions, includ- can dance. With Dance Collage Ms. Estrada produced ing six Los Angeles Drama Critics Circle Awards and The Best of Broadway, the first Flamenco Festival of a Bay Area Theatre Critics Circle Award, as well as an Sonora and Al-Andaluz, Anthology of Spanish dance. In Emmy Award nomination for Cathy Rigby’s Peter Pan. 1999 Ms. Estrada received a travel grant to do research Mr. Yaji is a member of the United Scenic Artists Local about Spanish dance in Spain and was invited to be- 829 and the UC Irvine Drama Department faculty. come part of the faculty at the dance department at the University of Sonora, where she taught ballet, kinesiol- Lo n n i e Ra f a e l Al c a r a z (Lighting Design) is an Asso- ogy and movement analysis until 2007. In 2001, Ms. Es- ciate Professor at UC Irvine and a professional lighting trada was selected as finalist in the Leos Choreography designer. He has designed at various regional theatres, Competitive Event at the X Jazz Dance World Congress. such as Berkeley Repertory Theatre, Sierra Reper- In 2006 she founded “DCG”, and received a grant to tory Theatre, Arena Stage, Laguna Playhouse, Alabama tour the state of Sonora with “Contrastes” which in- Shakespeare Festival and the Utah Shakespearean cluded ballet, contemporary jazz and Flamenco. From Festival. In addition to his 14 seasons with La Posada 2004 to 2008 she taught Flamenco at the RAD Summer Mágica, productions at SCR include An Italian Straw Schools at California State University, Long Beach and Hat: A Vaudeville, Culture Clash in AmeriCCa, Doubt, in 2008 she began teaching Musical Theatre as well. In a parable, My Wandering Boy, The Prince and the 2007 Ms. Estrada received a scholarship to study her Pauper, Blue Door, Man from Nebraska, Bunnicula, MFA in Dance at the University of California, Irvine, The Hoboken Chicken Emergency, Play Strindberg, where she is conducting her research thesis on “The Dimly Perceived Threats to the System, Sidney Bechet Three Cornered Hat,” collaborating teaching technique Killed a Man (for which he received a Drama-Logue classes and choreographing for MFA productions. Award), BAFO, Later Life and Three Viewings. He designed Culture Clash’s The Birds at both SCR and Ni c h o l a s C. Av i l a (Assistant Director) returns to Berkeley Repertory Theatre, along with their national SCR after the Theatre for Young Audiences production touring show, Radio Mambo. Recent design experi- of The Prince and the Pauper. Mr. Avila is a recent ence includes Richard Montoya’s Water & Power at San graduate of the Directing Program at the Yale School of Diego Repertory, The Merchant of Venice and Taming Drama. This spring he will be directing the world pre-

La Posada Mágica • So u t h Co a s t Re p e r t o r y P13

La Posada2.indd 13 11/25/08 6:38:16 PM miere of Jose Cruz-Gonzalez’s Sunsets & Margaritas at the Denver Center Theatre Company. Most recent So c o r r o a n d Er n e s t o Va s q u e z (Honorary credits include American Triage by Marisela Treviño Producers) have been passionate supporters of Orta, Measure for Measure, The Real Thing, Mirror, SCR as annual Gala underwriters, Platinum Circle Mirror by Sarah Treem, Romeo and Juliet and Muke members and major donors to the Next Stage the Inquisitive by Victor Kaufold. Campaign. Socorro served on the SCR Board of Trustees from 1996 through 2005 — a very active Je n n i f e r El l e n Bu t l e r * (Stage Manager) has been year, during which she chaired both the Plati- with SCR for six seasons and 22 productions. She is num Circle and the Gala Ball, “Encantar... As if pleased to be back on La Posada Mágica after a two by Magic.” She recently was elected to the SCR year hiatus and looks forward to singing along in the Emeritus Board. Last season, the Vasquezes un- booth. Other theatre credits include Laguna Play- derwrote Culture Clash in AmeriCCa, and this house, Utah Shakespearean Festival, California Shake- season they are happy to be Honorary Produc- speare Theatre, TheatreWorks, Perseverance Theatre, ers of La Posada Mágica. Socorro comments, Spoleto Festival USA and Shakespeare Santa Cruz. “La Posada Mágica transforms our hurried, fran- She has also stage managed operas for Long Beach tic lives into a festive reminder of a season for Opera and Pacific Repertory Opera. Ms. Butler has caring and sharing. The music is lively and the a BA in Theatre Arts from the University of California, story is a touching tribute to a beloved holiday Santa Cruz. tradition. Ernie and I welcome this opportunity to support SCR.” D a v i d Emm e s (Producing Artistic Director) is co-founder of SCR. He has received numerous Ta r g e t (Corporate Producer) has renewed its awards for productions he has directed during his generous partnership by underwriting the holiday SCR career, including a Los Angeles Drama Critics production La Posada Mágica. Target’s partner- Circle Award for the direction of George Bernard ship with SCR and Orange County children goes Shaw’s The Philanderer. He directed the world back to 1986 and includes underwriting of the premieres of Amy Freed’s Safe in Hell, The Beard Young Conservatory Players, The Target Tour of of Avon and Freedomland, Thomas Babe’s Great original plays to underserved schools, “A Dickens Day in the Morning, Keith Reddin’s Rum and Coke of A Day” holiday fundraiser, Festival Latino and and But Not for Me and Neal Bell’s Cold Sweat; the the Theatre Discovery Project. Three seasons ago, American premieres of Terry Johnson’s Unsuitable the company made a generous grant to establish for Adults and Joe Penhall’s Dumb Show; the West the “Target Family Performances” of selected The- Coast premieres of C.P. Taylor’s Good and Harry atre for Young Audiences and La Posada Mágica Kondoleon’s Christmas on Mars; and the Southland performances for families at significantly reduced premiere of Top Girls (at SCR and the Westwood prices. “At Target, we are making a real difference Playhouse). Other productions include the West every day through our community partnerships Coast premieres of Three Viewings by Jeffrey Hatcher, with organizations like SCR,” said Laysha Ward, The Secret Rapture by David Hare and New England President of Community Relations and Target by Richard Nelson; and Arcadia by Tom Stoppard, Foundation. “The Target Family Performances The Importance of Being Earnest by Oscar Wilde, give families a great opportunity to experience Ayckbourn’s Woman in Mind and You Never Can theatrical entertainment at an affordable cost.” Tell by George Bernard Shaw, which he restaged for the Singapore Festival of Arts. He has served as a theatre panelist and onsite evaluator for the National

P14 So u t h Co a s t Re p e r t o r y • La Posada Mágica

La Posada2.indd 14 11/25/08 6:38:16 PM Endowment for the Arts, on the Executive Committee Resident Theatres (LORT) and has been a member of of the League of Resident Theatres, and as a panelist the LORT Negotiating Committee for industry-wide for the California Arts Council. After attending Orange union agreements. In addition, she represents SCR Coast College, he received his BA and MA from San at national conferences of TCG and LORT; has been a Francisco State University, and his PhD in theatre and theatre panelist for the National Endowment for the film from USC. Arts (NEA) and the California Arts Council, and site visitor for the NEA; served on the Advisory Committee Ma r t i n Be n s o n (Artistic Director), co-founder of for the Arts Administration Certificate Program at SCR with his colleague David Emmes, has directed the University of California, Irvine; and has been a nearly one third of the plays produced here. He has guest lecturer in the graduate school of business at distinguished himself in the staging of contemporary Stanford and the University of California, Irvine. She work, including William Nicholson’s The Retreat recently joined the board of Arts Orange County, the from Moscow, the world premiere of Horton Foote’s county wide arts council. Ms. Tomei graduated from Getting Frankie Married — and Afterwards and the the University of California, Irvine with a degree in critically acclaimed California premiere of Nicholson’s Economics and pursued an additional course of study Shadowlands. He has won accolades for his direction in theatre and dance. of five major works by George Bernard Shaw, including the Los Angeles Drama Critics Circle (LADCC) Award- So u t h Co a s t Re p e r t o r y , founded in 1964 and winners Major Barbara, Misalliance and Heartbreak continuing today under the leadership of Artistic House. Among his numerous world premieres is Directors David Emmes and Martin Benson, is widely Margaret Edson’s Pulitzer Prize-winning Wit, which he regarded as one of America’s foremost producers of new also directed at Seattle Repertory Theatre and the Alley plays. In its three-stage Folino Theatre Center in Costa Theatre in Houston. He has directed American classics Mesa, California, SCR produces a five-play season on its including Ah, Wilderness!, A Streetcar Named Desire, A Segerstrom Stage, a four-play season on its Argyros Stage, Delicate Balance and A View from the Bridge. Benson plus two annual holiday productions. SCR also offers has received the LADCC Distinguished Achievement a three-play Theatre for Young Audiences series, and in Directing awards an unparalleled seven times for year-round programs in education and outreach. SCR’s the three Shaw productions, John Millington Synge’s extensive new play development program consists of Playboy of the Western World, Arthur Miller’s The commissions, residencies, readings, and workshops, from Crucible, Sally Nemeth’s Holy Days and Wit. He which up to five world premieres are produced each also directed the film version of Holy Days using the season. Among the plays commissioned and introduced original SCR cast. Along with Emmes, he accepted at SCR are Donald Margulies’ Sight Unseen, Collected SCR’s 1988 Tony Award for Outstanding Resident Stories and Brooklyn Boy; Richard Greenberg’s Three Professional Theatre and won the 1995 Theatre LA Days of Rain, Everett Beekin, Hurrah at Last and The Ovation Award for Lifetime Achievement. Benson Violet Hour; David Henry Hwang’s Golden Child, Jose received his BA in Theatre from San Francisco Rivera’s References to Salvador Dali Make Me Hot, Lynn State University. Nottage’s Intimate Apparel, Craig Lucas’ Prelude to a Kiss, Amy Freed’s The Beard of Avon and Freedomland, Pa u l a To m e i (Managing Director) is responsible Margaret Edson’s Pulitzer Prize-winning Wit and David for the overall administration of South Coast Lindsay-Abaire’s Pulitzer Prize-winning Rabbit Hole. Repertory and has been Managing Director since Most of these plays were developed through its Pacific 1994. A member of the SCR staff since 1979, she Playwrights Festival, an annual workshop and reading has served in a number of administrative capacities showcase for up to eight new plays, attended by artistic including Subscriptions Manager, Business Manager directors and literary staff members from across the and General Manager. She served on the board of country. Over forty percent of the plays SCR has Theatre Communications Group (TCG), the national produced have been world, American or West Coast service organization for theatre, from 1998-2006, and premieres. In 1988, SCR received the Regional Theatre was its President for four years. She has also served Tony Award for Distinguished Achievement, particularly as Treasurer of TCG, Vice President of the League of in the area of new play development.The Director is a member of the Society of Stage Directors and Choreographers, Inc., ssdc an independent national labor union.

The Actors and Stage Managers em- The Scenic, Costume, Lighting and TheThe Choreographer Director is a member is a member of the of the Society ployed in this production are mem- Sound Designers in LORT theatres ofSociety Stage of Directors Stage Directors and Choreographers, and Cho- Inc., bers of Actors’ Equity Association, the are represented by United Scenic reographers, Inc., an independent ssdc an independent national labor union. Union of Professional Actors and Stage Artists Local USA-829, IATSE. national labor union. Managers in the United States.

TheLa Posada Director-Choreographer Mágica • So u t h Co is a s ta Rmembere p e r t o r y P15of the Society of Stage Directors and Choreographers, ssdc Inc., an independent national labor union.

La Posada2.indd 15 The Director and Choreographer11/25/08 are members 6:38:17 ofPM the Society of Stage Directors and Choreographers, ssdc Inc., an independent national labor union. When you shop at Target, you help us give 5% of our income P to support education, the arts, H and social services. Since 1946, I that 5% has funded all kinds L of good things, from concerts A to fi eld trip grants to disaster N relief. Today, and thanks to you, T over $3 million a week goes H out our doors and into your R neighborhoods. Doing good O is easy when doing good is P I automatic. DO 5% GOOD. S TARGET.COM/COMMUNITY © 2008 Target Stores. Target, the Bullseye the Design 5% Bullseye and the © Target, Stores. Target 2008 All rights reserved. Inc. 697454 Brands, Design trademarks are Target of T

CR Grantee Kit – 4.5" x 3" BW Ad creative: PHIL

P16 So u t h Co a s t Re p e r t o r y • La Posada Mágica

La Posada2.indd 16 11/25/08 6:38:18 PM