at the SHERYL AND HARVEY WHITE THEATRE june 2010 Welcome to

THE GLOBE

AT A GLANCE I can’t welcome you to this production of The Whipping The sixth-largest regional Man without reflecting on Craig theatre in the country, Noel’s legacy. One of his many The Old Globe offers more important accomplishments programming and a greater was establishing a series of repertoire than any theatre plays in a smaller alternate of its size. space, originally the converted Falstaff Tavern which was “dug • • • out” to become the Cassius As a not-for-profit theatre Carter Centre Stage. He with a budget of $20 million, wanted the Globe to produce the Globe earns $10 million both new plays and classics, in ticket sales and must raise and introduce new voices in an additional $10 million from this more intimate arena setting. He expanded the audiences’ experience with individual and institutional tax- writers such as Edward Albee, Eugène Ionesco, Samuel Beckett and Harold deductable donations. Pinter. But it wasn’t all seriousness. Craig also liked to amuse us with wonderful • • • writers such as Alan Ayckbourn, Joe Orton and Christopher Durang.

The Globe provides over We continue Craig’s commitment to works for the second stage with The 20 different community and Whipping Man. In this new play about how family can be torn apart and education programs to nearly revealed, former slaves and their master finally confront each other as their lives 50,000 people annually. come apart at the devastating conclusion of the Civil War. • • • The Old Globe has sent 20 The fact that, in 1865, the end of the Civil War and the assassination of productions to Broadway President Lincoln coincided with Passover, serves as the wellspring for Matthew since 1987. Lopez’s play. Passover commemorates the liberation of the Israelites from • • • slavery in Egypt and our characters’ observance of it in The Whipping Man is quite powerful. Charity Navigator has designated The Old Globe As Craig Noel knew well, the best plays tell a gripping story and also give us an “exceptional” organization, something to think about. I hope you’ll agree that is what we achieve in this earning its coveted four- production of The Whipping Man. star rating for the past five consecutive years and ranks the Globe in the top 4% of all not-for-profits in the United States. Louis G. Spisto Executive Producer

PErFO RMANCEs MAGAZINE 1 PRESENTS THE WHIPPING MAN

by MATTHEW LOPEZ

SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN Robert Mark Morgan Denitsa D. Bliznakova Lap Chi Chu Jill BC Du Boff

VOCAL AND DIALECT COACH STAGE MANAGER Claudia Hill-Sparks Diana Moser

DIRECTED BY GIOVANNA SARDELLI

Casting by Samantha Barrie, CSA

Originally Produced by Luna Stage, Montclair, New Jersey, Jane Mandel, Artistic Director —————————————————— Sheryl and Harvey White Theatre May 8 - June 13, 2010

2EO P RF RMANCES MAGAZINe CAST OF CHARACTERS (In order of appearance) CALEB...... Mark J. Sullivan SIMON...... Charlie Robinson JOHN...... Avery Glymph

Stage Manager...... Diana Moser

SETTING The ruins of a once grand home in Richmond, Virginia in 1865.

LENGTH The Whipping Man will be performed without an intermission.

PRODUCTION STAFF Fight Choreographer...... George Yé Assistant Scenic Design...... Sean Fanning Assistant Costume Design...... Alina Bokovikova Production Assistant...... Marie Jahelka

The Actors and Stage Manager employed by 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.

PErFO RMANCEs MAGAZINE 3 Board of Directors

Dear Friends, We are pleased that you have joined us for another memorable production in The Old Globe’s 2009-2010 Season. Our current plays, Golda’s Balcony on the Globe stage and the West Coast premiere of The Whipping Man in the Sheryl and Harvey White Theatre, are supported by our enthusiastic audiences, and, in the case of Golda’s Balcony, several major donors who recently stepped forward with special funding to allow us to bring this world-class production to San Diego. Since our founding day on May 29, 1935, The Old Globe has played an enormous role in the San Diego community, having grown to be recognized as a cultural icon and artistic leader. Exciting times lie ahead as we begin to celebrate our 75-year birthday, and you’ll be reading more about us and receiving invitations to special events, such as the Globe’s anniversary open house on June 13 and the 75th Anniversary Gala on July 31. I know that Craig Noel would have been so proud of what we’ve planned to mark this milestone anniversary in the Globe’s history. We’ll miss him deeply. On behalf of the Board of Directors, I would like to thank you for making The Old Globe a part of your life. We hope you will continue to be involved as a patron and a supporter. Enjoy the play!

Sincerely,

Donald L. Cohn, Chair BOARD OF DIRECTORS

BOARD OF DIRECTORS Donald L. Cohn* Kathy Hattox* Anthony S. Thornley* Sandra Redman* Susan Major* Harvey P. White* Chair Immediate Vice Chair, Finance Vice Chair, Vice Chair, Secretary Past Chair & Treasurer Nominating Development

DIRECTORS Timothy P. Haidinger Daniel L. Sullivan, Ph.D. Clair Burgener (1921-2006) Mary Beth Adderley Nanci Hull Julie H. Sullivan, Ph.D. Mrs. John H. Fox (1908–2003) Elizabeth Altman Viviana Ibañez Evelyn Mack Truitt Audrey Geisel Joseph Benoit Deni Jacobs Debra Turner Paul Harter Pamela Cesak Daphne Jameson Stacey LeVasseur Vasquez Gordon Luce (1925-2006) Marsha Chandler Jo Ann Kilty Crystal Watkins Dolly Poet (1921-2007) Peter J. Cooper Mitzi Yates Lizarraga James A. Wening Deborah Szekely Valerie S. Cooper Joyce Nash Brian E. Wineke Hon. Pete Wilson Stephen M. Cusato Rafael Pastor* June Yoder Elaine Bennett Darwin Conrad Prebys* Carolyn Yorston-Wellcome EMERITUS DIRECTORS Bea Epsten Sara Rosenthal, M.D. Deborah Young Garet B. Clark Pamela A. Farr Jeri Rovsek *Executive Committee Member J. Dallas Clark (1913–2005) Harold W. Fuson, Jr.* Reneé Schatz Sally Furay, R.S.C.J. Victor P. Gálvez Jean Shekhter HONORARY DIRECTORS Bernard Lipinsky (1914-2001) Robert H. Gleason Louis G. Spisto* Mrs. Richard C. Adams Delza Martin (1915–2005) (1912–2005) Patsy Shumway

4EO P RF RMANCES MAGAZINe Leadership Gifts Production Sponsors

The Old Globe recognizes and thanks Mandell Weiss Charitable Trust the following generous individuals Mandell Weiss was a Romanian immigrant who discovered his love of who have made extraordinary gifts theatre while attending high school in New York City. After his plans of $1 million or more. These major to become an actor were interrupted by World War I, he became a contributions have been designated successful entrepreneur and philanthropist who lived a remarkable for artistic, endowment and facilities 102 years. Although he died in 1993, Mandell Weiss’ generous projects, and help The Old Globe spirit remains a vital force throughout San Diego, and his legacy remain one of our country’s great has helped sustain this city’s vibrant, nationally renowned arts and theatre institutions. culture community. The Old Globe appreciates The Mandell Weiss Charitable Trust’s continued support, with recent awards including a grant for the new Conrad Prebys Theatre Center and production $20,000,000 or greater sponsorship of The Whipping Man. Donald and Darlene Shiley The San Diego Foundation $10,000,000 or greater The San Diego Foundation is supporting the Globe’s Southeastern San Diego Residency Project through a grant made possible by the Conrad Prebys Colonel Frank C. Wood Memorial Fund, Ariel W. Coggeshall Fund, Kanot-Lebow-Stroud Memorial Fund, and Mary E. Hield and Robert $5,000,000 or greater R. Hield Endowment Fund. The Old Globe thanks The San Diego Foundation’s Arts & Culture Working Group and the Foundation’s Sheryl and Harvey White Board of Governors for supporting the development of innovative new performance and training programs that will engage students Kathryn Hattox and residents of southeastern San Diego in the art of theatre. This year, the Residency Project’s “Expanded Access to Mainstage Karen and Donald Cohn Programs” highlights The Whipping Man, and both students and adult residents of southeastern San Diego will be invited to attend a $1,000,000 or greater performance free-of-charge.

Viterbi Family Foundation The James Irvine Foundation The mission of The James Irvine Foundation is to expand opportunity California Cultural and for the people of California to participate in a vibrant, successful Historical Endowment and inclusive society. The Foundation generously supports the arts, fostering creativity and nurturing a rich cultural environment Estate of Dorothy S. Prough throughout the state. The Old Globe was selected in 2008 to receive an Irvine Foundation Artistic Innovation Fund grant, and The Rivkin Family launched the Southeastern San Diego Residency Project to establish the Globe as an artistic resource for the community. The Globe is Estate of Beatrice Lynds offering residents of southeastern San Diego free tickets to see a performance of The Whipping Man through partnerships with Audrey S. Geisel/ schools and community organizations. San Diego Foundation Dr. Seuss Fund National Corporate Theatre Fund Mr. and Mrs. Victor H. Ottenstein As an association of ten of America’s finest not-for-profit theatres, the National Corporate Theatre Fund is dedicated to increasing the Mrs. Helen Edison participation of corporations and their employees in support of the- atre in New York and across the country. The Old Globe thanks the The Stephen & Mary Birch Foundation National Corporate Theatre Fund for their efforts and is pleased to recognize the organization as a sponsor of The Whipping Man. (A list The Kresge Foundation of companies who support The Old Globe through NCTF is printed on page 22.)

PErFO RMANCEs MAGAZINE 5 ECONSTRUCTION AND THE UNFINISHED CIVIL WAR R by David Miller, Ph.D. While the Civil War (1861-1865) is a vivid part of most Americans’ Upset at Johnson’s acceptance of this understanding of our history, the Reconstruction period (1865-1877) development and his attempts to block remains elusive and misunderstood. Reconstruction was a time of Republican legislation to extend basic civil conflict as former slaves, northern entrepreneurs, radical reformers, rights to the former slaves, the Republicans former slaveholders, and Southern whites competed to shape not moved to impeach President Johnson in only the post-war South, but their place within the nation. The War an- May 1868. Although they came one vote swered two very important questions: would there be a United States short, Johnson was effectively removed and would it include slavery? But in so doing it raised many more: how from having a future voice in Reconstruc- would the former Confederate states return to the Union? How would tion. African Americans define their new freedom? How, or could, the white South retain its landholdings, its economy, and a social system based Congress took over the Reconstruction on white supremacy? effort and immediately set about to protect the rights of former slaves by imbedding The questions began during the War itself. Hundreds of thousands of them in the Constitution as amendments. slaves ran away and when Abraham Lincoln issued the Emancipation This second phase, which historians call Proclamation in 1863, the question of former slaves’ place in the new Congressional Reconstruction (or “Radical nation became a reality. And what about former Confederates coming Reconstruction” for its marked departure under Union control? How should they be treated? Lincoln pursued a from Johnson’s policies), resulted in the lenient plan for Reconstruction but unable to get Congress to support 14th and 15th Amendments. They extend- it, left the situation unsettled at the time of his death. ed citizenship to former slaves (indeed to all people born or naturalized in the United Lincoln’s assassination on April 14, 1865 elevated Vice President States) and stipulated the right to vote Andrew Johnson to the White House and head of the Republican could not be denied on account of race. Party. But Johnson was a states’ rights Democrat from Tennessee. Congress enforced these Amendments The die-hard unionist only appeared on the 1864 Republican ticket with legislation, the Freedmen’s Bureau, to broaden the voter base. Not surprisingly, he could not identify with and the military — the latter intended to the Republican Congress and disagreed in fundamental ways with the quell KKK violence toward former slaves radical reform wing of the party. exercising their new freedom.

As the War came to an end, Congress was on recess and Johnson Under Radical Reconstruction with its had a free hand to implement his policies until they reconvened. Thus sweeping reform and military protection, began “Presidential Reconstruction.” Johnson did not believe the African American males became enfran- seceded states had ever abandoned their sovereignty and was lenient chised and nearly full equal citizens, serving toward former Confederates in his terms for rejoining the nation. He on juries and in many elected capacities. simply wanted to restore the Union with little change. Under Johnson’s Former slaves lived relatively well and plan, individuals needed only to take a loyalty oath for the full restora- experienced a brief decade of prosperity. tion of rights while states were to draft new state constitutions that After all, they were emancipated; many had declared secession null and void, repudiate the state war debt and land, formed schools, and participated in ratify the 13th Amendment to end slavery. Over the summer of 1865, politics. But local prejudices and national seven of the eleven former Confederate states participated in his change meant that Reconstruction was not plan. By the fall, Northern opinion in general, and the Republican Party to last much longer. in particular, were dissatisfied with the outcome because the post-war Southern leadership consisted mostly of former Confederates, espe- The election of 1876 produced a crisis. cially the former Plantation class. Back in power, they created Black Both parties claimed fraud and election Codes to nullify the freedom of former slaves, essentially reinstating irregularities, leaving several Southern slavery in everything but name. electoral votes, and the election’s outcome,

6EO P RF RMANCES MAGAZINe This is a photograph of freed slaves in Richmond, Virginia. The photo was most likely taken shortly after the fall of Richmond, in April, 1865. Pictured is what appears to be a family, but only men and children are seen . . . the fate of the mother is unknown. The ruins of Richmond can be seen in the background.

in doubt. The Compromise of 1877 settled Republicans chose to abandon the cause of Movement opened the door to new consid- the question. Democrats conceded the protecting former slaves in order to pursue erations, questions, and interpretations victory and in return demanded greater their new priority of uniting the nation in a of evidence premised on the humanity of federal investment and private capital be capitalist, industrial market. The Republi- African Americans rather than their inhu- channeled to Southern railroad and infra- cans failed to deliver a lasting justice when manity. This new interpretation included structure projects. They also demanded they redirected their newly-expanded consideration of African American efforts, the federal government officially end Re- federal powers to join white Southerners concluding that if the era was “tragic,” it was construction by withdrawing the last troops in this project of economic and metaphori- because change did not go far enough in and government officials from the South. cal reunion. Without help from the federal promoting equal justice for all. government, blacks looked to themselves, Left to “home rule,” white Southerners within their communities, for future Matthew Lopez’s The Whipping Man is an embarked on a project to “redeem” their strength. important part of this modern interpreta- states from what they saw as the tyranny tion of Reconstruction. It reminds us that and chaos of Radical Reconstruction. With Over the years this history of Reconstruc- once the Civil War ended, the story of violence they drove African Americans and tion has undergone profound changes. American slavery did not. It places the other Republicans from political partici- Beginning almost as soon as Reconstruction freed slaves front and center in the national pation. Back in power, the “Redemption” ended and continuing well into the 1960s, drama of Reconstruction. Former slaves governments overturned many of the local the commonly accepted version of events had as many demands as they did trepida- laws from Radical Reconstruction, enforc- was that Reconstruction was a tragedy – tions and challenges. They wanted land, ing new Black Codes. Left with few options, for Southern whites! The War ended with the right to vote, civil rights, and protection many former slaves accepted the new sys- former masters continuing to care for their to live free of white control. Most often tem of sharecropping and tenant farming. emancipated but always loyal slaves. Ev- they expressed their freedom as mobility – This practice left most in debt and a cycle erything was fine until Republicans forced slaves seized the chance to move. Move to of debilitating poverty. Finally, the “Re- black suffrage onto a defeated South. see loved ones. Move to get away. Move to deemer” governments instituted a formal Radical Reconstruction ushered in a period opportunity. Move out of fear. Move simply system of segregation that, after a series of corruption on the part of northern “car- to move. of Supreme Court cases that reduced the petbaggers” and buffoonery on the part of protective scope of the 14th amendment, incompetent, ignorant blacks unprepared The play brings to our attention the on- became a staple not only in the South but for the freedom thrust on them. After much going tensions, contradictions and possibili- in many parts of the United States. After needless suffering, heroic Southern whites ties of Reconstruction. How should we as- the infamous Plessy v. Ferguson (1896) banded together to overthrow these sess its successes and failures? A difference case declaring “separate but equal,” African governments and restore “home rule” — a of objectives will probably always bring Americans in the former Confederacy euphemism for white supremacy. Or so the conflict and one is forced to wonder, how were effectively disenfranchised, indebted story went. will this drama end for our characters? How in poverty, and segregated. The Jim Crow will this drama to create “a more perfect South was born. By the 1960s, many of this old school’s union” end for us all? racist assumptions were simply untenable • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Why would Republicans, the party of and our understanding of Reconstruc- David Miller is a professor at the Lincoln, allow this to happen? Northern tion underwent a change. The Civil Rights University of San Diego.

PErFO RMANCEs MAGAZINE 7 PASSOVER, the SEDER, and the issues of SLAVERYand FREEDOM by Rabbi Ralph A. Dalin

very spring, Jews around the world gather in of every form. Hence the inclusion of references to the homes on the first evening of the holiday of ancient prophet Elijah who, according to Jewish tradition, Passover for what is probably the single most will return to announce the advent of the Messianic Age. observedE Jewish ritual in the American Jewish community At one point during the seder, the door is opened to – the seder. The seder (which means “order”) is a religious symbolically welcome the prophet, while a special cup of feast that follows a specific traditional order of rituals, wine is poured (but not drunk) in his honor. prayers, songs and recital of sacred texts – all contained in a booklet called the Haggadah. At its heart is the retelling The Exodus became the root experience and central of the story of the Exodus of the Israelites from their narrative of the Jewish people. The Sabbath was enjoined enslavement in Egypt over three thousand years ago. The as a remembrance of the Exodus – once a week one seder itself is over two thousand years old. ceases from work, something that was not possible when enslaved to Pharaoh. The Torah commanded the While the seder is intended to engage adults, a primary people of Israel to internalize and act upon the lessons goal of its retelling is to convey its message to the next of their ancestors’ enslavement: “You shall not oppress a generation: “You shall tell your child on that day, saying, stranger; for you know the heart of a stranger, seeing you This is done because of that which the Lord did to me were strangers in the land of Egypt.” (Exodus 23:9) “The when I came forth out of Egypt.” (Exodus 13:8) A highlight stranger who dwells with you shall be to you as one born of the seder is when the youngest child present asks among you, and you shall love him as yourself; for you the Four Questions, all of which are a variation of the were strangers in the land of Egypt.” (Leviticus 19:34) question: Why is this night different from all other nights? How does one reconcile the centrality of the message of The retelling is accompanied by a series of symbolic the Exodus within Judaism with the existence of some foods and actions that are visible to the children. These Jewish slave ownership in the United States in the 19th include matzah, the unleavened bread; maror, the bitter century and the role some Jews played in the army herbs which serve as a reminder of the bitterness of and state machinery of the Confederacy? This puzzle slavery; haroset, a mixture of apples, nuts and wine which prompted Matthew Lopez to write The Whipping Man. is meant to recall the mortar and bricks with which the While the play is a work of historical fiction, it could cause slaves were forced to work; and four cups of wine to not a little discomfort to 21st century American Jews. symbolize the four promises of redemption made by God through Moses to those languishing in bondage. Another Context is crucial: The vast majority of the 150,000 of vegetable is dipped into salt water that represents the America’s Jewish population on the eve of the Civil War tears of slavery. The ceremonial seder plate has two lived in the North and remained in the Union; only about additional symbols: a shankbone as a reminder of the 25,000 lived in the states that would secede. In those Passover lamb eaten on this evening in ancient days, and a areas, slavery was integral to the southern way of life. As roasted egg symbolizing the additional holiday sacrifice Jonathan Sarna, the leading American Jewish historian offered when the Holy Temple still stood in Jerusalem. today, writes, many Jews “in the absence of any explicit religious prohibition against slavery, simply followed in the Over the centuries, the seder became more than a ways of their neighbors, for good and for ill. In a city like celebration of God’s liberation of the Jewish people from Charleston, most whites owned slaves, most Jews owned the Egyptian Pharaoh. It is an opportunity to discuss and slaves, and a great many free blacks owned slaves as well. reflect upon the meaning of slavery in contemporary There as elsewhere, the overall role of Jews in slavery terms, including poverty, hunger, idolatry, political tyranny, was negligible. Only about 300 out of Charleston’s 19,532 subjugation and so many other forms of oppression. The slaves were owned by Jews.” This was less than a third of seder also provides the context for expressing hope the number of slaves owned by freed blacks in the for the future liberation of those victimized by slavery same city.

8EO P RF RMANCES MAGAZINe President Barack Obama and his family hosted a Passover seder at the White House in March.

The Southern Jews were primarily and despite being such a small percentage only sung in this play by a freed slave, but immigrants from central Europe, fleeing of the American population. The most it is included by many Jewish Americans in anti-Semitism. They found an opportunity conspicuous Jewish leader in the civil their own real seder. for relative societal acceptance that rights movement was Rabbi Abraham they could hardly have fathomed in their Joshua Heschel, who marched with Rev. One of the themes in the Passover former homes, and hence felt a need Martin Luther King Jr. in the 1965 march Haggadah is that there are other types to accept communal norms. As the late from Selma to Montgomery. Heschel of slavery beyond that which is physical Bertram W. Korn, the acknowledged articulated the continuous thread with the and/or political. Spiritual and intellectual greatest expert on this topic, wrote: Passover story: “At the first conference slavery, epitomized in the Haggadah as “Ante-bellum Southern Jews were more on religion and race, the main participants idolatry, can be as or more pervasive. likely to quote the Talmudic maxim that were Pharaoh and Moses... The outcome In a sense, all Americans who actively ‘the law of the land is the law [for Jews],’ of that summit meeting has not come to or passively supported slavery were and to regard the institution of slavery as an end... The Exodus began, but is far from themselves, knowingly or not, enslaved part of the law which they were bound having been completed. In fact, it was to a perspective that in hindsight was to uphold and follow, than they were to easier for the children of Israel to cross the inexcusable. In our own day, too many evaluate the failings of slavery in the light Red Sea than for a Negro to cross certain people of all faiths and creeds and color of the prophetic ethic.” Korn’s study on university campuses.” are enslaved to prejudice. Hence the the reality of Jewish slaveholding is very message of the seder that redemption upfront. Nevertheless, his conclusion is “In every generation, it is an obligation for needs to be hoped for and prayed for and that slavery “played a more significant role each person to view himself (herself) as worked for. in the development of Jewish life in the if having personally come out of Egypt.” Old South, than Jews themselves played So reads one of the classic texts which Despite the focus of the seder on in the establishment and maintenance reminds participants that the seder is not liberation of the past, the traditional text of the institution. The history of slavery to simply be a lesson of ancient history, but includes early on the phrase “this year we would not have differed one whit from rather a personal, experiential celebration are slaves, next year may we be free.” And historic reality if no single Jew had been of liberation past and a yearning for future it concludes “Next year in Jerusalem,” a resident in the South.” liberation. traditional expression for a redeemed future. While the seder is a practice It was in the middle of the 20th century The text pointedly does not refer to particular to Jews, its message speaks to that one can observe American Jews “each Jew” but rather to “each person.” the potential of freedom and justice for all. taking seriously Passover’s imperative of The message of the Exodus has been an • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • liberation vis-à-vis the descendants of the inspiration to many other peoples. The Southern slaves. Among the whites who Black spiritual “Let My People Go” reflects Rabbi Ralph A. Dalin is a Jewish were active in the Civil Rights movement how the Israelite experience gave hope Community Chaplain with the United of the 1960s, the Jews were the most of liberation to those enslaved in 19th Jewish Federation of San Diego County. conspicuous, far beyond their numbers century America. In fact, that song is not

PErFO RMANCEs MAGAZINE 9 Season Sponsors

The Old Globe is deeply grateful to its Season Sponsors, each of whom has made an annual donation of $50,000 or greater. These gifts are critical to maintaining the Globe’s high quality of artistic programming and award-winning work in the community.

The Legler Benbough Foundation The County of San Diego John A. Berol at the recommendation of Vice Chairman Bill Horn Mary Ann Blair Joan and Irwin Jacobs Karen and Donald Cohn The Lipinsky Family Peter Cooper and Norman Blachford Conrad Prebys and Debra Turner Valerie and Harry Cooper Donald and Darlene Shiley The Helen K. and James S. Copley The County of San Diego Foundation at the recommendation of Chairwoman Pam Slater Price Gigi and Ed Cramer Mickey Stern Edgerton Foundation Sheryl and Harvey White Audrey S. Geisel Anonymous Globe Guilders

To become a Season Sponsor, please contact Todd R. Schultz, Director of Development, at (619) 231-1941 x2310.

10EO P RF RMANCES MAGAZINe CRAIG NOEL August 25, 1915 - April 3, 2010

PErFO RMANCEs MAGAZINE 11 CRAIG NOEL A THEATRICAL LIFE

CRAIG NOEL WAS A SIGNIFICANT FIGURE in the de- velopment of American theatre, having led The Old Globe from its earliest days as a community organization to an internationally renowned institution. Over his more than 70-year career at the Globe, Noel directed more than 200 works, produced an additional 270 productions and created innovative and influential theatre programs. In 2007, Noel received the National Medal of Arts – the nation’s highest honor for artistic excellence – from President George W. Bush in a ceremony at the White House. Born on August 25, 1915 in Deming, New Mexico, Craig Noel moved to San Diego as a child. He began his associa- tion with the Old Globe in 1937 as an actor, appearing in The Distaff Side, the very first production of The Old Globe. After fighting in the 37th Infantry for the liberation of the Philippines, Noel served in post-war Japan as director of the Ernie Pyle Theatre (Tokyo’s largest performance venue which Special Services operated for the entertainment of American forces) before returning to civilian life as one of two junior directors for 20th Century Fox – alongside Orson Welles. Noel returned to lead the Old Globe Theatre in 1947 and created one of the nation’s most successful not-for- pher Reeve, Barry Bostwick, Harry Groener, Dennis Hopper, profit arts organizations, overseeing the expansion of the Hal Holbrook, Tovah Feldshuh, John Houseman, Rue Mc- Globe into a sprawling three-theatre complex. In 1949, he Clanahan, Sada Thompson, Paxton Whitehead, Jon Voight launched the San Diego National Shakespeare Festival, and Kelsey Grammer, worked with Noel and considered him and ten years later guided the Globe from community to their mentor. professional status, establishing the first full Actors’ Equity During Craig Noel’s distinguished career with The Old company in California. In 1984, the Globe was the ninth the- Globe, the much-honored director staged productions of all atrical institution selected to receive the Regional Theatre styles and periods. Noel’s final world premiere productions Tony Award and is now the oldest continuing, professional include Lillian Garrett-Groag’s The White Rose and Reuben not-for-profit theatre in the state. Gonzalez’s The Boiler Room. He also directed the American Soon after the original Old Globe Theatre was destroyed premieres of Alan Ayckbourn’s Mr. A’s Amazing Maze Plays by arson in 1978, Noel conceived the idea of building an and Intimate Exchanges. Other Noel directorial assign- outdoor festival theatre in the wooded canyon adjacent ments include Wonderful Tennessee, Shirley Valentine, to the theatre complex. The original Festival Stage was de- Travels with My Aunt and Scotland Road. stroyed by fire in 1984. It was rebuilt and named the Lowell To fulfill his long-held dream of a theatre that would Davies Festival Theatre in 1985. extend across the border to enrich artists and audiences of In the early 1960s, Noel developed an audience for new Southern California’s neighboring cultures, Noel instituted plays with seasons he programmed at the La Jolla Museum the Globe’s bilingual theatre component, Teatro Meta, in of Contemporary Art, exposing local audiences to such 1983. The bilingual playwriting program served thousands playwrights as Samuel Beckett, Eugène Ionesco, Luigi Piran- of young people in San Diego’s public schools. His passion dello, Bertolt Brecht and Edward Albee. The success of that for arts education fueled many other innovative programs, series led to a new play series at the Falstaff Tavern, later including the Globe Educational Tours in 1974 and the renamed Cassius Carter Centre Stage. renowned Master of Fine Arts graduate acting program (in He played an instrumental role in the careers of many conjunction with the University of San Diego) in 1987. theatre artists – including three-time Tony Award winner Noel was a founder of the California Theatre Council and Jack O’Brien, who he hired as Artistic Director in 1981. a former vice president of the California Confederation Scores of distinguished American actors, including many of the Arts. His numerous honors include The San Diego who became well-known to a wider audience, such as Union-Tribune list of 25 persons who shaped the city’s Marion Ross, David Ogden Stiers, Marsha Mason, Christo- history; the Governor’s Award for the Arts; University of

12EO P RF RMANCES MAGAZINe “Can you think of anyone who’s had as much fun as I have? I’ve gotten to play with toys my whole life in a beautiful park, surrounded by beautiful people, and I’ve gotten paid for it. Who could ask for more?” – Craig Noel

Arizona Alumni Association’s Outstanding Citizen, for his larger community through his support and encouragement contribution to their Fine Arts department; San Diego State of playwrights, actors and artists and through the nurturing University’s Outstanding Alumnus; honorary Doctorate of of an entire generation of citizens who have become today’s Humane Letters, University of San Diego; San Diego’s Liv- theatregoers and patrons of the arts. Craig Noel was a ing Treasure Award; Conservator of American Arts Award guide, mentor and ally to virtually every professional theatre from American Conservatory Theater; the San Diego Press endeavor in San Diego’s contemporary history, and he will Club Headliner Award; San Diego Gentleman of Distinction be deeply missed. Award; and a combined tribute from the Public Arts Advi- sory Council and the San Diego County Board of Supervi- Photos clockwise from top left: Jack O’Brien and Craig Noel rebuild the Old Globe sors. The San Diego Drama Critics Circle named its annual Theatre in 1978. Craig Noel (second from left) in John Van Druten’s The Distaff Side, honors the “Craig Noel Awards for Excellence in Theatre.” the 1937 premiere production of the San Diego Community Theatre, which would later be named The Old Globe; Craig Noel with theatre legend Eva Le Gallienne; In 2007, he received the aforementioned National Medal of Craig Noel as the Stage Manager in the Globe’s 1975 production of Thorton Wilder’s the Arts. Our Town, with Holly Schoonover as Emily and Nathan Haas as George, directed by Jack O’Brien; Opposite page: Craig Noel directing Associate Artist Deborah May Noel’s contributions to the American theatre – both lo- (seated) and Melora Marshall in As You Like It, the inaugural production of the newly cally and nationally – are beyond measure. He enriched the rebuilt Old Globe Theatre.

PErFO RMANCEs MAGAZINE 13 HIGHLIGHTS OF CRAIG NOEL’S YEARS WITH THE OLD GLOBE

1935 The Old Globe opens as an attraction of the California 1987 San Diego Mayor Maureen O’Connor proclaims 1987 Pacific International Exposition with a repertory of “The Year of Craig Noel” in honor of the 50th anniversary of 50-minute versions of Shakespeare plays. Craig Noel is in the executive producer’s association with The Old Globe. attendance for the Exposition. Noel establishes the Globe’s Master of Fine Arts program with the University of San Diego to help train the next First production by new organization opens at The Old 1937 generation of stage actors. Globe, The Distaff Side, by John Van Druten, with Craig Noel in the acting company. 1988 Noel directs Shakespeare’s Love’s Labour’s Lost in the Lowell Davies Festival Theatre. 1939 Noel makes his Old Globe directing debut with Edwin Justin Mayer’s Firebrand. 1991 Noel directs the world premiere of Lillian Garrett-Groag’s The White Rose. 1941 U.S. Navy commandeers Balboa Park for military purposes during World War II; Globe ordered to remove records and 1995 The Old Globe celebrates its 60th Anniversary Season. equipment within 24 hours. Noel directs a revival of the wildly successful Mister Roberts, first presented at the Globe in 1953. 1947 William Saroyan’s The Time of Your Life, directed by Noel, opens first post-war season. Noel soon named Artistic 2000 Noel directs Associate Artist Marion Ross in Joe DiPietro’s Director. Over the River and Through the Woods. 1949 Noel begins first San Diego National Shakespeare Festival in 2001 Noel directs Craig Wright’s The Pavilion in the Cassius association with San Diego State College. Carter Centre Stage. 1949 Caught in the Act, first of six original, topical, musical revues 2003 San Diego Theatre Critics Circle names its theatre awards focusing on San Diego people, places and happenings, after Craig Noel. composed and written by local talent is directed by Noel. 2004 At Noel’s urging, the Globe revives its renowned Summer 1953 Mister Roberts, directed by Craig Noel, opens, replacing Shakespeare Festival, with three productions playing in Shakespeare Festival for one summer. Capacity audiences nightly rotation in the Lowell Davies Festival Theatre. during 13 weeks provided the Globe with substantial The Old Globe celebrates its 70th Anniversary. Noel turns financial resources for the first time. 2005 90, surrounded by friends and members of the Globe family. Noel organizes first major tour to Stanford University, 1964 Noel recieves the National Medal of Arts at a ceremony at celebrating the quadricentennial of Shakespeare’s birth. 2007 the White House. 1969 Cassius Carter Centre Stage opens with Peter Ustinov’s The Unknown Soldier and His Wife, directed by Noel. 1977 Noel organizes the first of four seasons of touring productions of the Globe’s San Diego National Shakespeare Festival to Scottsdale, AZ, in association with Arizona Shakespeare Association. 1978 Arson destroys the 43-year-old Old Globe Theatre. Soon after, construction begins on a 620-seat outdoor Festival Stage adjacent to the site of the decimated theatre. Fund- raising campaign begins under co-chairs Deborah Szekely and James Mulvaney for the purpose of rebuilding the Old Globe Theatre. 1981 Craig Noel names Jack O’Brien Artistic Director and Tom Hall Managing Director; Noel becomes Executive Producer. 1982 The inaugural performance of Shakespeare’s As You Like It, directed by Noel, begins the Globe’s year-round professional theatre status. 1983 Noel helps to found the Teatro Meta program (a bilingual theatre education program) with long-time friends and theatre directors Williams Virchis and Jorge Huerta. 1984 The Festival Stage is completely destroyed by an early morning fire, later determined to be arson. The Old Globe board of directors meets in emergency session and vows to rebuild the theatre in time for the June 1985 Festival Season. The theatre is rededicated as the Lowell Davies Festival Theatre in honor of the late Davies, who was a Craig Noel with Executive Producer Lou Spisto and Hamza Houidi after receiving the board officer for 40 years. National Medal of Arts from President George W. Bush at The White House.

14EO P RF RMANCES MAGAZINe WHEN HISTORY ENDS AND LIFE BEGINS by Matthew Lopez

istory is an unending sequence and life is free to return to normal. was no “normal” to return to. Their deck of great and calamitous events. Of course, after such events, “normal” wasn’t reshuffled. It was replaced entirely. To paraphrase Alan Bennett for is rarely the state to which life returns. Those are the questions that prompted Ha family audience: history is simply one The deck is never shuffled the same way me to write The Whipping Man. thing after another. twice. A new “normal” takes the place of the old. In researching the end of the war and But that is the history of kings, nations the very eventful month of April 1865, I and armies and it ignores completely the How, for example, do you pass through came across a reference to the fact that people who are caught up in its unyielding the gates of a newly-liberated Auschwitz Passover began that year on April 10, progression. To look at it from a different and begin to live again? How, when the the day immediately following Lee’s sur- perspective, history is the story of life machetes are finally put away, does render at Appomattox. This meant that interrupted, suspended momentarily, and a Rwandan return to her quotidian as Jews across the nation were celebrat- then put back differently. History is the routines? And how, after centuries of ing this sacred ritual commemorating constant reshuffling of the deck of cards bondage, do slaves become free people? their ancestors’ freedom from bondage in that is the human experience. What is that first morning like? How long Egypt, a new kind of exodus was occur- does it take to register the immensity of ring all around them. The parallels were What fascinates me are the moments that that change? What, simply, do you do? irresistible. history skips over: when calamity subsides For American slaves, in particular, there (continued on pg. 16)

PErFO RMANCEs MAGAZINE 15 (continued from pg. 15) The Whipping Man began in my not consider themselves “typical” mind with the image of an old man slave owners. They don’t own a performing a seder. Recently freed great plantation. They don’t own from a lifetime of slavery, he speaks hundreds of slaves. What few they the words of the Haggadah with a do own, they don’t even consider newfound understanding of their to be slaves. They are servants, meaning. The words are hope- treated no differently than the ful, a promise of justice to come. servants in the homes up north. Something ancient and distant They even allow and encourage suddenly becomes immediate. The their slaves to adopt Judaism, just past and the present intermingle as as so many Christian slave own- he becomes a part of a history that ers allowed and encouraged their began thousands of years before slaves to adopt Christianity. his birth and that arrives finally at the moment he takes his first The result, I hope, is an inexorable psychological and emotional step link between the African American towards emancipation. The prom- and Jewish imperatives of remind- ised justice has finally arrived. ing successive generations about their people’s past. There has al- My challenge, of course, was how ways been a conversation between Matthew Lopez in rehearsal. to depict a slave who knows the Black and Jewish histories in the ceremony well enough to perform United States. It is a conversation it. Or that it even exists. Who would based, I believe, on a similar history. this person be? In attempting to In The Whipping Man, that similar find the answer to that question, history becomes a shared one. I discovered two books that were invaluable to my research: Bertram And so, in one southern home in W. Korn’s American Jewry and the April 1865, two slaves and their Civil War and Robert N. Rosen’s former master, all self-identifying FOR FURTHER READING: The Jewish Confederates. Jews, celebrate the observance of The Jewish Confederates Pesach together. As they do, they Robert N. Rosen The idea of Jewish slave own- each come to realize the immensity American Jewry and the Civil War ing had never occurred to me. It of the moment they find them- Bertram Korn seemed completely out of step selves in and of the tremendous My Bondage and My Freedom with Jewish history. How could a scars, both real and psychological, Frederic Douglass people whose identity was forged they bear from their encounter April 1865: The Month That in part by their experience as with slavery. It is the story about Saved America slaves own slaves themselves? How when history ends and life begins Jay Winik could a family sit every year at their again, much like the springtime in Richmond Burning seder, speaking the words of the which the story is set. Nelson Lankford Haggadah and look at the faces of the slaves serving their meal and The Whipping Man could never not make the connection between tell that story in its entirety. No what they were saying and what one piece of fiction ever could. My they were practicing? hope is that this play tells the story of the first tentative steps of the From this sprang the DeLeon long, painful, hopeful journey that household of Richmond, Virginia. began in April 1865 and continues Upstanding, decent and deeply today. religious, the DeLeons treat their • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • slaves with dignity and respect. Matthew Lopez is the author They, like many Richmonders, do of The Whipping Man.

16EO P RF RMANCES MAGAZINe Profiles

Avery Glymph credits, especially as Mac on “Night Caldwell Theatre in Boca Raton, Florida (John) Court,” as well as regulars on “Buffalo and will open at Barrington Stage is honored to Bill,” “Love & War,” “Ink,” and “Buddy Company in the Berkshires later this make his Old Faro,” recurring roles on “Home month. Matthew’s play Tio Pepe was Globe debut. He Improvement” and now to recur in “The presented at The Public Theater in New most recently Secret Life of the American Teenager.” York as part of Summer Play Festival appeared in The Mr. Robinson has performed countless 2008. Other works include Zoey’s Overwhelming guest roles in shows such as “House,” Perfect Wedding and Reverberation. and Stick “Big Love” and “Cold Case.” He also is a Matthew’s work has been heard and Fly at the Cammie Award Winner for the made- developed at Manhattan Theatre Club, Contemporary for-television movies Miss Lettie and The New Group, McCarter Theatre American Me and Secret Santa. His television Center, Ars Nova and the Lark Play Theater Festival. credits also include “Roots: The Next Development Center. He is a member Mr. Glymph’s Broadway credits include Generations,” “King” and “Buffalo of the Ars Nova Play Group and is a The Tempest and his Off Broadway Soldiers.” His film credits include 2010/2011 Old Globe Playwright-in- credits include McReele (Roundabout Apocalypse Now, The River, Gray Lady Residence. Theatre Company), Antony and Down, Beowulf, Set It Off, Antwone Cleopatra and Troilus and Cressida (NY Fisher, Even Money, Jackson, Steam, Giovanna Sardelli Shakespeare Festival), Maid (Lincoln Natural Disasters, Sweet Kandy and (Director) Center Theater) and ‘Hope’ Is the Thing House Bunny. has directed world premieres of Lila With Feathers (Drama Department). His Rose Kaplan’s Wildflower, Rajiv Joseph’s regional appearances include Angels Mark J. Sullivan plays Animals Out of Paper (Joe A. in America (Studio Arena and Syracuse (Caleb) Callaway Award for Outstanding Stage), Spunk and The Tempest (Actors was last seen at Director, Lucille Lortel Nomination Theatre of Louisville), Lost Creek The Old Globe Outstanding Play), All This Intimacy Township (Crossroads Theatre, Regional in The Sisters (Second Stage Theatre), The Leopard Tony Award Season) and Fences (Cape Rosensweig. and The Fox (Alter Ego Productions), Fear Regional Theatre). His film and His Broadway Huck & Holden (Cherry Lane Theatre), television credits include “Ugly Betty,” credits include Absalom by Zoe Kazan (Actors Theatre “Oz,” “Law and Order,” “Law and Order: To Be or Not to of Louisville Humana Festival), Adriana Criminal Intent,” “One Life to Live,” Be (Manhattan Sevan’s Taking Flight (Goodman “The Electric Company,” “The X-Files,” Theatre Club). Theatre, Center Theater Group, San “Becker,” “Cosby,” “Spin City,” “Titus,” Mr. Sullivan’s Diego Repertory Theatre and Sundance “The Beat,” Last Ball, He Got Game, 13 Off Broadway Institute Theatre Lab). She spent two Conversations About One Thing, Shift credits include The Dining Room (Keen seasons as Director of the Shakespeare and I’m with Lucy. Also a playwright, his Company, Drama Desk Award) and Sedona Institute and two seasons as the first play had its reading at Louisville and Surface to Air (Symphony Space). Artistic Director of Studio Tisch. Sardelli is in plans to mount this fall. He received Sullivan’s regional credits include A received her MFA in Acting from NYU his BFA from North Carolina School of Midsummer Night’s Dream (Actors and is a graduate of their Director’s the Arts. Theatre of Louisville), The Dining Room Lab. At NYU, she has directed shows (The Dorset Theatre Festival), After and presentations for the Graduate Charlie Robinson Ashley (Helen Hayes Award nomination) Acting Program, The Graduate Musical (Simon) and Big Death, Little Death (Woolly Theatre Writing Program, the Stella recently Mammoth Theatre Company), Measure Adler Conservatory and the Dramatic appeared as Troy for Measure (Helen Hayes Award) and Writing Program. Sardelli is on the in South Coast Melissa Arctic (Folger Shakespeare faculty of the Graduate Acting Program Repertory’s Theatre), A Midsummer Night’s Dream and the Department of Dance at NYU. production of (Shakespeare Theatre Company), Her upcoming projects include Dreams August Wilson’s Shear Madness (Kennedy Center for of the Washer King (Playwright’s Realm), Fences, a role the Performing Arts) and The Cripple The Pavilion and Murder on The Nile for which he of Inishmaan (The Studio Theatre). His (Dorset Theatre Festival) and Apple previously won television credits include “Kings,” “As the Cove by Lynn Rosen (Women’s Project). the 2006 Ovation World Turns” and “One Life to Live.” Award for Best Robert Mark Morgan Actor in a Play, and portrayed for six Matthew Lopez (Scenic Design) months at Oregon Shakespeare Festival. (Playwright) is thrilled to be back at The Old Globe He was also seen at South Coast The Whipping Man premiered at Luna where he last designed I Just Stopped Repertory in The Piano Lesson and Stage in Montclair, New Jersey and By to See the Man. His regional credits the world premiere of My Wandering has received productions at Penumbra include The Glass Menagerie, Emma, Boy. He is best known for his television Theatre Company in St. Paul, Minnesota, and the upcoming Bill W. & Dr. Bob (The

PErFO RMANCEs MAGAZINE 17 Profiles

Cleveland Play House), A Christmas Repertory Theatre, Intiman Theatre, She has received the Ruth Morley Story (2006), Major Barbara and Bad Portland Stage Company, Shakespeare Design Award and teaches at Sarah Dates (San Jose Repertory Theatre), & Company, Cleveland Play House, Lawrence College. www.Jillduboff.com The Diary of Anne Frank, Jesus Hates Evidence Room, Virginia Opera, and Me, Lobby Hero, and Copenhagen Ordway Music Theater. Mr. Chu is Claudia Hill-Sparks (Denver Center Theatre Company), the lighting designer for Chamecki/ (Vocal and Dialect Coach) Saint Joan, Jekyll & Hyde, and The Lerner (Visible Content, Hidden Forms, I has coached over 60 Globe productions Rabbit Hole (The Repertory Theatre Mutantes Seras and Please Don’t Leave as Vocal and Speech Coach from 1993- of St. Louis), Subject Tonight is Love Me), performed in the United States 2001. Her most recent work for The Old (Alliance Theatre), The Rainmaker, The and Brazil. He has received multiple Bay Globe includes Cornelia, Working, Since Dazzle and A Moon for the Misbegotten Area Theatre Critics Circle Awards and Africa and the 2008 and 2009 Shake- (American Conservatory Theater), a “Drammy” Award for Best Lighting. speare Festivals. Her Broadway credits A Streetcar Named Desire and Lydia He holds degrees from Northwestern include Dance of the Vampires. Her Off (Marin Theatre Company). Mr. Morgan is University and New York University. He Broadway credits include A Midsummer an Assistant Professor in Scenic Design teaches lighting design at California Night’s Dream (The Public Theater), at the University of Washington School Institute of the Arts. Polish Joke (Manhattan Theatre Club), of Drama. www.morgansetdesign.com Time and the Conways (The Epic The- Jill BC Du Boff ater Company) and Stone Cold Dead Denitsa D. Bliznakova (Sound Design) Serious (The Edge Theater Company). (Costume Design) recently designed The Constant Her regional credits include Travesties, is happy to return to The Old Globe the- Wife, The Good Body, Bill Maher: Arms and the Man, A Christmas Carol, atre where she has previously designed Victory Begins at Home, Three Days The Little Foxes and The Way of the The Merry Wives of Windsor and Opus. of Rain (associate) and Inherit The World (Huntington Theatre Company), Her design work elsewhere includes Wind (associate) on Broadway. Her A Christmas Carol (North Shore Music productions at The Falcon Theatre, A Off Broadway credits include Lincoln Theatre). Her television credits include Noise Within, New Repertory Theatre, Center Theater, Atlantic Theater Dialect Coach for Richard Easton as Ben Long Wharf Theatre, Williamstown Company, Manhattan Theatre Club, Franklin for PBS. She was on the faculty Theatre Festival and others. Her previ- MCC Theatre, Playwrights Horizons, of The Old Globe/USD Professional ous work also includes touring shows The Public Theater, Vineyard Theatre, Actor Training Program from 1993-2001, for the Kaiser Permanente’s Educational Second Stage Theatre, New York Boston University BFA Professional Theatre Program and projects for the Theatre Workshop, Women’s Project, Actor Training Program from 1988-1993, Santa Fe Opera, San Diego Opera and New Georges, Flea Theatre, Cherry The American Academy of Dramatic “Law & Order.” Her design and stylist Lane Theatre, Signature Theatre Arts and The Wilma Theater. She re- credits for other media include music Company, Clubbed Thumb, Culture ceived her MFA in Acting from Temple videos for Switchfoot, Bigg Steele, John Project, Actor’s Playhouse, The New University. Mayer; short films:Midgetman , Sleep in Group, Promenade Theater, Urban Heavenly Peace and La Cerca; feature Stages, John Houseman Theatre, Diana Moser filmsJohnny Got His Gun and Under- Douglas Fairbanks Theatre, Soho Rep (Stage Manager) cover Kids. Ms. Bliznakova is currently an Theatre, adobe theatre company. Ms. Du recently stage managed Lost in Yonkers Assistant Professor at San Diego State Boff’s regional credits include Hartford at The Old Globe. Her additional credits University where she leads the MFA Stage, The Children’s Theatre Company at The Globe include I Do! I Do!, The Costume Design program. of Minneapolis, Bay Street Theatre, La Price, Opus, Six Degrees of Separation, www.denitsa.com Jolla Playhouse, Cincinnati Playhouse, The Pleasure of His Company, The Westport Country Playhouse, Berkeley Glass Menagerie, In This Corner, Lap Chi Chu Repertory Theatre, Portland Stage, Long 2007 Summer Shakespeare Festival, (Lighting Design) Wharf Theatre, Alley Theatre, Kennedy Restoration Comedy, Christmas on has recently designed Medea, starring Center, New York Stage and Film, South Mars, A Body of Water, Lobby Hero, Annette Bening in Los Angeles and The Coast Repertory, Humana Festival of Fiction and The Intelligent Design of Good Negro at The Public Theater in New American Plays, Williamstown Jenny Chow. Ms. Moser’s regional New York (Lucille Lortel Nomination for Theatre Festival, Berkshire Theatre credits include La Jolla Playhouse, San Best Lighting). His New York City design Festival and Adirondack Theatre Diego Repertory Theatre, Arena Stage, credits include The Public Theater, New Festival. Her film and television credits The Repertory Theatre of St. Louis, York Theatre Workshop, Second Stage include We Pedal Uphill, “Comedy New York Theatre Workshop, Berkshire Theater, Dance Theater Workshop, PS Central Presents: Slovin & Allen” and Theatre Festival, The Children’s Theatre 122, The Kitchen, Danspace, Primary “NBC Late Fridays.” Ms. Du Boff was the Company of Minneapolis and Arizona Stages, and Juilliard Opera. His regional contributing producer for PRI’s Studio Theatre Company. Ms. Moser received designs include the Mark Taper Forum, 360. She has received nominations for her MFA in directing from Purdue Geffen Playhouse, Oregon Shakespeare Spatter Pattern and Miss Julie (Drama University. When not doing theatre, she Festival, Arena Stage, Hartford Stage, Desk Awards) and Spatter Pattern and splits her time between Nova Scotia and Dallas Theater Center, San Jose Umbrella (Henry Hewes Design Awards). the classic wooden sailboat, Simba I.

18EO P RF RMANCES MAGAZINe Louis G. Spisto Best Director and Musical), Henry IV Confederation of the Arts. His (CEO/Executive Producer) (Tony Award), Hairspray (Tony Award), numerous honors include The San Diego directs both the artistic and The Invention of Love (Tony nominations: Union-Tribune list of 25 persons who administrative activities of The Old Best Director and Play), The Full Monty shaped the city’s history; the Governor’s Globe. During his tenure, Mr. Spisto (Tony nominations: Best Director and Award for the Arts; University of Arizona spearheaded the return of the Musical), More to Love, Labor Day, St. Alumni Association’s Outstanding Shakespeare Repertory Company, Louis Woman, Pride’s Crossing, The Citizen, for his contribution to their revitalized the Globe’s new works Little Foxes, Hapgood (Lucille Lortel Fine Arts department; San Diego State program, resulting in ten world Award for Direction, 1995), Damn University’s Outstanding Alumnus; premiere plays and nine world Yankees (Tony nomination Best Musical Conservator of American Arts Award premiere musicals, and produced Revival), Two Shakespearean Actors from American Conservatory Theater; more than 100 productions. Under (Tony nominations: Best Director and the San Diego Press Club Headliner Mr. Spisto’s leadership, ticket sales Play), Porgy and Bess for Houston Award; San Diego Gentleman of and contributions have increased Grand Opera and Broadway (Tony Distinction Award; and a combined substantially, and the fiscal health of the Award), as well as Radio City Music Hall, tribute from the Public Arts Advisory organization has been strengthened to Il Trittico, Metropolitan Opera. RECENT Council and the San Diego County support the expanded artistic vision. AWARDS: 2008 Theatre Hall of Fame Board of Supervisors. Mr. Noel was Mr. Spisto has successfully led the Inductee, 2004 Thomas Degaetani particularly proud of the following two Globe’s $75 million Capital Campaign Award (USITT), 2002 “Mr. Abbott” honors representing education and and managed the development of the Award (SDCF), 2001 Joan Cullman theatre: Honorary Doctor of Humane Conrad Prebys Theatre Center, which Award for Extraordinary Creativity, 2001 Letters, University of San Diego and includes a state-of-the-art arena theatre Joe A. Callaway Award (SDCF), the the annual Awards for Excellence in and education center. An advocate of Drama League’s Julia Hansen Award for Theatre named in his honor by the San arts education, Mr. Spisto created a Excellence in Directing, 2001. Honorary Diego Theatre Critics Circle. In 2007, number of new programs that serve tens Doctorate, University of Michigan. he received the National Medal of Arts of thousands of young San Diegans each Honorary Doctor of Humane Letters, – the nation’s highest honor for artistic year. These programs include a bilingual University of San Diego. Recipient of excellence – in a ceremony at the White summer Shakespeare intensive, a major ArtServe Michigan’s 2008 International House. Craig Noel died on April 3, 2010 initiative in Southeastern San Diego Achievement Award. Mr. O’Brien is a at the age of 94. which includes the development of new member of the College of Fellows of the works for younger and more diverse American Theatre. audiences, and free student matinees of the Globe’s regular productions. Mr. Craig Noel Spisto holds a Master’s degree from the (Founding Director) University of Wisconsin and a Bachelor’s was first appointed director in 1939, degree from the University of Notre directing 15 productions prior to Dame. He has served as chief executive World War II. Since then he directed for the Pacific Symphony, Detroit more than 200 plays of all styles and Symphony and American Ballet Theatre. periods and produced an additional 270 productions. His vision for The Old Jack O’Brien Globe resulted in the establishment (Artistic Director Emeritus) of the Shakespeare Festival and the served as the Artistic Director of The San Diego Junior Theatre in the late Old Globe from 1982 through 2007. ‘40s, the expansion to two theaters in Recent Globe productions: Dirty Rotten the ‘50s, Globe Educational Tours in Scoundrels, Imaginary Friends, Twelfth the ‘70s and Teatro Meta and the Old Globe/University of San Diego MFA This theatre operates under an agreement Night, The Full Monty, The Seagull, The between the League of Resident Theatres Magic Fire, Dr. Seuss’ How the Grinch program in the ‘80s. During the 1940s, and Actors’ Equity Association, the union of Mr. Noel served as dialogue director professional actors and stage managers in the Stole Christmas! WEST END: Love United States. Never Dies (sequel to Andrew Lloyd for the 20th Century Fox Studios and Webber’s The Phantom of the Opera), was the former director of the Ernie Hairspray (Olivier Award for Best Pyle Theatre in Tokyo. Described by The Directors are members of the Society of Stage Directors and Choreographers, an Musical, Best Director nomination). Variety as the eminence grise of San independent national labor union. BROADWAY: Impressionism (Creator/ Diego theatre, Mr. Noel is one of the Supervisor), Dr. Seuss’ How the Grinch few San Diegans to have had an entire This Theatre operates under an Agreement with the International Alliance of Theatrical Stage Stole Christmas!, The Coast of Utopia year (1987) proclaimed in his honor, Employees Local No. 122. (2007 Tony Award for Best Direction and to be named one of San Diego’s of a Play, which won a total of seven “Living Treasures.” He was a founder of Tony Awards, including Best Play), Dirty the California Theatre Council and a The Scenic, Costume, Lighting and Sound former vice president of the California Designers in LORT Theatres are represented by Rotten Scoundrels (Tony nominations: United Scenic Artists Local USA-826, IATSE.

PErFO RMANCEs MAGAZINE 19 Annual Fund Donors

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

Benefactors ($100,000 and above)

The Legler Benbough Foundation Audrey S. Geisel/The San Diego The James Irvine Foundation City of San Diego Commission for Foundation Dr. Seuss Fund Donald & Darlene Shiley Arts & Culture Globe Guilders The Shubert Foundation The Helen K. and James S. Copley The County of San Diego The County of San Diego Foundation at the recommendation of at the recommendation of Vice Chairman Bill Horn Chairwoman Pam Slater Price

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

Bank of America Peter Cooper & Norman Blachford The Bernard & Dorris Lipinsky John A. Berol Advised Fund at the San Diego Fund of the Jewish Community Mary Ann Blair Human Dignity Foundation Foundation California Bank & Trust Valerie & Harry Cooper National Endowment for the Arts J. Dallas & Mary H. Clark Fund at Edgerton Foundation Conrad Prebys & Debra Turner The San Diego Foundation HM Electronics, Inc. Qualcomm, Inc. Karen & Donald Cohn Joan & Irwin Jacobs Fund of the Mickey Stern Jewish Community Foundation Wells Fargo Sheryl & Harvey White Foundation

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

Mary Beth Adderley & Kathryn & John Hattox E. Hield and Robert R. Hield Elizabeth Adderley Barbara Kjos Endowment Fund American Express National Corporate Theatre Fund Sempra Energy Alan Benaroya The San Diego Foundation, a grant Sheraton San Diego Hotel & Marina Arthur & Sophie Brody Fund of the made possible by the Colonel Gillian & Tony Thornley Jewish Community Foundation Frank C. Wood Memorial Fund; Union Bank Cohn Restaurant Group/ Ariel W. Coggeshall Fund; U.S. Bank Prado Restaurant Kantor-Lebow-Stroud Memorial Erna & Andrew Viterbi Continental Airlines Endowment Fund; and Mary Mandell Weiss Charitable Trust

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

Anonymous Lee & Frank Goldberg Renee Schatz Jane Smisor Bastien Leonard & Elaine Hirsch Jean & Gary Shekhter Richard & Kathy Binford The Hull Family Patsy & Forrest Shumway Barbara Bloom Deni & Jeff Jacobs Ms. Jeanette Stevens Pamela & Jerry Cesak Daphne H. & James D. Jameson Iris & Matthew Strauss Elaine & Dave Darwin Jo Ann Kilty Anne Taubman & David Boyle Mr. & Mrs. Brian Devine Dr. Ronald & Mrs. Ruth Leonardi Evelyn Mack Truitt Nina & Robert Doede Sue & John Major Brent V. Woods & Laurie C. Mitchell Dr. & Mrs. Robert Epsten Dr. Patricia Montalbano June E. Yoder Pamela A. Farr Allison & Robert Price Carolyn Yorston-Wellcome Danah H. Fayman Price Family Charitable Fund Robert & Deborah Young Hal & Pam Fuson San Diego Tourism Robert Gleason & Marc Matys Promotion Corporation

20EO P RF RMANCES MAGAZINe FOUNDER CIRCLE Martha & George Gafford Merle Wahl Linda Terramagra ($5,000 to $9,999) Deede Gales Mary R. Warkentin Celeste & Gene Trepte Anonymous Barbara & Albert Garlinghouse Jan Harden Webster & Raul Ortega Stan & Anita Ulrich Lawrence G. Alldredge & Bill & Judy Garrett Chris & Pat Weil Rosetta & Michael Volkov Dawn Moore Drs. Thomas H. & Jane D. Gawronski Helene & Allan Ziman Brendan M. & Kaye I. Wynne The Louis Yager Cantwell Private Sheila & Tom Gorey Christy & Howard Zatkin Foundation Ms. Cheryl Haimsohn ($1,500 to $2,499) Nicole A. Clay Norm Hapke & Valerie Jacobs Hapke Anita Busquets & William Ladd GOLD The Colwell Family Fund at Drs. Patrick Harrison & Lisa & David Casey ($500 to $999) The San Diego Foundation Eleanor Lynch Ron & Devora Eisenberg - Anonymous (3) R. Patrick & Sharon Connell Susan & Dr. Ronald Heller Great News! George Amerault Bernard J. Eggertsen & Dr. & Mrs. Peter K. Hellwig Joy & Dr. Fred Frye Drs. Michael & Gabriela Antos Florence Nemkov Rhonda Heth & Thomas Mabie Elaine & Murray Galinson John & Carolyn Backman Carol Spielman-Ewan & Joel Ewan Dr. & Mrs. Harry F. Hixson, Jr. Gary & Carrie Huckell Richard & Linda Basinger Diane & Elliot Feuerstein Dr. David K. Hostetler William & Edythe Kenton Madelyn Bennett Mary Ann & Arnold Ginnow Richard & Janet Hunter Sherry & Larry Kline Nicholas B. Binkley Alexa Kirkwood Hirsch Hut cheson Family Fund at Christopher & Cheryl Lee Bob & Joyce Blumberg Carol & George Lattimer The San Diego Foundation Robin J. Lipman & Miro Stano Mr. & Mrs. Blaine A. Briggs Peter & Inge* Manes Al Isenberg & Regina Kurtz Elizabeth Meyer Nancy Brock Paul I. & Margaret W. Meyer Andr ew & Sonia Israel Fund of the Akiko Charlene Morimoto & Ruth Mary Campbell Money/Arenz Foundation, Inc. Jewish Community Foundation Hubert Frank Hamilton,Jr. Beth & Tim Cann Harle Garth Montgomery Al* & Pat JaCoby Nancy & James Mullen Greg & Loretta Cass Arthur & Marilyn Neumann Mary & Russell Johnson Dolly* & Jim Poet Luc Cayet & Anne Marie Pleska The Kenneth T. & Eileen L. Norris Jackie Johnston-Schoell Marie & Don Prisby Lynne Champagne & Wilfred Kearse Foundation William Karatz Marisa SorBello & Peter Czipott Betsy Dam Brian & Paula Powers Marge & Jerry Katleman Pat & Jack Thomas Dr. & Mrs. William Davidson Jeannie & Arthur Rivkin Bob* & Gladys King Pamela J. Wagner Wes & Elaine Dillon Robert & Julie Sullivan Ken & Sheryl King Z.J. Waxenberg Fund of the Dr. Donald & Eilene Dose Deborah Szekely John & Cindy Klinedinst Jewish Community Foundation Dorothy R. Dring The Thursday Club Foundation Jane & Ray Klofkorn James & Ellen Weil Patricia Eichelberger Dixie & Ken Unruh Curt & Nancy Koch Shirli Fabbri Weiss William Eiffert & Leslie Hodge Brooke & Dan Koehler Dr. Steve & Lynne Wheeler Paul & Clare Friedman CRAIG NOEL CIRCLE Rosalie Kostanzer & Mike Keefe Dr. & Mrs. Steven Garfin As of July 2008, the Craig Noel Circle Bob & Laura Kyle DIAMOND Peter & Christine Gault includes gifts of $2,500 - $4,999. This Dr. Eric Lasley & Judith Bachner ($1,500 to $2,499) Arthur & Judy Getis change is being phased in as patrons Terry & Mary Lehr Anonymous Norman & Patricia Gillespie renew their gifts. For donors who con- Ms. Sherrill Leist tribute to the Paver Campaign, the Mrs. Lazare F. Bernhard Louise & Doug Goodman phase-in period is up to five years. James & Pamela Lester Ronda & Stanley Breitbard Robert & Edry Goot Jerry Lester, M.D./Rosarito, Mexico ($2,500 to $4,999) Dr. & Mrs. Robert M. Callicott Drs. Barbara & Leonard Gosink Dr. & Mrs. Wayne Akeson Sandy & Arthur Levinson Enid & Martin Gleich Chris Graham & Michael Albo Gail Andrade and John & Mathew & Barbara Loonin Webster & Helen Kinnaird Carol & Don Green Jennifer Andrade Merriel F. Mandell, Ph.D. Joy & Ronald Mankoff Theodore Gryga Anonymous (2) Charlie & Jackie Mann Ruth & Jim Mulvaney Alex & Mary Hart Mr. & Mrs. Richard Baldwin Elizabeth & Edward McIntyre Susan Parker Mr. & Mrs. Arnold Hess Diana J. Barliant & Nowell Wisch Harold O. McNeil Peggy Price Mr. Stephen Hopkins & Melissa Garfield Bartell & Rebecca Moores Susan Steele & Mike Conley Dr. Carey Pratt Michael Bartell Mr. & Mrs. David Mulliken Viviana Ibanez Joan & Jeremy Berg Joyce & Martin Nash PLATINUM Susan D. Inot Charles & Charlotte Bird National Alliance for Musical Theatre ($1,000 to $1,499) Isabella Fund at The San Diego Paul Black Eileen & Lawrence Newmark Edward Anderson Foundation Dr. Herman & Irene Boschken Tom & Lisa Pierce Dr. Bob & Jill Andres Edward & Linda Janon Dr. & Mrs. Edgar D. Canada Matthew & Judith Pollack Jeff & Donna Applestein Dr. & Mrs. Clyde W. Jones George & Ellen Casey Mo & Bill Popp Gar y & Barbara Blake Family Fund of Kathy & Rob Jones Carol & Rudy Cesena Dr. & Mrs. Daniel Porte the Jewish Community Foundation Kenneth & Marilyn Jones Marsha & Bill Chandler Joanne Powers Sandra & Harry Carter Nancy Jones e Pratt Memorial Fund at Union Carol & Jeff Chang Th Roger Cornell, M.D. David & Susan Kabakoff Bank of California Garet & Wendy Clark Ken Crouch Patricia & Alexander Kelley Joseph & Jane Rascoff Jack & Carol Clark Peter & Doris Ellsworth Gerald & Phyllis Kelly Sarah B. Marsh-Rebelo & Ms. Heidi Conlan/ In Memory of John A. Geisel Kaaren H. Kerlin The Sahan Daywi Foundation John G. Rebelo Mr. & Mrs. Arthur A. Greenberg Gayle & Jerry Klusky Richard & Stephanie Coutts Mrs. Charlotte Rees Leo S. Guthman Fund Bill & Linda Kolb Susan B. Cowell Roger & Christine Roberts Richard & Candace Haden Dr. Marvin Kripps Gigi & Ed Cramer Nancy J. Robertson Pat & Rick Harmetz LABS, Inc./Silvia Dreyfuss Ann & John Davies Warren & Beverly Sanborn Dr. & Mrs. James E. Lasry Sherry & Rick Levin Darlene G. Davies in memory Gabriela & Charles Sanders Don & Mary Jane Lincoln Marshall & Judy Lewis Fund of the of Lowell Davies Sanderson Family Donor Advised Dr. Robert & Marcia Malkus Jewish Community Foundation Pat & Dan Derbes Fund at the Rancho Santa Jasna Markovac & Gary Miller Dr. & Mrs. David D. Lynn Mrs. Philip H. Dickinson Fe Foundation Valorie McClelland Edward & Nancy Lyon Jay & Julie Sarno Jim & Sally Ditto Dr. & Mrs. M. Joseph McGreevy Carl Maguire & Margaret Sheehan Dee E. Silver, M.D. Marion Eggertsen Judith & Neil Morgan Jeanne Maltese Herbert $ Elene Solomon Mr. & Mrs. Ira S. Epstein Elspeth & Jim Myer Drs. Betty Joan Maly & John Meyers Nancy & Alan Spector and Family Carol Fink Jack & Virginia Oliver Ron & Mercy Mandelbaum Nancy Steinhart & Mary & David Fitz Dr. Julie Prazich & Dr. Sara Rosenthal F. Dale & Lois Marriott Rebecca Goodpasture Susanna & Michael Flaster Alice & Lewis Silverberg JoAnne D. Marugg Hannah & Eugene Step Jean & Sid Fox Alan & Esther Siman Rev. Stephen J. Mather Cherie Halladay Tirschwell Samuel I. & John Henry Fox Faustina F. Solis Ronald McCaskill & Foundation at Union Bank Ric Torres Nancy & George Stassinopoulos Robyn Rogers of California Carol Vassiliadis Jack & Louise Strecker Mr. & Mrs. William McKenzie Millicent & Charles Froehlich Doris & Lou Vettese Margery & John Swanson Estelle D. & Jim Milch Jordine Skoff Von Wantoch Carole S. Miller

PErFO RMANCEs MAGAZINE 21 Annual Fund Donors Public Support

(continued) Rena Minisi & Rich Paul Sharon S. Storey & This list is current as of Steve & Jill Morris Theodore A. Milby April 11, 2010 Susan & Charles Muha Helga & Sam Strong Shirley Mulcahy Ron & Susan Styn As announced in July 2008, the Katherine Newton Clifford & Kay Sweet names of Annual Fund donors Mark Niblack Eric Leighton Swenson at the Silver level are published Barbara B. Oswalt Dr. Terry & Naomi Tanaka semi- annually, once in the Anthony Passante & Dr. Charles & Brita Tesar Shakespeare Festival program Maureen Hallahan Randy Tidmore Julius J. Pearl Fund at Lt. & Mrs. Jack E. Timmons and again in a winter Globe The San Diego Foundation Gertrude Trebon program. In Memory of Margaret Peninger Jeffrey & Sheila Truesdell Lawrence Roy Perrin Natalie C. Venezia & To learn more about supporting Kathleen H. Porter Paul A. Sager The Old Globe’s artistic, educa- Robert & Doris Reed R. Douglas Wallingford tion and community programs, Elaine Rendon* & Alicia Atun Jo & Howard Weiner please visit our website at Rowling Family Charitable Fund Mr. & Mrs. David Weinrieb www.TheOldGlobe.org, of The Jewish Community Judith L. White call Josh Martinez-Nelson at Foundation Katherine White (619) 231-1941 x2308 Jack & Carol Sanders Dennis & Carol Wilson or email Linda J. Seifert Cass Witkowski Family Major funding provided by the City of San Diego Com- [email protected]. Mr. & Mrs. Randall Silvia Bill & Betty Witman mission for Arts and Culture. The Old Globe is funded William Smith & Carol Harter RAdm. & Mrs. Guy Zeller by the County of San Diego at the recommendation of Gloria Penner Snyder & Chairwoman Pam Slater-Price, Vice-Chairman Bill Horn Bill Snyder *In Memoriam and The County of San Diego Board of Supervisors. Edward Stickgold & Steven Cande Corporate Donors

SEASON SPONSORS ($50,000 or more) FOUNDER CIRCLE ($5,000 - $9,999) M2000 Corporation San Diego Business Journal Bertrand at Mister A’s

CRAIG NOEL CIRCLE ($2,500-$4,999) Break-Away Tours Target Cushman Family Foundation WD-40 Company Designer Fabrics The Westgate Hotel Nordstrom

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

National Corporate Theatre Fund is a not-for-profit corporation created to increase PRODUCTION SPONSORS ($25,000 - $49,999) and strengthen support from the business community for ten of this country’s most distinguished professional theatres. The following foundations, individuals and corpo- rations support these theatres through their contributions to NCTF:

Bank of America McCarter & English LLP Bingham McCutchen MetLife Bloomberg Morgan Stanley BNY Mellon Wealth Management New York State Council on the Arts Bruce R. Ewing Ogilvy & Mather Christopher Campbell Ovation TV /Palace Production Center Paul, Weiss, Rifkind, Wharton & Garrison LLP Cisco Systems, Inc. Pfizer, Inc. Citi RBC Wealth Management Credit Suisse Richard Fitzburgh Dorsey & Whitney Foundation Samuel French, Inc. Dramatists Play Service, Inc. Sharp Electronics Ernst & Young Skadden, Arps, Slate, Meagher & Flom LLC Frank Orlowski Steven Bunson DIRECTOR CIRCLE ($10,000 - $24,999) George Smith The McGraw-Hill Companies Goldman, Sachs & Co. Theatermania.com/Gretchen Shugart City National Bank KPMG, LLP James S. Turley Thomas Quick Cyberknif e Centers Neiman Marcus John Breglio UBS John G. Miller USA Today of San Diego, Inc./ ResMed Foundation JPMorgan Chase Foundation Wells Fargo Radiation Medical Group Torrey Pines Bank KPMG Willkie Farr & Gallagher LLP Higgs, Fletcher & Mack, LLP Vistage International Marsh & McLennan Companies

22EO P RF RMANCES 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 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 Richard Easton Joseph Hardy Katherine McGrath Steven Rubin Conrad Susa Jacqueline Brooks Tovah Feldshuh Mark Harelik John McLain Ken Ruta Deborah Taylor Lewis Brown Monique Fowler Bob James Jonathan McMurtry Douglas W. Schmidt Irene Tedrow * Victor Buono* Robert Foxworth Charles Janasz Stephen Metcalfe Seret Scott Sada Thompson Wayland Capwell * Ralph Funicello Peggy Kellner* Robert Morgan David F. Segal Paxton Whitehead Kandis Chappell Lillian Garrett- Tom Lacy Ellis Rabb* Richard Seger James Winker Eric Christmas* Groag Diana Maddox Steve Rankin Diane Sinor Robert Wojewodski George Deloy Harry Groener Dakin Matthews Robin Pearson Rose Don Sparks G Wood* Tim Donoghue A.R. Gurney Deborah May Marion Ross David Ogden Stiers * in memoriam

Patron Information

TICKET SERVICES HOURS seating of latecomers is extremely disruptive. Latecomers Monday: Closed may be given alternative seating and will be seated at an Tuesday - Sunday: Noon – last curtain appropriate interval. Hours subject to change. Please call ahead. Phone (619) 23-GLOBE or (619) 234-5623 YOUNG CHILDREN FAX (619) 231-6752 Children five years of age and under will not be admitted to Email [email protected] performances.

ADMINISTRATION HOURS Monday - Friday: 9am – 5pm ELECTRONIC DEVICES AND CAMERAS Phone (619) 231-1941 Use of recording devices and cameras is not permitted. Website www.TheOldGlobe.org If you are wearing a digital watch or pager, or if you are Address The Old Globe carrying a cellular phone, please silence it prior to entering P.O. Box 122171 the theatre. San Diego, CA 92112-2171 ASSISTED LISTENING SYSTEM ORDERING TICKETS/CHANGE OF ADDRESS For the convenience of the hearing impaired, the assisted The Old Globe accepts Visa, Discover, MasterCard, or listening system is available in the Old Globe Theatre. American Express. Phone orders for non-subscribers Lightweight headsets may be obtained from the house are subject to a $3.50 per ticket service charge. Ticket manager prior to performances, free of charge. exchanges are subject to a service charge for non- subscribers. If you have moved, please notify the Ticket PUBLIC TOURS Services Office to update our records. Call (619) 234-5623 Go behind the scenes at The Old Globe to learn about the during Ticket Services hours, mail your change of address history, three stages, shop and craft areas. Open tours: most to the Ticket Services Office, or email us at Tickets@ Saturdays and Sundays at 10:30am. Groups by reservation. TheOldGlobe.org. $5 adults; $3 seniors and students. Phone (619) 231-1941 x2142 for information/reservations. UNABLE TO ATTEND? If you find you are unable to use your tickets, please give LOST AND FOUND them to a friend, or turn them in to the Ticket Services If you have misplaced a personal item while at the theatre, Office and receive a tax receipt for your donation. Tickets please contact the Ticket Services Office or Security as must be received by show time. soon as possible. If we are unable to locate your item, we’ll happily take down your contact information as well as a RESTROOMS AND TELEPHONES description of the item and contact you if it is found. The Restrooms are located in the lower lobby of the Old Globe Old Globe does not assume liability for items left behind on Theatre and adjacent to the Festival Theatre; pay phones premises. may be found in the lower Globe Theatre lobby and next to the Gift Shop. Natural Herb Cough Drops - Courtesy of Ricola USA, Inc., are available upon request. Please ask an usher. SEATING OF LATECOMERS Although we understand parking is often at a premium, the

PErFO RMANCEs MAGAZINE 23 Staff

Louis G. Spisto...... CEO/Executive Producer Dwaine Best, Josh Camp...... Craftsperson Josh Martinez-Nelson...... Development Manager, Michael G. Murphy...... General Manager David Medina...... Properties Buyer Individual Annual Giving Dave Henson...... Director of Marketing Pat Cain...... Property Master, Globe Diane Addis...... Membership Administrator and Communications David Buess...... Property Master, White Rachel Plummer...... Development Assistant Todd Schultz...... Director of Development Trevor Hay...... Property Master, Festival Diana Steffen...... VIP Donor Ticketing Mark Somers...... Director of Finance Richard Seer...... Director of Professional Training LIGHTING DONOR SERVICES Robert Drake...... Director of Production Nate Parde...... Lighting Director Lee Conavay, Monica Jorgensen, Barbara Lekes, Roberta Wells-Famula...... Director of Education Shawna Cadence...... Lighting Assistant Pamela Malone, Richard Navarro, Stephanie Reed, Judy Zimmerman...... Suite Concierges Tonnie Ficken...... Master Electrician, Globe ARTISTIC Jim Dodd...... Master Electrician, White MARKETING Jack DePalma...... Play Development Director Kevin Liddell...... Master Electrician, Festival Jeffrey Weiser...... Public Relations Director Samantha Barrie...... Casting Director Nic Carin, Mark Dewey, Noah Gehr, Bernadette Hanson...... Artistic Associate Areta MacKelvie, Ramon Wenn...... Electricians Mia Fiorella...... Audience Development Manager Kelly Barry...... Publications Coordinator PRODUCTION SOUND Carolyn Stephens...... Public Relations Assistant Debra Pratt Ballard.....Associate Director of Production Paul Peterson...... Sound Director Marissa Haywood...... Marketing Assistant Ron Cooling...... Company Manager Erik Carstensen...... Master Sound Technician, Globe Monica Jorgensen, Susie Virgilio ...... Marketing/Events Assistants Carol Donahue...... Production Coordinator Jeremy Siebert...... Master Sound Technician, White Craig Schwartz...... Production Photographer Desiree Williams...... Company Management Assistant ADMINISTRATION SUBSCRIPTION SALES STAGE MANAGEMENT Suzanne Bradley...... Assistant General Manager Scott Cooke...... Subscription Sales Manager Leila Knox...... Production Stage Manager Bryan Scott...... Executive Assistant Anna Bowen-Davies, Arthur Faro, Andy Fink, Rachel Hurn, Pamela Malone, Yolanda Moore, TECHNICAL INFORMATION TECHNOLOGY Jessica Morrow, Ken Seper, Cassandra Shepard, Benjamin Thoron...... Technical Director Dean Yager...... Information Technology Manager Jerome Tullmann, Grant Walpole Wendy Berzansky...... Associate Technical Director Thad Steffen...... Information Technology Asst. Mgr...... Subscription Sales Representatives Sean Fanning...... Resident Design Assistant John Ralston...... Information Technology Assistant Eric Kessler...... Assistant Technical Director TICKET SERVICES Eliza Korshin...... Technical Assistant/Buyer HUMAN RESOURCES Bob Coddington...... Ticket Services Manager Christian Thorsen...... Stage Carpenter/Flyman, Globe Sandra Parde...... Human Resources Director Marsi Fisher...... Ticket Operations Manager Carole Payette...... Charge Scenic Artist Dani Meister...... Group Sales Manager Edee Armand, Adam Bernard, MAINTENANCE Tony Dixon, Rob Novak Victoria Erbe, David Garcia...... Scenic Artists Randy McWilliams...... Facilities Manager ...... Lead Ticket Services Representatives Gillian Kelleher...... Master Carpenter Violanda Corona, Ismael Delgado, Miguel Gaspar, Brian Abraham, Kari Archer, John Boaz, Robert Dougherty...... Master Carpenter, Festival Roberto Gonzalez, Reyna Huerta, Jose Morales, Sarah Ditges, Katie Dupont, Merri Fitzpatrick, Jeremy Hutchison, Claire Kennelly, Cassie Lopez, Andrew Young...... Charge Carpenter, White Albert Rios, Maria Rios, Vielka Smith, Nicolas Torres, Leonardo Rodriguez ...... Building Staff Caryn Morgan, Carlos Quezada Chris Chauvet, Jason Chohon, Aaron Garcia, ...... Ticket Services Representatives Mark Henderson, Jack Hernandez, Eszter Julian, Bill Kalman, Daniel Klebingat, Josh Letton, PROFESSIONAL TRAINING PATRON SERVICES Laura McEntyre, Mason Petersen...... Carpenters Llance Bower...... Program Coordinator Mike Callaway...... Theatre Manager Maria Carrera, Cynthia Caywood, Ray Chambers, COSTUMES Gerhard Gessner, Jan Gist, Fred Robinson, David Carson, Brian Davis...... House Managers Stacy Sutton...... Costume Director Liz Shipman...... MFA Faculty A. Samantha Beckhart...... Front of House Assistant Charlotte Devaux Shields...... Resident Design Associate Jeannie Marie Galioto, Ben Seibert, Elaine Gingery...... Food and Beverage Manager Maureen Mac Niallais...... Assistant to the Director George Yé...... MFA Production Staff Haydee Aldas.....Food and Beverage Assistant Manager Shelly Williams...... Design Assistant/Shopper Missy Bradstreet,Michael Collins, Samantha Harper, EDUCATION Israel Mejia, Valerie Rhodes, Anne-Marie Shafer, Michelle Souza...... Design Assistant Ben Salazar-Dunbar...... Pub Staff Erin Cass, Wendy Miller...... Drapers Kim Montelibano Heil...... Education Associate Carol Green...... Speakers Bureau Coordinator Rose Espiritu, Stephanie Rakowski, Babs Behling, Anne Glidden Grace Stephanie Reed...... Gift Shop Supervisors ...... Assistant Cutters James Cota, Marisela De la Parra, Mary Miller...... Costume Assistant Jo Anne Glover, Brian Hammond, Jason Maddy, Sarah Price-Keating, Craig Rovere, SECURITY/PARKING SERVICES Joanna Stypulkowska...... Stitchers Jennifer Barclay Newsham...... Teaching Artists Rachel “Beahr” Garcia...... Security Supervisor Erin Carignan...... Craft Artisan-Dyer/Painter Irene Herrig...... Associate Security Supervisor Molly O’Connor...... Wig and Makeup Supervisor FINANCE Dallas Chang, Sherisa Eselin, Bernardo Holloway, Kim Parker...... Assistant to Wig and Makeup Supervisor Paula Nickodemus...... Senior Accountant Janet Larson, Jeffrey Neitzel Beverly Boyd...... Wardrobe Supervisor Trish Guidi...... Accounts Payable/Accounting Assistant ...... Security Officers Beth Merriman...... Globe Crew Chief Adam Latham...... Payroll Coordinator/ Patricia Ceja, Lee Conavay, Stephanie Eberl, Kristin Bongiovanni...... Globe Run Crew Accounting Assistant Nicole Hagemeyer...... Parking Lot Attendants Anna MacDonald...... White Crew Chief Tim Cole...... Receptionist Andrew Ashton, Isaac B. Cuevas.....V.I.P. Valet Attendant Marie Jezbera...... Rental Agent DEVELOPMENT PROPERTIES Marilyn McAvoy...... Major Gifts Director Neil A. Holmes...... Properties Director Annamarie Maricle...... Associate Director, Kristin Steva Campbell...... Assistant to the Director Institutional Grants Kristi Hummel-Rosen...... Assistant Bridget Cantu Wear...... Associate Director, Jack O’Brien...... Artistic Director Emeritus Planned Giving M.H. Schrenkeisen...... Shop Foreman Craig Noel...... Founding Director Rory Murphy...... Lead Craftsman Eileen Prisby...... Events Manager

24EO P RF RMANCES MAGAZINe