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Home , Lalo Guerrero, Twelfth Night (holiday)

JULIANNE ARGYROS STAGE / DECEMBER 10 - 23, 2004

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

presents LA POSADA MAGICA´

written and directed by Octavio Solis music by Marcos Loya

SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN MUSICAL DIRECTOR Christopher Acebo Shigeru Yaji Lonnie Alcaraz Marcos Loya

CHOREOGRAPHER PRODUCTION MANAGER STAGE MANAGER Linda Kostalik David Leavenworth *Jamie A. Tucker

HONORARY PRODUCERS Brian and Sadie Finnegan

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.

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CAST OF CHARACTERS (In order of appearance)

Horacio ...... *Miguel Najera Eli, Bones, Lauro ...... *Kevin Sifuentes Gracie ...... *Tiffany Ellen Solano Mom, Mariluz ...... *Crissy Guerrero Papi, Jose Cruz ...... *Mauricio Mendoza Refugio, Buzzard ...... *Sol Castillo Consuelo, Widow ...... *Denise Blasor Caridad, Widow ...... *Carla Jimenez Musicians, Ensemble ...... Marcos Loya, Lorenzo Martinez

SETTING Eve. The present.

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

PRODUCTION STAFF Casting Director ...... Joanne DeNaut Dramaturg ...... Jennifer Kiger Production Assistant ...... Jennifer Butler Costume Design Assistant ...... Julie Keen Assistant to the Lighting Designer ...... Tonya Moake Stage Management Intern ...... Heidi Westrom Additional Costume Staff ...... Catherine Esera Deck Crew ...... Ellen Juhlin

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.

Media Partner Official Airline Media Partner

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The Gift of Grace

hen I was commissioned to write a family cause I had just settled on that name for my protago- Christmas play for South Coast Repertory, I nist. How could she have known? She hadn’t read the Whad no idea there would be deep synchronici- play, nor had I spoken of it to her. ties with my own life. I simply thought I would write And yet here now, our another play for another theatre and that would be daughter was not only that. But while my talented collaborators (director coming into our house, José Cruz González and composer Marcos Loya) and I she was filling our toiled away on our first draft of Posada at the Sun- play. It seemed fit- dance Theatre Lab in Utah, I received a call from my ting. wife Jeanne that she was pregnant with our daughter, Gracie was and that changed everything. born on September The play suddenly revealed to me the essential 24, 1994, and the universal sanctity of life, the glowing sense of hope and love that babies al- ways suggest for the world. But the confluence of this play with my wife’s news also transformed the holiday of Christ- mas for me. The adoration be- stowed on the in- fant

Jesus spoke more Gracie has been played by three actresses since its pre- deeply and directly to miere in 1994: Ruth Livier (1994), left; Crissy Guerrero my new status as a fa- (1995-1998), top; and Tiffany Ellen Solano (1999-2004), ther. The Nativity be- with Mauricio Mendoza as Papi and Crissy Guerrero as Mom in 2002 and again this year. came a metaphor for the profound responsibility we all owe to the fragile innocent children we dare to bring play itself was delivered three months later. We into this brutal world. brought her for one of the first performances, and to Later that spring, as I continued to write Posada this day, I can’t help but feel that the wide brown eyes and Jeanne pored over all the books of baby names, of the infant Graciela have shone their grace on La she told me that she wanted to name our baby girl Posada Mágica. Graciela, or Gracie, for short. This stunned me be- –Octavio Solis DiROCCO PHOTOS: HENRY

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The Historical Procession of he familiar off as soon as it story of gets dark. Often Joseph and a child dressed TMary’s long- as an angel goes ago search for first, followed by lodgings is related two more chil- every year at dren carrying fig- Christmastime in ures of Mary and churches and Joseph on a homes the world small litter over. But in many adorned with Latin countries, it twigs. After actually comes to more boys and life again each De- girls come the cember, reenacted lead figures, then for nine consecu- come the grown- tive nights in the ups and last of festive ritual of Las all the musicians. Posadas, which Singing or chant- means inns, or ing special posa- lodgings. da songs, they all The idea of walk slowly commemorating A MUSICAL FAMILY PORTRAIT. The 2003 cast of ‘La Posada Mágica’ fea- along, each per- tured from left: Kevin Sifuentes, Lorenzo Martinez, Carla Jimenez, Elsa the Holy Family’s Martinez, Miguel Najera, Tiffany Ellen Solano, Mauricio Mendoza, Denise son carrying a journey to Bethle- Blasor, Marcos Loya and Sol Castillo. lighted candle. hem can be traced When the pro- to St. Ignatius Loyola, in the 16th Century. He sug- cession reaches the house chosen for that evening, it gested a Christmas novena, special prayers to be said divides into two groups, one representing the holy on nine successive days. In 1850, St. John of the pilgrims, the other the innkeepers. Cross made a religious pageant out of the proceed- The pilgrims line up behind the angel and the ings, and seven years later the nine-day remembrance children bearing the figures of the Holy Family, and was introduced to the Indians in Mexico by Spanish they file through the house until they arrive at a missionaries. closed door, behind which the innkeepers have sta- Solemn and deeply religious in feeling at first, tioned themselves. The pilgrims knock on the door the observances soon became imbued with a spirit of and call out in song, asking for shelter. A chorus of fun and, eventually, left the church and began to be voices on the other side asks: “Who knocks at my celebrated in people’s homes. The posadas have be- door so late in the night?” come community affairs with friends, relatives and The pilgrims respond. “In the name of Heaven neighbors sharing in the festivities and visiting a dif- I beg you for lodging—my beloved wife can no ferent house each evening. longer travel, and she is weary.” But the response is The posada begins with a procession that sets a stony, hardhearted refusal. “This is no inn. Go

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arate parties for different age groups— one for teenagers and another for the younger children. In Mexico City, espe- cially, 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 re- markable variety of posada styles can be found throughout Mexico and the Southwestern United States.

away!” After repeated requests 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 exhaust- ed travelers: “Enter, Holy pil- grims. 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 for fire- works 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 moment of all, the breaking of the fancifully decorated candy and nut- filled piñata. Sometimes there are sep-

Denise Blasor, Carla Jimenez, Crissy Guerrero and Mauricio Mendoza, above and Marcos Loya and Lorenzo Martinez, at right.

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The Magic of the Celebration

The Christmas Candle In Norway, candles that burn out on are thought to bring bad luck for the family. Another an- “It begins with one simple candle— cient tradition suggests that placing a candle in the so full of golden light” window symbolically lights the way of the Holy Fami- – La Posada Mágica ly as it provides a welcome for friends, neighbors and holiday guests. fter Gracie reluctantly joins her church’s posada, she sets about trying to extinguish not only the Acandle that has been lit in her honor, but all those that represent the other members of her group. With each flame she blows out, another character dis- favorite flower for the posada celebration is the appears until Gracie is left lost and alone. , with its beautiful red star shape. The The tradition of candles at Christmastime began Alegend of the poinsettia relates the story of a girl in medieval Europe, where a very large Christmas can- named Maria and her little brother Pablo. They were dle was burned until the in remem- very poor but always looked forward to the Christmas brance of the arrival of the Wise Men to . festival each year, when a large was set In Victorian times, candles represented good will to- up in the village church and the days leading up to ward those less fortunate. They were placed in win- Christmas were filled with posadas. But the two chil- dows from December 25 to January 6 to welcome any dren were saddened because they had no money to passersby needing shelter and food. buy presents. They especially wished to give some- Some people believe that flames from burning thing to the church, but they had nothing. candles frighten away evil spirits during the One Christmas Eve, Maria and Pablo set out for darkest days of church to attend . On their way they the year. picked some weeds growing along the roadside to present as their gift to the church. They were merci- lessly teased by the other children when they arrived with their humble offering, but Maria and Pablo knew they had given everything they had. As they began to place the weeds around the Nativity scene, the green top leaves turned into bright red petals. Soon the manger was surrounded by the bright red, star-shaped flowers and every- one in the church believed they were witness- ing a true Christmas miracle. Since that day, these beautiful flowers that bloom during the Christmas sea- son have been known as Flores de Noche Buena or “Flowers of the Holy Night.” , the Mexican name of the flower

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English-speakers call poinsettia, was discov- ered in Taxco and the valleys surrounding Cuernavaca. Known by the Aztecs in their native Nahuatl language as cuetlaxochitl, it is believed that they brought the plant from the tropical climate of Cuer- navaca to their Aztec highlands for cultivation in spe- cial nurseries. Prized for the curative properties of the pre- milk that dripped from the leaves, stems and flowers Columbian when cut, the plant also produced pigment from the times, when bark paper red leaves used to dye cotton fibers. (made by women from bark The poinsettia plant was brought from Mexico to collected by men in the spring) was America by Dr. Joel Roberto Poinsett (1770-1851), who used as an offering to the gods and a tribute to served as U.S. ambassador to Mexico following that the Aztec emperor, Moctezuma II. On certain holi- country’s independence from Spain. Poinsett fell in days, it decorated the idols in temples and palaces, love with the nochebuena plant when he first saw it and priests embodying the gods and the cosmos wore adorning the churches of Taxco in 1823. He sent elaborate costumes of colored paper. Cutouts of dark specimens back to the States to decorate his mansion paper were made to represent evil spirits, while white in South Carolina one Christmas, and upon his return paper represented good spirits and was used by heal- home several years later, he was astonished to find the ers and witches in their rituals. entire town of Charleston growing the festive red Color schemes selected for papel picado flower. are frequently linked with specific festivities. Sky blue or pink and white are commonly chosen for Papel Picado celebrations in honor of the Vir- gin Mary, yellow and white for aper cutting has been a folk art patron saints. Vibrant pink, or- ever since paper was invented in ange and purple are the key tones P105 A.D. by Ts’ai Lun, an official employed for ofrendas (offerings) in the court of Ho Ti, emperor of associated with El Día de los Cathay. The humble nature of its Muertos, or the Day of the Dead. origins and the anonymity of its Shades of purple are also widely practice has caused paper cutting to used at Easter. The colors of the be ignored as an art form, though Mexican flag—red, white and artists, artisans and collectors are be- green—are set aside for venerat- coming increasingly aware of this ing the nation’s patroness, La Vir- valuable folk heritage. gen de Guadalupe, as well as for In Mexico, the technique is commemorating Independence called papel picado, which means Day, September 16. Rainbow “pierced paper.” After the Spanish hues are appropriate for Christ- Conquest of Mexico, papel de China mas and non-religious festivities. (tissue paper) was introduced and became Cut from colored tissue paper (or the material of choice for Christian holiday decora- plastic) to simulate lace, papel picado can be seen tions. Paperwork was apparently among the imports today hanging from Day of the Dead altars and deco- that poured in from the Orient via the annual Pacific rating graves during November. Also during Christ- treasure fleet that traveled between the Far East and mas, papel picado decorates indoor and outdoor fes- Acapulco, laden with such exotic goods as silver, tivities in Mexico. ivory, spices and porcelain. Once the craft arrived in Mexico, it became the basis for many important and Visit the online Playgoer’s Guide to La Posada Mágica widespread folk art forms. at www.scr.org to read more about these and other In Mexico, the art of paper-cutting goes back to Mexican holiday traditions.

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Sing Along with the Posada ‘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 saben cuando The angels know when Saben cuando llegará. They know when He will arrive To the most beautiful posada A la posada más linda Filled with light and love Llena de luz y amor On this night we will see En esta noche veremos The savior Al Redentor. We go on foot Vamos a pie caminando Walking, walking Caminando, caminando Searching for a posada Una posada buscando Searching, searching Buscando buscando. ‘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 , 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 I feel pleasure in my heart Mucho gusto siento en mi corazón Every time I sing, holy is my song Cada vez que canto, santa es mi canción The moment is near Ya se acerca el momento de The birth of a new faith El Nacimiento de la Nueva Fe. Glory, glory, glory to the Lord Gloria gloria gloria al Señor Listen to me, do me a favor Eschuchame y hazme el favor I want to see the King of humanity Quiero ver el Rey de la humanidad On Christmas’ holy night En la Noche Buena de la Navidad. Words by Octavio Solis; music by Marcos Loya Translation by Santiago Uceda

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DENISE BLASOR SOL CASTILLO CRISSY GUERRERO Consuelo/Widow Refugio/Buzzard Mom/Mariluz

Artist Biographies

*DENISE BLASOR (Consuelo/ performed and produced the origi- Hollow Lands and the Pacific Play- Widow) returns to SCR for her ninth nal musical production of Caderas. wrights Festival workshops of Sea appearance in La Posada Mágica. Other stage credits include leading of Tranquility and References to She appeared in Ten Tiny Love Sto- roles in the world premieres of Salvador Dali Make Me Hot. At San ries directed by Luis Alfaro and writ- House of the Spirits at LATC; Cer- Diego Repertory he appeared in ten by Rodrigo Garcia. She per- vantes’ Interludes at Stages, directed Zoot Suit, The Imaginary Invalid formed and directed The Wide, by Florinel Fatulescu; Made in and Barrio Hollywood. Other the- Wide Sea at Bilingual Foundation of Lanus directed by Lillian Garrett at atre credits include the national tour the Arts and NoHo Festival and co- Old Globe Theatre; and Acceleran- of Veteranos: A Tribute, West Side directed Cooking at the A Theatre. do by Lisa Loomer. She played Story, Bye Bye Birdie and Talking to She appeared at the Los Angeles Juana in The False Chronicle of Yellow Roses. Mr. Castillo was seen Theatre Center as the Bride in Juana La Loca at the Festival Cer- in Showtime’s “Resurrection Blvd.” Blood Wedding, directed by Mar- vantino in Mexico. Film credits in- and Valor Production’s Who’s James garita Galban, as Yerma in Yerma clude The Disappearance of Garcia Cagney? Mr. Castillo dedicates his and as Martirio in House of Bernar- Lorca with Andy Garcia; Univers’l performance to the terrific audience da Alba with Carmen Zapata. She directed by Ana Nicholas; Noriega, and his family for their love and played Jenny in The Threepenny God’s Favorite with Bob Hoskins, di- support. Mr. Castillo is a proud Opera directed by Angelina Reaux rected by Roger Spottiswoode; member of Actors’ Equity. and was part of Ron Sossi’s Odyssey Team America:World Police and the Theatre adaptation of Faust. She soon-to-be-released Happy Feet with *CRISSY GUERRERO (Mom/Mariluz) was Artistic Director of Los Angeles Robin Williams. Ms. Blasor is a is happy to be returning home to Diversified Theater Company, proud member of Actor’s Equity. La Posada Mágica once more. where she performed and adapted This is her second season as Mar- The Three Sisters; appeared in the *SOL CASTILLO (Refugio/Buzzard) iluz. She was previously seen at Ovation Award-nominated produc- returns to SCR for his fifth season in SCR in the role of Gracie for four tion of He Who Gets Slapped with La Posada Mágica. He was also seasons. She has spent seven years Bud Cort, directed by Dan Shor; and seen in the world premiere of The touring the world singing and danc-

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CARLA JIMENEZ MARCOS LOYA LORENZO MARTINEZ Caridad/Widow Musician/Ensemble Musician/Ensemble

ing as Priscillita with El Vez, the appeared here in last season’s The- Tomas Rivera’s and the earth did Mexican Elvis. She has also been atre for Young Audiences produc- not swallow him (y no selo trago la seen on “Late Night with Conan tion of The Emperor’s New Clothes. tierra). His film music is featured in O’Brien,” HBO’s U.S. Comedy Arts Her theatre credits include The Lalo director Robert Rodriguez’ Once Festival, The Toyota Comedy Festi- Project (Mark Taper Forum presen- Upon a Time in Mexico as well as val, and at Largo and the Roxy star- tation, directed and written by Deep Cover, The Waterdance, A Mil- ring in the critically acclaimed musi- Diane Rodriguez); Godspell at the lion to Juan, Old Gringo, Vibes, cal White Trash Wins Lotto. Ms. Knightsbridge Theatre; Black But- Stand and Deliver, Born in East LA, Guerrero appeared as Jasmine in terfly, Jaguar Girl, Piñata Woman Hold Me, Kiss Me, Thrill Me and Kiss Black Butterfly, Jaguar Girl, Piñata and Other Super Hero Girls Like Me Me a Killer (for which he received a Woman and Other Superhero Girls (Mark Taper Forum at Actor’s nomination for the Independent Like Me at the Mark Taper Forum. Gang); and the national tour of The Spirit Award). He scored and/or Concurrently, she worked as First Mikado, among others. She has composed music for several plays, Assistant Editor and Producer of appeared on “The District” and has including the Los Angeles Theater bonus materials on the Kids in the had recurring roles on “Strong Center productions of La Victima, Hall documentary Same Guys, New Medicine” and “E.R.” She can also August 29 (Drama-Logue Award, Dresses and as Associate Producer be seen in commercials. Ms. Best Original Music), Stone Wed- and co-star of “Dave Foley’s The Jimenez thanks her cat Peaches for ding (Los Angeles Drama Critics Cir- True Meaning of Christmas” Spe- believing in her!..no, I get it...it’s a cle Award nomination), and most cials which air annually in Canada cat. She is a proud member of recently the southwestern tour of and soon in the U.S. Her proudest Actor’s Equity. Veteranos (A Legacy of Valor). His and most recent accomplishment is television work includes the musical her far-too-adorable daughter Alina, MARCOS LOYA (Composer/Musical scores for the PBS productions who first appeared on this stage in Director/Ensemble) is an accom- “Dreams of Flying,” “Elders,” “Be- her mother’s belly. Ms. Guerrero is plished musician and composer and tween Friends” and “Los Pinateros.” a proud member of Actor’s Equity a master of acoustic guitar. He is His music can be heard in the “Man- also adept on requinto, jarrana, cu- gas” episode of the PBS series “Foto *CARLA JIMENEZ (Caridad/ Widow) atro, 12-string, mandolin, electric Novela” for which he also com- returns for her fifth season in La guitar and various indigenous folk posed the theme. He served as mu- Posada Mágica. She just per- instruments. His debut CD, Love is sical director for Univision’s long- formed for the Pasadena Playhouse the Reason, garnered an Indepen- running “El Show de Paul Ro- Sondheim gala appearing on stage dent Contemporary Jazz Album of driguez,” the Buenavista/Disney with Deborah Gibson, Richard the Year nomination. In 1996 he “Navidad en las Americas” special, Kind, Sharon Lawrence and Teri composed the score for the “Ameri- the ABC special “Latin Nights” and Ralston, to name a few. She also can Playhouse” film adaptation of NBC’s “Vida Awards.” Mr. Loya has

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MAURICIO MENDOZA MIGUEL NAJERA KEVIN SIFUENTES Papi/Jose Cruz Horacio Eli/Bones/Lauro

performed and/or toured with a va- culturally diverse music of Los An- the opening ceremony of Luis riety of performers including Placido geles and has traveled and per- Valdez’ Bandido at the Mark Taper Domingo, (with the formed throughout the Southwest. Forum and with Culture Clash in La Houston Symphony Orchestra), He represented music in Carpa at the Mark Taper Forum. , , Lalo Guer- Paris with Lalo Guerrero and Flaco Most recently he toured with The rero, Chick Corea, Chaka Khan, Jimenez. His education includes Four Brown Hats theatre produc- Gerald Albright, Hugh Masekela, Music Theory and Instrumental tion of Veteranos, A Legacy of Keiko Matsui, Phillip Bailey, Studies at Cerritos College and Valor. Stephen Stills, Vicki Carr, Luis En- UCLA’s Ethno Musicology program rique and Jose Feliciano. With with emphasis in Mariachi music. *MAURICIO MENDOZA (Papi/Jose Madonna, he recorded “La Isla His vast musical experience in- Cruz) returns for his third season of Bonita” and appeared in the video. cludes Tex-Mex, conjuntos, orques- La Posada Mágica. Theatre credits Mr. Loya’s most recent project is the ta styles, mariachi, zydeco, jump include Much Ado about Nothing at acoustic group Trio Los 5, which of- blues, jazz, jarocho, huasteco, the John Anson Ford Amphitheater; fers a fascinating look at the politi- nueva cancion, trio romantico, Castro and the Pitcher at the - cal/folk music of the Americas. The early California and Chicano wood Court Theatre; Zorro, Live at group, which includes current La movimiento music. Other groups Theatrical Arts International; The Posada Mágica ensemble member Mr. Martinez has performed with Imaginary Invalid, Zoot Suit and A Lorenzo Martinez and past member include Hermanos Baca and Lil Joe at San Diego Mundo Armijo, looks for ways to y La Familia. He was part of the Repertory; Three Sisters at LATC; express their Chicano heritage to Mariachi concert Las Tres Voces de House of the Spirits at BFA Theatre; contemporary audiences. He dedi- Oro, backing Lucha Villa, Lola Bel- He Who Gets Slapped at Hudson cates his performance to his mother tran and Miguel Aceves Meija. He Backstage; and Ballad of the Black- Bertha Loya and the memory of his performed with the UCLA Mariachi smith, Twelfth Night, King Lear, father, Arthur Loya, whose courage under the direction of Nati Cano of Arms and the Man, Taming of the and love remain a constant source Los Comperos, and in the Universal Shrew and As You Like It at The Old of inspiration. Mr. Loya would like film Who Will Sing the Songs star- Globe. Film credits include Blow, to extend his thanks to Jack for the ring Freddie Fender and Vicki Carr. Rhapsody on Rails, Malasangre, Un accordion and to recognize the gen- He performed and recorded with Tiempo Atras, Wing Commander erous sponsorship of Tacoma Gui- Los Perros del Pueblo Nuevo and IV, Under Covers and Never Trust a tars, whose fine instruments are fea- Trio Los Cinco with Marcos Loya, Serial Killer. Television credits in- tured in this production. Mundo Armijo and Ray Islas. The clude series regular roles on “Res- group performed Dia de Los Muer- urrection Blvd.” as Miguel Santiago LORENZO MARTINEZ (Musician/ tos and La Virgen del Tepeyac by and “Angeles;” and co-starring roles Ensemble) was raised with the rich, at the Japan Theatre, on “King of Queens,” “Days of Our

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claimed By The Hand Of The Fa- for her portrayal of Gracie in previ- ther, which has aired on PBS’ ous productions of La Posada Mág- “Austin City Limits.” Theatre cred- ica. Though her heart is truly in its include The Yellow Boat and the theatre, she also enjoys film Bocon! with the Mark Taper Forum; and music work. She is a proud The Grapevine at the Los Angeles member of Actors’ Equity, SAG and Theatre Center; Burning Patience AFTRA. Film credits include com- at San Jose Repertory; Token-Alien mercials, television guest spots, in- with Cornerstone Theatre Co.; and dustrials, interactive videos and in- Leonce and Lena at Stages Theatre. dependent films. She sends her He currently performs in the one love to all of her family and friends man show Wheels produced by (particularly Mom, Dad, Luke, NCCJ. Film credits include 29 Turbo & Bella) and hopes that Gra- Palms, Native Aspect Ratio, Inde- cie’s spirit touches your heart half pendence Day, Steel, Street Corner as deeply as it has hers. TIFFANY ELLEN SOLANO Justice, ... and the earth did not Gracie swallow him and Hearts of Stone. PLAYWRIGHT, DIRECTOR His numerous television credits in- & DESIGNERS clude “ER” and recurring roles on Lives,” “Babylon 5” and “Judging “Resurrection Blvd.” and “The New OCTAVIO SOLIS (Playwright/Direc- Amy.” He is co-producer of the Rockford Files.” Mr. Sifuentes tor) is a playwright and director liv- new musical revue Latin Gems. gives special thanks to his family ing in San Francisco. His works and friends for their love, support, Man of the Flesh, Prospect, El Paso *MIGUEL NAJERA (Horacio) is insight and funny stories. He is a Blue, Santos & Santos, La Posada happy to be back for his third year proud member of Actors’ Equity. Mágica, El Otro, Dreamlandia and as Horacio at SCR. A multi-talented Bethlehem have been mounted at artist, Miguel has just finished his *TIFFANY ELLEN SOLANO (Gracie) theatres nationwide. Burning second documentary and is getting is thrilled to be returning to SCR for Dreams, co-written with Julie ready to produce his first feature this year’s production of La Posada Hebert and Gina Leishman, was film in February. Founder of an in- Mágica. This show is very dear to produced by San Diego Repertory; dependent film company, he wrote her heart and it means a great deal and his collaborative project with and directed Ce Acatl’s award-win- to her to be rejoining a talented Erik Ehn, Shiner, was mounted by ning short film Libertad, which cast and crew who are more like a Undermain Theatre in Dallas. His screened to critical acclaim on family she looks forward to reunit- most recent project was The Seven WGBH Boston as part of its Latino ing with every holiday season. Ms. Visions of Encarnacion, a shadow film series. Mr. Najera is also Solano has spent more than half puppet work written for Shadow- poised to direct his first feature film her life on stage, beginning in mu- light Theatre Company and per- Spiritual Runner in 2005, which he sical theatre, and later performing formed in San Francisco. Solis has co-wrote with Carolyn Pistone. His in straight plays and Shakespeare. received an NEA Playwriting Fel- acting career has spanned 25 years She portrayed Ginya in Nine Arme- lowship, two playwriting grants in film, television and theatre. nians at the Mark Taper Forum and from The Kennedy Center, the Will Miguel has an MFA in Film, The- Denver Center Theatre, played Mi- Glickman Playwright Award, the atre, and Television Directing from randa in The Tempest at the Los An- 1998 TCG/NEA Theatre Artists in the California Institute of the Arts, geles Theatre Center and received Residence Grant, the 1998 McK- received his BA in Drama from San critical acclaim for her depiction of night Fellowship grant from the Francisco State University and at- Anne in The Diary of Anne Frank. Playwrights Center in Minneapolis tended the American Conservatory Other performances include lead and the 2000-2001 National Theatre Theatre in San Francisco. roles in David and Lisa, Brighton Artists Residency Grant from TCG. Beach Memoirs, West Side Story, He is the recipient of a grant from *KEVIN SIFUENTES (Eli/Bones/ Fiddler on the Roof and Under the the Pew Charitable Trust for Lauro) returns to SCR for his third Gaslight. The Young Artists Orga- Gibraltar, a new play with the Ore- season of La Posada Mágica. He nization awarded her the presti- gon Shakespeare Festival. His DV has just wrapped up the 2004 Na- gious honor of “Most Outstanding feature film Prospect has just been tional Tour of the critically ac- Young Performer in Live Theatre” completed. Solis is a member of

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the Dramatists Guild and New Peter Pan, for which he previously ed Scenic Artist/ IATSE - Local 829. Dramatists. received an Emmy Award nomina- tion. He is the recipient of numer- LINDA KOSTALIK (Choreographer) MARCOS LOYA (Composer/Musical ous awards and recognitions in- is a Professor in the Theatre Arts Director) See biography on page P- cluding six Los Angeles Drama and Dance Department at Califor- 10. Critics Circle Awards and a Bay nia State University Los Angeles Area Theatre Critics Circle Award. and works for the award-winning CHRISTOPHER ACEBO (Scenic De- Mr. Yaji is a member of the United Los Angeles County High School of sign) designed Habeas Corpus ear- Scenic Artists Local 829 and the UC the Arts as choreographer for their lier this season; the world pre- Irvine Drama Department faculty. Musical Theatre Ensemble. Her ca- mieres of The Beard of Avon, Hold reer as dancer, choreographer and Please and California Scenarios LONNIE ALCARAZ (Lighting educator has spanned 39 years. and the West Coast premiere of Design) is an Assistant Professor at She has choreographed numerous The Countess at SCR. Recent pro- UC Irvine and a professional Light- productions for professional the- ductions include the world pre- ing Designer. He has designed at atres such as SCR, Playwrights mieres of The Clean House at Yale various regional theatre houses, Horizons, the Goodman Theatre, Repertory, Electricidad at the such as SCR, Berkeley Repertory, the International City Theatre and Goodman Theatre and Living Out Sierra Repertory, The Arena Stage others. “Professor K” has directed and Chavez Ravine at the Mark in Washington DC and the Utah Grammy nominee Bobby Ro- Taper Forum. Other regional de- Shakespearean Festival. In addi- driguez: A Latin Jazz Christmas sign work includes productions for tion to his ten seasons with La Show for the past three years and the Guthrie Theater, Portland Cen- Posada Mágica, shows at SCR in- continues work in videography ter Stage, La Jolla Playhouse, clude The Hoboken Chicken Emer- and design. As always, it is a plea- Pasadena Playhouse, the Goodman gency, Play Strindberg, Dimly Per- sure to be back with the SCR fami- Theatre, Children’s Theatre Compa- ceived Threats to the System, Sidney ly. The happiest holidays to every- ny of Minneapolis, Cornerstone Bechet Killed a Man (for which he one! Theater Company, Missouri Reper- received a Drama-Logue Award), tory, Great Lakes Theatre Festival, BAFO, Later Life and Three View- *JAMIE A. TUCKER (Stage Manager) The Kennedy Center, San Diego ings. He designed Culture Clash’s completed his MFA in Dance, spe- Repertory Theatre, The Magic The- The Birds at both SCR and Berke- cializing in Stage Management, at atre and Sledgehammer Theatre, ley Repertory, along with their na- UCI in 1994. He stage managed among others. Mr. Acebo is an en- tional touring show, Radio Mambo, The Retreat from Moscow this sea- semble member of Cornerstone which has been seen in Los Ange- son and Anna in the Tropics, Theater Company in Los Angeles. les, San Diego, San Francisco, Ari- Lovers and Executioners, Intimate He received his MFA in design at zona, New York, Seattle and Exchanges and Mr. Marmalade last the University of California, San Washington DC. Recent design ex- season. He previously stage man- Diego and is a past recipient of the perience includes The Philosophy aged the world premiere of NEA/TCG fellowship for designers. of the World - The Shaggs, a new Richard Greenberg’s The Violet He is a member of the faculty at musical at the Ford Anson Theatre Hour, the West Coast premiere of Cal State University, Los Angeles. in Los Angeles; the Utah Shake- Horton Foote’s The Carpetbagger’s spearean Festival’s 2004 summer Children, Relatively Speaking and SHIGERU YAJI (Costume Design) and 2003 fall seasons of shows; My the world premiere of Rolin Jones’ has designed costumes for over 50 Fair Lady, Forever Plaid, Morning’s The Intelligent Design of Jenny SCR productions including most re- at Seven, Little Shop of Horrors, Chow. He worked as SCR’s stage cently Habeas Corpus, Cyrano de Comedy of Errors and The Impor- manager for the Second Stage pro- Bergerac, Lovers and Executioners tance of Being Earnest. He also ductions of The Dazzle, True West, and Major Barbara. His other re- was a designer for Universal Stu- Play Strindberg, the world pre- cent work has been seen at Yale dios, Japan, where he designed the miere of But Not for Me and the Pa- Repertory Theatre, Cornerstone live shows Terminator 2 in 3D, and cific Playwrights Festival workshop Theatre Company, San Jose Reper- Monster Makeup, the attractions production of Landlocked. He also tory Theatre and the Oregon Jurassic Park the Ride and Snoopy was stage manager of La Posada Shakespeare Festival, as well as the Studios, along with exterior archi- Mágica for two seasons and SCR’s current Broadway-bound, national tectural facades throughout the Festival Latino ’97 production of touring production of Cathy Rigby’s park. He is a member of the Unit- Rick Najera’s Latinologues. He has

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worked as assistant stage manager dowment for the Arts, on the Execu- three Shaw productions, John on the Mainstage productions of tive Committee of 7the League of Millington Synge’s Playboy of the New England, Our Town and Arca- Resident Theatres, and as a panelist Western World, ’s The dia, and the Second Stage produc- for the California Arts Council. Crucible, Sally Nemeth’s Holy Days tions of BAFO and Three Days of After attending Orange Coast Col- and Wit. He also directed the film Rain. Mr. Tucker has worked at the lege, he received his BA and MA version of Holy Days using the origi- Long Beach Civic Light Opera on from California State University, San nal SCR cast. Along with Emmes, No, No, Nanette, Can Can, A Chorus Francisco, and his PhD in theatre he accepted SCR’s 1988 Tony Award Line, The King and I and Man of La and film from USC. for Outstanding Resident Profession- Mancha. If you can’t find him in al Theatre and won the 1995 The- the theatre, he is likely to be on the MARTIN BENSON (Artistic Director), atre LA Ovation Award for Lifetime diamond. co-founder of SCR with his col- Achievement. Mr. Benson received league David Emmes, has directed his BA in Theatre from California DAVID EMMES (Producing Artistic nearly one third of the plays pro- State University, San Francisco. Director) is co-founder of SCR. He duced here. He has distinguished has received numerous awards for himself in the staging of contempo- PAULA TOMEI (Managing Director) productions he has directed during rary work, including Horton Foote’s is responsible for the overall admin- SCR’s 40-year history, including a The Carpetbagger’s Children and the istration of South Coast Repertory Los Angeles Drama Critics Circle world premiere of Getting Frankie and has been Managing Director Award for the direction of George Married—and Afterwards, the criti- since 1994. A member of the SCR Bernard Shaw’s The Philanderer. cally acclaimed California premiere staff since 1979, she has served in a He directed the world premieres of of William Nicholson’s number of administrative capacities Amy Freed’s Safe in Hell, The Beard Shadowlands, the Southern Califor- including Subscriptions Manager, of Avon and Freedomland, Thomas nia premiere of Michael Healey’s Business Manager and General Man- Babe’s Great Day in the Morning, The Drawer Boy; and the West ager. She currently serves as Presi- Keith Reddin’s Rum and Coke and Coast premieres of Peter Hedges’ dent of the Theatre Communications But Not for Me and Neal Bell’s Cold Good As New and Martin McDon- Group (TCG), the national service Sweat; the American premiere of agh’s The Lonesome West. He has organization for the professional Terry Johnson’s Un1suitable for won accolades for his direction of not-for-profit theatre. In addition, Adults; the West Coast premieres of five major works by George she has served as Treasurer of TCG, C.P. Taylor’s Good and Harry Kon- Bernard Shaw, including the Los Vice President of the League of Res- doleon’s Christmas on Mars; and Angeles Drama Critics Circle ident Theatres (LORT) and has been the Southland premiere of Top Girls (LADCC) Award-winners Major Bar- a member of the LORT Negotiating (at SCR and the Westwood Play- bara, Misalliance and Heartbreak Committee for industry-wide union house). Other productions include House. Among the numerous world agreements. She represents SCR at the West Coast premieres of Three premieres he has directed are Tom national conferences of TCG and Viewings by Jeffrey Hatcher, The Se- Strelich’s BAFO and Margaret LORT; is a theatre panelist and site cret Rapture by David Hare and Edson’s Pulitzer Prize-winning Wit, visitor for the National Endowment New England by Richard Nelson; which he also directed at Seattle for the Arts and the California Arts and Arcadia by Tom Stoppard, The Repertory Theatre and the Alley Council; served on the Advisory Importance of Being Earnest by Theatre in Houston. He has direct- Committee for the Arts Administra- Oscar Wilde, Ayckbourn’s Woman ed American classics including Ah, tion Certificate Program at the Uni- in Mind and You Never Can Tell by Wilderness!, A Streetcar Named De- versity of California, Irvine; and has George Bernard Shaw, which he sire, A Delicate Balance and All My been a guest lecturer in the gradu- restaged for the Singapore Festival Sons. Mr. Benson has been hon- ate school of business at Stanford. of Arts. His producing responsibili- ored with the Drama-Logue Award She graduated from the University ties involve the overall coordination for his direction of 21 productions of California, Irvine with a degree in of SCR’s programs and projects. He and received LADCC Distinguished Economics and pursued an addi- has served as a theatre panelist and Achievement in Directing awards an tional course of study in theatre and onsite evaluator for the National En- unparalleled seven times for the dance.

The Actors and Stage Managers em- The Scenic, Costume, Lighting and The Director is a member of the So- ployed in this production are mem- Sound Designers in LORT theatres ciety of Stage Directors and Chore- bers of Actors’ Equity Association, the are represented by United Scenic ographers, Inc., an independent na- Union of Professional Actors and Artists Local USA-829, IATSE. tional labor union. Stage Managers in the United States.

P14 SOUTH COAST REPERTORY • La Posada Mágica