®
from the desk of
loretta greco
WELCOME TO MAGIC, I am thrilled to launch our 52nd year with the world premiere of Ashlin Halfnight’s The Resting Place. We discovered Ashlin’s marvelous gift for playwriting inside our Virgin Play Festival last December. We are so excited to welcome him into the Magic family—and look forward to having his eclectic and rich writing contribute to our bold Magic canon for years to come. Ashlin’s work beautifully investigates what happens to those who are left behind in the wake of unimaginable tragedy. The complicated questions he poses are vitally important to our current moment of unrest, yet he asks them with simplicity and humanity. How do we love someone after they’ve made an irrevocable mistake? How do we care for people after they’ve betrayed our trust? What is our responsibility to each other as human beings? These are questions Ashlin explores earnestly, bravely, and with abundant compassion. I am also delighted to welcome director Jessica Holt back to Magic. Jessica was here during my first year as part of our Magic Artists Lab, and she immediately impressed me. I fought to be the first person to hire her after she graduated from Yale School of Drama, and I’m so glad I did. From her amazing work as the director of Bright Half Life, The Lily’s Revenge, and Why We Have a Body, she has always done a stellar job bringing new work to life. It means so much to me to have her back under our roof helming this premiere production. All of us at Magic are looking forward to sharing the rest of our season with you, with the next chapter of Mfoniso Udofia’s Ufot Family Cycle, In Old Age, (which will run in repertory this spring with Mfoniso’s Her Portmanteau at ACT) and Luis Alfaro’s spectacular and forceful Oedipus el Rey, which had its premiere at Magic nearly ten years ago. It is sure to be another powerful, moving, and bold season of theatre. This season brings a wealth of astounding new leadership to the Bay with the arrival of Pam MacKinnon at ACT and the announcement of Johanna Phaelzer to take the reins of Berkeley Rep in 2019. I’m thrilled to welcome my two dear friends to our community. This season also includes the news of two additional Mfoniso Udofia plays being produced Off Broadway at the esteemed New York Theatre Workshop and a Broadway debut for our beloved Taylor Mac with his newest play, Gary, starring Nathan Lane and directed by the incomparable George C. Wolfe. I know you share the pride I do, knowing that we all played a seismic role in identifying and launching these two groundbreaking talents. We couldn’t make this impact on the American Theater without your support. From the bottom of our hearts, thank you. Enjoy,
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Magic Theatre presents
The world premiere of
THE RESTING PLACE written by Ashlin Halfnight directed by Jessica Holt+ Opening Night October 17, 2018 Season Producers John F. Marx and Nikki Beach Toni Rembe and Arthur Rock Clay Foundation West Sandra Hess Kathryn Kersey
CAST Mitch Angela Annie Macy Liam Charles
James Carpenter* Emilie Talbot* Martha Brigham* Emily Radosevich Wiley Naman Strasser Andrew LeBuhn
CREATIVE TEAM Set Design Costume Design Lighting Design Sound Design Stage Manager Dramaturg Props Design Local Casting Scenery engineered and built by
Edward T. Morris** Shelby-Lio Feeney Wen-Ling Liao** Sara Huddleston Liz Matos* Kate Leary Jacquelyn Scott Sonia Fernandez Rooster Productions, LLC
* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.
Adopt-a-Play Parents* John F. Marx and Nikki Beach Ian Atlas, Renu Karir, and Sandra Hess
*Adopt-a-Play parents help to welcome the cast and production team into the Magic community by hosting welcoming events from the first day of rehearsal through the final performance.
** Member of United Scenic Artists local 829, which represents the designers and scenic painters for the American theatre. + Member of Stage Directors and Choreographers (SDC). The video and/or sound recording of this performance by any means whatsoever are strictly prohibited. This theatre operates under an agreement with Actor’s Equity Association, the Union of Professional Actors and Stage Managers in the United States.
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Photo by Gabriel Frye-Beharw
biographies ASHLIN HALFNIGHT
PLAYWRIGHT
is an award-winning writer for stage, film and TV. Recent credits include the Emmywinning Netflix show Bloodline, the high-school sports drama The Sticks [pilot], and Maybe There’s A Tree, starring Colin Mochrie & Creed Bratton. His feature films include Astraea, Survival Box, and Diving Normal. Ashlin’s plays have been performed across North America and Europe, and include Artifacts of Consequence, A Hard Wall at High Speed, and God’s Waiting Room. Ashlin is a Fulbright Scholar, former professional hockey player signed by the NHL’s Carolina Hurricanes, a Howard Stein Playwriting Fellow, 2017 Sloan Grant recipient with The Apothetae Theater Company, and was the 2006 artist in residence at the National Theater of Hungary. Ashlin holds an honors English BA from Harvard and an MFA in Playwriting from Columbia. He lives in Brooklyn with his wife and sons, and enjoys whiskey, new socks, and the film Footloose. Thanks to Loretta, Sonia, Kate, and all of the amazing magical Magic folks behind the scenes for backing the playwright, for supporting the work... thanks to the crew, for realizing the world - on and off stage - from nothing but words... thanks to the beautiful, brave, cast - for breathing life into this family, this community... and thank you to Jess, for wise counsel, whiskey, and for guiding the play toward its best self. To all of you, I am indebted, blessed, grateful.
JESSICA HOLT+
DIRECTOR
is thrilled to return to Magic to direct The Resting Place by Ashlin Halfnight. At Magic Theatre, Jessica has directed the West Coast Premiere of Tanya Barfield's Bright Half Life, Act 5 of Taylor Mac’s five-hour epic The Lily’s Revenge, staged readings by L Feldman, Ashlin Halfnight, Katja Gottlieb-Stier, Kate Tarker and Matthew George for the Virgin Play
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Festival (2012, 2017), was the Associate Director of the revival of Clare Chafee's Why We Have a Body and directed the staged reading of The Laramie Project: 10 Years Later. Recent projects: Speech and Debate by Stephen Karam at Barrington Stage Company (Boston Globe's Critics Pick), Rich Girl by Victoria Stewart at Florida Studio Theatre, Venus in Fur by David Ives at Virginia Stage Company, Ugly Lies the Bone by Lindsey Ferrentino at the Alliance Theater, Significant Other by Joshua Harmon at Actor’s Express in Atlanta. She has developed, produced and directed new work at Ensemble Studio Theatre, Sewanee Writer's Conference, Rivendell Theatre, Berkeley Rep's Ground Floor, Bay Area Playwrights Festival, Alliance Theatre, the American Academy of Dramatic Art in NYC, Theater Emory, Playwrights Center SF, New Conservatory Theater Center, and PianoFight. Jessica was a 2016-2017 National Directing Fellow with the Eugene O'Neill Theater Center/National New Plays Network and the 2015-2016 Yale Directing Fellow at the Alliance Theatre. She is a proud graduate of the Yale School of Drama, where she received her MFA in Directing. Upcoming: Fun Home at Virginia Stage Company. (www.jessicaholt.org)
JAMES CARPENTER*
MITCH
Previous shows at Magic: Any Given Day. James is an Associate Artist with California Shakespeare Theater and a former Associate Artist with Berkeley Repertory Theatre. Other credits include work at San Jose Repertory Theatre, Aurora Theatre Company, ACT, Marin Theatre Company, Mark Taper Forum, The Old Globe, Oregon Shakespeare Festival, Yale Repertory Theatre, Santa Cruz Shakespeare, Huntington Theatre Company, and Intiman Theatre. Screen credits include the feature films The Rainmaker and Metro, the independent films Singing and For the Coyotes, and the series Nash Bridges. Carpenter is the recipient of many San Francisco Bay Area Theatre
Critics Circle Awards, including the 2007 Award for Excellence in the Arts and the 2013 Lifetime Achievement Award. In 2010, he was named a Ten Chimneys Foundation Lunt-Fontanne Fellow.
EMILIE TALBOT*
ANGELA
is delighted to return to Magic, having previously worked on the workshop production of The Rules of Charity. More recently, she was seen in Bondage with AlterTheater and Love & Information at both A.C.T and Capital Stage in Sacramento. An actor and director in the Bay Area for over 20 years, she has worked at A.C.T., Aurora Theatre Company, Berkeley Rep, San Jose Rep, PlayGround, and StageBridge, and is an Associate Artist with AlterTheater Ensemble. Elsewhere around the country she has appeared at the Oregon Shakespeare Festival, Mark Taper Forum, La Jolla Playhouse, Huntington Theatre, and Pittsburgh Public Theatre, among others. Film and television credits include 13 Reasons Why, A Wake, Four Pounds of Flowers, The Fifth Stage of Labor, and Ceremony, plus a whole slew of commercials, voiceovers, industrials and video games. She graduated from Duke University and received her MFA from CalArts.
MARTHA BRIGHAM*
ANNIE
is thrilled to be working with Magic Theatre for the first time! Her stage credits include Dry Land (Shotgun Players), Coming Of Age (Jewel Theatre Company), Leni (Aurora Theatre Company), Miss Bennet: Christmas at Pemberly (Marin Theatre Company, TBA Award Winner), The Birds (Symmetry Theatre), Value Over Replacement (Playground-SF), The How and The Why (Aurora Theatre Company), Stupid Fucking Bird (San Francisco Playhouse), The Tall Girls (La Jolla Playhouse), and The Cat and Squirrel Dialogues/The Man in the Red Suit (Secret Rose Theatre). Film and television include Children of Sorrow, The Man in the Red
biographies Suit, The Empire Builders, and First Day. Martha graduated from the Lee Strasberg Theatre and Film Institute and studied with Steppenwolf West under alum Tom Irwin and LA’s comedy improv group, The Groundlings. She thanks her wonderful mother for all her love and support.
EMILY RADOSEVICH
MACY
is thrilled to be making her Magic Theatre debut in The Resting Place. Recent credits include Detroit '67 and The Real Thing with Aurora Theatre Company, Non-Player Character and Sunday in the Park with George with San Francisco Playhouse, and Phedre with Cutting Ball Theatre. Film/TV credits include: 13 Reasons Why, I (Almost) Got Away With It, and Dorm Therapy. NYU Tisch Grad. Love to mom and dad, always. www.emilyradosevich.com
WILEY NAMAN STRASSER LIAM
makes his Magic Theatre debut. He is a Bay Area native, an actor, dancer, and musician. Most recently he was seen in Kiss at Shotgun Players and will appear next in Mary Poppins at San Francisco Playhouse. Other credits include work with Aurora, Berkeley Rep, Crowded Fire, Cutting Ball, detour dance, Golden Thread, Hope Mohr Dance, Los Angeles Theatre Center, and Mugwumpin. He has trained worldwide with Teatr Zar and Yuyachkani, among others, and received his degree in Theater from UCLA. wileynamanstrasser.com
ANDREW LEBUHN
CHARLES
is a proud 2017 graduate of Tamalpias High School, where he was part of the Contemporary Theatre Ensemble program. Highlights at CTE include Edward Ferrars in Sense and Sensibility and Sebastian in Twelfth Night. Andrew
has attended educational programs at CalArts, Berkeley Repertory Theatre, A.C.T and Bay Area Theatresports. Andrew is a current student at the College of Marin, where he recently was seen as Khlestakov in The Government Inspector and David Copperfield/Traddles in David Copperfield. Andrew is thrilled to be a part of this talented cast and crew in his first production at Magic Theatre.
EDWARD T. MORRIS** SCENIC DESIGN
has designed for Shanghai Dramatic Arts Center, Yale Repertory Theatre, Martha Graham Dance Company, LaMama, The Barrow Group, Goodspeed Opera House, Cherry Lane Theater, Opera Memphis, Princeton University, and Columbia University among many others. Education: BFA, University of Michigan; MFA, Yale School of Drama. Lecturer: New School for Drama. Member: United Scenic Artists Local #829 and Wingspace Theatrical Design. Portfolio: www.edwardtmorris.com
WEN-LING LIAO**
LIGHTING DESIGN
is happy to be back. Her selected credits include Reel to Reel with Magic Theatre, Quixote Nuevo with Cal Shakes, Vietgone with A.C.T, Barbecue with San Francisco Playhouse, The Boy Who Danced on Air with Abingdon Theater Company, Chill with Merrimack Repertory Theater, Milk Like Sugar with Huntington Theatre Company, Sense and Sensibility with Dallas Theater Center, Precious Little, Marjorie Prime, and Grounded with Nora Theater Company, Mr. Burns, a postelectric play with Lyric Stage company, Appropriate with SpeakEasy Stage Company, Luna Gale with Stoneham Theater, A Nice Indian Boy with East West Players, and I and You with Marin Theatre Company. Her selected international credits include Scarlet Stone at Tirgan Festival in Toronto, BodyParts/In Spite of It at TANZINOLTENF Festival in Switzerland and Riz Flambe and Riz Souffle at Avignon Off-Festival in France. She earned her MFA from University of California, San Diego and BA from National Taiwan University. Website: wenlingliao.com
SARA HUDDLESTON SOUND DESIGN
is pleased to return to Magic, where she most recently designed sound for the world premiere production of The Gangster of Love. Previous Magic sound design credits include Reel to Reel, Grandeur, Fool for Love, Dogeaters, Fred’s Diner, Sister Play, And I And Silence, Every Five Minutes, Hir, Arlington, Terminus, Se Llama Cristina, Any Given Day, The Brothers Size, Mrs. Whitney, Goldfish, Evie’s Waltz, and The K of D. Other Bay Area sound design credits include: Octopus (Magic/Encore Theatre Company); Miss Bennet: Christmas at Pemberley and Gem of the Ocean (Marin Theatre Company); Autobiography of a Terrorist (Golden Thread Productions); I Call My Brothers, 410 [Gone], and Invasion! (Crowded Fire); In On It and T.I.C. (Encore Theatre Company); The Shaker Chair (Encore Theatre Company/Shotgun Players); Macbeth (Shotgun Players); Three on a Party (Word for Word); and A Round Heeled Woman (Z Space).
SHELBY-LIO FEENEY
COSTUME DESIGN
is celebrating her second season of working with Magic Theatre. Other notable credits include The Heiress, Hair, Hello Dolly, and Cripple Of Inishmaan (Ephrata Performing Arts). She would like to thank Loretta and Jessica for their guidance, the cast and crew for their dedication, and WTW for his unending love, support, and food.
KATE LEARY
DRAMATURG
is a freelance dramaturg, literary consultant, and current NNPN Producer in Residence at Magic. She previously served as Magic Theatre's Literary Apprentice, Assistant to the Director of the Safe Harbors Indigenous Theatre Collective at La Mama Theatre (New York, NY) and is a Literary Wing member at The Play Company (New York, NY). B.A. Penn State; MFA Columbia University.
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biographies LIZ MATOS*
STAGE MANAGER
is delighted to be a part of The Resting Place, her first production with Magic Theatre. Locally, Liz has also worked with Marin Shakespeare Company, Marin Theatre Company, Cutting Ball Theater, A.C.T. Conservatory, and PlayGround. She is a graduate of Dartmouth College and is a proud new member of Actors' Equity Association.
ROOSTER PRODUCTIONS, LLC
is a small, employee-owned scene shop located in Richmond, California. Rooster provides every client with hands-on experience, dedicated service, and creative & effective technical solutions to ensure complete realization of their designs, production and staffing needs. Rooster's team consists of experienced, multi-disciplinary project managers, scenic carpenters, welders, sculptors, scenic artists and theatre technicians. Rooster's approach to scenic construction provides creative solutions that are as budget-sensitive as they are spectacular, and can be delivered as envisioned. Over the past few years, Rooster's theatrical client roster has rapidly grown to include many companies ranging from Fremont Opera and Oakland School for the Arts to A.C.T., Contra Costa Musical Theatre, San Francisco Opera Center and the recent production of Back Home Again at the Lesher Theatre.
LORETTA GRECO+
ARTISTIC DIRECTOR
is currently in her eleventh season as Magic Theatre’s Artistic Director, where she has proudly developed and premiered Taylor Mac’s Hir; Luis Alfaro’s Oedipus El Rey, Bruja, and This Golden State: Part 1: Delano; Polly Pen and Victor Lodato’s Arlington; Linda McLean’s Every Five Minutes; Sharr White’s Annapurna; Lloyd Suh’s American Hwangap and Jesus In India; Anna Zeigler’s Another Way Home; and Octavio Solis’s Se Llama Cristina; and shepherded the American premieres of Penelope Skinner’s Fred’s Diner, Linda McLean’s Any Given Day, and Mark O’Rowe’s Terminus, among many others. Ms Greco’s directing credits at Magic
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include Theresa Rebeck’s Mauritius, Luis Alfaro’s Oedipus el Rey, Liz Duffy Adams’ Or,, Sharr White’s The Other Place, Jessica Hagedorn’s Dogeaters, the critically acclaimed revival of Sam Shepard’s Fool for Love, Han Ong’s Grandeur, Barbara Hammond’s The Eva Trilogy, and Jessica Hagedorn’s The Gangster of Love. Ms. Greco’s New York directing premieres include: Tracey Scott Wilson’s The Story (Kesselring), Ruben Santiago Hudson’s Lackawanna Blues (Obie), and Nilo Cruz’s Two Sisters and a Piano (Kesselring) at NYSF/Public Theater; Katherine Walat’s Victoria Martin Math Team Queen, Karen Hartman’s Gum, Toni Press Coffman’s Touch, and Rinne Groff’s Inky at Women’s Project; Emily Mann’s Meshugah at Naked Angels; Laura Cahill’s Mercy at The Vineyard Theatre; and Nilo Cruz’s A Park in Our House at New York Theatre Workshop. Regional directing credits include Life is a Dream at California Shakespeare Theater; Speed-the-Plow, Blackbird, Lackawanna Blues, Realistic Joneses, and Sweat at American Conservatory Theater; Romeo and Juliet and Stop Kiss at Oregon Shakespeare Festival; and productions at La Jolla Playhouse, South Coast Repertory, McCarter Theatre Center, Long Wharf Theatre, Studio Theater, Intiman Theatre, Williamstown Theatre Festival, Arena Stage, Coconut Grove Playhouse, Cincinnati Playhouse, Repertory Theatre of St. Louis, and Playmakers Repertory Company. She directed the national tour of Emily Mann’s Having Our Say as well as the international premiere at the Market Theatre in Johannesburg, South Africa. Greco has developed work with dozens of writers at Sundance, The O’Neill, South Coast Repertory, The Mark Taper Forum, New Harmony, New York Stage and Film, The Cherry Lane, New Dramatists, and The Public. Prior to her Magic post, she served as Producing Artistic Director of New York’s Women’s Project, where she produced the work of Lisa D'Amour, Katie Pearl, Dierdre Murray, Diane Paulus, Karen Hartman, Lynn Nottage, Tanya Barfield, and Rinne Groff. As the Associate Director/Resident Producer at the McCarter Theatre in Princeton, Ms. Greco conceived and
launched their Second Stage-OnStage Festival of New Work, where she commissioned and produced the work of Doug Wright, Jane Anderson, Nilo Cruz, Adrienne Kennedy and Joyce Carol Oates, among others. Ms. Greco received her MFA from Catholic University, and her BA from Loyola University, New Orleans, and is recipient of two Drama League Fellowships and a Princess Grace Award.
JAIMIE MAYER
MANAGING DIRECTOR
served on the board of Magic for four years prior to joining Magic’s leadership team last season. Mayer was the Producing Director of COAL, a musical designed to catalyze and spark individuals and communities to find their voices in the climate change movement. She founded Don't Eat The Pictures Productions, a theatre, film, and event production company dedicated to developing and seeding new work, in 2007. Selected theatre producing credits include the Broadway production of [title of show], Love Song by John Kolvenbach (59E59), The Boy in The Bathroom by Michael Lluberes (45th Street Theater/New York Musical Theatre Festival Award for Most Promising New Musical), and Love Kills by Kyle Jarrow (45th Street Theater). Mayer’s film work has premiered at Sundance Film Festival, on PBS, and Showtime. While serving as the Park Avenue Armory’s first Special Projects Manager, Mayer created both their education and artist residency programs. She has held the position of Managing Director and Producer at terraNOVA Collective, Associate Producer at both The New York Musical Theater Festival and Women's Expressive Theater, and Artistic Associate at The Women's Project. Mayer has worked at The Public Theater, Classic Stage Company, and The Long Wharf Theatre, among others. Commercially, she has worked as a Producing Associate on the Broadway production of Spiderman: Turn Off The Dark as well as for Mandy Patinkin In Concert, and with The Araca Group on multiple Broadway productions including Wicked, The Wedding Singer, and 25th Annual Putnam County Spelling Bee.
biographies In the philanthropic realm, Mayer runs JAM Consulting, working with philanthropists in their 20s and 30s looking to create their philanthropic footprint, with families trying to integrate the next generation, and with non-profits cultivating individuals in their 20s and 30s. She has worked with a number of individuals, foundations, and non-profits in the United States, Canada, and Israel, including University of South Florida, Slingshot, Reboot, America-Israel Cultural Foundation, and the EcoHealth Alliance. Mayer is Vice Chair of The Nathan Cummings Foundation, Vice President of The Mayer-Rothschild Foundation, and served as the President and Founder of The Buddy Fund for Justice through the Rockefeller Philanthropy Advisors for five years. She was the final Chair of the Council on Foundations Film Festival and the Film and Video Festival and Film and Video Task Force, and is a frequent public speaker on philanthropy. Mayer holds an MFA in Theatre Management and Producing from Columbia University's School of The Arts and a BA in Theatre from Connecticut College. She is the Vice Chair of Artists Striving to End Poverty (ASTEP), sits on the Emerge and Education Committees of the Museum of Contemporary Art (MCA) in Chicago, and the National Leadership Council of USA Artists.
MAGIC THEATRE
Now in its 52nd year of continuous operation, Magic Theatre is dedicated to creative risk: we cultivate new plays, playwrights, and audiences and produce bold, entertaining, and ideologically-robust plays that ask substantive questions about, and reflect the rich diversity of, the world in which we live. Magic believes that demonstrating faith in a writer’s vision by providing a safe, rigorous, and innovative artistic home, where a full body of work can be imagined, developed, and produced, allows writers to thrive. We believe that, by adding vanguard voices to the canon and expanding access to new theatergoers, we ensure the future vibrancy of the American theatre.
Since the company’s founding in 1967 by regional theatre pioneer John Lion, Magic has embodied San Francisco’s innovative spirit by providing an artistic home to some of the most visionary writers in American theatre. From prolific poet-playwright Michael McClure’s 22 works written for Magic, classics of Beat counterculture staged in collaboration with Lion, to scholar Martin Esslin’s indelible influence on the field as the first resident dramaturg at an American theatre company, Magic’s early years established the company as one of the most important centers for the creation and performance of new American plays. Sam Shepard’s decade-long playwright residency at Magic cemented the company’s legacy as a preeminent new play theatre. Between 1974 and 1984, Shepard developed and premiered a body of work at Magic that changed the face of American drama, including his seminal family plays Buried Child (Pulitzer Prize, 1979), True West, and Fool for Love. Since Artistic Director Loretta Greco assumed leadership of Magic in 2008, the theatre has produced 19 world premieres and nurtured a new cohort of exceptional playwrights. Indelibly shaped by the example Shepard provides, Magic remains a national leader in new play development through Greco’s commitment to a core group of writers as they each build a groundbreaking body of work. These writers include Octavio Solis, Lloyd Suh, Taylor Mac, Linda McLean, Jessica Hagedorn, Sharr White, John Kolvenbach, Christina Anderson, Joshua Harmon, Mfoniso Udofia, and Luis Alfaro, to name a few. Magic plays have a profound impact across the American theatre landscape. Under Greco’s leadership, Magic world premieres have entered the canon of American plays, enjoying subsequent productions at theatres across the country and around the world. In the last decade, Magic premieres have been seen in Chicago, London, Los Angeles, Ashland, Philadelphia, Indianapolis,
Seattle, Dallas, Austin, Pasadena, Winnipeg, Portland, Washington, D.C., Tucson, Minneapolis, Vancouver, Williamstown, Edmonton, Nashville, Boulder, Omaha, Tampa, Hartford, Houston, San Diego, and Sydney, Australia, as well as in translation in Seoul, South Korea and Manila, the Philippines. In New York alone, Ma-Yi, The New Group, The Vineyard, INTAR, The Play Company, Playwrights Horizons, and The Public Theater have produced plays that originated at Magic within the past eight years.
Interested in becoming more involved with Magic? Email Magic Board Member, Ian Atlas, at IanA@magictheatre.org to learn more about exciting opportunities with Magic's Board and committees.
*Member of Actors’ Equity Association. AEA, founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performance arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org. + Member of Stage Directors and Choreographers (SDC) ** Member of United Scenic Artists local 829. United Scenic Artists represents the designers and scenic painters for the American theatre.
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dramaturgy
EXPLORING THE COLLATERAL DAMAGE:
AN INTERVIEW WITH ASHLIN HALFNIGHT By Kate Leary Playwright, Screenwriter, and former Hockey Player, Ashlin Halfnight speaks with Dramaturg Kate Leary after rehearsal.
Kate Leary: Because you're a new Magic Family Playwright, we’ve got to know your origin story. How did you find your way to theatre? And how did you know you wanted to be a playwright? Ashlin Halfnight: Well, I was primarily a scholar athlete, if you want to call it that, as a kid. But I was always also very interested in the arts: music, theatre. I was the (pretty terrible) lead in my 6th grade play. I did theatre in high school a little bit, but always as sort of a back burner to hockey and academics. Nobody really pushed me toward the stage; I just sort of kept pulling off the road to explore it. KL: You chose theatre as your career path though, so how did you land there? 8
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Ashlin Halfnight working on edits to The Resting Place. Photo by Kate Leary
AH: When I retired from playing hockey, I decided I was going to move to New York and try my hand as an actor, or generally in the theatre—maybe writing, maybe music, whatever. I signed up for the Lee Strasburg Institute in New York. The day I got my acceptance letter, my hockey agent called and said, “Hey, we've got an opening on a team in Detroit. Go play the rest of the season. You’ll make 40 grand.” And I said, “No, I think I’ll stay in New York, wait tables and pay to go to theatre school.” My hockey agent at the time was like . . . ‘Wait, what?’ I remember feeling very sure about the decision but also somewhat terrified. I was soon fired from the job waiting tables, but I went to acting classes and to a playwriting class. In the acting class, you know, they have the Strasburg method, and one of the exercises was that you had to peel an
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imaginary orange. You just sit there for the better part of what I remember being 20 minutes—just peeling an orange. You’re supposed to smell it. You're supposed to feel it. It’s about sensation and focus and discipline. But I kept peeling the orange and, in my mind’s eye, somebody kept walking into the room and going, “That's my fucking orange. You stole my orange.” KL: [Laughter] AH: And so, I was basically creating narrative out of what was supposed to be a concentrated exercise on one thing. No events. No story. And, concurrently, in the playwriting class, the teacher pulled me aside at one point and said, “Man you should do this.” And it was really the first time anybody professional had encouraged me in the arts in any real way. That was the thing that set me on my path as a playwright. It hasn’t been a direct route since then, but that led me to writing a bunch of plays, to ultimately doing some storefront/indie downtown theatre in New York, and then going to Columbia for grad school and . . . and. . . and. KL: The kind of duality, the relationship between hockey, which is a violent sport, and your writing, where you write these really poignant, deeply sensitive, deeply intuitive characters is fascinating. There’s something so interesting about both of those creatures existing inside of your brain. AH: Yeah, implicit in what you just said is that, you know, hockey players are not sensitive or intuitive. And I think that, to some degree, it’s a fair characterization. But I feel like hockey has taught me a ton. It very much informs my writing—not so much the game and what exactly happens, but it's a very humbling thing to have your teeth knocked out, or to be punched in the face, or to fail, or lose, or get humiliated. And I think that understanding how that makes somebody feel… and on the flip-side, I've knocked people out on the rink. I know what it feels like to run into somebody at that speed—two people skating at 40 miles an hour, you’re talking about an 80-mile-anhour collision—people are literally knocked out. They're lying on the ice twitching, and the crowd is cheering for that—everyone loves it—but if you’re the cause of it,
you’re saying to yourself, “Oh, wait a minute.” The range of human experience that comes through sport is a very rich landscape to draw from when trying to understand people and what makes them do the things they do. KL: Something we loved about you when you were here for Virgin last year is that there's a muscularity and a discipline to the way that you work, specifically with rewrites. I would assume that discipline would be part and parcel with being an athlete. AH: Yeah, I think if you ask Serena Williams—does she feel like playing on any given day? Maybe yes, maybe no. But that's not a choice. I think my sports career informs how I see the world and how I approach the team atmosphere of the rehearsal room. We’re a team, practicing for a performance— we have a locker-room and a performance space, and, on any given night, we’re only as strong as the proverbial weakest link. Theater and team sports are exactly alike in that way. Sports also does certainly inform how I approach making a play and making a play better. I also don't ascribe, because I'm somebody who came to it late—and have learned, and become better as I’ve trained and worked and tried to improve—I don't ascribe to this sort of lightning bolt nonsense where like a play is delivered fully formed and nobody should touch it. KL: It’s a craft. AH: Yeah it is. There are some lucky folks who are geniuses, and they write amazing stuff at 20 years old. For most of us, it's a process of falling on your face and getting back up and getting better. KL: In terms of your writing process, do you find that there's a place where you need to work or a headspace that you need to be in? What are your little things that you need to have aligned in order for you to pump out the pages? AH: I don't have anything like that. I think for me, my process is very much about being in the zone in the way that an athlete gets into the zone. It’s about unthinking presence, it's about no second guessing, no externalizing, no editorializing, no nothing. It’s just living ARTSLANDIA.COM
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Loretta Greco, Ashlin Halfnight and Jessica Holt at first day of rehearsal for The Resting Place. Photo by Sonia Fernandez
the play in the moment that it’s happening and people saying the things that they are saying as I'm standing there with them, or in them, or around them, or above them. That isn’t always an easy place to get into, but that's where my best writing comes from. I write to music sometimes. Planes are great. Anywhere I can't get up and go somewhere. A bus, a plane, I love trains. I finished a draft of a new play on the flight out here on Wednesday morning. KL: In terms of the content that you explore, playwrights are often grappling with the same big questions in their work. Do you have a big question that you’re chasing? AH: It's interesting. I, for many years, feel like I suffered from being somebody who did not have an identifiable kind of label or area of expertise because I write in very 10
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different styles. I have a lot of different kinds of characters, who come from different strata of the social and economic spectrum. But I was sitting in conversation with my agent, and I was complaining about this, and she was like, “No, your thing is the people who are left behind.” And I was like “Holy shit.” It was this revelatory kind of moment where I tracked back through a lot of my work. In my work, there are always people who have moved on in some way, shape, or form, either positively or negatively, and I’m interested in that, but I’m drawn most to the folks who are left behind, trying to pick up the pieces, and figuring out how to move forward. That’s very sort of esoteric, but I think that’s something I can put my hand on a little bit. KL: I would love to hear about how you came to write The Resting Place, where it came from.
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AH: The play really has two parents. One is Sophocles’s play Antigone, which deals with the central question of a burial—and the questions surrounding it: public vs. private faces, family loyalty vs. civic loyalty, and so on. The other is really some personal history for me, related to the school that I went to in middle school and high school that had a rash of sexual abuse perpetrated by teachers on young boys. What’s not interesting to me about stories of abuse is most of what's often reported in the traditional news media and online, which is not to say that I don't care or I don't feel for the people involved, but this binary of victim and perpetrator, of criminal and innocent, is less nuanced, less complicated than the surrounding parties who are affected by that central traumatic event. KL: Today in the workshop, you used the phrase “collateral damage.” I think that really encapsulates the spirit of what’s happening in the piece. AH: Yeah, it’s about the complexity of the collateral damage. The thing itself is not that complicated. It is often a sick, or terrible, or malicious—or mentally ill—person doing something with/ to someone who is often powerless, or less able to understand and/or contextualize what's happening. That's the story, you know? But exploring how we as a community respond and react is layered and hard. The play explores, or asks, what kinds of things do we find so abhorrent nowadays in society that it would make us all take vocal action—or stand up and disallow somebody to be buried somewhere— to not have somebody included in our society essentially? KL: You write a lot about families and the intricacies of family, and I am curious how having a family and your family has affected your writing. AH: It’s funny. I was thinking about that today. I was just thinking about how having children both has and hasn't affected how I write plays. I think it has probably deepened and sweetened my take on things in a way that is just about where I'm at in life. I'm so “in it” right now. I have two young children. I am up early early. I am exhausted when I put them to bed. So, what that’s doing to my creative process, and my brain, and my heart, and my soul, and
whatever else, I don’t have a handle on. Growing up, I had a really wonderful family. I love my siblings deeply. I love my parents. We have our issues, but I think my family loves hard and fights hard, and I think we're people who have a lot of good inside. KL: What would you like audience members to leave with after experiencing The Resting Place? AH: I don't want them to leave with answers. I think the play is about a journey to see something difficult and traumatic for what it is, and recognize that if you are really seeing it, it must infinitely complicate any simple stance that you might take. I guess I’d like people to leave thinking about two things: one, this idea of the people who are left behind, the collateral damage, like after a school shooting—the parents of the shooters, you know. Just sort of considering those folks, because so much of our current attention is taken up with “So and so did something to so and so.” The clickbait headline—it’s not the complete, real, human story. To just stop for a moment and consider the wider net. And then the other thing is just to sort of say that we are encouraged not to have this conversation. I think that's where the reductive, simplistic nature of our news cycle leads us, right? Ironically in the current moment, there’s so much noise about it, and maybe we’re convincing ourselves that we are having a conversation, just because the volume’s turned up to 10. So, not coming out with answers, but coming out with, “Wow, this conversation is complicated and difficult, but I want to think about how we're supposed to have it.” KL: Who are your big inspirations, artistic or otherwise? Who inspires you? AH: Who inspires me? Well, randomly, Terry Fox, who is a fellow from the 80s who got cancer in his leg—they amputated it—and he decided he was going to run across Canada. He’s a hero and an inspiration to a lot of Canadians because he took on this massive undertaking, and he ran on a metal prosthesis. And he ran. He got, I think, about halfway across the country before he died. KL: Oh my God. ARTSLANDIA.COM
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“ Why does tragedy exist? Because you are full of rage. Why are you full of rage? Because you are full of grief.ˮ —Anne Carson
The West Wind by Tom Thomson.
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The Resting Place cast reads the play around the table on the first day of rehearsal. Photo by Sonia Fernandez
WORKS BY ASHLIN HALFNIGHT PLAYS
God’s Waiting Room (2005) Diving Normal (2006) Mud Blossom (2007) Artifacts of Consequence (2009) Balaton (2009) Laws of Motion (2011) A Hard Wall at High Speed (2011) Lathem Prince (2015)
SCREENPLAYS
Diving Normal (2013) Maybe There’s a Tree (2014) Astraea (2015) Upstate in April (2015) The Crack in Everything (2016) Dead Hairy Hipster (2016) Let it Go (2017) Survival Box (2018)
TELEVISION Bloodline (2017) 14
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AH: As a kid, I remember just thinking what a brave person and what a dreamer. I'd be remiss if I didn't say that Wayne Gretzky informs a lot of who I am, but not because he was so good. The moment I remember is when he was traded from the Edmonton Oilers to the Los Angeles Kings, he cried in the press conference because he was letting down a nation. I think there was something about the emotionality and the loyalty that was pretty amazing. As far as artists go, Edward Hopper. There's something to me about his really insightful grasp of human loneliness, and how beautiful that is, but also how heartbreaking it is. Sam Shepard, as far as playwrights that I gravitate towards. Shepard was very true to the thing he was wrestling with—his relationship with his father, and some sort of idea of masculinity and the patriarchy that runs through a lot of his work. His muscularity, the sort of willingness to take a leap of faith and do something that's different, or crazy, or brave speaks to me. KL: Ok, last question. We had you here for our Virgin Play Festival in December, and that was your first foray into the world of Magic. How does it feel to be back? AH: Awesome. KL: [Laughter] I swear, I wasn’t fishing for that. AH: No. It’s an interesting thing. Having been here during Virgin with Jess, and then to be back here with her for the production. All of it feels like I’m building something. Not only the fact that the folks here are so supportive and good—it feels grassroots, like we’re all in this together. And for me, that’s awesome. When I drove in on Wednesday morning, I was like, oh this is so funny, it feels like home. It feels like I’m “coming backˮ as opposed to “going to.ˮ And that’s a wonderful feeling.
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" Tell me about despair, yours, and I will tell you mine. Meanwhile the world goes on. Meanwhile the sun and the clear pebbles of the rain are moving across the landscapes, over the prairies and the deep trees,
“ [ MY] FAMILY WAS PLAGUED BY A QUESTION — IS IT POSSIBLE FOR SUCH A TERRIBLE ACT TO EMERGE FROM A NORMAL FAMILY? OR DOES EVIL COME FROM EVIL?” —Dave Kaczynski
the mountains and the rivers. Meanwhile the wild geese, high in the clean blue air, are heading home again.” —Mary Oliver, excerpt from “Wild Geese”
“ We should always assume that someone we love may be suffering, regardless of what they say or how they act.
Summer Day by Tom Thomson.
We should listen with our whole
“ W hen your parents die, you go to the hilltop and you bury them. When your children die, you bury them in your heart, and it's forever.” — Bud Welch, father of an OKC Bombing victim
being, without judgments, and without offering solutions.” — Sue Klebold, mother of a Columbine shooter ARTSLANDIA.COM
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magic theatre staff STAFF Artistic Director Loretta Greco Managing Director Jaimie Mayer Director of Development Gabrielle Chapple Associate Artistic Director Sonia Fernandez General Manager Cierra Cass Production Manager Jackie Hill Manager of Institutional Giving Ellen Abram NNPN Producer in Residence Kate Leary Patron Services Manager Karina Fox Development Associate Ciera Eis PR Consultant Jonathan White Bookkeeper Richard Lane Season Artistic Apprentices Jorden Charley-Whatley, Claire Ganem, Samuel Levit Community Outreach and Education Intern Christy Conway Development Volunteer Susan Boynton Administrative Volunteer Susie Lampert
PRODUCTION PERSONNEL Assistant Director Claire Ganem Assistant Stage Manager Amanda Marshall Production Assistant Jorden Charley-Whatley Assistant Costume Designer Alexia Dominique Assistant Lighting Designer Miranda Waldron Master Electrician Brittany Mellerson Sound Engineer Mike Post Light Board Programmer & Operator Sara Saavedra Scenery engineered and built at Rooster Productions, LLC in Richmond, CA Managing Partners Frédéric O. Boulay & Adam Puglielli Technical Director Adam Puglielli Lead Scenic Ewa Muszynska Scenic Artist Evandro Conceicao
BOARD OF TRUSTEES Co-Chair Bennett G. Young Co-Chair John Marx Secretary Alan Stewart Treasurer Kathryn Kersey Trustees Loretta Greco, Artistic Director Ian Atlas Sarah Nina Hayon Sandra Hess Larry Goldfarb Jeremy Kotin Jaimie Mayer, Managing Director Matt Sorgenfrei
LITERARY COMMITTEE Cierra Cass, Sonia Fernandez, Hal Gelb, Karina Gutierrez, Sandra Hess, Kate Leary, Amanda Lee, Samuel Levit, Jack Miller, Patricia Reynoso, Leigh Rondon-Davis, Arthur Roth
MAGIC ARTISTIC LEADERSHIP John Lion (1967–1991) Harvey Seifter (1991–1992) Larry Eilenberg (1992–1993) Mame Hunt (1993–1998) Larry Eilenberg (1998–2003) Chris Smith (2003–2008) Loretta Greco (2008–Present) The following individuals have generously provided for Magic Theatre in their estate plans: C. Edwin Baker, Martha Heasley Cox, Bob Lemon, Mike Mellor, Mary Moffatt, Julia Sommer, Bert Steinberg, Alan Stewart, Toni K. Weingarten
Magic Theatre is generously supported by:
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contributors PRESIDENT’S CIRCLE
PRODUCER
The Andrew W. Mellon Foundation San Francisco Arts Commission Public Art Trust The Shubert Foundation
Valerie Barth Rebecca Eisen and Jim Eisen Ken Hitz and Liselott Hitz Courtland Lavallee and Donna Lavallee William Bradley Rubenstein Les Silverman, In Memory of Irvin Govan Dr. Alan Stewart and Frank Kelly The Tournesol Project of the Barth Foundation Dr. Debra Weese-Mayer
$100,000 +
LEADERSHIP CIRCLE $50,000–$99,999
The William and Flora Hewlett Foundation The Wallace Alexander Gerbode Foundation John F. Marx and Nikki Beach Toni Rembe and Arthur Rock San Francisco Grants for the Arts Venturous Theater Fund of Tides Foundation
SEASON PRODUCER $25,000–$49,999
Anonymous Martha Heasley Cox Gaia Fund Sandra Hess Kathryn Kersey Mrs. Robert B. Mayer
EXECUTIVE PRODUCER $10,000–$24,999
Ian Atlas and Renu Karir Eugene Barth and Neil Barth Lucia "Lucie" Brandon Clay Foundation West Larry S. Goldfarb Koret Foundation Jaimie Mayer National Endowment for the Arts National New Play Network The Bernard Osher Foundation Pillsbury Winthrop Shaw Pittman, LLP Carole Shorenstein Hays and Jeffrey Hays Matt Sorgenfrei The Harold and Mimi Steinberg Charitable Trust Bennett G. Young and Molly Young Zellerbach Family Foundation
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September 25, 2017–September 25, 2018 We gratefully acknowledge all those that support Magic Theatre with gifts to our Annual Fund, Benefit Fundraiser, and special projects.
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$5,000–$9,999
ASSOCIATE PRODUCER $2,500–$4,999
Anonymous Judith Ciani Smith Alexandra Corvin and Eric Walder Karen Crommie and David Crommie Mike Fleming and Lea Ann Fleming Sarah Nina Hayon Patricia Kaussen and Karl Kaussen Jeremy Kotin Susie Lampert Terry Limpert and MaryBeth Limpert Linda McPharlin and Nick Nichols Vicky Reich and David S. H. Rosenthal Elizabeth Shea and William Shea Voluntary Arts Contribution Fund Gerald Vurek and Lynda Vurek-Martyn Robert Yoerg and Sharon Yoerg Bob and Lynne Zolli
PLAYWRIGHT'S ANGEL $1,000–$2,499
Sara Adler Lisa Avallone and Mike Aguiar Michele Benjamin and David Benjamin H.Rollin and Susan Boynton Michelle Branch and Dale Cook The Mervyn L. Brenner Foundation
Bryan Burlingame and Lauren Burlingame Lynne Carmichael Katie Colendich Ruth and Naomi Conroy Adele Corvin Scott Corvin and Valerie Corvin Dana Corvin and Harris Weinberg Stuart Corvin and Marissa Wertheimer Pamela Culp Helga and Roy Curry Julie Divola and Lisa Smith Wesley Duenow and Chrystal Silva Larry Eilenberg and Kathleen O'Hara Elizabeth Erdos and Wayne Dejong Lynn Ducken-Goldstein Betty Gottlieb Kate Hartley and Michael Kass Richard Hay Betty Hoener Lorraine Honig Miriam John and William Wilson Missy Kirchner Linda Klett and Robert Klett Joanne Koltnow Gyöngy Laky and Thomas Layton Linde - Sands Family Fund Fred Lonsdale Karl Ludwig and Ann Ludwig Abby McLoughlin E. Craig Moody, In Honor of Richard Moody Robert Morris and Cristina Morris Claire Noonan and Peter Landsberger Sheryl and Mike Nouaux Frances O'Sullivan and John O'Sullivan Matt Pagel and Corey Revilla Barbara Paschke and David Volpendesta Emily Scott Pottruck Daniel Raiffe Lois Roth and Arthur Roth Elizabeth Skavish and Michael Rubenstein Michele Ruskin and John Ruskin Marjorie Smallwood and Richard Smallwood
Shirley Traynor Joanne Vidinsky and Alan Vidinsky Lisa Wade and Peter Boland Toni K. Weingarten Peter Wiley Leigh Wolf Karen Zehring
NEW WORK ADVOCATE $500–$999
Joy Lian Alferness Raymond Applebaum Nancy Baker, Ph.D. and Ms. Cathy Hauer Susan Beech Dr. Paula Campbell Center for Cultural Innovation Miriam Chall Gabrielle Chapple and Craig Chapple Janice Chapple and Douglas Chapple Terence Chu Kim and Stan Corfman, In honor of Lily Sorenson Katherine L. Crecelius Lisa Erdberg Saul and Gloria Feldman Jeanne Freed and Dave Freed Dr. Steven Fugaro and Mrs. Jill Fugaro Peter Gigante and Jimmy Williamson David Goldman Don Graulich Loretta Greco Sandra Moll and Rick Holden Dalia Katan and Joe Vasquez Sarah Kupferberg and Sydney Temple Martha Harriet Lawrie Walter Lehman Kathleen Leones Chris Lorway Karen and Dennis May Jennifer Mayer and Rich Deitchman John G. McGehee John McIntosh Mr. and Mrs. James Mooney Roberta Mundie Gail Murphy Marcia and Robert Popper Jennifer Raiser Murphy Robins and Wayne Robins Barbara and Saul Rockman
Karen Rose Karen Rosenak Laurel Scheinman Susan D. Terris Brian Wong and Scott Hofmeister Anne Yamamoto and Bryan Polster Julius Young Jason Yun and Joshua Conway
NEW WORK SUPPORTER $250–$499
Steven A. Chase and Andrea Sanchez Lauren Adams and Steve Adams Seth Ammerman Sherry and John Bender Leo Berry-Lawhorn George and Marilyn Bray Marcy Coburn Geoff Dryvynsyde and Matt Porta Bruce Ericson and Lisa Ericson Rodney Farrow David and Vicki Fleishhacker Kerry Francis and John Jimerson Kirke Hasson and Nancy Hasson Jan Laskowski and Sofia Laskowski Mark Luevano Jonathan Mayer Jo Ann and Rick McStravick Jeanne Newman Marsha A. O'Bannon Marina Park and Bob Sutton David Piel Joshua Reynolds Ellen Richard Gregg Riehl and Tina Riehl Deborah Robbins and Henry Navas Dorothy Schimke William Schwartz Sofar Sounds Jasmine Stirling Lois and Richard Tilles Philip Waddington and Ruth Waddington Richard Lapping and Carolyn Wright Roy Zitting
PATRON
$100–$249 Anonymous Michael Bandrowski Jon and Ellen Benjamin Robert Bergman Noel T. Blos Donna Brorby Howard Brownstein and Janna Ullrey Steven and Kelli Burrill Meagan S. Levitan and Dale Carlson Millie and Barry Chauser Judith E. Cohen and Malcolm Gissen Huguette Combs John Cummings Jerry Current Doris Davis Peter Dell Judith Duffy Marilyn and Les Duman Marie Earl and Peter Skinner Charles Feinstein and Debby Feinstein Sonia Fernandez and Long Do Mary and Thomas Foote Elizabeth Foster and Michael Harris Douglas and Mary Fraser Joan Friedman Nancy M. Friedman and Terry Hill Philip Frost and Velia K. Frost Rona Giffard Bettina Glenning Deene Goodlaw Dennis Gregg Gordon Griffin and Gini Griffin Jessica Hagedorn George Hammond Lori Hanninen and Jeff Wheaton Julia Hansen Paul and Linda Rae Hardwick Adrienne Hirt and Jeff Rodman Dr. Gisele Huff Tanya and Donald James Carolyn Jayne Bruce Jenett and Nola Masterson Andrew and Susan Jokelson
Richard and Susan Kaplan Ann and Paul Karlstrom Ashok Katdare Patricia Kausseu Richard and Victoria Larson Karen Laws and Dan Callaway Ana Maria Martel Patrick Mason and Rebecca Kurland Maeve Metzger Janice Mirkitani and Reverend Cecil Williams Leslie Moldow and Len Bargellini Daniel Murphy Linda Murray Ann M. O'Connor and Edward Callen Evan Painter David Pasta Wendy Porter Kim Regan Thomas Robinson Gail Rubman Kathy and Hal Rucker Steven Sattler and Karyn DiGiorgio Delphia Scully Lorinda Silverstein Pamela Smith Nancy and Robert Smith Jeffrey Smyser Margaret Snape and Bill Snape Anthony Somkin and Carol Somkin Frances Spangler and Alan Federman Suzanne Speh Judith Stein Cathy Stonie Michele D. and Richard J. Stratton Walter Norton and Joan Sullivan Deborah Sussel and Martin S. Berman Maggie Swanson Kimberley Turley Gerald and Deborah Van Atta Dr. James and Barbara Weese Vicki Willock and John Frankel Nancy Wiltsek Carol Wolff Sharon and Jerald Young Julia and Frank Zwart
We strive for accurate donor listings. If you have a correction or question, or would like to find out more about ways to support Magic Theatre, please contact Gabrielle Chapple at gabriellec@magictheatre.org. ARTSLANDIA.COM
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in memoriam
MAGIC REMEMBERS Lucia “Lucie” Brandon Sydney Goldstein Joe Macias Beatrice “Buddy” Cummings Mayer Patrick Murphy Evangeline “Vangie” Uribe We are tremendously grateful for their incredible support of the arts and their dedication to the cultivation of bold new plays and playwrights. They will always be a part of the Magic Family.
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