The 2011/2012 Season is made possible by Joan & Irwin Jacobs, City of San Diego Commission for Arts and Culture, The Shubert Foundation, Dr. Seuss Fund at The San Diego Foundation, Becky Moores, Qualcomm Incorporated, Gail & Ralph Bryan, Sheri L. & Stuart W. Jamieson, Des McAnuff, Vivien & Jeffrey Ressler, The Rich Family Foundation, Colette & Ivor Royston, Steven Strauss & Lise Wilson and Mandell Weiss Charitable Trust.
This production made possible with the generous support of Lead Sponsor
Becky Moores
Co-Sponsor
PErFORMANCEs MAGAZINE P1
A MeSSAGe FROM THe
artiStiC direCtor
mIssIon statEmEnt: La Jolla Playhouse advances theatre as an art form and as a vital social, moral and political platform by providing unfettered creative opportunities for the leading artists of today and tomorrow. With our youthful spirit and eclectic, artist-driven approach, we will continue to cultivate a local and national following with an insatiable appetite for audacious and diverse work. In the future, San Diego’s La Jolla Playhouse will be considered singularly indispensable to the worldwide theatre landscape, as we become a permanent safe harbor for the
ever since the earliest explorers arrived on our continent, people from all corners of the earth have taken huge, life-threatening risks to immigrate to our country and take part in the American Dream. Those who were here before the first immigrants arrived, and the millions that came after, changed the racial, ethnic and cultural face of America. Despite our cherished notion of the United States as a “melting pot,” questions tug at our brains: To whom does America belong? Who are we as a nation? As we learn in Culture Clash’s American Night: The Ballad of Juan José, the answers keep changing, depending on where we are in history. Culture Clash melds madcap physicality and irreverent wit, delivering sobering truths about who we are and what we’ve become as our nation continues to change. American Night, set inside one immigrant’s fever dream of American history, introduces us to familiar icons and those omitted from history books. When our hero finds himself at the signing the 1848 Treaty of Guadalupe Hidalgo – the document that established a border between the U.S. and Mexico (and gave much of Juan José’s country to the north) – we laugh at his preposterous attempt to rewrite history, but we recognize the direct line between that defining moment in time and our current immigration problems and the human cost it has engendered. American Night: The Ballad of Juan José is the best kind of civics lesson — one you won’t find in any textbook; one that questions our core values and the very fabric of the “America” of our founding fathers. Once again, Culture Clash’s pulse is on a political, cultural and historic flashpoint in our history. Their play is a fantasia, but it couldn’t be more timely.
unsafe and surprising. The day will come when it will be essential to enter the La Jolla Playhouse village in order to get a glimpse of what is about to happen in American theatre.
P2 PErFOrMANCEs MAGAZINE
CHRISTOPHeR aShley ARTISTIC DIReCTOR
OUR MISSION Cover and page 1 photo credit: Stephanie Beatriz and René Millán; photo by Jenny Graham. Clockwise from top left: Lucille Neeley, Board Chair Mike eagle with Ralph Bryan, William and Lynelle Lynch, Michael Yeatts with wife Marilyn.
LA JOLLA PLAYHOUSe
Board of truSteeS
A MeSSAGe FROM the Board Chair
MIKE EAGLE Chair SHEILA POTIKER (1929 - 2011) First Vice-Chair JEFFREY RESSLER Second Vice-Chair SUSAN POLIS SCHUTZ Third Vice-Chair MICHAEL BARTELL Treasurer MARGRET MCBRIDE Secretary TRUSTEES Gayle Allen Weston Anson Paula Marie Black Barbara Bloom Heidi Boruszewski Ralph Bryan* Linda L. Chester Flossie Cohen Doug Dawson edward A. Dennis, Ph.D. David P. Dolgen* Susan e. Dubé Victor M. Felix Marye Anne Fox, Ph.D. Gregory Frost Wendy Gillespie Hanna Gleiberman Kay Gurtin Hanaa Hensersky Debby Jacobs Joan Jacobs Sheri Jamieson Sal Janmohamed Jeanne Jones Gail Knox
Lynelle Lynch Lucille Neeley Reenie O'Dea Julie Potiker Steve Relyea Donald Rosenberg Ivor Royston Camille Saltman Tim Scott Judith C. Smith David Smotrich Steven M. Strauss* Arthur Wagner, Ph.D. Mary L. Walshok, Ph.D. Michael Yeatts Mark Zebrowski HONORARY TRUSTEES David Copley John Goodman Geri Ann Warnke* Robert Wright, esq. EMERITA TRUSTEES Rita Bronowski (1917-2010) Marian Jones Longstreth (1906-1997) ellen Revelle (1910-2009) EMERITUS TRUSTEES Richard Atkinson, Ph.D. Milton Fredman (1920-2005) ewart W. Goodwin, Jr.* Hughes Potiker (1925-2005) Roger Revelle (1909-1991) Willard P. VanderLaan, M.D.* Mandell Weiss (1891-1993) 1947 FOUNDERS Mel Ferrer Dorothy McGuire Gregory Peck
greetings from La Jolla Playhouse! We’re delighted to welcome you to culture clash’s provocative, prescient and positively hilarious new play, American Night: The Ballad of Juan José. as we head into 2012, i hope you will join in our commitment to help make the arts more accessible to young people. toward that end, the Playhouse’s annual gala on march 9 raises crucial funds for the theatre’s education and *Past Chair of the Board outreach programs. the gala is not only one of the most exciting events of the year, it also allows the Playhouse to continue providing award-winning theatre programs to students throughout the san diego community – programs such as collaborative arts resources for Education (carE), student matinees, interaction, as well as the Performance outreach Program (PoP) tour, which develops a brand new play each year, conceived and created by world-class Playhouse artists, to tour elementary schools throughout the county. this year’s PoP tour production, Recipe for Disaster, is sure to entertain and enlighten while providing vital arts programming in local schools. With major cuts to arts funding on both the local and national level, the PoP tour is often the only arts program offered in these schools all year. Your participation at the Playhouse gala or through a donation to the PoP tour will help us fulfill our commitment of bringing theatre into the lives of more young people, giving thousands of children a gift they’ll treasure throughout the new year – and beyond.
MIKe eagle CHAIR, BOARD OF TRUSTeeS
Community partner for AMERICAN NIGHT: ChiCano federation The mission of the Chicano Federation is to create and promote empowering opportunities for our community. Learn more at www.chicanofederation.org. PErFOrMANCEs MAGAZINE P3
LA JOLLA PLAYHOUSE presents Michael S. Rosenberg Managing Director
Christopher Ashley Artistic Director
A co-production with Center Theatre Group Originally produced by the Oregon Shakespeare Festival
WRITTEN BY
Richard Montoya DEVELOPED BY
Culture Clash AND Jo Bonney directed BY
Jo Bonney Featuring
Stephanie Beatriz*, Rodney Gardiner*, David Kelly*, Terri McMahon*, René Millán*, Richard Montoya*, Kimberly Scott*, Herbert Siguenza*, Daisuke Tsuji* Set Designer Costume Designer Lighting Designer Sound Designer PROJECTION DESIGNER CHOREOGRAPHER LA JOLLA PLAYHOUSE Dramaturg STAGE MANAGER ASSISTANT STAGE MANAGER CASTING CONSULTANTS ASSOCIATE PRODUCER PRODUCTION MANAGER
Neil Patel ESOSA David Weiner DarrOn L West Shawn Sagady Ken Roht Shirley Fishman Randall K. Lum* Tarin Hurstell* NICOLE ARBUSTO & JOY DICKSON Dana I. Harrel Linda S. Cooper
Commissioned as part of American Revolutions: The United States History Cycle at the Oregon Shakespeare Festival Artistic Director: Bill Rauch; Executive Director: Paul Nicholson. P4 PERFORMANCES MAGAZINe
THE CAST Lydia/Ensemble.................................................................................................Stephanie Beatriz Ben Pettus/Ensemble......................................................................................... Rodney Gardiner Harry Bridges/Ensemble...............................................................................................David Kelly Mrs. Finney/Ensemble..........................................................................................Terri McMahon Juan José.................................................................................................................... René Millán Juan José the First/Ensemble...........................................................................Richard Montoya Viola Pettus/Ensemble........................................................................................... Kimberly Scott Neil Diamante/Ensemble.................................................................................. Herbert Siguenza Johnny/Ensemble.....................................................................................................Daisuke Tsuji Assistant Lighting Designer Heather Graff Assistant Sound Designer Chris Luessmann Lighting Design Assistant Rebecca Bonebrake‡ Assistant Projection Designer Kristin Ellert Assistant Director Amanda Friou
SPECIAL THANKS
Future Lighting and Paul Sangster
This Theatre operates under an agreement between the League of Resident Theatres and the Stage Directors and Choreographers Society, an independent national labor union.
This Theatre operates under an agreement between the League of Resident Theatres and United Scenic Artists, Local USA-829 of the IATSE.
La Jolla Playhouse is a member of the League of Resident Theatres (LORT) and a constituent of Theatre Communications Group (TCG), the national service organization for the nonprofit professional theatre.
* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association. ‡
UC San Diego M.F.A. Candidate in residence at La Jolla Playhouse
Education & Outreach Programs PERFORMANCE OUTREACH PROGRAM (POP) TOUR Every school year, the Playhouse commissions a new play that addresses real concerns of today’s youth and brings a professional production to schools and community centers in diverse communities across San Diego county. School performances are also integrated into the classroom curriculum through pre-performance visits by Playhouse Teaching Artists.
IN-SCHOOL RESIDENCIES
In partnership with San Diego County and City Visual and Performing Arts Departments, Playhouse Teaching Artists teach theatre skills in classrooms across the county, ensuring theatre becomes an integral part of the education of all San Diego children while fostering a relationship with the Playhouse that will continue as these young people grow into adulthood.
Illuminating Audience Events
La Jolla Playhouse offers unique opportunities for audience members to delve deeper into American Night with these special performance series options:
Talkback Tuesday: Join cast and crew for a discussion following the performance. • Tue., February 7 following 7:30pm performance • Tue., February 14 following 7:30pm performance
-Sponsored in Part by
Insider: Meet with a Playhouse staff member 30 minutes
Creative exploration of theatre arts in a summer program for students entering into grades 2-12.
prior to the performance for an insider’s discussion about American Night. • Thu., February 9 at 7:30pm • Fri., February 17 at 7:30pm • Sat., February 18 at 1:30pm • Wed., February 22 at 7:00pm • Sat., February 25 at 7:30pm
CONSERVATORY
Reaction: A special post-show discussion facilitated
YOUNG PERFORMERS’ WORKSHOP
Six-week summer intensive training in acting, voice, movement and text for grades 10-12. By audition only.
Supported in part by Sidney E. Frank Foundation
by La Jolla Playhouse staff. • Sat., February 11 following 2:00pm performance • Sun., February 12 following 2:00pm performance • Sun., February 19 following 2:00pm performance • Sat., February 25 following 2:00pm performance
-Sponsored in Part by
Discovery Events: Join special guest speakers after the performance as they explore the themes of the production.
• Sat., February 18 following 2:00pm performance • Sun., February 26 following 2:00pm performance -Sponsored in Part by THEATRE TOURS
Tour the stages and production shops of the Playhouse facilities and learn more about the history of La Jolla Playhouse and the role that it plays in the community. Tours are available to groups for a nominal fee. To schedule a tour, call (858) 550-1070 x101.
ACCESS PERFORMANCE SERIES
La Jolla Playhouse provides American Sign Language interpretation for audience members who are deaf or hard of hearing and live audio description for audience members who are blind or have low vision. Pre-show sensory tours provide design information to enhance the experience.
• Sat., February 11 at 2:00pm performance -Sponsored in Part by
For more information on Education & Outreach programs at La Jolla Playhouse, please contact Stephen McCormick at (858) 550-1070 x102.
PErFORMANCEs MAGAZINE P5
The Synopsis Mexican national Juan José is preparing to take a U.S. citizenship exam the following morning. Listening to the radio and poring over his Citizen’s Almanac of U.S. history, he falls asleep. The voices on the radio and the official version of the historical facts spin in his head. They blend with his fears, doubts and knowledge of an alternate version of history to create the fever-dream that forms the play’s structure. In the fever-dream, as Juan José reads quotes from his Citizen’s Almanac, he is transported to the center of historical events, where he encounters figures— both important and little-known—who played key roles. The fever-dream is stylistically diverse—impressionistic, fantastical and realistic; it incorporates drama, heightened storytelling, sketch comedy—even a radio play. The action leaps from moment to moment, from the signing of the 1848 Treaty of Guadalupe Hidalgo (which ceded much of pre-war Mexico to the United States), to a makeshift hospital in West Texas run by a courageous African-American woman during the 1918 Spanish influenza, to Manzanar Relocation Center during World War II, where a MexicanAmerican teenager volunteered to be interned with his friends, to the funeral of a union dockworker in San Francisco killed by police in the 1930s. In his move through time, Juan José encounters individual moments of courage, the fight for justice and progress, and both the best and the worst of American character. After more adventures, including one on a raft with the Marielito refugees who came in the 1980s from Cuba, Juan José finds himself in danger. As a radio broadcasts a report of anti-Mexican immigrant pogroms, he is surrounded by menacing figures. A voice asks Juan José to name the 13 original colonies. The lights fade as he takes his test. P6 PERFORMANCES MAGAZINe
WHO’S Who juan joSé: A Mexican national who is preparing to take his U.S. citizenship exam the next day. SKinny tie 1 and SKinny tie 2: Latter Day Saint Missionaries. niCholaS triSt: U.S. government official who negotiated the signing of the 1848 Treaty of Guadalupe Hidalgo. joSé luiS CuevaS: Prominent Mexican painter and sculptor. viola pettuS: An African-American woman who treated anyone who had the Spanish influenza during the pandemic of 1918. Ben pettuS: An African-American cowboy who lived in Texas in the 1900s. Husband of Viola Pettus. man in roBe: Cleofis Virgil, a member of the Klu Klux Klan and of the Texas Rangers, who brought his ailing wife to Viola Pettus to be healed. lt. Seguin: Member of the U.S. Cavalry. meriWether leWiS & William ClarK: Legendary explorers who undertook the first overland exploration of the Western United States between 1804-1806. SaCajaWea: A Lemhi-Shoshone guide who accompanied explorers Lewis and Clark. teddy rooSevelt: 26th President of the U.S. known for exubertant personality, range of interests and hunting acumen. ralph lazo: The only nonJapanese-American without a JapaneseAmerican spouse to volunteer to go to a War Relocation Center (Manzanar) during World War II. mrS. finney: A teacher at Manzanar. johnny yamamori: A Japanese-American teenager interned at Manzanar; Ralph Lazo’s friend. jaCKie roBinSon: First African-American to become a Major League baseball player with the Brooklyn Dodgers in 1947. harry BridgeS: An influential Australian-American union leader in the International Longshore and Warehouse Union (ILWU), a dock and warehouse workers’ union on the West Coast, Hawaii and Alaska, which he helped form and led for over 40 years. Celia Cruz: A successful Cuban Salsa singer. general george armStrong CuSter: Military Officer and leader of the Indian Wars against Lakota and Cheyenne tribes; killed in the Battle of Little Bighorn also known as “Custer’s Last Stand”. Crazy horSe: Leader of Lakota tribe who lead a war party at the Battle of Little Bighorn in June 1876. (Subject to change.) PErFOrMANCEs MAGAZINE P7
Comedy
I don’t think we ever wanted to preach about what was so corrupt and unfair in what we were seeing. It just kind of ran through us, and we knew the best way to get that out was through jokes... -Ric Salinas, Culture Clash co-founder
Photo credit: (above) Richard Montoya; photo by Jenny Graham; (below) Ric Salinas, Richard Montoya
P8 PErFOrMANCEs MAGAZINE and Herbert Siguenza.
When Culture Clash showed up 25 years ago, they upended at least two assumptions: that popular comedy couldn’t include Latinos, and that politics in general—and identity politics in particular— was anathema to comedy. There were of course notable exceptions, such as stand-up comedians George Carlin and Lenny Bruce, Mort Sahl and the Smothers Brothers in the 1950s and 1960s, who combined cuss words and topical political references to shock and satirize the society of their day. But the Smothers Brothers’ political references got dropped from their own show on CBS. Sahl was a personal friend of President Kennedy, but after he started making jokes about him on The Ed Sullivan Show, Sahl disappeared from network television for years. Can you imagine Jon Stewart being dropped from Comedy Central for making fun of the president? It was a different era. Cheech and Chong, who performed in the 1970s on the latenight NBC comedy show Saturday Night Live, were another exception. They were a pair of Latino clowns who used a haze of pot as the atmosphere for their jokes mocking social ambition and responsibility, an ethnic antecedent to Dumb and Dumber. And though the comedians of Saturday Night Live used political and ethnic references to fuel their jokes, the butt of those jokes wasn’t so much politics as pop culture, that is, the style of TV news and the self-important, insipid way it informed us about the world. All of that is quite different from what Culture Clash was attempting: to use humor as a kind of searchlight on perennial inequities in American society—gringos and immigrants, INS officials and migrant farm workers, socialites and welfare mothers, company bosses and workers in fledgling unions. Culture Clash got its start on Cinco de Mayo, 1984, in Galería de la Raza, an art gallery in San Francisco’s Mission District. The gallery’s curator, René Yañez, came up with the then-novel idea of presenting Latino sketch comedy, not just in clubs, but in his gallery, where artwork was being exhibited. He brought together working comedians Monica Palacios, Marga Gomez, Richard Montoya, Herbert Siguenza and Ric Salinas, as well as essayist/humorist José Antonio Burciaga. Here, the newly formed group discovered a viable market for sketches featuring border patrol agents and wily illegal immigrants doing a cat-and-mouse chase—the sketch-comedy equivalent of a Roadrunner cartoon. The Latino comedy troupe was exploring new territory that theatre artists and comedy practitioners generally avoided: taking a strong view on issues of social justice. Where Sahl, Saturday Night Live and the LA-based Groundlings comedy troupe were ridiculing pop culture and thereby tickling the beast of society, Culture Clash was poking it in the ribs. They blended a comedy of generalized anarchy with that of targeted social and political commentary. They also blended drama and jokes into a formula that would define their survival, and the continuing broadening of their audience, over the next three decades. “I don’t think we ever wanted to preach about what was so corrupt and unfair in what we were seeing. It just kind of ran through us, and we knew the best way to get that out was through jokes...”
Salinas said in an interview with LA Weekly earlier this year. The humor of Culture Clash was a direct assault on the assumption—real or imagined—that audiences didn’t want political commentary in their comedy. Gomez and Palacios are both lesbians who joined Culture Clash on the heels of a career performing autobiographical stand-up about their own sexuality in Bay Area gay clubs. Gomez is widely regarded as the first openly lesbian standup comic, and Siguenza has described her as “a Latina Lily Tomlin.” But because of diverging approaches to humor, by 1988, both women had parted ways with Culture Clash, and Burciaga also left. The women’s departure marked a larger culture clash between the proponents of jokes or parodies that promote political and sexual identities, and those jokes that some feel perpetuate damaging stereotypes. Each has generated schools of detractors. One school argues that lampooning swishy gay men or Stepin Fetchits feeds the machinery of homophobia and racism. The opposing school, of which Culture Clash are graduates cum laude, argues that stereotypes need to be exposed and exploded. They weren’t afraid to put gangbangers on stage, as suburbanites’ worst nightmare, and then spin the cliché by giving the gangbangers dimensions of personal charity or despair. By 1989, Culture Clash had relocated to Los Angeles. Influenced by Mexican comedian Cantinflas, the Marx Brothers and Monty Python, Culture Clash started busting open Latino stereotypes—from the sentimentality of the schoolteacher in the movie Stand and Deliver to Che Guevara (a frequent visitor to Culture Clash stages)—in their show, A Bowl of Beings. It was developed after the 1989 near-fatal shooting of company member Ric Salinas outside his apartment in Los Angeles, an incident that threatened the company’s core. Salinas bounced back, however, and Bowl of Beings ran for six months in 1990 at the mid-size (over 300 seats) Los Angeles Theatre Center, which is an indication of how quickly the company’s popularity grew. In 1992, Bowl of Beings was produced by PBS for its Great Performances series. Culture Clash soon started mocking the foibles of the Left as well as the Right, of the Latino and Black working and middle classes, of Native American casino owners, of the growing numbers of Latino politicians, as well as the white politicians who, in those years, ran the circus. Classic influences By the late 1990s, the company was reaching back hundreds of years to the roots of commedia dell’ arte—which dates from the late medieval era to the 16th century and is based on stock characters—to lampoon the absurdities and injustices of the culture at large. Culture Clash found another ally in the ancient Greek playwright Aristophanes, who also ridiculed many elements of his society, yet preserved a vision based on his anger at the politicians responsible for the Peloponnesian War. In 1998, South Coast Repertory commissioned an adaptation of Aristophanes’ The Birds. In 2009, the company performed their topical goof on Aristophanes’ anti-war farce, Peace, at the Getty Villa in Malibu, directed by Bill Rauch. In the ’90s, Culture Clash began to venture in a new direction. In the first of a series of site-specific presentations, Culture PErFORMANCEs MAGAZINE P9
Clash applied a journalistic approach to understand the workings of Miami in a sketch-comedy show, Radio Mambo: Culture Clash Invades Miami (1995). The show was built upon interviews the writers conducted with tenants, civic leaders, homeowners and drug dealers. This became the start of a cottage industry; several theatres around the country commissioned the company to write a commediastyle civic history show about their cities: Bordertown (San Diego, 1998), Nuyorican Stories (New York, 1999), The Mission Magic Mystery Tour (San Francisco, 2000), and Chavez Ravine (a play about the building of Dodger Stadium performed in 2003 at the Mark Taper Forum, virtually in the glare of the stadium lights). For a compendium show with a focus on Boston, Culture Clash in AmeriCCa (2005), they talked to a Red Sox fan, a Brahmin socialite and an eccentric professor from Harvard. Getting dramatic In 2006, the company further broadened their reach with Water & Power, a play written by Richard Montoya and performed to considerable acclaim, at the Taper. As with Chavez Ravine and others, the trio performed it with guest performers. Unlike the series of plays about individual cities, however, the core of Water & Power did not rely on sketches, a considerable departure for a company that had derived its then-22-year success on sketch-comedy. Water & Power was a noir-mystery-drama about two fictitious twin brothers named Water and Power—an LAPD street cop and a local politician—and the politician’s efforts to extract his brother from charges of criminal wrongdoing. Through the swirl of the plot, and the often facetious dialogue, the play mocked the inner workings of Los Angeles city politics. Its allusions to real events and people gave the drama its wrappings of verisimilitude. While watching rehearsals for an LA Weekly cover story, I observed director Lisa Peterson (who directed Othello at OSF in 2008), the actors and dramaturg John Glore challenge Montoya to trim back jokes to serve the play’s larger themes. The result was a penetrating and poetical investigation of how a city functions. Its new style focused more on the characters’ emotional churning than on witty commentary, though there was plenty of that, too. This approach supported Montoya’s intention—announced on the first day of rehearsal: to use the play as a cautionary tale for a new generation of Latino politicians who now occupied desks in city halls and statehouses across the American Southwest and West Coast. Antonio Villaraigosa was the newly elected mayor of Los Angeles—LA’s first Latino mayor since 1872—and had offered both Montoya and Siguenza voluntary posts as city commissioners. “I hope it’s funny,” Villaraigosa told Montoya. “We need a good laugh out here.” Water & Power also presented a new line of balance between cracking jokes and offering comparatively somber reflections in the investigation of a political idea. That same year (2006), the troupe contin ued a former theme of exploding stereotypes with Zorro in Hell, which premiered at Berkeley Repertory Theatre and went on to play La Jolla Playhouse and the Ricardo Montalbán Theatre in Hollywood. The central character, Zorro, was a cartoon P10 PERFORMANCES MAGAZINe
myth, and the play investigated his historical origins and the ways popular legends distort factual history. Now, Culture Clash is moving into its next quarter century, with plays like American Night and Palestine, a work-indevelopment set in New Mexico that was commissioned by LA’s Center Theatre Group. In American Night, Juan José finds himself not only observing but participating in moments in our nation’s history that define the great divide between our country’s founding documents—filled with such elegant principles of social and economic justice—and the many actions and events that betray those principles. Juan José also meets a sampling of historical characters who try to behave with conscience. Since Culture Clash first assembled in 1984, the country has shifted beneath their feet. America looks very different now, psychologically and demographically. The troupe continues to search and research new stories to tell, and new ways to tell them.
American Night: A Historical Timeline to References in the Play
1519-1521: Cortés conquers Aztec Mexico 1776: American Declaration of Independence 1776-1781: American Revolutionary War 1787: Constitution of the United States of America 1789-1797: Presidency of George Washington 1803: Louisiana Purchase 1804-1806: Lewis and Clark’s expedition 1830: Book of Mormon published 1836: Siege of the Alamo 1845-1849: Presidency of James Knox Polk 1846-1847: Donner Party 1846-1848: Mexican-American War 1848: Treaty of Guadalupe Hidalgo 1848: Communist Manifesto published 1865: Ku Klux Klan founded 1876: Battle of Little Big Horn 1901-1909: Presidency of Teddy Roosevelt 1910-1920: Mexican Revolution 1918: Spanish Flu pandemic 1933-1945: Presidency of Franklin Delano Roosevelt 1934: West Coast Waterfront Strike 1939-1945: World War II 1941: Japanese attack on Pearl Harbor 1942-1945: Japanese American relocation camps 1942-1964: Bracero Program 1947-1956: Jackie Robinson plays for the Brooklyn Dodgers 1952: Church of Scientology incorporated 1955: Murder of 14-year-old Emmett Till 1959: Fidel Castro rises to power in Cuba 1965: Malcolm X assassinated 1968: Assassinations of Robert Kennedy & Martin Luther King, Jr. 1969: Woodstock Music Festival 1994: North American Free Trade Agreement 1998: “Who Wants to Be a Millionaire?” debuts 2001: September 11 terrorist attack 2008: Polygamous religious compound searched 2008: Emergence of the Tea Party 2008: Death of Marcelo Lucero 2009: Inauguration of President Barack Obama 2009: N1H1 flu pandemic 2009: Underwear bomber 2010: President Obama signs health care reform into law 2010: Ground Zero mosque controversy
Photo credit: (clockwise from top left): Richard Montoya, René Millán and Stephanie Beatriz; Rodney Gardiner; David Kelly, René Millán and Daisuke Tsuji; René Millán; photos by Jenny Graham.
PErFORMANCEs MAGAZINE P11
Culture Cl Siguenza, ash co-founders: (LR) Ric Salin Richard M ontoya as, Herber t
“When Culture Clash got its start on Cinco de Mayo, 1984, at a Mission District art gallery in San Francisco, they upended at least two assumptions: that popular comedy couldn’t include Latinos, and that politics in general — and identity politics in particular — was an anathema to comedy. They used humor as a kind of searchlight on perennial inequities in American society. Fast forward more than a quarter century and America is very different now, psychologically and demographically. With American Night: The Ballad of Juan José, Culture Clash continues their mission, finding both humor and pathos in the ideas that shaped our nation’s principles and the actions and events that betray them.” – Steven Leigh Morris, Theatre Critic for L.A. Weekly
ichard Montoya and Culture Clash’s American Night: The Ballad of Juan José was commissioned and developed as part of Oregon Shakespeare Festival’s American Revolutions: The United States History Cycle, a ten-year program of commissioning up to 37 new plays about moments of change in United States history. American Night, the first play in the cycle to be produced, premiered at Oregon Shakespeare Festival (OSF) in June, 2010. Alison Carey, OSF’s Director of the American Revolutions initiative, spoke with Montoya about American Night’s origins and its arrival at La Jolla Playhouse.
RM: Just like in the old days when we (Culture Clash cofounders Richard Montoya, Ric Salinas and Herbert Siguenza) first started working together, we sat out in the sunshine, laid out a huge piece of butcher paper and literally built a map. Our journey would be that of a young immigrant hoping to become an American citizen. So Herbert and I mapped it out: the story — the road — his journey through American history. Where would we place him and why? What would we — and, more importantly, what should we — be looking at through the eyes of an impressionable immigrant? That immigrant became Juan José.
AC: In 2008, the first time you and I talked about you and Culture Clash writing a new play, you said you wanted it to be the first play that we produced in our American Revolutions cycle. Why was that important to you?
AC: At the beginning of the play, he’s studying to take his U.S. citizenship test. What does that mean to you and Culture Clash?
RM: We were coming off a site-specific run at the time and I was looking ahead to a Los Angeles trilogy of Chavez Ravine, Water & Power and Zorro in Hell. Things were moving in speeded-up time and I thought that we could write our new play coming off that energy. A story about our country’s hidden history felt like such an urgent idea. This was several years before the anti-immigration and Mexican cartel madness, but I had a hunch we could be timely. AC: You and Herbert (Culture Clash co-founder Herbert Siguenza) discussed several different ideas to build a play around. Then, after an afternoon spent in Lithia Park (near OSF), the play began to come together. What happened in the park? P12 PERFORMANCES MAGAZINe
RM: The test was always part of his journey. But when our director, Jo Bonney, told us that she had become a citizen on the day President Obama was sworn into office, it became crucial. It underlined the importance of Juan José passing a test that most of us probably couldn’t. But the idea that we are a nation of immigrants — that anyone who chooses to come to these shores, works hard to better their lives and in the process has the chance to become an American — it’s not new. It’s just a different idea now that it concerns so many Mexicans. AC: There are a lot of references to events that were current at the time American Night was at OSF. The play will necessarily do some shape-shifting in order to respond to events as they occur and as it travels to different audiences in different cities. What gets your brain whirring when you think about it being presented at La Jolla Playhouse?
“…California used to be part of Mexico. We didn’t cross the border, the border crossed us.” – Elizabeth Martinez, De Colores Means All of Us.
AC: If today’s Culture Clash could take the brash, upstart Culture Clash of 27 years ago out to dinner, what would you talk about? RM: (Laughing) Three heart-healthy, dolphin-free tuna melts will do. We’re watching our figures now! I would say, “Never shortchange the audience. You never know who’s watching.” Around 1986 Culture Clash was playing a dump in a basement South of Market in San Francisco — we were goofing off because there were only five people in the audience. There was some heckling and some laughs, but we really let our guard down. Well, three of the five people were Tony Taccone (Artistic Director of Berkeley Rep), Oskar Eustis (Artistic Director of The Public Theater) and Tony Kushner (Angels in America playwright), who were then the Co-Artistic Directors of San Francisco’s Eureka Theater Company — the holy trinity of progressive American theatre. So, you never know. And I think Taccone was one of the folks heckling me! American history is a gold mine that Culture Clash will continue to mine. As for Juan José, as you drive by Home Depot you might spot him trying to pick up some work as a day laborer. After seeing American Night, our hope is that you will see him in a new light.
1. What is the supreme law of the land? 2. What do we call the first ten amendments of the Constitution? 3. How many amendments does the Constitution have? 4. The House of Representatives has how many voting members? 5. If both the President and the Vice President can no longer serve, who becomes President? 6. What are two rights of everyone living in the United States? 7. The Federalist Papers supported the passage of the U.S. Constitution. Name one of the writers. 8. Why does the flag have 50 stars? 9. What does the judicial branch do? 10. What is one promise you make when you become a United States citizen? Answers: 1. The Constitution 2. The Bill of Rights 3. 27 4. 435 5. Speaker of the House 6. Freedom of expression; speech; assembly; to petition the government; worship; the right to bear arms 7. James Madison; Alexander Hamilton; John Jay; Publius. 8. There is one star for each state; each star represents a state; there are 50 states. 9. Reviews laws; explains laws; resolves disputes; decides if a law goes against the Constitution. 10. Give up loyalty to other countries; defend the Constitution and laws of the U.S.; obey the laws of the U.S.; serve in the U.S. military (if needed); serve (do important work for) the nation (if needed); be loyal to the United States.
RM: The Playhouse has always been a fun place for us to do a show. Are you kidding — the town parties! Seriously, the audience knows its theatre and they respond. I think the idea is more urgent in La Jolla — it’s so close to the international border. Trust me, there are many Mexicans who come and go to La Jolla daily. La Jollans employ Mexicans — this has been the case for decades. So there’s a contract there — a tolerance and acceptance even. But given the recent clamor, I am anxious to see what the relationship is now. It’s complex. My Salvadoran housekeepers sent their only son to UCSD by cleaning the houses of LA. I love that. And I employ Mexicans too. I’m excited to be back there — it’s a bit of a homecoming. I’m thankful to Christopher Ashley, the Playhouse and my friend Shirley Fishman for producing American Night.
As part of gaining U.S. citizenship, applicants are required to meet with a U.S. Citizenship and Immigration Service agent who asks 10 questions chosen from a list of 100 with respect to civics, history and government, which the applicant must verbally answer. Six of the ten must be answered correctly in order to pass the exam. Below are ten sample questions. (Answers appear below.)
P14 PERFORMANCES MAGAZINe
THE COMPANY Stephanie Beatriz Lydia/Ensemble Isabella in Measure for Measure, Rosaline in Love’s Labour’s Lost, Maggie in Cat on a Hot Tin Roof, Lydia/Ensemble in the world premiere of American Night, Catherine in A View from the Bridge, Bianca in Othello (Oregon Shakespeare Festival); Lydia in Lydia (Mark Taper Forum, Yale Repertory Theatre, Denver Center Theatre Company); Rosa in Summer and Smoke (Paper Mill Playhouse, Hartford Stage); Erica in Hold Please (Old Globe Theatre); Amazing Voice in The Adventures of Barrio Grrrl! (Summer Play Festival, NYC); Matilde in The Clean House (TheatreWorks); Marela in Anna in the Tropics (Pittsburgh Public Theater); Maya and Yemaya in Yemaya’s Belly (Portland Stage); Misterioso-119 (Berkshire Theatre Festival); Juliet in Romeo and Juliet (Theatreworks USA, National Tour). TV: The Closer.
Rodney Gardiner Ben Pettus/Ensemble Off-Broadway: Dr. Martin Luther King in The King Operetta; King Darius in The Persians; Kublai Khan in Marco Millions and others (Waterwell); Wailin’ Walter in his one-man blues narrative, Episodes in Blue (The Gawk II Lower East Side Festival, The Peoples’ Improv Theatre, various high schools around the Tri-State Area). Regional: Williams/Gray/Orleans/Ensemble in Henry V, Amiens/Interpreter/Ensemble in As You Like It, Guy/Ensemble in The Imaginary Invalid, Rumor/Pistol/Gower/Harcourt/ Various Messengers in Henry IV, Part Two, Pirate/Police in The Pirates of Penzance, Ben Pettus/Ensemble in American Night (Oregon Shakespeare Festival); Caesar Wilks in Gem of the Ocean (Fountain Theater); Willie in “Master Harold” . . . and the boys (GableStage); Cymbeline, Man of La Mancha (Utah Shakespearean Festival); Metonymy (Mile Square Theatre). Other credits: Writer (Waterwell); worked with Teo Castellanos performing in jails, rehab centers and homeless shelters in Miami, FL. Education: New World School of the Arts; BFA, State University of New York, Purchase.
David Kelly Harry Bridges/Ensemble Senator John Falstaff in The Very Merry Wives of Windsor, Iowa, Judge Smith/Dirksen/Sanders/DeLoach/Goodman/Ensemble in All the Way, Argan in The Imaginary Invalid, Major-General Stanley in The Pirates of Penzance, Sir John Falstaff in Henry IV, Part One, Harry Bridges/Ensemble in American Night, Pantalone in The Servant of Two Masters, Archbishop Cranmer in Henry VIII, Benedick in Much Ado About Nothing, Buddy in Welcome Home, Jenny Sutter, Colonel Angelo in The Comedy of Errors, Richard in Richard II, Felix Humble in Humble Boy, Nick Bottom in A Midsummer Night’s Dream, Third Man in The Baltimore Waltz, Biff in Death of a Salesman, Garry LeJeune in Noises Off, Porthos in The Three Musketeers and others (Oregon Shakespeare Festival). Other theatres: Lovers and Executioners (South Coast Repertory); Haroun and the Sea of Stories (Berkeley Repertory Theatre); A Christmas Carol (Geva Theatre Center). Education: UC San Diego, University of Delaware.
Terri McMahon Mrs. Finney/Ensemble Selected regional credits: Beline in The Imaginary Invalid, Ivy Weston in August: Osage County, Lisa in Well, Hermia in Dead Man’s Cell Phone, Helen Griffin in Up, Mrs. Van Buren in Intimate Apparel, Rosie Pye in Humble Boy, Thea Elvsted in Hedda Gabler, Rosalind in As You Like It, Lady MacDuff/Witch in Macbeth, Joan La Pucelle in Henry IV, Part One, Portia in Julius Caesar, Queen/Belarius in Cymbeline, among others (Oregon Shakespeare Festival); Hannah Jelkes in Night of the Iguana (TheatreWorks); Lady Macbeth in Macbeth, Nora in Nora (San Jose Theatre Co.); Frankie in Frankie and Johnny in the Claire de Lune (Marin Theatre Co.). Film: Calvin Marshall. Education: BFA, University of Southern California.
René Millán Juan José Broadway: Black u/s in The Wild Party. Off-Broadway: Al in El Paso Blue (New York Summer Play Festival). Regional: Juan José in American Night, Angelo in Measure for Measure, the Bastard in King John, Palo in Gibraltar, Tiger in Tracy’s Tiger, Tybalt in Romeo and Juliet, Officer Fernandez in Breakfast, Lunch and Dinner, Don Fernando in Don Quixote (Oregon Shakespeare Festival); Rene in Lydia (Denver Center Theatre); Leonardo in Blood Wedding (Guthrie Theater); Great in Orange, Lemon, Egg, Canary (Humana Festival: Actor’s Theatre of Louisville); Lakshmana in As Vishnu Dreams (Cornerstone Theater Company). Film/TV: In America, In the Weeds, 24, CSI: Miami, Arrested Development, Third Watch, Chappelle’s Show, Days of Our Lives. Education: MFA, University of Washington Professional Actor Training Program. www.renemillan.com.
Richard Montoya Playwright, Juan José the First/Ensemble La Jolla Playhouse: Culture Clash’s Zorro in Hell and The Mission. His credits as solo playwright include Water & Power (LA Drama Critics Award; published by Samuel French), Palestine New Mexico (CTG) and Anthems (Arena Stage). New works include The River for Campo Santo in San Francisco, The Federal Jazz Project for San Diego REPertory Theatre and 32 Beds for SCR in Costa Mesa. A co-writer and co-founder of Culture Clash he founded in 1984. Montoya is a Sundance Institute Writer and Director Film Lab alumnus and a staff writer for John Wells’ acclaimed Southland. He proudly serves the National Endowment for the Arts on occasions as a peer review panelist and is an LA City Commissioner of Arts & Culture. The son of Poet José Montoya, he proudly dedicates his La Jolla return to FERNANDO SANCHEZ and the People’s Republic of BARRIO LOGAN!
Kimberly Scott Viola Pettus/Ensemble Broadway: Molly Cunningham in Joe Turner’s Come and Gone (Tony and Drama Desk Award nominations). New York: Walda in Lear (Mabou Mines). Regional: Mistress Quickly in Henry IV, Part Two, Pirate/Police in The Pirates of Penzance, Mama Nadi in Ruined, Viola Pettus/Ensemble in American Night, Mammy in The Further Adventures of Hedda Gabler, Myrtle Webb in Our Town (Oregon Shakespeare Festival); Linda Loman in Death of a Salesman (Yale Repertory Theatre); Mrs. Mueller in Doubt, Mammy in The Further Adventures of Hedda Gabler, Stage Manager in Our Town (South Coast Repertory); Hillaria/Nurse in Restoration Comedy (Old Globe Theatre); Decia Brutus in Julius Caesar (Mark Taper Forum), among others. International: Antigone in The Gospel at Colonus (Gorky Art Theatre, Moscow). TV/ Film: Love and Other Drugs, The Great Buck Howard, Everybody Loves Raymond, World Trade Center, I Am Sam, Batman and Robin, Batman Forever, The Client, Falling Down, Flatliners, The Abyss. Education: MFA, Yale School of Drama; BFA, University of Texas at Austin.
Herbert Siguenza Neil Diamante/Ensemble Herbert Siguenza is a founding member of Culture Clash, the country’s most prominent Chicano/Latino performance troupe. The group’s work has been produced by the nation’s leading regional theaters, including the Mark Taper Forum, Lincoln Center, Kennedy Center and Goodman Theatre, among others. Along with partners Richard Montoya and Ric Salinas, Mr. Siguenza has performed and/or co-written: The Mission, A Bowl of Beings, S.O.S.-Comedy for These Urgent Times, Unplugged, Capra Clash, Radio Mambo: Culture Clash Invades Miami, Bordertown, The Birds, Nuyorican Stories, Anthology, Mission Magic Mystery Tour, Anthems: Culture Clash in the District, Chavez Ravine, Señor Discretion Himself, Culture Clash in AmeriCCa, Zorro in Hell, Water & Power, Peace and Palestine New Mexico. In 2003, he wrote and starred in Cantinflas!, a tribute to Mexico’s greatest comedic film star. He most recently wrote and starred in A Weekend with Pablo Picasso at San Diego REPertory Theatre, the Alley Theatre and the Los Angeles Theatre Center. Mr. Siguenza is also a recognized visual artist and has exhibited nationally. He is a Mayor-appointed City Commissioner of LA and was recently awarded TCG’s prestigious New Generations Grant with mentor Sam Woodhouse of the San Diego REPertory in 2012/13.
Daisuke Tsuji Johnny/Ensemble Regional: Dauphin in Henry V, Silvius in As You Like It, Thomas Diafoirus in The Imaginary Invalid, Shadow/Prince John in Henry IV, Part Two, Pirate in The Pirates of Penzance, Johnny/Ensemble in American Night, Francis in Henry IV, Part One (Oregon Shakespeare Festival); Mr. Bad in Mr. Bad, Giggles in Death and Giggles (Three Chairs Theater Company); Ch*nk in N*gger Wetb*ck Ch*nk (Speak Theater Arts); Brother in Blood! Love! Madness! (The Actors Gang). International: Public Clown in Dralion (Cirque du Soleil); Scooter Boy in Meditations on Virginity (National Theater in Warsaw, Poland). Other credits: writing/directing: Monkey Madness (Los Angeles Theater Ensemble), Death and Giggles (Three Chairs Theater Company). Film: Letters from Iwo Jima. Awards: LA Weekly Theater Award for Best Ensemble in Blood! Love! Madness!. Education: BA, UCLA.
PErFORMANCEs MAGAZINE P15
THE COMPANY Culture Clash was founded by Richard Montoya, Ric Salinas and Herbert Siguenza in 1984 and has since become the country’s most popular and prolific Chicano/Latino performance troupe. Notable productions include The Mission, Bordertown, Radio Mambo: Culture Clash Invades Miami, The Birds, Chavez Ravine, Frank Loesser’s Seňor Discretion Himself, Zorro in Hell, Water & Power and Peace. Culture Clash has appeared in several feature films and co-produced, wrote and starred in their own groundbreaking television show for FOX-TV. Their third book of plays was recently published by TCG. Recipients of numerous awards, commissions and grants, Culture Clash is named along with Shakespeare in a lawsuit by the Arizona Attorney General as material and plays unsuitable for Tucson High School students. The case goes before the 9th Circuit Court of Appeals this spring in San Francisco – their birthplace. Jo Bonney Director/Co-Creator La Jolla Playhouse: The Seven, Adoration of the Old Woman. Premieres of plays by Alan Ball, Eric Bogosian, Culture Clash, Eve Ensler, Danny Hoch, Neil LaBute, Warren Leight, Lynn Nottage, Dael Orlandersmith, Suzan-Lori Parks, Will Power, Jose Rivera, Christopher Shinn, Diana Son, Universes, Naomi Wallace and Michael Weller. Productions of plays by Caryl Churchill, Nilo Cruz, Anna Deavere Smith, Charles Fuller, Lisa Loomer, John Osborne, Lanford Wilson; upcoming in Spring 2012: David Rabe’s An Early History of Fire. Theatres: PS 122, Public Theater NYC, NYTW, Second Stage, Goodman Theatre, MCC, Geffen Playhouse, Williamstown Theatre Festival, McCarter Theatre, Playwrights Horizons, Arena Stage, Mark Taper Forum, NYC’s Signature Theatre, Long Wharf Theatre, Classic Stage Company, Humana Festival, as well as Almeida Theatre (London), Edinburgh Theatre Festival, The Market Theatre (Johannesburg), Cine 13 (Paris). Recipient of a 1998 Obie Award for Sustained Excellence in Direction, Lucille Lortel Awards for Best Musical and Best Revival. Editor of Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century (TCG). Neil Patel Scenic Designer La Jolla Playhouse: A Midsummer Night’s Dream, Peter and the Starcatchers, Down the Road, Don Quixote of La Jolla, Twelfth Night, Adoration of the Old Woman, Private Fittings. Broadway: Wonderland, Oleanna, [title of show], Ring of Fire, Side Man, ‘Night Mother. Off-Broadway: Dinner with Friends (Variety Arts Theater), NYTW, Public Theater, BAM, Manhattan Theater Club, Roundabout, Playwrights Horizons, etc. Regional: Kennedy Center, Arena, Guthrie, Steppenwolf, CTG, ACT, ART, among others. Awards: 1996 and 2001 OBIE for sustained excellence, 2000 EDDY Award; 1996, 2000, 2003, 2009 Drama Desk nominations. www.neilpateldesign.com. ESOSA Costume Designer Broadway: Porgy and Bess, Topdog/Underdog (also London and various regional theaters). Off-Broadway: Second Stage: By the Way, Meet Vera Stark; MCC: Break of Noon (Geffen Playhouse); Delacorte: The Capeman; Public Theater: Juan and John, Father Comes Home from the Wars, Romeo and Juliet, The Story, Radiant Baby; Theatre for a New Audience: Oroonoko ,Ohio State Murders; New York Theatre Workshop: The Misanthrope, All That I Will Ever Be, The Seven and Eyewitness Blues; Second Stage Theatre: Trust, Crowns, Birdie Blue, Living Out. Regional: Arena Stage: Ruined, Cuttin’ Up, Seňor Discretion Himself; Alliance: Twist; A.R.T.: Best of Both Worlds; Oregon Shakespeare Festival: American Night; Geva Theatre: Fences; Berkeley Rep: The Blue Door; Bay Street Theatre: Turandot: The Rumble for the Ring, Ain’t Misbehavin’, Pippin, Once on this Island. Centerstage: Once on this Island, Gleam. David Weiner Lighting Designer La Jolla Playhouse: The Seven. Broadway: Godspell, The Normal Heart, reasons to be pretty, Butley, Dinner at Eight (LCT), Betrayal (Roundabout), The Real Thing. Off-Broadway: MTC, Second Stage, Playwrights Horizons, MCC, The Public, NYTW, Theater for a New Audience, Vineyard, Atlantic. Opera: LA Opera, Bard Summerscape. Regional: Center Theatre Group, Guthrie, The Alley, McCarter, Huntington, ART, Kansas City Rep, Williamstown, Berkeley Rep. Awards: 2011 LA Ovation Award, 2011 Drama Desk nomination (Small Fire), 2005 Lucille Lortel Award (Rodney’s Wife). www.DavidWeinerDesign.com. Darron L West Sound Designer Mr. West is an award-winning sound designer whose work for theatre and dance has been heard in over 500 productions nationally and internationally, on Broadway and off. His accolades for sound design include the 2010 Bay Area Theater Critics Circle Award, the 2006 Lucille Lortel and AUDELCO Awards, the 2004 and 2005 Henry Hewes Design Award, the Princess Grace, The Village Voice OBIE Award and the Entertainment Design Magazine EDDY Award. Sound Designer and founding member of Anne Bogart’s SITI Company. Former Resident Sound Designer for Actors Theater of Louisville and Williamstown Theater Festival.
P16 PERFORMANCES MAGAZINe
Shawn Sagady Projection Designer Broadway: Memphis. Off-Broadway: Father Comes Home from the Wars, Parts 1, 8 & 9 (The Public Theater). Regional: Carmen, The Adding Machine (La Jolla Playhouse); Back Back Back (Old Globe); Franco Dragone’s Cowboy vs. Samurai (Mo’olelo Performing Arts Company); Dear Miss Breed (Asian Story Theater).
Ken Roht Choreographer Regional: New York City Opera, Boston Lyric Opera, Oregon Shakespeare Festival, Mark Taper Forum, Bootleg Theater, South Coast Repertory, Getty Villa, REDCAT, En Garde Arts, Lookingglass Theatre Company, California Institute for the Arts, Cornerstone Theater Company, Los Angeles Theatre Center, Evidence Room. Other credits: Founder and Producing Artistic Director, Orphean Circus, a music, theater and video ensemble. Song and dance works have been presented, granted and/or commissioned by Long Beach Opera, Bard Summerscape, Plum Foundation, Good Works Foundation, Los Angeles County Arts Commission, LA Department of Cultural Affairs, California Arts Council, KCRW and many others. Recently completed the seventh installment of his 99c Shows.
Randall K. Lum Stage Manager Regional: Ruined, American Night, Equivocation, Dead Man’s Cell Phone, Fences, Othello, WillFul (Oregon Shakespeare Festival). Production Stage Manager: Equivocation (Arena Stage, Seattle Repertory Theatre); VITA Shakespeare Festival; Old Globe Theatre; American Conservatory Theater; Berkeley Rep; Cal Shakes. Resident Stage Manager at South Coast Repertory 1990-2007, where world premieres included The Further Adventures of Hedda Gabler, Intimate Apparel, Three Days of Rain, Kimberly Akimbo, Princess Marjorie, My Wandering Boy, Everett Beekin, Hurrah at Last, A Mess of Plays by Chris Durang, Brooklyn Boy, Blue Door, Sight Unseen, Noah Johnson Had a Whore, Wit and Safe in Hell; other favorites include Doubt, Pterodactyls, Proof, The School for Wives, Art and Habeas Corpus. Other credits: Production Stage Manager at Long Beach Ballet, San Francisco Convention Bureau (The San Francisco Show) and Kawasaki Motorcyles; Help Is on the Way II, an AIDS Benefit. Education: BA, San Francisco State University.
Tarin Hurstell Assistant Stage Manager La Jolla Playhouse credits: Little Miss Sunshine, Peer Gynt, Surf Report. She recently stage managed Mixtape, A Servant of Two Masters (Lamb’s Players); Joseph… Dreamcoat (SDMT); Summerfest 2011 (La Jolla Music Society); The Tempest (North Coast Repertory Theatre); To Kill a Mockingbird, Rabbit Hole (Indiana Repertory Theatre). She has also worked in stage management for Moonlight Stage Productions, Marin Theatre Company, PCPA Theaterfest, Utah Festival Opera and Illinois Shakespeare Festival. She holds a BA in Theatre from James Madison University.
Oregon Shakespeare Festival Established in 1935, the Oregon Shakespeare Festival (Bill Rauch, Artistic Director; Paul Nicholson, Executive Director) performs as many as nine plays concurrently. Located in Ashland, Oregon, OSF has a company of 600 (including over 100 actors), a budget of $31 million and attendance of more than 400,000. In addition, OSF provides playgoers with a wide range of activities during their visits to Ashland, including concerts, lectures, pre- and post-show discussions with the actors. OSF also has wide-ranging educational programs, reaching more than 100,000 students each year. The 2012 season will run from February 17 through November 4, with 790 performances of 11 plays in its three theatres—the 1,200-seat outdoor Elizabethan Theatre, the 600-seat Angus Bowmer Theatre and the flexible 270-360seat New Theatre.
Center Theatre Group (Michael Ritchie, Artistic Director; Edward L. Rada, Managing Director; Gordon Davidson, Founding Artistic Director) is Los Angeles’ leading theatre company and one of the nation’s preeminent arts organizations, programming theatre year-round at the Mark Taper Forum and the Ahmanson Theatre at the Los Angeles Music Center, and the Kirk Douglas Theatre in Culver City, and developing an impressive number of Tony Award- and Pulitzer Prize-winning plays. The Douglas is the newest member of the CTG family and already has had three works move to Broadway: the world premieres of the musical Bloody Bloody Andrew Jackson and the dark comedy Bengal Tiger at the Baghdad Zoo (a 2010 Pulitzer Prize finalist), along with the revival of Come Back, Little Sheba. American Night, which will be presented at the Douglas Theatre from March 9 through April 1, 2012, is the sixth Culture Clash project produced by CTG.
THE COMPANY La Jolla Playhouse The nationally acclaimed, Tony Award-winning La Jolla Playhouse is known for its tradition of creating the most exciting and adventurous new work in regional theatre. The Playhouse was founded in 1947 by Gregory Peck, Dorothy McGuire and Mel Ferrer, and is considered one of the most well-respected not-for-profit theatres in the country. Numerous Playhouse productions have moved to Broadway, including the currently-running hits Memphis and Jersey Boys – both Best Musical Tony Award winners – as well as Big River, The Who’s Tommy, How to Succeed in Business Without Really Trying, A Walk in the Woods, Billy Crystal’s 700 Sundays, the Pulitzer Prize-winning I Am My Own Wife, Thoroughly Modern Millie, The Farnsworth Invention and 33 Variations. Located on the UC San Diego campus, La Jolla Playhouse is made up of three primary performance spaces: the Mandell Weiss Theatre, the Mandell Weiss Forum Theatre and the Joan and Irwin Jacobs Center for La Jolla Playhouse, a state-of-the-art theatre complex which features the Sheila and Hughes Potiker Theatre. La Jolla Playhouse is led by Artistic Director Christopher Ashley and Managing Director Michael S. Rosenberg. Christopher Ashley Artistic Director has served as La Jolla Playhouse’s Artistic Director since October, 2007. During his tenure, he has helmed the Playhouse’s productions of A Dram of Drummhicit, A Midsummer Night’s Dream, Restoration and the acclaimed musicals Xanadu and Memphis, which won four 2010 Tony Awards including Best Musical. Prior to joining the Playhouse, he directed the Broadway productions of Xanadu (Drama Desk nomination), All Shook Up and The Rocky Horror Show (Tony, Drama Desk and Outer Critics Circle Award nominations), as well as the Kennedy Center Sondheim Celebration productions of Sweeney Todd and Merrily We Roll Along. Other New York credits include: Blown Sideways Through Life, Jeffrey (Lucille Lortel and Obie Awards), The Most Fabulous Story Ever Told, Valhalla, Regrets Only, Wonder of the World, Communicating Doors, Bunny Bunny, The Night Hank Williams Died, Fires in the Mirror (Lucille Lortel Award), among others. Mr. Ashley also directed the feature film Jeffrey and the American Playhouse production of Blown Sideways Through Life for PBS. Mr. Ashley is the recipient of the Princess Grace Award, the Drama League Director Fellowship and an NEA/TCG Director Fellowship.
Michael S. Rosenberg Managing Director was appointed Managing Director of La Jolla Playhouse in April, 2009. During his tenure, he worked in partnership with Artistic Director Christopher Ashley to produce six world premieres, six Playhouse commissions and the hit musicals Bonnie & Clyde, Limelight and Little Miss Sunshine. He was also instrumental in bringing the Page To Stage workshop of John Leguizamo’s Diary of a Madman to the Playhouse. Additionally, he fostered the growth of the Playhouse’s award-winning Performance Outreach Program (POP) tour, achieving the most performances at local schools in Playhouse history. Previously, Rosenberg was Co-Founder and Executive Director of Drama Dept., a New York non-profit theatre company, where he produced new works by the likes of Douglas Carter Beane, Warren Leight, Isaac Mizrahi, Paul Rudnick and David and Amy Sedaris. He has been a part of the producing teams for the Broadway productions of Grey Gardens and American Buffalo and the national tour of Little House on the Prairie. Debby Buchholz General Manager has served as general manager of La Jolla Playhouse since 2002. She is a member of the Executive Committee and of the League of Resident Theaters (LORT). In 2009, she received a San Diego Women Who Mean Business Award from The San Diego Business Journal. Previously she served as Counsel to the John F. Kennedy Center for the Performing Arts and the National Symphony Orchestra in Washington, D.C. She was a faculty member of the Smithsonian Institution’s program on Legal Problems of Museum Administration. Prior to the Kennedy Center, she served as a corporate attorney in New York City and Washington, DC. She is a graduate of UC San Diego and Harvard Law School. Ms. Buchholz and her husband, noted author and White House economic policy advisor Todd Buchholz, live in Solana Beach and are the proud parents of Victoria, Katherine and Alexia. Des McAnuff Director Emeritus served as La Jolla Playhouse’s Artistic Director from 1983 through 1994, and from 2001 through April, 2007. Under his leadership, the Playhouse garnered more than 300 awards, including the Tony Award for Outstanding Regional Theatre. Playhouse to Broadway credits: Jersey Boys (four Tony Awards); Billy Crystal’s 700 Sundays (Tony Award); How to Succeed in Business Without Really Trying (five Tony nominations); director and co-author with Pete Townshend on The Who’s Tommy (Tony and Olivier Awards for Best Director) and Big River (seven Tony Awards), among others. Film credits: Quills, The Adventures of Rocky and Bullwinkle, The Iron Giant (9 Animation Society awards) and Cousin Bette. Recipient of the Drama League’s 2006 Julia Hansen Award, Mr. McAnuff currently serves as Artistic Director at Canada’s Stratford Festival.
PATRON SERVICES PATRON SERVICES is located in the lobby area of each theatre. A representative is available to answer questions and hand out assisted listening devices, restaurant guides, performance schedules and subscription information. BARS AND CONCESSIONS are open one hour prior to curtain and during intermissions. To avoid the rush, intermission beverages can be ordered before the show. Concessions by
CAMERAS AND RECORDING DEVICES are strictly prohibited in the theatre. Please check these items with the House Manager and turn off your camera phone. PARKING is free for subscribers; $2 for the general public on weekdays (free on weekends). Upon arrival to campus, please enter your parking space number and pay the automated paystations located by the information kiosk. Spaces that are not paid for are subject to ticketing by UC San Diego Campus Police. DOCTORS AND PARENTS expecting calls during the performance should leave their names and seat numbers with the House Manager before the show. Leave the following number with your service: (858) 550-1030.
ACCESSIBILITY La Jolla Playhouse provides wheelchair-accessible seating and parking. Wheelchair seat locations are available for wheelchair users and a companion at all performances; be sure to advise the reservationist that you require a wheelchair location. Additionally, a golf cart is available to assist patrons with accessibility needs to and from the parking lot. Please notify the Box Office prior to your performance if you are in need of this service; additionally, you may pull into the five minute parking in front of the theatre, and a friendly La Jolla Playhouse greeter will assist you.The Playhouse also provides assisted listening devices for patrons who are hard of hearing. Devices are available, free of charge, at the Patron Services Center prior to performances (subject to availability). Listening Devices Provided in Part by
One performance of each production is designated as an ACCESS performance. These performances feature American Sign Language interpretations for the deaf and hard of hearing and live audio description for blind/lowvision audience members. Pre-show sensory tours provide design information to enhance the production experience for blind/low-vision patrons as well.
BABES IN ARMS Out of respect for fellow audience members and the performers, babes in arms are not permitted in the theatre during performances. LATECOMERS OR PATRONS WHO LEAVE THEIR SEAT DURING THE PERFORMANCE will be admitted to the standing room section of the theatre at the discretion of the House Manager. They may take their assigned seats at intermission. La Jolla Playhouse accepts no responsibility for inconvenience to latecomers. PLEASE SILENCE all electronic devices including cellular phones, watches and pagers before the performance. Safety in the Theatre District La Jolla Playhouse is constantly working with the UC San Diego Police Department and UC San Diego Transportation and Parking Services, which operates the parking lot and security system, to maintain and improve security conditions for patrons and staff members. Additionally, patrons and staff are welcome to use UC San Diego Community Service Officers (CSOs) for an escort to their cars by calling (858) 534-WALK (9255). Further questions regarding security may be addressed to UC San Diego Police at (858) 534-HELP (4357). PErFORMANCEs MAGAZINE P17
LA JOLLA PLAYHOUSE SPONSORS SEASON SPONSORS Joan and Irwin Jacobs Two world premieres, two second productions and two re-imagined classics: we truly can stamp this season “Made in La Jolla!” Congratulations to Chris, Mike and the entire Playhouse team. Gail and Ralph Bryan We are thrilled to support the return of Richard Montoya and Culture Clash to La Jolla Playhouse for another provocative, irreverent comedy. Audrey S. Geisel, Dr. Seuss Fund/ San Diego Foundation Seuss celebrates another fantastic season with La Jolla Playhouse! Sheri L. and Stuart W. Jamieson Christopher Ashley and his team proudly carry on the tradition of the Playhouse as a safe harbor for unsafe work. Cheers to another great year! Des McAnuff Having spent so much of my career with this organization, I am honored to support La Jolla Playhouse: where American theatre is born! Becky Moores I am delighted to help bring the La Jolla Playhouse season to San Diego for all to enjoy. Vivien and Jeffrey Ressler The Playhouse is an artistic home to our family. We are honored to support this glorious new season as we reflect on the joy the Playhouse has given us for so many years.
Rich Family Foundation We are pleased to lend our support to La Jolla Playhouse to promote the hard work, dedication and atmosphere that creates and launches new productions. Colette and Ivor Royston We’re so thrilled to see the outstanding work coming out of the La Jolla Playhouse over the past 25 years of our involvement. Congratulations to La Jolla Playhouse for their creativity and stellar leadership. Mandell Weiss Charitable Trust La Jolla Playhouse is an important and vital part of the San Diego arts community. We look forward each season to a wide variety of engaging plays, intriguing stories and original theatre. We are proud to support the Playhouse. Steven Strauss and Lise Wilson It is exciting to end this season with another incomparable Culture Clash collaboration.
PRODUCTION SPONSORS Morrison & Foerster – Corporate Circle member since 2006 Morrison & Foerster and the Morrison & Foerster Foundation are proud to support the finest regional theatre in the country and all it adds to the vital artistic fabric of the San Diego community. Gurtin Fixed Income We are proud to support the 20-year tradition of Culture Clash, and its telling of the American story through their unique world view. Don and Stacy Rosenberg We are pleased to support this production of American Night and we salute La Jolla Playhouse and its commitment to produce plays that highlight important societal issues and welcome a new and diverse audience.
FOUNDATION & GOVERNMENT SUPPORT $100,000 + City of San Diego Commission for Arts and Culture Helen K. and James S. Copley Foundation The James Irvine Foundation The Shubert Foundation, Inc. The William Hall Tippett and Ruth Rathell Tippett Foundation $50,000 - $99,999 The County of San Diego Mandell Weiss Charitable Trust $25,000 - $49,999 The National Endowment for the Arts Edgerton Foundation Las Patronas Sidney E. Frank Foundation $10,000 - $24,999 The Ariel W. Coggeshall Fund; the Creative Catalyst Fund; and the Colonel Frank C. Wood Memorial Fund of The San Diego Foundation, in Partnership with The James Irvine Foundation Ellen Browning Scripps Foundation San Diego Scottish Rite Community Foundation The Seth Sprague Educational and Charitable Foundation P18 PERFORMANCES MAGAZINe
$5,000 - $9,999 Price Family Charitable Fund John and Marcia Price Family Foundation $1,000 - $4,999 National Alliance for Musical Theatre The City of Encinitas & Mizel Family Foundation Community Grant Program The Sutherland Foundation The Samuel I. & John Henry Fox Foundation City of Chula Vista, Performing and Visual Arts Grant The Arthur and Jeanette Pratt Memorial Fund Dramatists Guild Fund The Samuel Goldwyn Foundation La Jolla Kiwanis Foundation $200 - $999 Rising Arts Leaders, San Diego's Emerging Leaders of Arts and Culture, and The San Diego Foundation in partnership with the James Irvine Foundation The Philanthropy Club Foundation, Coastal Community Foundation, and the 3rd Grade Class of Solana Vista Elementary School
The County of San Diego
List as of January 11, 2011PErFORMANC
LA JOLLA PLAYHOUSe: Corporate CirCle $100,000 +
$25,000 +
$15,000 +
/ $10,000 +
EVEnt suPPortErs circLE Wells Fargo Advisors, LLC Allianz Global Investors Capital • Avalon Ventures • The Baldwin Financial Group at UBS • Halozyme Therapeutics • Macy’s • MMRGlobal Nokia • Nordstrom • SD Scientifi c Inc. • Somaxon Pharamceuticals • Stella Artois • Swarmology • TD Ameritrade • Torrey Pines Bank • Union Bank
in-Kind circLE
WRIGHT & L'ESTRANGE
mEdia sPonsors
corPoratE matching comPaniEs Bank of America • Goodrich • Hewlett-Packard • Pfizer • Qualcomm Incorporated • Sempra Energy • US Bank • Union Bank • Wells Fargo opportunities for corporations to partner with La Jolla Playhouse are numerous and varied, each providing exclusive benefits and recognition. For information, please contact Jill mcintyre, associate director of development, corporate relations, at (858) 550-1070 x137.
NCEs MAGAZINE P18
PErFOrMANCEs MAGAZINE P19
LA JOLLA PLAYHOUSE: INDIVIDUAL DONORS Directors’ Circle - $100,000
Dr. Seuss Fund at The San Diego Foundation Joan and Irwin Jacobs Rao and Padma Makineni Becky Moores
Gleiberman Family Fund of the Jewish Community Foundation Frank and Betsy Grasso Margret and Nevins McBride Dr. Howard and Barbara Milstein Bill and Dorian Sailer Amy and Charles Spielman
Directors’ Circle - $50,000
Gail and Ralph Bryan Faiya Fredman Sheri L. and Stuart W. Jamieson Des McAnuff Vivien and Jeffrey Ressler Family Fund of the Jewish Community Foundation Bob and Mindy Rich Colette and Ivor Royston Steven Strauss and Lise Wilson
Inner Circle - $5,000
Anonymous Christopher Ashley Michael Bartell and Melissa Garfield Bartell Denise and Lon Bevers Paula Marie Black Barbara Bloom Bozeman Group Linda Chester and Dr. Kenneth Rind Florence Cohen Michael and Juanita Eagle Debby and Hal Jacobs Family Fund of the Jewish Community Foundation William W. Karatz Tamara and Kevin Kinsella William and Lynelle Lynch Ronald and Lucille Neeley Dr. and Mrs. David Smotrich Molli and Arthur Wagner Ph.D.
Tony and Margaret Acampora Kimberly L. Beane and Michael S. Rosenberg Arthur Brody and Phyllis Cohn Conrad and Christa Burke Fund at The San Diego Foundation Leonard and Susan Comden Dorothy and Anthony Dain Jean Doumanian Earl and Sarah Feldman Miles Grant Jeanne and Gary Herberger Eileen and Leonard Herman Leonard and Elaine Hirsch Mary Beth Jernigan Paul and Samara Larson Carol and George Lattimer Sheila and Jeffrey Lipinsky and Family Barbara and Carl Maggio Paula and Brian Powers Laurel and Paddy Rainwater Rita Bronowski Trust Becky Robbins Murray and Janet Rosenthal Marvin and Tina Simner Mickey Stern Susan and Richard Ulevitch Pamela J. Wagner Mary Lindenstein Walshok, Ph.D. Karin E. Winner Karl and Barbara ZoBell
Directors’ Circle - $15,000
Inner Circle - $2,500
Anonymous Joseph M. Cassin Ellen Sarver Dolgen and David P. Dolgen Susan E. Dubé Valerie and Gregory Frost Wendy Gillespie Gurtin Fixed Income Jeanne Jones and Don Breitenberg George and Gail Knox Don and Stacy Rosenberg Tim and Emily Scott The Crawford Smith Foundation
Anonymous Robert Brunst Leichtag Family Foundation Fund of the Jewish Community Foundation Carbon Family Foundation Karen and William Dow Homer and Nina Eaton Joan R. Fisher Bill and Judy Garrett Ross and Mary-K Gilbert John and Angie Longenecker Shearn and Linda Platt Fund of the Jewish Community Foundation Peter and Peggy Preuss Larry and Robin Rusinko Dr. Joseph and Carol Sabatini Iris and Matthew Strauss Geri Ann Warnke and Joseph F. Kennedy, M.D. Gary L. Wollberg and Dr. Yumi Miyamoto
Directors’ Circle - $25,000
Directors’ Circle - $10,000
Weston Anson and Susan Bailey In Honor of Adelaide Bailey Drs. Edward and Martha Dennis Eric and Marsi Gardiner
P20 PERFORMANCES MAGAZINe
Inner Circle - $1,000
Anonymous (4) Katherine Adams Ahern Insurance Brokerage/ Brian Ahern Edward L. Anderson and Joan E. Parsons Jeremy Asher Robert Baizer and Diane Jacobs Ginger and Ken Baldwin Joan and Jeremy Berg Charles Bergan and Lisa Kanetake Sondra and Robert Berk Fund of the Jewish Community Foundation Dale and Marshall Block Loyce R. Bruce Todd and Debby Buchholz Daniel and Deborah, Michael and David Carnick Jack and Carol Clark Pamela Coker Corinna Cotsen and Lee Rosenbaum Stacy Cromidas and Ruth Gilbert Carol and Pedro Cuatrecasas Silvija and Brian Devine Marty and Sheldon Diller Dr. Ralph B. Dilley Nina and Bob Doede Ron and Devora Eisenberg– Great News! Barbara and Dick Enberg Daniel and Phyllis Epstein Jennifer and Kurt Eve Inge Feinswog Fund of the Jewish Community Foundation Suzi Finkelstein Susanna and Michael Flaster Mary Lou Fox Ellen Fujikawa Dr. Irma Gigli Allen and Kathleen Glick Lee and Frank Goldberg Drs. Tom and Cindy Goodman In Honor of Whitney Goodman Arthur and Marlene Greenberg Pat and Rick Harmetz Gerald and Ingrid Hoffmeister Fund at The San Diego Foundation George and Maryka Hoover Richard and Janet Hunter Ruth and Paul Jacobowitz Pat JaCoby Natasha Josefowitz Anthony and Joyce Joseph Lewis and Patricia Judd Bill and Linda Kolb Rosalie Kostanzer and Mike Keefe Len and Beth Lauer Dr. K.B. and Linda Lim Jain Malkin Inc. Jasna Markovac and Gary Miller
James and Anne McCammon Valorie McClelland Holly McGrath and David Bruce Dr. Ken Melville and Dr. Sabina Wallach Dawn Moore and Lawrence Alldredge Gregg Motsenbocker Laurie Dale Munday Esther Nahama Alan M. Nahum and Victoria J. Danzig Lyn Nelson Dr. Mark Niblack F. Richard Pappas Dr. Paul Pearigen and Dr. Kim Kerr Maryanne and Irwin Pfister Lori and Kenneth Polin Carol Randolph and Robert Caplan Katherine Roeder Richard and Laura Romero Mr. and Mrs. Mason Rosenthal Sara Rosenthal, M.D. and Julie Prazich, M.D. San Diego Branch English Speaking Union - Alice Kirby Warren and Beverly Sanborn Judge and Mrs. H. Lee Sarokin Herb Schnall in memory of Ann Schnall Morton and Marjorie Hansen Shaevitz Sigesmund Family Kevin Snover Place D. Tegland Eloise Fletcher Thomas Bill VanderLaan Jim and Kathy Waring Z.J. Waxenberg Jo and Howard Weiner Carrie and Wayne Wilson Howard and Christy Zatkin Jack and Sandy Zemer Emma and Leo Zuckerman Ovation Club - $500
Anonymous Alice B. Alperin Stella Durham in Memory of Joyce Ashe Barbarella Restaurant Dr. and Mrs. Jorge Barrera Dr. Kim E. Barrett Mona Baumgartel and John DeBeer Arnold and Esther Belinsky Amnon and Lee Ben-Yehuda Kay Chandler and Chris Bertics The Bodenstab Family Heidi and Kelly Boruszewski Leslie and Thomas Coll Daniel Collins and Nancy Shimamoto Gigi Cramer
Marcus and Ann De Barros Dale Downs Jacqueline and Stanley Drosch Drs. Bessie and Ron Floyd Dr. Charles Freebern Mr. and Mrs. James R. Furby Susan and Steven Garfin Chris Graham and Michael Albo Dr. Carol A. Harter and Mr. William D. Smith Suzanne and Lawrence Hess Dr. Peter and Mrs. Megan Hoagland Sharon and Robert Hubbard Dr. David S. Johnson Wendy S. Johnson Rob and Kathy Jones Jo Ann Kilty Jerry and Martha Krasne Richard and Sherry Levin Sally and Luis Maizel Carole and Henry Manfredo Harry Matheny Mary Lou Matthews Hon. James A. and Victoria M. McIntyre Dr. and Mrs. Charles Mittman Helga and James Moore Dr. Katherine L. Morse and Mr. David L. Drake Dr. Rodney and Barbara Orth Brigit and Alan Pitcairn Beverly and Howard Silldorf Dr. Edward and Evelyn Singer Herbert J. and Elene Solomon Fund of the Jewish Community Foundation Phoebe and Gene Telser Charles and Rita Tesar David and Tina Thomas Doris A. Trauner M.D. and Richard Stanford Graydon and Dorothy Wetzler
LA JOLLA PLAYHOUSE: INDIVIDUAL DONORS Ovation Club - $250
Anonymous (4) • Rich and Mary Lou Amen • Susan Atkins and Crystal Weathers • Jenn and Will Beamer • Sharon and Bill Beamer • Joni and Miles Benickes • Dr. Aviva Berlin • Greg Beuerlein • Helen and Douglas Boyden • Craig and Bridgett Brown • Michael and Wendy Carey • Larry Carter • David and Lisa Casey • Steven and Adina Chinowsky • June Chocheles • J. Clark & M. Thorstensen • Peter B. Clark • Ed and Melissa Cook • Linda S. Cooper • Alicia Covill • Betsy Dam • Bruce and Joanne Dane • Wayne and Liz Dernetz • Wally and Linda Dieckmann • David Donovan • Mark and Jenny Dowling • Ana Drobnies • Bob Duffield • Deirdre Elliott , M.D. • Esther and Robert Feier • Maria Ferry • Charles Fike • Barbara M. Finn • Dieter Fischer’s Mercedes Service • Inc. • Ms. Pauline Forman • Susan Forsburg and Lisa Churchill • Drs. Jan and Helane Fronek • Pam and Hal Fuson • Mr. and Mrs. Robert Gans • Joyce M. Gattas • Drs. Charles and Nancy Girvin • Gary Gist • Michael and Brenda Goldbaum • Carolyn and Jimmie Greenslate • James and Carrie Greenstein • Dr. Jeffrey Hall and Fern Platt • Thomas Harvey and Bonnie Drolet • Tracy Hatfield In Memory of Cheryl L. Sarno • Marie Heavey • Jamie Henson • Blue Herron Cottages • Fonda Hopkins • Patricia A. Howley • Ed and Linda Janon • Jay and Kendra Jeffcoat • Neil and Vivien Joebchen • Barbara and Casey Johnson • Craig and Suzanne Johnson • In Memory of James & Adrienne Jones and Edward & Betty Thomas • Roy and Bobbie Josepho • Jennifer Kagnoff • Robert Kaplan and Marina Baroff • Robert Kilian and Kathleen Slayton • Elizabeth Lasley • Mick and Sherrie Laver • Dixon and Pat Lee • Leonard Levy • Karen and Mark Liebowitz • Vivian Lim and Joseph Wong • Gerald and Ann Lipschitz Fund of the Jewish Community Foundation • Karen and Charles Macbeth • Russell Mangerie • Heidi and Peter Maretz • Lance and Jan Mason • Edward and Barbara Mayers • Norinne McKinney • Christa McReynolds • Dr. and Mrs. Paul E. Michelson • Te and Anabel Mintz • Marilyn Moriarty • Beatrice E. Pardo • Susan C. Parker • Dr. William and Beth Penny • Mr. and Mrs. Joseph Petras • Don and Nola Picht • Dr. Kevin Rapeport and Dr. Angeli Hill • Ravet Family Fund of the Jewish Community Foundation • Jodyne Roseman • Manuel and Paula Rotenberg • Carole Sachs • Mark and Theresa Sadoff • Dr. and Mrs. Simon Sayre • Mario and Anna Scipione • Jeff and Jean Selzer • Alan and Esther Siman • Drs. Ron and Marilyn Simon • Clark and Kathryn Smith • Carol and Stuart Smith • Norman and Judith Solomon • Gary and Susan Spoto • Cynthia Stauffer and Melinda Arnold • Dr. Jennifer Stewart and Mr. Scott Harrison • Harriet and John Taylor • Reed and Solange Thompson • Kelly and Elisa Thomson • Michael Tierney and Andrea Migdal • Scott Vandenberg • Katherine Sheehan and Frederick Walker • Marybeth Ward • Gary and Debbie Wasserman • Susan and Eric Weisman • Frankie and Allen White • Caryl Lees Witte • Norah and William Wolff • Mr. Stephen Worland • Brendan and Kaye Wynne • Howard and Judy Ziment
Ret. • Dr. and Mrs. Michael Holland • Joel and Rosanne Holliday • Isabella Furth and Everett Howe • Kent and Candace Humber • Carrol and Randy Jackson • Nora and Alan Jaffe • David and Betty Johnson • Mr. and Mrs. Myron Joseph • Michael and Nancy Kaehr • Dr. and Mrs. Martin Kagnoff • Robert Kaplan and Marina Baroff • Maurine Kellman • Julie and Kern Kenyon • Cynthia and John Klinedinst • Karen Krupinsky • Robert and Elena Kucinski • Helen Kupka • Juan and Alexis Lasheras • Dr. and Mrs. Elliott Lasser • Robert Lauri • Marvin and Reinette Levine • Dr. Robert Levine • Marshall and Judy Lewis Fund of the Jewish Community Foundation • David MacCormack • Bonnie Macritchie • Sue and Peter Madsen • Barbara Malk • Revi Mamo • Rachel Marquardt • Mr. Jospeh Marron and Dr. Deborah Hofler • Gary and Barbara Marsella • Harold and Beverly Martyn • Peggy Matthews • Wallace McCloskey • Dennis A. McConnell • In Honor of Thos. L. Crist & George A. LaPointe • Dr. and Mrs. Robert Meredith • Eli and Evelyn Mishuck • Isaac and Nancy Mizrahi • Carrie Morrow • Susan Motenko • Martha Mutschler • Ann Nathan • Joani Nelson • Hedy Rogers Niblack • Paula Tallal and Colleen Osburn • Robert Otto • Michelle Parker • Susan Peinado • Ernie and Mary Pennell • Mr. and Mrs. Kenneth Poggenburg • Howdy and Sharon Pratt • Virginia Puich • Kevin Quinn • Cynthia and Gilbert Raff • Mr. and Mrs. Christopher Reich • David and Melissa Rewolinski • Deborah Reynolds • Kathy Rhodes • Becky Robbins • Joy and Lawrence Rogers • Richard Roy and Celsa Spina • George and Karen Sachs • Raymond and Marcia Sachs • Merrie Sasaki and Cezar Ornatowski • Joe and Linda Satz • Jocelyn and Peter Schultz • Robert Singer and Judith Harris • J & J Slobodny • Dr. Robert and Mrs. Jacquelyn Slotkin • William and Gloria Snyder • Steven and Phyllis Spierer • Susanne Stanford and Tom Matthews • Karla and Edward Stockton • Dr. Michael Sutherland and Linda Greenberg • Scott T. Swazey • Mary and Tim Swift • Stephanie and Alan Tarkington • John and Gail Tauscher • Michael Thorsnes • Edward and Karin Threat • David Valentine Jr. • Lili Vidal • Harold Walba • Michael and Beth Wapner • Nancy and Tim Waters • Jane Wheeler • Mr. and Mrs. Keene Wolcott • Peter and Donna Worcester • Paul and Kathryn Zucker List as of JANUARY 1, 2012
We apologize for any errors or accidental omissions. Please contact the Individual Giving Office at 858 550-1050 x142 if you would like to change your listing.
UP NEXT
Ovation Club - $150
Anonymous (6) • Ben and Debra Abate • Raul Arthur and Lisa Albanez • Timothy W. Alexander • Sharon and Terry Allen • Dr. Philip O. Anderson and Dr. Veronica Valdes • Charles and Barbara Arledge • Kent Bagnell • Polly Ball • Dr. Judith Bardwick • Gene and Ed Barthm • Maureen and Robert Bauchman • Billie Bearden • Patricia Behrend • Eve Benton and Malcolm Bund • Jane and Michael Benton • Leslie and Dorothy Blair • Bob Blanton and Ann Clark • Bob and Joyce Blumberg • James B. Bond • CLSB • Jill Bradburn • Drs. Jeffrey and Jennifer Braswell • Mary E. Brewer • Jerre and Aylin Bridges • LaVerne and Blaine Briggs • Jeffrey Brown • Hal and Linda Brown • Dr. and Mrs. Simon C. Brumbaugh • Margot Burger and Jerry Dame • Julia Carson • Mr. Neal P. Chazin • William and Aimee Lee Cheek • Eric and Susan Clark • L. Owen and Ruth Clinton • Michael and Ellise Coit • Amy Corton and Carl Eibl • Mary Cory • Peter and Linda Crea • Annette Cross • Danny and Beth Dabby • Mr. and Mrs. Gary David • Karen Davies • Jay and Linda de Groot • Ted and Deanna DeFrank • Kevin Deguise • Bethany Derrough • Dawn and Dutch Dershem • Bob and Chris Dilworth • The Ditty Family • Tim Dong • Capt. Robert and Elaine Donnelly • Beth and Stephen Doyne • The Drummond Family • Steven Due • Jinx Ecke • Virginia Eddy • Amy Corton and Carl Eibl • Victor and Louise Engleman • Steven and Amy Epner • J. Ross and Janice Falls • Helen Trahan Farschon • Mr. and Mrs. Ross Fisher • Mr. and Mrs. Standish Fleming • Anne Q. Fomon • David Fox and Lydia Thompson • In Honor of Faiya Fredman • David Freedheim and Elizabeth Austin • David Garcia • Janet Gaspari • Dr. and Mrs. Arnold Gass • Arline and Daniel Genis • Roberta and James George • Wayne and Martha Gerth • Alan and Marleigh Gleicher • Mr. and Mrs. Christopher Glenn • Gloria and Neal Gobar • Kathryn Goetz • Mel and Rory Goldberg • Dick Gordon • Drs. Daniel and Ulrika Green • Dinia Green • William and Candy Griffith • Harry Griswold and Stephanie Webber • Theodore Gryga • Pat and Pepper Guevara • Carolyn and Sam Gusman • Sandra Hale • Mr. and Mrs. Jerry Hall • Mary Hardwick • Jeff and Joel • Shirley A. Harper • Barbara Hench • Diana and Mike Hill • Ken and Shirley Hinckley • Richard and Veronique Ho • Hon. Herbert Hoffman
LA JOLLA PLAYHOUSE PRESENTS
A Without Walls Presentation | February 23 – March 4, 2012 Moving Arts’ The Car Plays: San Diego, offers a series of intimate ten- minute plays, each taking place in a car, where audiences of two move from vehicle to vehicle to experience works by different playwrights. www.LaJollaPlayhouse.org
TICKETS $25 | ON SALE NOW Without Walls is supported by a grant from The James Irvine Foundation.
PErFORMANCEs MAGAZINE P21
LA JOLLA PLAYHOUSE
STAFF ARTISTIC
Associate Producer Dana I. Harrel Resident Dramaturg Shirley Fishman Literary Director Gabriel Greene Director Emeritus Des McAnuff Executive Assistant to Christopher Ashley Rick VanNoy Artistic Assistant/Local Casting Director Marike Fitzgerald Commissioned Artists Trey Anastasio, Mark Bennett, Keith Bunin, Amanda Green, Kirsten Greenidge, Joe Iconis, Naomi Iizuka, Barry Kornhauser, Deborah Wicks La Puma, Ernie Nolan, Basil Twist, Alfred Uhry, Doug Wright
PRODUCTION
Interim Production Manager Linda S. Cooper Assistant Production Manager Cate O. Barger
SCENE SHOP
Technical Director Chris Borreson Assistant Technical Director Mike Schwent Scene Shop Foreman David Weiner Master Carpenter Mike Curtis Staff Carpenters Bill George, Tom Lucenti, Ty Meservy Staff Show Carpenters Kyle Ahlquist, Preston Spence Shop Carpenters Mihai Antonescu, William Bender, Jacob Bruce, Doug Collind, Mason Lev, Andrew Lynch
PAINT SHOP
Charge Scenic Artist Joan Newhouse Assistant Charge Artist JR Bruce Scenic Artist Edee Armand , Dwaine Best
PROPERTIES SHOP
Prop Master Debra Hatch Associate Prop Master Jenny Fajerman Prop Shop Foreman Will Widick Soft Goods Elizabeth Egan Props Artisan Ryan Lewis
COSTUME SHOP
Costume Shop Manager Sue Makkoo Costume Shop Supervisor Ingrid Helton Costume Shop Foreman/Tailor Lissa Skiles First Hand/Master Stitcher K-Joy Lehmann-Way Draper Sarah Maisel Draper/First Hand Corey Johnston, Claudia La Rue First Hand/Stitcher Jan Blankenship Crafts Christine Jones Costume Shop Assistant Abigail Caywood
ELECTRICS
Lighting Supervisor Mike Doyle Assistant Lighting Supervisor Kathryn Sturch Staff Electricians Mike Lowe, Ramon Wenn, Matt Wilson Electricians Kristyn Kennedy, Patricia Lesinski, Areta MacKelvie
SOUND/VIDEO
Sound Supervisor Joe Huppert Assistant Sound Supervisor Rachel LeVine Sound Shop Foreman Steve Negrete Sound Technicians Chris Luessmann, Eric May, Catherine Johnson
ADMINISTRATION
General Manager Debby Buchholz Associate General Manager Jenny Case P22 PERFORMANCES MAGAZINe
Christopher Ashley, Artistic Director Assistant General Manager Katherine Stout Human Resources Manager Cindy DiPiero Corporate/Legal Counsel Robert C. Wright, Wright & L’Estrange Theatre/Legal Counsel F. Richard Pappas, Esq. Executive Assistant to Michael S. Rosenberg and Deborah Ann Trimble Patricia Horne
COMPANY MANAGEMENT
Assistant Company Manager Heather Losey Company Management Assistants Karissa Ferlin, Jonathan Orara
FINANCE
Director of Finance John O’Dea Assistant Director of Finance Mary Harris Comptroller Brian Bailey Payroll AP Jill Valdez Production Accountant Sharon Ratelle IT Systems and Data Manager Roy Waters
DEVELOPMENT
Director of Development Deborah Ann Trimble Associate Director of Development, Corporate Relations Jill McIntyre Associate Director of Development, Government & Foundation Relations Erin M. Knight Associate Director of Development, Individual Giving Antonello Di Benedetto Special Events Manager Elizabeth Galloway Development Database Manager Marcus Myers Individual Giving Associate Jessica Burger Special Events Coordinator Laura Jackson
MARKETING
Director of Marketing Mary Cook Director of Public Relations Becky Biegelsen Associate Director of Marketing Mia Fiorella Multimedia Designer Dana Holliday Marketing Associate Amy Nguyen Communications Specialist Deanna Chew
TELESALES / TELEFUNDING
Telesales and Telefunding Manager Steven Kang Subscription Sales / Fundraising Associate Paul Preston Subscription Sales / Fundraising Representatives Andrea Cornell, Suzanne Eliasson, Thomas Trimble, Dorothy Varonin, Blair Whitcomb
Michael S. Rosenberg, Managing Director ASL Interpreters Suzanne Lightbourn, Hilda Colondres ASL Volunteers Bonnie Fountain, Esther Shen Teaching Artists Jennifer Barclay Newsham, Anya Cloud, Ariel Cowell, Kati Donovan, Lisel Gorrell-Getz, Katie Keddell, Carlenne Lacosta, Cindy Lewis, Regan Linton, Jason Maddy, Crystal Mercado, Heather Pauley, Tony Perez, Lori Petermann, James Pillar, Elizabeth Piña, Megan E. Robinson, Craig Rovere, Spencer Smith, Cynthia Stokes, Sara Tobin, Nathan Turner, Tom Vendafreddo
INTERNS
Marisa Acosta, Carla Diot, Chelsea Glickman, Monique Goeders, Samuel Jue, Emily Kugel, Victoria Le, Danita Lee, Andrew London Park , Tylar-Nicole Pendgraft-Clabby, Brittney Scolari, Kymberly Snew
2011/2012 STUDENT BOARD OF TRUSTEES OFFICERS Carmen Quiñones (Chair), Lila Gavares (Vice Chair), Kayla Solsbak (Secretary) OPERATIONS
Director of Operations Ned Collins Operations Associate Jen McClenahan
FRONT OF HOUSE
House Manager John Craft Assistant House Managers Katherine Cordova, Amy Covington, Megan Danielson, Philip Kerkstra, Cameron McMartin, Eric Nickerson, Heather Wolf Janitorial Professional Maintenance Systems
AMERICAN NIGHT STAFF
Show Carpenter Kyle Ahlquist Deck Crew Mihai Antonescu, William Bender, Jacob Bruce, Andrew Lynch Wardrobe Supervisor Debbie Callahan Wardrobe Crew/Dresser Ksusha Vanyan Hair Crew/Maitenance Lisa Chan-Wiley Light Board Operator Ramon Wenn Follow Spot Operator Patricia Lesinski Sound Board Operator Catherine Johnson Prop Runner Ryan Lewis Production Assistant Amy Ramsdell
BOX OFFICE
Box Office Manager M. Nikki Cooper-Grigalunus Box Office Lead Operators Samuel Carr, Pearl Hang, Steven Lone Box Office Reservationists David Armstrong, Jordan Marrone, Amanda Prondzinski, Alicia Viola
EDUCATION & OUTREACH
Director of Education & Outreach Stephen McCormick Education & Outreach Associate Marisol Best Education & Outreach Coordinator Nicole Keepers Production Insider Crystal Mercado Audio Describers Mernie Aste, Brian Berlau, Shari Lyon, Kay O’Neil, Helen Warren Ross, Deborah Sanborn, Janet Schlesinger, Sylvia Southerland
IN GRATITUDE: The La Jolla Playhouse Board of Trustees and staff wish to express their deepest appreciation and gratitude to Vivien and Jeffrey Ressler for establishing the Jordan Ressler Endowment Fund. With the creation of this endowment, the Playhouse will receive much-needed annual support for the express purpose of developing new work and sustaining key artistic projects throughout the creative process.
PErFORMANCEs MAGAZINE P23