®
GEFFEN PLAYHOUSE GIL CATES THEATER
ARTISTIC DIRECTOR MATT SHAKMAN
WELCOME TO THE GEFFEN PLAYHOUSE Photo by Jeff Lorch Photography
THIS IS A SPECIAL PRODUCTION FOR ME FOR SO MANY REASONS. It is the first show in the first season I selected for the Geffen Playhouse. It is a world premiere and I am a passionate believer in developing and producing new work to add to the theatrical canon. Even more than that, it is a world premiere by one of my favorite writers— José Rivera. His work is beguiling, emotional, inventive. And it is highly theatrical, embracing what can only be done on a stage, in front of a live audience. The depth and breadth of The Untranslatable Secrets of Nikki Corona is pure José Rivera. Romantic, wildly imaginative and timeless in its subject matter and themes. José’s work is inextricably tied to the city of L.A. He came of age as a writer in this city and has had tremendous success on local stages. It is fitting that this great, sometime Angeleno is premiering his newest work here. Welcome home, José. This production is also special because the Geffen welcomes back the brilliant director, Jo Bonney, who has helmed many powerful productions here including the smash hit Fat Pig. Jo has assembled a terrific cast and design team. Together they are bringing José’s latest work to life in a vivid, deeply felt, and impactful way. Enjoy the start of the 2018/2019 season and I hope to see you at the next show! Matt Shakman Artistic Director
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JEFFERSON MAYS PHOTO BY JOHNNY ROZSA
ON SALE NOW! TICKETS AS LOW AS $30 310.208.5454 | geffenplayhouse.org/christmascarol
BOARD OF DIRECTORS Howard Tenenbaum CHAIR
Patricia Kiernan Applegate Beth Behrs Dr. Gene D. Block
in the Gil Cates Theater! On behalf of the Board and Advisory Board of the Geffen Playhouse, thank you for joining us for Matt Shakman’s inaugural season. From producing brand new works, to reimagining timeless classics, to fostering the exceptional talent right here in our own Los Angeles communities, Matt has curated a season that we are remarkably proud to be a part of and eager to share with you. We recognize that it is a tough choice to leave the comfort of your own home, battling the Los Angeles traffic on top of life’s everyday challenges, to come to the theater, and we are excited to kick off this brand new season with you. Thank you for being here today to have a shared artistic experience, to build connections with those around you and to start meaningful conversations sparked by these highly theatrical, socially relevant works. We are in the business of building new levels of understanding and compassion among us through live storytelling. Thank you for being a critical part of our artistic community this season. Howard Tenenbaum Chair
Andy Spahn
Gil Cates Jr.
Steven Spielberg Steve Tisch Dr. Charles E. Young CHAIRMAN EMERITUS
Merle Dandridge Dr. Brad Edgerton
IN MEMORIAM
Mark Fleischer
Gilbert Cates
Sue Fleishman Patricia L. Glaser Adi Greenberg
FOUNDER
Marcia Israel-Curley Audrey Skirball Kenis
VICE CHAIR
Charles Kenis
Arthur Greenberg
Karl Malden
Martha Henderson
Jerry Perenchio
CHAIR EMERITUS
Loretta Everett Kaufman Jason Delane Lee Carla Malden Susan Mallory Barry Meyer
Edie Wasserman Lew Wasserman
LEGAL COUNSEL Peter Rosen LATHAM & WATKINS LLP
B. Scott Minerd Holly Rice Pamela Robinson
ADVISORY BOARD
CHAIR EMERITUS
Miranda Tollman
Linda Bernstein Rubin
CHAIR
Teri Schwartz
Ali M. Banki
Matt Shakman
Natasha Barritt
ARTISTIC DIRECTOR
Richard Sherman Fred Specktor Lorraine Spurge Cynthia P. Stafford Kimberly Steward Marc Weinstock
FOUNDING TRUSTEES
Stephanie Carson Lori Collins Ellyce R. Cooper Debra Davis Ann Gianopulos Priscila Giraldo Kirsten Hansen Eric Heer Laura Kennedy
Kirsten Combs
Wendy Kurtzman
Robert A. Daly
Yvonne Lee
David Geffen
Hannah Linkenhoker
Herbert M. Gelfand
Tiffany Mayberry
CHAIRMAN EMERITUS
Quincy Jones Jeffrey Katzenberg Glorya Kaufman Ginny Mancini Frank G. Mancuso
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FOUNDING CHAIRMAN
Victoria Mann Simms
Mary Ann Cloyd
WELCOME TO THE 2018/2019 SEASON
Bruce M. Ramer
Harold A. Brown
Michael Centeno
Photo by Jeff Lorch Photography
Jerry Moss
Kevin Bright
EXECUTIVE DIRECTOR
BOARD CHAIR HOWARD TENENBAUM
Leslie Moonves
John McCrite Danny Passman Eric Rollins Allen Shay John Sonego
CHAIRMAN EMERITUS
Kevyn Wynn
Ron Meyer
Laurie Ziegler
BRIAN DENNEHY PHOTO BY T. CHARLES ERICKSON
AUDREY SKIRBALL KENIS THEATER
ON SALE NOW! TICKETS AS LOW AS $30 310.208.5454 | geffenplayhouse.org/hughiekrapps
THE GEFFEN PLAYHOUSE PRODUCTION OF
WRITTEN BY
José Rivera SCENIC DESIGNER
COSTUME DESIGNER
Myung Hee Cho LIGHTING DESIGNER
Stephanie Kerley Schwartz SOUND DESIGNER
Lap Chi Chu
PROJECTION DESIGNER
Cricket S. Meyers
Hana S. Kim
DRAMATURG
Rachel Wiegardt-Egel PRODUCTION STAGE MANAGER
ASSISTANT STAGE MANAGER
Ross Jackson
Julie Ann Renfro
CASTING DIRECTOR
Phyllis Schuringa, CSA DIRECTED BY
Jo Bonney OPENING NIGHT WEDNESDAY, SEPTEMBER 12, 2018 The Untranslatable Secrets of Nikki Corona was commissioned by Goodman Theatre, Chicago, Illinois. This work was supported by a Theatre Commissioning and Production Initiative grant from the Doris Duke Charitable Foundation Recipient of the Edgerton Foundation New Play Award Major support for this world premiere production provided by the Edgerton Foundation New Play Production Fund EXECUTIVE PRODUCERS CIRCLE MEMBERS
Laurie & Bill Benenson • Martha Henderson • Pamela Robinson Hollander & Robert Hollander Loretta Everett Kaufman & Victor Kaufman • Jason & Yvonne Lee • B. Scott Minerd Linda Bernstein Rubin & Tony Rubin • Kimberly Steward & Josh Godfrey • Miranda & Brett Tollman 6 PLAYBILL
CAST OF CHARACTERS (IN ALPHABETICAL ORDER) Maren / Lisandra ....................................................... Cate Scott Campbell* Orlando .................................................................................... Ricardo Chavira* Noelle / Paloma / Bobbi / Maria Sol ������������������������������� Zilah Mendoza* Abril / Nikki .................................................................... Onahoua Rodriguez* Manny / Priest / Eldon / Bernardo / Felipe ..... Juan Francisco Villa* *Indicates member of Actor’s Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SETTING Here and There
TIME The Present
PLEASE NOTE There is no photography or filming of any kind allowed in the theater. Please turn off all electronic devices, including cell phones. Thank you!
OPENING NIGHT SPONSORS GEFFEN PLAYHOUSE 7
PRODUCTION BIOGRAPHIES
CATE SCOTT CAMPBELL (Maren / Lisandra) Cate Scott Campbell is thrilled to be making her Geffen Playhouse debut. Stage credits include Tartuffe and Pride and Prejudice (South Coast Repertory), A Midsummer Night’s Dream (La Jolla Playhouse), Mommune (Chalk Rep), The Contrast (Mirror Repertory Company) and many shows as a member of The Groundlings Sunday Company. Television credits include How I Met Your Mother (CBS), Cousins For Life (Nickelodeon), You Kiddin’ Me (Facebook Watch), The Oh My Disney Show (Disney Digital) and multiple national commercial campaigns. Cate has created and starred in a number of critically acclaimed projects, including the digital series Tutored and the short films Math Brain and How I Do Math. Her podcast The Limit Does Not Exist (Forbes & PodcastOne) has been downloaded millions of times on iTunes and featured in The Washington Post and Adweek. Cate graduated from Northwestern University and has an M.F.A. in acting from UC San Diego.
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RICARDO CHAVIRA (Orlando) Ricardo Chavira is a South Texas native whose acting career spans theater, film and television. His stage highlights include The Motherf**ker with the Hat at the National Theatre in London and the Off-Broadway production of Jesus Hopped the A Train. He has also appeared in regional theater productions across the U.S., including An Enemy of the People and A Streetcar Named Desire at the Guthrie Theater, Living Out, Tracers, Three Sisters, Dogeaters, ¡Bandido! and Macbeth. His television credits include Scandal; Jane the Virgin; Santa Clarita Diet; Hawaii 5-0; Castle; Burn Notice; Welcome to the Family; Desperate Housewives, garnering two SAG Awards for Outstanding Performance by an Ensemble in a Comedy Series; George Lopez; 24; Joan of Arcadia; JAG; NYPD Blue; The Division and Six Feet Under. On the film side, he has appeared in Being Charlie, Powder and Gold, Don’t Let Me Drown, The Alamo, Piranha 3-D and Saving God. Chavira holds an M.F.A. in acting from the University of California, San Diego.
ZILAH MENDOZA (Noelle / Paloma / Bobbi / Maria Sol) Zilah Mendoza has originated lead roles in the theater such as Ana in Lisa Loomer’s hit Living Out (Mark Taper Forum, Second Stage Theater), Matilde in Sarah Ruhl’s Pulitzer Prize-nominated The Clean House (Yale Repertory Theatre), Electricidad in Luis Alfaro’s Electricidad (Mark Taper Forum) and Perla in Juliette Carrillo’s Plumas Negras (Cornerstone Theater Company). Her performances have garnered awards including an Obie, a Garland and a Lortel nod in N.Y.C. for her work in Living Out, as well as numerous Backstage Awards for her work in Los Angeles. Mendoza has had recurring and guest-starring roles on Modern Family, The King of Queens, Curb Your Enthusiasm, Grey’s Anatomy, MAD TV, Law & Order, Medium and 24. She is the Associate Artistic Director of the Mentor Artists Playwrights Project (MAPP), a nonprofit arts-based literacy program working in North America.
PRODUCTION BIOGRAPHIES
ONAHOUA RODRIGUEZ (Abril / Nikki) Onahoua Rodriguez is grateful to make her Geffen Playhouse debut with José Rivera’s The Untraslatable Secrets of Nikki Corona. She originated the role of Ceci for the Denver Center’s Theatre production of Lydia, followed by productions at Yale Repertory Theatre and Mark Taper Forum. Other theater credits include Anna in The Tropics (South Coast Repertory, directed by Juliette Carrillo, and at Coconut Grove Playhouse, directed by Nilo Cruz), Beauty of the Father (Seattle Repertory, directed by Sharon Ott), Blood Wedding (La Jolla Playhouse, directed by Mark Wing Davey). In New York, she has appeared in plays at INTAR, Repertorio Español, MCC Theater, Beckett Theatre, Lookingglass Theatre Company and La Tea Theatre, among others. Film/television credits include Beyond The Lights, Major Crimes, Shameless, Mad Dogs, Drop Dead Diva, NCIS Los Angeles, Castle, Weeds and The Shield, among others. She is a graduate of AMDA (studio program, NY). To my Guiding Lights, husband and daughters, God parents/squad and family, couldn’t be here without your love and support.
JUAN FRANCISCO VILLA (Manny / Priest / Bernardo / Eldon / Felipe) Juan Francisco Villa has appeared in the NY Times Critic’s Pick Oedipus El Rey, by Luis Alfaro, directed by Chay Yew at the Public Theater in New York. He has portrayed Tennessee Williams in the Off-Broadway Abingdon Theatre Company production of The Gentleman Caller by Philip Dawkins at Cherry Lane Theatre. His Off-Broadway credits include The Play About My Dad (Collaboration Town/59E59), Nature of Captivity (Mabou Mines) and One Night in the Valley (INTAR). In Los Angeles, he starred in the autobiographical Empanada for a Dream (LATC), which he also wrote, and Kissing Che (Celebration Theater). His Chicago credits include Twelfth Night (Chicago Shakespeare Theater); Hillary and Clinton, Mojada (Victory Gardens Theater); 2666, El Grito del Bronx (Goodman Theatre); Our Lady of 121st Street (Steppenwolf Theater); Elliot: A Soldier’s Fugue (Rivendell Theatre/Teatro Vista); Gun Show (16 Street Theater); and Take Me Out (Steppenwolf Theater Company). Villa’s television credits include Madame Secretary (CBS), Chicago PD (NBC), Blacklist: Redemption (NBC) and Betrayal (ABC).
JOSÉ RIVERA (Playwright) The first Puerto Rican screenwriter to be nominated for an Academy Award, for The Motorcycle Diaries, Rivera is also the author of 26 full-length plays including the Obie Award-winning Marisol and References to Salvador Dalí Make Me Hot, both produced at the Public Theater, New York. Other plays include Cloud Tectonics (Playwrights Horizons), School of the Americas (Public Theater), The Maids (INTAR), Adoration of the Old Woman (INTAR), Massacre (Sing to Your Children) (Rattlestick Playwrights Theater), Brainpeople (ACT, San Francisco), Sonnets for an Old Century (Barrow Group), Another Word for Beauty (Goodman Theatre), Boleros for the Disenchanted (Yale Repertory Theatre), The Street of the Sun (Mark Taper Forum), Sueño (Manhattan Class Company) and Lovesong (Imperfect) (Chaskis Theatre, London). Screenplays include On the Road, The 33, Trade, Letters to Juliet and A Thousand Miles to Freedom. Rivera co-created and produced the NBC series Eerie, Indiana, and has written pilots for HBO, TNT and Showtime. Awards include a Fulbright Arts Fellowship, a National Endowment for the Arts grant, a McKnight Fellowship, a Rockefeller Grant, a Whiting Foundation Award and New York Council for the Arts grant. Rivera has mentored GEFFEN PLAYHOUSE 9
PRODUCTION BIOGRAPHIES the Sundance Screenwriting Lab in Utah, Jordan and India, and leads the New York-based Writers Group.
JO BONNEY (Director) Jo Bonney has directed the premieres of productions including Lynn Nottage’s Mlima’s Tale; Martyna Majok’s Cost of Living; Suzan-Lori Parks’ Father Comes Home from the Wars; Hammaad Chaudry’s An Ordinary Muslim; John Pollono’s Rules of Seconds; Neil LaBute’s Fat Pig, The Break of Noon and Miss Julie; David Rabe’s An Early History of Fire; Paul Lucas’ Trans Scripts; Eve Ensler’s Emotional Creature; Lynn Nottage’s By the Way, Meet Vera Stark (Drama Desk & Lucille Lortel nominations for Best Director); Culture Clash’s American Night; Naomi Wallace’s The Hard Weather Boating Party and Fever Chart; Michael Weller’s Beast; Alan Ball’s All That I Will Ever Be; José Rivera’s Adoration of the Old Woman and References to Salvador Dalí Make Me Hot; Will Power’s The Seven (Lucille Lortel Best Musical); Darci Picoult’s Lil’s 90th; Christopher Shinn’s On the Mountain; Universes’ Slanguage/ Universes; Diana Son’s Stop Kiss and Anna Deavere Smith’s House Arrest; Jessica Goldberg’s Good Thing; Danny Hoch’s Some People and Jails, Hospitals & Hip-Hop; Eric Bogosian’s Sex, Drugs, Rock & Roll; Pounding Nails in the Floor with My Forehead and Humpty Dumpty, 10 PLAYBILL
among others. In addition, she has directed Suzan-Lori Parks’ Fucking A; John Pollono’s Small Engine Repair and Lost Girls; Lanford Wilson’s The Mound Builders; Nilo Cruz’s Anna in the Tropics; Caryl Churchill’s Top Girls; Lanford Wilson’s Fifth of July (Lucille Lortel Best Revival); Charles Fuller’s A Soldier’s Play and Lisa Loomer’s Living Out. Bonney is the recipient of an Obie Award for Sustained Excellence of Direction, a Lilly Award, as well as an Audelco Award. She is also the editor of Extreme Exposure: An Anthology of Solo Performance Texts from the Twentieth Century. MYUNG HEE CHO (Scenic Designer) Myung Hee Cho is a set and costume designer for theater, opera, dance and live entertainment productions. She has designed Miss Julie, Extraordinary Chambers and WIT at Geffen Playhouse. Other design credits include set for Trojan Women, a new Korean opera at LIFT Festival in London, Holland Festival & Wiener Festwochen; Trans Scripts at ART; set and costumes for In the Body of the World at Manhattan Theatre Club and American Repertory Theater; The Thieving Magpie at Glimmerglass Opera; The Marriage of Figaro at Washington National Opera and Golden Fairytale Fanfare at Shanghai Disney Resort. Other selected credits are Stuck Elevator at ACT; Emotional Creature at The Linney Theatre, Berkeley Rep and Market Theatre, Johannesburg; The Magic Flute at the Canadian Opera Company and The Good Person of Szechuan at the Landestheater Linz, Austria. She is professor of stage design at UCLA and a recipient of Princess Grace Awards.
STEPHANIE KERLEY SCHWARTZ (Costume Design) Geffen debut. With Jo Bonney as director, she designed costumes for Rules of Seconds by John Pollono at LATC. Recent projects: scenery for A Raisin in the Sun at A Noise Within and Magellanica, at Artist’s Repertory Theatre in Portland, Oregon. She is Resident Designer at Rogue Machine Theatre, where she designed scenery for Les Blancs, Super Variety Match Bonus Round, Honky and Pocatello, among many others. Credits in Los Angeles include scenery for Good Grief for Center Theatre Group at the Kirk Douglas Theatre, costumes for The Lieutenant of Inishmore, and Randy Newman’s Harps and Angels at the Mark Taper Forum. At Theatre @ Boston Court, she designed scenery for Stupid F*cking Bird and Shiv and costumes for Golden Dragon. For Pasadena Playhouse, she designed scenery and costumes for Twelve Angry Men and scenery for Pygmalion. Her designs have been seen all over Southern California, including South Coast Repertory, East West Players, Skylight Theatre, Fountain Theatre, Antaeus Theatre Company, ICT and Circle X. Her work has received multiple awards and nominations, including the 2017 LADCC Kinetic Award for Distinguished Achievement in Theatrical Design. www.kerleydesign.com LAP CHI CHU (Lighting Designer) Recent works include world premieres of Lynn Nottage’s Mlima’s Tale (Public Theater, NY) and Sarah DeLappe’s The Wolves (The Playwrights Realm, Lincoln Center Theatre, NY). He has designed regionally
PRODUCTION BIOGRAPHIES for Mark Taper Forum, Geffen Playhouse, Oregon Shakespeare Festival, La Jolla Playhouse, The Old Globe, Berkeley Rep, American Contemporary Theater, Goodman Theatre, American Repertory Theater, Arena Stage, Dallas Theater Center and Portland Center Stage. His New York design credits include New York Theatre Workshop, Signature Theatre, Second Stage Theater, Performance Space 122 and Kitchen Theatre Company. His awards include the 2018 Obie for Sustained Excellence in Lighting Design, Los Angeles Drama Critics Circle Angstrom Award for Career Achievement in Lighting Design, an Ovation Award, multiple Bay Area Theatre Critics Circle Awards and a “Drammy” for best lighting, as well as a Lucille Lortel Award nomination. Chu is on the lighting design faculty at California Institute of the Arts. www.lapchichu.com CRICKET S. MYERS (Sound Designer) On Broadway, Cricket earned a Tony Nomination and a Drama Desk Award for her design of Bengal Tiger at the Baghdad Zoo. Off-Broadway designs include The Marvelous Wonderettes. She has also designed regionally at La Jolla Playhouse, Geffen Playhouse, Ahmanson, Mark Taper Forum, South Coast Repertory, Kirk Douglas Theatre, Pasadena Playhouse, Berkley Rep and Arena Stage. Other selected L.A. theaters include East West Players, Ghost Road Theater Company, Celebration Theater and Circle X. She has earned 20 Ovation Nominations, as well as winning the Ruth Marley Award from the League of Professional Theater Women, the Kinetic Award for Outstanding Achievements in
Theatrical Design, an LADCC and a Garland Award. www.cricketsmyers.com HANA S. KIM (Projection Designer) Design credits include Little Black Shadows directed by May Adrales (South Coast Repertory), The Gangster of Love directed by Loretta Greco (Magic Theatre), Steal A Pencil For Me directed by Omer Ben Seadia (Opera Colorado), Wonderful Town directed by David Lee (L.A. Opera) and The Christians directed by Hana Sharif (Baltimore Center Stage). She is a 2018 Richard E. Sherwood Awardee from Center Theatre Group, member of United Scenic Artists Local 829 and recipient of Princess Grace Award in Theater Design. Her designs have won Bay Area Theater Critics Circle Awards, Helen Hayes Award, Stage Raw Awards and StageSceneLA Awards. For portfolio, please visit: www.hananow.com RACHEL WIEGARDT-EGEL (Dramaturg) Rachel is the Manager of New Play Development at the Geffen Playhouse, where she supports the artistic staff in season planning and fostering new work. This year, she spearheaded The Writers’ Room program, in which six Los Angeles-based playwrights will develop new plays at the Geffen, culminating in a reading series next summer. She has previously worked in a dramaturgy/literary management capacity at the Williamstown Theatre Festival, McCarter Theatre Center, Marin Theatre Company and the Ojai Playwrights Conference. Favorite past dramaturgy projects include the world premiere of Alena Smith’s Icebergs (Geffen
Playhouse), Nick Payne’s Constellations (Geffen Playhouse), a workshop of Jason Grasl’s Lying with Badgers (Native Voices at the Autry Festival of New Plays) and Mike Bartlett’s An Intervention (Williamstown Theatre Festival). ROSS JACKSON (Production Stage Manager) Ross Jackson is excited to continue his work with the Geffen Playhouse! A native of New Orleans, LA, Ross is now based in Los Angeles. His recent credits include: Skeleton Crew, Sell/Buy/ Date, Ironbound and A Funny Thing Happened... (Geffen Playhouse); Five Guys Named Moe (Ebony Repertory Theater); The Tempest and Deferred Action (Dallas Theater Center); The Crucible and A Lesson Before Dying (Clarence Brown Theatre); Aladdin and His Winter Wish and Sleeping Beauty and Her Winter Knight (Lythgoe Family Panto); Nickel Mines (New York Musical Theatre Festival); The Lady Onstage, Orlando and True West (Profile Theater); A Midsummer Night’s Dream (New Swan Shakespeare Festival) and several productions with the University of California, Irvine, from which he holds his Master of Fine Arts degree in stage management. Ross is a proud member of Actors’ Equity Association. Love to Mom, Tom and Megan. JULIE ANN RENFRO (Assistant Stage Manager) Julie is happy to be returning to the Geffen after recently stage managing Sarah Jones’ Sell/Buy/Date. Previous Geffen credits include Letters From A Nut and The Legend of Georgia McBride. Other theater credits include L.A. Opera, South Coast Repertory, Ojai Playwrights GEFFEN PLAYHOUSE 11
PRODUCTION BIOGRAPHIES Conference, Pasadena Playhouse, Shakespeare Orange County, Laguna Playhouse, Sydney Independent Theatre Company and Long Beach Shakespeare Company. Julie is from Orange County, CA, where she received her B.A. in Theatre Arts from Vanguard University, and is a proud member of Actors’ Equity Association. PHYLLIS SCHURINGA, CSA (Casting Director) Phyllis is an Artistic Associate and the Casting Director for the Geffen Playhouse. Recent casting includes Ironbound, Significant Other, Skeleton Crew, The Legend of Georgia McBride, Guards at the Taj, Outside Mullingar, Bad Jews, The Night Alive, Switzerland and American Buffalo at the Geffen, and Shiv at The Theatre @ Boston Court. She has received 4 Artios nominations: Actually, Barbecue, Barcelona, The Country House. Before joining the Geffen, she was the Casting Director for Steppenwolf Theatre Company in Chicago where her favorites include Frank Galati’s adaptation of The Grapes of Wrath (also La Jolla Playhouse, National Theatre in London and Broadway, where it received the Tony Award for Best Play), the original production of Steve Martin’s Picasso at the Lapin Agile (and subsequent productions including Westwood Playhouse and Briar Street Theater in Chicago), Austin Pendleton’s Orson’s Shadow and Charles L. Mee’s Time to Burn. Broadway transfers include One Flew Over the Cuckoo’s Nest (Tony Award for Best Revival) and The Song of Jacob Zulu. She is a member of the Casting Society of America and the Ovation Rules Committee. 12 PLAYBILL
premiered at the Toronto International and Los Angeles Film Festivals and was released by A24. Shakman is a graduate of Yale University and holds a B.A. in History of Art and Theater.
MATT SHAKMAN (Artistic Director) Matt Shakman has directed three highly acclaimed productions for the Geffen Playhouse: the West Coast premiere of David Lindsay-Abaire’s Good People, the world premiere of Jeffrey Hatcher’s new adaptation of Wait Until Dark and Joshua Harmon’s Bad Jews. His theatrical work has also been seen at Primary Stages in New York and South Coast Repertory. Matt founded and was the artistic director of the Black Dahlia Theatre in Los Angeles, which was named “one of a dozen young American companies you need to know” by American Theatre magazine and “Best Small Theatre” by Los Angeles magazine. Under his leadership, the Black Dahlia garnered numerous Los Angeles Drama Critics Circle and LA Stage Alliance nominations and awards. In 2011, the Los Angeles Drama Critics Circle awarded him the Milton Katselas Award for Career Achievement in Direction. Matt is also well-regarded for his achievements in television and film. He is a director and producer for FX’s long-running show It’s Always Sunny in Philadelphia and has directed episodes of Game of Thrones (DGA nomination), Mad Men, Fargo and The Good Wife. His feature film debut, Cut Bank, starring John Malkovich, Billy Bob Thornton and Bruce Dern,
GIL CATES, JR. (Executive Director) As Executive Director, Gil Cates, Jr. leads the Geffen Playhouse in its mission to inform, entertain and inspire diverse audiences with live theater of the highest caliber—both within and beyond the non-profit theater’s walls. He has proudly served on the Geffen Playhouse Board since 2012. Gil’s theater credits include the award-winning Names (Matrix Theatre Company) starring Dixie Carter and Greg Mullavey, Three Sisters and David Mamet’s A Life in the Theatre (both at Syracuse Stage). Gil’s film credits include The Surface (starring Sean Astin and Geffen Playhouse alumnus Chris Mulkey), Jobs (starring Ashton Kutcher, Josh Gad, Dermot Mulroney, as well as Geffen Playhouse alumni Matthew Modine and Ron Eldard) and the 2011 feature film Lucky (starring Colin Hanks, Ari Graynor, Ann-Margret and Golden Globe winner Jeffrey Tambor). In addition, Gil produced and directed the critically acclaimed Life After Tomorrow, featuring Sarah Jessica Parker, which premiered on Showtime. His other films include Deal (starring Burt Reynolds, Bret Harrison
PRODUCTION BIOGRAPHIES and Charles Durning) and The Mesmerist (starring Geffen Playhouse alumnus Neil Patrick Harris). Gil’s television directorial debut was an episode of the NBC comedy Joey, starring Emmy winner Matt LeBlanc. He studied at the National Theatre Institute in Waterford, Connecticut, and holds a B.F.A. in Drama from Syracuse University.
REGINA MILLER (Chief Development Officer) Regina Miller has advised non-profit institutions, foundations and corporations on
strategy, analysis and fundraising. She has consulted for Array Alliance, The Entertainment Industry Foundation, The National Center for Missing and Exploited Children, Charlize Theron’s Africa Outreach Project and Kershaw’s Challenge, among others. Prior to the Geffen, Regina worked for the Simon Wiesenthal Center/ Museum of Tolerance, where she produced an innovative human rights exhibition that traveled to 14 international destinations around Europe, Asia and the U.S. She also served as the Director of Partnerships for Big Brothers Big Sisters of Greater Los Angeles and the Inland Empire, where she led strategic planning and development while executing policies that advanced the organization’s visibility and growth. Additionally, Regi-
na has a strong passion for teaching. After graduating from University of North Carolina School of the Arts, she taught in preschools and kindergartens in New York. From the age of 13, Regina worked as a professional dancer on Broadway as well as with a number of prominent modern dance ensembles. Fusing two of her interests, she created a highly successful program that incorporated dance therapy and creative movement into an early childhood curriculum as well as writing and producing a television show based on this concept. In addition to being a published author and photographer with Tallfellow Press and Prometheus Books, Regina has taught and lectured at numerous schools in New York, Los Angeles and abroad.
THE NEW PLAY DEVELOPMENT PROGRAM Supporting artists is central to the mission of the Geffen Playhouse, and play commissions are a cornerstone of that support. To commission a playwright to write a play means making a commitment to their voice, craft and vision, with the hope of sharing the fruits of their work on our stage. The Geffen Playhouse’s New Play Development Program is made possible, in large part, through the leadership and generosity of donations from: The Edgerton Foundation, The Harold & Mimi Steinberg Charitable Trust, Fay & Frank Mancuso, Sandra Krause & William Fitzgerald, Hilary & Jack Angelo, and Mary Bianco, The MOCA Foundation. We are proud to have the following artists under commission: Rachel Bonds Colman Domingo Lindsey Ferrentino Michael Golamco Meghan Kennedy Matthew Lopez Martyna Majok
Michael Mitnick Jiehae Park John Pollono José Rivera Zoe Sarnak Robert Schenkkan Shaka Senghor & Daniel Beaty
Erika Sheffer Jen Silverman Nick Stafford The Vampire Cowboys David Wiener Lauren Yee Anna Ziegler
For more information on this program, please visit geffenplayhouse.org/newplays. GEFFEN PLAYHOUSE 13
ACKNOWLEDGEMENTS
GEFFEN AT A GLANCE
PRODUCTION STAFF FOR THE UNTRANSLATABLE SECRETS OF NIKKI CORONA Assistant Director Reena Dutt Assistant Scenic Designers Jeff Behm, Se Oh, Sydnie Ponic Assistant Costume Designer Alexandra Friedman Assistant Lighting Designer Rose Malone Dialect Coach Paul Wagar Wigs & Makeup April Metcalf Assistant Puppet Designer YiLin Zhao Properties Artisan Hazel Kuang Automation Operator Alex Norkus Stage Crew Randy Pound Stage Crew Will Kleist Production Assistant Lizzie Thompson
ADDRESS
ACKNOWLEDGEMENTS Set provided by F&D Scene Changes Ltd. Lighting Equipment provided by Kinetic Lighting Sound Equipment provided by Jon Sound Inc. Production Photographer Darrett Sanders Media Filming Ramon Garcia Artwork Gravillis Inc.
BOX OFFICE WINDOW
SPECIAL THANKS UCLA School of Theater, Film and Television Scene, Prop, Sound and Costume Shops; London Cleaners
UCLA SCHOOL OF THEATER, FILM AND TELEVISION Geffen Playhouse is affiliated with the University of California at Los Angeles, specifically the UCLA School of Theater, Film and Television. Geffen Playhouse values its role as an important educational resource by providing students with master classes, workshops and internships. Students are also able to work and learn from distinguished visiting Geffen artists such as Alan Ayckbourn, Jon Robin Baitz, Annette Bening, Ed Harris, David Ives, Neil LaBute, David Mamet, Donald Margulies, Terrence McNally, John Rando and Kathleen Turner in areas of directing, playwriting, acting, design, dramaturgy, management and production. Geffen Playhouse also draws upon the distinguished experts in the university to enhance the theater’s programs and research.
This theater operates under agreement between the League of Resident Theaters and Actors Equity Association, the union of professional actors and stage managers in the United States. The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States This theater operates under agreement between the League of Resident Theaters and Stage Directors and Choreographers Society, an independent national labor union. The scenic, costume, lighting and sound designers in LORT theaters are represented by United Scenic Artists Local USA-829, IATSE.
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FINDING MOMENTS OF MAGIC
An interview with playwright José Rivera
By Rachel Wiegardt-Egel, Dramaturg
THE UNTRANSLATABLE SECRETS OF NIKKI CORONA FOLLOWS A WOMAN DESPERATE TO MAKE CONTACT WITH HER TWIN, who is recently gone from this world, and the man who decides to help her. A love story and hero’s journey quest by turn, this play grapples with the quintessentially human question of what happens to us after death. A week into rehearsals on this world premiere, I sat down with playwright José Rivera to talk about the origins of this otherworldly story and the ways that magic finds its way into his work. Rachel Wiegardt-Egel: What sparked the idea for this play? José Rivera: About ten years ago, I was looking through Harper’s Magazine. They had printed a contract from a company in Minneapolis whose service was to connect people who are dying with people who want
to send a message to the other side. I instantly knew it was a play but I didn’t have characters or a story for quite some time. Unfortunately, I had two deaths in the family a couple years ago and that helped crystallize all the things I was thinking about in terms of mortality and speculating on what death would feel like. So, the personal event married this concept, and suddenly there’s a play. RW: When you first came across the concept, did it seem like more of an oddity or did it resonate with you? JR: It was definitely an oddity. I thought, “who in the world would want to create something like this?” Later on, Maren was one of the first characters I created because I had to understand the kind of person who would have this idea of a business model. But I did think it seemed like this company was fulfilling a need that we all have, in a way. It made sense to me. RW: Do you often find that something in GEFFEN PLAYHOUSE 15
the real world will give you a new idea for a piece of writing? JR: Usually, yeah. A long time ago, I was driving through L.A. and I saw a pregnant hitchhiker in the rain on the side of the street, and that became Cloud Tectonics. I had an uncle who died homeless in San Diego of a heroin overdose, and that eventually became Marisol. My divorce, in a way, became References to Salvador Dalí Make Me Hot. So, there’s always a deeply personal inspiration for the plays. RW: So much of your work has magical realism. Why do you think you gravitate toward that style? JR: Allan Havis, a playwright who teaches down in La Jolla, calls my style “mad realism.” I like “mad realism.” I grew up with a mother who wanted to be a nun and we had pictures of angels all over the house. My grandparents told ghost stories. Seeing magic in the world just felt like how you perceive life. I didn’t know anything about magic realism, really, until I started reading One Hundred Years of Solitude in college and suddenly everything that I grew up with was there on the page—the same love stories, stories of obsession, stories of interacting with spirits. What nailed it was seeing Sam Shepard’s work in the late seventies. Buried Child is also magic realism. I asked myself as a young writer, “what can I contribute that isn’t already being done by a hundred other writers?” And I said, “I’m going to see if I can translate the magical stories of my childhood and my culture into theater.” RW: How do you find the balance between what’s real and what’s magical in your plays? JR: For me, “magic” is just another way to explore the metaphors for the psychological state of the characters. Think of Chagall’s painting The Kiss, which depicts two people kissing and floating. Obviously we don’t float in life, but the float is a metaphor for their 16 PLAYBILL
feelings. It’s the same thing in magic realism. There’s a great scene in One Hundred Years of Solitude where one of the sons is shot in front of a firing squad and his blood falls to the ground, travels across the floor, goes outside, down the street, up the stairs, around the corner and ends up at his mother’s feet. It’s this beautiful metaphor for their connection, a literal representation of that connection. The magic of a play is only really valid if it’s connected to the psychology of the characters and the reality of the moment. You ask yourself, “what is the theatrical metaphor that would make this come alive in a resonant and deep way that hits you as hard as possible?” That’s where the magic flourish would happen. RW: When did you know you wanted to be a playwright? JR: I knew really, really, really early. I wrote several plays in high school, and one of them was produced. In college, I wrote a play a year, which I produced and directed. For a while, I also wanted to be an actor and I didn’t want to be a half-assed writer or a half-assed actor, and I thought I had to make a firm choice. So, around the time I was 22, I decided that I would be a writer full-time. RW: With Dante’s Inferno being an inspiration for the piece, do you think people need any context going into the play? JR: If anybody knows Dante’s Inferno, it will certainly resonate on another level for them, but you don’t need to know it. It’s quite different, because Dante was dealing with sin, and in his world, the worst sin you could commit is treason against the king or God. So, the center of hell is the devil chewing on Judas Iscariot. For me, it’s far more interesting to talk about karma and what you can do to balance your karma. And I assume everyone thinks about death and what it will be like. Do we stay the same? Do we still have a personality? Can we communicate? There’s
a built-in sense of wonder and questioning about death and the other side that I think the audience will bring with them. RW: This play deals with serious subject matter, but manages to do so in a fantastical—sometimes even whimsical—way. When you’re working on a new piece, do you have a sense of the tone early on or does the subject matter lead you there? JR: Character comes first, for me. I’m trying to populate the world of the play and think about the kinds of people we would find there, and that will tell me the tone. But I like a lot of humor even in my darkest plays. We need the relief of it. RW: You live in New York now but were an Angeleno for many years—is there a particular resonance to this play premiering in this city? JR: This is a big play, so it’s great to have it on a big stage—literally big, but also, emotionally, this is a big place. When I lived here, I saw Geffen productions and I always dreamed of working here. So, it’s a nice homecoming in that way. This particular play is very personal, much more personal than I’ve written in a long time. So, feeling like I’m in a theater that’s taking care of the play is really nice. And I have so many friends here who will hopefully come, and those reunions will be really nice too. RW: Switching gears a bit, how do you balance writing for film, television, and theater? JR: It’s a constant juggling act. I have no control over it. I’m often working on multiple projects, mostly because you never know when something’s going to come up, especially in TV and film. I love film and I love television, but I will write theater for the pure love of it and I won’t write film and TV just for the love of it. And when I’m really moved to explore personal issues, I will write a play.
RW: What is it about theater that you feel lends itself more to those topics? JR: My theater writing comes from the storytelling traditions in my family. When my grandparents, who were illiterate, lived with us, they told stories around the kitchen table. Oral storytelling is primal and organic to me, so theater is too. I’ve never taken a playwriting class. I didn’t go to graduate school. When something has to be personal and I don’t want to worry about artifice so I can get to the essence of a story, theater seems the most natural way. RW: Is there something you wish someone had said to you as a young writer that you’d like to say to young playwrights starting out today? JR: Don’t be in a hurry. Accept a certain loss of control—which is not necessarily a bad thing. Be faithful to the people who believe in you. It’s a cliché, but I wish someone had said, “always be true to yourself.” Always know your strengths, know your limitations. Be honest about your taste. And I wish someone had taught me how to work in the rehearsal room—how to speak with a director and cast, how to look at a floor plan, those kinds of things. The collaborative part of theater took me some time to understand. RW: Is there a character in the play with whom you most identify? JR: I think my favorite character in the play is Lisandra, because she’s trying very hard but it’s very hard for her to try. She’s not a people person but she’s stuck with people, and she approaches it with humor but sometimes loses her temper. Sometimes I identify with Manny, with his whimsical but grounded sense of reality. I’ve been Noelle. I’ve been Orlando. In my life, I’ve been almost everybody in this play. To read more about The Untranslatable Secrets of Nikki Corona, please visit blog.geffenplayhouse.org. GEFFEN PLAYHOUSE 17
DID YOU KNOW? Thanks to the generosity of Geffen Playhouse donors, each season Geffen Playhouse serves more than 15,000 low income students, youth, seniors, veterans and community members with our wide range of education and community engagement programs. Student enjoys the matinee of Significant Other as part of the High School Partnerships Program Photo by Jeff Lorch Photography
Thousands of Los Angeles youth who have never stepped foot inside of a theater will experience the life-changing power of the arts with our High School Partnerships Program.
Veterans Writing and Performance Project participants and attendees Photo by Jeff Lorch Photography
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Seniors participate in a pre-show workshop as part of our Lights Up program Photo by Jeff Lorch Photography
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ANNUAL DONORS Lidia & Mauricio Epelbaum Jim Esserman Rena & Peter Falk Judy & Mike Fantasia Dr. Francesco Federico Mimi Alpert Feldman Abby & Malcolm Field Paul and Karen Finkel Lisa & William Finkelstein Steven Fleenor Keith G. Fleer Lynne & Michael Flynn Fran Fredella & Scott Rubin Sandy & Donald French Carolyn Fried Elaine Friedman Kenneth J. Friedman & Marilynn J. Friedman Family Foundation Lynn & Barry Friesen Catherine Froloff Laurelle Frome & Brady Frome Gina Furth Lee Gardenswartz Patricia Geffner Leslie & Mort Gerson Russell Gersten Linda & Tom Givvin Jill Glasband Dr. Diane & Michael Glazer Richard & Lori Glucksman Hannah Godwin Carol & Neil Goldberg Lorain Goldberg Mark & Molly Goldberg Francine Golden & Marvin Schlossman Ellie & Barry Goldstein Dina Goldstein Jay Gordon & Meyera Robbins Roger Gordon Liz Gottainer & David Sadkin Julie C. Graham, Olivia C. Zeiden, Liam D. Zeiden Gigi & Don Grant Shelley Hill Grant Debbie & Glenn Gray Madelyne Green Gary & Jeannie Greenberg Randi & Jerome Greenberg Marcy & Edgar Gross Eve Haberfield & David N. Johnson Roberta L. Haft James Hahn Hanif Haji Kambiz & Sylvia Hakim Mary & Alan Halkett Jane Hall Monica & Mark Haloossim Roberta & Marc Hamilton Padraic Hannon Hanna Heiting Jackson Henry Michael & Candie Herman Winifred C. Hervey
Diane Hight Penny Hildebrand Edgar Hirst Cina Hodges Paul Gordon Hoffman & Sue Caren Hoffman Melvin Horowitz InSight Consulting Partners Jackie & Warren Jackson Barbara Jacobs Frederic A. & Nancy Jacobus Janice Jerde Jeanne Johnson Robert Jones & Julie Anne Robinson Roz & Jerry Joseph Martha Kadue Adriana Kahane Joanne & Larry Kahn Linda Kaplan Donald Kates Owen Kato Morgan Kay Jim Keily Michael Keir William & Renee Kendall Cynthia King Donna & Jeffrey Klein Dr. Phyllis Klein Leana Kleinman & Jerald Johnson Laurie & Milton Klorman Delores Komar & Susan Wolford Charles Kristenson Sharon & Lawrence Lavenberg Rhonda Lawrence Learning Encounters Ann Leland Adam Lesh Maxine & Gary Levine Karen & Ron Levine Dr. & Mrs. Isaac Levy Rick & Vivian Levy Victor & Madeline Lindenheim Joanne Lindsay Leslie & Adam Lobel Alex Loewenthal Lori & Tom Low Loris & Kory Lunsford Anne L. Lynch Barbara Marcus MNM Locations Annette Marmalefsky Phyllis & Bert Massing Douglas Mcavoy, Jr. Kathleen McCarthy Sheri and Jim McCashin Cynthia Melville Bhaskar & Sumi Menon Eileen & Paul Meshekow Dr. & Mrs. H. Reed Metzger Nick & Vaughan Meyer Sara & Henry Michrowski Judith & Jeff Milman Teddie J. Milner
Julien Minard Peter Minarik & Sharon Vera Thomas Mitchell Barrett Moore Christy & Leon Moore Marvin & Jean Moore Christopher Morden Shelagh Moriarty Howard J. Morris John Moschitta Charlotte C. Myers Robert M. Nelson Sarah & Clifford Nelson Sherri & Arnie Nelson Jeff Newman Margery Nicolson Charna & Allen Nissenson Doreen & Donald Nortman Adrienne & Arthur Omansky Dr. Ronald & Iris Onkin Janie Orenstein Patricia O’Toole Sharon Oxborough Ron Ozur Sylvia & Robert Paris Edward Parker Abhilash and Kelly Patel Dr. Kristine Penner & Steven Klein Naidu & Jane Permaul Berta & Lou Pitt Jack & Jane Pollock Zazi Pope Cheryl & Mel Posner Susan Poulson Michael & Gloria Rausch Marianne Reynolds Linda & Erin Rice Mara Richards Linda & Steve Richman William & Polly Ridgeway Barbara & David Rognlien Louis Rohl Amy Roland Robert Rosania Barry Rosen & Neil Bokal Maxine & Gene Rosenfeld Beverly and Mel Rosenthal Lawrence Ross & Linda Nussbaum Terry Ross Robert & Susan Rovner Rand Rusher Terry Ryan Noriko Salamon Jay & Linda Sandrich Susan & Kenneth Sarno Maxine Savitz Linda & Cliff Schaffer Melanie Scher Malcolm Schneer & Cathy Liu
Gary & Karen Schneider Joel & Sonia Schneider Stanley Schneider Brandon Scott Marc Seltzer Annette & Leonard Shapiro Barbara Vickery & Martin Shapiro Melanie Sharp & Kevin Miller Tom & Judy Sharp Shelly & Greg Sherwin Steven & Annabelle Shulman Seymour & Dorothy Siegel Randi & Rand Singer Linda & Ronald Slates Diane Good & Frank Smith Marcia L. & Mark J. Smith Ronald Smith Karen Smits Christine Sorgi Stephanie Sourapas Melvin Spears Debra Spector M Leslie Stearns Joyce & Roger Stewart Frances & Sy Strasberg Holly Strom Penny Strowger Mr. Kayser Sume & Dr. Renee Sabshin Miriam & Gene Summ Ann Sunderland Lance & Maureen Tan Cathy & Asher Thompson Ann Thorvik Judy & Art Tompkins Joyce & Josh Trabulus Brigitta Troy Dr. Gerald D. Turbow Richard Turner Dr. Harold Urman Deborah Valdez Erich Van Lowe Anthony Vasek Carole Wagner-Vallianos & Peter Vallianos Ann W. Wang Elisa Wayne Sherry Weinman & Michael Umansky Ben & Rose Weinstein Bruce Whizin Baker Wiles Lawrence Will Karen & Gary Winnick Dr. Joseph Wu Kimberly & Andrew Zakanych Arnold & Tricia Zane Lynn & Meir Ziv Sandy Zwirn
HAVE WE MADE AN ERROR? To report a misspelling or omission in these listings, please contact the Development department at 310.208.6500 ext. 128
GEFFEN PLAYHOUSE 25
Matt Shakman
Gil Cates, Jr.
Artistic Director
Executive Director
ARTISTIC Amy Levinson Associate Artistic Director Phyllis Schuringa Artistic Associate / Casting Director Young Ji Artistic Coordinator / Company Manager Rachel Wiegardt-Egel Manager of New Play Development Carley Johnson Literary Intern
PRODUCTION Daniel Ionazzi Production Manager Jill Barnes Associate Production Manager / Company Manager Sam Craven-Griffiths Technical Director Rich Gilles Properties Master James Grabowski House Sound Supervisor Darren Rezowalli Lighting & Video Supervisor Ramine Ameli Assistant Lighting Supervisor Liz Rose Wardrobe Supervisor
ADMINISTRATION
Jamie Mikelich Director of Individual Giving & Spotlight Manager Mark San Filippo Associate Director of Planned Giving & Donor Relations Scott Kriloff Associate Director of Individual Giving & Donor Relations Taylor Cerny Development Associate Jessie Sherman Development Assistant
EDUCATION Jennifer Zakkai Director of Education & Community Engagement Carolyn Marie Wright Manager of Education & Community Engagement Celia Rivera Community Engagement Coordinator Brian Allman, Darien Battle, Ramy El-Etreby, David Guerra, Michael McClain, Robert Paterno, Carissa Pinckney, Tara Ricasa, Celia Rivera, Jessica Winward Teaching Artists
MARKETING & COMMUNICATIONS Jessica Buzzard Director of Marketing & Communications
Behnaz Ataee Chief Financial Officer
Karen Gutierrez Director of Advertising & Audience Development
Peter Banachowski Senior Accountant & Financial Analyst
Brian Dunning Director of Content & Creative
Kisha Wilson Payroll Specialist & Staff Accountant
Zenon Dmytryk Director of Public Relations
Clay Dzygun Office Coordinator
Zack Hamra Associate Director of Audience Services & Ticketing
Marguerite Harris Receptionist
DEVELOPMENT Regina Miller Chief Development Officer Ellen Catania Senior Vice President of Development Jessica Brusilow Rollins Director of Education Partnerships & Donor Relations
Kevin O’Brien Marketing Manager
Janice Bernal Box Office Manager Alyssa Tyson Box Office Manager Clifton Adams, Vaneh Assadourian, Britney Campbell, Zoe Halsne, Lexy McAvinchey, Sam Peurach, Jonathan Ramos, Cameron Reck, Celia Rivera, Bryn Woznicki Box Office Staff Sue Fleishman Communications Consultant
FRONT OF HOUSE Jeni Pearsons Director of Special Events Mel Yonzon Front of House Manager Amy Farkas Lead Concierge Isaac Jay, Nathaniel Meek, James Porter, Madison Shamoun, Dennis Woullard House Managers Kailey Bray, Ryan Brophy, Danie Hakimi, Otniel Henig, Hunter Lowden, Olivia Lowe, Austin Merrill, Keith Mitchell, JoJo Nwoko, Thea Paino, Charley Stern, Charmee Taylor, Adam Turney, Isaac Vaughn, Robin Vega Ushers Rob Mersola Bar Manager & Mixologist Manuel Mayorga Weekend Bar Manager Skylar Adams, Adam Carr, Brenda Davidson, Sarah Drescher, Ryan Turner Bartenders/Event Staff
INFORMATION TECHNOLOGY Karim Bouzzit System Administrator
FACILITIES MANAGEMENT
Quinn Francis Outreach Coordinator
Miguel del Castillo Facility Manager
Ramon Garcia Video Producer
Mario Santillan-Perez Custodial
Kristina Leach Social Media Associate
Juan Carlos UmaĂąa Cleaning Custodial
Wendell Pascual Production Artist
Camerina Martinez Cleaning Custodial
Geffen Playhouse is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission. This project was also funded in part by the Department of Cultural Affairs, City of Los Angeles. Geffen Playhouse, a not-for-profit theater company, is proudly affiliated with the University of California at Los Angeles.
26 PLAYBILL