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GEFFEN PLAYHOUSE AUDREY SKIRBALL KENIS THEATER
ARTISTIC DIRECTOR MATT SHAKMAN
WELCOME TO THE GEFFEN PLAYHOUSE Photo by Jeff Lorch Photography
FOR 17 YEARS I RAN AN INTIMATE THEATRE ON PICO BLVD
called The Black Dahlia. I know firsthand the blood, sweat and tears (and generous helping of passion) required to bring new plays to life with limited resources. The Echo Theater Company, under the leadership of Chris Fields, has been at this noble work for even longer than my former theatre. Since 1996, the Echo has shown as fierce a devotion to developing new work as any theatre in this country, and it was through these new play development initiatives that The Cake came to be. Bekah Brunstetter’s play is a magical confection of humor and heart—one that deeply resonates with the world we live in (and seems more and more relevant with every new front page). It delicately tackles issues of intolerance and prejudice from both sides of the political and religious spectrum, ultimately exploring our human limitation to understand and embrace difference, even in the people we love. Jennifer Chambers has remounted her hugely successful world premiere production without losing an ounce of the original’s magic. We thank her, the Echo and this incredible group of actors and designers for bringing this brave and wondrous play to life. The Los Angeles intimate stage community is a powerful generator of thrilling theater—let this be the first of many opportunities to see our local colleagues’ work on the Geffen stage. Enjoy the show! Matt Shakman Artistic Director 2 PLAYBILL
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 Audrey Skirball Kenis 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 PRESENTS THE ECHO THEATER COMPANY’S WORLD PREMIERE PRODUCTION OF
WRITTEN BY
Bekah Brunstetter SCENIC DESIGNER
COSTUME DESIGNER
Pete Hickok
Elizabeth Caitlin Ward
LIGHTING DESIGNER
SOUND DESIGNER
Pablo Santiago
Jeff Gardner DRAMATURG
Skyler Gray PRODUCTION STAGE MANAGER
CASTING DIRECTOR
Natalie Figaredo
Meg Fister
DIRECTED BY
Jennifer Chambers OPENING NIGHT THURSDAY, SEPTEMBER 20, 2018 The Cake was originally produced by The Echo Theater Company, Los Angeles, California Chris Fields, Artistic Director; Jesse Cannady, Producing Director The Cake was originally developed in The Echo Theater Playwrights LAB, Jennifer Chambers, Director The Cake received a developmental reading at The Alley Theatre Gregory Boyd, Artistic Director; Dean R. Gladden, Managing Director The Cake was developed at The Ojai Playwrights Conference Robert Egan, Artistic Director/Producer 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) George ..................................................................................... Morrison Keddie* Jen ................................................................................................. Shannon Lucio* Tim ............................................................................................... Rod McLachlan* Macy ........................................................................................ Carolyn Ratteray* Della ............................................................................................. Debra Jo Rupp* *Indicates member of Actor’s Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SETTING Winston-Salem, North Carolina
TIME Now
RUNNING TIME Approximately 90 minutes. There will be no intermission.
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
MORRISON KEDDIE (George) Morrison Keddie is thrilled to be making his debut at the Geffen. Other theatrical work includes the world premiere of The Cake (Echo Theater Company); The Cake (Barrington Stage Company); Hamlet (Rubicon Theatre Company); Ubu Roi, Othello, School For Wives, Julius Caesar, A Midsummer Night’s Dream (A Noise Within) and performing on a house sketch team at iO West. His voice has been featured in video games, international promotions and most recently in the VR animation series Water Bear (Waffle Ent.). Keddie’s television/film credits include Again (Tribeca 2017), Rocketjump: The Show (Hulu), Sass Class (DreamworksTV) and Hart of Dixie (CW). Many thanks to the Geffen, cast, crew, Jen, the Echo and his lovely wife for making this possible.
SHANNON LUCIO (Jen) Shannon Lucio originated the role of Jen in the world premiere of The Cake at the Echo Theater Company, and she 8 PLAYBILL
is honored to be part of this production at the Geffen Playhouse. Her other recent theater credits are Alma in The Eccentricities of a Nightingale (Pasadena Playhouse), Mae in Mud (Rosenthal Theater) and Florrie in Waiting for Lefty (Rosenthal Theater). She is also a member of Hero Theatre. Her films include Grounded, opposite Aaron Paul and Lena Olin; Fireflies in the Garden, with Julia Roberts and Ryan Reynolds and Feast of Love, directed by Robert Benton. Her television credits include Shameless, Roots, American Horror Story, Prison Break, True Blood, Agents of S.H.I.E.L.D., The O.C. and Grey’s Anatomy. A founding member of production company Filament Features, Shannon is involved in all aspects of production, simultaneously acting in, writing and producing many of Filament’s projects.
ROD McLACHLAN (Tim) Rod McLachlan’s Broadway credits include The Audience, Holiday, The Government Inspector, Timon of Athens, Saint Joan, The Real Inspector Hound, Our Town and Death and the King’s Horseman. Off-Broadway, he has appeared in When the Rain Stops Falling, School, Keep Your Pantheon, Observe the Sons of Ulster Marching Towards the Somme, Cyrano De Bergerac, Edmond and Clean. McLachlan’s re-
gional theater credits include These Paper Bullets (Geffen Playhouse), What the Butler Saw (Mark Taper Forum), Wait Until Dark (Geffen Playhouse), November (Mark Taper Forum), Keep Your Pantheon and A Sermon (Kirk Douglas Theatre) and The Lonesome West (South Coast Repertory). On the film side, he has appeared in Class Rank, Confessions of a Jesus Jerk, Caught, California Winter, Lesster, Superhero Movie, The Bulls, National Treasure, Magnolia, Where the Money Is, Instinct, Conspiracy Theory and Radioland Murders. McLachlan’s most recent television credits include Veep, House of Lies, Aquarius, Modern Family, Glee, The Crazy Ones and Madmen. He is also the playwright of Good Television (Atlantic Theater Company). Co-Creative Director of Tuesdays@9.
CAROLYN RATTERAY (Macy) Carolyn Ratteray is excited to be making her debut at the Geffen. Highlights of her theater credits include the world premiere of The Cake at Echo Theater Company; The Imaginary Invalid, Tartuffe and The Importance of Being Earnest at A Noise Within; Father Comes Home from the Wars (u/s) at Mark Taper Forum; Pygmalion at Pasadena Playhouse; How to Disappear Completely and Never Be Found at Theatre @ Boston Court; Merry Wives of
PRODUCTION BIOGRAPHIES Windsor, All’s Well That Ends Well, Two Gentleman of Verona at The Old Globe and Hecuba at The Pearl Theatre Company. She has studied theatrical clown with Philip Gaulier, Chris Bayes, David Bridel and Angela De Castro. Some of Ratteray’s film/television credits include Riley Parra, Castle, NCIS, All My Children, Chemistry, The Young and the Restless and Law & Order: Criminal Intent. Education: M.F.A., The Old Globe/ University of San Diego; B.F.A., New York University. She is a Resident Artist at A Noise Within and a member of Antaeus Theatre Company.
DEBRA JO RUPP (Della) Debra Jo is so happy to bring this wonderful play to the Geffen after originating the role at the Echo Theater Company (LA Stage Alliance Ovation award, LA Drama Critics Circle award). She has appeared on Broadway in Cat on a Hot Tin Roof, and her Off-Broadway credits include Becoming Dr. Ruth (Westside Theatre, nominations: Drama Desk, Outer Critics); A Girl’s Guide to Chaos (American Place Theatre); Frankie & Johnny in the Clair de Lune (Westside Theatre) and The Butcher of Baraboo (Second Stage Theater). Rupp’s regional theater credits include The Cake, Love Letters, Kimberly Akimbo, for which she received a Berkie award
(Barrington Stage Company); Deathtrap (Berkshire Theatre Group); Annapurna (TheaterWorks Hartford, Connecticut Critics Circle Award); Becoming Dr. Ruth (Barrington Stage Company/TheaterWorks Hartford); True West and A Flea in Her Ear (Williamstown Theatre Festival). She has appeared in films including The Social Ones, Big (film debut opposite Tom Hanks), She’s Out Of My League, She Wants Me, Sgt. Bilko, The Opposite Sex, Congratulations and Clockwatchers. Her television credits include This Is Us, The Ranch, That 70’s Show, Better With You, NCIS: Los Angeles, Elementary, Seinfeld and Friends.
BEKAH BRUNSTETTER (Playwright) Bekah’s plays include The Cake (Echo Theater Company, La Jolla Playhouse, Ojai Playwrights Conference, Alley Theatre, Barrington Stage Company, upcoming at Manhattan Theatre Club in 2019), Going to a Place where you Already Are (South Coast Repertory), The Oregon Trail (Portland Center Stage, O’Neill Playwrights Conference, Flying V Theatre), Cutie and Bear (Roundabout Theatre Company commission), A Long and Happy life (Naked Angels commission), Be A Good Little Widow (Ars Nova, Collaboraction, The Old Globe), Oohrah! (Atlantic Theater Company,
Steppenwolf Theatre Garage Rep, the Finborough Theater/ London), Nothing is the End of the World (except for the end of the world) (Waterwell productions), House of Home (Williamstown Theatre Festival) and Miss Lilly Gets Boned (Ice Factory Festival.) She is an alumnus of the Center Theatre Group Writers Group, Primary Stages writers group, Ars Nova Play Group, The Playwright’s Realm and the Women’s Project Lab. She is also a founding member of The Kilroys, an advocacy group dedicated to achieving gender parity in the theater. She has previously written for MTV (Underemployed), ABC Family’s Switched at Birth and Starz’s American Gods. She is currently a supervising producer on NBC’s This is Us. B.A. UNC Chapel Hill; M.F.A. in Dramatic Writing from the New School for Drama.
JENNIFER CHAMBERS (Director) Jennifer has directed the world premieres of The Cake by Bekah Brunstetter, Sheila Callaghan’s Bed and Jessica Goldberg’s Better for the Echo Theater Company, where she was Associate Artistic Director as well as being Artistic Director of The Echo Writers Lab. Other credits include The Cake at Barrington Stage Company, Continuity by Bess Wohl for South Coast RepertoGEFFEN PLAYHOUSE 9
PRODUCTION BIOGRAPHIES ry’s NewSCRIPTS series, I Get Restless by Caroline McGraw for South Coast Repertory’s Pacific Playwrights Festival, Princess Diana in Auschwitz by Deborah Stein at CalArts, Daryl Watson’s Unbound at IAMA Theatre Company, the world premiere of Stephen Belber’s The Muscles in Our Toes, The Pain and The Itch by Bruce Norris, Playdates by Sam Wolfson and the world premiere of Complete by Andrea Kuchlewska. She assisted Jonathan Moscone on Shaw’s Man and Superman (California Shakespeare Theater) and Liz Diamond on Crooked by Catherine Trieschman at The Women’s Project Theater. Northwestern University. PETE HICKOK (Scenic Designer) Pete Hickok is a scenic designer, production designer and artist based out of Los Angeles. His most recent scenic design projects include Die, Mommie, Die! at the Kirk Douglas Theatre, Freud’s Last Session at the Odyssey Theater, Priscilla Queen of the Desert at Celebration Theater and Crimes of the Heart at the International City Theater in Long Beach. He was also recently production designer for “Medicare Mermaids,” among his other ventures curating and exhibiting in the contemporary art world. He was nominated for a 2016 Ovation Award for his design of Rio Hondo at the Theater of Note. He holds an M.F.A. and P.B. from the San Francisco Art Institute and a B.F.A. from Lewis & Clark College. ELIZABETH CAITLIN WARD (Costume Designer) Caitlin is thrilled to return to the Geffen Playhouse, having 10 PLAYBILL
previously designed costumes for Actually, Ironbound and Our Very Own Carlin McCullough. Ms. Ward’s work has been featured at: Beijing Music Festival; London’s West End; English National Opera; 2008 Beijing Olympic Games – Opening Ceremonies for Eiko Ishioka; Cirque de Soleil; Royal Shakespeare Company, UK; Ferrari Museum, Abu Dhabi; Handel & Haydn Society; Lithuanian National Opera and The European Capital of Culture Festival, 2009; Carnegie Hall; Lincoln Center Festival; Guggenheim Museum; Public Theater; Brooklyn Academy of Music; New York City Opera; London International Film Festival; Sundance Film Festival; PBS – Great Performances; United Nations International School; Seattle Opera; SITI Company; Signature Theatre; Guthrie Theater; Pioneer Theater; Emerson Majestic; Intiman Theater; the New York Chocolate Show; various public art performance projects in Edinburgh, Scotland and Paris, France. PABLO SANTIAGO (Lighting Designer) Pablo is the winner of the Richard Sherwood Award 2017 and Stage Raw Award 2015. He was nominated for Stage Raw 2018, Ovation Awards in 2018 and 2014, and the LA Weekly Award 2014. His work has been seen at Arena Stage in D.C., Paramount Theater in Boston, Skirball Center in New York, Soundbox, REDCAT, Su Teatro in Denver, Getty Museum, South Coast Repertory. Recent highlights include: Proving Up and The Wreck (ONE festival/Opera Omaha), The Threepenny Opera (Boston Lyric Opera), Destiny of Desire (Oregon
Shakespeare Festival, Goodman Theatre), I am My Own Wife (Laguna Playhouse), War of the Worlds opera (Los Angeles Philharmonic, The Industry), Dementia (Los Angeles Theatre Center), Pélleas et Mélisande (CSO), Galileo opera (The Industry), Zoot Suit (Mark Taper Forum), Breaking the Waves opera (OperaPhila), Flight (Opera Omaha), Good Grief and Citizen (Kirk Douglas Theatre). Upcoming projects include: Schoenberg In Hollywood (Boston Lyric Opera), Prism (L.A. Opera), Place (Brooklyn Academy of Music), Ne Quittez Pas: A Reimagined La Voix Humaine (OperaPhila), Pagliacci (Opera Omaha), Valley of The Heart (Mark Taper Forum), Mother Road and Macbeth (Oregon Shakespeare Festival). JEFF GARDNER (Sound Designer) Jeff is an actor and Ovation Award-winning sound designer born and raised in Los Angeles. Jeff has designed and performed throughout the country including the Kirk Douglas Theatre, Wallis Annenberg Center, Pasadena Playhouse, A Noise Within, Theatre @ Boston Court, Circle X Theatre, Rogue Machine Theatre, Skylight Theatre, IAMA Theatre, Odyssey Theatre, The Colony Theatre, The Kennedy Center, Shakespeare Theatre Company, Williamstown Theatre Festival and is a member of The Antaeus Company in Glendale. Jeff can be seen at L.A. Theatre Works, where he regularly performs live sound effects and is the resident sound designer for the Westridge School in Pasadena. Online: jeffthomasgardner.net
PRODUCTION BIOGRAPHIES SKYLER GRAY (Dramaturg) Skyler Gray is the Director of New Play Development at Victory Gardens Theater in Chicago, IL. Before joining Victory Gardens, he was the Literary Manager at the Alley Theatre in Houston, TX. Gray has developed new work with the Williamstown Theatre Festival, South Coast Repertory, Alley Theatre, Chance Theater, Rogue Artists Ensemble, UC Irvine, Columbia University, Children’s Musical Theaterworks, WildWind Lab, Echo Theater Company, Artists at Play and Rivendell Theatre Ensemble. He has worked in the literary departments at the Alley Theatre, South Coast Repertory, Williamstown Theatre Festival and William Morris Endeavor in New York City, as well as serving as the Artistic Director of Children’s Musical Theaterworks and The Underground @ CMT in Fresno, CA. Gray holds a B.A. in Theater from the University of California, Irvine with Honors in Directing and Stage Management.
MEG FISTER (Casting Director) Previous casting credits include Vicuña by Jon Robin Baitz, Women Laughing Alone With Salad by Shelia Callaghan (Kirk Douglas Theatre); Father Comes Home From The Wars (Parts 1, 2, and 3) by Suzan-Lori Parks, The Mystery of Love & Sex by Bathsheba Doran, Appropriate by Branden Jacobs-Jenkins and The Price by Arthur Miller (Mark Taper Forum); Collective Rage (Theatre @ Boston Court); Cry It Out by Molly Smith-Metzler, The Cake by Bekah Brunstetter, Blueberry Toast by Mary Laws, One of the Nice Ones by Erik Patterson, Dry Land by Ruby Rae Spiegel and Bed by Sheila Callaghan (Echo Theater Company); The Christians by Lucas Hnath, brownsville song (b side for tray) by Kimber Lee, The Grown Ups by Jordan Harrison and Partners by Dorothy Fortenberry at the Humana Festival of New American Plays, Actors Theatre of Louisville.
NATALIE FIGAREDO (Production Stage Manager) Natalie is incredibly excited to be working at the Geffen Playhouse for the first time! She was the original Production Stage Manager for the World Premiere of The Cake last year at the Echo Theater Company. She has previously worked on productions at South Coast Repertory, Theatre @ Boston Court, Echo Theater Company, Long Beach Playhouse, Macha Theatre, The Old Globe, Garage Theatre, and the Royal Albert Hall. She has a B.A. in Theatre Arts from Cal State Long Beach and trained as a stage manager at the London Academy of Music and Dramatic Art.
ECHO THEATER COMPANY Dedicated to nurturing writers and producing new work, the multiple award-winning Echo Theater Company was anointed “Best Bet for Ballsy Original Plays” by the LA Weekly in its 2014 Best of L.A. issue and was a recipient of a 2016 “Kilroy Cake Drop”—one of only 13 theaters in the country to be surprised by cakes to honor the efforts they are making to produce women and trans writers. Under the leadership of founding artistic director Chris Fields, the Echo has introduced Los Angeles to playwrights such as Sarah Ruhl, David Lindsay-Abaire, and Adam Rapp, among
many others. The company is also recognized for its acting ensemble; in the Los Angeles Times, Charles McNulty wrote, “Echo Theater Company, which has cultivated a community of top-flight actors, would be my go-to place in Los Angeles for symbiotic ensemble acting.” KCRW’s Anthony Byrnes stated, “It’s time to start paying attention to the Echo Theater Company... What’s made these choices pay off is the acting and casting has been superb. The company has made bold choices and backed them up.”
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 GEFFEN PLAYHOUSE 11
PRODUCTION BIOGRAPHIES 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, 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.
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 and Charles Durning) and The Mesmerist (starring Geffen Playhouse alumnus Neil Patrick Harris). Gil’s televi-
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PRODUCTION BIOGRAPHIES sion 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 consult-
PRODUCTION BIOGRAPHIES
ed 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, Regina 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 CAKE Assistant Director Colleen Labella Assistant Costume Designer Jane Liu Assistant Lighting Designer John Garofalo Light Board Operator Julie Cowger Sound Board Operator Mario Gurrola Wardrobe Supervisor Audrey Lastar Wig Designer Trent Pcenicni Properties Artisan Cami Viand Stage Crew Curt Gavin Production Assistant David Robinson Hicks
ADDRESS
ACKNOWLEDGEMENTS Set provided by Sets To Go Lighting Equipment provided by 4Wall Entertainment Lighting Sound Equipment provided by Jon Sound Inc. Production Photographer Chris Whitaker Media Filming Ramon Garcia Artwork Gravillis Inc.
Please visit geffenplayhouse.org for hours, parking and more information.
SPECIAL THANKS
During the run of a show, the window will be open until curtain.
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.
Geffen Playhouse 10886 Le Conte Avenue Los Angeles, CA 90024 Administrative Offices ................. 310.208.6500 Mon – Fri ................................. 10:00 am – 6:00 pm Box Office Phone Line ................. 310.208.5454 Daily ............................................. 7:00 am –6:00 pm Audiences Services ...................... 310.208.2028 Daily .......................................... 12:00 pm – 6:00 pm
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AT THE THEATER LATE SEATING
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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Should you arrive late to the theater or vacate your seat during the performance, please expect to be held in the lobby until an appropriate pause in the action on stage. To minimize disturbance to other patrons, you may be seated in the first available location by the house staff even if it is different from your assigned seat. Be advised that some productions or circumstances may not allow for late or return seating.
NO PHOTOGRAPHY There is no photography or filming of any kind allowed in the theater. Please turn off all electronic devices, including cell phones.
THE PERFECT INGREDIENTS Speaking to Bekah Brunstetter about cake baking and play making
Photo by Alison Yates
By Amy Levinson
AS WE BEGAN REHEARSALS FOR THE ECHO THEATER COMPANY PRODUCTION currently being presented at the Geffen Playhouse, I had the opportunity to sit down with playwright Bekah Brunstetter to discuss the perpetual potency of her play The Cake. Amy Levinson: You mentioned in the first rehearsal that when you wrote the play, you feared that it would be dated very quickly. Why was that, and in what ways have you found that to be untrue? Bekah Brunstetter: It’s not so much that I thought it would be dated quickly—it’s that I actually thought it was already dated at the time. I have struggled with my own parents and their view on same-sex marriage. But
in 2015, I felt like my parents were the only people left in the world who had a problem with this—Obama was president and so much progress was made under his presidency. So I knew that I had to write it because it was something I had to do for myself and for my parents, but I did kind of wonder, would this matter to anyone else? And then of course, since I finished the play, Trump became the nominee and then the president and he brought into the forefront values that were still present during the Obama presidency but were kind of shoved into the closet. So I didn’t set out to write something so relevant—it just became incredibly relevant while I was working on it. AL: The play’s been produced and will continue to be produced a number of times in the coming season. Have you found that audiGEFFEN PLAYHOUSE 15
ences in different places have different reactions to the play, or that somehow it’s gauged differently in different places? BB: Honestly, it’s pretty consistent, which is cool. It’s definitely been in different sizes of theaters. In a smaller theater, the audience feels more like they’re sitting in the bakery, so they get a little more drawn into the quieter, more emotional moments of the play, whereas larger productions tend to hit the comedy of it more. But I’ve found with every production that—or at least, what I can feel when I’m sitting in the audience is—you’ve got people laughing and relieved to be laughing at this kind of story. And people finding themselves moved by it in a way that they didn’t expect to be. That’s probably an arrogant thing to say, like, “my play has been moving people!” [Amy laughs] BB: It makes people emotional because it gives people permission to see a little humanity in this incredibly divisive, upsetting, emotional story. AL: By the way, if you witness an audience being moved, it’s not arrogant to say it! BB: Good. I had a little moment of, like, “what did I just say?” [laughs] AL: You answered this a bit, but can you elaborate on what sparked the idea for the play? It sounds like this came from a very personal exploration, or a personal question that you had with your folks. BB: Yeah, because of them and conversations I had struggled to have with them, I knew I wanted to write a play that humanized conservative values but was also a hopeful look at people being forced by their love for each other to really reckon with each other’s points of view. Then I heard about the cake case [Masterpiece Cakeshop v. Colorado Civil Rights Commission]. I thought it was so per16 PLAYBILL
fect—a perfect place to explore this thing that I wanted to explore because cake is so universal. The real cake case is all men but I started to imagine a woman—it’s a totally different story with women. It started to reveal itself to me pretty quickly once I found the proper setting and story. AL: I hadn’t even thought of that, actually, that the famous case dealt with all men and this deals with women. BB: You have to fictionalize this. I mean, I’m not a docu-dramatist. And I want to be able to write things unlike how they played out in real life. You’ve got to change enough of it that it could be clearly inspired by but not necessarily “based on.” This way, I can make it different without it being factually inaccurate. AL: You also mentioned in rehearsal that you’re still doing rewrites, so I’m wondering what it is that you feel needs to be addressed even after numerous productions. BB: I’m looking at small moments in which the characters in the play can make it clear that they’re living in the current world without the play becoming overtly political. It’s a really fine line but 2018 is really different than 2016. In 2016, the white supremacist rallies and protests hadn’t happened in Charlottesville yet—those are in our world now. AL: Can you give me an example? BB: Sure. Previously, there were lines of Macy’s like, “I can’t believe this kind of hate still exists down here,” which is something that I believe people felt about the South in 2015 or ‘16, but that’s just not really the case anymore. So, I’m looking at little moments like that, and I’m still thinking about and tinkering around with a few of the “fight scenes” to make sure that they’re really human and specific. Those scenes are about something so political, but you don’t want them to turn into HuffPo arti-
cles. I’m so lucky that this production is a remount because we’ve already done so much of the work and I can really spend time on that. Most of the time you get a three and half week rehearsal before tech, and the actors are just figuring out who they are and I’m still figuring out what I’m trying to say with the play. Now, I am really getting down to minutiae, which is a cool place to be with the rewrites.
so expertly brings out those aspects of the character. She’s made a very specific character—there’s nothing familiar to me about her character. She’s even more specific than I could have ever intended her to be, so you can’t dismiss her. In a very positive way, she doesn’t always play what I wrote. She’ll take the words and craft it in a way that even I didn’t expect, which is really cool!
AL: You do something that’s so delicate in this play in granting validity to every point of view. How are you able to maintain this sense of fairness throughout?
AL: Because you’re writing and producing on This Is Us, which must take up an enormous amount of time, how are you balancing television and playwriting right now?
BB: I think it’s kind of who I am as a person, sometimes to a fault. I’m constantly playing devil’s advocate in my head, constantly seeing the other person’s point of view. I think it’s just where I live with my own brain and my own heart. It’s how I created the characters and their dilemmas because I literally don’t know how else to do it.
BB: My husband always reminds me that when you are trying to do many things in your life, for your own sanity, you need to make a hierarchy of those things. That’s how you can decide what gets your attention and what you should be working on. So obviously, This Is Us is my number one priority right now. It’s my main job and it’s a joy to work on. It’s a lot of work but incredibly rewarding and it comes first. Then, whatever time I have left after that is for my playwriting. Hopefully, I fit in life and self-care and all that good stuff, but for me playwriting is self-care. Playwriting is where I release the toxic stuff that has been building up in my head that I haven’t been able to express. It requires some crazy time management and sometimes frantic box-checking—like, “okay, this scene is done!” I’ve pretty much always had a full-time job. Before I was a TV writer, I was working full-time in other fields while also writing on the side, so I’m accustomed to a routine where you go to work, you do your job, you come home, you drink a glass of wine and you do your other job. Playwriting is a pleasure because I’m the only one in charge of it. And being a TV writer has made me love playwriting even more.
AL: Debra Jo Rupp is playing Della for the third time and she’s garnered a lot of attention including winning an Ovation Award. What is it about her performance, do you think, that so perfectly embodies who this character is? BB: She’s a very experienced, very welltrained comedic actor, which means that she knows the humor of the play and she knows how to bring an audience into a joke and craft it to make sharp, hilarious moments. More importantly than that, she’s an incredible dramatic actor. I think a lot of people who know her from That 70’s Show don’t know that about her. She brings a profound vulnerability to the character that is essential. Della is, in a lot of ways, a fragile woman, a woman in pain who is just trying to do her best. Those are the characteristics that hopefully make her universal to a predominantly liberal audience. Debra Jo
To read more about The Cake, 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
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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