Hello, I am Tarell Alvin McCraney, your Artistic Director. It is my honor to welcome you to the world premiere of magician Helder Guimarães’ The Hope Theory. This compelling sleight of hand immigration story is exactly the kind of intimate and unique storytelling I’ve come to cherish at the Geffen. And it is my honor to invite you to witness more.
Our 2024/2025 Season in the Gil Cates Theater begins with Dragon Lady (Part I of The Dragon Cycle) from a multi-hyphenate Broadway star Sara Porkalob. Next, we’ll reimagine classic works by inviting Judy Hegarty Lovett to direct Waiting for Godot starring Conor Lovett and Rainn Wilson; and by partnering with Steppenwolf Theater Company for a co-production of Michael Frayn’s Noises Off. In addition, we’ll introduce two powerful early-career artists to our audiences with a.k. payne’s Furlough’s Paradise, and, in association with Denver Center for the Performing Arts and Alliance Theatre, Jake Brasch’s The Reservoir
in the Audrey Skirball Kenis Theater, my play The Brothers Size will open the doors to our new works lab. The play—written 20 years ago—is based on West African/Caribbean folklore. The practice of taking classic stories and introducing them as live events is the primary focus of our new lab. And in partnership with our neighbors and colleagues at UCLA, we will be inviting trailblazing artists and risk-taking audiences into the Audrey with behind-the-scenes development and public programming all season long.
Special plans for our intimate space in the months to come, but for now please enjoy the magic of The Hope Theory.
Tarell Alvin McCraney Artistic Director
Here
PHOTO BY
JEFF LORCH
GIL CATES, JR.
In early 2020, Helder Guimarães came to us at the Geffen with an idea. He was seeking a way to bring people together to experience live theater in a new and groundbreaking way: all online. His idea would launch the Geffen Stayhouse, an entire season of live, virtual programming unlike anything we’d done before.
That spirit of trailblazing defines so much of what we do. As we continue to forge ahead in this forever-changed time, it feels fitting to welcome Helder back home, in person, to the Audrey Skirball Kenis Theater, along with his incredible director Frank Marshall. Together they continue redefining all that theater can be, including spearheading our first ever Spanish language performances, a project we have embraced with great excitement. The innovation employed both here and during Stayhouse feels befitting of Tarell’s inaugural season as he reimagines the Audrey as a lab for exciting discovery and experimentation.
All this and more is only possible thanks to our vibrant community of supporters. Whether this is your first or your five-hundredth visit to Geffen Playhouse, we are so glad you are here. I invite you to explore all our theater has to offer, new and old, reinvigorated and reinvented. We have a lot to look forward to!
Thank you for joining us on this incredible ride. Enjoy the show!
Gil Cates, Jr. Executive Director / CEO
BOARD OF DIRECTORS
Adi Greenberg CHAIR
Dr. Gene D. Block
Gil Cates, Jr.
Executive Director / CEO
Mary Ann Cloyd Vice Chair
Merle Dandridge
Lauren Shuler Donner
Dr. Brad Edgerton
Bonnie E. Eskenazi
Mark Fleischer
Susan Nahley Fleishman
Brenda Garcia
Patricia L. Glaser
Eric Heer
Carla Malden
Brian Mann
Tiffany Mayberry
Tarell Alvin McCraney
Artistic Director
Mary Osako
Danny Passman
Holly Rice
Linda Bernstein Rubin
Matt Shakman
Richard Sherman
Cynthia P. Stafford
Howard Tenenbaum Chair Emeritus
Miranda Tollman
JaHan Wang
Marc Weinstock
FOUNDING TRUSTEES
Harold A. Brown
Kirsten Combs
Robert A. Daly
David Geffen
Herbert M. Gelfand Chair Emeritus
Quincy Jones
Jeffrey Katzenberg
Glorya Kaufman
Frank G. Mancuso Chair Emeritus
Ron Meyer
Bruce M. Ramer Founding Chair
Victoria Mann Simms
Andy Spahn
Steven Spielberg
Steve Tisch
IN MEMORIAM
Gilbert Cates Founder
Marcia Israel-Curley
Audrey Skirball Kenis
Charles Kenis
Karl Malden
Ginny Mancini
Jerry Moss
Jerry Perenchio
Edie Wasserman
Lew Wasserman
Dr. Charles E. Young
LEGAL COUNSEL
Nikki Kerman Venable LLP
PHOTO BY JEFF LORCH
THE HOPE THEORY
WRITTEN & PERFORMED BY HELDER GUIMARÃES
DIRECTED BY FRANK MARSHALL
SCENIC DESIGNER FRANÇOIS-PIERRE COUTURE
LIGHTING DESIGNER MARTHA CARTER
DRAMATURG AMY LEVINSON
COSTUME DESIGN CONSULTANT AUDREY LASTAR
SOUND DESIGNER JAMES GRABOWSKI
PRODUCTION STAGE MANAGER (THRU 6/30) GABRIELLE J. BRUNO
COMPOSER JEFF BEAL
SPANISH TRANSLATOR JOSE NATERAS
PRODUCTION STAGE MANAGER (AFTER 6/30) & STAGE MANAGER, SPANISH LANGUAGE PERFORMANCES ILIANA SOLORZANO
The Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
OPENING NIGHT THURSDAY, MAY 2, 2024
PRODUCTION SPONSOR
OPENING NIGHT SPONSOR
PLEASE NOTE
There is no photography or filming of any kind allowed during the performance. Please turn off all electronic devices, including cell phones. Thank you!
ACKNOWLEDGEMENTS
PRODUCTION STAFF FOR THE HOPE THEORY
Assistant Scenic Designer
Yi Lin Zhao
Production Assistant
Dani Jaramillo
Lead Scenic Carpenter
Philip Rossi
Stage Supervisor
Greg Mueller
Lighting Programmer
Nicole Jaja
Light Board Operator
Jesus Cambero Elias
Sound Board Operator
Guillermo Cervera
Properties Artisans & Carpenters
Sigourney Chin, Danny Dolan, Bryan Pognant
Carpenters
Chris Bowe, Oliver Brink, Ezra Fisher, David Foubert, Mason Irwin, Shadow LaValley, Chris Martoccia, Greg Mueller, Syd Shoell, Eiden Weissblum
Scenic Painters
Vanessa Lara, Chandish Nester
Dresser
Stephanie Castro
Stitcher
Sarah Lindsley
Electricians
Erica Ammerman, Shannon Barondeau, Ezra Fisher, Justin Kelley-Cahill, Ezra Muthiah, Christiana Saldibar, James Tatsch
Sound Technician
Guillermo Cervera
PRODUCTION ACKNOWLEDGEMENTS
Scenery Built & Painted By Centerline Scenery
Lighting Equipment Provided By Kinetic Lighting
Sound Equipment Provided By Jon Sound Inc., DnB Design, Launch
Spanish Translation Services
R. Aleida Montejo
Production Photographer
Jeff Lorch
Media Filming
Ramon Garcia
Design + Art Direction
Base Design
Photography
Justin Bettman
HELDER GUIMARÃES WOULD LIKE TO THANK:
José Guimarães, Fátima Guimarães, Catarina Marques, Gabriel Marques Guimarães, Dan & Dave Buck, Bruce & Madeline Ramer
SPECIAL THANKS
UCLA School of Theater, Film, and Television Scene, Prop, Sound, and Costume Shops; Diana Medina
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 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 Director is a Member of the Stage Directors and Choreographers Society, a national theatrical labor union.
The scenic, costume, lighting, and sound designers in LORT theaters are represented by United Scenic Artists Local USA-829, IATSE.
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.
HELDER GUIMARÃES (he/him)
Playwright & Performer
A Portuguese-born performer recognized by The New York Times as “a master of illusions,” Helder Guimarães is a World-Champion of Magic, Parlor Magician of the Year, Allan Slaight Sharing Wonder recipient, and Ascanio Prize winner. His unique approach to sleight-of-hand magic and storytelling was featured in his previous creations Nothing to Hide, Borrowed Time, and Verso. Using his knowledge of deception, Guimarães regularly consults for entities like NBC, Disney, and Warner. As an example, he personally trained Sandra Bullock and Cate Blanchett for Ocean’s 8. In 2019, Guimarães debuted Invisible Tango, directed by Frank Marshall, at the Geffen Playhouse. In their review of the production, the Los Angeles Times said, “As a rule, Guimarães is in no rush to clear up mysteries. He cultivates them the way a horticulturalist cultivates flowering vines. But he isn’t out to deceive. Or rather deception is put in the service of enlight-
enment.” In 2020, during the pandemic, Guimarães sold out a 250+ performance run of The Present over six months as part of the Geffen Stayhouse banner. About it, The Washington Post said: “I’m committed now to the belief that Guimarães is an extraterrestrial landed among us to share his superpower to boggle the human mind. And because in an era of rampant transparency, a bit of theatrical mystery restores one’s faith in the essential art of exuberant deception.” In 2022, he created Back to Wonder, an immersive experience that ran for five soldout months. Guimarães resides in Los Angeles.
FRANK MARSHALL Director
Frank Marshall is a director/ producer and has received an Emmy, Grammy, Oscar, and Tony (EGOT). With a film producing career marked by five Academy Award nominations and classic series like Indiana Jones, Jason Bourne, and Jurassic World, Marshall is also an accomplished director, having helmed Arachnophobia, Alive, Eight Below, and several
documentaries, including the award-winning HBO documentary, The Bee Gees: How Can You Mend a Broken Heart. An amateur magician since he was ten, The Hope Theory is his fourth collaboration with Helder Guimarães. His current projects include directing The Beach Boys, a documentary for Disney+, and producing the new Broadway musical, Water for Elephants, and the upcoming summer movie, Twisters.
FRANÇOIS-PIERRE COUTURE
(he/him)
Scenic Designer
Originally from Montreal, François-Pierre Couture has had the privilege of working in Los Angeles and the United States for the last decade as a scenic, lighting, and projection designer and is currently design faculty at East Los Angeles College. His previous work at the Geffen Playhouse includes A Picasso, Invisible Tango, The Present, and The Future. Some of his professional design credits also include scenery for Sweeney Todd and Metamorphoses (A Noise Within); scenery and lighting for Romeo & Juliet (LA Dance Project); scenery for Jackie Unveiled (The Wallis); scenery for A Mexican Trilogy: An American History (Los Angeles Theatre Center); scenery for Médée and Teseo (Chicago Opera Theatre). He has received multiple Ova-
tion, LADCC, LA Weekly awards and nominations, and the Hilton Worldwide Award for outstanding Scenic Design at KCACTF 2014. For more information www.fpcouture.com.
AUDREY LASTAR
Costume Design Consultant
Audrey Lastar, a costume creative, hails from San Diego and is currently head of costumes at the Geffen Playhouse. She has been a member of the Geffen for six years and has worked on several shows including Mindplay, Mysterious Circumstances, and Skintight, to name a few. Previously she was head of wardrobe for national tours including Cabaret and Finding Neverland. Other credits around the country include time at Arizona Broadway Theater (AZ), Arizona Theatre Company (AZ), Atlas Performing Arts Center (DC), Adventure Theatre MTC (MD), Imagination Stage (MD), and many others. She is thrilled to be part of this team and is thankful for her crew and her dog Lady for all her love and support.
MARTHA CARTER (she/her)
Lighting Designer
Martha, a Los Angeles-based lighting designer, obtained her M.F.A. in Design from the University of California at Irvine and is the Head of Design and Assistant Professor at California State
University, Long Beach. She extends her creative reach nationally and internationally, with her portfolio spanning diverse performances—opera, dance, theater, and live events—fostering positive community impact through collaborative ventures. Notably, Martha assumes principal design roles with Re:borN Dance Interactive and Kairos Dance Company, alongside regular collaborations with the Long Beach Ballet. Recent highlights include premieres at prestigious venues like The Public Theatre’s Under the Radar Festival and the Edinburgh Festival Fringe. Other recent works include She Loves Me, Candide, and A Little Night Music at Madison Opera; Cindy & the Disco Ball at Garry Marshall Theatre; Voyager One at Perseverance Theatre; and Mamma Mia! at Teatro Anayansi in Panama City, Panama. www.marthacarterdesigns.com
JAMES GRABOWSKI
(he/him)
Sound Designer
James Grabowski is thrilled to be Sound Designer for The Hope Theory. He joined the Geffen family in 1999 as the House Sound Supervisor He fell in love with the Geffen—not only for the Geffen’s artistic dedication to creating and producing original works, but also for the many community outreach programs supported by the theater, such
as the educational High School Partnership Program and Veteran’s Writing and Performance Workshop programs. James is proud to have been involved with every concert and every stage and Stayhouse production the Geffen has mounted for the past 24 years. He is honored to have worked with world-class designers, directors, actors, stagehands, technicians, singers, musicians, and magicians—as well as the Geffen’s amazing staff. He is appreciative for such a gratifying career, but is most thankful for you, our patrons, for supporting this incredible theater.
JEFF BEAL Composer
Five-time Emmy–winner Jeff Beal’s improvisatory method, sense of timing, and sophistication have made him a favorite of directors including Ed Harris (Pollock and Appaloosa), David Fincher (House of Cards), and Oliver Stone (JFK Revisited: Through the Looking Glass, The Putin Interviews). He most recently collaborated with director Frank Marshall on the documentary Rather and dramatic scores for HBO’s Rome, Carnivàle, The Newsroom, USA’s Monk, Netflix’s House of Cards, Apple TV+’s Raymond & Ray have shown him to be one of the most distinctive and recognizable composers working today. In addition to his distinguished scoring career,
Beal is a prolific composer of concert music. Recent commissioned works include “The Paper Lined Shack” for Leonard Slatkin, the St. Louis Symphony Orchestra and soprano Hila Plitmann, “Sunrise” (a contemporary score for F.W. Munrau’s silent film) for the Los Angeles Master Chorale, and a new concerto composed for violinist Kelly Hall-Tompkins premiered by St. Louis Symphony conducted by Leonard Slatkin.
AMY LEVINSON (she/her) Dramaturg
During her tenure at the Geffen, Amy has spearheaded numerous programs for commissioning and developing new plays and has shepherded more than 150 plays into production. Dramaturgy credits include the commissions and world premieres of Donald Margulies’ Time Stands Still and Coney Island Christmas, Jane Anderson’s The Quality of Life and The Escort, Amanda Peet’s Our Very Own Carlin McCullough, and Michael Mitnick’s Mysterious Circumstances. Other world premieres include Black Cypress Bayou, Revenge Song, Actually, Invisible Tango, Extraordinary Chambers, Black Super Hero Magic Mama, Build, Joan Rivers: A Work in Progress by a Life in Progress, and Geffen Stayhouse virtual shows including Helder Guimarães’ The Present and The
Future. She holds an M.F.A. in Dramaturgy from the University of Massachusetts, Amherst.
JOSE NATERAS (he/him) Spanish Translator
Jose Nateras is an LA based actor, writer, and filmmaker from Chicago. A graduate of Loyola University Chicago, Jose has his M.F.A. in Writing from the School of the Art Institute of Chicago (SAIC), and is currently a Ph.D. student in Theater and Performance Studies at UCLA.
A screenwriter, playwright, and freelance journalist, Jose’s debut novel Testament was published by NineStar Press. One of his feature-length screenplays, Zero Feet Away, was included on 2021’s BloodList and is in development with Village Roadshow Pictures/Brillstein Entertainment Partners while another, Departing Seniors, made its world premiere at Frightfest UK before premiering domestically at the Chicago International Film Festival and is now available via VOD. He can be found on Instagram: @JLorca13
GABRIELLE
J.
BRUNO
(she/her) Production Stage Manager (Thru 6/30)
Gabrielle J. Bruno is so very excited to be working with Helder and all the amazing artists of The Hope Theory! A proud graduate of California State University, Northridge. Previous
Geffen credits include Production Stage Manager for Black Cypress Bayou, Assistant Stage Manager for Ava: The Secret Conversations, and Production Assistant for Mindplay. Additional stage management credits: A Raisin in the Sun at South Coast Repertory; Rosencrantz and Guildenstern Are Dead, A Raisin in the Sun, Mrs. Warren’s Profession, A Christmas Carol, and Man of La Mancha at A Noise Within; Native Gardens at Coachella Valley Repertory; Seven Loves at the Getty Villa; the 2023 Cycle of Poverty reading series presented by Lower Depth Theatre. Additional theatre experience as the Production Manager of the Griffith Park Free Shakespeare Festival from 2021-2023 presented by Independent Shakespeare Co. When she is not stage managing, she is the Stage Supervisor of the Audrey Skirball Kenis Theater at the Geffen Playhouse.
ILIANA SOLORZANO (she/her)
Production Stage Manager (After 6/30) & Stage Manager, Spanish Language Performances
Iliana is incredibly excited to work with the Geffen Playhouse for the first time. After graduating from California State University, Fullerton, she has stage managed for various theatres such as Latino Theatre Co., South Coast Repertory, and The Wayward Artist. Her current endeavors lie
in theatre education, where she runs the middle school theatre program for her school district. She is thrilled to be teaching and inspiring the next generation of theatre artists while also continuing to further her own personal professional growth.
ALVIN M c CRANEY (he/him) Artistic Director
Tarell Alvin McCraney is Artistic Director of Geffen Playhouse. In this role, he is responsible for identifying, developing, and programming new works and re-envisioned classics. He sets the strategic artistic course for the Geffen’s Gil Cates and Audrey Skirball Kenis Theaters. McCraney is an award-winning writer, producer, and educator, best known for his acclaimed trilogy, The Brother/Sister Plays. His script In Moonlight Black Boys Look Blue is the basis for the Oscar–winning film Moonlight directed by Barry Jenkins, for which McCraney and Jenkins also won a Best Adapted Screenplay Oscar. He is an ensemble member at Steppenwolf Theatre and a member of Teo Castellanos D-Projects in
Miami, a graduate of New World School of the Arts, The Theatre School at DePaul University, and the David Geffen School of Drama at Yale. He received an honorary doctorate from the University of Warwick. He was recently Co-Chair of Playwriting at the David Geffen School of Drama, where he remains on faculty. He is an associate at the Royal Shakespeare Company, London, and a member of the Academy of Motion Picture Arts and Sciences (Writers Branch).
GIL CATES, JR. Executive Director / CEO
Gil Cates, Jr. is Executive Director / CEO of Geffen Playhouse. In this role, he is responsible for managing the Geffen’s dayto-day operations; developing new, ongoing theater partnerships and leading its mission to inform, entertain and inspire diverse audiences with live theater of the highest caliber.
Prior to being named Executive Director in 2015, Cates served as Geffen Playhouse Board Vice Chairman since 2012 and served as a producer and director in theater, film and television. His theater credits
include the award-winning Names (Matrix Theatre Company) and Three Sisters and David Mamet’s A Life in the Theatre (both at Syracuse Stage). Cates’ 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 and Ann-Margret). In addition, Cates co-produced and co-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 Jessica Capshaw and Geffen Playhouse alumnus Neil Patrick Harris). Cates’ television directorial debut was an episode of the NBC comedy Joey, starring Emmy winner Matt LeBlanc. He recently directed Displaced, a documentary short chronicling the journey of one of the first refugee families to flee Ukraine and arrive in the U.S. after escaping the Russian invasion. He studied at the National Theatre Institute in Waterford, Connecticut, and holds a B.F.A. in Drama from Syracuse University.
TARELL
GEFFEN AT A GLANCE
CONTACT
Geffen Playhouse
10886 Le Conte Avenue Los Angeles, CA 90024
ADMINISTRATIVE OFFICES
310.208.6500
Monday – Friday, 10:00am – 6:00pm
AUDIENCE SERVICES
310.208.2028
Tuesday – Sunday, 12:00pm – 6:00pm Please visit geffenplayhouse.org for hours, parking and more information.
BOX OFFICE WINDOW
Tuesday – Sunday, 12:00pm – 6:00pm, as well as on performance days up until 15 minutes after curtain.
Please note: the box office window is unable to process exchanges or future sales one hour prior to curtain time on performance days.
ACCESSIBILITY
Geffen Playhouse is fully committed to providing access to patrons with mobility, visual and hearing impairments. Parking spaces directly outside the theater are zoned for drop off and pick up, as well as disabled parking spots for patrons with appropriate placards and plates. For more information, visit geffenplayhouse.org/access or call Audience Services.
LATE SEATING
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. Some productions or circumstances may not allow for late or return seating. To minimize disturbances 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.
NO PHOTOGRAPHY
There is no photography or filming of any kind allowed during the performance. Please turn off all electronic devices, including cell phones.
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 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.
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:
LUIS ALFARO
JONATHAN CAREN
COLMAN DOMINGO
MICHAEL GOLAMCO
MEGHAN KENNEDY
MATTHEW LÓPEZ
MARTYNA MAJOK
QUI NGUYEN
STACY OSEI-KUFFOUR
JIEHAE PARK
JOHN POLLONO
ROBERT SCHENKKAN
JEN SILVERMAN
DAVID WIENER
CRAIG WRIGHT
LAUREN YEE
For more information on this program, please visit geffenplayhouse.org/newplays.
THE WRITERS’ ROOM
A group for Los Angeles-based playwrights, The Writers’ Room is a product of the Geffen’s deep commitment to supporting new plays and specifically to fostering bold, relevant work by the vibrant artistic community of this city. During this one-year residency, playwright members gather monthly at the Geffen to share their work and receive feedback from their peers and the Geffen’s artistic staff, culminating in a play reading series.
We are proud to have the following artists in the 2023/2024 Writers’ Room:
ASHLEY AUGUST
JENNIFER CHANG & INARA GEORGE
PARIS CRAYTON III
CHRISTINA HAM
PALOMA NOZICKA
ALEXIS ROBLAN
The Writers’ Room is made possible through the generous support of the William Randolph Hearst Foundation and Jerry & Terri Kohl.
For more information on this program, please visit geffenplayhouse.org/thewritersroom.
DO WHAT YOU LOVE , LOVE WHAT YOU DO
AN INTERVIEW WITH HELDER GUIMARÃES & FRANK MARSHALL
BY AMY LEVINSON, ASSOCIATE ARTISTIC DIRECTOR & DRAMATURG FOR THE HOPE THEORY
AMY LEVINSON: You have worked together on many shows, including Invisible Tango, The Present, and The Future. Can you speak a bit about where your process begins?
FRANK MARSHALL: My process begins when Helder tells me the story he wants to tell. I wait for him to put it into words and then help him shape it into a show. It’s a really interesting process, because I often don’t know what magic he is building in; it’s often built along with the story. It motivates me to think visually in terms of how we’re going to tell the story. We start with the words, which are often very poetic, one of the many things I love about his storytelling, and we craft the story. He blends these two worlds: the world of magic that I’ve known and loved since around the age of ten and the world I really live in, which is storytelling. It’s so much more than just a magic show.
HELDER GUIMARÃES: I don’t think I could pinpoint where I start a new project or a new show. I think it’s an accumulation of different things in my life. These stories usually come from a personal place, so it’s often an episode or memory that I remember and want to write about. Sometimes that takes a week and sometimes much longer. But this doesn’t always lead to a complete show; sometimes it’s just a collection of memories and ideas. When I understand there is a story to be told, things start to merge, and then the magic becomes part of the larger story.
FM: Helder will just come in with the right magic piece—and usually it’s something I haven’t ever seen, which is the amazing part. [The magic] is really integrated into the storytelling.
HG: With this show, I wanted to talk about my experiences as an immigrant, but at that point I didn’t have a single piece of magic for
PHOTO BY JEFF LORCH
Frank Marshall & Helder Guimarães on the set of 2019’s Invisible Tango
the show. But I’m never thinking about what I need in terms of magic. I’m thinking about how I want to tell a good story and then how I want to integrate really cool magic into that story. I want the magic to enhance the story and be connected to it, as well. We recently realized the top of the show wasn’t quite right. I had already built the magic moment for the beginning, but I’m always willing to change what I’ve built if it’s not working with the story.
AL: And what contributes to this being such a fruitful working relationship?
HG: Frank is an amazing storyteller. He brings his perspective to what I’ve written and sees things in the script that I haven’t seen yet. He always has an insight that is just spot on. He taught me, and often reminds me, that we have to have clarity for someone who has never heard this story and doesn’t know where it’s going. They will only have one opportunity to hear the story we’re telling. When you write it, you know what you want to say, but it’s very different than someone hearing it for the first time, right? Also, Frank never tries to push the magic to a secondary place or alter the magic in any given place. I love the fact that he trusts me a hundred percent on that. When I put a magic piece in front of him, of course there are adjustments. We just work together on every part of it, rather than either one of us controlling the process. Magic is so sensitive. And especially for me, it’s such an expression of who I am, so it’s hard when someone wants to change everything. I’m really grateful for how Frank works. I feel so well-protected. He really helps me and guides the work, and I feel I still have a lot to learn from him about storytelling.
AL: Frank, as you have worked on many giant films, what is different for you when you are in a setting as intimate as this one? Does it alter your approach?
FM: I don’t know if I have an approach. I mean, I am constantly learning. What I love about [working on plays and musicals] is it’s live, it’s happening. I can have an impact on something right then and there and it can change. And then
I can say, Oh, okay, that’s working now. Or, no, that was a bad idea. Whereas in my day job, it’s maybe months before [you know] if something works. And it’s a whole lot of other people.
HG: I remember you telling me that when we first worked on Invisible Tango, like, this is so great because I can change things on the day of, and you can see it onstage that same night.
FM: And we do have a really good time doing this. If you hate it, what’s the point? I don’t understand creative processes that are awful. Of course, there are always hurdles and problems to solve, but you learn to adapt. You can always scale back, or scale up, figure out what a project needs, and pivot. I don’t understand treating this like it’s the end of the world.
HG: I love what Frank is saying. You do something in one performance and learn that it doesn’t work, so you change it up and do it differently the next day. You ask questions like: How can I make that line work? And then for the next show, you change the intonation. Theater really gives you the opportunity to do it and I love that.
FM: Exactly. I don’t understand all the suffering people do. Thinking about changes, sure. Wanting to make it better, absolutely. There are so many people who have a terrible time making movies, and I just don’t get it. We work long hours, and sure we have creative conflicts, but it should be fun. Same is true for theater.
HG: And we do have quite a bit of fun. It doesn’t mean it’s not serious work; it can be deeply personal and challenging. But that doesn’t mean it shouldn’t be fun. It makes the work and the hours so much easier when you are having a good time doing it. In fact, you want to put in more time and more effort when there’s joy in the work. And don’t get me wrong, it’s like Frank said, there are hurdles and creative conversations, but we often make our best discoveries when things go wrong. At the end of the day, we love what we do.
To read more about The Hope Theory, visit geffenplayhouse.org/blog.
PHOTO BY ERIK CARTER
THEATER IN EDUCATION HAS THE POWER TO IGNITE CHANGE
Geffen Playhouse is deeply committed to creating powerful and impactful arts education and engagement experiences that amplify, inspire, and encompass our diverse Los Angeles community. Our programs provide unique, in-depth access to theater and the arts for determined and ambitious youth and adults coming from historically excluded communities.
We invite all Angelenos to come home here. When you support our education and community engagement programs, you create a world of greater understanding, increased expression, and deeper compassion while enjoying your home away from home at this historic playhouse.
BY
PHOTO
JEFF LORCH
ANNUAL DONORS
Geffen Playhouse recognizes the following individuals and organizations for their generous support of our Annual Fund. Donors are listed at the Partner’s Circle level and higher for gifts made between February 1, 2023 and March 31, 2024. A full listing of our supporters can be found at geffenplayhouse.org/thankyou.
In appreciation, Annual Fund donors enjoy a host of special benefits including house seats, complimentary drinks, receptions, and much more.
For more information, please call Tracy Reich at 310.208.6500 ext. 113.
PREMIERE CIRCLE
$100,000+
Anonymous
The Ahmanson Foundation
Jana & Trevor Bezdek
California Arts Council
City National Bank
Edgerton Foundation
Louise & Dr. Brad† Edgerton
The Adi† and Jerry Greenberg Foundation
William Randolph Hearst Foundation
Marilyn and Jeffrey Katzenberg
Fund for Arts Education at the Geffen Playhouse
Jerry & Terri Kohl
Linda Bernstein Rubin† & Tony Rubin
Shubert Foundation
The Simms/Mann Family Foundation^
Kate Capshaw Spielberg & Steven Spielberg^
Jodi & Howard† Tenenbaum
Miranda† & Brett Tollman
UCLA
UCLA Health
INNOVATOR CIRCLE
$50,000 – $99,999
Patricia Glaser† & Sam Mudie
John McCrite & Juan Lopez
Kenneth T. and Eileen L. Norris Foundation
Madeline & Bruce^ Ramer
Holly Rice† & Vince Gilligan
PRODUCER’S CIRCLE
$25,000 – $49,999
Anonymous
Cast Iron Entertainment
City of Los Angeles Department of Cultural Affairs
The Walt Disney Company
Dwight Stuart Youth Fund
Eric Flamholtz & Yvonne Randle
Carol & Paul Frimmer
The Rosalinde and Arthur Gilbert Foundation
Cindy & Alan Horn
Stanley Iezman & Nancy Stark
Marcia Israel-Curley Foundation^
Mid-America Arts Alliance in Partnership with the National Endowment for the Arts
Los Angeles County Arts Commission
Carol & Bill Ouchi
Richard† & Barbara Sherman
Allen Blue & Kira Snyder
State of California, Gov.’s Office of Business & Economic Development
Judith & Bruce Stern
Shel & Cynthia Stone
PLAYWRIGHTS’S CIRCLE
$10,000 – $24,999
Anonymous
Eva Aaronson—
In Memory of Bucky Hazan
Pat & Sandy Adams
Capital Group
Mary Ann Cloyd†
Lauren Shuler Donner†
Fielding Edlow & Larry Clarke
Dr. & Mrs. Paul Eisenberg
Robyn Field & Anthony O’Carroll
Susan & Mark† Fleischer
Sue & Steve Glusker
Marcy Gross
Alexander & Katie & Grey Grosvenor
In Memory of Morris A. Hazan
Samantha & Eric† Heer
Julie & David Kavner
Carla Malden† & Norman Beil
Elena & Drew Zager
Soundis & Danny† Passman
Thomas L. Safran
Marcia & Robert Shuwarger
Charles H. & Carol ‘Jackie’ Schwartz
The Harold and Mimi Steinberg Charitable Trust
Deborah Tavlin
Joanne & Ken Weinman
Aurora & Marc† Weinstock
Yolla Kairouz
Ken Willner & Jim Stine
Karen & Rick Wolfen
CREATOR’S CIRCLE
$5,000 – $9,999
Laura & Harvey Alpert
Dr. Joan Denson & Dr. Victoria Berck
Shelly & Libby Bergen
Mrs. Carol K. Block & Chancellor Gene D. Block†
Katherine Brown & Rene Mendoza
Jay Butterfield & Susan Ewert
Glenn & Lynn Cardoso
Marissa Caudill & David Merrill
Steven Cerasale & Mary Katherine Cocharo
Ginger Conrad
Ellyce R. Cooper & Barry Cohen / Sidley Austin LLP
In Loving Memory of Ed Cypert
Marisa Davis
Mary Jo & Caleb Deschanel
Anne Dougherty & David Dobrikin
Barbara & Ed Dreyfus
In Honor of Virginia Field
Lynn T. Franklin
Sonia & Robert Freedman and Family
Bob & Diana Friedman
G2 Graphic Service, Inc.
Fariba Ghaffari
Waterman and Glicksteen Families
The Goldenberg Family
Jill Grey
Richard Rasiej & Joan Herman
Hobson/Lucas Family Foundation
Stephen Sass & Steven Hochstadt
David & Martha Kadue
Mannon Kaplan
Norman Koplof & Leslie Falick
Sandra Krause & William Fitzgerald
Karen & Walter Loewenstern
Tania Lotia & Tamar Tokat
Marcia E. Williams & Gene Lucero
Dr. Jennifer Lucero
Renee & Meyer Luskin
Mara W. Breech Foundation
Cara Gardenswartz & David Melnick
Bradley & Lisa Mindlin— In Memory of Sandra Tenenbaum
Dan & Margie Mintz
Rio & Frank Morse
Benedicta & Geoffry Oblath
Cheryl Petersen & Roger Lustberg
Reed Wayne Pigman Jr. & Pamela Pigman
Carolyn A. Poer & John M. Poer
Judith Reichman M.D.
Susan Rogers
Nancy & Ted Sanborn
Amy & Andy Schwartz
Steve & Paula Mae Schwartz
John Shustitzky & Christine Chakoian
Leigh Silverton
Jerome & Joan Snyder
SPARK Theatrical
Gerry Szeman & David Pavot
Anne C. Taubman
William & Karen Timberlake
Johnese Spisso, MPA
Kathryn & Alan Van Vliet
Julie & Peter Weil
Alison Whalen & Steve Marenberg
Susan & Dan White
Lisa Yen & Tom Bajoras
DIRECTOR’S CIRCLE
$2,500 – $4,999
Aversa Foundation
Madelyn Bennett & Eric Gibson
VJ Boyd
Diana Buckhantz and the Vladimir and Araxia Buckhantz Foundation
Cindy Clark
Joanne Cohen
Linda & John Coleman
Tim Curtis & Shandon Youngclaus
Jacki & Murray Drechsler
Kathryn Falberg & Monique Predovich
Dennis & Jackie Fox
Zvia Hempling
Barbara Herman
Rand Hoffman & Charlotte Robinson
Lenny & David Kelton
Stephanie Kramer
Alice Greene McKinney and E. Kirk McKinney, Jr. Fund
Cookie Miller
Thaine & Elizabeth Morris
Carol Risher
David A. & Karen Richards Sachs
Leonard Sharzer
Snyder Family Foundation
Gelena & Seth Weissman
Leslie White & Al Limon
DESIGNER’S
CIRCLE
$1,000 – $2,499
Anonymous
Miriam Aguiar
Jan & David Altemus
Patti Amstutz
Bonnie & Bill Apfelbaum
Margaret Campbell Arvey
Karen Bell & Robb Cox
Westmount Asset Management
Artie & Ellie Berrick
John Bjorge & Mary McKelvey
Susan Bloch-Kay & Stephen Kay
Paula Brand
Dr. Adrienne Brandriss
Chancellor Albert Carnesale & Mrs. Robin Carnesale
Dr. Fanya Carter, Ph.D.
Peter & Heidi Cartmell
Shelby & Lee Chaden
Martha J. Chase
Stephen Cook
Brock Dewey
Dr. & Mrs. William M. Duxler
Colleen M. Ellis
Terri & David Elston
Carl & Courtenay Enright
Lynne & Michael Feldman
Su Jin Feuer
Dr. Kimberly Finney
Joan & Charles Fox
Anita Dann Friedman & Harvey Friedman
Kenneth J. Friedman & Marilynn J. Friedman Family Foundation
Catherine Froloff
Charlotte Gold
Lorain Goldberg
Ellie Goodman
Barry Gribble
Jill Grigsby & Rett Bull
Penny Grosz & Eugene Korney
Mary Hartley
Jackson Henry
Jack Hileman & Roxanne Huddleston
Jean Himmelstein
Dr. John D. Hofbauer & Dr. Laura E. Fox
Lynn Hunt & Margaret Jacob
Freya & Mark Ivener
Nancy & Len Jacoby
Linda & David Kagel
Sally & Dr. Manny J. Karbelnig
Beverlee Bickmore & James Kelly
King Nutronics Corporation
Ann & Jonathan Kirsch
Wendy Kirshner
Katherine Kleindienst & Marc Goldsmith
Dr. Leonard & Stella S. Kleinrock
Trice Koopman & Mark Freund
Lena & Mark Labowe
Hillary & Lance Milken
Carl Levinger
Linwei Li
Judith Locke
The Malins Family Foundation
Michael N. Marks
David Israeli & Dr. Marie Mazzone
Sheryl McDonald & Denny Howard
S. McQueen & D. Whalen
Ali Meghdadi
In Memory of Jane Hall
Norma & Larry Meyers
Hillary & Lance Milken
Joan & Phil Miller
Andrew & Laura Mintzer
Thomas W. Mitchell
Mark & Diane Neubauer
Ornest Family Foundation
Ralph Page
Philip & Leslie Paton
Patrick Summers
Jacalyn & Paul Pepperman
In Honor of Frank & Betty Fouce
Phil & Agnes Peters
Ruth Popkin
Clark & Kathryn Porter
Joyce & Harvey Reichard
Dolores Rogers
Allison & Bennett Rosenthal
Oren Rosenthal
Susan Schwarz
Sylvan & Sandra Seidenman
Rita & Jose Sigal
Ron Silverman & Soraya Ross
Mitch & Sherry Stein
Eric Strom & Eileen Goodis
Melora Sundt & Rob Kadota
Audri & Stan Tendler
Ricardo Torres and Nat Damon
Catherine & Leonard Unger
Theodore H. Sweetser & Jane L. Valentine
Daniel & Shauna Valenzuela
Marcia & Charles Wasserman Ph.D
Deborah & Glenn Weinberg
Cherie Wrigley
Richard Yaffe
Arnold & Tricia Zane
Ellen & Arnold Zetcher
PARTNER’S CIRCLE
$500 – $999
Anonymous (3)
Toshka & Norman Abrams
Carol Ahmanson
Robert C. Anderson
Greg Angstreich
Eloise & Mark Appel
John B. Balen
Larry & Julie Blivas— In Honor of Phyllis Blivas
Susan & Michael Bordy
Howard Brightman
Janet & Mark Brown
Diane Burbie
Mike Clements
Pam Coats
Muriel Dance & Alvin Martin
Hedva & Dr. Dudley Danoff
Susan Dashe
Bert Deixler
Kristin Diehl
Jan & Thea Drayer
Jeff Eckerle & Marilyn Osborn
Elizabeth A. Evans
Burt & Nanette Forester
Carol & John Fox
Elaine & Larry Friedman
Lynn & Barry Friesen
Dorit Goldstein
Howard Gradet
Eve Haberfield & David N. Johnson
Michael & Candie Herman
Hella Hershson
James G. Hirsch
Robin & Edgar Hirst
Paul Gordon Hoffman & Sue Caren Hoffman
Drs. Sharon & Lou Ignarro
Dr. Vito Imbasciani
Robert & Gail Israel
Victoria Jackson & Bill Guthy
Linda Kaplan
Sharon Kerson
Cynthia A. King
Dr. Phyllis H. Klein
Leana Kleinman & Jerald Johnson
Patricia Klous
Delores Komar & Susan Wolford
Deborah Lacusta & Daniel Castellaneta
Christo & Jeanne Lavagnino
Rhonda K. Lawrence
Rena & Craig Leeds
Lydia & Chuck Levy
Wendie Malick
Eric & Eva Plaza Mandel
Mark Mandel
Douglas McAvoy, Jr.
Kathy & Jim McCaffery
Erin McKenzie
Cynthia Melville
In Memory of Janet Birnkrant
Bonnie Nash
Lorna Osunsanmi
Carol F. Phillips
Gloria & Michael Rausch
Faye Ray
Julie Rogers
Valerie & Bennett Roth
Maxine Savitz
Lorin Schiff
Joel & Sonia Schneider
Nancy & Steven Schneider
John H. Scott
Marlene Sklar & Joel Moskowitz
Karen Smits
Kirk & Mei-lan Stark
Andrew Stearn
Mr. & Mrs. David Tann
The Tatasciore Family
Barbara & Larry Tenan
Johnson Thurston
Ira & Laurie Waldman
Elizabeth Wheat
Mr. & Mrs. Mark Whitman
Herbert Wolas
Albert Wolsky
HOSPITALITY SPONSORS
Thank you to our year-round in-kind hospitality sponsors for their incredible generosity and support of the arts:
STK | The ONE Group
W Los Angeles — West Beverly Hills
Wolfsglen
CHAIRMAN’S CIRCLE
The Chairman’s Circle acknowledges the historical contributions of the following individuals, whose support of Geffen Playhouse made the original vision of our founder, Gil Cates, Sr., possible:
Anonymous
Annenberg Foundation
Mrs. Carol K. Block & Chancellor Gene D. Block†
City National Bank
Kirsten^ & Donald Combs
Maria Israel-Curley & Jim Curley
Gang, Tyre, Ramer, Brown & Passman, Inc.
The David Geffen Foundation
Herbert M.^ & Beverly J. Gelfand
Rabbi Uri D. Herscher & Dr. Myrna Herscher
Audrey & Charles Kenis
Lincy Foundation
Fay & Frank^ Mancuso
Tina & Jerry^ Moss / The Moss Foundation
Perenchio Foundation
The Shubert Foundation
The Simms/Mann Family Foundation
Skirball Foundation
University of California, Los Angeles
Wasserman Foundation
Judy & Chancellor Charles^ E. Young
If your name has been misspelled or omitted from the list in error, please contact Tracy Reich, Director of Individual Giving at 310.208.6500 ext. 113.
Tarell
Alvin McCraney ARTISTIC DIRECTOR
ARTISTIC
Amy Levinson
Associate Artistic Director
Daniel Ionazzi
Producer
Phyllis Schuringa
Artistic Associate / Casting Director
Bella Luna
Company Manager
Olivia O’Connor
Literary Manager & Dramaturg
Lexy McAvinchey
Artistic Coordinator
Dionn Richardson
Assistant to the Artistic Director
PRODUCTION
Jill Barnes
Artistic & Production Administrator
Alyssa Escalante
Production Coordinator / Resident
Production Stage Manager
Melissa Hartman
Technical Director
Patty Squibb
Technical Director
Alexandre Norkus
Automation Supervisor
Philip Rossi
Lead Scenic Carpenter
Rick Gilles
Properties Master
Daniel Lynn
Associate Properties Supervisor
Audrey Lastar
Costume Supervisor
Sarah Lindsley
Costume Shop Supervisor
Spencer Doughtie
Lighting & Projection Supervisor
Jesus Cambero-Elias
Assistant Lighting Supervisor
James Grabowski
House Sound Supervisor
Bob Gilmartin
Resident A1
Chloe Shi
Production Assistant
ADMINISTRATION
Sarah Sturdivant
Chief Financial Officer
Erick R. López
General Manager
Berenice Campos
Director of Human Resources
Janice Gompers
Payroll Manager & HR Admin
Youra Kim
Accounting Manager
Jake Jones
Staff Accountant
Clay Dzygun
Office Coordinator
Marguerite Harris
Receptionist
DEVELOPMENT
Sarah Weinberg
Chief Development Officer
Elizabeth Kegley
Director of Institutional Giving
Tracy Reich
Director of Individual Giving
EDUCATION
Brian Allman
Director of Education & Community Engagement
Mark J. Chaitin
Manager of Education & Community Engagement
Paloma Nozicka
Education Associate
Sean Michael Boozer, Paris Clayton III,
DeJuan Christopher Conner, Lyssa Deehan, Sidney Edwards, Ryan Hallahan, Aja Houston, Bethany Koulias, BJ Lange, Tiffany Oglesby, Tara Ricasa, Gerry Tonella, Maddy Wager
Teaching Artists
MARKETING & COMMUNICATIONS
Patrick Brown
Director of Marketing
Zenon Dmytryk
Director of Communications
Karen Gutierrez
Director of Advertising & Audience Development
Brian Dunning
Director of Content & Creative
Zack Hamra
Director of Audience Services & Ticketing
Isaak Berliner
Social Media & Communications Manager
Alyssa Tyson
Audience Services Manager
Jacob Feller
Box Office Manager
Gil Cates, Jr. EXECUTIVE DIRECTOR / CEO
Rachel Jacoby, Anika Waco
Donor Relations Ticketing Associates
Brianna Barrett, Tori Eriavez, Peyton Fleming Rachel Jacoby, Lauren Machain, Kayla Page, Anika Waco, Dennis Woullard
Box Office Staff
Theater Direct
Outbound Sales
OPERATIONS
Jeni Pearsons
Director of Operations
Mel Yonzon
Front of House Manager
Amy Farkas
Lead Concierge
Rob Mersola
Event Manager
Sarah Chute, Anya Pryjmak, Emir Yonzon
Part Time House Managers
Marlon Campos, Savanna Chute, Elizabeth Fritsch, Alia Mahboob, Taylor McClain, Shannon Noel, Autumn Oyemade, Adam Simers
Guest Services
Brynn Allen, Blaire Battle, Claire Booker, Lauren Curet, Enzo De Cunto, Cecily Dowd, Camille Edwards, Kosi Eguchi, Blake Elder, L. Elleseg, Sydney Fleischman, Ryan Foreman, Diane Hernandez, Aja Hinds, Keo Lacebal, Dylan La Rocque, Cassidy LeClair, Austin Merrill, Chloe Miles, Elena Scaringe-Peene, Lanae Wilks
Ushers
INFORMATION TECHNOLOGY
Abdelkrim Bouzzit
Cloud System Administrator
Dream Warrior Group
System Administrator
FACILITIES MANAGEMENT
Art Guillen
Facilities Manager
Martin Ayala, Felipe Ayala
Building Maintenance
Mario Santillan-Perez
Custodial
Juan Carlos Umaña, Camerina Martinez
Cleaning Custodial
ESPERANZA DE LA LA TEORÍA
BIENVENIDO A LA
DIRECTOR ARTÍSTICO
TARELL ALVIN MCCRANEY
Hola, soy Tarell Alvin McCraney, su director artístico. Es un honor darle la bienvenida al estreno mundial de La teoría de la esperanza del mago Helder Guimarães. Esta cautivadora historia de inmigración y cartomagia es exactamente el tipo de narración íntima y única que yo he llegado a apreciar en la Geffen. Y tengo el honor de invitarle a ser testigo de más.
Nuestra temporada 2024/2025 en el Gil Cates Theater comienza con Dragon Lady (Part I of The Dragon Cycle) de Sara Porkalob, una estrella consumada de Broadway. Después, vamos a reinventar obras clásicas al invitar a Judy Hegarty Lovett a dirigir Waiting for Godot, protagonizada por Conor Lovett y Rainn Wilson; y al asociarnos con Steppenwolf Theatre Company para una coproducción de Noises Off de Michael Frayn. Además, le presentaremos a nuestra audiencia a dos impactantes artistas que recién inician su carrera con Furlough’s Paradise de a.k. payne y, en asociación con el Denver Center for the Performing Arts y Alliance Theatre, The Reservoir de Jake Brasch.
Aquí en el Audrey Skirball Kenis Theater, mi obra de teatro The Brothers Size le abrirá las puertas a nuestro laboratorio de nuevas obras.
La obra, escrita hace 20 años, está basada en el folclor de África occidental y el Caribe. El enfoque principal de nuestro nuevo laboratorio es la práctica de tomar historias clásicas y presentarlas como eventos en vivo. Y en asociación con nuestros vecinos y colegas de UCLA, invitaremos al Audrey a artistas innovadores y a audiencias dispuestas a tomar riesgos para que presencien el desarrollo inicial tras bastidores y la programación pública durante toda la temporada.
En los meses que vienen se anunciarán planes especiales para éste, nuestro espacio íntimo, pero por el momento por favor disfrute de la magia de La teoría de la esperanza.
Tarell Alvin McCraney Director artístico
JUNTA DIRECTIVA
Adi Greenberg PRESIDENTA
Dr. Gene D. Block
Gil Cates, Jr.
Director ejecutivo / CEO
Mary Ann Cloyd Vicepresidenta
Merle Dandridge
Lauren Shuler Donner
Dr. Brad Edgerton
Bonnie E. Eskenazi
Mark Fleischer
Susan Nahley Fleishman
Brenda Garcia
Patricia L. Glaser
Eric Heer
Carla Malden
Brian Mann
Tiffany Mayberry
Tarell Alvin McCraney Director artístico
Mary Osako
Danny Passman
Holly Rice
Linda Bernstein Rubin
Matt Shakman
Richard Sherman
Cynthia P. Stafford
Howard Tenenbaum Presidente emérito
Miranda Tollman
JaHan Wang
Marc Weinstock
CONSEJEROS FUNDADORES
Harold A. Brown
Kirsten Combs
Robert A. Daly
David Geffen
Herbert M. Gelfand Presidente emérito
Quincy Jones
Jeffrey Katzenberg
Glorya Kaufman
Frank G. Mancuso Presidente emérito
Ron Meyer
Bruce M. Ramer Presidente fundador
Victoria Mann Simms
Andy Spahn
Steven Spielberg
Steve Tisch
IN MEMORIAM
Gilbert Cates Fundador
Marcia Israel-Curley
Audrey Skirball Kenis
Charles Kenis
Karl Malden
Ginny Mancini
Jerry Moss
Jerry Perenchio
Edie Wasserman
Lew Wasserman
Dr. Charles E. Young
ASESORAMIENTO LEGAL
Nikki Kerman Venable LLP
DIRECTOR
EJECUTIVO / CEO GIL CATES, JR.
A principios de 2020, Helder Guimarães nos visitó aquí en la Geffen con una idea. Buscaba cómo reunir a una audiencia para presenciar el teatro en vivo pero de manera innovadora: todo por medio del internet. Su idea lanzaría Geffen Stayhouse, una temporada completa de programación en vivo pero virtual, a diferencia de todo lo que habíamos hecho hasta ese entonces.
Ese espíritu pionero define gran parte de lo que hacemos. A medida que continuamos avanzando en estos tiempos cambiados por siempre, parece apropiado que Helder regrese a casa, en persona, y se le de la bienvenida en el Audrey Skirball Kenis Theater, junto con su increíble director Frank Marshall. Juntos, ellos continúan a redefinir todo lo que puede ser el teatro, incluso encabezando nuestras primeras presentaciones en español, un proyecto que hemos acogido con gran entusiasmo. La innovación empleada tanto aquí como durante Stayhouse parece apropiada para la temporada inaugural de Tarell, mientras que reimagina el Audrey como un laboratorio para descubrimientos y experimentaciones apasionantes.
Todo esto y más es posible únicamente gracias a nuestra vibrante comunidad compuesta de todos aquellos que nos brindan apoyo. Ya sea esta su primera o su quingentésima visita a la Geffen Playhouse, estamos muy contentos de que esté aquí. Le invito a explorar todo lo que nuestro teatro ofrece, lo nuevo y lo viejo, lo revitalizado y lo reinventado. ¡Tenemos mucho que esperar con ansias!
Gracias por acompañarnos en este increíble viaje. ¡Que disfrute del espectáculo!
Gil Cates, Jr. Director ejecutivo / CEO
LA TEORÍA DE LA ESPERANZA
ESCRITO Y REPRESENTADO POR HELDER GUIMARÃES
DIRIGIDO POR FRANK MARSHALL
DISEÑADOR ESCÉNICO FRANÇOIS-PIERRE COUTURE
DISEÑADORA DE ILUMINACIÓN MARTHA CARTER
DRAMATURGA AMY LEVINSON
REGIDORA DE ESCENA DE LA PRODUCCIÓN GABRIELLE J. BRUNO
NOCHE DE ESTRENO JUEVES 2 DE MAYO DE 2024 LA
CONSULTORA DE DISEÑO DE VESTUARIO AUDREY LASTAR
DISEÑADOR DE SONIDO JAMES GRABOWSKI
COMPOSITOR JEFF BEAL
TRADUCTOR DE ESPAÑOL JOSE NATERAS
REGIDORA DE ESCENA, PRESENTACIONES EN ESPAÑOL ILIANA SOLORZANO
Las regidoras de escena de esta producción son miembras de Actors’ Equity Association, el sindicato de actores y regidores de escena profesionales de los Estados Unidos.
PATROCINADOR DE PRODUCCIÓN
PATROCINADOR DE LA NOCHE DE ESTRENO
DURACIÓN
80 minutos, sin intermedio.
ATENCIÓN
No se permite ninguna fotografía o grabación durante la presentación. Por favor apague todos sus aparatos electrónicos, inclusive sus celulares. ¡Gracias!
Apoyo principal para esta producción de estreno mundial es proveído por la Edgerton Foundation New Play Production Fund.
HAZ LO QUE AMAS , AMA LO QUE HACES
UNA ENTREVISTA CON HELDER GUIMARÃES Y FRANK MARSHALL
POR AMY LEVINSON, DIRECTORA ARTÍSTICA ADJUNTA Y DRAMATURGA PARA LA TEORÍA DE LA ESPERANZA
AMY LEVINSON: Los dos ustedes han trabajado juntos en muchos espectáculos, incluyendo Invisible Tango, The Present y The Future. ¿Pueden contarnos un poco sobre dónde comienza su proceso?
FRANK MARSHALL: Mi proceso comienza cuando Helder me cuenta la historia que él quiere contar. Espero que la verbalice y luego lo ayudo a ahormarlo en un espectáculo. Es un proceso muy interesante, porque a menudo no sé qué magia está construyendo; a menudo la magia se construye junto con la historia. Me motiva a pensar visualmente en términos de cómo vamos a contar la historia. Empezamos con las palabras, que a menudo son muy poéticas, una de las muchas cosas que me encantan de su narración, y elaboramos la historia. Mezcla estos dos mundos: el mundo de la magia que conozco y amo desde los diez años y el mundo en el que realmente vivo, que es contar historias. Es mucho más que un espectáculo de magia.
HELDER GUIMARÃES: No creo poder precisar dónde empiezo un nuevo proyecto o un nuevo espectáculo. Creo que es una acumulación de cosas diferentes en mi vida. Estas historias suelen provenir de un lugar personal, por lo que a menudo es un evento o un recuerdo del cual me acuerdo y sobre el cual quiero escribir. A veces eso lleva una semana y a veces mucho más. Pero esto no siempre resulta en un espectáculo completo; a veces es solo una colección de recuerdos e ideas. Cuando entiendo que existe una historia que contar, las piezas comienzan a fusionarse, y entonces la magia se convierte en parte de esa historia más grande.
FM: Helder simplemente llega con la pieza de magia apropriada—y por lo general es algo que nunca he visto, que es la parte increíble. [La magia] está realmente integrada en la narración.
HG: Con esta obra, quería hablar sobre mis experiencias como inmigrante, pero en ese momento no tenía una sola pieza de magia
Frank Marshall y Helder Guimarães en el escenario de Invisible Tango de 2019
para el programa. Pero nunca pienso en lo que necesito en términos de magia. Pienso en cómo quiero contar una buena historia y luego cómo quiero integrar magia realmente genial en esa historia. Quiero que la magia mejore la historia y también esté conectada con ella. Recientemente nos dimos cuenta de que el inicio del programa no estaba del todo bien. Ya había construido el momento mágico para el principio, pero siempre estoy dispuesto a cambiar lo que he construido si no funciona con la historia.
AL: ¿Y qué contribuye a que esta sea una relación de trabajo tan fructífera?
HG: Frank es un narrador increíble. Aporta su perspectiva a lo que he escrito y ve cosas en el guion que yo aún no he visto. Siempre tiene una percepción acertada. Me enseñó, y a menudo me lo recuerda, que tenemos que tener claridad para alguien que nunca ha escuchado esta historia y no sabe hacia dónde va. Solo tendrán una oportunidad de escuchar la historia que estamos contando. Cuando la escribes, sabes lo que quieres decir, pero es muy diferente a alguien que la escucha por primera vez, ¿verdad?
Además, Frank nunca trata de relegar la magia a un lugar secundario o de alterar la magia en ningún lugar determinado. Me encanta el hecho de que con eso él confía en mí al cien por cien. Cuando le presento una pieza de magia, por supuesto que hay ajustes. Simplemente trabajamos juntos en cada parte del proceso, sin que ninguno de nosotros lo controle. La magia es muy sensible. Y especialmente para mí, es toda una expresión de quién soy, así que es difícil cuando alguien quiere cambiarlo todo. Estoy muy agradecido por la forma en que trabaja Frank. Me siento muy bien protegido. Realmente me ayuda y guía el trabajo y siento que todavía tengo mucho que aprender de él sobre cómo contar historias.
AL: Frank, dado que has trabajado en muchas películas gigantes, ¿qué es diferente para ti cuando estás en un entorno tan íntimo como este? ¿Altera tu método?
FM: No sé si tengo un método. Es decir, estoy aprendiendo constantemente. Lo que me encanta de [trabajar en obras de teatro y musicales] es que es en vivo, está sucediendo. Puedo tener un
impacto en algo en ese mismo instante y puede cambiar. Y entonces puedo decir, Oh, está bien, eso sí funciona. O, no, esa fue una mala idea.
Mientras que, en mi trabajo cotidiano, pueden pasar meses antes de [saber] si algo funciona. Y hay un montón de otras personas.
HG: Recuerdo que me dijiste justo eso cuando trabajamos por primera vez en Invisible Tango; que, esto es genial porque puedo cambiar algo el mismo día y se puede ver en el escenario esa misma noche.
FM: Y sí nos la pasamos muy bien con esto. Si lo odias, ¿qué sentido tiene? No entiendo los procesos creativos que son horribles. Por supuesto que siempre hay obstáculos y problemas que resolver, pero aprendes a adaptarte. Siempre puedes reducir o ampliar, averiguar qué necesita un proyecto y girar. No entiendo tratar esto como si fuera el fin del mundo.
HG: Me encanta lo que dice Frank. Haces algo en una presentación y te das cuenta de que no funciona, así que lo cambias y lo haces de manera diferente al día siguiente. Preguntas: ¿Cómo puedo hacer que funcione esa frase? Y luego, para el siguiente espectáculo, cambias la entonación. El teatro realmente te da la oportunidad de hacerlo y eso me encanta.
FM: Exactamente. No entiendo todo lo que sufre la gente. Pensar en cambios, claro. Querer mejorarlo, absolutamente. Hay tanta gente que se lo pasa fatal haciendo películas y yo simplemente no lo entiendo. Trabajamos muchas horas y seguro que tenemos conflictos creativos, pero debería ser divertido. Lo mismo ocurre con el teatro.
HG: Y sí nos divertimos bastante. Esto no quiere decir que no sea un trabajo serio; puede ser profundamente personal y desafiante. Pero eso no significa que no debería ser divertido. Cuando te diviertes, eso hace que el trabajo y las horas sean mucho más fáciles. De hecho, cuando hay alegría en el trabajo, quieres dedicar más tiempo y más esfuerzo. Y no me malinterpreten, es como dijo Frank, hay obstáculos y conversaciones creativas, pero a menudo hacemos nuestros mejores descubrimientos cuando las cosas no funcionan. Al fin y al cabo, amamos lo que hacemos.
HELDER GUIMARÃES (él) Dramaturgo e intérprete Un artista nacido en Portugal y reconocido por The New York Times como “un maestro de ilusiones,” Helder Guimarães es Campeón Mundial de Magia, Mago de Salón del Año, ganador del premio Allan Slaight Sharing Wonder, y ganador del Premio Ascanio. Su método único de cartomagia y narración ha sido el enfoque de sus previas creaciones Nothing to Hide (Nada que ocultar), Borrowed Time (Tiempo de descuento) y Verso. Utilizando su conocimiento del engaño, Guimarães con frecuencia consulta para compañías tales como NBC, Disney y Warner. Por ejemplo, entrenó personalmente a Sandra Bullock y Cate Blanchett para la película Ocean’s 8. En 2019, Guimarães estrenó Invisible Tango (Tango invisible), dirigida por Frank Marshall, en la Geffen Playhouse. En su reseña de la producción, el Los Angeles Times dijo, “Por lo general, Guimarães no se apresura a aclarar misterios. Los cultiva tal como un horticulturista cultiva sus enredaderas. Pero no busca engañar. Más bien el engaño se pone al servicio de la iluminación.” En el 2020, durante la
pandemia, Guimarães vendió por completo más de 250 presentaciones de su obra The Present (El presente) durante un periodo de seis meses como parte de la serie Geffen Stayhouse. The Washington Post dijo acerca del espectáculo: “Me comprometo ahora a la creencia que Guimarães es un extraterrestre aterrizado entre nosotros para compartir su superpoder de asombrar a la mente humana. Y porque en esta época de transparencia desenfrenada, un poco de misterio teatral restaura la fe en el arte esencial del engaño exuberante.” En 2022, creó Back to Wonder (De regreso a la maravilla), una experiencia inmersiva que se presentó por seis meses con entradas agotadas. Guimarães vive en Los Ángeles.
FRANK MARSHALL Director
Frank Marshall es director/ productor y ha recibido los premios Emmy, Grammy, Oscar y Tony (EGOT). Con una carrera como productor cinematográfico donde se destacan cinco nominaciones para el Premio de la Academia y las series clásicas como Indiana Jones, Jason Bourne y Jurassic World, Marshall también es un director
consumado y ha dirigido las películas Arachnophobia, Alive, Eight Below así como varios documentales, incluido el galardonado documental para HBO The Bee Gees: How Can You Mend a Broken Heart. Mago aficionado desde que tenía diez años, La Teoría de la Esperanza es su cuarta colaboración con Helder Guimarães. Sus proyectos actuales incluyen la dirección de The Beach Boys, un documental para Disney+, la producción de un nuevo musical de Broadway, Water for Elephants y la próxima película de verano, Twisters
FRANÇOIS-PIERRE COUTURE
(él)
Diseñador escénico
Originario de Montreal, François-Pierre Couture ha tenido el privilegio de trabajar en Los Ángeles y Estados Unidos durante la última década como diseñador escénico, de iluminación y de proyección y actualmente es profesor de diseño en East Los Angeles College. Su trabajo anterior en la Geffen Playhouse incluye A Picasso, Invisible Tango, The Present y The Future. Algunos de sus créditos de diseño profesional también incluyen escenografía para Sweeney Todd y Metamorphoses (A Noise Within); escenografía e iluminación para Romeo y Julieta (LA Dance Project); escenografía para Jackie Unveiled (The Wallis); escenografía para A Mexican Trilogy: An American History (Los Angeles Theatre Center); escenografía para Médée y Teseo
(Chicago Opera Theatre). Ha recibido múltiples premios y nominaciones Ovation, LADCC, y LA Weekly y el Premio Hilton Worldwide por su destacado diseño escénico en KCACTF 2014. Para más información, visite www.fpcouture.com.
AUDREY LASTAR
Consultora de diseño de vestuario
Audrey Lastar, creativa de vestuario, es oriunda de San Diego y actualmente es jefa de vestuario en la Geffen Playhouse. Ha sido miembra de la Geffen durante seis años y ha trabajado en varios espectáculos, incluidos Mindplay, Mysterious Circumstances y Skintight, por nombrar algunos. Anteriormente fue jefa de vestuario para giras nacionales incluidos Cabaret y Finding Neverland. Otros créditos en varias partes del país incluyen su tiempo en Arizona Broadway Theatre (AZ), Arizona Theatre Company (AZ), Atlas Performing Arts Center (DC), Adventure Theatre MTC (MD), Imagination Stage (MD) y muchos otros. Está encantada de ser parte de este equipo y agradece a sus compañeros y a su perra Lady por todo su amor y apoyo.
MARTHA CARTER (ella) Diseñadora de iluminación
Martha, una diseñadora de iluminación con sede en Los Ángeles, obtuvo su título M.F.A. en Diseño de la University of California en Irvine y es jefa de diseño y profesora auxiliar en la California State University,
Long Beach. Amplía su alcance creativo a nivel nacional e internacional, con obras que abarcan diversas actuaciones—ópera, danza, teatro y eventos en vivo—y que fomentan un impacto comunitario positivo a través de emprendimientos colaborativos. En particular, Martha asume funciones principales de diseño en Re:borN Dance Interactive y Kairos Dance Company, así como colaboraciones regulares con el Long Beach Ballet. Se destacan los recientes estrenos en lugares prestigiosos como el Under the Radar Festival de The Public Theatre y el Edinburgh Festival Fringe. Otras obras recientes incluyen She Loves Me, Candide y A Little Night Music en Madison Opera; Cindy & the Disco Ball en el Garry Marshall Theatre; Voyager One en el Perseverance Theatre; y Mamma Mia! en el Teatro Anayansi de la Ciudad de Panamá, Panamá. www.marthacarterdesigns.com
JAMES GRABOWSKI (él) Diseñador de sonido
James Grabowski está encantado de ser el diseñador de sonido de La teoría de la esperanza. Se unió a la familia Geffen en 1999 como supervisor de sonido de la casa. Se enamoró de la Geffen, no solo por la dedicación artística de la Geffen a la creación y producción de obras originales, sino también por los numerosos programas de alcance comunitario apoyados por el teatro, como el High School Partnership Program (programa
educativo de asociación con escuelas secundarias) y los programas Veteran’s Writing and Performance Workshop (taller de escritura y actuación para veteranos). James está orgulloso de haber estado involucrado en cada concierto, cada producción en escenario y de la serie Stayhouse que la Geffen ha montado durante los últimos 24 años. Es un honor para él haber trabajado con diseñadores, directores, actores, tramoyistas, técnicos, cantantes, músicos y magos de primera categoría, así como con el increíble personal de la Geffen. Él agradece una carrera tan gratificante, pero está especialmente agradecido con ustedes, nuestros patrocinadores, por apoyar este increíble teatro.
JEFF BEAL Compositor
El método de improvisación, el control de los tiempos y la sofisticación de Jeff Beal, cinco veces ganador del premio Emmy, lo han convertido en el favorito de directores como Ed Harris (Pollock y Appaloosa), David Fincher (House of Cards) y Oliver Stone (JFK Revisited: Through the Looking Glass, The Putin Interviews). Recientemente colaboró con el director Frank Marshall en el documental Rather y las partituras dramáticas para las series de HBO Rome, Carnivàle y The Newsroom, la serie de USA Monk, la serie de Netflix House of Cards y la serie de Apple TV+ Raymond & Ray han demostrado que es uno de los compositores
más distintivos y reconocibles de hoy en día. Además de su distinguida carrera como compositor, Beal es un prolífico compositor de música de concierto. Las más recientes obras encargadas incluyen “The Paper Lined Shack” para Leonard Slatkin, la St. Louis Symphony Orchestra y la soprano Hila Plitmann, “Sunrise” (una partitura contemporánea para la película muda de F.W. Munrau) para Los Angeles Master Chorale y un nuevo concierto compuesto para la violinista
Kelly Hall-Tompkins estrenada por la St. Louis Symphony y dirigida por Leonard Slatkin.
AMY LEVINSON (ella) Dramaturga
Durante su permanencia en la Geffen, Amy ha encabezado numerosos programas para encargar y desarrollar nuevas obras y ha guiado a más de 150 obras hasta la producción. Sus créditos en dramaturgia incluyen los encargos y estrenos mundiales de Time Stands Still y Coney Island Christmas de Donald Margulies, The Quality of Life y The Escort de Jane Anderson, Our Very Own Carlin McCullough de Amanda Peet y Mysterious Circumstances de Michael Mitnick. Otros estrenos mundiales incluyen Black Cypress Bayou, Revenge Song, Actually, Invisible Tango, Extraordinary Chambers, Black Super Hero Magic Mama, Build, Joan Rivers: A Work in Progress by a Life in Progress y los espectáculos virtuales de la serie Geffen Stayhouse, inclui-
dos The Present y The Future de Helder Guimarães. Amy obtuvo el título M.F.A. en Dramaturgia de la University of Massachusetts, Amherst.
JOSE NATERAS (él)
Traductor de español
Jose Nateras es un actor, escritor y cineasta de Chicago que vive en Los Ángeles. Graduado de Loyola University Chicago, Jose tiene su título M.F.A. en Escritura de la School of the Art Institute of Chicago (SAIC) y actualmente está estudiando para obtener su doctorado en Estudios de Teatro y Presentación en UCLA. Guionista, dramaturgo y periodista independiente, la primera novela de Jose, Testamento, fue publicada por NineStar Press. Uno de sus guiones de largometraje, Zero Feet Away, se incluyó en BloodList del 2021 y está en desarrollo con Village Roadshow Pictures/Brillstein Entertainment Partners, mientras que otro, Departing Seniors, tuvo su estreno mundial en Frightfest UK antes de estrenarse en Estados Unidos en el Chicago International Film Festival y está disponible vía video bajo demanda. Se le puede encontrar en Instagram: @JLorca13
GABRIELLE J. BRUNO (ella) Regidora de escena de la producción ¡Gabrielle J. Bruno está muy emocionada de trabajar con Helder y todos los increíbles artistas de La teoría de la esperanza! Se siente orgullosa de ser graduada de la California
State University, Northridge. Sus créditos anteriores en la Geffen incluyen regidora de escena de producción para Black Cypress Bayou, regidora asistente de escena para Ava: The Secret Conversations y asistente de producción para Mindplay. Créditos adicionales como regidora de escena: A Raisin in the Sun en South Coast Repertory; Rosencrantz and Guildenstern Are Dead, A Raisin in the Sun, Mrs. Warren’s Profession, A Christmas Carol y Man of La Mancha en A Noise Within; Native Gardens en Coachella Valley Repertory; Seven Loves en la Getty Villa; la serie de lecturas llamada 2023 Cycle of Poverty presentada por Lower Depth Theatre. Tiene experiencia teatral adicional como regidora de producción del Griffith Park Free Shakespeare Festival del 2021 al 2023 presentado por Independent Shakespeare Co. Cuando no está trabajando como regidora de escena, es supervisora de escena del Teatro Audrey Skirball Kenis en la Geffen Playhouse.
ILIANA SOLORZANO (ella) Regidora de escena, presentaciones en español Iliana está increíblemente emocionada de trabajar por primera vez con la Geffen Playhouse. Después de graduarse de California State University, Fullerton, ha sido regidora de escena para varios teatros como Latino Theatre Co., South Coast Repertory y The Wayward Artist. Sus esfuerzos actuales se
encuentran en la educación teatral, donde dirige, para todo su distrito escolar, el programa de teatro de las escuelas secundarias. Está encantada de poder enseñar e inspirar a la próxima generación de artistas de teatro y al mismo tiempo seguir impulsando su propio crecimiento profesional personal.
Director artístico
Tarell Alvin McCraney es director artístico de la Geffen Playhouse. Como tal, es responsable de identificar, desarrollar y programar nuevas obras y obras clásicas reinventadas. Él establece la dirección artística estratégica de los teatros Gil Cates y Audrey Skirball Kenis de la Geffen. McCraney es un escritor, productor y educador galardonado, mejor conocido por su aclamada trilogía, The Brother/Sister Plays. Su guión
In Moonlight Black Boys Look Blue es la base de la película ganadora del premio Oscar Moonlight, dirigida por Barry Jenkins, por la cual McCraney y Jenkins también ganaron un premio Oscar por Mejor Guion Adaptado. Es miembro del conjunto del Steppenwolf Theatre y miembro de Teo Castellanos
D-Projects en Miami, se graduó de la New World School of the Arts, The Theatre School de DePaul University y la David Geffen School of Drama de Yale. Recibió un doctorado honorario de la University of Warwick. Recientemente fue copresidente de dramaturgia en la David Geffen School of Drama, donde permanece en la facultad. Es asociado de la Royal Shakespeare Company, Londres y miembro de la Academy of Motion Picture Arts and Sciences (División de Escritores).
GIL CATES, JR. Director ejecutivo / CEO
Gil Cates, Jr. es director ejecutivo / CEO de la Geffen Playhouse. Como tal, es responsable de gestionar las operaciones diarias de la Geffen; de desarrollar nuevas y constantes asociaciones teatrales y de dirigir su misión de informar, entretener e inspirar a audiencias diversas con teatro en vivo del más alto calibre. Antes de ser nombrado director ejecutivo en 2015, Cates se desempeñó como vicepresidente de la junta directiva de la Geffen Playhouse desde el 2012 y se desempeñó como productor y director de teatro, cine y televisión. Sus créditos teatrales incluyen las galardonadas
Names (Matrix Theatre Company) y Three Sisters y A Life in the Theatre de David Mamet (ambas en Syracuse Stage). Los créditos cinematográficos de Cates incluyen The Surface (protagonizada por Sean Astin y Chris Mulkey, exalumno de la Geffen Playhouse), Jobs (protagonizada por Ashton Kutcher, Josh Gad, Dermot Mulroney, así como los exalumnos de la Geffen Playhouse Matthew Modine y Ron Eldard) y el largometraje de 2011 Lucky (protagonizado por Colin Hanks, Ari Graynor y Ann-Margret). Además, Cates coprodujo y codirigió Life After Tomorrow, con Sarah Jessica Parker, documental que se estrenó en Showtime y fue muy aclamado por la crítica. Sus otras películas incluyen Deal (protagonizada por Burt Reynolds, Bret Harrison y Charles Durning) y The Mesmerist (protagonizada por Jessica Capshaw y el exalumno de la Geffen Playhouse, Neil Patrick Harris). El debut de Cates como director de televisión fue un capítulo de la comedia de NBC Joey, protagonizada por el ganador del premio Emmy Matt LeBlanc. Recientemente dirigió Displaced, un corto documental que hace una crónica del viaje de una de las primeras familias de refugiados que huyó de Ucrania y llegó a Estados Unidos después de escapar de la invasión rusa. Estudió en el National Theatre Institute de Waterford, Connecticut, y tiene el título de B.F.A. en Drama de Syracuse University.
