Performances Magazine San Diego | La Jolla Playhouse, September 2024
P1 Program
Cast, performances, who’s who, director’s notes, donors and more.
6 In the Wings
Murder on the Orient Express and Dracula, A Comedy of Terrors at The Old Globe; Primary Trust at La Jolla Playhouse; Looped presented by Roustabouts Theatre Co.; concerts at The Rady Shell at Jacobs Park; and more.
12 Feature: Jacobs Music Center Reopens
The San Diego Symphony launches its new season with the reopening of the Jacobs Music Center, following an extensive renovation.
18 Travel
From historical cathedrals to art galleries to truly farmto-table dining and imbibing, San José del Cabo is a meld of culture and cuisine.
32 Parting Thought
Performances’ new program platform for shows and concerts can be accessed from any digital device
BIG BIRTHDAY BASH
Friday, September 27, 2024
6-10 PM
San Diego Natural History Museum
Help us celebrate 150 years of loving nature. It’s going to be exactly the kind of party you’d expect from us—un-stuffy, unexpected, and unusually fun. We’ll be celebrating our region’s best and brightest with local chefs on every floor of the Museum, plus innovative cocktails, scientist meet-andgreets, live music, and a silent auction of cool stuff.
Don’t miss the Big Birthday Bash. It’ll be the party of the century (and a half).
“A masterful display of storytelling... a timeless classic in American theater.”
—
THE GUARDIAN
SEPT 11 – OCT 6
Arthur Miller’s Tony Award-winning play unfolds the intricate dynamics of family, love, and justice in a 1950s Brooklyn ItalianAmerican community. The play navigates the complexities of loyalty, unraveling secrets, and the profound consequences of one’s choices. This timeless drama captivates audiences, keeping them on the edge of their seats with escalating tensions and a powerful story.
DIRECTED BY DAVID ELLENSTEIN
“A heartwarming comedy with fresh and hilarious characters.”
— BROADWAYWORLD
OCT 23 – NOV 17
Embark on a delightful journey with the San Diego premiere of INCIDENT AT OUR LADY OF PERPETUAL HELP. Set against the vibrant backdrop of the 1970s, Katie Forgette’s charming comedy unfolds within the confines of a working class family home. The quirky O’Shea clan navigates the tumultuous and sometimes awkward realities of this rapidly changing decade. Join us for an unforgettable evening.
DIRECTED
BY
JENNY SULLIVAN
group sales (858) 481-2155, ext. 202
Scan for new season lineup
From left: William Jackson Harper as Kenneth in Primary Trust; Eileen Bowman as Tallulah Bankhead in Looped
MUST-SEE LOCAL SHOWS
PLAYING AT THE Old Globe, Sept. 7-Oct. 6: Agatha Christie’s murdermystery masterpiece, Murder on the Orient Express, adapted for the stage by Ken Ludwig. The Old Globe also brings us the West Coast premiere of Dracula, A Comedy of Terrors, Sept. 20-Oct. 27; it’s a comedic twist on Bram Stoker’s famed 1897 novel. theoldglobe.org Cygnet Theatre presents Richard O’Brien’s The Rocky Horror Show, Sept. 11-Oct. 20 at Old Town Theatre. Centered on naïve lovers Brad and Janet, the cult-classic musical is a satirical tribute to the 20th century’s science fiction and low-budget horror flicks. cygnettheatre.com Eboni Booth’s 2024 Pulitzer Prize for Drama, Primary Trust, comes to La Jolla Playhouse, Sept. 24-Oct. 20. In this touching play, we meet Kenneth, a bookstore worker in upstate New York, who must face challenges he has long avoided after being laid off. Knud Adams directs. lajollaplayhouse.org And save the date for Looped, by The Roustabouts Theatre Co. at Scripps Ranch Theatre, Oct. 11-20. Focused on legendary actress Tallulah Bankhead, the play takes us to a sound studio where she re-records a “loop” for her last film. theroustabouts.org
LIGHTING UP LA JOLLA
CALLING ALL ART aficionados and oenophiles: La Jolla Art & Wine Festival returns Sept. 28-29. The 16th annual event comprises an expansive wine and craft beer garden, with more than 35 local and regional wineries, breweries and distilleries. Participants include Pali Wine Co., Bird Rock Fine Wine, Puesto, Boochcraft, IZO Spirits, Solento Tequila and more. At least 160 artists from the U.S., Mexico and beyond will have booths showcasing their works—from paintings
to sculptures, jewelry, fine glass, ceramics, woodwork, mixed media and photography. Festival-goers can also enjoy gourmet fare from local food vendors; a silent auction; live music and dance performances all weekend; interactive art installations; and myriad kids activities, such as face painting and science experiments. General admission is free; tickets for wine and beer garden are $45-$65. Proceeds support the San Diego Unified School District. Along Girard Avenue, La Jolla, ljawf.com
Wine tasting (above) and artsy fun at the La Jolla Art & Wine Festival. SPECIAL EVENT
from above: folk-rock music duo Indigo Girls (L-R: Emily Saliers and Amy Ray); New Orleans-born musician Trombone Shorty (Troy Andrews); singer and songwriter Amos Lee; and country music singer and guitarist Jason Aldean.
MUSIC
Classical, Country & CRSSD
SEPTEMBER’S DIVERSE MUSIC lineup is music to our ears. A few concerts of note at The Rady Shell at Jacobs Park include: Trombone Shorty and Orleans Ave, with special guest Big Boi, on Sept. 6; Amos Lee and Indigo Girls, Sept. 19; and Classical Albums Live, performing Fleetwood Mac’s beloved 1977 album Rumours, Sept. 21. theshell.org Country music star Jason Aldean headlines Boots in the Park—dubbed as “San Diego’s biggest country music party—on Sept. 14 at Waterfront Park; along with Dustin Lynch, Ian Munsick, Hailey Whitters, Chase Matthew, Joe Peters and Luwiss Lux. bootsinthepark.com At Waterfront Park Sept. 28-29, CRSSD Festival is an audiovisual candy land for electronic music lovers—spanning three stages and 50-plus musicians and performers. Headliners include Disclosure, Gesaffelstein, BLOND:ish, Walker & Royce, Four Tet, Boris Brejcha, Idris Elba, Adam Beyer, Gorgon City and HI-LO. crssdfest.com
Clockwise
TROMBONE SHORTY BY MATHIEU BITTON; AMOS LEE BY SHERVIN LAINEZ
Balboa Park Museum Marvels
THE GROUNDGREAKING SHOW, Wonders of Creation: Art, Science and Innovation in the Islamic World, is on view at The San Diego Museum of Art, Sept. 7-Jan. 5, 2025. The exhibit explores how science and craft in Islamic material culture and contemporary art intersect—presented through the framework of 13th-century text by Zakariyya ibn Muhammad al-Qazwini, describing the wonders of the universe. View 200-plus works of art from the 8th century to today—including illustrated manuscripts, textiles, glass and ceramic wares, and more. sdmart.org Opening Sept. 14 at Mingei International Museum, Blue Gold: The Art and Science of Indigo explores the transformation of plants into pigments. A feat of chemistry and botanical transformation, the indigo dye process dates back to ancient Mesopotamia. The exhibit showcases 130 works, including textiles and clothing, from 30 countries. mingei.org
MUSEUMS
From top: select pieces from Wonders of Creation at The San Diego Museum of Art; a dragon-motif coat and vest from China in Blue Gold at Mingei International Museum.
WELCOME HOME
San Diego Symphony’s New Season Launches the Reborn Jacobs Music Center
by STEPHANIE SAAD THOMPSON
OPENING NIGHT OF the San Diego Symphony’s 2024-25 season will have a special frisson of excitement for audiences. As they enter Jacobs Music Center, opening with a concert and gala on Saturday, Sept. 28, they’ll be experiencing the completely refreshed and redesigned concert hall for the first time—the culmination of a two-and-a-half-year renovation project long overdue for the 95-year-old venue. (Formerly Copley Symphony Hall, it opened in 1929 as Fox Theatre.)
The Opening Night concert will feature Music Director
Rendering of the
Rafael Payare leading the orchestra in the world premiere of “Welcome Home!!” It’s a fanfare for Jacobs Music Center commissioned by the San Diego Symphony from Korean-born, American composer Texu Kim. Also Imagine
restored Jacobs Music Center; San Diego Symphony CEO Martha Gilmer.
WINNER
OF THE 2024 PULITZER PRIZE FOR DRAMA
Primary Trust is a touching story of new beginnings, old (and new) friends, and finding the courage to see the world for the first time. “It will restore your faith in theatre’s elemental storytelling powers" (The Observer).
Kenneth, a 36-year-old bookstore worker in a small upstate New York town, spends his evenings sipping mai tais at the local tiki bar with his best friend Bert. When he’s suddenly laid off, Kenneth faces challenges he has long avoided — with transformative and heart-warming results.
FEATURE
performing that night will be some of San Diego Symphony’s favorite soloists: Inon Barnatan at the piano; Alisa Weilerstein on cello; soprano Hera Hyesang Park; and violinist Jeff Thayer. The program features works by Paganini, Rachmaninoff, Tchaikovsky, Rossini, Villa-Lobos and Ravel.
Also slated for opening weekend is a free community day on Sunday, Sept. 29 that will feature performances by groups from both sides of the border—including student groups, a military band, youth orchestras and a community choir.
The opening concert launches an expanded inaugural season for Jacobs Music Center that features 20 programs— including new works, well-known masterpieces, rarely heard compositions, acclaimed and rising star soloists, and prestigious guest conductors.
Symphony CEO Martha Gilmer says the goals in the $125 million renovation of the hall were musical, aesthetic and practical. “Our main goal was to make the hall a more vibrant venue for our audiences and a better acoustic and aesthetic for our musicians; one complements the other,” she says. “The better the /CONTINUED ON PAGE 26
The Artistic Director's Circle Season Sponsors
Roberta C. Baade Charitable Fund
Denise and Lon Bevers
Theodor S. and Audrey S. Geisel Fund
Kay and Bill Gurtin
Jeanne L. Herberger, Ph.D.
Joan and Irwin Jacobs
Sheri L. Jamieson
La Atalaya Fund
Rebecca Moores Foundation
Jordan Ressler Charitable Fund of the Jewish Community Foundation
Anonymous, Weston Anson, Melissa and Michael Bartell, Gail and Ralph Bryan, Brian and Silvija Devine, The Estate of Pauline Foster, Hanna and Mark Gleiberman, Lynn Gorguze and Scott Peters, Debby and Hal Jacobs, Perlmeter Family Foundation, Karen and Jeff Silberman, Les J Silver and Andrea Rothschild-Silver, Molli Wagner, Peggy Ann Wallace, Mandell Weiss Charitable Trust
SEPTEMBER 24 – OCTOBER 20, 2024
Karen and Jeff Silberman
Margarita and Philip Wilkinson
A MESSAGE FROM THE ARTISTIC DIRECTOR
Dear Friends,
While I was in New York City last May, I bought a ticket to the world premiere of Primary Trust at Roundabout Theatre Company. The production hadn’t yet officially opened – the rave reviews were still to come, as was the play’s 2024 Pulitzer Prize for Drama – and I knew practically nothing about what I was going to see. I was rewarded with an experience that impacted me so much, I knew I had to program the show at the Playhouse.
A large part of that was due to Eboni Booth’s gorgeous, open-hearted writing and Knud Adams’s luminous and nuanced production. But I was also struck by the setting Eboni had chosen: the small town of Cranberry (population 15,000), located about 40 miles away from Rochester in upstate New York. As the main character, Kenneth, mentions in the play, Cranberry’s town motto is: “Welcome Friends, You’re Right on Time!”
Cranberry might be fictitious, but I knew it well. As the child of two academics whose careers involved lots of temporary jobs at various universities, I had a rather nomadic upbringing. By far the most geographically-stable period of my childhood was between the ages of seven and thirteen, when my dad taught at the SUNY campus in Cortland, NY – a town of approximately 17,000 people, about 100 miles from Rochester. There was an ice rink in town that I skated at all the time, and a First National Bank that looked eerily similar to the one on our set of Primary Trust. As I watched the play that night, I recognized Kenneth’s life in Cranberry.
Eboni’s play shows us Kenneth’s alienation, but just as importantly, it illuminates the surprising ways in which people in small towns take care of each other. It explores the universal feeling of loneliness, and the importance of learning how to give and receive love. It acknowledges the devastation of loss, but also illustrates how empathy and compassion can heal us.
In a country that seems hopelessly divided, Primary Trust’s celebration of our shared humanity is not just welcome, it’s right on time.
CHRISTOPHER ASHLEY
THE RICH FAMILY ARTISTIC DIRECTOR OF LA JOLLA PLAYHOUSE
LAND ACKNOWLEDGEMENT
La Jolla Playhouse acknowledges the land on which our theatres sit as the unceded territory of the KUMEYAAY NATION. Today, the Kumeyaay people continue to maintain their political sovereignty and cultural traditions as vital members of the San Diego community. Their contributions to our region are tremendous and we thank them for their stewardship.
Christopher Ashley
The Rich Family Artistic Director of La Jolla Playhouse
Debby Buchholz
Managing Director of La Jolla Playhouse
EBONI BOOTH BY
DIRECTED BY
KNUD ADAMS
FEATURING
CALEB EBERHARDT*, REBECCA S’MANGA FRANK*, JAMES UDOM*, JAMES URBANIAK*, LUKE WYGODNY*
Originally Produced in New York City by Roundabout Theatre Company at the Harold and Miriam Steinberg Center for Theatre / Laura Pels Theatre on May 4th, 2023
Primary Trust was developed at the 2021 Ojai Playwrights Conference Robert Egan, Artistic Director/Producer
Primary Trust was developed by Victory Gardens Theater, Chicago, Illinois
Ken-Matt Martin, Artistic Director Roxanna Conner, Acting Managing Director as part of IGNITE CHICAGO Festival of New Plays 2021
THE CAST
(in alphabetical order)
Kenneth Caleb Eberhardt*
Corrina and others Rebecca S’manga Frank*
Bert ..........James Udom*
Clay and others James Urbaniak*
Musician Luke Wygodny*
Primary Trust is performed without an intermission.
UNDERSTUDIES
Kenneth, Bert Kirk Brown*
Clay and others Scott Striegel*
Corrina and others Dianne Yvette*
Understudies are never substituted for listed roles unless a specific announcement is made at the time of the performance.
Associate Lighting Designer
ADDITIONAL STAFF
Vittoria Orlando*
Assistant Sound Designer Padra Crisafulli*
Directing Resident Ludmila de Brito*
Stage Management Resident Lily Fitzsimmons*
People & Culture Consultants
Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States The theatre operates under an agreement between League of Resident Theatres and Actors’ Equity Association
The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union
This theatre operates under an agreement between League of Resident Theatres and United Scenic Artists, Local USA-829 of the IATSE
Cornerstone Consulting HR*
This theatre operates under an agreement between La Jolla Playhouse and the International Alliance of Theatrical Stage Employees Local 122
La Jolla Playhouse is a member of the League of Resident Theatres (LORT) and a constituent of Theatre Communications Group (TCG), the national service organization for the nonprofit professional theatre
UC San Diego M F A Candidates in residence at La Jolla Playhouse
KIRK BROWN*, Understudy
La Jolla Playhouse: Debut. Regional: Monsters of the American Cinema, The Glass Menagerie (Diversionary Theatre); A Black Man’s Song (The Old Globe); The Color Purple (New Village Arts). Off-Off-Broadway: Kane and Habil (La MaMa); Life Is Short Cherish Every Moment (The Producers Club). Television: First Wives Club, The Last One. Film: The Recipe, Napkins. Education: University of Pennsylvania, The Wharton School. hisnameiskirk.com @hisnameiskirk on Instagram.
CALEB EBERHARDT*, Kenneth
La Jolla Playhouse: Debut. Broadway: An Enemy of the People (Drama League Award nomination), Choir Boy (MTC). Off-Broadway: The Comeuppance (Signature Theatre—Drama League Award nomination, OBIE), On Sugarland (NYTW — AUDELCO Award nomination), Is God Is (Soho Rep), Esai's Table (Cherry Lane Theatre). Regional: Choir Boy (Alliance Theatre, Geffen Playhouse). Select Film/TV: Rob Peace (Sundance Official Selection), Manodrome (Berlinale Official Selection), Chestnut, Judas and the Black Messiah, Betty (HBO), Demascus (SXSW Official Selection). Education: B.F.A. from SUNY Purchase. @rosehardt
REBECCA S’MANGA FRANK*, (she/her) Corrina and others
La Jolla Playhouse: Althea Gibson in Love All by Anna Deavere Smith. Off-Broadway: At the Wedding (Lincoln Center LCT3), The Berlin Diaries (59E59), Is Edward Snowden Single? (The New Ohio), Coriolanus (Red Bull Theatre). Regional: Indecent (Oregon Shakespeare Festival), we, the Invisibles (Humana at Actors Theatre of Louisville), Sundance Morocco. TV: Prodigal Son (FOX), Lisey's Story (Apple TV), Elementary (CBS). Education: M.F.A. NYU Grad Acting. rebeccasmanga.com
SCOTT STRIEGEL*, Understudy
La Jolla Playhouse: Debut. Off-Broadway: High Strung Quartet, Y2Gay. Regional: Trouble in Mind (The Old Globe); Mother Road, Long Story Short (San Diego Rep); Oxford's Will (Colony StudioLA). Education: American Academy of Dramatic Arts, New York.
JAMES UDOM*, Bert
Off-Broadway: The Rolling Stone (Lincoln Center); The Revolving Cycles Truly and Steadily Roll’d (Playwrights Realm); Miss Julie (Classic Stage Company); Macbeth (Public Theatre); The Winter’s Tale (Pearl Theatre); Tamburlaine (Theatre for a New Audience). Select Regional: The Taming of the Shrew (The Old Globe); Father Comes Home From the Wars (Yale Rep, American Conservatory Theatre; Bay Area Critics Circle Award for Best Actor); Julius Caesar (Shakespeare and Company); Romeo and Juliet (Elm Shakespeare Company). Film: Macbeth (A24), Judas and the Black Messiah (Warner Bros), Murder City (Village Roadshow), Crown Heights (Amazon Studios). TV: Upcoming Apple TV series Chief of War, Echo 3 (Apple TV), The Sandman (Netflix), Accused (Hulu), Chicago PD, Law & Order: SVU, Evil (NBC). Education: M.F.A., Yale School of Drama (Princess Grace Award, Hershel Williams Prize for Excellence in Acting).
JAMES URBANIAK*, Clay and others
La Jolla Playhouse: Debut. Broadway: The Rivals. Off-Broadway: Originated the title role in Will Eno’s Thom Pain (based on nothing) (Drama Desk Award nomination), Richard Foreman’s The Universe (Obie Award). Off-Off-Bway: Clubbed Thumb, Target Margin, Elevator Repair Service, co-founder Arden Party. Regional: Travesties (McCarter Theatre); John Ross Bowie’s Brushstroke (Odyssey, L.A.). Film & TV: Oppenheimer, The Fabelmans, American Splendor, Henry Fool, Difficult People, Review, The Office, For All Mankind, Better Call Saul, Palm Royale and The Venture Bros. With Brie Williams he co-wrote the scripted podcasts Getting on with James Urbaniak, A Night Called Tomorrow and I Will Never Lie to You
LUKE WYGODNY*, Musician / Original Music
La Jolla Playhouse: Hundred Days. SingerSongwriter/Actor based in NY’s Hudson Valley. Luke composed and performed the music for the world-premiere Pulitzer Prize-winning play, Primary Trust at Roundabout and is now honored to bring it over to the West Coast! National Tours: Once, American Idiot and Soul Doctor. Regional Credits: Godspell as Judas (PCLO); Disappearing Man as Jack (St. Louis Rep) and more. Wygodny writes and performs with his Americana/Folk band The Heartstrings Project. Follow for updates! @Lukewygodny @Theheartstringsproject
DIANNE YVETTE, Understudy
La Jolla Playhouse: Debut. Regional: The Colored Museum (Common Ground Theatre); The COVID Monologues (online/Breath of Fire Latina Theater Ensemble); Old Globe Community Voices series. Selected Regional: Man in Love (Kansas City Rep); By the Way, Meet Vera Stark, Eclipsed (Unicorn Theatre); Nine Who Dared, Miracle Worker (Coterie); Hamlet (Kansas City Actors Theatre). Education: Theatre and Film, University of Kansas.
EBONI BOOTH, Playwright is a writer and actor from New York City. Her plays include Primary Trust (Roundabout Theatre; Pulitzer Prize for Drama, Outer Circle Critics Award) and Paris (Atlantic Theater). For television, she has written for Hulu’s We Were the Lucky Ones and HBO Max’s Julia. As an actor, Eboni has appeared in productions at Playwrights Horizons, LCT3, Manhattan Theater Club, Ars Nova, WP Theater, Page 73, Soho Rep., Clubbed Thumb and more. Eboni is a resident playwright at New Dramatists, and the recipient of a Dramatists Guild Horton Foote Award, a Steinberg Playwright Award and a Helen Merrill Award for Playwriting. She is a graduate of Juilliard’s playwriting program and the University of Vermont.
KNUD ADAMS, Director
is an Obie Award-winning director of artful new plays, based in NYC. His world-premiere productions include the consecutive Pulitzer Prize winners English and Primary Trust, and this season, he will direct English on Broadway. His shows have been lauded by critics as “cinematically precise” and “customarily gorgeous,” and have been celebrated on Best of the Year lists by The New York Times, New York Magazine, The New Yorker and The Washington Post. Knud is an alumnus of the Drama League Next Stage Residency and Fall Directing Fellowship, Soho Rep Writer/ Director Lab, Playwrights Horizons Directing Residency, and Kenyon College. www.knudadams.com.
MARSHA GINSBURG, Scenic Designer
is a visual artist and stage designer working between performance, opera and photo/installation formats. She received her M.F.A. from NYU Tisch and B.F.A. from the Cooper Union School of Art and post-grad Whitney Museum Independent Study Program. She has designed spaces and clothes for theaters and museums in NYC, regionally throughout the United States and internationally (Germany, Switzerland, France, Greece, UAE). Recent US work: The Lehman Trilogy (Shakespeare DC/ Guthrie Theater); Primary Trust (Roundabout); English, I’m Revolting (Atlantic Theater); A Tender Thing (Barrington Stage); Treemonisha (Opera Theater Saint Louis). Upcoming: English at Roundabout; Data (Arena Stage); Don Pasquale (Opera Theater Saint Louis). Grants/Awards: Obie Award for the Creative Team of English; Obie Award for durational installation Habit (with David Levine); multiple residencies at MacDowell Colony and Robert Wilson's Watermill Center. Rome Prize, the American Academy in Rome. A dedicated educator, she is currently an Associate Arts Professor at NYU Abu Dhabi.
SOPHIA CHOI, Costume Designer
La Jolla Playhouse: Debut. Broadway: KPOP (Tony Award nomination). Off-Broadway: White Rose: The Musical (LDK Productions), Notes on My Mother’s Decline (The Play Company & ABTC). Regional: Cult of Love (Berkeley Rep), An Enemy of the People (Yale Rep). Other selected theatre credits: Intelligence (Edinburgh Festival Fringe), Anna May Wong: The Actress Who Died a Thousand Deaths (Mabou Mines). Assistant design credits: Sinking Spring (Apple TV+), Kaleidoscope (Netflix), White House Plumbers (HBO). Education: M.F.A. in Design from Yale School of Drama, B.F.A. in Theatre Design & Production from VCU School of the Arts. @sophiachoi
MASHA TSIMRING, Lighting Designer
La Jolla Playhouse: to the yellow house. Off-Broadway: Six Characters (LCT3); Staff Meal (Playwrights Horizons); Grief Hotel (Clubbed Thumb); Sad Boys in Harpy Land (Playwrights Horizons/ Abrons Art Center); Terce (Prototype); Self Portraits (Bushwick Starr); Montag (Soho Rep). Regional: English (Barrington Stage Company); Eternal Life, Part 1 (The Wilma); The Appointment (Lightning Rod Special); Vietgone (Guthrie); Tick, Tick…Boom! (Portland Center Stage). Dance/Opera: Me. You. We. They. (LA Dance Project); Deepe Darknesse (Lisa Fagan/Lena Engelstein); The Hunt (Miller Theater); Rodelinda (Hudson Hall); Der Freischütz (Wolf Trap Opera). She is a proud member of USA829. More info at www.mashald.com.
MIKAAL SULAIMAN, Sound Designer
La Jolla Playhouse: Debut. Broadway: Enemy of the People, Doubt, The Thanksgiving Play, Fat Ham, Death of a Salesman, Cost of Living [Composer], Macbeth, Thoughts of a Colored Man. Off-Broadway: pray (Ars Nova), Primary Trust (Roundabout), On Sugarland (NYTW), Sanctuary City (NYTW), Fairview (Soho Rep), Underground Railroad Game (Ars Nova), among others. Awards: Tony Award nom, Drama Desk nom(s), Obie Award(s), Creative Capital Award, Henry Hewes Award(s), Audelco Award and CTG Sherwood Award. www.mikaal.com
For La Jolla Playhouse: Velour: A Drag Spectacular, Derecho, Babbitt, to the yellow house, Here There Are Blueberries and The Coast Starlight, as well as many readings and workshops. Select credits, theater: Frankie and Johnny in the Clair de Lune (Broadway), Fairview (2019 Pulitzer Prize for Drama; Soho Rep, TFANA, Berkeley Rep), Here There Are Blueberries (Shakespeare Theatre Company, NYTW and the upcoming National Tour) and Public Obscenities (Soho Rep, Woolly Mammoth Theatre, TFANA). tbd casting co. cast the award-winning film In the Summers, written/directed by Alessandra Lacorazza, which won the Grand Jury Prize at Sundance Film Festival and was an official selection of Tribeca, Cartagena, LA Liff Film Festivals). It will be released in select cities this fall. @tbdcastingco
DEAN REMINGTON*, Stage Manager
La Jolla Playhouse: The Ballad of Johnny and June, The Outsiders, The Luckiest, Annual Gala, WOW Festival. National Tours: The Lion King, Disney’s Beauty and the Beast. Regional: Outside Mullingar, Manifest Destinitis (San Diego Rep); The Outsider (North Coast Rep); Natasha, Pierre & The Great Comet of 1812, Pride and Prejudice, When the Rain Stops Falling, Every Brilliant Thing, Sharon, The Virgin Trial, The Wind and the Breeze, The Effect of Gamma Rays..., Shockheaded Peter, A Christmas Carol (Cygnet Theatre). International: Cameron Mackintosh’s Hey, Mr. Producer!, Grease, 42nd Street, Anything Goes, A Chorus Line, Meet Me in St. Louis.
ALEXA BURN*, (she/her) Assistant Stage Manager
La Jolla Playhouse: Derecho. Select credits include Clyde’s (ASM) at the Denver Center; The Royale (SM) at American Players Theatre; Bald Sisters (SM) at San Jose Stage; Intimate Apparel (ASM), The Three Musketeers (ASM), Chicken and Biscuits (ASM), The Great Leap (ASM), Grand Horizons (ASM) and Hood (ASM) at the Asolo Repertory Theatre; and The Code (SM) at American Conservatory Theatre SF. Alexa was also a stage manager at the Disneyland Resort for many years, working with the Disneyland Band, Dapper Dans, and many more.
LILY FITZSIMMONS‡ , Stage Management Resident
La Jolla Playhouse: Debut. Regional: The Seagull (Steppenwolf); King Lear, Love's Labour’s Lost (St. Louis Shakespeare Festival). UC San Diego: Cancelina, X, The Promise, I Found a Zipper, Blu, Machinal. Other: COVID Safety Manager (Steppenwolf, The Muny), Production Coordinator for Pam Farr Summer Shakespeare Studio (The Old Globe), Event Coordinator for The Polar Express Train Ride St. Louis (SLAY Events). Education: M.F.A. candidate from UC San Diego.
AUDIENCE ENGAGEMENT EVENTS PRIMARY TRUST
Talkback Tuesdays
Participate in a lively discussion with performers and Playhouse staff members immediately following these performances.
Tuesday, October 1 and 8 after the 7:30 pm performances
Access Performance
On select performances, La Jolla Playhouse provides American Sign Language interpretation for audience members who are d/Deaf or hard-of-hearing and audio description for patrons who are blind or have low vision.
Saturday, October 12 at 2:00 pm
Discovery Sunday
Join special guest speakers post-performance as they engage audience members in a moderated discussion exploring the themes in the play.
Sunday, October 13 after the 1:00 pm performance
by Samantha Laurent
Photo by Peggy Ryan
Photo
PLAYHOUSE LEADERSHIP
CHRISTOPHER ASHLEY, (he/him) The Rich Family Director of La Jolla Playhouse has served as La Jolla Playhouse’s Artistic Director since 2007. During his tenure, he directed the world premieres of Come From Away, The Untitled Unauthorized Hunter S. Thompson Musical, Babbitt, Diana: The Musical, Memphis, Escape to Margaritaville, The Squirrels, A Dram of Drummhicit, Restoration and Chasing the Song, as well As You Like It, His Girl Friday, Glengarry Glen Ross, A Midsummer Night’s Dream, Freaky Friday and Xanadu. He also spearheaded the Playhouse’s Without Walls (WOW) initiative, the DNA New Work Series and the Resident Theatre program. Mr. Ashley Come From Away for AppleTV+ and Diana: The for Netflix. Other screen credits include the feature films , and the American Playhouse production of Blown Sideways Through Life for PBS. Mr. Ashley’s Broadway credits include Come From Away (Tony and Outer Critics Circle Awards), Diana: The Musical, Escape to Margaritaville, Memphis (Tony Award nomination), Xanadu, Leap of Faith (Drama Desk Award nomination), All Shook Up and The Rocky Horror Show (Tony, Drama Desk, Outer Critics Circle Award nominations). He also helmed productions of Come From Away in London (Olivier Award nomination), Toronto, Australia and on national tour. Other national tours include Escape to Margaritaville, Memphis, Xanadu, All Shook Up and Seussical: The Musical. Additional New York stage credits include Blown Sideways Through Life, Jeffrey (Lucille Lortel and Obie Awards), The Most Fabulous Story Ever Told, Valhalla (Lucille Lortel Award nomination), Regrets Only, Wonder of the World, Communicating Doors, Bunny Bunny, The Night Hank Williams Died and Fires in the Mirror (Lucille Lortel Award), among others. Mr. Ashley is the recipient of the Princess Grace Award, the Drama League Director Fellowship and an NEA/TCG Director Fellowship.
DEBBY BUCHHOLZ, (she/her) Managing Director of La Jolla Playhouse joined the Playhouse in 2002, serving first as General Manager before becoming Managing Director. She is President of the League of Resident Theaters (LORT) and a member of its Executive Committee. She is a recipient of a San Diego Women Who Mean Business Award from The San Diego Business Journal. Prior to joining La Jolla Playhouse, she served as Counsel to The John F. Kennedy Center for the Performing Arts and the National Symphony Orchestra in Washington, D.C. She was a faculty member of the Smithsonian Institution’s program on Legal Problems of Museum Administration. Prior to The Kennedy Center, she served as a corporate attorney in New York City and Washington, D.C. She is a graduate of UC San Diego and Harvard Law School. Ms. Buchholz and her husband, noted author and White House economic policy advisor Todd Buchholz, live in Solana Beach and are the proud parents of Victoria, Katherine and Alexia.
DES McANUFF, (he/him) Director Emeritus is a two-time Tony Award-winning director and served as La Jolla Playhouse’s Artistic Director from 1983 through 1994, and from 2001 through April 2007 where he staged over 30 productions of classics, new plays and musicals. Under his leadership, the Playhouse garnered the Tony Award for Outstanding Regional Theatre. He is also the former Artistic Director of Canada’s Stratford Festival and co-founder of Broadway’s Dodgers. Broadway: Ain’t Too Proud, Summer, Doctor Zhivago, Jesus Christ Superstar, Guys and Dolls, Aaron Sorkin’s The Farnsworth Invention, Jersey Boys (Tony and Olivier Awards: Best Musical), Billy Crystal’s 700 Sundays (Tony Award: Best Special Theatrical Event), Dracula the Musical, How to Succeed in Business Without Really Trying, The Who’s Tommy (Tony and Olivier Awards: Best Director), A Walk in the Woods, Big River (Tony Awards: Best Director, Best Musical). Selected New York: Fetch Clay, Make Man (NYTW); multiple productions at The Public and BAM. Stratford highlights: A Word or Two, Caesar and Cleopatra, The Tempest (all with Christopher Plummer), Twelfth Night (with Brian Dennehy). Opera: Faust (The Met, ENO). TV: 700 Sundays (HBO). Film: Cousin Bette (director, with Jessica Lange), The Iron Giant (producer, BAFTA Award) and Quills (executive producer). He has an honorary doctorate from Toronto Metropolitan University (formerly Ryerson University), and in 2012, he was awarded Canada’s Governor Generals National Arts Center Award and the Order of Canada. His new version of The Who’s Tommy recently opened on Broadway in March, 2024.
ERIC KEEN-LOUIE, (he/him) Artistic Producing Director joined the Playhouse in 2018 as Producing Director, before becoming Executive Producer in 2021. He previously worked at The Old Globe (Associate Producer and Associate Artistic Director) and The Public Theater (Assistant to the Associate Producer and Director of Special Projects). He assisted Broadway producer Margo Lion on Hairspray and Caroline, or Change. He is a graduate of Columbia University where he received his M.F.A. in Theatre Management & Producing as a Dean’s Fellow and New York University where he earned a B.A. in Dramatic Literature. He serves as Secretary on the National Alliance of Musical Theatre’s Board of Directors. He is a proud third-generation Chinese-American and is married to Anthony Keen-Louie, a local mediator and Associate Ombuds at UC Santa Cruz.
LA JOLLA PLAYHOUSE
is a place where artists and audiences come together to create what’s new and next in the American theatre, from Tony Award-winning productions, to imaginative programs for young audiences, to interactive experiences outside our theatre walls. Founded in 1947 by Gregory Peck, Dorothy McGuire and Mel Ferrer, the Playhouse is currently led by Tony Award winner Christopher Ashley, the Rich Family Artistic Director of La Jolla Playhouse, and Managing Director Debby Buchholz. The Playhouse is internationally renowned for the development of new works, including mounting 120 world premieres, commissioning more than 70 new works, and sending 36 productions to Broadway – among them the hit musical Come From Away – garnering a total of 42 Tony Awards, as well as the 1993 Tony Award for Outstanding Regional Theatre.
VALUES STATEMENT
Welcome to La Jolla Playhouse, where we believe that stories enhance the human experience, instill empathy and help us see the world in new ways. We respect all races, ethnicities, cultures, physical/cognitive abilities, ages, genders and identities, and endeavor to be an anti-racist and accessible organization that removes barriers to engagement. As a community of life-long learners who celebrate the spirit of play, we innovate and collaborate to bring theatre to life.
We practice empathy by listening, challenging our assumptions and staying open to all perspectives.
We respect and recognize the complexities of all lived experiences, identities and cultural backgrounds. We honor the Kumeyaay Nation, the original caretakers of the land on which our theaters sit. We will fight against anti-blackness, the many forms of racism directed at BIPOC (Black, Indigenous, People of Color) and all types of discrimination and harassment, to be a more inclusive space where everyone feels welcome onstage and off.
We work with our community to identify, understand and address ways to make our theatre more equitable and accessible.
We infuse the spirit of play into everything we do, sparking creativity, fun and life-long learning.
We innovate and take risks to propel theatre as an art form and as a pathway toward fostering belonging and enhancing human connection.
We collaborate by prioritizing inclusive practices from which diverse voices, talents and ideas can strengthen engagement and creative thinking.
We vow to grow and embrace these values. When we falter, we will hold ourselves accountable through transparent communication, measurable outcomes, selfreflection and humility. With great joy and a strong sense of responsibility, we commit to these values in every aspect of our work.
MISSION STATEMENT
La Jolla Playhouse advances theatre as an art form, telling stories that inspire empathy and create a dialogue toward a more just future. With our intrepid spirit and eclectic, artist-driven approach we will continue to cultivate a local, national and global following with an insatiable appetite for audacious work. We provide unfettered creative opportunities for a community of artists of all backgrounds and abilities. We are committed to being a permanent safe harbor for unsafe and surprising work, offering a glimpse of the new and the next in American theatre.
SITTING WITH THE UNKNOWN
A conversation between Primary Trust playwright Eboni Booth and Roundabout Theatre Company’s Leah Reddy.
LR: What is your theatre origin story?
EB: My background is in acting. When I was a kid, maybe nine or 10, my mom saw an ad in the local newspaper — Lehman College was having auditions for Charlie and the Chocolate Factory. It was a college production, but they were looking for some actual young kids to play the younger characters. And I got cast in that. And that was sort of my first real introduction to doing a play. I had the experience of a lot of people coming together in a short amount of time trying to make something, and it really lit me up. I think that’s what sort of stuck with me most, and probably what I hang onto now with theater-making: that sense of community and the togetherness of the group effort to make something that wasn't there before.
LR: After that first experience at Lehman, were there any experiences or teachers that kept you going on the theatre path?
EB: I went to sleepaway camp every summer and I would do the musicals there. I don't sing, but they were very lovely and patient with me and would either get rid of my character’s songs or let me talk-sing my way through. I went to LaGuardia, a performing arts high school, and it was an incredible environment where you devote half your day to studying your craft. Being young, being exposed to that kind of work, being taken seriously as a creative person was really, really life changing.
As an adult, I had an acting teacher, Tony Greco, who was the last in a long line of teachers who helped me understand the kind of work that I want to make. There's a lot of fidelity to the truth in his work. And I can see how it affected my approach to acting and writing — I find myself trying to smoke out what feels real, what feels true, what feels like it reminds me of something that I've encountered myself. Tony also helped me resist every urge I had to step over things that were hard or uncomfortable. Developing a tolerance for discomfort has helped me tremendously, both onstage and off, and I have found that an ability to sit with the unknown has deepened my work.
LR: You mentioned starting your career as an actor. How did playwriting become a part of your career?
EB: I felt so lucky to be acting all the time, but to be totally honest, it wasn't quite enough to sustain me. The waiting for auditions, waiting to be chosen — it began to wear me down. Over time, I also found it increasingly tricky, always serving someone else's vision and voice. There was also a practical consideration — I was working pretty consistently OffBroadway, but I had no money. So by the time I reached my late 30s, I was trying to see if there were other ways I might be able to support myself.
A writer/actor friend of mine, Boo Killebrew, took me out for drinks one night, encouraged me to try writing, and that conversation changed so much for me. I was initially daunted, like, "oh Lord, I can’t write a play." But then I started thinking about how much I had learned as an actor. And specifically what I had learned from doing new play development. Workshops and readings teach you so much about how stories get put together and how worlds come alive. And I’d always been a big reader, so
writing scripts became a way to stitch together these disparate parts of myself.
I wrote one play, and it wasn’t good at all. And then I wrote another that was a little less dookie. And then I took a bunch of writing classes at Primary Stages’ school, ESPA, and wrote another play that was maybe 8% better. And I kept going. And little by little I got closer to...I don't know about "good", but I started to circle around what it was that I wanted to say. I found my voice.
LR: What was your inspiration for Primary Trust?
EB: I worked in bars and restaurants for a really long time as I pursued acting, and I sometimes found it hard to manage my relationship to alcohol. When I was in my 20s, it was very thrilling — shots and making cash every night and feeling like anything was possible after the right number of cocktails. But as I aged, I found that a certain kind of drinking called up my demons in an uncomfortable way. I wasn’t the type to grow a whole new personality when I drank, but I was definitely flooded by my past and my fears for the future in a way that frightened me.
I also saw a lot of regulars as a bartender. I worked at places where we had some people who came in every night of the week, every day of the year. I had a curiosity about their lives. I think I’m drawn to stories of loneliness and people who are trying to do battle, however quietly, with the feeling of being isolated. So it wasn’t conscious, but I think writing Primary Trust was my way to better understand moments in my life where I felt very alone and very sad and often very drunk. Times when I wanted to connect
with people but wasn't completely sure how to go about it.
LR: Primary Trust takes place in a suburb of Rochester, New York, and another play you wrote, Paris, takes place in Paris, Vermont. Do you have a sense of what role geography plays in your work?
EB: I'm from the Bronx and have spent most of my life in New York City, but I think there is a part of me internally, a little spiritual piece, that's better suited to a smaller place. I’ve spent a lot of time in the northeast, in towns and small cities in New England and upstate New York, and there’s something about the region that is very evocative to me. The landscape is beautiful and sad — the green of spring and summer, the changing leaves of fall, the bareness of winter. The towns and cities that were once prosperous are now struggling. It gets really, really cold. It can be hard to know what to do with yourself at 4pm once the sun has set.
I think I’m also interested in the idea some of us have that smaller places offer security and stability that big cities don't. In New York City, we kind of know that the debauchery and evil is laid bare — I see 10 private parts a day on my morning subway commute. But in other places, I’m curious about the attempts at concealment and the kind of mysteries that emerge by shoving things into the shadows.
LR: What advice do you have for emerging playwrights?
EB: Finish what you start. It’s hard and painful and, at least for me, I’m always shocked and horrified by how bad a first draft can be. But I have so many half-scripts sitting in drawers, and I don’t think I became a writer until I began
to see things through to an end, however bumpy. I think it can build confidence and stamina: okay, I wrote this draft, I don’t want anyone to see it because it’s so flipping bad, but how can I make it better? And then you can maybe start to double down on craft as you figure out how to get this idea to stand up in someone else’s imagination.
Something else that’s helped me as I was starting to write was keeping my envy and self-hatred in check and really trying to be a supportive community member. It's hard, and it's gotten even worse after the pandemic — resources are so limited and we're all vying for the same few spots. But I think that to be generous with other people and to find a way to be generous and patient with yourself as you navigate this complicated industry is a good skill to have.
I'll say the other thing that was probably the most useful was to really use my taste as my guide. I think I spent the first few years as a writer trying to — and this is part of the process, you sort of imitate other people. You imitate people who are better than you, the people you like, the people you've been watching and reading. That’s part of learning, but I think I spent too much time trying to be like other writers and not thinking enough about what I really wanted to say. I wanted to seem smart, I wanted people to love me, but I wasn’t connected to the things that made me want to write in the first place. When I started writing things that were related to what I like to watch and read, when I started writing about the stuff that keeps me up at night, that’s when I started finding my voice. This interview was originally featured in RTC Upstage Guide, 2023. Courtesy of Roundabout
Theatre Company.
BOARD SPOTLIGHT
WHY I SUPPORT THE PLAYHOUSE
It’s a family affair. My wife, Hilary, majored in musical theatre at SDSU and sang professionally throughout her 20s. Our daughter, Haley, just graduated from Boston Conservatory with a B.F.A. in Musical Theatre. Me, well, I distinctly remember being mesmerized by my high school production of Fiddler on the Roof and seeing A Chorus Line at least three times in the early '80s, before getting sidetracked by my climb up the corporate ladder.
After trying soccer, basketball and volleyball, Haley found her passion in theatre and the Dunnings were all in. Haley participated in La Jolla Playhouse’s summer youth program twice and we enjoyed many Playhouse productions in her younger years, such as The Hunchback of Notre Dame, Freaky Friday and SUMMER: The Donna Summer Musical, along with numerous NYC "Broadway Binge" trips. Post-grad, Haley is auditioning and plans to continue her theatre education. Hilary released her CD of all original songs a decade ago, and I continue to torment them both by singing "To Life!" around the house or in the car.
Getting involved in the Playhouse was a natural fit. I firmly believe in giving back to the community that has given so much to us. I am awe-inspired by the constant parade of new works that come out of the Playhouse, the amazing creative work of Christopher Ashley and how incredibly well the Playhouse is run under the guiding hand of Debby Buchholz. We are big supporters of the DNA New Work Series, love the steadfast commitment to DEI and believe in the ability of La Jolla Playhouse to play a significant role in bringing our community together.
LA JOLLA PLAYHOUSE BOARD
OF TRUSTEES
SHERI L. JAMIESON
Chair
DENISE BEVERS
First Vice-Chair
MICHAEL FLASTER
Second Vice-Chair
ANNIE ELLIS
Secretary
SCOTT M. STANTON, Mintz
Treasurer
TRUSTEES
Weston Anson
Christopher Ashley**
Susan Gembrowski Baker**
Michael Bartell
David Brenner
Sanford Burham Prebys
Ralph Bryan*
Debby Buchholz**
Randy Camp
Robert Caplan
Seltzer Caplan McMahon Vitek
Lisa Casey
Ann Cathcart Chaplin
Qualcomm
Randall Clark*, Sempra
Mary Coleman**
Stephen Coleman, PNC Bank
Doug Dawson
Edward A. Dennis, Ph.D.
Susan Dubé
Hal Dunning
Emily Einhorn
Ray Flores**
Judy Garrett
Justin Gleiberman
Lynn E. Gorguze
Luke Gulley, Show Imaging, Inc
Kay Gurtin
Clark Guy
Bank of America Private Bank
Dean Haas
Osborn L. Hurston, US Bank
Debby Jacobs
Pradeep K. Khosla, Ph.D.**
Chancellor, UC San Diego
Veronica Leff
Bena Leslie**
Lynelle Lynch*
Margret McBride*
Lorne Polger
Byron Pollitt
Karen A. Quiñones
David I. Reynoso**
Becky Robbins
Phillip Rudolph
Robin Rusinko
Shane Shelley, Morrison Foerster
Karen Silberman
Delicia Turner Sonnenberg**
Suzi Sterner**, UC San Diego
Marjorie Mae Treger**
Erin Trenda, Cooley, LLP
Mary Walshok, Ph.D.
Barbara ZoBell
HONORARY TRUSTEES
Peter Cowhey, Ph.D.
Ivan Gayler
John Goodman
Jeanne Jones
Julie Potiker
Steven M. Strauss*
Geri Ann Warnke*
Gary Wollberg*
Robert Wright, Esq. Wright, L’Estrange & Ergastolo
EMERITUS TRUSTEES
Rita Bronowski (1917-2010)
David Copley (1952-2012)
Ted Cranston (1940-2012)
Milton Fredman (1920-2005)
Ewart W. Goodwin, Jr.* (1938- 2019)
Joel Holliday* (1939-2022)
Joan Jacobs (1933-2024)
Marian Jones Longstreth (1906-1997)
Hughes Potiker (1925-2005)
Sheila Potiker (1930-2011)
Jeffrey Ressler* (1943-2022)
Ellen Revelle (1910-2009)
Roger Revelle (1909-1991)
Willard P. VanderLaan, M.D.* (1917-2012)
Arthur Wagner, Ph.D. (1923-2015)
Mandell Weiss (1891-1993)
1947 FOUNDERS
Mel Ferrer
Dorothy McGuire
Gregory Peck
*Past Chair of the Board **Ex-Officio
List as of August 2024
Photo Credits: (Top Row) Sheri L. Jamieson and Christopher Ashley; Delicia Turner Sonnenberg and Noelle Viñas (Bottom row) Gail and Ralph Bryan with Bill Georgis; Wes Anson, Denise Bevers, Lynelle Lynch, Ed Dennis
PRIMARY TRUST PRODUCTION DEDICATION
Brian and Silvija Devine
The Devines have been ardent Playhouse subscribers and donors for decades, sponsoring more than a dozen productions, including the world premieres of Bhangin’ It, The Coast Starlight, Wild Goose Dreams, SUMMER: The Donna Summer Musical, Hollywood and Blueprints to Freedom. Their generosity has helped the Playhouse bring so many thrilling new plays and musicals to the stage over the years. We were deeply saddened by Silvija’s passing this August, and in honor of her and Brian’s commitment to the Playhouse mission, we are dedicating this production of Primary Trust to the Devines.
PRIMARY TRUST PRODUCTION SPONSORS
Karen and Jeff Silberman
We are thrilled to support the 2024 Pulitzer Prize winner for drama, Primary Trust! The play explores the challenges of navigating the world after unexpected changes, and how endings can lead to even greater beginnings. We are great lovers of literature, as evidenced by our deep passion for another great San Diego nonprofit, Words Alive! Similar to literature, live theatre encourages reflection on our own values, relationships and choices. Primary Trust offers a unique mirror to audiences by sharing this story of love, balance, change and time. We hope you enjoy!
Margarita and Philip Wilkinson
It is such an honor to sponsor a work that combines the challenges of navigating unexpected changes and the friendship that comes out of our darkest times, into a heartwarming story. Not only is Primary Trust the winner of the 2024 Pulitzer Prize for Drama, but it is a perfect example of La Jolla Playhouse doing what it does best, providing a safe haven to share stories that deserve the spotlight. We are thrilled to sponsor this show and hope you enjoy it as much as we do!
We are proud of our partnership with La Jolla Playhouse. The important intersection of art, science, and collaboration is where innovation thrives. Scientific discovery relies on creativity and collaboration, values that are also embodied in the groundbreaking performances developed at the Playhouse.
LA JOLLA PLAYHOUSE FOUNDATION & GOVERNMENT SUPPORT
$100,000 +
$50,000 - $99,999
Mandell Weiss Charitable Trust
$25,000 - $49,999
County of San Diego
Laurents / Hatcher Foundation
National Endowment for the Arts: Creative Forces
$10,000 - $24,999
David C. Copley Foundation
Dutch Culture USA
Peggy and Robert Matthews Foundation
Performing Arts Fund NL
Price Philanthropies Foundation
San Diego Scottish Rite Community Foundation
Ellen Browning Scripps Foundation
William Hall Tippett and Ruth Rathell Tippett Foundation
$5,000 - $9,999
Thomas C. Ackerman Foundation
Charles & Ruth Billingsley Foundation
National Alliance for Musical Theatre
John and Marcia Price Family Foundation
$1,000 - $4,999
City of Carlsbad’s Cultural Arts Office
Samuel I. & John Henry Fox Foundation
Cynthia and George Mitchell Foundation
Netherland-America Foundation
Arthur and Jeanette Pratt Memorial Fund
Sutherland Foundation
Western States Arts Federation (WESTAF)
$250 - $999
Actors' Equity Foundation
In-Kind
Gary Sinise Foundation
List as of August 2024
LA JOLLA PLAYHOUSE CORPORATE CIRCLE
LA JOLLA PLAYHOUSE: ANNUAL SUPPORT FROM INDIVIDUALS
THE ARTISTIC DIRECTOR'S CIRCLE - $100,000 AND ABOVE
Roberta C. Baade Charitable Fund
Denise and Lon Bevers
Theodor S. and Audrey S. Geisel Fund
Kay and Bill Gurtin
Jeanne L. Herberger, Ph.D.
Joan and Irwin Jacobs
Sheri L. Jamieson
La Atalaya Fund
Rebecca Moores Foundation
Jordan Ressler Charitable Fund of the Jewish Community Foundation
SEASON SPONSORS -
$50,000+
Anonymous
Weston Anson
Melissa and Michael Bartell
Gail and Ralph Bryan
Brian and Silvija Devine
Estate of Pauline Foster
Hanna and Mark Gleiberman
Lynn Gorguze and Scott Peters
Debby and Hal Jacobs
Perlmeter Family Foundation
Karen and Jeff Silberman
Les J Silver and Andrea Rothschild-Silver
Molli Wagner
Peggy Ann Wallace
PLAYWRIGHTS CIRCLE -
$25,000+
Christopher Ashley and Ranjit Bahadur
Stern Leichter Foundation
The Paula Marie Black Endowment for Women's Voices in the Art of Theatre
Susan E. Dubé
Dwight Hare and Stephanie Bergsma
Gary and Jerri-Ann Jacobs
Jeff and Annie Jacobs
Jeff and Carolyn Levin
Lynelle and William Lynch
Margret and Nevins McBride
Maryanne and Irwin Pfister
Julie and Lowell Potiker Fund of the Jewish Community Foundation
Robin and Larry Rusinko
Pamela J. Wagner and Hans Tegebo
Philip and Margarita Wilkinson
LEADERSHIP CIRCLE -
$15,000+
Tony and Margaret Acampora
Debby and Todd Buchholz
Randy Camp and Susan Tousi
Amy Corton and Carl Eibl
Doug Dawson
Drs. Edward and Martha Dennis
Hal and Hilary Dunning
Daniel and Emily Einhorn
Annie and Charles Ellis
Sonali and Eric Fain
Michael and Susanna Flaster
Bill and Judy Garrett
Wendy Gillespie
Justin Gleiberman
Dean J. Haas
Stacy Brackon Jacobs
Veronica and Miguel Leff, Esq.
Lorne Polger and Lori Weiner
Teresa and Byron Pollitt
Brian and Paula Powers
Jeannie and Gerry Ranglas
Becky Lynne Robbins
Charitable Fund
Colette and Ivor Royston
Dawn and Phil Rudolph
Swanna and Alan Saltiel, Dan
Cameron Family Foundation
Karen and Stuart Tanz
Greta and Steve Treadgold
Mary Lindenstein Walshok, Ph.D.
DIRECTORS CIRCLE$10,000+
Anonymous
Gary and Barbara Blake Family Fund of the Jewish Community Foundation
Holly McGrath, Highland Partners Charitable Fund
Pamela B. Burkholz
Mary and Adam Cherry, Big Blue Sky Foundation
Randall and Michael Clark
Jendy Dennis Endowment Fund
Robin and Leo Eisenberg
Family
Dan and Phyllis Epstein
Mrs. Ewart (Chip) Goodwin
Starr and John Grundy
Jay Jeffcoat
Sherry and Larry Kline, Arnold and Mabel Beckman Foundation
Christy and Alan Molasky
Karen Quiñones, The Quiñones Family Trust
Linda J and Jeffrey M Shohet
Barbara ZoBell, in memory of Ellen Whelan
CELEBRATION CIRCLE -
$5,000+
Anonymous
Dede and Mike Alpert
Mrs. Valerie Ewell Armstrong and Mr. Sam Armstrong
Rick and Donna Baldridge
Alisa and David Barba, Barba
Charitable Fund
Joan and Jeremy Berg
Julie and George Bronstein, The ARJ Fund of The San Diego Foundation
Christa Burke
Robert Caplan and Carol Randolph
Pamela and Edward Carnot
Lisa and David Casey
Maureen and Lawrence Cavaiola
Gary and Marlene Cohen
Nina and Bob Doede
Doris and Peter Ellsworth, Legler Benbough Fund, San Diego Foundation
The Fredman Family
Dennis Field and Douglas Galt
Drs. Bessie and Ron Floyd
Maria Frase
Jan and Helane Fronek
Fuson Family Fund at Schwab Charitable
David Newman and Samantha Goldstein, The Jasada Foundation
Beth Goodman
Carrie and Jim Greenstein
David and Claire Guggenheim
Judith and Chris Hamilton
Tammy and Larry Hershfield
Richard Heyman and Anne Daigle
Gerald and Ingrid Hoffmeister Fund, The San Diego Foundation
Rosanne and Joel* Holliday
George and Maryka Hoover
Gail and Doug Hutcheson
Adam and Amy Jacobs
Jess Jacobs and Bryan Keller
Gina and Kent Johnson
Rob and Kathy Jones
Dr. and Mrs. Kenneth Labowe, Labowe Family Foundation
Barbara Loonin
Leslye and Scott Lyons
Michael and Catherina Madani
Patsy and David Marino
Tiffany Medina and Bruce Weisman
Brian and Tracy Melekian
Steve and Jerri Nagelberg
Wendy Nash
Grant and Aradhna Oliphant, The Conrad Prebys Foundation
Susan C. Parker
Bernard Paul and Maria Sardina
Susan Polis Schutz and Dr. Stephen Schutz
Judy Robbins
Laleh Roudi
Rick Sandstrom and Sandy Timmons
Jay and Julie Sarno
Tim and Emily Scott
Gad and Suzan Shaanan
Dawn and Ira Smalberg
Iris and Matthew Strauss
Elizabeth and Joseph Taft
Revocable Trust
David and Tina Thomas
Steven Strauss and Lise
Wilson
Richard Winkler
Michael and Lisa Witz
Debbie S. Zeligson
Diane and Robert Zeps
ACTORS CIRCLE - $2,500+
Anonymous
Stephen Miller Baird,MD and Carol Davidson Baird
Barnard Family Charitable Fund
Joni and Miles Benickes
Liz Bernal and Suzanne LaTour
Steve L. Black and Kristen Richards-Black
Cindy and Steve Blumkin
Barbara L. Borden
Michele Braatz
Loyce R. Bruce
John and Nancy Jo Cappetta
Gary and Lynette Cederquist
Diane Clarke
Marilyn Colby and Evans Family Fund of the Jewish Community Foundation
Peter Cowhey and Margaret McKeown
Elaine S. Darwin
Ana De Vedia
Marguerite Jackson Dill
Karen B. Dow
Dr. Robert and Mrs. Ann Dynes
Joyce M Gattas, Ph.D.
Joseph and Barbara Giammona
Norm and Pat Gillespie
Jim Gilmore
Kimberly and Jeffrey Goldman
Beverly Goodman
Julie Hall, Oklahoma City Community Foundation
Nishma and John Held
Col. Michael and Diana Hill
Dr. Warren and Karen Kessler
Shirley King and Arthur Olson
Michael H Kossman
Ms. Gale M. Krause, in memory of Jim Krause
Linda Lenhard and Mark Kritchevsky
Helen and Sig Kupka
Samara and Paul Larson
Dr. K.B Lim and Linda Lee Lim Foundation
Sheila and Jeffrey Lipinsky and Family
Lori and Joe Mahler
Holley and Robert Martens, Sandstone Foundation
Dennis A. McConnell
Alice Mitchell
Ilene Mittman, in memory of Dr. Charles Mittman
Gregg and Cindy Motsenbocker
Arlene and Louis Navias
Mark C. Niblack, MD
Janet and Larry Pollack
Dr. Julie Prazich and Dr. Sara Rosenthal
Claudia Prescott
Dr. William and Marisa
Rastetter
True Life Center
Scarano Family Foundation at The San Diego Foundation
Richard Shapiro and Marsha Janger
Maureen Elizabeth Sheehan
Alan and Esther Siman
Dr. Ed and Evelyn Singer
Dr. Robert Singer, in memory of Judith Harris
Dr. Doris Trauner and Mr. Richard Stanford
Linda Rankin and Rod Whitlow
Jill and Bruno Wolfenzon
Gary L. Wollberg and Dr. Yumi
Miyamoto
Howard and Judy Ziment
Emma and Leo Zuckerman
INNER CIRCLE - $1,000+
Anonymous
Hon. Louise De Carl Adler
Ahern Capital, LLC
Philip Anderson and Verónica Valdés
Lynell Antrim
Ginger and Ken Baldwin
Judith Bambace and Brian Trotier
Robert Barile
Barbara Y. Beebe
Carolyn and Giovanni Bertussi
Larry and Cindy Bloch
Paige Bosacki Santos
The Boyd-Rawlings Family
Tatiana and David Brenner
Elizabeth Brummitt and Robert Mellott
Anita Busquets and William Ladd
Cheryl and Greg Carlson
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Gilbert
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LA JOLLA PLAYHOUSE: ANNUAL SUPPORT FROM INDIVIDUALS
Drs. Tom and Cindy Goodman, in honor of Whitney Goodman
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Family Foundation
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Kavoulakis
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Dolby
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Beverly Sanborn, in memory of
Warren Sanborn
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Ann Schnall
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Family Foundation
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Erlenborn
Dean Ujihara Charitable Fund
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Helene and Allan Ziman Fund of the Jewish Community Foundation
CENTER STAGE CLUB - $500 AND UP Anonymous • Robin Allgren, MD PhD • Robert Baizer and Diane Jacobs Baizer • Lisa Celia Balderston • Francis and Diane Bardsley • Patricia Bloodgood and Chris Cleveland • Nina and Tony Borwick • Cherisse Brantz • Cliff and Lorie Briggs, in honor of Beatrice Briggs • Jaron Brooks • Jeanne Burton • Kyle Chan and Cathy Swindlehurst • Chris Cheever, in memory of Andy Thomas • June Chocheles • Denis M. Crane, in memory of Rilla Crane • Don and Julie DeMent • Ronald L Diepenbrock • Heather Dietsch • Kim and A.T. Ditty • Rosalyn and Tim Dong • Beth and Stephen Doyne • Bob Duffield • Dr. and Mrs. Ronald Edelson • James and Marti Eisenberg • Debroah and J Faulkner • Jason Feinstein • Debra Fields • Judith and William Friedel • Shannon-Frink Family Gift Fund • Anne and Mark Smith • Bonnie Gibbs • Martha and Bill Gilmer • Russell H Ginns • Mayor Todd Gloria • Michael and Brenda Goldbaum • Judi Gottschalk • Stephen and Karen Gray • Ed Greulich • Pat and Pepper Guevara • Terry Gulden and Renée Comeau • Bettina Hahn Osborne • Margo Hebald • Bryan Hill • Christopher Hoff • Linda Howard • Beth Hulsart and Stephen L'Heureux • Mark Jacobs • Nora Jaffe • Mark Johnson • Dario and Dan Jones • David and Susan Kabakoff • Hamide Kayaci and Oktay Gumus • Brian Kearns • Jill and Michael Kelly • Rick and Beth Kent • Laura Killmer • Jerry and Martha Krasne • Karen Sage and Charles Laughlin • Mick and Sherrie Laver • Zita Liebermensch • Gerald and Ann Lipschitz • Alejandro and Oleysa Lombrozo • Susan and Peter Mallory • Madonna Maxwell Omens • Carol Mazzetti • Maggi McKerrow, in memory of Judie McDonald • David and Patricia Meyers • Norma and Scott Miller • Helga S. Moore • Dr. and Mrs. Robert B Moore, in honor of Sheri L Jamieson • Story Ann Moreno • Greg and Andrea Moser • Susan Muha • Esther R. Nahama • Nico and Caroline Nierenberg • Kyomi O'Connor • Phyllis and Jerrold Olefsky • Beatrice E. Pardo • Pamela Partlow and Bruce Maigatter • Ms. Virginia S. Patch • Ken Pecus • John and Paula Peeling • Dr. William and Beth Penny • Sheila and Ken Poggenburg • Shirin Poustchi and Reza Ghajaripanah • Sanjiv Nanda and Urmi Ray • Margaret Riel and Hugh Mehan • Patrick Ritto • Dr. Stephen and Cheryl Rockwood • Jodyne Roseman • Mary Ruiz • Bill and Dorian Sailer • Scott Sandel and James Marich • Barbara and Guy Shaw • Emily and Lia Shen • Debbie and Dr. Darren Sigal • Marshall and Leslie Sigesmund • Beverly and Howard Silldorf • Leslie Simon • Barbara Slater • Mark and Elaine Smith • Annie So • Norman and Judith Solomon • Gary and Susan Spoto • Scott M. Stanton • Charles Stephens and Eric Meijer • Dr. Nancy Stewart, in memory of Dr. Charles Stewart • Lisa Noelle Stone and Matthew A. Lab • Carol and Mark Tager • William Tong and Marilyn Newhoff • Ray Lee and Teresa Trucchi • Twardowski Family • Ruth Passow Warburg • Ted Scott and Joan Weber • Jennie Jackson Werner • Jean M Wilkinson • Susan and Jock Wright • Brendan and Kaye Wynne • Susan Yee
OVATION CLUB - $250 Anonymous • Paula and Ted Adams • Jenice Alduenda - Heartlinc Marketing • Sharon and Terry Allen • Janet Ambrozek and Bruce Kimmich • Rich and Mary Lou Amen • Sheila Amend • Judith Anderson • Gil and Annabelle Balaoing • John Balen • John Baril • Mireille Barnard • The BenMichel Family Fund of the Jewish Community Foundation • Arnold Berlin • Gerlinde and Greg Beuerlein • Nicholas and Samantha Binkley • Alice Bloom • Joyce and Bob Blumberg • David and Ginger Boss • Sandra Boyles • Gregg Brandalise • Mary E. Brewer • Johanna Brody • Clare Bronowski and Jeff Lee, in memory of Rita Bronowski • Alice W. Brown • Thomas Brown, in memory of my loving wife, Virginia N. Brown • David and Heather Bruner • Dr. and Mrs. Edgar D. Canada • Rachel Caparelli • Tonya Carlos • Kathleen and Joseph Carroll, in honor of Edwin C Iliff Jr • Lorraine Chuman and Stephen Mikolajczyk • Arthur and Alice Clawson • Bowers Jewelers • Robert A Cooper • Mary Corson • Debra and Kirk Crawford • Annette Cross • Marcus and Ann De Barros • Ingrid de Llamas Charitable Fund, in honor of Keely Daximillion • Eric and Kristine Doan • Virginia Dobias • Anne and Chris Duhaime, in honor of Rebecca Duhaime • Tina Dyer • James and Nancy Eastman • Diane L. Edge DDS • Eric Eichorn • Julia Farag • Dr. Thomas Fay and Fabiola Lopez • Barbara M. Finn • Lynsey Fitzpatrick • Gregory and Monica Foerster • Gregory Foley • Pamela and L. Michael Foley • Fabienne Fox • Ellen Fujikawa • Deanne Gage • Aruna and Sabodh Garg • Philip Garland and Michael Hubbard • Roberta C Gelardi, William R Long Charitable Fund • Lynn Bell George • Hortense Gerardo • Drs. Charles and Nancy Girvin • David Glynn and Kevin Ottercrans • Lloyd and Dinia Green • Robin and Linda Grensted • Jas Grewal and Suren Dutia • Dawn Grossman • Elsa and Keith Hall • Diana and Dan Halvorson • Victoria Hamilton and Paul Hobson • James Hantske • Professor Marc and Mr James Harden • Blake Harper and Janice Deaton • Nancy Hartley • Alan Hay • Sarah Herr • Strait Hicklin • Jerry and Linda Hirshberg • Robert and Carla Hoblit • Christiane and Greg Frank • Jonnie Hoffman • Doan Hohmeyer • Hughes Family Foundation, in memory of Shannon Lisk • Jenny Price and Tony Hunter • Eric and Gay Hybertsen • Randy and Carrol Jackson • Sonya Jinich • Lisa Kain and Stephen Muckle • Michael and Linda Karin • Cecil Keener and Cristie McGuire • Jeff and Joel Harms • Mike Krupp • Robert and Elena Kucinski • Drs. Janice and Matt Kurth • Graciela Lagumen • Jeff and Judy Lash • Richard Leib and Sharon Rosen Leib Family Fund of JCF • Dr. and Mrs. Steven Leshaw • Bena Leslie • B. Leonard Levy • Lucy and Mitch Levy • John Lomac and Jill Schmidt • Eric and Lori Longstreet • Michelle Longtin • Tom Maddox and Randy Clark, in memory of Joel Holliday • Johnny Mah • Jeanne Maltese • Russell Mangerie • Robert McConnaughey • Josh and Leslie Mereminsky • Eric and Laura Michelsen • Pamela Miller • Craig and Betsy Monsell • Akiko Charlene Morimoto • Laura Morkan • Geri Nicolson • Ocean Hills Travel Club • Max and Fredda Opalsky • Bonnie Packert • Mr. and Mrs. Michael Pallamary • Carol Parker • Drs. Genevieve and Kelly Parsons • Wendy S. Pincus • Marc Poland and Ellie Werner • Kathleen Rae • Carla and Rudolph Rehm • Richard and Paula Renkin • David and Melissa Rewolinski • Woody and Sarah Rosenbach • Joan Rothenberg • Richard Roy and Celsa Spina • The Royer Family • George and Karen Sachs • Elva Salinas • Jeffrey Samberg • Frankie and Howard Schiffman • Sid and Emy Schneider • Elizabeth Segil • Amy Selich • Mr. and Mrs. Jeff Selzer • Dr. Morton and Marjorie Hansen Shaevitz • Richard and Eleanor Shorter • Scott Showalter • Drs. Ron and Marilyn Simon • Clark and Kathryn Smith • Weston Sprigg • Patti and Robb Street • Robert and Janet Stuelpner • Steve and Patty Sullivan • Charles Tanabe • Evin Terranova • Alison Thomas • Edward L. Threat, In Memory of Karin U. Threat • Andrea Migdal and Mike Tierney • Valerie Tolley • Delicia Turner Sonnenberg • John Venekamp and Clifford Schireson • Drs. Katharine Sheehan and Frederick Walker • Anne Walter • Audrey and Byron Warfield-Graham • Diane and John Watson • Rosanne and Dean Weiman • Sharon Weremiuk • LeAnn and Sam Williams • Carey Winston • Sandy Woodhouse • Peter and Donna Worcester • Bennett Wright • Summer Wynn • Catherine Yavorsky • Larry Zeiger • Steven and Cindy Zisser
LA JOLLA PLAYHOUSE: ANNUAL SUPPORT FROM INDIVIDUALS
FRIEND OF LA JOLLA PLAYHOUSE - $150 Anonymous • Jack Adcox • John and Laura Alioto • Mazin Al-Shalash • Karen Anderson and Roman Zajcew • Barbara Arledge • Maureen Arrigo • Bea Barraza • Laura Barry • Eugene and Lauren Berkenstadt • Dusty and Lynn Bernard • Danielle E Bonney • Philip and Doris Bracken, in memory of Joan Jacobs • Janis Brams • Robert and Maxine Braude • Patricia Buczaczer • Samuel and Teresa Buss • Marlene Campbell • Michael and Wendy Carey • Amy and Reid Carr • Bill Chatwell and Christine Oster • Betty Clarquist • Judith Collier • Rob and Eliza Contin • Christopher Cook • Mary and Deni Cook • Julie Cooke • Eric Corona • Lynn and Richard Cusac • Keely and Rick Daximillion • Anna De Angelis • Dwight Detter • Leslie DiBona and Steven McGivern • Beth Epperson and Paula Doss • Dr. Edward Doyle • Beverly Emerson • Barbara and Eric Emont • Drs. Linda and Gary Firestein • Beth Fischer • Judy Fogel and George Diehr • Charlotte Fortier • Pat Freeman • Richard and Karen Freeman • Joseph and Beverley Fremont • Gloria Garcia • Wayne and Martha Gerth • Custom Logos • Harry Griswold and Stephanie Webber • Dr. and Mrs. Richard C. Gross • Dr. Jeffrey Hall and Fern Platt • Alec Harootunian • Judith M. Haxo • Georgia Ann Hayashi • Jan and Mike Hegstad • Hon. Herbert Hoffman Ret. • Bryan Holker and Diane Cimarusi • Dr. and Mrs. Michael Holland • Bob and Pat Hussa • Russell E Johnson • Dr. Bruce and Carol Jordan • Erik and Sara Jorissen • Joseph Juliano • Vesa Junkkarinen • George and Susan Kaplan, in memory of Jeffrey Ressler • Dan Kaufman • Nora Khatib • Carol Klaus • Amy and Bill Koman • Lura Kulhavy • Anneli Kyner • Astrid Jeannine Lacy • Patricia Lamont • Laurel Latto • Darby See Lewis • Drs. John and Mary Sanfelippo Lilley • William Mack • Marianne Marsch-Nakamura • Marcia A. Mattson • Mac and Tort McCarter • Daniel J. McNamara • Ellen Michaels • Thomas Hilton Miller • Jeanie Milliken • Marilyn Moriarty and John Phillips • Steven Nicinski • Mark Noland • Eric and Benedicte Otterson • Kim Owens-Cree • Richard D. Perlman, MD • Penny Perryman • Mark Peterson • Ronald Evans and Ellen Potter • Cynthia James-Price and Curtis Price • Maggie Price and Joel Tobiason • Alexis and Kathleen Quiroz • Dennis Ragen and Christine Hickman • Steven and Doris Ratoff • John and Gunvor Rehfeld • Dr. Paul Abraham Rejto • The Rich Family Foundation • Connie Rittichier • Dan Romano and Alice Garfield • Steven Rosenstein • Nancy Ross • Bruce Sachs and Phyllis Trombi • James Sallis • Stephen and Sherry Saltzman • Barbara Schoenberger • Kari Lorraine Scott • Jill Skrezyna and Alex Sun • Linda Small • Marion So • Suzi Sterner • Jill Stone • Lilly Strausberg • Jill and Jeff Sugar • Ernest and Darlene Tamayo • Nancy J. Taylor • Pat Tillson • Joseph Viery • Dr. Ruth S. Waterman • Maxine Weseley • Martha White • Bill Peters and Bev Willey • Laura Williams • Mark and Lori Williamson • Kitty and Keene Wolcott • Carolyn and Peter Woodbury • Jan Elizabeth Woolsey • Sylvia and Ed Wrench • Charles Yackly • Yata Family
Reflects giving to Annual Fund, Gala Underwriting and Paddle Raises from 7/1/23 –8/22/24. We apologize for any errors or accidental omissions. Please contact the Individual Giving Office at (858) 550-1070 x134 if you would like to change your listing.
IN LOVING MEMORY Jordan Ressler, 1981-2004
A Film and Theatre graduate from Cornell University, Jordan was an adventurer with a passion for the arts. Here at La Jolla Playhouse, he served as an assistant to Des McAnuff on Billy Crystal’s 700 Sundays and was the script supervisor for Jersey Boys
The Jordan Ressler Charitable Fund of the Jewish Community Foundation was established by his parents, Vivien and Jeffrey Ressler, to honor their son and his love of theatre and film.
LA JOLLA PLAYHOUSE'S EXTRAORDINARY PLANNED GIVING DONOR COMMUNITY
Planning to Make a Difference
You can perpetuate your love of theatre through a legacy gift to support the ongoing programs of La Jolla Playhouse. Members of The Revelle Legacy Society believe strongly in La Jolla Playhouse’s mission. Through bequests in wills and trusts, beneficiary designations on retirement accounts and life insurance and other estate-planning vehicles, they have included the Playhouse in their estate planning. Make a legacy gift to La Jolla Playhouse and join a group of philanthropists who are planning for the future of the theatre you love.
For more information about making a legacy gift to La Jolla Playhouse, please contact Keely Daximillion, Director of Philanthropy, at kdaximillion@ljp.org or (858) 228-3084.
THESE GENEROUS SUPPORTERS HAVE BEEN SO INSPIRED AND, IN TURN, ARE INSPIRING OTHERS:
Anonymous
Paula and Ted Adams
Christopher Ashley
Scott Aylward
Roberta C. Baade and George F. Yee*
Quaintance Bartlett*
Roger S. Benson*
Gary and Barbara Blake Family Fund of the Jewish Community Foundation
Cynthia Bolker
Ralph° and Gail Bryan
Pamela B. Burkholz
Robert Caplan and Carol Randolph
Leslie J. Cohen*
Ted Cranston°*
Robert William Cunningham
Doug Dawson
Armando de Peralta, Sr.*
Jendy Dennis* Endowment Fund
Grace Marie Duhamel*
Suzanne Figi*
Pauline Foster*
Lisa Gerardo
Ewart* “Chip” and Sherrilyn Goodwin
David and Claire Guggenheim
Dean J. Haas
Professor Marc and Mr James Harden
Dwight Hare and Stephanie Bergsma
Denise J Harris
Diana Jillie Hill
Joel*° and Rosanne Holliday
Bob Jacobs
Joan* and Irwin Jacobs
Jay Jeffcoat
Charmaine°* and Maury* Kaplan
Olga Khitarishvili
Bill and Linda Kolb
Dr. Gloria C.L. Ma*
Mandell Weiss Charitable Trust
Valorie McClelland
Maggi McKerrow
Paul Miller
Stephen Cary Nagler
Teresa Nugent*
John O’Dea
Bernard Paul
Margaret F. Peninger*
Dr. Julie Prazich
and Dr. Sara Rosenthal
Jennette Pyne
Karen Quiñones
Jeffrey°* and Vivien Ressler
Ellen* and Roger* Revelle
Michael S. Rosenberg
Warren Sanborn*
Ruth Shepherd*
Dale and Mark Steele
Mickey Stern*
Steven Strauss° and Lise Wilson
Willard°* and Eileen* VanderLaan
Tammy Vaught
Arthur* and Molli Wagner
Peggy Ann Wallace
Geri Ann Warnke° and Joseph F. Kennedy, M.D.*
Mandell Weiss*
Dr. Steve and Lynne Wheeler
Richard Winkler
Gary L. Wollberg° and Dr. Yumi Miyamoto
Liza Zinola
*Deceased Revelle
Legacy Society Members
ºPast Chair of La Jolla Playhouse Board List as of August 16, 2024
THE PLAYHOUSE LEADERSHIP COUNCIL
The Playhouse Leadership Council (PLC) is a passionate and engaged group of civic leaders, advocates and professionals whose mission is to create a welcoming environment for new audiences. PLC members work throughout San Diego to introduce new audiences to every production and ensure that their first experience at the Playhouse is a memorable one. PLC connects a more diverse group of people the to the Playhouse and aspires to enrich and enhance the lives of all San Diegians through theatre.
GET INVOLVED! If you live, work or interact with a community you think should experience the Playhouse, contact Leadership Council at community@ljp.org.
We’ve been attending events at La Jolla Playhouse for almost 30 years, starting with Randy Newman’s Faust. We came to realize that the Playhouse is much more than a Tony Award-winning theatre, it is also a place that helps foster the next generation of theatre artists.
The Playhouse depends in large part on philanthropy to maintain the highest standards of both its productions and its Learning & Engagement programs. We’ve had the incredible experience of attending several Performance Outreach Program (POP) Tours at elementary schools around the city and witnessing students – kids who may never otherwise be exposed to live theatre – be totally enraptured by the production. Our donations go toward Learning & Engagement at the Playhouse, and we enjoy seeing results in the POP Tour and Page To Stage productions. We are also privileged to enjoy Broadway-bound productions in the intimacy of the Playhouse’s group of theatres.
Nancy Shimamoto and Dan Collins Donors since 2007
To find out more about becoming a donor, go to: www.lajollaplayhouse.org/support
WHY WE GIVE
POP TOUR AT LA JOLLA PLAYHOUSE
The 2025 POP Tour, Real News, by Christin Eve Cato and directed by Kat Yen, is a play for young audiences centering on how young people explore and understand current world events, including conflict, climate change, and rapidly-changing technology.
One of La Jolla Playhouse’s signature Education programs, the Performance Outreach Program (POP) Tour is an annual world-premiere, Playhouse-commissioned production that brings the magic of theatre to San Diego classrooms. Prior to each performance, a Playhouse teaching artist visits each school, either in person or virtually, to engage students in an interactive workshop that explores issues and themes at the core of the play. The Playhouse also provides schools with an interactive standardsbased engagement guide that enables educators to integrate the play into their curriculum. Ideal for students in grades 3 – 6.
The 2025 POP Tour will begin touring elementary schools in January. Interested in bringing the POP Tour to your school or community center? Booking begins November 1!
LEARNING & ENGAGEMENT PROGRAMS
Community Programs
The Playhouse partners with members of local affinity groups to create productions for, by, with and in the communities we serve. In addition, we provide creative opportunities for artistic development and growth for various community groups.
In-School Programs
The Playhouse partners with school districts across San Diego County to place professional teaching artists in schools for intensive artist residencies aimed at providing young people with meaningful opportunities to learn about theatre. Through the Kennedy Center’s Partner in Education program, the San Diego County Office of Education and LJP team up to provide professional development for educators on how to enhance their existing lessons with theatre strategies.
JumpStart Theatre
This three-year program provides curriculum and mentorship for a team of middle school teachers to produce musicals in their schools for the first time. After three years, the school receives continued support to maintain a viable theatre program. Supported by the Peggy and Roberts Matthews Foundation and the Sutherland Foundation.
Performance Outreach Program (POP) Tour
Each year, the Playhouse commissions a new play that addresses real concerns of today’s youth and brings a professional production to schools and community centers across San Diego County. Supported by US Bank.
Residencies and Partnerships
• UCSD MFA Residencies: 3rd-year UCSD MFA students participate in a residency within the Playhouse’s 6-show season.
• Resident Theatre Company: The Playhouse annually provides an artistic home and resources to a local theatre without a permanent space of their own.
• Good Neighbor Partnerships: The Playhouse offers opportunities to artists, theatre companies and collectives to use our spaces and resources for special projects that may not be possible without outside support.
Spotlight On Playhouse teaching artists lead classes for adults on Improv, Musical Theatre, Acting and Technical Theatre.
Student Matinees Special student matinees of selected mainstage productions are offered throughout the school year. An online engagement guide, pre- or post-show workshops, and a post-show talkback provides a deeper understanding on how a new play is uniquely developed with Playhouse staff. Supported by California Arts Council.
Young Performers’ Conservatory (YPC)
A 5-week intensive that prepares actors for serious college theatre programs; and Tech Theatre, which introduces young people to the various aspects of technical theatre. Supported by the Jordan Ressler Endowment Fund, and the Roberto Quiñones, Jr. Scholarship Fund.
Lead Supporters: California Arts Council | National Endowment for the Arts | Prebys Foundation | San Diego Foundation
PATRON SERVICES
CONCESSIONS AND DINING
Designated wheelchair-accessible seating is available and accessible parking is provided by UC San Diego in the South Parking Structure (formerly known as Osler). Wheelchair seat locations are available for wheelchair users and a companion. Additionally, a golf cart is available to assist patrons with accessibility needs to and from the drop-off location. You may pull into the Passenger/Ride Share Drop-Off area and a greeter will assist you. The Playhouse offers assisted listening devices free of charge at the Patron Information Booth for any patron who would like amplified sound (subject to availability). Please provide a credit card or ID for temporary deposit.
CHILDREN under the age of 6 are not permitted in the theatre during performances unless otherwise posted. Unaccompanied minors ages 12 and under are not permitted in the theatre. Out of respect for fellow audience members and the performers, babes in arms are not permitted in the theatre during performances.
Start your night off right with bar and concessions service from James' Place: serving beer, wine, sodas and individually-wrapped snacks. Additionally, James’ Place provides dining service starting at 5:00pm before evening performances.
HEALTH AND SAFETY
Please visit lajollaplayhouse.org/ healthandsafety for our latest policy updates.
LATE SEATING
Should you arrive late for any performance or need to leave your seat during the performance, you may be asked to wait in the lobby until an appropriate moment. To minimize any disturbance to actors or other patrons, you may stand or be seated in the first available location by House Management even if not your assigned location. Please be advised that some performances may not allow for late seating or return to your assigned seat.
PARKING
For the latest parking information, please go to lajollaplayhouse.org/parking
PATRON SERVICES is located in the lobby or courtyard of each theatre. A volunteer is available to distribute assisted listening devices and answer questions.
PHOTOGRAPHY/RECORDING DEVICES
Photography and video or audio recording of performances is strictly prohibited.
PLEASE SILENCE or turn off all electronic devices, including cell phones and watches, before the performance.
SAFETY IN THE THEATRE DISTRICT
La Jolla Playhouse is constantly working with UC San Diego Police Department and Transportation and Parking Services to maintain a safe and secure environment in the parking lots. Patrons are welcome to use the UC San Diego escort service by contacting UC San Diego Community Service Officers (CSOs) at (858) 534-9255 (WALK). Further questions regarding security, please contact UC San Diego Police at (858) 534-4357 (HELP).
STAFF
ARTISTIC
Artistic Producing Director Eric Keen-Louie
Director of Artistic Development Gabriel Greene*
Director of Experiences and Activations Mia Fiorella*
Associate Producer Amy Ashton
Executive Assistant to Christopher Ashley Rick VanNoy*
Director Emeritus Des McAnuff
Directing Fellow Kat Yen
Commissioned Artists Todd Almond, Jeff Augustin, Sam Chanse, Fernanda Coppel, Ava Geyer, Idris Goodwin, Mike Lew, Rehana Lew Mirza, Martyna Majok, Mona Mansour, Jess McLeod, MILCK, Lisa Peterson, Theresa Rebeck, Harrison David Rivers, Claudia Shear, Christopher Shinn, Octavio Solis, Jonathan Spector, Benjamin Velez, Keith Wallace, Cheryl L. West, Kristina Wong, Lauren Yee
Artist-in-Residence Maria Patrice Amon
LEARNING AND ENGAGEMENT
Director of Learning Bridget Cavaiola Stone
Director of Arts Engagement and In-House
Casting Jacole Kitchen
Learning and Engagement Manager and Casting Associate Hannah Reinert
Sound/Video Technicians Alfredo Madriga, Sarah Rad, David Silva
PRIMARY TRUST CREW
Stage Carpenter Alyssa Armstrong
Prop Runner (Lead) Val Philyaw
Light Board Operator Xavier Luevano
A1/Audio Mixer Mae Le
MOST WIDELY CIRCULATED ARTS PUBLICATION
97% READ PERFORMANCES MAGAZINE
92% READERS SAY PERFORMANCES MAGAZINE ENHANCES THEIR ARTS EXPERIENCE.
CABO
CALLING
Culture & Cuisine in San José del Cabo / by SARAH DAOUST /
A “Cabo getaway”
is often synonymous with “party time,” in which case one is likely referring to a trip to Cabo San Lucas. The bustling resort city plunked on Baja’s southern tip—where the Pacific Ocean and Sea of Cortez collide—is a playground for those seeking sun, outdoor fun and scintillating nightlife.
Yet, a Cabo getaway can also mean a quiet, restful escape for art aficionados, nature lovers and foodies—in which case one might be referring to San José del Cabo, a 25-minute drive north up the coastline. It’s the milder Cabo—a quaint, artsy, culture-rich town punctuated by colonial architecture and authentic eateries.
Grilled octopus at Los Tamarindos in San José del Cabo
Richard O’Brien’s THE ROCKY HORROR SHOW
Music, book and lyrics by Richard
Directed by Sean Murray
O’Brien
Musical Direction by Patrick Marion
Choreography by Luke H. Jacobs
September 11 - October 20
Jasmine January as Columbia
Josh Bradford as Rocky
Faith Carrion as Eddie Audrey Deubig as Janet
Drew Bradford as Brad
Jacob Caltrider as Dr. Scott
Shanyeyah White as Magenta
Nathan Madden as Frank
Allen Lucky Weaver
Eli Wood as Phantom
Linda Libby as Criminologist
Clockwise from top: San José del Cabo Cathedral; quaint local shops; tranquil scenery; the town's Gallery District.
Touring central San José del Cabo can be done on foot and makes for an easy afternoon.
Start at San José del Cabo Cathedral, aka Mission San José del Cabo, located in the heart of the town’s Historic District; it was the southernmost of the Jesuit missions on the Baja California peninsula. First founded in 1730 and relocated and rebuilt many times due to war and floods, the church was eventually restored in 1940 and bears remarkable mosaic tiles and other
significant architectural details capturing its rich history. Steps away, Plaza Mijares is a popular gathering point for locals, surrounded by historical buildings, the town’s city hall, shops and eateries. Be sure to stop by the Casa de la Cultura; the community hub offers music and acting workshops, dancing, painting, and literary events year-round.
Also nearby sits San José del Cabo’s Gallery District (artcabo.com), home to around a dozen fabulous art galleries—
showcasing everything from modern fine art to photography to jewelry by Mexican and international artists. Of note, Ivan Guaderrama Art Gallery features contemporary abstract paintings, sculptures, and glass and welding works by local craftsmen. Inside Frank Arnold Gallery, find dramatic bronze sculptures, oil paintings and fine art prints by abstract artist Frank Arnold. Touted as “the cutest shop in town,” El Armario houses oneof-a-kind Mexican folk
art from every region of the country (as well as the best cup of coffee you’ll find in the area). The Gallery District also hosts the weekly San José del Cabo Art Walk every Thursday evening, November to June.
For a dose of nature, San José del Cabo Estuary and Bird Sanctuary on the outskirts of town is an eco-tourist’s delight. Its 2,000 marshy acres comprise the only freshwater coastal lagoon in Baja and the largest body of fresh water in southern
DANIELS
Lise Lindstrom in Salome, San Diego Opera, 2012. Photo by Ken Howard.
Baja. The protected tropical landscape is home to some 250 species of bird, rare plants and hiking trails. Close by in Puerto Los Cabos, the 12-acre Wirikuta Botanical Cactus Garden grows more than 1 million plants—including 1,500 types of desert plants, 1,000 bonsai bougainvillea trees, and three pyramids built from granite boulders. The property’s adjoining sculpture garden houses works by known Mexican artists.
The best dining outposts in the area are off the beaten path, both figuratively and literally.
from
farm-to-table
Tucked away a few blocks from the Gallery District, El Toro Guero Centro is a palapa-covered locals’ seafood spot, executing regional recipes that epitomize authenticity. This means dishes such as whole-fried red snapper, chocolate clams, and molcajete de mariscos—a stone bowl loaded with raw and cooked shrimp, scallops, octopus, lime juice and jalapeños. For more authentic eats in town, Taqueria Rossy is a no-frills locals’ joint known for its scallop tacos, zesty seafood soup and extensive salsa bar.
No trip to San José del Cabo is complete without a stop at the famous Flora Farms—a 10-acre oasis at the end of a rocky, steep dirt road that will convince first-timers they’re lost before they find it. Nestled in the foothills of the Sierra de la Laguna Mountains, it’s a working farm with flourishing organic produce delivered straight to the property's kitchen— surrounded by twinkling lights, gardens, cottages, roaming friendly dogs and shops. (There’s even a James Perse concept store onsite.) The property also hosts farm tours, walks
with an herbalist, and cooking and art classes. At Flora Farm's alwaysbustling restaurant, Flora’s Field Kitchen, dine on vegetable risotto, seasonal salads and house-made gnocchi; while live music floats through the fragrant air as the sun dips behind the mountains. You’ll likely find yourself researching local real estate later to see if you can live close by.
A few questionable turns down another unpaved road nearby will transport you to the tranquil grounds of Los Tamarindos. This unsung gem is home to an organic
Clockwise
left:
bites, libations and outdoor dining at Los Tamarindos.
farm, a garden, market, restaurant, and several one-bedroom bungalows for overnight stays.
Offering cooking classes, private events and dining on a sprawling haciendastyle porch, Tamarindos emanates a community vibe that makes visitors feel like family. Dinner menu highlights include the mesquite-baked cauliflower entree with traditional Mayan salsa (called sikil p’ak); the wood-baked whole fish of the day; the lemongrassbaked Cornish hen; and the woodfire-grilled giant blue prawns with chimi-
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LINKS TO PERFORMERS’ SOCIAL MEDIA ACCOUNTS
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UPCOMING SHOWS AND CONCERTS AROUND TOWN
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It’s the new way to read the program, it’s
churri sauce. Wash it all down with the Tamarind Rosemary Margarita or a glass of L.A. Cetto sauvignon blanc from Baja’s Valle de Guadalupe, and life sure is good in Cabo.
As for other lodging in San José del Cabo, its newer, master-planned community vibe means plenty of tranquil, ultramodern resorts and rental homes from which to choose. Of note, the JW Marriott Los Cabos Beach Resort & Spa, perched above the Sea of Cortez, is a luxurious stunner and architectural marvel. Its open-air lobby flanked by soaring marble columns and walls—which unfold into infinity pools, water features and sculpture gardens—channels the backdrop of a contemporary art museum. Dine and imbibe at six restaurants and bars; get pampered at Jasha Spa & Beauty Parlor; enjoy world-class golf overlooking the sea; and rest in a well-appointed ocean-view suite. For an even more private and personalized experience, the JW Marriott houses its own luxury boutique hotel within the resort, the Griffin Club. Added bonuses: the property is a five-minute drive (at most) into town; and only 25 minutes from Los Cabos International Airport. Enjoy your stay.
“IHAVECHILLSEVERYTIMETHISCHOIRSINGS.” — SOFIA VERGARA GOLDEN BUZZER WINNER ONNBC’S‘AMERICA’SGOTTALENT’
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CONT’D. FROM PAGE 14
Following the renovation, the seating capacity of Jacobs Music Center has been reduced to about
1,800 (including the new Choral Terrace seating area at the back of the stage), from around 2,200 before. “Before, the hall was very large, and the audience had no real connection to the stage,” Gilmer says. “We’ve condensed the main floor and brought the back and side walls in to make it more elegant and soundproof. Visually, the audience connects to the whole experience in a way it never did before.”
“ideal-sized concert hall. It’s acoustically much more connected with the stage, with a very even sound that has no differentiation from main floor to back wall. It’s a much better sound for the musicians, as well as sound on stage, the better the musicians can play and the more exciting for our audiences.”
Gilmer says Jacob Music Center is now an
Clockwise from above: Rafael Payare; Jeff Thayer; Alisa Weilerstein; Inon Barnatan; and Hera Hyesang Park.
the audience—it wraps around you. It’s a comfortable, elegant space but also an incredible sonic experience.”
That’s one of many changes made to the hall—some of which will not be discernible to the audience, but will make performing there a better and more comfortable experience. That’s what excites cellist Richard Levine, who was one of four Symphony musicians who served on the Orchestra Renovation Committee, consulting throughout the renovation.
“We were focused on all of the artistic concerns—what we could hear on stage, lighting, being able to see the conductor, backstage storage, that sort of thing,” says Levine, who has been a San Diego Symphony player since 1973. “There
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were so many details we got involved with.” One example he cites, that took a lot of time to get right, was designing a new set of permanent risers for the players on stage that maximize the available space and improve their sight lines. “Space is at a premium both onstage and offstage,” Levine says. “We tested some of the riser designs at The Shell and then made further revisions, solving a number of problems.”
Indeed, the opening of the Symphony’s lauded new outdoor venue on San Diego Bay, The Rady Shell, was key in allowing the renovation of its indoor hall to take place; as the Symphony was able to perform some concerts there instead. Ironically, so was the lockdown during the pandemic. Gilmer acknowledges it might have seen mad to take on such a comprehensive renovation just a year after The Shell opened in 2021. “There was a lot of deferred maintenance on the hall, and we always knew we wanted to renovate it, due to its age,” she says. “When The Shell opened and [the pandemic] happened and everything moved outside, it made complete sense to take advantage of a difficult time and accelerate the timeline to make
use of that downtime. We didn’t want to reopen after [the pandemic] for just a couple of years and then shut down again. We realized it was time to put our foot on the gas.”
With the acoustics as a primary concern, the renovation added acoustical tuning chambers and variable acoustic devices throughout the hall—allowing for it to be adjustable to accommodate music ranging from small chamber ensembles, to full orchestra with soloists and chorus, to amplified performances. There is now also enhanced stage lighting, an improved sound system, and an integrated video-display system.
In addition to the acoustic and configuration changes, the hall features new seating and finishes; restored architectural details; modernized lighting, sound and video equipment; updated and expanded support spaces for musicians; and enhanced audience amenities. The project was designed by architectural firm HGA, in collaboration with acoustician Paul Scarbrough of Akustiks, and theater planner Schuler Shook.
There have also been major upgrades made to the main mechanical systems of the hall, which contribute to its acoustic quality and allows space
FEATURE
to be reprioritized.
The addition of the Choral Terrace at the back of the stage provides space for a large chorus for selected works. Also, with seats for 75 when no chorus is in use, it offers an opportunity to enjoy a concert from a new vantage point that audiences don’t usually get. They’re facing the conductor instead of watching his back, and viewing different sections of the orchestra they might not usually see. “From the Choral Terrace you can see the eye contact between the conductor and the players,” Gilmer says. “Everyone should try sitting there.”
Levine agrees: “You can watch the orchestra and see the conductor pretty much like we do.”
The Choral Terrace will be in full use during the two monumental works by Mahler that open and close the Jacobs Masterworks Series: the Symphony No. 2 Resurrection opening the series; and the Symphony No. 3 that closes the season. Both works require full orchestra, solo singers and full choruses.
Reminiscent of its origin as the Fox Theatre in the golden age of movie palaces, the hall has a pipe organ that has been taken out, cleaned and reinforced before being
reinstalled. Gilmer says the Symphony also added two sets of pipes that are more classical and symphonic. The refurbished pipe organ will be showcased in the Saint-Saëns Symphony No. 3, slated for Jan. 10-11, 2025.
In addition to Jacobs Masterworks, Jazz @ The Jacobs, the Family Concert series and recitals, the Symphony is also expanding its offerings starting this season with three new series: a Friday Matinee Jacobs Masterworks series, Currents and Symphony Kids.
Gilmer says longtime audience members “will not be prepared for how comprehensive the transformation is. You will recognize the hall, but it has a freshness about it—it’s really beautiful and inviting. You walk through the doors and leave the world behind, transported to another conscious space where you want to spend time. I really can’t wait for audiences to return. We’ve been watching lots of workmen doing their jobs for all this time, and now it’s time for us to do ours and bring it back to life.”
San Diego Symphony’s new season opens on Sept. 28 and runs through May 2025 at Jacobs Music Center, located at 750 B St., downtown. For tickets and more info: sandiegosymphony.org
reprogrammed !
Performances Magazine unveils a digital program platform for shows and concerts
DROP DOWN MENU
Table of app contents.
REGISTER
Stay arts-engaged, access past programs.
THE ESSENTIALS
Acts, scenes, synopses, repertory and notes.
CONTRIBUTORS
Donors and sponsors who make it all possible—you!
NO RUSTLING PAGES, no killing trees . . . The new Performances program platform, accessed on any digital device, is among the more enduring innovations to have come out of the pandemic. The platform provides the programs for 20 Southern California performing-arts organizations, from the Los Angeles Philharmonic and Ahmanson Theatre to San Diego Opera, where the app made its debut.
The touchless platform provides cast and player bios, donor and season updates and numerous other
arts-centric features. Audiences receive a link and a code word that instantly activate the app; QR codes are posted, too.
Screens go dark when curtains go up and return when house lights come back on. Updates—such as repertory changes, understudy substitutions and significant new donations—can be made right up to showtime, no inserts necessary. Other features include video and audio streams, translations and expanded biographies.
For those who consider printed
SEARCH
Find whatever it is you want to know—easily.
SIGN IN
Link to your performing-arts companies and venues.
THE PLAYERS
Bios and background for cast, crew and creators.
WHAT’S ON
What’s coming at a glance and ticket information.
programs to be keepsakes, a limited number, as well as commemorative issues for special events, continue to be produced. Collectibles!
Meanwhile, there is less deforestation, consumption of petroleum inks and programs headed for landfills. For the ecologically minded, the platform gets a standing ovation.
When theaters and concert halls reopened after their long intermission, the digital Performances was but one more reason for audience excitement. Activate your link and enjoy the shows. —CALEB WACHS
