Performances Magazine | Mark Taper Forum, February 2025
Hermès, the endless line
WELCOME TO CENTER THEATRE GROUP!
Thank you for kicking 2025 off with us.
As an Artistic Director, so much of what I am looking for is a unique singular voice that stays with us because they have something penetrating to say about our lives and they cause us to look at the world anew. Anew with wonder, laughter, joy, and empathy. I am so proud of the shows we are currently presenting at the Ahmanson and the Taper because they provide an abundance of once-in-a-generation voices.
For those of you joining us at the Ahmanson, there is no voice more singular or renowned in the American musical canon than Stephen Sondheim. His unique songs and melodies are joined by two of the leading voices in musical theatre, Bernadette Peters and Lea Salonga, to create a sublime homage to our foremost hatmaker.
If you’re reading this while at the Taper, then you are in for a ride from one of LA’s own—Larissa FastHorse. Larissa’s voice is one with sharp bite and stinging humor, but ultimately full of heart and love for community and our shared humanity. Her voice has always stood out to me because it asks gripping and essential questions around identity: Who we are? Who decides what defines us? She does this through humor and satire in a way few others can. In Fake It Until You Make It, she interrogates how well-meaning intentions without some level of self-awareness often can lead to an unraveling for humans and their pets alike.
As we start the new year, I also want to take a moment to uplift all the amazing work Education & Community Partnerships does throughout Los Angeles. From student matinee performances and free play readings to apprenticeships and internships, CTG is committed to fostering the next generation of artists, arts leaders, and audiences. Check out the article in this program about some of the amazing work that was done in support of American Idiot this past fall to see for yourself!
It's a busy month here at CTG and we are just getting started. Welcome to our old friends and new. Thank you for joining us and supporting live theatre—we look forward to being in your company all year long.
Sincerely,
Snehal Desai
Artistic Director
Center Theatre Group (CTG), Los Angeles’ leading theatre company, is the largest producing notfor-profit theatre company outside of New York City, and is one of the nation’s preeminent arts and cultural organizations. CTG produces and presents programming at the Mark Taper Forum and the Ahmanson Theatre at The Music Center in Downtown Los Angeles, and the Kirk Douglas Theatre in Culver City. CTG is one of the country’s leading producers of ambitious new works through commissions and world premiere productions and a leader in interactive community engagement and education programs that reach across generations, demographics, and circumstances to serve Los Angeles. Founded in 1967, CTG has produced more than 700 productions across its three stages, including such iconic shows as Zoot Suit; Angels in America ; The Kentucky Cycle ; Biloxi Blues ; Twilight: Los Angeles, 1992; Children of a Lesser God; Curtains; The Drowsy Chaperone; 9 to 5: The Musical; and Bengal Tiger at the Baghdad Zoo. CTG also serves thousands of children and young adults each year through free educational and communitybased programs that introduce the joy of theatre to future generations.
SNEHAL DESAI
Artistic Director
MEGHAN PRESSMAN Managing Director/CEO
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CENTER THEATRE GROUP
PUBLICATIONS 2025
EDITORS Jessica Doherty, Brett Webster
ART DIRECTOR Deanna McClure
COPY EDITORS Bobby Martinez, Keeley Bell
CONTRIBUTORS Jessica Doherty, Bobby Martinez, Keeley Bell
DESIGNERS Javier Vasquez, Lila Wakili, Cindy Andrade, Cheyne Gallarde
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To serve the diverse audiences of Los Angeles by producing and presenting theatre of the highest caliber, by nurturing new artists, by attracting new audiences, and by developing youth outreach and arts education programs.
This mission is based on a belief that the art of theatre is a cultural force with the capacity to transform the lives of individuals and society at large.
ARTISTIC AMBITION – We create and present a broad range of outstanding live theatrical work that is bold, authentic, provocative, engaging, entertaining, and inspiring. We support artists working at the highest levels of their own experience and craft.
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The theatrical creative process is the center of our work. We collaborate with diverse, creative, and innovative artists, risk-takers, and boundary-breakers to bring great stories to life and create theatre magic.
CENTERING LOS ANGELES – We are a civic institution anchored in the cultural vibrancy and rich diversity of Los Angeles, committing to represent the communities that make up our great city, country, and world by bringing theatre to our stages for Los Angeles audiences.
LIFELONG LEARNING, INSPIRATION, AND HUMAN CONNECTION – We nurture a lifelong passion for theatre in our current and future generations. We center human connection through collaboration, inclusion, imagination, united in the power of storytelling.
RESPECT, COMPASSION, SOCIAL CONSCIENCE, AND AREDI (ANTI-RACISM, EQUITY, DIVERSITY, AND INCLUSION) – Guided by our social responsibility, we lead with respect and compassion. We create opportunities, cultivate relationships, and dismantle barriers using an anti-racist frame that strives to include marginalized, underrepresented, and excluded communities.
As one of the nation’s leading not-for-profit theatres, we are committed to bringing world class theatre, education, and community engagement to Los Angeles—but we can’t do it without your support. For more information, and to find out how you can make a difference, please visit CenterTheatreGroup.org.
BOARD OF DIRECTORS
2024-2025
honorary chairman
Lew R. Wasserman† (1913-2002)
president
Amy R. Forbes
chairperson
William H. Ahmanson
executive vice president / treasurer
William R. Lindsay
vice presidents
Miles Benickes
Gail Berman-Masters
Jana Bezdek
Matthew Walden
secretary
Cecilia Estolano
assistant treasurer
Noah Francis
†Deceased
board of directors
Harry Abrams
Nnamdi Asomugha
Jonathan Axel
Betsy Borns
Diana Buckhantz
Dannielle
Campos Ramirez
Wendy Chang
Stephen Cheung
Jill Chozen
Sarah Clossey
Christine
Cronin-Hurst
Snehal Desai
Gary Frischling
Ron Gillyard
Patricia Glaser
Manuela Cerri Goren
Robert Greenblatt
Jason Grode
Aliza Karney Guren
Stanley Iezman
Paul James
Justin Mikita
Louise Moriarty
Kari Nakama
Jeanne Newman
Jamie Patricof
Meghan Pressman
David Quigg
Kristine
Louis Reynal
Edward Ring
Laura Rosenwald
Scott Sandler
Elliott Sernel
Glenn A. Sonnenberg
Jay P. Srinivasan
Sandra Stern
Marsha
Tauber Sallai
Bonnie Vitti
Kim McLane Wardlaw
Shana C. Waterman
Richard Weitz
Hattie Winston
emeritus directors
Harold Applebaum
Ronald J. Arnault†
Judith Beckmen
Ava Fries†
Brindell Roberts Gottlieb†
Susan Grode
Phyllis Hennigan
Stephen F. Hinchliffe, Jr.
Richard Kagan
O. Kit Lokey†
Walter Mirisch†
Diane Morton
Edward B. Nahmias
Bruce L. Ross
past presidents
Lew R. Wasserman†
Marshall Berges†
Armand S. Deutsch†
Walter Mirisch†
Henry C. Rogers†
Richard E. Sherwood†
J. David Haft†
Lawrence J. Ramer†
Stephen F. Hinchliffe, Jr.
Phyllis Hennigan
Richard Kagan
Martin Massman†
William H. Ahmanson
Kiki Ramos Gindler
Center Theatre Group is a 501(c)(3) not-for-profit organization whose work is made possible thanks to the generous support of our donors.
Call 213.972.7564 or visit CTGLA.org/Support to learn more.
GETTING OLD FRIENDSTOGETHER
HOW OLD FRIENDS BRINGS THE LIFE AND LEGACY OF STEPHEN SONDHEIM TO THE STAGE.
By Cameron Mackintosh
Our Broadway-bound Baby, Old Friends, was conceived during COVID as two old friends chatted and gossiped together—Steve locked up in his country house in Connecticut and me down on my farm in deepest Somerset, both wondering what on earth we were going to do to get the theatre and our shows back up.
Steve suggested that it was time to put together a third review of his work, to follow the worldwide hit (my first!) of Side by Side by Sondheim (the show that brought us and Julia McKenzie together in London in 1976). It was followed by Putting It Together in 1992 which had premiered in England with Diana Rigg and then played New York, first with Julie Andrews at the Manhattan Theatre Club then Carol Burnett at the Barrymore Theatre on Broadway.
In the midst of our isolation, we started to work. From the off, we wanted to do something different from either Putting It Together, which had a slender plot and has not been seen that often, or Side by Side, which had the device of a Narrator. The material was solely drawn from Steve's words from start to finish (with a little help from James Lapine). So, we started writing our lists—some songs he had on his list, some different ones on mine, but many of them were the same.
Then, all of a sudden, lockdown came to an end, and we had to return to our day jobs and get our shows on. Steve had his musical, Company, on Broadway, amongst many other projects, and I had all of my numerous productions around the world, battling to bring back audiences to the live theatre.
I visited Steve in October 2021, when we touched on the show again but didn't dwell on it much beyond Steve saying, “we really must get this done.” Very sadly, four weeks later on Thanksgiving, just a few days after we chatted on the phone and made each other laugh one last time, Steve moved on. His old friends and the world grieved.
So, over the Christmas break, I decided to 'Finish The Hatt' and collate our notes and complete 'our farewell show.' In three days, I had a running order of all the material I wanted to include—miraculously, this list went through very little changes during the rehearsal period—it was as if Steve was sitting on my shoulder guiding me. I took my first draft to my longtime collaborator, Matthew Bourne, to enlist him to stage it and, in turn, both of us wanted Stephen Mear to choreograph. Knowing that we were going to assemble a tremendous array of star talent for the forthcoming Gala, celebrating Steve’s life which we were staging in May 2022, as a fundraiser for Steve's new Foundation—in the theatre I had rebuilt and renamed after him, The Sondheim—both Matt and I felt it would be a great asset to have Maria Freidman help us with the staging during our very short two week rehearsal period (with people coming and going because of their other commitments). This was not an easy ask of Maria, as she was already heavily involved in several of her own Sondheim projects at the time and was actually performing nightly in her own one-woman show.
Because of Steve, I was able to assemble an extraordinary cast including Judi Dench, Imelda Staunton, Julia McKenzie (performing for the first time in 20 years), Michael Ball, Damien Lewis, Janie Dee, Bonnie Langford, and many more. But the first person I rang was Bernadette Peters, whom I've known a long time and had worked with several times, including Hey, Mr Producer!. Bernadette had even presented me with the coveted Sondheim Award at Steve’s personal request. She, of course, was also Steve’s special muse having been involved in the original productions of several of his greatest works. As I discussed the material with Bernadette—I didn't have “I Know Things Now” on my original list—Bernadette came up with the suggestion of doing that song as an older woman. She even tested it out during one of her concert tours in North America, just to make sure it worked, and, of course, it did brilliantly. What was unusual about the show is that so much of the way it came together was so effortless, because many of us had already worked on the material with Steve; we knew we had his blessing because he had helped shape it all in the first place.
When choosing the songs to include, I particularly wanted to show off how Steve’s greatest music was as brilliant as his greatest lyrics. Steve wrote some of the most brilliant songs ever for the musical stage, but as he was so prolific and profound as a writer, it is impossible to put together a definitive list of his greatest songs as everyone has their own favourites. So, our choice of songs purely reflected the joy and love I have for my old friend, one of the greatest Broadway babies of all time.
Our Gala proved a sensational success, convincing me to press ahead and give Old Friends the full stage life Steve and I had always planned, and it opened in a fully realised production at the Gielgud Theatre in 2023. Matthew, side-by-side with the incomparable Julia McKenzie, Stephen Mear, and I, refashioned the show to feature an all-star ensemble of 19. Bernadette, astonishingly making her West End stage debut in the show, was joined by Lea Salonga, who had become my youngest old friend in 1989 when she became a star in her sensational London debut at the age of 17, starring in the original Miss Saigon. They led an incredible West End company performing 39 of the greatest songs ever written for a musical.
I am thrilled that Bernadette and Lea are now bringing this show to Los Angeles and Broadway, alongside several of our rapturously received London old friends, including Bonnie Langford, Joanna Riding, Jeremy Secomb, Gavin Lee, and Jason Pennycooke. To round out the company, we have gathered a number of brilliant new American friends— including Beth Leavel, Kate Jennings Grant, Kyle Selig, David Harris, Daniel Yearwood, Maria Wirries, and Jasmine Forsberg, with Kevin Earley, Paige Faure, Alexa Lopez, and Peter Neureuther. It is rare to get this calibre of West End and Broadway talent all together in one production. Only the sublime Stephen Sondheim could make it happen. We hope you will have an unforgettable evening, celebrating the master of musical theatre in ‘a great big Broadway show’— just as Steve wanted.
Cameron Mackintosh December 2024
making it
PLAYWRIGHT LARISSA FASTHORSE AND DIRECTOR MICHAEL JOHN GARCÉS ON WHAT IT MEANS TO BRING THE WORLD PREMIERE OF YOU MAKE IT
By Jessica Doherty
MacArthur Genius Playwright Larissa FastHorse asks many questions through her work—but she’s not in the business of answering them.
“I’m there to start conversations, start questions,” she said. “When you leave my plays, if you’ve stopped talking about it before you’ve left the theatre, I haven’t done my job.”
In Fake It Until You Make It, FastHorse’s world premiere comedy at the Taper this month, Wynona is the Native American proprietor of the nonprofit N.O.B.U.S.H., dedicated to destroying the invasive butterfly bush plant, while River is her white counterpart at another nonprofit, Indigenous Nations Soaring. Their escalating rivalry ensnares colleagues, lovers, and bystanders, leading to the unraveling of secrets that highlight the absurdities of ambition and authenticity.
The irony of creating a play about nonprofits for a not-for-profit theatre is not lost on FastHorse or Director Michael John Garcés. “If nonprofit fundraising does not say farce, nothing does,” she said.
“The farcical elements were obvious in bringing together the worlds of fundraising and identity and race shifting.”
Garcés has been a director across Los Angeles, nationally, and internationally for over 30 years, from Carnegie Hall to La Jolla Playhouse to the Kennedy Center. He is also the former artistic director of Cornerstone Theater Company, a community-engaged theatre company which often platforms people “who would never think of themselves as artists to produce works of excellence based on the stories, concerns, and issues of a given community,” according to their website. When the two first met, he commissioned FastHorse to write a play, Urban Rez a part of their Hunger Cycle, exploring “hunger, justice, and food equity issues.”
“I think a lot of the work that Larissa and I’ve done together outside of Cornerstone has been about thinking critically about the institutions where we’re making the work as much as this country where we live,” Garcés said. “I love that this play takes on the assumptions and practices of the nonprofit sector. I used to run this type of social change organization; I could be a character in this place; in fact, when we are working on it, I can’t help but feel like Larissa wrote it to make fun of me. I love that it makes me uncomfortable. I hope that it makes everybody working on the play and in the audience uncomfortable and able to both laugh at ourselves and think critically about how we can do better as individuals, as a community, and as a society.”
FastHorse’s The Thanksgiving Play, produced on Broadway with Second Stage Theater, is about four “well-meaning white people” producing a Thanksgiving play and making a mess of it along the way. In a way, FastHorse finds that both that play and Fake It Until You Make It poke fun at the audience. “I’m really grateful that theatre people and theatre audiences are so generous, because I keep writing plays that make fun of you, and you keep coming,” FastHorse said. “But you know it does honestly raise some questions, I’m really proud of both CTG and Arena [Stage] for taking it on.”
Beyond the walls of the nonprofit sector, resonates with the current political moment. “Larissa has captured something that’s very much in the current conversation in the United States,” Garcés said. “It comes at a time in the American cultural conversation where there is a lot of anxiety around the notion of authenticity...people are forced to prove they are authentically themselves, authentically what they claim to be...there’s an immense tension between authenticity and appropriation which causes people to imagine that the world is a zero sum game and that we’re all vying against each other for some ultimate prize or validation that I don’t think really exists.”
This has only been heightened by the socio-economic instability in the past few years. “It’s a play about uncertain times and how people sometimes, in not-so-great ways, respond to their perception of a lack of cohesion in society, and to the sense that this country is somehow falling apart, or at least is not what they had imagined or hoped,” Garcés said. “And while this truth is certainly
continues on page 16
michael johngarcés
GETTING WITH THE PROGRAM
AMERICAN IDIOT BROUGHT MUCH MORE THAN JUST A ROCKING SCORE TO LA’S THEATRE FANATICS THROUGH CTG’S EDUCATION & COMMUNITY PARTNERSHIPS PROGRAMS.
By Keeley Bell
Center Theatre Group offers a variety of programs that engage LA’s community with the shows on our stages. From Observerships to Student Matinees, these opportunities allow participants to experience LA theatre from an entirely new perspective and connect with their community all the while.
So when the Mark Taper Forum reopened in October 2024 with Green Day’s American Idiot, theatre lovers everywhere sought out the opportunity to get up close and personal with such a vibrant production through CTG’s Education & Community Partnerships programs.
Jordan Tennison, a recent graduate of Gallaudet University, was told about the OBSERVERSHIP PROGRAM by her college professor. Since the program gave participants an insider view of the rehearsal process and an opportunity to see what it would be like in the creative team’s shoes, Tennison was a perfect candidate. After being accepted into the program, she attended one rehearsal a week for five weeks. The process culminated in an observation of two tech rehearsals before she and the other observers in her cohort were invited to attend American Idiot ’s opening night. As a young person new to the professional theatre world, she felt that the Observership gave its participants, “more of a perspective on how this world of theatre works.”
Tennison learned the most about patience and communication through the experience. “I just graduated from college, so I don't necessarily know how to navigate this kind of world,” she said. “The program really did help me to learn and understand how to talk with people about theatre.”
As a part of the Deaf community, the collaboration with Deaf West Theatre was definitely an appealing factor for Tennison when it came to applying. She grinned as she admitted she’d “always wanted to see how a Deaf West production worked,” and was overjoyed to get to witness an environment of Deaf and hearing folks collaborating with each other. “I've been in mixed environments before, not on a professional level,” she said. “[It] was really nice to get to see how the Deaf community and the hearing community professionally work with one another.”
William Goldyn, a Los Angeles theatre arts educator at Grand Arts High School, was also impressed by the seamless blending of Deaf and hearing performers onstage. Goldyn has brought his students to CTG’s STUDENT MATINEE performances for over a decade. Grand Arts has a large Deaf student population, so, needless to say, he was excited to bring them to American Idiot. “This was so special,
because now they felt like they were on stage...[The] kids all need to see themselves on stage [without] the help of an interpreter,” he mused. One of his students even ended up seeing American Idiot eight times.
Grand Arts centers visual and performing arts in its curriculum, so its students are not only exposed to a variety of live theatre experiences, but many also have professional goals in the theatre industry. Goldyn went on to explain how his students were affected by American Idiot. “They need to see what professional theatre looks like, what it smells like… the way it makes them feel, so that they can actuate that.”
His students were able to see themselves on stage in a truly unique fashion through Mason Alexander Park, who played St. Jimmy for the first month of American Idiot ’s run. Park is not only a talented actor, but an alumnus of their school. Goldyn warmly recalled, “I remember going with Mason to see the shows at Center Theatre Group, [and them] saying, ‘I want to be on that stage one day.’’’
While many high school students aspire to a career in theatre, high school senior Josué Martinez has already made that aspiration a reality. As the youngest person in the cast of American Idiot, students were shocked to learn via talkbacks with the actors that he was their age. “At first I was a bit embarrassed…But actually, as I look back on it, I realized I could actually be an inspiration for other students,” Martinez said. “I think that is the beauty of theatre, to be inspired and to inspire other people.” Martinez applied his love of inspiring others to teaching CTG’s STAFF ART BREAK, a workshop for CTG staff to get in touch with their creative sides. After being approached to teach, he thought, “If an opportunity arises, why not take advantage of it?” Through the workshop titled Explore Your Inner Rage, Martinez led CTG staff members in channeling their everyday frustrations into physical movement.
“I want to help people to express their emotions and to see what an emotion would look like through the body, to show people...vibration of music, or what the lyrics are...what they look like, expressed through the body,” he stated.
This gave Martinez a unique opportunity to not only share his artistic view, but also learn about how his art impacts others.
“I think it's important for me to engage with my community, because I value them, and I really want to understand them… Engaging with my community really helps me to find my people,” he said of the experience.
Serving Up Stories
CHEF STEPHANIE PYETWETMOKWE DESPAIN CELEBRATES HER INDIGENOUS AND MEXICAN HERITAGE THROUGH FOOD AT ABERNETHY’S AT THE MUSIC CENTER.
By Jessica Doherty
Stephanie Pyetwetmokwe DeSpain, who goes by Chef Pyet, arrived in Los Angeles in 2017 with her rescue tabby cat named Merlot and a dream to cook for the rich and famous. Born in Oklahoma and raised on the Osage Indian Reserve and, later, in Kansas City, Pyet worked in the automotive industry in business development and marketing. But she felt like something was missing from her career. After touring a culinary school, she enrolled and never looked back.
Since then, Pyet has made a name for herself as a private chef and entrepreneur. She has gone on to win Next Level Chef, hosted by chef Gordon Ramsey on Fox; cook for the Emmy Awards After Party with Disney; and appear on The Today Show. Now, she’s the latest Chef-in-Residence at Abernethy’s through the spring. Abernethy’s provides a platform for upand-coming chefs to showcase their unique vision and reach new customers during a four-to-six-month residency.
Pyet is Native American and Mexican and was exposed to different ingredients growing up with both cultures. “I always grew up in families that really loved cooking and loved family gatherings, food was always the main reason of us coming together,” she said. On her mother’s side, her grandfather would hunt, introducing Pyet to a variety of wild game and meats like deer, duck, geese, and mountain lion.
“I realized, what a treat this is that we get to have something that my grandfather harvested, and it comes every year,” she said. “We put it in the freezer, and [we’d] eat it throughout the
winter until it’s gone.” During ceremonies, they would also have what is sometimes called ceremony food—The Three Sisters (corn, beans, and squash, named for their mutualistic relationship when planted together), bison, corn soup, and, while not “traditional per se,” fry bread.
On her father’s side, she cooked and ate a lot of traditional Mexican food—beans, rice, chili, and tamales—always paired with salsa.
“When it comes to my cooking, I like to bring these things from my childhood and the food I grew up eating and bring it together and create dishes that really represent myself, which is a fusion of these two cultures,” Pyet said. Her menu with Abernethy’s brings both of her culinary heritages together with a variety of ingredients and flavors, like in the tomatillo salad with jicama, corn, a cilantro agave vinegarette, and topped off with Tajín. The Three Sisters make an appearance in the form of a corn tostada topped with black beans and squash, alongside hoja santa (or, Mexican pepperleaf) and salsa crudo.
Through her cooking, Pyet has introduced many people to the flavors and dishes of her family, sometimes for the very first time. “I get so excited...about the fact that my dish gets to be a part of a core memory for the first time they tried something or had wild bison or game,” she said. The bison on the menu at Abernethy’s is braised with berry barbeque sauce, and served with dandelion greens, and blue corn cake.
“I get so excited...about the fact that my dish gets to be a part of a core memory.”
The erasure of Indigenous cooking and food practices runs deep in the culinary world. “Indigenous foods of the Americas or Native American cuisine was...never even spoken about in culinary textbooks,” she said. “When I was going through school, I didn’t learn anything...about my own culture...there was never a full-on explanation and recognition of what Indigenous food systems have actually contributed to not just America, but the world.”
And Pyet is not just speaking about the Native American side of her family, these issues also ring true for her Mexican family. “I’m a firm believer that the border crossed us, we didn’t cross the border,” Pyet said. “The people of Mexico were Indigenous before there were other influences that were brought into the Mexican culture and the Mexican cuisine.”
Pyet also finds that what, and how, food ends up on the plate is political, looking to the late chef and Parts Unknown host Anthony Bourdain as a prime example of understanding the greater picture of a meal.
“What I have a big passion for was to do that for my own people, for native tribal nations, our communities are so different and they're all [from] different regions of the United States with different levels of accessibility to food systems and fresh food and produce,” Pyet said. “I feel like the world needs to know about who we are as Indigenous people, not just where we’ve been and what’s happened to us, but who we are today as people, where we plan to go, and how we’re keeping our traditions alive and teaching our youth.”
This dearth of widespread knowledge of Indigenous culture also goes beyond the food industry. “The everyday person... [doesn’t] know a lot about our culture besides what they see in western movies or what they’ve seen on TV, these stories that weren’t even told by Native people,” she said.
But Pyet feels the strides in the entertainment industry through shows like Reservation Dogs and films like Killers of The Flower Moon are starting to change that.
“Killers of the Flower Moon, that’s one of so many stories across Indian Country, or what we call Turtle Island, and that’s just one...and shows like Rez Dogs [sic] showed us more of the modern-day life living on a reservation,” she said. “When I watched that movie and that show, I was like, ‘Oh my God, this is my childhood,’ I grew up in Oklahoma on the Osage reservation and that's what it looks like...this is so cool to see on TV.”
“I’m there to start conversations... When you leave my plays, if you’ve stopped talking about it before you’ve left the theatre, I haven’t done my job.” I haven’t done my job.”
–Larissa
not new for Indigenous communities or for communities of color, I think it is for a good portion of white society. Given the political, social, and environmental turbulence of the last decade, the general feeling of insecurity is acute. And that, paradoxically, makes for great comedy. We laugh at what makes us anxious. Fear is funny.”
Conversations around race and ethnicity are an ongoing concern for Indigenous communities. FastHorse, who is a member of the Sicangu Lakota Nation, explained how identifying as Native American is a political, not racial, affiliation. “My being Lakota is not a race, the Native American community has a different conversation because we’re actually independent political nations in treaty with the United States and we’re often lumped into issues of color, which are a part of our community, but we also have a whole separate designation as these political entities that get to determine who gets to be a part of your nation, just like the United States does,” she said. FastHorse identifies as a dual citizen of the United States and the Sicangu Lakota Nation, both of which are comprised of individuals of different racial and ethnic backgrounds. “That’s our business and our nation,” she said. “We get to say that they are citizens, they fulfill the requirements for citizenship.”
With the rise of social media, FastHorse noticed a rise in people who have “gotten away with claiming identity that they have no confirmation of, and that were not politically recognized by the nation they needed to be a member of.”
This issue also occurs outside of the Indigenous community and in communities of color—Rachel Dolezal made waves in 2015 for identifying as Black despite being born to white parents and sparked larger conversations around “race shifters,” or people who believe that one can be born into the wrong race and transition to a new one.
So, when Garcés wanted to direct a farce, FastHorse wrote him one, finding race shifting to be the perfect subject for a comedic structure that relies heavily on mistaken identities and absurd situations.
FastHorse and Garcés are longtime collaborators—the two have worked on around seven traditional productions together and a plethora of other shows staged in community spaces or alternative venues over the past 13 years. Through much of their work in Indigenous communities, FastHorse feels that Garcés’ perspective has proven valuable to her creative process. “There’s just not many people that I feel have had the depth of experience in Indigenous communities he has as a director, so having that blend of that point of view, with him being non-Indigenous...and also being someone who grew up in Colombia, he comes at the whole concept of America in a very different lens,” she said. “I can see it very flat and binary, like Native and not...and he is coming at it with a real depth of view that is so valuable to this piece.”
FastHorse
“The collaboration is everything,” Garcés said. “We’re good at disagreeing...and I think that we trust each other enough to tell each other what we think...We can be hard on each other at times, but we also have each other's backs.”
That sense of care is an important aspect to consider, especially given FastHorse’s frequent role as the first Native American writer to be produced at many companies and theatres across the United States—the Mark Taper Forum included.
“There’s no one to keep me safe,” she said. “90% of the time, I’m the only Native American in the room, or one of others I’ve hired to be in the room.” FastHorse’s production of The Thanksgiving Play was the first known play produced by a Native American woman on Broadway and FastHorse was the first Native American playwright produced on Broadway since Lynn Riggs, who wrote 1931’s Green Grow the Lilacs, which later inspired the Rodgers and Hammerstein musical Oklahoma!.
“There’s no one to ask, there’s no one to tell me how they dealt with it,” FastHorse said. Throughout her work as an artist, she has had to face offensive, racist, and culturally inappropriate sentiments and educate people on why they are harmful.
“Right now, CTG is doing a beautiful job, they did reach out to my company, Indigenous Direction, to do training with the staff. They were really proactive in that and they’re paying our company to be consultants in that way,” she said. FastHorse
founded Indigenous Direction with multihyphenate artist, activist, and writer Ty Defoe to consult companies and artists “who want to create accurate work about, for, and with Indigenous Peoples.”
“But it’s still me doing the training...doing a lot of hours educating the institution that hired me to be a playwright,” FastHorse said. “So, I’m thrilled to do it, but it’s always a duality that I have to live with—if I am going to be the first, then I also have to do the other things.”
This world premiere is a long time in the making, after Fake It Until You Make It was commissioned by Center Theatre Group and originally slated at the end of the Taper’s 2023/24 Season. But its home in the 2024/25 Season is exciting for both FastHorse and Garcés in new ways.
For FastHorse, it was important for the play to be staged in Los Angeles, as both the city that inspired the show and her hometown theatre. “It was created for LA,” she said.
FastHorse values the time-tested ability of storytelling theatre to physically bring people together—long before the institutions existed. “We keep saying how we need to get in the room—theatre actually does that,” FastHorse said. “Theatre actually puts us in a room, together, and it doesn’t always have to be super challenging, difficult conversations. Sometimes it’s just nice to be together and laugh and have a good time, and that’s okay too.”
“I love that this play takes on the assumptions and practices of the nonprofit sector. I used to run this type of social change organization; I could be a character in this place.” I could be a character in this place.”
–Michael John Garcés
velázquez’s portrait of a queen from the museo nacional del prado
A co-production with Arena Stage JANUARY 29 – MARCH 9, 2025
HAMLET
By William Shakespeare
Adapted and Directed by Robert O’Hara
MAY 28 – JULY 6, 2025
HELP US CREATE
THEATRE FOR ALL!
The Taper is back! The world premiere production of Fake It Until You Make It was made possible in part by the generosity of our community of supporters, and you can join them by making a tax-deductible gift today.
As a not-for-profit organization, Center Theatre Group relies on the generous support of theatre lovers like you. There are many ways to make an impact. You can become a member and receive benefits like access to our VIP Ticket Desk and invitations to Opening Nights, or you can make a philanthropic gift to directly support the productions you see on our stages or our lifechanging education programs for the next generation.
THERE IS NO GIFT TOO LARGE OR SMALL.
Just scan the QR code or visit CTGLA.org/SUPPORT to make a gift or learn more about how you can support.
SNEHAL DESAI Artistic Director | MEGHAN PRESSMAN Managing Director/CEO | DOUGLAS C. BAKER Producing Director
GORDON DAVIDSON Founding Artistic Director
Center Theatre Group in a co-production with Arena Stage presents the World Premiere of
By Larissa FastHorse With
Noah Bean Eric Stanton Betts Julie Bowen Tonantzin Carmelo Brandon Delsid Dakota Ray Hebert
Scenic Design Sara Ryung Clement
Wig, Hair & Make-Up Design Janell Turley
Costume Design E.B. Brooks
Associate Artistic Director Lindsay Allbaugh
Lighting Design Tom Ontiveros
Fight Direction Edgar Landa
Directed by Michael
John Garcés
Sound Design John Nobori
Casting Kim Williams
Production Stage Manager David S. Franklin
Fake It Until You Make It is an Edgerton Foundation Commission awarded to Center Theatre Group and premieres at the Mark Taper Forum in this co-production with Arena Stage, in Los Angeles, CA, 2025.
A Note from the Playwright
Larissa FastHorse and Michael John Garcés have worked together in many capacities and on many different types of theatre for well over a decade. When asked to do a program note, they decided to interview each other, and ask each other questions that they had not yet discussed. They were genuinely surprised at what questions came up…
Director Michael John Garcés
Playwright Larissa FastHorse
Playwright and Director
Larissa: Michael, after 13 years of working together, why did you request I write a farce for us to create together?
Michael: Your humor tends to farce, so I wanted to see what would result if you were going full out in that direction. But I also think that farce is probably the best and most authentic way to address politics, culture, academia, and the arts at the present moment. It’s absolutely bonkers out there.
M: What was your inspiration for the character of Grace?
L: Grace is a complicated character. It was interesting to me to have an Indigenous person who doesn't want to be Indigenous. Much of what I’ve written about has Indigenous thoughts and themes to it. For me, Grace was a different way to question what it means to be Native American in a way that fits into farce, which she obviously does. She also lets us talk about the deeper, perhaps dangerous, ideas of how you identify as who you are. What is race? Why do you identify with certain parts of your DNA and not others? Etcetera.
L: The artwork on the set is incredibly striking. Talk to me a little bit about the art and why?
M: The art on this set is a lot of things. These Indigenous artists are remarkable, and we are honored to work with them. The most prominent are River Garza, Marlena Myles, and Steven Paul Judd, but there are many more. I think it's work that is both aesthetically beautiful and stylistically provocative, as is the play. I mean, it’s a very funny play, and has
its own kind of beauty—but it is also meant to disrupt and provoke the audience. It certainly challenges me! So, I think the art on the set holds and establishes that balance.
Within the world of the play, the setting is a building that has been turned into this home for Indigenous nonprofit organizations. It was a previously white space that the new tenants have Indigenized. By extension, I feel like that's what is happening here on stage at the Mark Taper Forum, right? That is my hope— that this art is Indigenizing Center Theatre Group as we make it.
M: OK Larissa, so this is the big one. Have you ever owned a cat? If not, why?
L: No. I'm a dog person. I speak dog and grew up with a dog. I love dogs. You will disagree with this, but dogs are much cleaner because they do not get up on your table or counter with your food. I also believe that you would have a cat.
M: I would.
L: I am not surprised.
M: You realize that dogs’ mouths are incredibly dirty. That’s science.
L: I reject that science.
M: You would.
L: I do.
CAST
(In order of appearance)
River .......................................................................................................................... Julie Bowen
Mark .................................................................................................................. Eric Stanton Betts
Understudies never substitute for the listed players unless a specific announcement is made at the time of the appearance.
UNDERSTUDIES
River ........................................................................................................................ Aleisha Force
Grace Burgandi Trejo Phoenix
Wynona Burgandi Trejo Phoenix
Theo .......................................................................................................................... Josh Bywater
Krys Kenny Ramos
Mark ......................................................................................................................... Kenny Ramos
Stage Manager ................................................................................................... Miriam E. Mendoza
FAKE IT UNTIL YOU MAKE IT WILL BE PERFORMED WITH NO INTERMISSION
Noah Bean
Brandon Delsid Tonantzin Carmelo
Julie Bowen
Eric Stanton Betts
Dakota Ray Hebert
WHO’S WHO
NOAH BEAN (Theo) is thrilled to be back at the Taper after performing here in David Mamet’s Romance. He has performed in many New York and regional theatres; most notably, originating roles in David Henry Hwang’s Pulitzer Prize-nominated Yellowface at The Public Theater, as well as Jordan Harrison’s Pulitzer finalist Marjorie Prime at Playwrights Horizons. He has starred in such television series as the Emmy-nominated Damages, Nikita, 12 Monkeys, The Endgame, and Amazon’s upcoming series Ballard
ERIC STANTON BETTS (Mark, he/him) is a mixed BIPOC performer based in Los Angeles. His work expands across commercial, fashion, theatre, and film. He is also a writer having finished his first full length feature film just last summer, a rom-com titled Holiday Down Under. Credits: Film: Tyler Perry’s Joy Ridge; Birthright: Outlaw; Martinez, Margaritas and Murder; and Deadly Scholars. Theatre: Kinky Boots at the Hollywood Bowl, A Family Business, Three Tables, Kinky Boots International Tour. Eric is grateful to delve deeper into his Indigenous heritage through working with this company. Follow him @StandsTooTall21
JULIE BOWEN (River) a two-time Emmy Award winner for portraying “Claire Dunphy” on Modern Family, Julie is thrilled to be making her LA theatre debut. Television includes Boston Legal and Lost. Julie will soon be seen reviving her role as “Virginia Venet” in Happy Gilmore 2 with Adam Sandler. Other film roles include starring opposite Melissa McCarthy in Life of the Party, and Horrible Bosses with Jason Bateman. Julie was most recently seen in Hysteria! (Peacock) and continues to produce and develop projects.
TONANTZIN CARMELO (Wynona, she/her) is a SAG Award nominated actress most recently seen as a series regular on La Brea (NBC) and recurring roles on NCIS Origins (CBS), The English (BBC), and the upcoming Dark Winds (AMC). She honed her craft in the theatre playing lead roles with Native Voices, Teatro Sinergia, and the DCPA. Her choreography work was featured in the Amazon TV series, Undone, and in The Industry opera, Sweetland She’s honored to perform on her Tongva ancestral homelands in the great Tovaangar the central village of Yaanga (Downtown Los Angeles). Instagram: @tonantzincarmelo
BRANDON DELSID (Krys) is an actor originally from Fresno, CA. He can be seen starring in Amazon Prime’s This is Me…Now musical alongside Jennifer Lopez. This spring he’ll be a recurring guest star on HBO’s The Rehearsal. Last year he completed June and John with director, Luc Besson (The Fifth Element) and shot Peacock’s The Date Whisperer. He can be seen in campaigns for Amazon, Cerave, White Claw, HBO, Redfin, and Netflix. Follow @brandondelsid for more fun.
DAKOTA RAY HEBERT (Grace, she/they) is from Meadow Lake, Saskatchewan, Canada, and a proud member of English River First Nation. Dakota does comedy: Trailer Treasure, I’ll Give You An Indian Act, Just For Laughs. Dakota does television: Shelved, Marvel’s Echo, Run the Burbs. Dakota does movies: #Vanlife (postproduction), Run Woman Run. Dakota has a skin baby (Frankie), two fur babies (Lieutenant Dan & Mr. Bean), countless plant babies, and the world’s greatest and funniest sweetheart (Dylan). Be sure to follow this 2S Dene @dakota_raymond. They’re up to their beaded earrings in work they love to share.
Any video and/or audio recording of this production is strictly prohibited. Please turn off all electronic devices such as cellular phones and watch alarms. The use of any recording device, either audio or video, and the taking of photographs, with or without flash, is strictly prohibited.
Latecomers will be seated at the discretion of management. Patrons with disabilities: wheelchair seating is available in a variety of theatre locations. When ordering tickets, please indicate any special needs. For our hearing-impaired guests, the theatre is equipped with listening devices; please contact an usher for assistance.
ALEISHA FORCE (u/s River) is a Texas native and former high school speech teacher (Go Cats!). Favorite roles: Antony and Cleopatra (Virginia Shakes); Normalcy (Theatre East); Fat Pig (Dallas Theatre Center); Hand to God (Coachella Valley); ROE and Human Interest Story (Fountain Theatre); most recently Summer, 1976 (Lean Ensemble).TV: This is Us/NBC, For All Mankind/ Apple TV, In The Cut/Bounce TV and Monster Season 3/Netflix. Education:MFA/SMU,The Groundlings and UCB (NYC).
BURGANDI TREJO PHOENIX (u/s Wynona, u/s Grace, she/her) is a passionate, multiethnic, multi-hyphenate storyteller with Yaqui (Yoeme) roots, committed to advocating for authentic representation of BIPOC women in entertainment. Film/TV credits include Emmynominated shows: Spirit Rangers (Netflix); The Loud House (Nickelodeon), video games Cookie Run Kingdom and Merlin (DEV Sisters), and a recent appearance as top of show guest star on NCIS. In addition to numerous stage appearances, Burgandi is a former host of Casting Frontier's YouTube show, The Curve.
KENNY RAMOS (u/s Krys, u/s Mark, they/he) is from the Barona Band of Mission Indians and is a Cornerstone Theater Company ensemble member. Credits include productions and workshops with Native Voices, Perseverance Theatre, Denver Center, Seattle Rep, Oregon Shakespeare Festival, The Kennedy Center, and most recently, the national tour of Peter Pan. TV: Spirit Rangers (Netflix). Awards: TCG Fox Fellowship, First Peoples Fund Fellowship, Yale Mellon Arts Fellowship, LA City Council NAHM Honoree. Education: BA American Indian Studies, UCLA. @krayramos <3mom
JOSH BYWATER (u/s Theo, he/him) is thrilled to be working with CTG for the first time, especially on this production. Theatre credits include: Smile, Cult of Love (u/s) (IAMA Theatre); Fat Pig, One Arm (Steppenwolf); The Story (Goodman); The Aliens (Opera House Arts); Bea Arthur... (Ars Nova); The Crucible (OAT). TV includes: Somebody Somewhere, Chicago Med, Chicago Fire, 61st Street, Utopia,
Crisis. Film includes: Widows, Never Not Yours. IAMA Theatre ensemble member. School at Steppenwolf Alum. Love to all.
LARISSA FASTHORSE (Sicangu Lakota Nation) (Playwright) is a MacArthur Fellow and cofounder of Indigenous Direction, the leading consulting company for Indigenous art. Larissa was the first known female Native American playwright on Broadway with The Thanksgiving Play, which has now had over 300 productions. Her revised book of Peter Pan is currently on tour around the country. Additional plays include The Native Nation Trilogy, For The People, and Fancy Dancer. She is developing work for many theaters including The Public, Second Stage, and Yale Rep. Larissa is a professor of practice at Arizona State University.
MICHAEL JOHN GARCÉS (Director, he/him) is an LA-based director and playwright and a professor of practice at Arizona State University. Recently: productions at The Guthrie Theater, Arizona Theatre Company, Pioneer Theatre Company, and the Geffen Playhouse. Former artistic director of Cornerstone Theater Company, where he directed new plays by many writers including Mark Valdez, Juliette Carrillo, Alison Carey, Lisa Loomer, and three by Larissa FastHorse: Wicoun, Native Nation, and Urban Rez. He recently directed the CTG:FWD Taper Legacy Reading of The Trial of the Catonsville Nine. Recipient of the Doris Duke Artist Award, Princess Grace Statue, and SDC President's Award.
SARA RYUNG CLEMENT (Set Designer, she/her). Off-Broadway (costume design): Golden Shield (MTC); Somebody's Daughter (Second Stage Uptown); Fruiting Bodies (Ma-Yi) Regional: World premieres of A Doll’s House Part 2 and Cambodian Rock Band (costumes, South Coast Repertory). Other regional credits include OSF, Boston Lyric, Guthrie Theatre, Portland Center Stage, Alley Theatre, Denver Center, Geffen Playhouse, Pasadena Playhouse, Seattle Repertory, and others. Education: MFA, Yale School of Drama; AB Princeton University. Set design faculty at UMN, Twin Cities. sararyungclement.com IG: sararyung
E.B. BROOKS (Costume Designer, she/they). The Industry: Sweetland, Invisible Cities. OSF: Manahatta, Off The Rails. Geffen Playhouse: The Legend of Georgia McBride (2018 Ovation Award, Drama Critic Circle Award), Mysterious Circumstances, Bad Jews, Wait Until Dark, and Good People. Marin Theater Co: Sovereignty Lyric Theater of Oklahoma: Distant Thunder, Perseverance: Winter Bear Project, Franklin, Will Inc., and They Don't Talk Back. Native Voices at The Autry: Lying with Badgers, Pure Native, Bingo Hall, Stand Off at Highway #37 Playwrights Retreat 2013-2020. E.B. also designs for film, television, and music videos. Member of USA 829 and CDG 892. B.F.A. UMCP, M.F.A. CalArts
TOM ONTIVEROS (Lighting Designer, he/him) centers his work on social justice, diversity, and equity for underrepresented communities. Tom is Chair of the Theatre Arts Department at the University of La Verne. Credits include design at Oregon Shakespeare Festival, Utah Shakespeare Festival, Center Theatre Group, American Repertory Theatre, Berkeley Repertory, Cornerstone, Opera Theatre of St. Louis, Native Voices, East West Players, South Coast Repertory, Pasadena Playhouse, Geffen Playhouse, La Jolla Playhouse, Hong Kong Cultural Centre, and the Hungarian National Theatre. cargocollective.com/tomontiveros
JOHN NOBORI (Sound Designer, he/him) is a California-based sound designer, composer, and ensemble member of Cornerstone Theater Company. His work has been heard in plays produced by such organizations as Seattle Rep and Oregon Shakespeare Festival. Other recent credits include The Geffen Playhouse’s production of The Ants and Pasadena Playhouse's production of Sanctuary City. BA University of California, Irvine.
JANELL TURLEY (Wig, Hair and Make-up Designer, she/her) is a Wigmaker and Hair and Makeup Designer based in Los Angeles. She is the Shop Manager of Wigmaker Associates, a custom wig studio for film + television in Beverly Hills. Design Credits include: Revenge Song, A Wicked Soul in Cherry Hill, Mysterious
Circumstances (Geffen Playhouse), Sweetland (The Industry), Nightwalk in the Chinese Garden (CalArts Center for New Performance), Manahatta (OSF), Winter Bear Project (Perseverance Theatre).
EDGAR LANDA (Fight Director). CTG: 2:22 A Ghost Story (Ahmanson), Alma (Kirk Douglas). Other: The Play That Goes Wrong (Santa Barbara City College), Romeo & Juliet (Tennessee Shakespeare Company). Other fight credits: Geffen Playhouse, San Diego Rep, South Coast Repertory, The Wallis, The Getty Villa, Shakespeare & Company. He has choreographed mayhem for many of Los Angeles’ intimate theatres. Edgar serves on the faculty of the USC School of Dramatic Arts. Edgar is a proud supporter of the Los Angeles intimate theatre community. Edgarlanda.com
KIM WILLIAMS (Casting, she/her) served as Vice President of Casting at Disney Television Studios, casting the award-winning Genius: MLK/X. Her standout independent credits include the upcoming The Late Night Creep, the iconic Martin, Girlfriends, and Tyler Perry’s Diary of a Mad Black Woman. A champion for emerging talent through HBO Access, Kim also serves on prestigious boards, David Geffen School of Drama at Yale, NFMLA, and the welcome committee for Tarell Alvin McRaney at Geffen Playhouse.
DAVID S. FRANKLIN (Production Stage Manager, he/him) has been stage managing at Center Theatre Group since 1989. Sadly, there is not enough space in the program for him to list his favorites over the years. Other Los Angeles: Los Angeles Theatre Center in its heyday from 1985–1990, Pasadena Playhouse since 1989 and where he recently had the pleasure of stage managing their 2023/24 Season! Regional: Seattle Rep, Intiman Theatre. New York: Public Theater. Tours: Europe— Quotations from a Ruined City, Law of Remains (with Reza Abdoh’s Dar a Luz company).
MIRIAM E. MENDOZA (Stage Manager, she/ her). Selected credits include Waiting for Godot (Geffen Playhouse); Jelly’s Last Jam, Inherit the Wind, One of the Good Ones (Pasadena Playhouse); Alma, Tambo & Bones (CTG – Kirk Douglas Theatre); 2:22 A Ghost Story, The Secret Garden (CTG – Ahmanson Theatre); A Transparent Musical (CTG – Mark Taper Forum). El Paso, Texas native, Miriam teaches and works around Los Angeles. She is a company member of New Swan Shakespeare Festival. MFA in Stage Management from UC Irvine.
CENTER THEATRE GROUP
SNEHAL DESAI (Artistic Director, he/him) was appointed Center Theatre Group's third artistic director in 2023. As an artistic leader, Snehal has sought to raise awareness of social issues that affect Angelenos through impactful and empowering storytelling. Previously, he was the Producing Artistic Director of East West Players. A Soros Fellow and the recipient of a Tanne Award, Snehal was the Inaugural Recipient of the Drama League’s Classical Directing Fellowship. He currently serves on the board of the National Alliance for Musical Theatre (NAMT) and was on the faculty of USC’s graduate program in Arts Leadership. Directing highlights include Assassins, Mamma Mia!, Grease, Allegiance, and The Who's Tommy
MEGHAN PRESSMAN (Managing Director/ CEO, she/her) joined Center Theatre Group in 2019. Previously, she served as Managing Director of Woolly Mammoth Theatre Company (D.C.), Director of Development for Signature Theatre (N.Y.), and Associate Managing Director of Berkeley Rep. She is a graduate of Yale School of Drama/Yale School of Management and serves as a mentor in the Theater Management program. Meghan has served as the Vice-Chair for the Theatre Communications Group Board of Directors and is a member of the Broadway League.
GORDON DAVIDSON (Founding Artistic Director) led the Taper throughout its first 38 seasons, guiding over 300 productions to its stage and winning countless awards for himself and the theatre—including the Tony Award for theatrical excellence, Margo Jones Award, The Governor’s Award for the Arts, and a Guggenheim fellowship. The Kentucky Cycle and Angels in America (Part One) won the Pulitzer in consecutive years and, in 1994, three of the four plays nominated for the Tony Award for Best Play were from the Taper (Angels in America won). In 1989, Gordon took over the Ahmanson and, in 2004, he produced the inaugural season in the Kirk Douglas Theatre.
NAUSICA STERGIOU (General Manager) has worked supporting artists in theatres of all shapes, sizes, and locales including Center Theatre Group as General Manager and, previously, as Audience Development Director. She oversees productions at the Taper and Douglas, as well as new play commissions and developmental productions. Nausica has taught Marketing and Management at USC’s School of Dramatic Arts and works with local nonprofits including Hollywood Orchard. BA, Cornell University. MFA, Yale School of Drama.
DOUGLAS C. BAKER (Producing Director, he/him) joined Center Theatre Group in 1990. Doug is an active member of the Broadway League, the Independent Presenters Network (IPN), and is a proud member of the Association of Theatrical Press Agents and Managers (ATPAM). In 2013, Doug received the Broadway League’s prestigious Outstanding Achievement in Presenter Management Award.
LINDSAY ALLBAUGH (Associate Artistic Director, she/her). Associate Artistic Director for Center Theatre Group and award-winning Los Angelesbased director and producer. Lindsay was Co-Artistic Director of the Elephant Theatre Company from 2004–2014. Selected CTG producing credits include—Mark Taper Forum: American Idiot, Slave Play, Archduke,
Bent, Waiting for Godot; Kirk Douglas Theatre: Creative Producer behind Block Party, Tambo & Bones, Good Grief, Endgame, Women Laughing Alone With Salad, Chavez Ravine, different words for the same thing, The Nether.
CENTER THEATRE GROUP, one of the nation’s preeminent arts and cultural organizations, is Los Angeles’ leading not-for-profit theatre company, which, under the leadership of Artistic Director Snehal Desai, Managing Director / CEO Meghan Pressman, and Producing Director Douglas C. Baker, programs seasons at the 736-seat Mark Taper Forum and 1,600 to 2,100-seat Ahmanson Theatre at The Music Center in Downtown Los Angeles, and the 317-seat Kirk Douglas Theatre in Culver City. In addition to presenting and producing the broadest range of theatrical entertainment in the country, Center Theatre Group is one of the country’s leading producers of ambitious new works through commissions and world premiere productions and a leader in interactive community engagement and education programs that reach across generations, demographics, and circumstances to serve Los Angeles. Founded in 1967, Center Theatre Group was led by Founding Artistic Director Gordon Davidson until 2005 when Michael Ritchie was the artistic director until his retirement in 2021; Snehal Desai was appointed the organization’s next artistic director in 2023. Center Theatre Group has produced more than 700 productions across its three stages, including such iconic shows as Zoot Suit; Angels in America; The Kentucky Cycle; Biloxi Blues; Twilight: Los Angeles, 1992; Children of a Lesser God; Curtains; The Drowsy Chaperone; 9 to 5: The Musical; and Bengal Tiger at the Baghdad Zoo. centertheatregroup.org
ADDITIONAL STAFF
Indigeneity Trainings and Consultations Indigenous Direction
Associate Scenic Design…………………………………………….Se Oh
Assistant to Playwright Emma Busch
Writing Assistant …………………………………….Christopher Cid
Production Assistant Linda Cristal Ureña
Assistant Scenic Designers Justin Kelley-Cahill, Kate Schaaf
Assistant Lighting Designer Christopher Hill, Russell Chow
Production Observers Julia Chavez, Cristian Ramirez, Iyana Scott, Sienna Serrano, Angel Villalobos, KC Yee
Scenery provided by F&D Scene Changes
The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States.
The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.
The following employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Machine Operators, Artists and Allied Crafts of the United States, its Territories and Canada, AFL-CIO, CLC: Stage Crew Local 33; Treasurers and Ticket Sellers Local 857; Wardrobe Crew Local 768; Make-up Artists and Hair Stylists Local 706
United Scenic Artists represents designers and scenic artists for the American Theatre.
Center Theatre Group is a member of the League of Resident Theatres (LORT), the American Arts Alliance, the Broadway League, Independent Producers’ Network (IPN), and the Theatre Communications Group (TCG).
THANK YOU
Center Theatre Group would like to thank all the firefighters and first responders who were on the frontlines risking their lives to keep us all safe. Our thoughts continue to be with everyone who has been affected by this unprecedented natural disaster and particularly for those of you who continue to be impacted at this time. We want you to know that we are here for you.
And thank you to all of you who checked in to see how our theatres, staff, board and artists were doing. There has been so much strength, kindness, and support from you our community and it is what we hold onto now as we all rally together to rebuild and heal.
For the latest information on CTG’s efforts to support our local communities, artists, student, and colleagues affected by the wildfires please follow us on social media @ctgla or on our website at centertheatregroup.org.
We love you, Los Angeles.
BERNADETTE PETERS, LEA SALONGA, AND THE LONDON COMPANY IN CAMERON MACKINTOSH’S PRODUCTION OF STEPHEN SONDHEIM’S OLD FRIENDS. PHOTO BY DANNY KAAN.
ARTISTIC
SNEHAL DESAI Artistic Director | MEGHAN PRESSMAN Managing Director/CEO | DOUGLAS C. BAKER Producing Director
GORDON DAVIDSON Founding Artistic Director
Center Theatre Group would like to thank its exceptional staff for their ongoing commitment, dedication, and extraordinary efforts. ♦ On staff for 10+ years. °Education & Community Partnerships Alumni.
CATHERINE HOLLY, AJA HOUSTON, JOHNATHON L. JACKSON, DAVID JIMENEZ,° CARENE ROSE MEKERTICHYAN, MARA PALMA, ROBERT PATERNO, MADDOX PENNINGTON, MARTA PORTILLO,TARA RICASA, TIANA RANDALL-QUANT, MONIQUE SYPKENS Teaching Artists
PRODUCTION
JOE HAMLIN♦ Director of Production
SHANNON G. BICKNELL Senior Production Manager
LESLEY GONZALEZ Associate Production Manager
CAMBRIA CHICHI° Production Supervisor
ISAAC KATZANEK Technical Director
SHAWN ANDERSON♦ Head Carpenter (Ahmanson Theatre)
SCOTT LUCAS Head Properties (Ahmanson Theatre)
JARED BATTY Head Electrician (Ahmanson Theatre)
ROBERT SMITH♦ Head Sound (Ahmanson Theatre)
SHANE ANDERSON Head Flyrail (Ahmanson Theatre)
MICHAEL GARDNER♦ Wardrobe Supervisor (Ahmanson Theatre)
MARY BORGIA Hair & Make-up Supervisor (Ahmanson Theatre)
CHRISTINE L. COX♦ House Manager (Ahmanson Theatre)
EMMET KAISER♦ Head Carpenter (Mark Taper Forum)
MARY ROMERO Head Properties (Mark Taper Forum)
AARON STAUBACH♦ Head Electrician (Mark Taper Forum)
JONATHAN FLORES Audience Services Assistant Supervisor
JURGEN SANTOS, CHRISTIAN UNGER Audience Services Sales Associates
JOSHUA BADILLO, CLAY BUNKER, FRANK ENSENBERGER, DANIEL GARCIA, MICHAEL MUNOZ, SAMUEL ROQUE, DAVID SALAZAR, ASHLEY SANDOVAL, CHRISTINA WRIGHT Audience Services Representatives
LUIS ESPINOZA, KAITLYN GALVEZ, MICHAEL KEMPISTY,♦ RICHARD RUBIO 2nd Assistant Treasurers
LA ARTIST RESIDENCIES
DIANA BURBANO
As part of our commitment to supporting new plays and playwrights, we foster and develop a broad range of theatrical work from diverse artists locally, nationally, and abroad.
Since 2005, we have invited local playwrights to spend a year researching and writing a new work with the feedback of their fellow writers and artistic staff as part of our L.A. Writers’ Workshop.
Artists creating new work commissioned by Center Theatre Group this season: Learn more at CTGLA.org/ARTISTS
AZIZA BARNES
LISA D’AMOUR
LARISSA FASTHORSE
JENNIFER HALEY
ALESHEA HARRIS
GERALDINE ELIZABETH INOA
LISA KRON
KIMBER LEE
YOUNG JEAN LEE
MATTHEW LOPEZ
ROGER Q. MASON
TAHIRIH MOELLER
JANINE NABERS
QUI NGUYEN
LYNN NOTTAGE
MARCO RAMIREZ
CYNTHIA GRACE ROBINSON
SARAH RUHL
T.TARA TURK-HAYNES
LUIS VALDEZ
PAULA VOGEL
KAREN ZACARÍAS
2023/24 COHORT:
AMY BERRYMAN
INDA CRAIG-GALVÁN°
ISAAC GÓMEZ
CHRISTOPHER OSCAR PEÑA
RAMIZ MONSEF
JASMINE SHARMA
LARISSA FASTHORSE
MICHAEL FEINSTEIN
MICHAEL JOHN GARCÉS
DANIEL ALEXANDER JONES
MADELINE SAYET
KRISTINA WONG
CRITICAL MASS PERFORMANCE GROUP
ENSEMBLE STUDIO THEATRE LA IN PARTNERSHIP WITH CHALK REP NATIVE VOICES AT THE AUTRY
OUR SUPPORTERS: ANNUAL DONORS
THANK YOU for your generous annual support.
As we emerge from the most challenging period in Center Theatre Group’s history, we recognize our generous individual donors for their annual and event support.
$500,000+
In Support of Theatre Artists
Kirk & Anne Douglas^
$250,000+
Jana & Trevor Bezdek
Stuart Brower Donor Advised Fund
Amy Forbes & Andrew Murr
Stanley Iezman & Nancy Stark
$100,000+
Anonymous^
Helen & Morgan Chu
Cindy & Gary Frischling
Kiki & David Gindler^
Patricia Glaser & Sam Mudie
Aliza Karney Guren & Marc Guren^
Louise Moriarty & Patrick Stack
Deena & Edward Nahmias
Laura & James Rosenwald & Orinoco Foundation
$50,000+
Anonymous
Joni & Miles Benickes^
Diana Buckhantz & Vladimir & Araxia Buckhantz Foundation
Mrs. Margaret Sheehy Collins
Patricia Glaser & Sam Mudie
Manuela & James Goren
Robert Greenblatt
Mr. & Mrs. James L. Hunter
Vicki King
Thomas Safran
Elliott Sernel & Larry Falconio^
The estate of Frank J. Sherwood*
J R Stein Family Foundation
Matt & Dana Walden
$25,000+
Anonymous
Gay & Harry Abrams/ Abrams Artists Agency
Karen & Jonathan Axel
Elissa Becker
Judith & Thomas Beckmen
Gail Berman & Bill Masters
Debra & Norris Bishton
Allen Blue & Kira Snyder
Jill & Allen Chozen
Christine Cronin-Hurst & Mark Hurst
Ms. Lynne M. Diamond
Cecilia Estolano
Waltraut Fefrmann
Ruth Flinkman-Marandy & Ben Marandy
Lindsey Horvath
Gerald & Jacqueline Kehle
Kelton Fund/Lenny & David Kelton
Harvey & Ellen Knell Foundation
Labowe Family Foundation
Doris Luster
Melissa McCarthy & Ben Falcone
Justin Mikita
Cindy Miscikowski^
Marsha J. Naify
Olivia & Anthony Neece
Jane Rissman & Richard Sondheimer
Glenn & Andrea Sonnenberg
Sandra Stern
Stone Family
Donna & John Sussman^
Terence Tchen & Emily Breckenridge
Kim & Bill Wardlaw
$15,000+
In Memory of Morris A. Hazan
Robert Abernethy
Laura & Harvey Alpert^
James Asperger & Christine Adams
I. Mark & Marlene Bledstein
Lynn Booth and Kent Kresa
Paula Brand
Janice R. Brittain
Linda & Maynard BrittanTraub-Brittan Family Trust
Marla Campagna^
Wendy Chang
Donald & Zoe Cosgrove*
Bernie Cummings & Ernie Johnston
Bob Ducsay and Marina Pires de Souza
Doug Dust and Lorin Liesy
Elisabeth Katte Harris Trust
Connie Elliot
Michael A. Enomoto
Lisa Field
Robyn Field & Anthony O’Carroll
Jason Grode & Maryl Georgi
Annie Gross
Marion & Tod Hindin
Jing Ho
Jennifer L. Jackman^
Ellen & Jerry Jacobson
David & Martha Kadue
Mrs. Gayle Leventhal
Brian Lourd
Kelly Sutherlin McLeod & Steven B.
McLeod Family Foundation^
Janice & Bruce Miller
Ben Mui & Carrie Hartman
Mr. Jacques Nack Ngue &
Dr. Coree Levy^
Kari L. Nakama^
Gail Neiman
Christine Marie Ofiesh^
Edward & Mary Beth Ring
Ernesto & Richard Rocco-Davies
Bill & Sue Roen
Robyn & Steven Ross^
Nina & Steven Sheldon^
Phyllis J. & Steven F. Spierer^
The Sugimoto Family Foundation
Anne C. Taubman
Karen & William Timberlake
Peter & Iona Tompkins
Elinor & Rubin Turner
Peter & Susan Van Haften
Seymour Waterman & Family
Jerrie D. Whitfield &
Richard W. Motika
$10,000+
Betsy & Harold Applebaum
Shelley & Rick Bayer
Fran R. Berger ^
Robert Bienstock
Ms. Virgina Blywise
Dr. Robert Braun & Dr. Joan Friedman
Dr. Lawrence & Jane Z. Cohen
Dr. Bradford W. Edgerton & Mrs. Louise Edgerton
Rhonda C. Evans
Fran Flanagan
Noah Francis
Tatiana Freitas
Marcy Gross
Dr. Stephen D. Henry & Rudy Oclaray
Robert D. & Claire Heron
Phil Hettema^
Anonymous
Ann & Stephen F. Hinchliffe, Jr
Honey Sanders
Douglas Hutchinson
Janice A. Kido^
Geoffrey Kischuk^
Vicki & Seth Kogan
Sheila Krasnoff^
Sarah Landau
Michael & Sandy Leahy
Steven Llanusa & Glenn Miya, M.D.^
Tiffany Lovett
Margot & Mitch Milias
Muller Family Foundation
The Murray / Reese Foundation
Chris & Dick Newman/C & R
Newman Family Foundation
Jeanne L. Newman
Ms. Marian Beth Price
Laura & David Quigg
Melissa Louise Rhone
Mr. & Mrs. Marvin Ring
Bruce & Randy Ellen Ross
Donna Schweers & Tom Geiser
Joan & Arnold Seidel
James & Alexis Sheehy
The Snyder Family Foundation
Jay Srinivasan
Eugene & Marilyn Stein
Tom Stempel
Taffy Stern^
Brad & George Takei
Mari & Randall Tamura
Elizabeth Topkis
Sheila & Wally Weisman
Hattie & Harold Wheeler
George Zimmerman & Tatyana Gurvich^
$8,000+
In Memory of John W. Carner
Remembering Lynn Kinikin
Anonymous
Lois Yvonne Adams
Russell Allison
Debra & Dave Alpert^
Liz & Lou Altman
Linda Antonioli in loving memory of Kenny Antonioli
Adriana & Jay Balaban
Tracey Boldemann-Tatkin & Stan Tatkin
JoAnn & Wade Bourne^
Desobry E. Bowens in Memory of Alice Desobry Bowens^
Robert Brook & Jackie Kosecoff
James L. Brooks
Rose-Marie Browning & Michael Fletcher
Kathleen & Milton Campbell
Dannielle Campos Ramirez & Armando Ramirez ^
Cathy & Tony Chanin
Dr. Allison Diamant
Anne M. Dougherty & David B. Dobrikin
Nick Dudzak
Howard Gleicher and Damon Chen
Ms. Dana Guerin
Dr. Lisa Guerin & Mr. Tim Ryan
Pamela Herman Broussard & J. Garfield Broussard
Mary Ann Jacobsen
Roslyn & Warren Jacobson
Norman & Leslie Koplof
David & Tam Lachoff^
Mr. Craig E. Lawson^
Curtis Lelash^
Liz Levitt Hirsch
Janell & Randall Lewis
Marissa Messer
Andy & Laura Mintzer
Mildred Moon Esq. & Earl Whitaker
Judy Nussenblatt^
Tye Ouzounian^
Linda S. Peterson
Dr. Peggy Renner & Dr. Robert Nelson^
Mary Kay Schumacher
Mr. & Mrs. Ted Seidman
Howard & Stephanie Sherwood^
Jan & Carl Siechert
Debra J. Silvera-Sheehan
Mason A. Sommers & Rami Aizic
Tracy A. Stone & Allen Anderson
Ellen & Steve Sugerman^
Luke & Colleen Welsh
James A. Zapp & Elizabeth A. McGlynn
$5,000+
All My Friends Productions
Empress Jacquie
In Memory of Marianne Cooper^*
In Memory of Mille Kern
Nita Whitaker ^
VoiceWorks Productions, Inc.^
Anonymous (6)
Amy & Bob Abramson
Katherine Adamson
Florence C. Agcawili^
Andrew Aichlmayr^
Susan Alschuler
Robert C. Anderson
Suzanne Attig^
Cheryl & Elliott Balbert
Howard Banchik
Christopher & Anadel Barbour
Angela Bardowell
Linda Barnett
Mark & Jody Barnhill
Lois Barth & Michael Schubach
Susan Baumgarten
Pamela & Dennis Beck
Martin & Gina Bell
Yvonne & Derek Bell
Daniel Berendsen and Kevin Brockman
Susan & Adam Berger^
Drs. Jack & Barbara Berman
Peter & Helen Bing
Diane Birnbaumer &
James Thompson
Leah Bishop & Gary Yale
Joan & Rob Blackman
Majorie Blatt
Yvonne Bogdanovich & Family
John Bowab^
Dr. Adrienne Brandriss
Sheryl Brannan
Sandy & Mayer Brenner
Jim Bright & Lucy Farber
Eileen and Harold Brown
Linda Brown
Neil H. & Karen Hochman Brown^
Anne Bruner & James Bremner ^
Rick Buche & Vin Reilly
Dr. Lisa Bukaty &
Mr. Raymond M. Bukaty
Richard J. Burdge Jr. &
Lee Smalley Edmon^
Linda Stafford Burrows^
Dr. & Mrs. Ronald Busuttil
Laura and Jerry Callaway
Patty Chan^
The Honorable Judith C. Chirlin^*
Suzanne & John Clark^
Mary Coates
Roberta A. Conroy
Corinna Cotsen & Lee Rosenbaum
The Craig Family
Tim Curtis and Shandon Youngclaus
Mrs. Teran Davis
Nancy Dennis
Cathy DeRoy
Rajendra and Kiran Desai
Julia Donoghue
Ms. Laurie Dubchansky
Matthew Dubeck
Dr. William Duxler
Ms. Anita H. Dymant &
Mr. Richard Drooyan
Alan & Barbara Faiola
Valerie Field
Carol Fisher Sorgenfrei^
Pat Fleming
The Franke Family Trust
Michael Galindo & Mary Quon Jung^
Jay & Donna Gallagher
Scott Gaudineer
Lesley & Dr. Kenneth H. Geiger
Fariba Ghaffari
Bethany Goldberg
Roslyn & Abner Goldstine
James D. & Margaret A. Gray
Claudia & Tom Grzywacz
Roberta L. Haft and Howard Rosoff
Tanna Handley Havlick
Michael Hanel and Steve Linder
Steve & Toya Harrison
Gail & Murray Heltzer
Zvia Hempling^
Alicia Hirsch & Jesse Russo
Karen Hirshan/Hirshan Family
Foundation
Ofer B. Ho
Rand Hoffman & Charlotte Robinson
Amy Hogan
Lawrence and Toni Hollander-Morse
Erika Honda
Gary Kading
Linda R. Kaplan
Cari & Marty Kavinoky
Ken & Stefanie Kay^
Claudia E. Kazachinsky & Richard A. Sherer
Albert Kelly & Marjorie Stevens Kelly
Sharon Kerson
Genni Klein
Michael & Deborah Klein^
Karen & Bob Knapp
Joanne C. Kozberg
Darell & Elizabeth Krasnoff
Mr. & Mrs. Stan Krasnoff
Jale Kutay
Anne & Michael Landsburg
David & Janet Lazier
Ron & Pat Lebel
Dinny & David Lesser ^
Ronald Levenson & Marcia Gold Levenson
Dr. Dianne N. Long^
Mr. & Mrs. Mark S. Louchheim
M. Michele Martin
Dr. Rosie M. Mayfield^
Gerard McCallum
Alan & Jodi Melcher^
Carla Meyer & Chuck Arnold^
Donna Millan
Mr. & Mrs. Larry Miller
Joanne & Joel Mogy
Patrick Moran
Toni Morgan
Loula Moschonas & James Edgerton^
Jerri & Dr. Steven Nagelberg
Bob & Renee Nunn^
Mr. Richard Nupoll
Michael R. Oppenheim^
Janie & Allan Orenstein
Yvonne Orji
Elsie & Peter Paterno^
Jamie Patricof & Kelly Sawyer Patricof
Helen Pekny
Maggi Phillips & Mario Gerla
Dr. Ralph & Cathy Quijano
Rollin A. Ransom & Chris Lacroix
Paula F. Reach
Kristine Reynal
Stuart & Laurie Rice In Loving
Memory of Adam Rice
Rick & Judy Richman
Michael Robin
Lois Rosen
Ellen & Mike Rosenberg
Stephen and Kate Sachs
Marsha & Imre Sallai^
June Sanders Sattler
Stephen J. Sass &
Dr. Steven Hochstadt
Leonard Sharzer
Linda M. Sherman
Jacque & Herb Spivak
Merrilee B. St. John^
Jill Stein
Clumeck Stern Schenkelberg & Getzoff
Laura Stevenson Maslon
Susan R. Stockel
Jeff Sung
Fran Sweeney
Marcy Szarama
Laney Techentin
Russell Todd^
Lynn Tolkan Franklin
Sandra Tufts
Geoffrey Tully and Madison Tully in memory of Genise Reiter
Michael Valocchi
Rob Wade
Norman & Barbara Weiler ^
Susan & William Weintraub
John R. White and Kimberly Stirling
Denise J. Winner
Mary J. Witt
Virginia & Greg Young
Arnold H. & Tricia L. Zane
Richard Zbur
$2,500+
Beatrice (Tina) Castillo & Gail Sandford
Bobbie Stern
Dozar Office Furnishings^
Ellen Eubanks
In Honor of Laura Woolls
In Honor of My Mother, Consuelo Lopez
In Memory of Ruth & Leon Sirkin
In Memory of Wayne Jervis, Jr. Anonymous (9)
Michael and Susan Abeles
Paula A. Adams
Alice Greene McKinney and E. Kirk McKinney, Jr. Fund
Craig J. and Kathryn K. Anderson^
Laura Armour
Sandra Aronberg, M.D. & Charles Aronberg, M.D.
Margaret Arvey
Linda Ayers
Corinne Baldassano
John Ballinger & Rod Davis
David Baltimore & Alice Huang
Chris & Rose Bauss^
Dr. Martine Bauwens
Mr. & Mrs. John Bettfreund^
Christopher Bissonnette
Susan Bloch & Stephen Kay
Rachel Bloom
Annette Blum
Betsy Borns
Join us for an exhilarating journey featuring over 80 visionary artists from around the world such as: > Shamel Pitts | TRIBE > Ant Hampton > JJJJJerome Ellis > Tarta Relena > Orquesta Akokán > Elevator Repair Service
> Cécile McLorin Salvant > Quetzal > Rianto > Cha Wa
SHAMEL PITTS | TRIBE
Photo by The Adeboye Brothers
Irene Boyd
Devra Breslow
Leah Broidy
Jaron Brooks
Abbott Brown
Todd & Cory Buchner
Christine Cahill
Kelly Campbell
Steven Cantrell
Melinda Carmichael
Thomas J. Carmichael
Sandra L. Carter^
Arthur & Katheryn Chinski
Caroline Choi
Joanne R. Cohen
Victor Cole & Patricia Green
Father Vince Connor
Hon. Candace Cooper (Ret.)
Corbell Family^
Ted Cordes^
William Dandridge
Steve & Linda Darling^
Kenneth Davis^
Mr. Nicholas Davis
Heidy & Saul De La Rosa
Tom De Simone & Jason Wright
Erica B. Deutsch
Chiedu Egbuniwe
Thomas Farrell
Mrs. Barbara J. Feiga
Robert Finkel & Adelle Gross
Lauren Firestone & Chris Cookson
Darcy Fleck^
Ruth Fleming-Stephens
Laura E. Fox, M.D. &
John D. Hofbauer, M.D.
Kenneth J. Friedman
Rosalie Friis-Ross^
Howard J. Fulfrost
Kerry Garvis Wright
Dr. Robert Gasway & Kristen Wong^
Freddi & Marvin Gelfand
Jeanne K. Gerson
Jeri & Keith Gertzman
Patrick & Frank Gibson-McMinn
Kelly Lynn Gitter
Bruce & Madelyn Glickfeld
Bob Gold
Ms. Gail Goldberg Stoter
Andrew and Colleen Goldberg
Dr. Irene Goldenberg
Nan & Allan Goodman
Edith Gould
Mr. & Mrs. Francisco Govea
Dr. Stuart & Adrienne Green
Sally Greenfield
Ms. Ann Greer
Craig Greiwe
Debra Grieb & John Mickus
Pam Grissom
Lorrie & Richard Gurewitz
Ms. Elizabeth Haaker
Mr. Jeffrey L. Hall &
Mr. Kevin A. Yoder
Scott Hall & Rhonda Church
Ms. Kamala Hamilton &
Mr. Lucky Weir
Marc Hankin
Harris Family Foundation
Sam Harris
Johnny Ruth Harrison, M.D.^
Trish Harrison-Runnette & John
Runnette
Catherine & Mark Helm^
Phyllis & J. Michael Hennigan
Barbara Herman
R. Christine Hershey
Ellen & Tom Hoberman
Fritz Hoelscher
Laurie Zaks & Jeff Horn
Joan Hotchkis
Heidi Hu
Elizabeth Irvine Bray
Dr. & Mrs. Robert Itami
Irwin & Meredith Jacobson
The James Irvine Foundation
Sean Johnson & Alex Ocampo
Carol & Bruce Johnston
Rosalind Joseph
Janet & Steve Kahane^
Judith & Russell Kantor ^
Regina & Richard G. Kaplan
Elyse & Stanley Katz
Laurence & Linda Kaufman
Jennifer Keller
John and Karen Keller
Sarah E. Kiefer
Lindsey Kozberg
Dr. Peter A. Krikes
Dr. Micheal and Mrs. Mindy Kuhn
Lynn Kwock
Lynn Lalonde Allen
Katherine L'Amour
Michael Lanning
Sharon Lapid
Joan & Chris Larkin^
Ned Leiba
Gordon Lemke & Brian Rodgers
Charles Letzgus & Michael McDonald
Jeff S. Levine/The J2 Foundation
Marla E. Levine
Carl L. Levinger^
Carrie & Mark Levinson & Emily, Lauren & Max
Nancy & Jonathan Littman
Patty Loch
Mary Anne Lucero^
Michael Lurey & Laurie Hasencamp
Roger MacFarlane
Marge & Bill MacLaughlin
Hon. Nora M. Manella
Darlene Manus
Deborah Marshall
Emily & Phillips Marshall
Amy & Harold Masor
Marie Mazzone & David Israeli
Meg McComb
Robert L. Mendow
Lorraine & Craig Meyer
Nick & Vaughan Meyer
Carole Miller
Joan & Philip Miller
Gretchen & Marshall Milligan
Julien Minard
Arline M. Nakanishi
Robert & Sally Neely
Marianne & Michael Newman
Patty & John Nickoll
Marsha Niles^
Russell Noel
Cindy & Ken Norian
Nancy Norris
Dr. David Oh
Susan Oka
Mary Rose & Edward Ortega
Thomas Payne
Carole Pelton
Carol Phillips & Bob Shapiro
Frank Pine
Carolyn & John Poer
Pauline & Drew Pomerance
Clark and Kathryn Porter Family Foundation
Irv & Gina Posalski
Michael Powell & Dr. Sheila Phillips
Mr. & Mrs. Albert Praw
Patricia Price
Nan Rae^
Lee Ramer
Van Ramich
Tracy L. Ramont ^
Courtney Rangen
Lary Rappaport & Ellen Isaacs
Resnik Family Foundation
Kirk & Cathy Reynolds
David A. & Karen Richards Sachs
Peter Richards
Ms. Carol Risher
Lindsay Ritter
Murphy & Ed Romano
Bingo Roncelli
Robert Roosth
Nathalie & Jim Rosen
Lynne Rosenberg
Richard M. Ross
Rabbi & Mrs. Moshe Rothblum
Jeanne Sakata
Dana Saladen & Linda Walters
Jay & Linda Sandrich
Linda & Clifford Schaffer ^
Barbara Schnell & Gordon Johnson
Scolamieri/Colwell Family Trust
Rob & Cathy Sevell^
Patrick & Patricia Sheldon
Ms. Shannon Shih
Jacqueline & Harvey Shulman
Karen & Gordon Silverstein
Alan and Esther Siman
Kurt & Keli Skarin
Stephen & Judith Slagle
Leslie Smith
Roberta Smith^
Bruce Spector
David A. Steinberg
Jack & Marlene Susser ^
Mr. & Mrs. Mitchell Sussman
Stephen & Karen Sweeney
Nathan Swisher
Ellen Tam
William L. Tan & Shelly M. Ushio
Will Tanous
Judith N. Taylor
Mary & Peter Tennyson
Dr. Keith Terasaki
Ms. Allison Thomas
Marla Thornton
Susan & William Tinkley
Judy Tishkoff & Keith Crasnick
Eileen T'Kaye & David Bischoff
Paulette Toumazos & Michael Lorenz
Sue Tsao
Trude Tsujimoto
United Talent Agency
Carol Vernon & Robert Turbin^
Dr. & Mrs. Daniel Wallace
Jason Wanderer
Rita Warren
Charles W. Weeks^
Janice & Larry Weiner
Bonnie Weis
John & Martha Wengert
Sara Widzer
Lori Williams & Stephen Schulte
Eric Winston & Jacqueline McIntyre-Winston
Edward Wolkowitz Family
Wayne Zahner
Ruth Zommick
The above list reflects total annual giving from either the FY25 fiscal year (July 1, 2024-June 30, 2025) or the previous fiscal year FY24 (July 1, 2023 - June 30, 2024), whichever is greater. This list is updated as of December 6, 2024.
Please contact our Advancement team at 213.972.7564 or Give@CTGLA.org with any corrections to this list. Thank you! ^Acknowledges a loyal supporter who has pledged a multi-year commitment to Center Theatre Group, including next year. Deceased
LA’s PREMIER WINTER JAZZ FESTIVAL RETURNS!
Pacific Jazz Orchestra with Eva Noblezada
$55 - $158
Lakecia Benjamin, saxophone & Phoenix
JAZZ CLUB
$59 - $79
Christian McBride, bass & Ursa Major
JAZZ CLUB
$59 - $79
Jason Moran, piano Plays Duke Ellington with CSUN Jazz “A” Band
$39 - $89
Kurt Elling Celebrates Weather Report
with Special Guest Peter Erskine
Featuring Yellowjackets
$44 - $109
Chucho Valdés: Irakere 50
with Special Guest Arturo Sandoval
Guest Appearance by Cimafunk
$44 - $109
OUR SUPPORTERS: INSTITUTIONAL SUPPORT
THANK YOU for your institutional support.
We deeply appreciate the corporate members, grant-making institutions, and government agencies that partner with Center Theatre Group to sustain and expand our engagement with the Los Angeles community through the art of theatre.
$1,000,000+
The Ahmanson Foundation
Anonymous
Edgerton Foundation
Federal Emergency Management Agency
Gilead Sciences
Mellon Foundation
Perenchio Foundation
S. Mark Taper Foundation
$200,000+ Bank of America
The Shubert Foundation, Inc.
$100,000+
David Lee Foundation
Ralph M. Parsons Foundation
SNAP Foundation
The Louis & Harold Price Foundation
The Norman and Sadie Lee Foundation
$75,000+
PNC Bank
$50,000+
The Capital Group Companies
Charitable Foundation
The David William Upham Foundation
Dwight Stuart Youth Fund
JP Morgan Chase & Co.
L.L. Foundation For Youth
Los Angeles County Department of Arts and Culture
US Bank
$25,000+
Anonymous (2)
Amazon Studios
The Angelo Family Foundation Babcock Power, Inc./ Dale S. Miller
Center Theatre Group Affiliates
City of Los Angeles Department of Cultural Affairs
Gibson, Dunn & Crutcher, LLP
Mitchell Silberberg & Knupp LLP
The Edward A. and Ai O. Shay Family Foundation
The Rosalinde and Arthur Gilbert Foundation
Rosenthal Family Foundation Tides Foundation
Tiger Baron Foundation
$15,000+
Anonymous
California Arts Council
Culver City Unified School District
Edison International
The Friars Charitable Foundation
The Kenneth T. & Eileen L. Norris Foundation
The Liberty Company
The Otis Booth Foundation
Pasadena Showcase House for the Arts
Sascha Brastoff Foundation
Warner Bros. Discovery
$10,000+
The Harold and Mimi Steinberg Charitable Trust
Jones Day
Lawrence P. Frank Foundation
NBCUniversal Payden & Rygel SEASON SPONSOR
SoCalGas/Sempra Energy
The City of Culver City Cultural Affairs Commission
The Fran and Ray Stark Foundation
$7,500+ Chubb
Perry, Neidorf & Grassl, LLP
Sony Pictures Entertainment
USI Insurance Services
$5,000+
Find Your Light Foundation
The Brookside Fund
$1,000+
The Sheri and Les Biller Family Foundation
Sidney Stern Memorial Trust
OUR SUPPORTERS: ENDOWNMENT + PLANNED GIFTS
THANK YOU for investing in our future.
We are honored to recognize contributors who have provided support that extends well beyond the current season and safeguards the future of Center Theatre Group. We thank all of our endowment and Ovation Circle donors for making a commitment that sustains the finest theatre artistry.
ENDOWMENT GIFTS
$500,000+
The Ahmanson Foundation
Gordon Davidson Tribute Fund
Doris Duke Charitable Foundation
Ann & Stephen F. Hinchliffe, Jr.
The Norman and Sadie Lee Foundation
Renee & Meyer Luskin
Martin Massman
John S. Surabian, Jr. and in memory of Faith and Sharon Ann Surabian
$250,000+
The Michael Shaw Jacobs Fund
Patricia Glaser & Sam Mudie
Mr. & Mrs. Jack Simon
$100,000+
Betsy & Harold Applebaum
Judith & Thomas Beckmen
The Sheri and Les Biller Family Foundation
Maynard & Linda Brittan— Traub-Brittan Family Trust
Center Theatre Group Affiliates
Kenneth Corday
Regina Fadiman
Barbara & Peter Fodor
Ava & Charles Fries
Brindell & Milton Gottlieb
The Hearst Foundation, Inc.
Vicki King
Gloria Lothrop
Richard G. & Virginia L. Martin
The Estate of Frank J. Sherwood
Louise Taper
$50,000+
Moira Byrne Foster Foundation
Margaret Collins
Deborah M. Hyde
Ellen & Michael S. Korney
Dorothy & Richard Sherwood
$25,000+
Abbott Brown
Linda Brown
Greve Foundation
Dr. Tom Hickey
Renata Landres and Family
Levine Foundation
Diane & Leon Morton
The Estate of Anita Mae Hirsh
$10,000+
A and J Davidson Skipper Award Fund
George A. V. Dunning
Carolyn & Kit Lokey
Betty & Sanford Sigoloff
PLANNED GIFTS
Shirley & Irving Ashkenas
W. Lee Bailey, M.D.
Angela Bardowell
Chris & Rose Bauss
Tim Curtis and Shandon Youngclaus
Pamela & Dennis Beck
Judith & Thomas Beckmen
The Bennetts
Linda Brown
Allan & Joan Burns
Richard & Norma Camp
Bill Cohn & Dan Miller
Earl & Christine Cory
Zoe Cosgrove Estate
Susan D. Clines & Charles Dillingham
Anne M. Dougherty & David Dobrikin
Kirk & Anne Douglas
Elisabeth Katte Harris Trust
Amy Forbes & Andrew Murr
Kiki and David Gindler
Mr. & Mrs. Walter E. Grauman
Susan A. Grode
Virginia Hayes
Sharon L. Henderson
Mr. Kim L. Hunter
Deborah M. Hyde
The Doug Jones and John Sanger Theater Ticket Fund
Richard & Julie Kagan
Arlene M. Kageyama-Chikami
Sarah & Andy Kane
Debra L. Karrenbrock
Dr. & Mrs. Jack Kavanaugh
The Paul Kowal Charitable Foundation
Darell L. Krasnoff Sandra Krause & William Fitzgerald
Joyce & Kent Kresa
Marla E. Levine
Steven Llanusa &
Glenn Miya, M.D.
Carol & Douglas Mancino
George Manet
Meg McComb
Betty McMicken in honor of Jeanette Shammas
Diane & Leon Morton
Merle & Peter Mullin
Isabel F. Newman
Bob & Renee Nunn
Doug Palmer
Linda S. Peterson
Sally & Frank Raab
Edward L. Rada
Nan Rae
Stuart & Laurie Rice In Loving Memory of Adam Rice
Rocco-Davies Foundation
Penelope C. Roeder, Ph.D.
Bruce & Randy Ellen Ross
Allyson S. Rubin
Eileen B. Salmas
Wes Schaefer & Cathy King-Schaefer
Elliott Sernel
Margaret Sheehy Collins
Sue & Steve Soldoff
I.H. Sutnick
William Tierney and Barry Weismarys
Karen & William Timberlake
Paulette Toumazos & Michael Lorenz
Sue Tsao
Carol Vernon & Robert Turbin
Peter & Susan Van Haften
Magda & Frederick R. Waingrow
Dr. & Mrs. Daniel Wallace
Pat Warford
Susan & William Weintraub
Lauri N. Weiss
James Blair White
Margaret H. White
Mary J. Witt
or Give@CTGLA.org.
Outside of cooking, Pyet is also bringing more stories of her community to the screen. She is currently producing a short film with her fiancé about an urban Native American kid connecting to their culture through Hoop dance as well as a PBS program called Spirit Play , where she goes to different tribal nations and showcases their traditions, communities, and, of course, food. The name “Spirit Play” is derived from a ceremony in which a plate of food from the dinner is offered to different spiritual entities depending on the nation.
“As a member of the Prairie Band Potawatomi Nation, we are called the fire keepers, so we utilize a lot of fire in our ceremonies, so we give the plate offering and the food to the fire,” she explained.
“It’s a notion of gratitude to give thanks to the fact that we, as a family, as a community, get together...giving thanks and gratitude for the plants and animals and everything on that plate that sustains us and allows us to have life and Mother Earth for all that comes from. We give gratitude for those that come before us and those that come after us, and that’s exactly what Spirit Play is about.”
PRESIDENT
Marsha Tauber Sallai
EXECUTIVE BOARD
Stephanie Germeraad
Roberta Haft*
Christine Harte
Marianne Tobé Karns
Melinda J. Kelly
Thea F. Koss
Joan Krause
Marianne Mandel
Jerri Nagelberg
Lisa Nichols
Sharon Reisz
June Sanders Sattler*
Dr. Carmen Estrada Schaye*
Mary Kay Schumacher
Donna Sussman*
Janice Brock Wallace*
Janice Weiner
Beth White
MEMBERS
Jamila Abu-Omar
Jacqui Assadi
Vi Ballard
Janet Barnet*
Sue Bass
Judith Beckmen*◆
Marjorie Bender◆
Lestrita Boardman◆
Elnora Guerraro Campos
Judy Colich
Judi Davidson
Ilene Eisenberg◆
Lynda Wolfson Fadel
Ruth Flinkman-Marandy
Carolyn H. Fried
Dina Goldstein
Debra C. Gordon
Meg Greenwood
Kristina Greiner
Gina Harpur
Stephanie J. Hibler
Kim-Chi Hoang
Diane Kessler*
Barbara Krasnoff
Rita Lee ◆
Annie Marie Lehrer
Diane Lesser
Helen Gordon Lowy
Dr. Elizabeth Lu
Gladys Lyons
Phyllis Massing
Diane Morton
Deena Nahmias
Olivia Neece
Diane Neubauer*
Sheila Poncher*◆
Gina Russ Posalski*
Courtney Rangen◆
Linda Rendleman
Harriett Chatters Rose ◆
Lois Rosen
Marla Rubin
Gaile Gray Ryan
Carole Schiffer ◆
Angela Shah
Suzanne M. Shapiro
Maggy Simon
Christine Smith
Vera Smith-Terrell
Carole Solomon◆
Robbie J. Solomon
Marilyn Stambler*◆
Roslyn Holt Swartz
Louise Taper
Katherine L. Todd*
Sue Tsao ◆
Elinor Turner
Susan Tyssee
Barbara Van Orden
Donna Marie Venick*
Barbara Weber
Kim White Peterson*
Rosaline Zane*◆
Past President ◆ Board Member at Large
Photo:
“Indigenous
foods of the Americas or Native American cuisine was.. never even spoken about in culinary textbooks.”
That gratitude and celebration is a part of all of Pyet’s work— and her residency with Abernethy’s is no exception. “I really want to give people the opportunity to try something new, to open up their mind and their palates and see the beauty of the food,” she said of her menu. “I really like the food to speak for itself.”
Abernethy’s is located in DTLA on the Jerry Moss Plaza at The Music Center. Chef Pyet’s residency is scheduled until Spring 2025. For more information, visit abernethysla.com
IMPRESSIONISTS:
PINTSCHER + DEBUSSY + DeYOUNG
FEB 15 | 7:30 PM | Alex Theatre
FEB 16 | 4 PM | The Wallis
2024/25 SEASON
Matthias Pintscher CONDUCTOR
Michelle DeYoung MEZZO
BOURGEOISIE:
MOZART + HAYDN + HANDEL
MAR 15 | 7:30 PM | Alex Theatre
Jeannette Sorrell CONDUCTOR
Awadagin Pratt PIANO
VANGUARD: FARRENC’S NONET
APR 5 | 7:30 PM | The Wallis APR 6 | 7:30 PM | The Huntington
Margaret Batjer DIRECTOR OF CHAMBER MUSIC
Margaret Batjer DIRECTOR OF CHAMBER MUSIC
Michelle DeYoung MEZZO
Martinez wasn’t the only American Idiot company member to teach while learning the show. While deep in the rehearsal process, Associate Choreographer Janelle Dote Portland taught a COMMUNITY WORKSHOP for community members at the Music Center Annex titled The Power of Your Expression where she combined journaling exercises, movement, and even astrology to emphasize the importance of the mindbody connection. “It's so powerful, how personal questions… open you up to your personal story that's away from what your mind wants it to be, away from that narrative,” she stated.
When asked about what kind of participants the workshop attracted, Portland grinned fondly.“[It was] so varied…There [were] a couple who were dancers, there were students, there were some that were more elderly, with more limited range of movement, but…everybody's hearts and spirits were there.”
In The Power of Your Expression workshop, Portland taught a dance combination from the opening number of American Idiot, which incorporated ASL into the choreography and tied into her mission of allowing people to communicate their own stories through movement. “[All of] these stories are…so valuable because they are individual expression,” she said. “It's something that we need to learn more to embrace boldly, gracefully, all of it.”
American Idiot was able to connect LA theatre-lovers with opportunities to not only experience professional theatre in an up-close and accessible way, but to connect with each other and communities they may not have connected with otherwise. And CTG’s not-for-profit model makes these connections so accessible to its community. When asked what he would tell an educator on the fence about taking advantage of CTG’s programming,
William Goldyn answered with a laugh, “First of all, it’s free... There's so few free things that are that good.” Goldyn also brought TEACHING ARTISTS into his classroom, another free service provided through CTG’s education programs. Goldyn stated, “What a resource to bring in...I've done 10 minutes of exercises and I’ve done two days of exercises pulled right from the resource guides. And they're great.”
Janelle Dote Portland summed up how rewarding she found her American Idiot community experience by asking, “‘Does it deplete me? Does it fill me?’ And it was [an] instant hard ‘Yes’ on the fill.”
Visit CTGLA.org/PROGRAMS and follow @ctgcommunity on Instagram to learn more about ways you can get involved.
The Taper reopened to season programming in October 2024 after being on pause for over a year thanks to the generous support of the S. Mark Taper Foundation. This support helped bring not only to the Taper stage, but is bringing Fake It Until You Make It, Hamlet, and MUSE/ IQUE to the venue as well. These free and paid workforce development and educational opportunities, as well as the reopening of the Mark Taper Forum, were made possible through the extraordinary philanthropic support of CTG's community donors. If you would like to support more of these programs, visit CTGLA.org/GIVE
Never Fully Dressed Without Gary Marthaler’s Smile
REMEMBERING CTG WARDROBE SUPERVISOR GARY MARTHALER
By Keeley Bell
Gary Marthaler, who dedicated his 42-year career to theatre as a dresser and Wardrobe Supervisor, passed away in November 2024, leaving behind a bright, positive, and inclusive legacy. He is fondly remembered by his CTG colleagues.
“He was just a gem,” mused Kevina World, who first met Gary when she started in the Ahmanson Theatre’s props department 12 years ago. “He was very gentle, very kind, and just always with a smile.”
Appropriate to Gary’s field, Wardrobe Supervisor of the Mark Taper Forum Loretta Bussen gushed that Gary was integral to the “fabric” of Center Theatre Group. She shared, “Gary remembered everyone who came here…He was like the welcome wagon for everyone who came backstage. And if he saw that same [person] even two years later, he would [say], ‘Oh, I remember you! How is your dog?’”
Marisa Ward, a dresser at the Ahmanson, often carpooled with Gary to work. To her, his absence is not just palpable from the workplace, but from behind the wheel of her car.
“It's still weird to drive in and out of work without him,” she said.
In his career, Gary dressed stars on CTG stages like Tracie Bennett, Betty Buckley, and Sting. He even traveled the world dressing Barry Manilow. Michael Gardner, Head of Wardrobe at the Ahmanson Theatre, commented on Gary’s ability to live life to the fullest, saying, “I hope that through…Gary's example, other people can see the joy that can be experienced when each day is lived completely as if it was only one live performance.”
Gary’s dedication to connecting with others earned him the nickname ‘Google Gary’ because they knew they could depend on him to have put in the work to make everyone feel seen and remembered. Bussen and Ward even described him as being an “encyclopedia”. Gardner was the one who coined the term, and it stuck around the department. He regarded Gary as both a loving friend and a backbone of CTG from behind the scenes. Gardner said, “I hope that talking about Gary...reminds people that the shoulders we stand on are only stable because they were there before us.”
Gary is survived by his sister Nancy Goodwin, brothers Tom Marthaler and David Marthaler, and their children, Gary’s nieces and nephews.
Welcome to The Music Center!
Thank you for joining us.
The Music Center is your place to experience all the arts have to offer, where you can express yourself, connect with others and enjoy incredible live performances and events in our four beautiful theatres, at Jerry Moss Plaza and in Gloria Molina Grand Park.
We promise to provide you the best, safest experience possible on our campus.
Be sure to visit musiccenter.org to learn about upcoming events and performances. Enjoy the show!
#BeAPartOfIt
@musiccenterla
General Information (213) 972-7211 | musiccenter.org
Support The Music Center (213) 972-3333 | musiccenter.org/support
TAKE A TOUR OF THE MUSIC CENTER
Free 90-minute docent-led tours take you through the Dorothy Chandler Pavilion, Ahmanson Theatre, Mark Taper Forum and Walt Disney Concert Hall, along with Jerry Moss Plaza. You’ll learn about the history and architecture of the theatres along with The Music Center’s beautiful outdoor spaces along with the incredible selection of artwork located throughout the campus.
Tours are offered daily. Check the schedule to plan a fun-filled day in Downtown L.A.!
Visit musiccenter.org for additional information.
2024/2025
OFFICERS
Cindy Miscikowski
Chair
Robert J. Abernethy
Vice Chair
Rachel S. Moore
President & CEO
Diane G. Medina
Secretary
Susan M. Wegleitner
Treasurer
William Taylor
Assistant Treasurer and Chief
Financial Officer
MEMBERS
AT LARGE
Charlene Achki-Repko
Charles F. Adams
William H. Ahmanson
Jill C. Baldauf
Susan Baumgarten
Phoebe Beasley
Kristin Burr
Dannielle Campos
Alberto M. Carvalho
Elizabeth Khuri Chandler
Riley Etheridge, Jr.
Amy R. Forbes
Greg T. Geyer
Joan E. Herman
Jeffrey M. Hill
Jonathan B. Hodge
Mary Ann Hunt-Jacobsen
Carl Jordan
Richard B. Kendall
Terri M. Kohl
Lily Lee
Cary J. Lefton
Keith R. Leonard, Jr.
Kelsey N. Martin
Susan M. Matt
Elizabeth Michelson
Darrell D. Miller
Teresita Notkin
Michael J. Pagano
Karen Kay Platt
Susan Erburu Reardon
Joseph J. Rice
Melissa Romain
Beverly P. Ryder
Maria S. Salinas
Corinne Jessie
Sanchez
Mimi Song
Johnese Spisso
Michael Stockton
Jason Subotky
Timothy S. Wahl
Jennifer M. Walske
Jay S. Wintrob
GENERAL COUNSEL
Rollin A. Ransom
DIRECTORS
EMERITI
Wallis Annenberg
Peter K. Barker
Judith Beckmen
Darrell R. Brown
Ronald W. Burkle
John B. Emerson **
Richard M. Ferry
Bernard A. Greenberg
Stephen F. Hinchliffe, Jr.
Kent Kresa
Mattie McFaddenLawson
Fredric M. Roberts
Richard K. Roeder
Claire L. Rothman
Joni J. Smith
Lisa Specht **
Cynthia A. Telles
James A. Thomas
Andrea L. Van de Kamp **
Thomas R. Weinberger
Alyce de Roulet
Williamson
** Chair Emeritus
Current as of 12/18/24
Alvin Ailey American Dance Theater’s Yannick Lebrun.
Photo by Dario Calmese.
Will Yang for The Music Center.
BOARD OF SUPERVISORS COUNTY OF LOS ANGELES
Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.
Hilda L. Solis
Chair Pro Tem, First District
Holly
J. Mitchell
Supervisor, Second District
Lindsey P. Horvath Supervisor, Third District
Janice Hahn Supervisor, Fourth District
Kathryn Barger Chair, Fifth District
LAND ACKNOWLEDGMENT
As a steward of The Music Center of Los Angeles County, we recognize that we occupy land originally and still inhabited and cared for by the Tongva, Tataviam, Serrano, Kizh and Chumash Peoples. We honor and pay respect to their elders and descendants — past, present and emerging — as they continue their stewardship of these lands and waters. We acknowledge that settler colonization resulted in land seizure, disease, subjugation, slavery, relocation, broken promises, genocide and multigenerational trauma. This acknowledgment demonstrates our responsibility and commitment to truth, healing and reconciliation and to elevating the stories, culture and community of the original inhabitants of Los Angeles County.
We are grateful to have the opportunity to live and work on these ancestral lands. We are dedicated to growing and sustaining relationships with Native peoples and local tribal governments, including (in no particular order) the:
• Fernandeño Tataviam Band of Mission Indians
• Gabrielino Tongva Indians of California Tribal Council
• Gabrieleno/Tongva San Gabriel Band of Mission Indians
• Gabrieleño Band of Mission Indians-Kizh Nation
• San Manuel Band of Mission Indians
• San Fernando Band of Mission Indians
To learn more about the First Peoples of Los Angeles County, please visit the Los Angeles City/County Native American Indian Commission website at lanaic.lacounty.go
Happening at The Music Center
FEBRUARY
2025
SAT 1 FEB / 1:00 p.m.
IndieCade in Residence
THE MUSIC CENTER / TMC ARTS
@ Jerry Moss Plaza Thru 2/23/2025
SAT 1 FEB / 8:00 p.m.
Fake It Until You Make It CENTER THEATRE GROUP
@ Mark Taper Forum Thru 3/9/2025
SAT 1 FEB / 7:30 p.m.
Kelli O'Hara in Concert LA OPERA
@ Dorothy Chandler Pavilion
SUN 2 FEB / 2:00 p.m.
Schubert, Strauss & Saariaho LA PHIL
@ Walt Disney Concert Hall
TUE 4 FEB / 8:00 p.m.
KODO LA PHIL
@ Walt Disney Concert Hall
FRI 7 FEB / 11:00 a.m.
Tchaikovsky & The Mermaid LA PHIL
@ Walt Disney Concert Hall Thru 2/9/2025
FRI 7 FEB / 8:00 p.m.
Samara Joy LA PHIL
@ Walt Disney Concert Hall
SAT 8 FEB / 4:30 p.m.
The Gift with Special Event featuring LeVar Burton
THE MUSIC CENTER
@Dorothy Chandler Pavilion
SAT 8 FEB / 8:00 p.m.
Stephen Sondheim's Old Friends
CENTER THEATRE GROUP
@ Ahmanson Theatre Thru 3/9/2025
TUE 11 FEB / 8:00 p.m.
Seong-Jin Cho LA PHIL
@ Walt Disney Concert Hall
THU 13 FEB / 8:00 p.m.
Ravel & Brahms LA PHIL
@ Walt Disney Concert Hall Thru 2/16/2025
FRI 14 FEB / 7:30 p.m.
Batsheva Dance Company
THE MUSIC CENTER
@ Dorothy Chandler Pavilion Thru 2/16/2025
SUN 16 FEB / 7:30 p.m.
Hector Olivera
LA PHIL
@ Walt Disney Concert Hall
THU 20 FEB / 8:00 p.m.
Gustavo Conducts
Mahler’s Journey LA PHIL
@ Walt Disney Concert Hall Thru 2/23/2025
WED 26 FEB / 8:00 p.m.
Víkingur Ólafsson & Yuja Wang
LA PHIL
@ Walt Disney Concert Hall
THU 27 FEB / 8:00 p.m.
Dudamel Leads
Song of the Night LA PHIL
@ Walt Disney Concert Hall Thru 3/1/2025
Visit musiccenter.org for additional information on all upcoming events.
@musiccenterla
Will Yang for The Music Center.
April 2–6, 2025
May 2–4, 2025
Grupo Corpo, one of Brazil’s premier dance companies, blends vibrant Afro-Brazilian rhythms, classical technique and cultural tradition in two powerful works—21 and Gira. Experience the sheer physical virtuosity and mesmerizing movement that have captivated audiences worldwide.
The Music Center’s Ahmanson Theatre musiccenter.org/grupocorpo | (213) 972-0711
BRING A GROUP AND SAVE! Contact marketing@musiccenter.org for more information.
TICKETS ON SALE NOW!
Grupo Corpo. Photo by José Luiz Pederneiras.
Boldy Restaged as one Magical Show
Harry Potter creator J.K. Rowling ended her epic sevenvolume series of novels with a tantalizing teaser: an epilogue titled “Nineteen Years Later,” in which Harry and his friends Hermione and Ron, now grown, are preparing to send their children off to school at Hogwarts. That brief chapter inspired the spectacular stage production Harry Potter and the Cursed Child, now embarking on its first national tour. Jack Thorne’s Tony Award-winning play, based on an original story by Rowling, Thorne, and director John Tiffany, takes audiences on an unforgettable adventure in which two generations travel through time to save the wizarding world.
The newly expanded Potter universe seamlessly blends movement, magic, and good old-fashioned storytelling, centering on Albus Potter (the middle child of Harry and his wife, Ginny) and Scorpius Malfoy (son of Harry’s rival Draco Malfoy). “I’ve always had the sense that Hogwarts was a world that belonged on stage,”
says Tiffany, a Tony winner for his direction.
“I could see suitcases floating and cloaks whirling; arches and columns that could become trees in the forbidden forest. What’s amazing about the fantasy world of Harry Potter is that it allows you to explore the human experience in a magnified and dramatic way.”
Indeed, as they crafted a magicfilled narrative with Rowling’s input and encouragement, Thorne and Tiffany never lost sight of the story’s humanity. “There were two things I was interested in conveying,” the playwright says. “The first was what it’s like to go to Hogwarts when you don’t fit in, because I was a person who struggled in school. I’m drawn
to outsiders, and so are John and Jo [Rowling]. The other was the notion of what it means to be put in a place you’re uncomfortable with. What would happen if one of Harry’s kids ended up in a house [at Hogwarts] where he thought he didn’t belong, and then discovered through friendship that he did?”
The touring production of Harry Potter and the Cursed Child includes all the breathtaking effects and stunning staging that helped make the play an international hit, attracting enthusiastic theatergoers of all ages. “The magic is there,” promises Tiffany, “and we’re excited to bring the show to as many people as possible. We feel a responsibility to do justice not just to Harry Potter but to theater as an art form. We want this play to be like nothing anyone has ever experienced.”
