Performances San Diego -- The Old Globe -- November 2018

N O VE MBER 20 18

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We are San Diego.

We are San Diego.

Dance students and faculty from SDSU's School of Music and Dance

Learn more at: iam.sdsu.edu

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For tickets and information, visit the ticket booth on the Embarcadero or at the Maritime Museum Gift Shop aboard the historic steam ferry Berkeley. Low admission for all ages.

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⁄⁄⁄⁄ NOVEMBER 2018

CONTENTS

62 Cast, who’s who, director’s notes, chairman’s letter and donors.

14 FEATURE

A look at The Old Globe theater’s GlobeforAll program, which brings the stage to the community.

6 INTHEWINGS

68 WINE

10 DATELINE

72 ARTS

Around town: Broadway San Diego’s Waitress; San Diego Asian Film Festival; and more.

To Kill a Mockingbird in New York; War Horse in London; Don Quixote in Costa Mesa; and more.

62 DINING

New restaurants pairing agave libations with refined Mexican cuisine— including Lola 55, El Jardin and Death

by Tequila (pictured: their fish tacos).

A look at Napa Valley’s historical Stony Hill Vineyard, which shines again under new ownership.

Meet tetrachromatic artist Concetta Antico, aka the “Color Queen.”

80 BACKPAGE

A stunning full moon rising over decorative finials at Balboa Park.

COLE FERGUSON

P1 PROGRAM

2 PERFORMANCES MAGAZINE

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Published by Southern California Media Group

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4 PERFORMANCES MAGAZINE

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EVENTS ⁄⁄⁄⁄ EXHIBITS ⁄⁄⁄⁄ PERFORMANCES

The Broadway cast of Waitress in a past production in Orlando

BROADWAY / SAN DIEGO BRINGS us Waitress, running Nov. 27-Dec. 2. Inspired by the film of the same name, Waitress tells the story of Jenna, a waitress and expert pie maker who dreams of a way out of her small town and loveless marriage. When she hears of a baking contest in a county nearby (and meets the town’s new doctor), her hopes for a new and better life begin to come to fruition—and her fellow waitresses help her out along the way.

The smash musical features original music and lyrics by six-time Grammy nominee Sara Bareilles, book by screenwriter Jessie Nelson, choreography by Lorin Latarro, and direction by Tony Award-winner Diane Paulus (Hair, Pippin and Finding Neverland). It’s an inspiring story of empowerment. Civic Theatre, 1100 Third Ave., downtown, 619.570.1100, broadwaysd.com 6 PERFORMANCES MAGAZINE

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OPPOSITE, IAN SUAREZ; TOP, ©ARMANDO CANTO / ARCHIVE JAVIER MARÍN; BOTTOM, KEVIN MAZUR

INTHEWINGS

OPPOSITE, IAN SUAREZ; TOP, ©ARMANDO CANTO / ARCHIVE JAVIER MARÍN; BOTTOM, KEVIN MAZUR

THE SAN DIEGO Museum of Art presMUSEUM ents three intriguing exhibits this winter.

On view through Feb. 3, Modern American Prints, 1920-1948 showcases an exquisite assemblage of American prints—in media ranging from lithography to etchings to wood engraving—from the museum’s collection from the “Roaring Twenties” through the Great Depression and World War II. Through March 3, Javier Marín is a collection of the renowned Mexican artist’s provocative sculptures of the human form—using such materials as Mexican clay, wood and Lost-wax bronze. Also on view (closing date not available at press time), Tim Shaw: Beyond Reason is the Irish sculptor’s exami-

Javier Marín, Grupo L 1012, 2016

nation of freedom of speech and global terrorism, including the recreation of an IRA bombing at a Belfast cafe. (Note: Parental guidance rec-

Country star Clint Black

ommended for the Tim Shaw exhibit, as some may find the imagery disturbing.) 1450 El Prado, Balboa Park, 619.696.1966, sdmart.org

THEATER

THROUGH NOV. 11 AT North Coast Repertory Theatre, Holmes & Watson centers on three men claiming to be the missing Sherlock Holmes, and Dr. Watson is called upon to do some investigating in this suspenseful, whip-fast play. Jumpstarting the holiday season, the popular annual production of Dr. Seuss’ How The Grinch Stole Christmas! returns to The Old Globe for another heartwarming run, Nov. 3-Dec. 29. At Diversionary Theatre Nov. 8-Dec. 9, This Beautiful City is a timely musical exploring faith and the organized resistance against gay rights—created from actual interviews with citizens of Colorado Springs (the capital of the Evangelical movement). The world-premiere musical Looking for Christmas—inspired by country star Clint Black’s 1995 holiday album—plays at The Old Globe Nov. 13-Dec. 16.

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EVENTS ⁄⁄⁄⁄ EXHIBITS ⁄⁄⁄⁄ PERFORMANCES

San Diego Bay Wine & Food Festival

restaurants; and 10,000 wine and food aficionados from across the U.S. Celebrity guest chefs in attendance will include Claudia Sandoval, Sam

Pianist Stephanie Trick

the Cooking Guy, Javier Plascencia, Jason McLeod and Bernard Guillas.

Embarcadero Marina Park North, downtown, sandiegowineclassic.com

AT THE 19TH ANNUAL San Diego Asian Film Festival FESTIVALS (sdaff.org), Nov. 8-17, enjoy more than 130 films from 20 countries at five venues during this 10-day celebration of Asian-American and international cinema. Celebrate the art of craft beer during San Diego Beer Week (sdbw.org), Nov. 2-11. The event features more than 50 local breweries, tastings, festivals, brewery tours, cheese pairings and beer dinners at locations around San Diego.

The annual San Diego Jazz Fest (sdjazzfest.org) returns to the Town and Country Resort & Convention Center in Mission Valley, Nov. 21-25.

The event features performances by notable artists from a variety of traditional jazz, Dixieland, ragtime, swing and rockabilly styles. Featured musicians include the High Sierra jazz band, The Memphis Speed Kings, Night Blooming Jazzmen, Paolo Alderighi and Stephanie Trick.

COURTESY IMAGES

AS SOUTHERN California’s largest CUISINE wine and culinary event and one of the largest festivals of its kind in the nation, the San Diego Bay Wine & Food Festival returns to the downtown waterfront Nov. 11-18— celebrating its 15th anniversary this year. Foodies and winos will enjoy a palate-pleasing array of festivities— including the much-anticipated Grand Tasting event where guests can stroll (and sample) among dozens of wine, beer and food stations along San Diego Bay—plus wine-tasting seminars and dinners, cooking classes and celebrity chefs galore. The weeklong celebration will feature more than 150 wineries, breweries and spirit purveyors; more than 60 of San Diego’s best

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⁄⁄⁄⁄ SHOWS ELSEWHERE

DATELINE

MAKING ITS BROADWAY premiere, To Kill a Mockingbird opens at Shubert Theatre on Nov. 1. Based on Harper Lee’s iconic novel, the new play was adapted NEW YORK

by Aaron Sorkin—starring Jeff Daniels as Atticus Finch and Celia Keenan-Bolger as Scout. Bartlett Sher directs. What better way to kick off (literally) the holiday season than with the Rockettes. The Radio City Christmas Spectacular returns with its annual spectacle, Nov. 9-Jan. 1 at Radio City Music Hall. Featuring 36 high-stepping dancers decked out in Swarovski-crystal-studded costumes, the show has dazzled since 1933. The New York City Ballet presents its glittering rendition of George Balanchine’s The Nutcracker, Nov. 23-Dec. 30 at Koch Theater. The production features breathtaking choreography, costumes and 90 dancers.

JOSH TELLES

Jeff Daniels stars as Atticus Finch in To Kill A Mockingbird.

10 PERFORMANCES MAGAZINE

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⁄⁄⁄⁄ SHOWS ELSEWHERE

LONDON

industrial Hadestown. War Horse, Nov. 8-Jan. 5, centers on a young man and his beloved horse at the onset of World War I in France— featuring jaw-dropping, life-size horse puppets. Courage Everywhere, Nov. 15-18, is a short series of rehearsed readings, talks and screenings of works by notable directors highlighting the suffrage movement in the UK—as it marks its 100th anniversary of women gaining the right to vote.

Ivan Vasiliev and Angelina Vorontsova in Don Quixote

War Horse plays at the National Nov. 8-Jan. 5.

SEGERSTROM Center for the Arts THE WEST in Costa Mesa, Calif., hosts the Mikhailovsky Ballet and Orchestra of St. Petersburg as they perform a dazzling rendition of Don Quixote, Nov. 9-11— inspired by Miguel de Cervantes’ epic novel. The ballet centers on the knight-errant of La Mancha, Don Quixote—who has a dream that he is surrounded by beautiful maidens, one of which is the lovely Kitri. It’s the fiery story of passion, romance and chivalry—complete with colorful gypsies, passionate dancing toreadors (bull fighters), and electric, gravity-defying ballet dancing. The Mikhailovsky Orchestra performs music by Ludwig Minkus, with choreography by Marius Petipa and Alexander Gorsky. Principal dancers Ivan Vasiliev and Victor Lebedev perform the role of Basilio. scfta.org

LONDON, ALASTAIR MUIR; THE WEST, JACK DEVANT

THE NATIONAL THEATRE ONCE again doesn’t disappoint. Through Nov. 28, Stories is a touching comedy by Nina Raine about the concept of fertilization—particularly as it may apply to a 39-year-old single woman who wants to have a baby. In the Broadway-bound musical Hadestown, Nov. 2-Jan. 26, singer/songwriter Anais Mitchell’s concept album comes to life—following two young lovers with big dreams, who wind up in

12 PERFORMANCES MAGAZINE

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A GLOBE FOR ALL THE OLD GLOBE THEATER’S OUTREACH EFFORTS TRANSCEND THE STAGE TO THE COMMUNITY.

I

T’S NOT UNREASONABLE that an almost-85-year-old might want a bit of upgrade and enhancement. And so it is with The Old Globe, which has undergone an outreach makeover.

The Globe isn’t just a world-renowned purveyor of Shakespeare and other classic, reconceived and new work; it has become a national leader in community engagement. Jettisoning its longstanding Education and Outreach department, the Globe has created a large Arts Engagement department to deepen the theater’s connection with the community.

According to Barry Edelstein, the

Erna Finci Viterbi Artistic Director of the Globe, “We’re one of the greatest theaters—and the largest arts institution—in San Diego. We recognize that there are barriers for a wider audience—financial, physical and cultural—to coming to the Globe to see theater. It’s our obligation to bring our work, and the work of Shakespeare, to them.”

Enter Globe for All, which Edelstein calls “a wonderful program that brings the joys and thrills of live, professional Shakespeare, free of charge, to a wide range of San Diegans.”

Since its inception five years ago, Globe for All (GFA) has become the

theater’s flagship program. Structurally and conceptually, it all began in Minnesota. Theater maker Michelle Hensley founded an itinerant theater troupe, Ten Thousand Things, and over the course of 25 years, mostly in Minneapolis, she toured 50 dramas, musicals, comedies and Shakespeare plays to non-traditional audiences in homeless shelters, prisons and community centers.

When Edelstein was director of the Shakespeare Initiative at New York’s Public Theatre (2008-12), he adopted Hensley’s model and started a Mobile Shakespeare Unit.

“I was involved in its birth in

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A GFA production of William Shakespeare; (below) Barry Edelstein.

created the SummerStage theater program, and helped expand SummerStage from a single venue in Central Park to 17 locations around the city.

The GFA program is “just the tip of the spear,” says Bradley-Ballentine, “just the beginning of seeing how theater can be impactful in the lives of people in the community. For Globe for All, folks don’t have to take much of a chance; they just show up. If they like it, we have a menu of different programs they can take in and see.”

There are almost two dozen different programs emanating from the Globe’s Arts Engagement department. For instance, there’s “Community Voices,” a series of free workshops teaching adults from diverse communities how to write short plays.

Another program created under Bradley-Ballentine’s leadership

is “Behind the Curtain,” which provides a hands-on opportunity to look behind the scenes of a theater production. This free, entrylevel workshop uses one production from the Globe’s regular season to show how a play comes to life through sets, sound, lighting, costumes, props, marketing,

JIM COX

New York, so I knew it worked,” says Edelstein. “Now I can’t imagine the Globe without it. The form is the same—chairs in a square, in gyms, cafeterias, multipurpose rooms. They put on the lights and we put on a show.

“We knew that, as a $27 million theater, the fourth largest in the country, we could do this. Michelle ran it out of her living room.”

Edelstein directed the inaugural GFA touring production, All’s Well That Ends Well, in 2013. Two years ago, he brought in Freedome Bradley-Ballentine as Director of Arts Engagement, to lead the major rethinking of how the Globe connects with the community.

Bradley-Ballentine spent eight years as director of theatrical programs for the City Parks Foundation, a New York nonprofit that brings arts programs into parks throughout the city. He also 16 PERFORMANCES MAGAZINE

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December 4 – 30

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and producing. Participants receive a free ticket to the featured production.

“Reflecting Shakespeare” is designed specifically for prisons —Las Colinas for women and Centinela for men—to help build self-esteem through theater-based activities, journaling and the study and performance of Shakespeare.

“We use Shakespeare’s words to help explain their situation and their lives,” says Bradley-Ballentine. “They meet weekly for three to six months, and reflect on how the themes of Shakespeare’s plays apply to their lives. They get a whole new level of insight when they’ve been Othello or Desdemona or Iago.”

The Arts Engagement department also focuses on young people, since they’re the future of the arts. “School in the Park” brings students in grades five to seven from under-served communities to the Globe to learn how to make theater. The “Summer Shakespeare Studio,” geared toward high school students, concentrates on the Globe for All production.

This year, student participants presented a version of A Midsummer Night’s Dream.

“Since I started,” says BradleyBallentine, “we’ve grown enormously. I’m constantly asked how to do it, how to build it. Other companies want to try to replicate what we’re doing. We’re head and shoulders above any other theater in the country.”

Now, about a dozen other cities are implementing similar programs. “Engagement has to be the buzzword,” Bradley-Ballentine asserts. “Outreach was trying to get people to come into the theater. Now, everybody needs to get the community actively involved. The community really wants these programs.

“The feedback we get is so touching, so humbling. Unsolicited letters from seniors say, ‘Thank you for believing in me, investing in us and our stories, so we’re not just left on the shelf.’ The prisoners say that our programs helped them discover something buried away in themselves, which they are confident will lead to positive

changes. Once that door is opened, they can’t go back.

“For me,” says Bradley-Ballentine, “the best way to see theater is to strip the curtain back, see the actors moving around, getting into the next costume, watching the piece made right in front of you.

That’s what Globe for All does.”

This year’s GFA director is Bradley-Ballentine’s talented wife, Patricia McGregor, an alumna of the Yale School of Drama graduate directing program. She’s a nationally in-demand director who has helmed many world premieres and co-founded a company that produces collaborative performance work dedicated to building community.

McGregor made her Globe debut in 2016, directing the GFA tour of Measure for Measure. This year, she’ll helm Midsummer.

She considers it “a theatrical playground, with a fascinating male/female dynamic. It’s a funny play, but we have to address the serious issues it contains. I’m drawing four different worlds here: the Royals, the Lovers, the

(L-R) RICH SOUBLET; COURTESY PHOTO

Kimberly Flores as Tania del Valle in Native Gardens, Oceanside 2018 (left); Freedome Bradley-Ballentine.

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Fairy World and the Players.

Each group is dealing with love, loyalty and betrayal. There are lessons of foolishness and pride.

I’m always interested in where divergent people intersect.

“The arts often feel inaccessible to people,” says McGregor.

“I want to be the magician who shows how to do the trick. In these venues, there’s a great deal of audience reaction during the performance. We get a kind of call-and-response. If Shakespeare were alive today, he’d relish it—and want Beyoncé’s latest creation in his work.”

The Globe for All tour currently visits 18 venues, and it is integrated into The Old Globe and University of San Diego Shiley Graduate Theatre Program; they are the core touring cast.

“Five years ago,” says Edelstein, “there was no Arts Engagement department at the Globe. Now, we devote $2 million a year to 16 separate programs, supported by grants and a dozen long-term partners.

“We’re using Shakespeare as a passport to cultural participation,” Edelstein says. “During the Globe for All performances, even if just for 90 minutes, they feel like they’re participating in the culture like everyone else.

All this represents enormous changes for the Globe. I hope this will be my legacy.”

The 2018 Globe for All tour began on Oct. 30 and culminated on Nov. 18, with two performances at the theater in Balboa Park. For further information: theoldglobe.org

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MIKE HAUSBERG

WELCOME Welcome to The Old Globe and this production of Clint Black’s Looking for Christmas. Our goal is to serve all of San Diego and beyond through the art of theatre. Below are the mission and values that drive our work. We thank you for being a crucial part of what we do.

MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large.

STATEMENT OF VALUES The Old Globe believes that theatre matters. Our commitment is to make it matter to more people.

The values that shape this commitment are:

TRANSFORMATION Theatre cultivates imagination and empathy, enriching our humanity and connecting us to each other by bringing us entertaining experiences, new ideas, and a wide range of stories told from many perspectives.

INCLUSION The communities of San Diego, in their diversity and their commonality, are welcome and reflected at the Globe. Access for all to our stages and programs expands when we engage audiences in many ways and in many places.

EXCELLENCE Our dedication to creating exceptional work demands a high standard of achievement in everything we do, on and off the stage.

STABILITY Our priority every day is to steward a vital, nurturing, and financially secure institution that will thrive for generations.

IMPACT Our prominence nationally and locally brings with it a responsibility to listen, collaborate, and act with integrity in order to serve.

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OUR THANKS PRODUCTION SPONSORS GLOBE GUILDERS

Founded by Craig Noel and Irma Macpherson in 1955 as a volunteer auxiliary, the Globe Guilders have been an essential part of the Globe family for over 60 years. The organization has more than 200 members, and together they volunteer thousands of hours each year in areas throughout the theatre. Their contributions range from serving as Globe ambassadors in the community, to welcoming cast, crew, and staff with brunch at the first rehearsal for each production, to “adopting” each of the students in The Old Globe and University of San Diego Shiley Graduate Theatre Program. The Guilders coordinate and run activities on our Copley Plaza during December Nights, and many of them can also be found volunteering in the Globe’s administrative offices, costume shop, and Technical Center. Each year, their largest annual fundraiser is a beautiful fashion show, presented with Neiman Marcus, that raises over $100,000 to support the Globe’s artistic and arts engagement programs. The Guilders are always happy to welcome new members; you can find more information at www.GlobeGuilders.org.

THE PRADO AT BALBOA PARK

The Old Globe applauds The Prado at Balboa Park for their outstanding support and commitment to live theatre in Balboa Park over many years. Globe patrons frequently enjoy lunch or dinner prior to seeing shows in one of The Old Globe’s three theatres. Restaurant patrons from all over the region receive unparalleled service and ambiance complemented by world-class cuisine. Owners David and Lesley Cohn, who have attended Globe productions for more than a decade, are pleased to support the arts in San Diego and are especially delighted to partner with the Globe to ensure memorable nights out for Globe patrons. The Old Globe greatly appreciates The Prado at Balboa Park and its generous financial contributions and inkind gifts, which support the theatre’s artistic and arts engagement programs year-round.

EVELYN MACK TRUITT

Evelyn Mack Truitt has been supporting The Old Globe for more than 33 years and was a longtime friend of Globe Founding Director Craig Noel. As Vice President of the Signal Companies, Evelyn moved to San Diego in 1980 and immediately became involved with The Old Globe and very soon joined its Board of Directors. Evelyn retired from the Signal Companies in 1985, and she has remained on the Globe’s Board to this day. Evelyn supports numerous charities and has served on the board of Theatre Forward in New York City for almost 28 years.

At the Globe, she has sponsored two shows starring Robert Foxworth—Quartet and Private Lives, the latter directed by former Artistic Director Jack O’Brien—as well as Shirley Valentine with Associate Artist Katherine McGrath, among others. Recently, Evelyn sponsored Ken Ludwig’s Robin Hood! In addition to her theatre interests, Evelyn is a published film historian.

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PRODUCTION SPONSORS VIASAT

Viasat, a leading global broadband services and technology company headquartered in Carlsbad, is proud to give back to its local community. As one of the largest technology employers in North County San Diego, Viasat takes pride in supporting STEAM (science, technology, engineering, arts, and math) initiatives and uses its core competency as a technology company to inspire and instill a sense of excitement about the opportunities that exist in STEAM career paths. Recognizing the importance of the arts within STEAM education, Viasat participates in multiple programs that promote blended skillsets to help drive today’s youth toward STEAM opportunities. Viasat first became a Production Sponsor in 2015 and has continued to increase its support, becoming one of the Globe’s top corporate supporters. Previously, Viasat has sponsored Dr. Seuss’s How the Grinch Stole Christmas!, October Sky, The Old Man and The Old Moon, and The Heart of Rock & Roll. The Old Globe applauds Viasat and commends it for its ongoing support of the performing arts.

ARTIST SPONSORS Artist Sponsors for Aaron C. Finley (Mike Randolf)

LYNNE AND STEVE WHEELER Lynne and Steve Wheeler have loved and supported theatre all their lives. Their daughters Jennifer Wheeler Kahn and Jessica Wheeler Bailey both graduated from the University of Southern California with theatre degrees, and both have theatre-related careers. Lynne and Steve have previously sponsored Kiss Me, Kate and Kyle Selig in 2016’s October Sky.

HOLIDAY SALUTE TO THE MILITARY Special thanks to our Holiday Salute to the Military sponsors for making this production available to military families throughout San Diego.

GAIL AND DOUG HUTCHESON

ELAINE LIPINSKY FAMILY FOUNDATION

WALTER J. AND BETTY C. ZABLE FOUNDATION

PAMELA FARR AND BUFORD ALEXANDER

For additional information on how to support the Globe at these extraordinary levels, please contact Llewellyn Crain at (619) 684-4141 or lcrain@TheOldGlobe.org.

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The Old Globe is deeply grateful to our Artistic Angels and Benefactors, whose vital support of the Annual Fund helps us make theatre matter to more people. For additional information on how to support the Globe at these extraordinary levels, please contact Llewellyn Crain at (619) 684-4141 or lcrain@TheOldGlobe.org.

2018 Artistic Angels ($200,000 and higher annually)

KAREN AND DONALD COHN†

ELAINE AND DAVE DARWIN

JEAN AND GARY SHEKHTER

DARLENE MARCOS SHILEY† In memory of Donald Shiley

SILVIJA AND BRIAN DEVINE

AUDREY S. GEISEL

THE ERNA FINCI VITERBI ARTISTIC DIRECTOR FUND In memory of Erna Finci Viterbi

SHERYL AND HARVEY WHITE

PAULA AND BRIAN POWERS

EDUARDO CONTRERAS / U-T SAN DIEGO

2018 Benefactors

($100,000 to $199,999)

MARY BETH ADDERLEY

TERRY ATKINSON

PETER COOPER

ANN DAVIES

PAMELA FARR AND BUFORD ALEXANDER

HAL AND PAM FUSON

DEBRA TURNER

VICKI AND CARL ZEIGER

†

Charter Sponsor since 1995

†

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EXTRAORDINARY LEADERSHIP Since the founding of The Old Globe in 1935, heroic leadership has made the theatre a cultural icon in San Diego and a leader in the American theatre. The following individuals and organizations, recognized for their tremendous cumulative giving, comprise a special group of friends who have played leading “behind-the-scenes” roles, helping to create productions on the three stages and programs in the community.

— $25 million and higher — Donald* and Darlene Shiley — $11 million and higher — Conrad Prebys* City of San Diego Commission for Arts and Culture — $9 million and higher — Karen and Donald Cohn — $8 million and higher — Sheryl and Harvey White — $7 million and higher — Kathryn Hattox* Viterbi Family and The Erna Finci Viterbi Artistic Director Fund — $4 million and higher — Audrey S. Geisel The James Irvine Foundation — $3 million and higher — David C. Copley Foundation County of San Diego The Shubert Foundation

— $1 million and higher — Mary Beth Adderley Bank of America Diane and John Berol Stephen & Mary Birch Foundation, Inc. California Cultural & Historical Endowment J. Dallas and Mary Clark* Peter Cooper Valerie and Harry Cooper Elaine and Dave Darwin Ann Davies Helen Edison* Pam Farr & Buford Alexander Globe Guilders Joan and Irwin Jacobs The Kresge Foundation The Lipinsky Family Estate of Beatrice Lynds* National Endowment for the Arts Victor H.* and Jane Ottenstein Qualcomm Foundation Paula & Brian Powers Estate of Dorothy S. Prough* Jeannie and Arthur Rivkin Jean and Gary Shekhter Theatre Forward Gillian and Tony Thornley Wells Fargo Carolyn Yorston-Wellcome Anonymous (1) *In memoriam

For additional information on how to support the Globe at these extraordinary levels, please contact Llewellyn Crain at (619) 684-4141 or lcrain@TheOldGlobe.org.

PUBLIC SUPPORT Financial support is provided by The City of San Diego.

The Old Globe is funded by the County of San Diego.

Special thanks to the County of San Diego Board of Supervisors.

Cultural Arts Chula Vista.

We thank all our generous patrons and supporters—including government funders—who help make theatre matter to more people. All public funding represents less than three percent of our annual budget, but that support, especially from The City of San Diego, is crucial.

Please tell your local and state representatives that theatre matters to you.

If you support public funding for the arts, as the majority of Americans does*, contact them today. *Source: Americans for the Arts 2015 public opinion poll.

For national, state, and county: www.usa.gov/elected-officials

For San Diego: www.sandiego.gov/city-hall

For County of San Diego: www.sandiegocounty.gov/content/ sdc/general/bos.html PERFORMANCES MAGAZINE P5

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OUR THANKS Welcome to The Old Globe!

This theatre has long been a place to celebrate holiday traditions—right now, Dr. Seuss’s How the Grinch Stole Christmas! is celebrating its 21st fabulous year just across Copley Plaza. We’re so happy to bring even more holiday happiness with Clint Black’s Looking for Christmas. Over and over again, I’m astonished as San Diego’s largest resident theatre brings some of America’s bestloved talent to our corner of California. Mr. Black has produced an indelible catalog of Christmas music over the years, and those songs are here coupled with his heartwarming story of family, loyalty, and a little Christmas magic. I hope you enjoy this very special show.

It is a true honor to band together with my fellow theatre lovers and San Diegans to support this treasured theatre, which not only brings us entertaining and heartwarming musicals, but also commissions and produces new works, retells unforgettable classics, presents one of the nation’s leading Shakespeare festivals each summer, and more. Many regional theatres would be thrilled to excel in just one of these

areas, but the Globe achieves them all—and it doesn’t stop there.

Through groundbreaking programs like the countywide Globe for All Tour, sensory-friendly performances, Community Voices workshops, and so many more, the Globe is impacting lives and bringing theatre to the furthest reaches of San Diego County, from schools and senior centers to military bases and correctional facilities.

Your support is what makes all of this possible. Without the underpinnings of our devoted, dynamic donors, the Globe would not be the leading American theatre it is today. I hope, if you are not already a donor, that you will consider joining the Friends of The Old Globe with an annual gift of $50 or more. Special experiences and excellent benefits await you, but most of all, you will help sustain and grow this cherished theatre.

Thank you for joining us—enjoy the show!

Nicole A. Clay Chair, Board of Directors

BOARD OF DIRECTORS Vicki L. Zeiger†

Nicole A. Clay† CHAIR

Ann Davies†

Paula Powers†

VICE CHAIR, NOMINATING

DIRECTORS Mary Beth Adderley Sean T. Anthony Terry Atkinson† Stephanie R. Bulger, Ph.D. Donald L. Cohn†° Ellise Coit Peter J. Cooper† Elaine Bennett Darwin†° George S. Davis Silvija Devine Stephen P. Embry† Richard J. Esgate Pamela A. Farr† Robert Foxworth Harold W. Fuson, Jr.†° Jack Galloway

IMMEDIATE PAST CHAIR

Anthony S. Thornley†

SECRETARY

Daphne H. Jameson Jo Ann Kilty Evelyn Olson Lamden Jacqueline Lewis Sheila Lipinsky Keven Lippert Thomas Melody Kim Neapole Noelle Norton, Ph.D. David Jay Ohanian Sandra Redman Sue Sanderson Scott W. Schmid Karen L. Sedgwick Jean Shekhter† Karen Tanz†

TREASURER

Michael Taylor Dean H. Thompson Rhona Thompson Evelyn Mack Truitt Debra Turner Jordine Von Wantoch Pamela J. Wagner Reneé Wailes Muffy Walker Lynne Wheeler Sheryl White†° Karin Winner†

HONORARY DIRECTORS Mrs. Richard C. Adams* Clair Burgener* Mrs. John H. Fox* Audrey S. Geisel Paul Harter Gordon Luce* Dolly Poet* Deborah Szekely Hon. Pete Wilson

EMERITUS DIRECTORS Garet B. Clark J. Dallas Clark* Bea Epsten Sally Furay, R.S.C.J.*° Kathryn Hattox*° Bernard Lipinsky* Delza Martin* Conrad Prebys* Darlene Marcos Shiley Patsy Shumway Carolyn Yorston-Wellcome Harvey P. White°

† Executive Committee member

°Past Chair

*In memoriam

ASSOCIATE ARTISTS OF THE OLD GLOBE In recognition of their unique contribution to the growth of The Old Globe and their special talent, we take great pride and pleasure in acknowledging as Associate Artists the following individuals who have repeatedly demonstrated, by their active presence on our stages and in our shops, that wherever else they may work, they remain the heart and soul of the Globe.

William Anton Gregg Barnes Jacqueline Brookes* Lewis Brown* Victor Buono* Wayland Capwell* Kandis Chappell Eric Christmas* Patricia Conolly George Deloy

Tim Donoghue Richard Easton Tovah Feldshuh Monique Fowler Robert Foxworth Ralph Funicello Lillian Garrett-Groag Harry Groener A.R. Gurney* Joseph Hardy

Mark Harelik Bob James Charles Janasz Peggy Kellner* Tom Lacy Diana Maddox Nicholas Martin* Dakin Matthews Deborah May Katherine McGrath*

John McLain Jonathan McMurtry Stephen Metcalfe Robert Morgan Patrick Page Ellis Rabb* Steve Rankin William Roesch Robin Pearson Rose Marion Ross

Steven Rubin Ken Ruta Douglas W. Schmidt Seret Scott Richard Seer David F. Segal Richard Seger* Diane Sinor* Don Sparks David Ogden Stiers*

Conrad Susa* Deborah Taylor Irene Tedrow* Sada Thompson* Paxton Whitehead James Winker Robert Wojewodski G. Wood* *In memoriam

P6 PERFORMANCES MAGAZINE

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FROM BARRY The Sheryl and Harvey White Theatre is nine years old, and for most of its life it has taken a hiatus around Christmastime, leaving only Dr. Seuss’s How the Grinch Stole Christmas! next door to keep the lights on at The Old Globe. This annual two months of breathing room in our normally breakneck schedule affords our technical crews time to attend to maintenance, training, advance prep for the winter crunch, and even some much-deserved time off. But it also leaves 250 theatre seats empty for that period of time, and empty seats are Kryptonite to theatre people: toxic vortices to be avoided at all costs. We want our seats to have people in them! We want our stages to be alive with stories that delight and move our audiences! So a few years ago we began a search for holiday-themed projects that would activate these fallow weeks in this space.

We could not be happier with the project we found.

Clint Black’s Looking for Christmas brings to the Globe a major voice in American popular song. Black is a giant of country music, celebrated not only for his own virtuosic musicianship and clarion singing voice, but also for the range of his songwriting talent and the appeal of the characters and situations depicted in his vivid lyrics. In the 1980s he emerged as a central figure among a group of young artists who transformed country music with a fresh, modern sound. Today’s enormous and booming country scene still bears his imprint. Among his early albums is Looking for Christmas, a collection of holiday songs that remains popular and beloved. The songs on that album are at the heart of this show’s score.

I should note that having grown up Jewish in the suburbs of New York City, I’m not exactly an expert in country music Christmas songs! But in the voice of Clint Black I can hear the sound of the great tradition of American holiday music. There’s a warmth to these songs that’s sentimental in the best way, a gentleness and a sense of sweetness that emphasize the bonds of family, friendship, and community I recognize as the essence of the Christmas spirit.

Mike struggles with how to adjust to civilian life even as his family and friends struggle to find the right way to help him. A story that’s universal in our region connects in this show to an even greater universality, that which Mike’s young daughter Ellie seeks as she works to understand the true meaning of Christmas.

There’s appealing emotional directness to the way this material links the personal and the spiritual. The story asserts that a child’s sense of innocence and sincerity can bring a special insight that adults would do well to heed, and that a childlike purity of vision can sometimes be the only thing that truly brings transcendence. A parent of young children myself, I find this deeply moving. The first time I read the script I teared up at the end, just as I do each year when the TV shows George Bailey’s friends rescuing him from the evil clutches of Mr. Potter as Christmas Eve comes to Bedford Falls. You don’t have to celebrate Christmas to be moved by stories such as these. They allow us a glimpse of a community bound together in neighborliness and grace. That’s a lovely and necessary vision, a manifestation in theatrical form of what Christmas really is all about.

We’re grateful to welcome Clint Black to the Globe family, and I’m glad of this opportunity to thank him publicly for his uncommon graciousness and generosity. His colleagues James Sasser and Kent Thompson are also artists of real imagination and depth, and I welcome them as well. Together they have assembled a cast and creative team of huge talent, many of whom are San Diego–based artists. This remarkable group of theatre makers has reactivated this space with skill, showmanship, and abundant cheer. I know you’ll love what they’ve created.

Thanks for coming. Enjoy the show.

Along with his artistic collaborators, Clint has cleverly woven these songs around a story that is suffused with holiday themes and that is particularly resonant here in San Diego. Staff Sergeant Mike Randolf and his family might be members of our own community. A veteran returning home from a difficult deployment,

Any feedback on tonight’s show or any of the Globe’s work?

Email Barry at HiBarry@TheOldGlobe.org and he’ll get back to you!

PERFORMANCES MAGAZINE P7

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Barry Edelstein

Timothy J. Shields

ERNA FINCI VITERBI ARTISTIC DIRECTOR

MANAGING DIRECTOR

CLINT BLACK’S

LOOKING FOR CHRISTMAS MUSIC AND LYRICS BY

CLINT BLACK Sean Fanning SCENIC DESIGN

BOOK BY

JAMES D. SASSER Charlotte Devaux Matt Hinkley

Jason Styres, CSA CASTING

CLINT BLACK

Rui Rita

COSTUME DESIGN

MUSIC SUPERVISOR AND MUSIC DIRECTOR

WITH

LIGHTING DESIGN

Leon Rothenberg SOUND DESIGN

Cody Owen Stine

ASSOCIATE MUSIC DIRECTOR

Anjee Nero

PRODUCTION STAGE MANAGER

CHOREOGRAPHY BY

WENDY SEYB DIRECTED BY

KENT NICHOLSON Sheryl and Harvey White Theatre Conrad Prebys Theatre Center November 11 – December 31, 2018 P8 PERFORMANCES MAGAZINE

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CAST (in alphabetical order) BILLY WATSON.....................................................................................................................Bobby Chiu JOANIE WATSON........................................................................................................ Veda Cienfuegos JIMMY MCELROY..........................................................................................................Giovanni Cozic DOUGLAS MILLER........................................................................................................ DeLeon Dallas* MIKE RANDOLF............................................................................................................Aaron C. Finley* JACK PETERS........................................................................................................Scott Richard Foster* ELLIE RANDOLF.............................................................................................................Kaylin Hedges* JESSIE RANDOLF............................................................................................................... Liana Hunt* SANTA............................................................................................................................. Bryant Martin* MELISSA PETERS.........................................................................................................Reese McCulloch ALISSA MILLER............................................................................................................ Syndee Winters* ENSEMBLE................................................................... Reanne Acasio, Bobby Chiu, Veda Cienfuegos, Giovanni Cozic, Scott Richard Foster*, Bryant Martin*, Reese McCulloch, Katie Sapper* SWINGS................................................................................. Lauren Livia Muehl, Jonathan Sangster, Lauren Ellen Thompson UNDERSTUDIES....................................................................... for Alissa Miller – Reanne Acasio; for Douglas Miller – Scott Richard Foster*; for Mike Randolf – Bryant Martin*; for Ellie Randolf – Reese McCulloch; for Jessie Randolf – Katie Sapper*

Production Stage Manager...................................................................................................Anjee Nero* Assistant Stage Manager............................................................................................ Kendra Stockton*

SETTING United States and Afghanistan. Present day.

There will be no intermission.

PRODUCTION STAFF Associate Director and Choreographer..........................................................................Steven Cardona Assistant Scenic Design....................................................................................................Eileen McCann Assistant Costume Design...................................................................................................... Katie Knox Assistant Lighting Design............................................................................................. Heather Reynolds Assistant Sound Design...................................................................................................... Daniel Gower Studio Teacher....................................................................................Raymond Alexander Washington Music Coordinator.................................................................................................................. Greg Pliska Script Assistant...................................................................................................................... Anna Klevit Dance Captain................................................................................................... Lauren Ellen Thompson

*Member of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States.

Si desea una sinopsis de esta obra en Español o en Inglés, favor de pedírsela al acomodador que le entregó este programa.

If you would like a synopsis of this production in English or Spanish, please request it from an usher.

PERFORMANCES MAGAZINE P9

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CENTER STAGE Book writer James D. Sasser and director Kent Nicholson discuss the genesis of Clint Black’s Looking for Christmas and the surprising connections they found between country music, the military, and Christmas stories.

Interview by Danielle Mages Amato

How did you both get involved with Clint Black’s Looking for Christmas?

What made it something you wanted to work on?

JAMES D. SASSER: About three years ago, I met Clint Black at a performance.

Afterwards we were talking and getting to know each other, and he was asking me about my career as a Broadway performer and a writer. I just casually asked him if he had ever considered doing a Broadway musical. He laughed and said that he had, but eight shows a week was probably too many these days. I laughed and said, “I actually wasn’t thinking of you, I was thinking of your songs: a book musical based on your catalog.” He gave me his number and said if either of us remembered that conversation in a few months, we should talk again.

(from left) Director Kent Nicholson, book writer James D. Sasser, and musician Clint Black in rehearsals for Clint Black’s Looking for Christmas. Photo by Chanel Cook.

After that I sort of went down a Clint Black rabbit hole. Even though I grew up listening to some country music, I can’t really say that I was a huge country fan. But the more I delved into his catalog, the more I realized what an incredible songwriter he is. The style of songwriting that Clint comes from is very much the old balladeer, singer–songwriter tradition, where each song has a very clear story. We circled around a couple of different ideas for a musical, and one of them centered on the experience of a contemporary military family. Clint has done a lot of work with the USO, and I come from a military family background as well—my dad was an Air Force veteran. After talking about the possibility of telling that kind of story, Clint gave me his Christmas album. Before I was even three songs into that album, I knew right away it was a perfect fit. And that’s where you came in, isn’t it, Kent?

KENT NICHOLSON: Yes. James and I have worked on shows together for a long time, and we also have a producing company together, so he brought this to the table for us to consider. And it’s a really great story, one that I feel like is not often told in theatre. There are a lot of important home-front stories that are not really being told right now. We just picked up the reins and ran with it. And it’s been one of the fastest-moving musicals that I’ve ever worked on. I think partially because we’re all very committed to it, and partially because Clint’s music is so ready-made for storytelling. His catalog is so theatrical—it’s really an embarrassment of riches.

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Could you talk a little bit about the story for the musical and how it developed?

JDS: Very early on, we knew we wanted to tell the story not just from the point of view of the soldier’s experience, but how it affects the family, and very specifically his wife and young daughter. In talking with friends of mine who are still active duty and have served multiple tours in Afghanistan, some of the things that kept coming up were the idea of missing certain chapters of your family life, like watching your kids grow up, and also the idea that when you get home, you have to learn normalcy again and reintegrate back into your day-to-day life. And when you couple that with the holidays, which can be loaded for even nonmilitary families, you get a very trying time. We wanted to look at that from the point of view of the daughter’s experience: she knows that her father is struggling, and she wants to try to make it better, but she’s also trying to maintain a sense of normalcy and wholeness.

There aren’t very many country musicals. Why do you think that is? What makes country a good fit for musical theatre?

KN: Country music really predicates itself on character and story in a way that a lot of rock and pop music doesn’t. Lyrics become incredibly important in that regard. So it seems like a natural fit. There hasn’t been a huge crossover with musical theatre, and that’s been a little mysterious to people. I think part of the reason for that is because Broadway audiences are not necessarily country music fans. We’re hoping to expand the audience a little bit and use Clint’s status as a country music legend to entice people who may not necessarily go to the theatre on a regular basis. We also want to go to the audiences rather than having the audiences come to New York. That’s one of the reasons we came to San Diego. There’s a huge military community here. It’s got a large country-music market. We’re not necessarily aiming to get this show to New York. We’d much rather it tour the country and find the places where it wants to play and have a life—to find the country music fans, as opposed to trying to turn Broadway audiences into country music fans.

JDS: It’s almost a cliché that country songs are based in struggle, especially personal struggle—the idea of the she-done-leftme kind of song. But there’s a multigenerational history in the music, going back hundreds of years, and that idea of struggling and overcoming it is a perfect motivation for why a character would sing in a musical. So many great songs in musical theatre are about overcoming an obstacle or a personal challenge of some kind. So in that sense, the format, the structure, and the material of country music fit perfectly.

Working on a holiday musical, does it feel like every day for the last several years has been Christmas? Is that a good thing or a bad thing?

JDS: This past year when I was doing research for it, I watched pretty much every Christmas movie available, every Santa Claus movie, every version of Miracle on 34th Street, all of them. Kent caught me at the end of that marathon, months of Christmas movies, and my eyes were kind of green and red. But I found that there are a number of themes that run through all of those Christmas stories. Number one is home: coming home or making a home. And family: remembering family, resolving family issues, creating a new family. Then there’s nostalgia, a feeling that what used to be might now be lost, and revisiting old memories. And finally community. You see all those themes in classics like It’s a Wonderful Life and A Christmas Carol. I think one of the reasons that the Christmas story is so ripe for good musical-theatre storytelling is something that Kent said very early on when I started working with him: all great musicals are about community, in some form or fashion.

Those seem like themes in a lot of country music as well. So a perfect fit.

JDS: Absolutely.

What do you want the audience to take away from this show?

KN: I think that we would like them to walk away feeling a renewed sense of purpose about the message of Christmas. Whether they’re secular people or religious people, whatever their faith, there’s a fundamental sense of caring and paying attention to other people’s needs that underlies the Christmas message. Whether that be with your family, or with your community, or with your country, that’s a value we hope everyone can buy into and celebrate on some level. 

PERFORMANCES MAGAZINE P11

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A NEW STORY, A FAMILIAR SOUND

Grammy Award–winning country artist Clint Black talks about bringing his music to the theatrical stage for the first time.

Interview by Danielle Mages Amato

How did you make the decision to try your hand at musical theatre?

I had thought about it for years. It wasn’t until I met [co–book writer] James Sasser that the opportunity presented itself. I began to think about it seriously, and we started talking about what kind of show it would be.

What was your experience like while developing the show?

James wrote the first draft, and we developed it from there with input from our producing partners and later from The Old Globe’s dramaturgy department. The collaboration with him after that was nothing short of a crash course in playwriting.

He’s an expert, and he gave me the forum and the safety net to try my hand at it.

What was your involvement with the musical arrangements and the singing? What were your goals?

For the arrangements, I approached that from a standpoint of what size band we would have for the production. I took session players from Nashville into my studio with the configuration we would be using at the Globe, and I basically made a record of the arrangements. I needed to experiment with how I would adapt the arrangements to a smaller group, and working in the studio environment was the most efficient way to get that done. The styles have a wide range from straight country and Appalachian bluegrass to jazz and orchestral.

Getting the right voices in the cast was most critical. The acting had to be there, of course, but it was extremely important that they be able to adapt their singing style to my genre or my own particular style. The theatre is very intimate, and one of the tests for me during casting was not only style, but their ability to pull back from belting high notes for the big stage, to singing them quietly with the same edge our head voice gives us.

It was exciting for me to see how they responded to my direction. We have some great singers and I couldn’t wait to hear them singing these songs together with the band.

Clint Black. Photo by Kevin Mazur.

What has it been like working in a brand new medium?

I’ve had a learning curve to overcome, but working with the pros has made it fun. The hard part has been doing all this while on an 80-city tour. Fortunately, I know how to tour already!

Do you have any special holiday traditions that you celebrate every year?

We have the typical traditions: decorating and gift giving. We also look for ways to give in the community. The local mission, churches, etc. And then there’s lots of cooking and family gathering. There’s always some room left “at the inn.”

How do you hope the audience will react to Looking for Christmas?

I hope they come away feeling joy, hope, and a renewed sense of responsibility for those around them. Also, an added sense of appreciation for what our military families go through.

And, of course, I hope there will be a few songs stuck in their heads. 

P12 PERFORMANCES MAGAZINE

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Photo courtesy of Collective Artist Management.

To date, Clint Black has sold more than 20 million albums worldwide and racked up 57 charted singles, 31 top-ten hits, and 22 number-one smashes. Recordings such as “A Better Man,” “Killin’ Time,” “Like the Rain,” “When I Said I Do,” and “Nothin’ but the Taillights” have led to honors from the Grammy Awards, Country Music Association, Academy of Country Music, and American Music Awards, as well as membership in the Grand Ole Opry.

Raised in the suburbs of Houston, Texas, Clint Black is the youngest of four brothers. He began performing with his brother Kevin at the family’s backyard barbecues. After high school, he worked construction for a year and spent 10 years on the local nightclub circuit. He auditioned for a Nashville recording contract in 1988, and the following year he led a movement of young talent that transformed country music into a multimillion-dollar industry in the 1990s.

He married actor and fellow Houstonian Lisa Hartman in 1991. Their daughter Lily Pearl was born in 2001, and the family subsequently relocated from Los Angeles to Nashville.

In addition to producing records, touring, and writing songs, Black took on new challenges by becoming an actor and a video director. He has also founded several song-publishing companies. As a musician, he has recorded and played live with Kenny Loggins, Toto, Billy Joel, Jimmy Buffett, and others. His vocal collaborators have included Martina McBride, Wynonna Judd, Roy Rogers, The Pointer Sisters, Waylon Jennings, Bruce Hornsby, Eric Idle, and Steve Wariner. Among his songwriting partners have been Wariner, Buffett, Merle Haggard, Michael McDonald, Marty Stuart, and Bill Anderson.

He went on to release albums in 2004, 2005, and 2007 with the record label he founded, Equity Music Group, but his interest in putting out new music waned when the label closed its doors in 2008. “We had great success at Equity breaking Little Big Town as a Platinum act,” he said, “but after the group decided to leave us for a bigger company, Equity closed its doors. Since then, I had interest from major companies to sign deals, but declined.”

Black’s most recent album, On Purpose, is dedicated to his father, who died in late 2012. “My dad was a huge country fan and is the first reason I listen to country music. He is probably the reason I’m a songwriter today. He was my introduction to who’s behind the music. I grew up wanting to be the writer behind the song.”

The musical Clint Black’s Looking for Christmas is Black’s first foray into theatre, but to his many fans, it is another chance to hear some of the songs that have touched and delighted millions for the past three decades.  PERFORMANCES MAGAZINE P13

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ARTISTS REANNE ACASIO (Ensemble) is making her Old Globe debut. Her regional theatre credits include Jo March in Little Women (The Barn Stage Company), Grace Farrell in Annie (Encore Theatre San Diego), Heather Duke in Heathers (OnStage Playhouse), Rona Lisa Peretti in The 25th Annual Putnam County Spelling Bee (ASL Musical), and Maria in West Side Story, the title role in Rodgers + Hammerstein’s Cinderella, and Crystal in Little Shop of Horrors (GATE Theater). Ms. Acasio received her bachelor’s degree from UC San Diego. She also currently serves as The Old Globe’s Arts Engagement Operations Coordinator. @reanneacasio on Instagram.

AARON C. FINLEY (Mike Randolf) appeared on Broadway as Charlie Price in Kinky Boots, Brian Howard in It Shoulda Been You, and Drew in Rock of Ages. His New York credits also include Allegiance (workshop).

His regional credits include Diner: The Musical, Rent, Jesus Christ Superstar, Evita, A Christmas Story, Fiddler on the Roof, and more. He was born and raised in Bozeman, Montana and is a proud graduate of Pacific Lutheran University. He also travels across North America performing Pops concerts with some of the very best symphony orchestras. @aaroncfinley.

BOBBY CHIU (Billy Watson, Ensemble) is thrilled to return to The Old Globe. He previously performed at The Old Globe as a Little Who in Dr. Seuss’s How the Grinch Stole Christmas! His other credits include John in Fun Home (San Diego Repertory Theatre), Jerome in South Pacific (San Diego Musical Theatre), Eddie in the West Coast premiere of The Last Wife (Cygnet Theatre Company), Winthrop in The Music Man (Welk Resort Theatre), and Chip in Beauty and the Beast (J*Company Youth Theatre). When not performing, Mr. Chiu loves to play piano, dance ballet and tap, and rollerblade. He is 10 years old and in the fifth grade. Happy holidays!

SCOTT RICHARD FOSTER (Jack Peters, Ensemble), a native of Texas, naturally grew up as a Clint Black fan and is thrilled to be a part of this world premiere. He was most recently seen in the original Broadway cast of Gettin’ the Band Back Together. He was also in Brooklyn on Broadway, and he originated roles in such Off Broadway shows as Forbidden Broadway: Alive and Kicking, Forbidden Broadway Comes Out Swinging!, Power Balladz, and Sessions, as well as having a three-year tenure in NEWSical the Musical.

For seven years, he was a member of the New York City company of the National Comedy Theatre improv troupe, whose home base in none other than San Diego. On television he has been seen in “Shades of Blue,” “Blue Bloods,” and “TURN: Washington’s Spies,” as well as several national commercials including Breyers Gelato and Dollar Shave Club. He is very excited to make his Old Globe debut.

VEDA CIENFUEGOS (Joanie Watson, Ensemble) is very proud to make her theatrical debut. She is a nine-year-old third grader with a passion for the performing arts.

When not in school or rehearsal, she studies ballet as part of a pre-professional program, and also attends jazz, tumbling, acting, and voice lessons. In her spare time she loves to cook, draw, and swim. This experience would not be possible without all the support and encouragement she receives from her family, friends, and teachers, especially her vocal and acting coach, Moriah Angeline.

Ms. Cienfuegos’s performance is dedicated to her late greatgrandfather, Phil Lowey, an Old Globe alumnus who once performed on the very same stage.

GIOVANNI COZIC (Jimmy McElroy, Ensemble) is thrilled to be returning to The Old Globe for the holiday season.

His selected theatre credits include the world premiere musical Up Here (La Jolla Playhouse), the 2015 and 2017 productions of Dr. Seuss’s How the Grinch Stole Christmas! (The Old Globe), and The Last Wife and Gypsy (Cygnet Theatre Company).

Mr. Cozic is 12 years old and enjoys playing golf, cooking, and learning about U.S. history. Much love to his parents and his brother, Pierre.

DELEON DALLAS (Douglas Miller) is a recent graduate from UC San Diego, where he received his M.F.A. in Acting. He is excited to be making his debut at The Old Globe.

His credits include Wild Goose Dreams (La Jolla Playhouse) and Honky and Actually (San Diego Repertory Theatre). He also appeared in the PBS broadcast of Honky.

KAYLIN HEDGES (Ellie Randolf) is thrilled to be making her Old Globe debut. She was most recently seen in The Hollywood Bowl’s production of Annie where she starred as Annie under the direction of Tony Award–nominated director Michael Arden. Her other theatre credits include the title role in the new musical Tara Tremendous; Elf Child in Kris Kringle The Musical; and the title role in Westchester Broadway Theatre’s production of Annie. Her television and film credits include Ava in a new Comedy Central show “The Other Two,” premiering in 2019, and Young Jess in the upcoming feature film Soulmate(s).

Ms. Hedges enjoys all aspects of performing and is grateful every day to have the opportunity to pursue her dreams. Dream big and be yourself! kaylinhedges.com, @kaylinhedges on Instagram.

LIANA HUNT (Jessie Randolf) has appeared on Broadway as Katherine in Newsies and Sophie in Mamma Mia! Her national tour credits include Margo in Steve Martin and Edie Brickell’s Bright Star, Nessarose in Wicked, and Sophie in Mamma Mia! She has performed regionally as Rose Smith in Meet Me in St. Louis (The Muny), Sibyl in Private Lives (Riverside Theatre), Sandy in Grease and Emma in Jekyll & Hyde (John W. Engeman Theater), and Eponine in Les Misérables (Merry-GoRound Playhouse). She received her B.F.A. from New York University. @lianamariehunt on Instagram and Twitter.

BRYANT MARTIN (Santa, Ensemble) recently appeared Off Broadway as Sheriff Martin Green in Desperate Measures, winner of the 2018 Outer Critics Circle Award for Outstanding New Off-Broadway Play. His regional credits include Father in Ragtime (Pennsylvania Shakespeare Festival), Gideon Fletcher in Sting’s The Last Ship (Pioneer Theatre Company), Robert in The Bridges of Madison County (Arizona Broadway Theatre), Curly

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in Oklahoma! (multiple productions), Gaston in Beauty and the Beast (Alabama Shakespeare Festival), Rich in Gentlemen Volunteers (Pig Iron Theatre Company), Philippe de Chandon in Phantom (Pittsburgh Civic Light Opera), Thomas Jefferson in 1776 (Lyric Stage), and Young Scrooge in A Christmas Carol (Westport Country Playhouse).

His television credits include “Quantico,” “Forever,” and “The Jack and Triumph Show.” bryant-martin.com.

REESE MCCULLOCH (Melissa Peters, Ensemble) is happy to return to The Old Globe for another Christmas season. She is 11 years old and is in seventh grade at La Mesa Arts Academy. She performed in The Old Globe’s 2017 production of Dr. Seuss’s How the Grinch Stole Christmas! as Cindy-Lou Who. She has also enjoyed roles in community theatre as Young Nala in The Lion King Jr., Lost Boy in Peter Pan, and an orphan and Annie understudy in Annie. In her spare time, she enjoys singing, drawing, chocolate, her cats, and watching cat videos.

LAUREN LIVIA MUEHL (Swing), age 10, is thrilled this holiday season to be returning to The Old Globe, where she was last seen as a Little Who in Dr. Seuss’s How the Grinch Stole Christmas! She has appeared in several local productions including Mary Poppins (Christian Youth Theater San Diego), Ruthless! (MOXIE Theatre), and Billy Elliot: The Musical and Cats: A New Day (California Youth Conservatory). She has performed in San Diego Shakespeare Society’s Celebrity Sonnets many times and danced in San Diego Ballet’s production of The Nutcracker for the past four years. She was also honored to sing the national anthem at Petco Park with her California Youth Conservatory cast during two Padres games. When not singing or dancing, she enjoys gymnastics and can be found playing keyboard, flute, or bass guitar and chasing her twin brother. Ms. Muehl is extremely grateful to the Looking for Christmas creative and casting team for giving her this wonderful opportunity.

JONATHAN SANGSTER (Swing) is thrilled to be making his Old Globe debut. His recent credits include Boss Elf in Rudolph the Red-Nosed Reindeer: The Musical (national tour), Igor in Young Frankenstein, Malcolm MacGregor in The Full Monty, Billy Elliot: The Musical, Rocky in Damn Yankees, Man 2 in First Date, and Ragtime (San Diego Musical Theatre), Patsy in Spamalot (Cygnet Theatre Company), Ali Hakim in Oklahoma! (New Village Arts, Craig Noel Award nomination), Spring Awakening and Urinetown (The Barn Stage Company), Seussical starring Cathy Rigby (3-D Theatricals), and Grease (Welk Resort Theatre). Much love and endless thanks to family and friends both near and far, Nicole and FSE, and of course, you, the audience, for continuing to support live theatre. Happy holidays!

KATIE SAPPER (Ensemble) is delighted to make her Old Globe debut with such a fantastic cast and creative team.

A San Diego native who fell in love with theatre in middle school when performing with the Globe’s Summer Shakespeare Intensive, she is beyond grateful for this full-circle moment. Her regional credits include Crystal in the world premiere of Kingdom City (La Jolla Playhouse), Sophie in Mamma Mia!, Betty in Sunset Boulevard, and Kate McGowan in Titanic (Moonlight Stage Productions), Anne in A Little Night Music and Melody in Bad Jews (Cygnet Theatre Company), Gloria in Damn Yankees (San Diego Musical Theatre; Craig Noel Award nomination), June in Smoke on the Mountain and Glinda in the world premiere of Oz (Lamb’s Players

Theatre), and Ivy in bare: A Pop Opera and Nancy in A New Brain (Diversionary Theatre). She received her B.A. in Musical Theatre from Saint Mary’s University of Minnesota. Thank you to Clint, James, Kent, Charles, and everyone involved. Love to family, her fiancé, Ashley and Mark at KMR, and her dog Ringo. For Boots and Gene. katiesapper.com.

LAUREN ELLEN THOMPSON (Swing) is thrilled to be making her Old Globe debut and returning to her beautiful hometown of San Diego. She received her B.A. in Theatre and Film from Azusa Pacific University. Her theatre credits include Violet, The 39 Steps, Dancing at Lughnasa, The Mystery of Edwin Drood, Cat’s-Paw, The Hound of the Baskervilles, and The Matchmaker (Actors Coop Theatre Company), Empty Glasses (Occidental College New Play Festival), Almost, Maine (Split Check Entertainment), and The Pajama Game (Starlight Musical Theatre). Her television and film credits include Roman J. Israel, Esq. opposite Denzel Washington, “The Fix,” Nightmare Mansion, Survival Skills, She Can Dance?, The Accountants, “Soccer Moms,” “The Matt and Kory Show,” and Reckoning. In addition, Ms. Thompson travels the U.S. and overseas performing as a lead vocalist with several event bands. laurenellenthompson.com, @lauren_ellen_thompson.

SYNDEE WINTERS (Alissa Miller) is a graduate of Five Towns College and a recipient of its Distinguished Alumnus Award. Her Broadway credits include Nala in The Lion King, Mary Wells and Diana Ross in Motown The Musical, Leading Player understudy in Pippin, and Angelica, Eliza, and Peggy Schuyler in Hamilton.

She was most recently seen as an Apostle in the Emmy Award–winning broadcast of NBC’s Jesus Christ Superstar Live in Concert starring John Legend. @Syndeewinters.

CLINT BLACK (Music and Lyrics, Book) has one of the most storied careers in modern music. He surged to superstardom as part of the fabled “Class of ’89,” reaching No. 1 with five consecutive singles from his triple-Platinum debut, Killin’ Time. He followed that with the triplePlatinum Put Yourself in My Shoes, and then a string of Platinum albums throughout the ’90s. Perhaps most impressively, Mr. Black writes all of his own songs and produces his own records. He has created a catalog that has produced 22 No. 1 singles and made him one of the most successful singer/songwriters of the modern era.

Along the way, Mr. Black has sold over 20 million records; earned more than a dozen Gold and Platinum awards in the U.S. and Canada; landed nearly two dozen major awards and nominations, including more than a dozen Grammy Award nominations; and earned a star on the Hollywood Walk of Fame.

JAMES D. SASSER (Book) has had a performance career spanning from Broadway and Off Broadway to opera and concert stages around the world, and he has been involved for two decades in the development of dozens of new musical works on both sides of the table as an actor, writer, and producer. He has worked with organizations ranging from Riverdance to Sundance, Jesus Christ Superstar to Forbidden Broadway, and theatre outfits including Ars Nova, Manhattan Theatre Club, TheatreWorks Silicon Valley, New Dramatists, Vineyard Theatre, Eugene O’Neill Theater Center, Playwrights Horizons, and many more. With writing partner Charles Vincent Burwell, their musicals include CUBAMOR, Bottle Shock (based on the hit cult wine film), and the forthcoming Black Count. CUBAMOR had its developmental premiere at Village Theatre’s Beta Series and was an official selection of the National Alliance for Musical Theatre Festival and TheatreWorks Silicon Valley’s New Works Festival. Bottle Shock has been presented at the PERFORMANCES MAGAZINE P15

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ARTISTS Napa Valley Film Festival, Ars Nova, and Z Space, and it is gearing up for its premiere in the Bay Area. Mr. Sasser and Mr. Burwell’s songs have been heard at Lincoln Center, 54 Below, Joe’s Pub at The Public Theater, Ars Nova, A Little New Music in L.A., Feinstein’s at the Nikko in San Francisco, and other venues on both coasts. His first musical was First Flight: The Story of the Wright Brothers, written with his father, Lieutenant Colonel James Dilda (USAF, Ret.). Along with Kent Nicholson and Mr. Burwell, and financial partners Henry Ivey and Juliet Settlemier, Mr. Sasser founded the 959 Group, a new-works theatrical development and investment strategy LLC. Their first endeavor was Natasha, Pierre & The Great Comet of 1812, which marked vocal sensation Josh Groban’s Broadway debut, and was nominated for twelve Tony Awards, winning two. Their portfolio includes CUBAMOR, Bottle Shock, and Looking for Christmas. Special thanks and love to Mom and Pops for everything, and to Sarah for being so amazing.

KENT NICHOLSON (Director) has had a hand in nearly three decades of new-work development on both coasts with pioneering organizations such as Playwrights Horizons and TheatreWorks Silicon Valley. His New York directing credits include 9 Circles (Sheen Center), Long Story Short (Prospect Theater Company), Five Flights (Rattlestick Playwrights Theater), Wet (Summer Play Festival), and Marry Harry (New York Musical Theatre Festival, American Theater Group). Mr. Nicholson’s regional credits include Once, Amadeus, and The Light in the Piazza (South Coast Repertory), How to Write a New Book for the Bible (South Coast Repertory, Berkeley Repertory Theatre, Seattle Repertory Theatre), CUBAMOR (Village Theatre), Lizzie (Theatre Under The Stars, Village Theatre), Grey Gardens, Vincent in Brixton, Ambition Facing West, and All My Sons (TheatreWorks Silicon Valley), Saint Ex (Weston Playhouse), 9 Circles, The Good German, and Jacques Brel Is Alive and Well and Living in Paris (Marin Theatre Company), and Small Tragedy and Satellites (Aurora Theatre Company). He created the New Works Initiative at TheatreWorks Silicon Valley and the Uncharted writers group at Ars Nova. Mr. Nicholson currently serves on the boards of Old Sound Room and Musical Theatre Factory, and he serves as Associate Producer of Musical Theatre at Playwrights Horizons in New York.

WENDY SEYB (Choreographer) is an award-winning director, writer, choreographer, and filmmaker. Her career highlights include choreographing The Pee-wee Herman Show (Broadway, HBO); choreographing Sting and Oscar Isaac at Carnegie Hall; working with Christopher Lloyd in his return to theatre; and premiering her original award-winning short film starring Emmy Award winner Peter Scolari at top film festivals.

Her Off Broadway highlights include choreographing Click, Clack, Moo (Lucille Lortel Award nomination), The Toxic Avenger (Lucille Lortel, Joe A. Callaway, and Dora Award nominations), and Murder for Two (and two national tours). Her talents have been sought out by top names in the industry including Amazon Studios, NBCUniversal Television, The Cartoon Network, Nickelodeon, Disney Theatrical Productions, The Sacramento Ballet, Geffen Playhouse, Philadelphia Theatre Company, Paper Mill Playhouse, Geva Theatre Center, and Children’s Theatre Company.

MATT HINKLEY (Music Supervisor and Music Director), originally from Texas, is a New York City/New Jersey–based multi-instrumentalist, conductor, music director, and arranger/orchestrator. His Broadway credits include SpongeBob SquarePants, Bandstand, Finding Neverland, Violet, First Date, and Godspell. His regional credits include Mrs. Miller Does Her Thing (Signature Theatre Company, Helen Hayes Award nomination for Outstanding Musical Direction), The Circus in Winter (Goodspeed Musicals), Chess (The Kennedy Center), and Love Kills (Steppenwolf Theatre Company). His other New York credits include Rooms; Joe Iconis’s Bloodsong of Love and Things to Ruin; the City

Center Encores! production of Assassins; The Burnt Part Boys; 35mm; The Bad Years; F#%king Up Everything/Brooklyn Crush; and Koberet.

He also worked on the film of Jason Robert Brown’s The Last Five Years. Mr. Hinkley’s studio and concert work includes supervising/ arranging for Caissie Levy, Jonathan Reid Gealt, and Natalie Weiss; music direction for Bubble Boy; and collaborations with Kerrigan and Lowdermilk, Joe Iconis, and more. His works in development include music direction for Adam Rapp and Jamestown Revival’s The Outsiders, and music supervision for Mr. Gealt’s Dust & Shadow, Ben Clark’s Skin & Bones, and Tennessee Whiskey, about the life and songs of Dean Dillon.

SEAN FANNING (Scenic Design) is a Southern California–based scenic designer with numerous productions across local stages. His previous Globe credits include the Globe for All Tours of Measure for Measure and All’s Well That Ends Well, Full Gallop (Craig Noel Award nomination), A Doll’s House, Kingdom, and Plaid Tidings. With The Old Globe and University of San Diego Shiley Graduate Theatre Program, his credits include Pericles, Much Ado About Nothing, Measure for Measure, Twelfth Night, The Winter’s Tale, The Two Gentlemen of Verona, and A Midsummer Night’s Dream. His other recent designs include Oslo, Thomas and Sally, and My Mañana Comes (Marin Theatre Company), Fun Home, Beachtown, Evita, and Manifest Destinitis (San Diego Repertory), On the Twentieth Century (Craig Noel Award), A Little Night Music, The Wind and the Breeze, The Last Wife, Hir, Seven Guitars, and King Hedley II (Cygnet Theatre Company), and Once, Silent Sky, and Equivocation (Lamb’s Players Theatre). He received the first Craig Noel Award for Designer of the Year for his body of work in 2016.

Mr. Fanning holds an M.F.A. in Scene Design from San Diego State University. seanfanningdesigns.com.

CHARLOTTE DEVAUX (Costume Design) has designed 25 productions at The Old Globe.

Her work has also been featured at La Jolla Playhouse, San Diego Repertory Theatre, TheatreWorks Silicon Valley, Mo`olelo Performing Arts Company, and San Diego Dance Theater. She designed Miami Libre, a Cuban dance musical, for the Adrienne Arsht Center for the Performing Arts of Miami-Dade County. Internationally, she has designed extensively for both theatre and television in New Zealand.

In addition to her New Zealand theatre credits, she was the costume designer and stylist for Television New Zealand. She holds additional design credits in London and Sydney. Ms. Devaux holds the position of Resident Associate Costume Designer at The Old Globe, where she has collaborated with world-class designers, directors, and actors on over 75 productions of contemporary works, Shakespearean productions, and Broadway-bound musicals, including the recent The Heart of Rock & Roll. She is a recipient of a prestigious Theatre Communications Group grant undertaking costume research in London and Bath.

RUI RITA (Lighting Design) designed the Globe’s productions of Death of a Salesman, Dividing the Estate, and Richard O’Brien’s The Rocky Horror Picture Show. His Broadway credits include The Velocity of Autumn, The Trip to Bountiful, Present Laughter, Dividing the Estate, Old Acquaintance, and Enchanted April, among others. He designed the Off Broadway premieres of Paradise Blue, The Old Friends, and The Orphans’ Home Cycle (Signature Theatre Company; Henry Hewes Design Award), Skeleton Crew (Atlantic Theater Company), The Happiest Song Plays Last (Second Stage Theatre), Just Jim Dale (Roundabout Theatre Company), Nightingale and Moonlight and Magnolias (Manhattan Theatre Club), The Carpetbagger’s Children and Far East (Lincoln Center Theater), and Dinner with Friends (Variety Arts Center). He also designed the Off Broadway revivals of The Piano Lesson (Signature), Talley’s Folly and The Milk Train Doesn’t Stop Here Anymore (Roundabout), and Engaged (Theatre for a New Audience; Obie Award). His recent regional credits include Alley Theatre, Arena

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Stage, Baltimore Center Stage, Center Theatre Group, Ford’s Theatre, Guthrie Theater, Huntington Theatre Company, Oregon Shakespeare Festival, and Williamstown Theatre Festival.

LEON ROTHENBERG (Sound Design) designed The Old Globe’s productions of The Lion, Bethany, and Some Lovers. His recent Broadway credits include The Waverly Gallery, The Boys in the Band, A Doll’s House Part 2, Violet, The Realistic Jones, and The Nance (Tony Award). He has designed regionally for Arena Stage, American Conservatory Theater, Geffen Playhouse, Pasadena Playhouse, Huntington Theatre Company, Portland Center Stage, Seattle Repertory Theatre, La Jolla Playhouse, Long Wharf Theatre, McCarter Theatre Center, Williamstown Theatre Festival, New York Stage and Film, and more. His selected New York and Off Broadway credits include Second Stage Theatre, New York City Center, Manhattan Theatre Club, The Public Theater, Culture Project, and Tectonic Theater Project. He has also designed for Cirque du Soleil. Mr. Rothenberg is a faculty member of California Institute of the Arts. klaxson.net.

CODY OWEN STINE (Associate Music Director, Music Director – November 11 to December 31) is a New York City–based composer, lyricist, music director, and performer. As music director, he conducted the original productions of Miss You Like Hell (and original cast album), The Robber Bridegroom (and original cast album), Murder Ballad, For the Last Time, and Eager to Lose. He has played in the Broadway orchestras for SpongeBob SquarePants, Bandstand, Finding Neverland, and American Psycho. He is the resident cabaret director of Williamstown Theatre Festival. As composer/lyricist his work has been seen at Ars Nova, Edinburgh Festival Fringe, The Second City Los Angeles, Prospect Theater Company, and Williamstown Theatre Festival. His shows as composer/lyricist include The Prisoner of Vegas, Penthesilea, and a 2019 commission from Williamstown Theatre Festival.

JASON STYRES, CSA (Casting) cast the Broadway productions of A Gentleman’s Guide to Love and Murder, Dames at Sea, The Lion King, and Nice Work If You Can Get It. His Off Broadway credits include Puffs, Midnight at the Never Get, Pedro Pan, Neurosis, R.R.R.E.D., War Boys, Money Talks, Trip of Love, iLLA, Missed Connections, and 15 City Center Encores! productions, including Gentlemen Prefer Blondes, Merrily We Roll Along, On Your Toes, Little Me, The Most Happy Fella, Lady Be Good!, Paint Your Wagon, and Cabin in the Sky. His national tour credits include A Gentleman’s Guide to Love and Murder, The King and I, Fiddler on the Roof, Rodgers + Hammerstein’s Cinderella, The Lion King, and Irving Berlin’s White Christmas. Mr. Styres’s film and television credits include How You Look at It, Carousel (PBS), Six by Sondheim (HBO), and “So You Think You Can Dance.” He also cast the London and Las Vegas productions of Magic Mike Live directed by Channing Tatum. His other credits include Josh Prince’s Broadway Dance Lab, Camille A. Brown’s developmental project, Hartford Stage, New York Philharmonic, San Francisco Symphony, Florida Studio Theatre, Shakespeare Theatre Company, and others. Mr. Styres is a seventime Artios Award nominee and a New York board member of the Casting Society of America.

ANJEE NERO (Production Stage Manager) has previously worked on The Old Globe’s world premiere musical productions of The Heart of Rock & Roll, Benny & Joon, October Sky, Bright Star, Dog and Pony, Allegiance, A Room with a View, and Kingdom. Some of her additional credits include The Tempest; The Wanderers; The Importance of Being Earnest; King Richard II; Picasso at the Lapin Agile; Kiss Me, Kate; The Twentyseventh Man; The Winter’s Tale; Be a Good Little Widow; and Richard O’Brien’s The Rocky Horror Show. Ms. Nero worked on the Broadway production of Bright Star and launched the first national tour last fall.

Her selected La Jolla Playhouse credits include Sideways directed by

Des McAnuff, Ruined directed by Liesl Tommy, A Midsummer Night’s Dream directed by Christopher Ashley, and Herringbone directed

by Roger Rees and starring BD Wong. Ms. Nero has worked with several prominent regional theatres including The Kennedy Center, Center Theatre Group (Ahmanson and Kirk Douglas Theatres), Hartford Stage, SITI Company, Huntington Theatre Company, and Berkeley Repertory Theatre, to name a few, including having toured both nationally and internationally with several dance and music companies.

KENDRA STOCKTON (Assistant Stage Manager) previously worked at The Old Globe as Assistant Stage Manager on Much Ado About Nothing, Benny & Joon, October Sky, Bright Star, and Dog and Pony, as well as a production assistant on Dr. Seuss’s How the Grinch Stole Christmas!, The Few, and the 2013 Shakespeare Festival. She stage managed La Jolla Playhouse’s Home of the Brave and #SuperShinySara and has assistant stage managed their productions of Guards at the Taj, The Orphan of Zhao, and The Who & The What. Her other stage management credits include The Loneliest Girl in the World (Diversionary Theatre), miXtape (Lamb’s Players Theatre), and Irving Berlin’s White Christmas (San Diego Musical Theatre).

BARRY EDELSTEIN (Erna Finci Viterbi Artistic Director) is a stage director, producer, author, and educator. He has directed nearly half of the Bard’s plays. His Globe directing credits include The Winter’s Tale, Othello, The Twenty-seventh Man, the world premiere of Rain, Picasso at the Lapin Agile, Hamlet, and the world premiere of The Wanderers. He also directed All’s Well That Ends Well as the inaugural production of the Globe for All community tour. He will next direct The Tempest at the Los Angeles Philharmonic in November. As Director of the Shakespeare Initiative at The Public Theater (2008–2012), Mr. Edelstein oversaw all of the company’s Shakespearean productions as well as its educational, community outreach, and artist-training programs. At The Public, he staged the world premiere of The Twenty-seventh Man, Julius Caesar, The Merchant of Venice, Timon of Athens, and Steve Martin’s WASP and Other Plays. He was also Associate Producer of The Public’s Broadway production of The Merchant of Venice starring Al Pacino. From 1998 to 2003 he was Artistic Director of Classic Stage Company. His book Thinking Shakespeare, which was rereleased in a second edition in June, is the standard text on American Shakespearean acting. He is also the author of Bardisms: Shakespeare for All Occasions. He is a graduate of Tufts University and the University of Oxford, where he studied as a Rhodes Scholar.

TIMOTHY J. SHIELDS (Managing Director) is very pleased to have joined the ranks of the Globe’s staff in October of 2017. He brings to San Diego many decades of theatrical experience. Most recently, he was Managing Director at Princeton, New Jersey’s McCarter Theatre Center from 2009 to 2017.

His professional experience includes serving as Managing Director at Milwaukee Repertory Theater for 10 years, and as Managing Director at Geva Theatre Center in Rochester, New York, for six. He has held administrative positions at Children’s Theatre Company in Minneapolis, Denver Center Theatre Company, and McCarter Theatre Center in an earlier period of his career. In service to the field, he was the President of the League of Resident Theatres (LORT) for six years and was the Chair of the ArtPride NJ board. He has also served on the boards of Theatre Communications Group (Vice President), Milwaukee’s Latino Arts Board, the Cultural Alliance of Greater Milwaukee, and Theatre Wisconsin (Founder/ President). Over the years he has been a panelist, panel chair, and on-site reporter for the theatre program at the National Endowment PERFORMANCES MAGAZINE P17

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ARTISTS for the Arts. He holds a B.F.A. in Drama Production from CarnegieMellon University in his hometown of Pittsburgh, Pennsylvania.

JACK O’BRIEN (Artistic Director Emeritus) served as Artistic Director of The Old Globe from 1981 to 2007. His Broadway credits include the recent productions of Carousel, Charlie and the Chocolate Factory, The Front Page, It’s Only a Play, Macbeth, The Nance, Catch Me If You Can, The Coast of Utopia (Tony Award), Dirty Rotten Scoundrels (Tony nomination), Henry IV (Tony Award), Hairspray (Tony Award), Imaginary Friends, The Invention of Love (Tony nomination), The Full Monty (Tony nomination), Two Shakespearean Actors (Tony nomination), Porgy and Bess (Tony nomination), and many more. He has also directed for national tours, the West End, New York’s Metropolitan Opera, and San Diego Opera, as well as six movies for PBS’s “American Playhouse.” He was inducted into the Theatre Hall of Fame in 2008.

Jack Be Nimble: The Accidental Education of an Unintentional Director, his memoir about the early years of his career, was released in 2013.

CRAIG NOEL (Founding Director, 1915–2010) was a theatre legend who was instrumental in cultivating the San Diego arts community.

Beginning in 1939, he directed more than 200 Globe productions of all styles and periods and produced an additional 270 shows.

His vision for The Old Globe resulted in the establishment of the Shakespeare Festival and San Diego Junior Theatre in the ’40s, the expansion to two theatres in the ’50s, and the founding of The Old Globe/University of San Diego Graduate Theatre Program in the ’80s.

Described by Variety as the éminence grise of San Diego theatre, Mr. Noel is one of the few San Diegans both to have had an entire year (1987) proclaimed in his honor, and to be named one of San Diego’s “Living Treasures.” He was also a founder of the California Theatre Council and a former vice president of the California Confederation of the Arts. Mr. Noel received many awards and honors during his lifetime, including the 2007 National Medal of Arts, the nation’s highest honor for artistic excellence.

TAKING PHOTOS IN THE THEATRE Audience members may take photos in the theatre before and after the performance and during intermission. If you post photos on social media or elsewhere, please credit the production’s designers by including the names below.

Sean Fanning, Scenic Design www.seanfanningdesigns.com Charlotte Devaux, Costume Design www.charlottedevaux.com Rui Rita, Lighting Design Leon Rothenberg, Sound Design @leonrothenberg Please note: Photos are strictly prohibited during the performance. Photos of the stage are not permitted if an actor is present. Video recording is not permitted at any time in the theatre.

This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the union of professional actors and stage managers in the United States.

The Directors are members of the Society of Stage Directors and Choreographers, an independent national labor union.

This Theatre operates under an Agreement with the International Alliance of Theatrical Stage Employees Local No. 122.

The Scenic, Costume, Lighting and Sound Designers in LORT Theatres are represented

by United Scenic Artists Local USA-826, IATSE.

The musicians are represented by the American Federation of Musicians, Local 325 San Diego.

CASTING Jason Styres, CSA Associate: Andrea Zee, CSA

SPECIAL THANKS The 12-string acoustic guitar used in Clint Black’s Looking for Christmas is provided by Taylor Guitars.

SPECIAL THANKS San Diego Military Family Collaborative

PATRON INFORMATION For patron information about ticketing, performances, parking, transportation, and more, please visit www.TheOldGlobe.org/patron-information.

LET’S ALL DO OUR PART! We are proud that this program, as with all our programs year-round, is made with paper from wood in regrowth areas that are specially planted for use in the industry, making the process sustainable, renewable, and safe for our environment.

As you exit the theatre, feel free to leave your gently used program on the program stand for future audiences to use. Or you can put it in any of the recycle bins in the lobby or on our plaza.

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ARTS ENGAGEMENT

THE HOME OF THE BRAVE

By Damon J. Shearer

San Diego County has the proud distinction of being home to California’s largest concentration of active-duty military service members and their families. Transition is a large part of military life, and many families struggle with feeling connected to their new and often temporary homes. Through The Old Globe’s partnerships with Naval Base San Diego, the U.S. Coast Guard, Camp Pendleton, and the San Diego Military Families Collaborative, we are able to make theatre matter to these brave men and women and also integrate them fully into our world.

“In the military community, especially if you recently moved into an area, you don’t always feel like you have a space of your own,” says Danny Romero, Senior Programs Director at SAY San Diego, the not-for-profit organization that coordinates the San Diego Military Families Collaborative. “Opportunities like having the Globe for All Tour come to Serra High School last year provide a space for people to engage with theatre in a very personal way.”

IN THE MILITARY COMMUNITY, ESPECIALLY IF YOU RECENTLY MOVED INTO AN AREA, YOU DON’T ALWAYS FEEL LIKE YOU HAVE A SPACE OF YOUR OWN.

It is this unique, personalized invitation to engage with the Globe’s theatre community that Karen Schulman, Community Recreation Programs Coordinator for Naval Base San Diego, says means the most.

For example, according to Schulman, the Behind the Curtain theatre workshops held at Anchors Conference Center this summer gave the individuals stationed at the nation’s secondlargest naval base an opportunity to experience something meaningful that they would not have had access to otherwise.

A Behind the Curtain group gets a backstage tour with Festival Property Master Eszter Julian. Photo by Rich Soublet II.

“San Diego is expensive,” she says, “and the military could never subsidize something like this for everyone. This program wasn’t just ‘here’s a ticket, come see a show.’ It was ‘here’s a ticket, and we want to educate you about what we do, and then, let’s just top it off with a tour of the theatre and a meal for you!’ It’s the whole package.” As we saw with the Military Appreciation Day we held this summer during Dr. Seuss’s The Lorax, providing such exciting and comprehensive programs for these families, as well as opportunities for them to venture out of the government housing facilities they live in, builds the groundwork for a lasting connection.

This connection not only benefits these individuals, but it also benefits The Old Globe. Through these partnerships, the Globe gains visibility in military communities throughout San Diego County, giving us the opportunity to welcome these new neighbors and become their cultural home while stationed here. The quality memories they create with us—whether it’s taking a workshop, attending a sensory-friendly performance, or enjoying Shakespeare and a meal at a Globe for All Tour—are sure to last a lifetime. And when the order for deployment or permanent change-of-station comes, these families can think back on their time in San Diego and remember their experiences at The Old Globe and the community they helped build here. 

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CORPORATE DONORS Artistic Angels ($200,000 and higher annually)

Benefactors ($100,000 to $199,999)

Producer Circle ($30,000 to $59,999)

Artist Circle ($25,000 to $29,999)

Director Circle ($10,000 to $24,999)

Founder Circle ($5,000 to $9,999)

Craig Noel Circle ($2,500 to $4,999)

HoyleCohen, LLC Nordson Corporation Foundation

California Coast Credit Union The Charitable Foundation Parc Bistro-Brasserie Wawanesa Insurance Sam Mitchell, Wealthcheck, LLC

($1,000 to $2,499)

Catering Solutions Sabuku Sushi

La Jolla Kiwanis Foundation Second Nature Catering by CHEF DREW

The Corner Drafthouse

The Old Globe invites your company to become a Corporate Partner and make theatre matter to more people while receiving exclusive benefits. Contact Bridget Cantu Wear at (619) 684-4144 or bcantuwear@TheOldGlobe.org.

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ANNUAL FUND DONORS The Old Globe’s ability to maintain the highest standard of excellence, while keeping ticket prices affordable, is due in large part to the financial support of more than 2,000 individuals, businesses, foundations, and government agencies. Please join us in giving warm thanks and recognition to these leaders who have made tonight and our other performances possible. The Old Globe appreciates the support of those who have stepped into the spotlight.

Artistic Angels ($200,000 and higher annually) The City of San Diego Commission for Arts and Culture Karen and Donald Cohn Elaine and Dave Darwin

Mr. and Mrs. Brian K. Devine Audrey S. Geisel/Dr. Seuss Fund at The San Diego Foundation The James Irvine Foundation

Paula and Brian Powers Jean and Gary Shekhter Darlene Marcos Shiley, in memory of Donald Shiley

The Shubert Foundation The Erna Finci Viterbi Artistic Director Fund Sheryl and Harvey White Foundation

Globe Guilders Price Philanthropies Foundation Debra Turner

Vicki and Carl Zeiger

The Parker Foundation (Gerald and Inez Grant Parker) Rhona and Rick Thompson

Gillian and Tony Thornley Pamela J. Wagner and Hans Tegebo June E. Yoder Family

Jeffrey and Sheila Lipinsky Family Foundation National Endowment for the Arts Patrons of the Prado Sanderson Family Foundation

Ms. Jeanette Stevens Theatre Forward’s Advancing Strong Theatre Program Evelyn Mack Truitt Reneé and Bob Wailes Anonymous

Benefactors ($100,000 to $199,999) Mary Beth Adderley Terry Atkinson Peter Cooper

Ann Davies Pamela Farr and Buford Alexander Hal and Pam Fuson

Ovation Circle ($60,000 to $99,999) Diane and John Berol Nikki and Ben Clay Edgerton Foundation

Joan and Irwin Jacobs Fund of the Jewish Community Foundation

Producer Circle ($30,000 to $59,999) California Arts Council, A State Agency California Department of Corrections and Rehabilitation County of San Diego Daphne H. and James D. Jameson

Jo Ann Kilty Laurents / Hatcher Foundation The Blanche and Irving Laurie Foundation Elaine Lipinsky Family Foundation

Theatre Forward advances the American theatre and its communities by providing funding and other resources to the country’s leading nonprofit theatres.

Theatre Forward and our theatres are most grateful to the following funders ($10,000 and above):

Aetna Buford Alexander & Pamela Farr American Express AT&T AudienceView The Augustine Foundation Mitchell J. Auslander Bank of America Bloomberg Philanthropies BNY Mellon Steven & Joy Bunson Citi DELL

Paula A. Dominick Dorsey & Whitney Foundation The Estée Lauder Companies Inc. Bruce R. & Tracey Ewing EY Alan & Jennifer Freedman Goldman, Sachs & Co. The Hearst Foundations Mary Kitchen & Jon Orszag KLDiscovery Anthony & Diane Lembke Marsh & McLennan Companies, Inc. Meltwater

MetLife Meltwater Morgan Stanley The Music Man Foundation Lisa Orberg Frank & Bonnie Orlowski Pfizer, Inc. Presidio Thomas C. Quick RBC Wealth Management Patti & Rusty Rueff Foundation The Schloss Family Foundation Stephanie Scott

Daniel A. Simkowitz & Mari Nakachi George S. Smith, Jr. Southwest Airlines S&P Global TD Charitable Foundation Evelyn Mack Truitt James S. & Lynne P. Turley UBS Wells Fargo Isabelle Winkles Willkie Farr & Gallagher

Sandy and Arthur Levinson Mandell Weiss Charitable Trust

Lori and Bill Walton Brent Woods and Laurie Mitchell

Jack and Donna Galloway Drs. Tom and Jane Gawronski Carol L. Githens Diana R. Glimm Lee and Frank Goldberg Laurie Gore and Julie Osman Dr. and Mrs. Harry F. Hixson, Jr. Robert J. Kilian and Kathleen M. Slayton

Brooke and Dan Koehler Bob and Laura Kyle Jean* and David Laing Dr. William and Evelyn Lamden Las Patronas Carol Ann and George W. Lattimer Susan and John Major Don and Judy McMorrow ♥ Rebecca Moores

Artist Circle ($25,000 to $29,999) Hervey Family Non-endowment Leonard Hirsch, Fund at The San Diego Foundation in memory of Elaine Hirsch Gail and Doug Hutcheson

Director Circle ($10,000 to $24,999) Maggie Acosta and Larry Shushan Jan and Rich Baldwin Melissa Garfield Bartell and Michael Bartell Joan and Jeremy Berg The Sheri and Les Biller Family Foundation Richard and Kathy* Binford The Bjorg Family

DeeAnne and Michael Canepa Jacquie and Michael Casey Barbara and Ric Charlton Ellise and Michael Coit Valerie and Harry Cooper Carlo and Nadine Daleo Nina and Robert Doede Arlene and Richard Esgate Karen Fox

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Director Circle (continued) ($10,000 to $24,999) Caroline and Nicolas Nierenberg Polly and Greg Noel The Kenneth T. and Eileen L. Norris Foundation Tom and Lisa Pierce

Peggy and Peter Preuss Allison and Robert Price Family Foundation Fund of the Jewish Community Foundation The Querin Family

The Harold and Mimi Steinberg Charitable Trust Karen and Stuart Tanz The San Diego Foundation

Jordine Skoff Von Wantoch Dr. Steve and Lynne Wheeler Karin Winner Walter J. and Betty C. Zable Foundation

Founder Circle ($5,000 to $9,999) Jules and Michele Arthur ♥ • Karen and Jim Austin • Jane Smisor Bastien* • The Beyster Family • Arthur and Barbara Bloom Foundation • George and Karen Bullette • Mary-Kay Butler • Harry and Sandra Carter • Carol and Jeff Chang • Joseph Cohen and Martha Farish Charitable Gift Fund of the Jewish Community Foundation • Colwell Family Charitable Giving Fund at Schwab Charitable • R. Patrick and Sharon Connell • Vicki and Chris Eddy • Bernard J. Eggertsen and Florence Nemkov • Marion Eggertsen • Barbara and Dick* Enberg • Carol Spielman-Ewan and Joel Ewan • Anna and Tom Fay • Susanna and Michael Flaster • In memory of Pauline and Sidney Forman • Bill and Judy Garrett • Flavian Geis, in memory of Donald Suycott • Lisa Kirby Gibbs • Norm Hapke and Valerie Jacobs Hapke • Gordon and Phyllis Harris • Deborah A. and David A. Hawkins • Liz and Gary Helming • Hitz Foundation • Thao and Jeff Hughes • Drs. Sonia and Andy Israel • Webster B. and Helen W. Kinnaird • Cindy and John Klinedinst • Regina Kurtz, in loving memory of Al Isenberg • Peter and Michelle Landin • Paul Levin and Joanna Hirst • Peter Manes and Yoko Sakaguchi • Diane McKernan and Steve Lyman • Paul and Maggie Meyer • Judith Morgan • Susan Parker • Bernard Paul and Maria Sardina • Christopher and Angela Peto • David and Mary Ann Petree • John and Marcia Price Family Foundation • Rivkin Family Fund I at The San Diego Foundation • Chrissy and Roger Roberts • Dawn and Phil Rudolph • Jackie Schoell • Dolores and Rodney Smith • Stiefel Behner Charitable Fund • Diane Stocker • Iris and Matthew Strauss • Miriam and Gene Summ • Deborah Szekely • Cherie Halladay Tirschwell • Greta and Stephen Treadgold • C. Anne Turhollow and Michael J. Perkins • Carol Vassiliadis • Carol and Larry Veit • Chris and Pat Weil • Jeffrey E. White • Aubree Wickline • Emma and Leo Zuckerman • Tatiana Zunshine and Miles Grant • Anonymous

Craig Noel Circle ($2,500 to $4,999) Mr. and Mrs. David C. Ailor ♥ • Drs. Gabriela and Michael Antos • Alicia and Jonathan Atun • Judith Bachner and Eric Lasley • David A. and Jill Wien Badger • Bobbie Ball • Jan Bart • Mr. and Mrs. Bear • Linda S. and Robert L. Bernstein • M. Joan Bishop, in memory of Harold O. McNeil, Esq. • Pat and Carol Bivens • Paul Black • Gary and Barbara Blake Family Fund of the Jewish Community Foundation • Steve and Elizabeth Bluhm • Barbara Bolt • Dr. Herman and Irene Boschken • Beth Bowman and Dave Cortney • Bea and Bill Briggs • Robert and Pamela Brooks • Dr. Stephanie Bulger • Anita Busquets and William Ladd • Dr. and Mrs. Edgar D. Canada • Edward and Pamela Carnot • Cecilia Carrick and Stan Nadel • George* and Ellen Casey • Greg and Loretta Cass • Chortek Family Fund of the Jewish Community Foundation • Jan and Tom Ciaraffo • City of Chula Vista Performing and Visual Arts Grant • Garet and Wendy Clark • Ms. Heidi Conlan/The Sahan Daywi Foundation • Richard and Stephanie Coutts • Susan B. Cowell • Jane Cowgill • Gigi Cramer, in memory of Ed Cramer • Darlene G. Davies, in memory of Lowell Davies • Andrew M. DeCaminada • Angie DeCaro • Marguerite Jackson Dill ♥ • Jim and Sally Ditto • Carolyn Doherty • Vicki and Chris Eddy • Hilit and Barry Edelstein • Dieter Fischer/Dieter's Mercedes Service Inc. • Mary and David Fitz • Jean and Sid* Fox • Samuel I. and John Henry Fox Foundation at Union Bank of California • Charles Freebern • Dr. Ben and Susan Frishberg • Joy and Dr. Fred Frye • Elaine Galinson and Herb Solomon • Joyce Gattas • Teresa George • Arthur Getis and Roberta King • Gilcrest Family: Andy, Karen, A.J., and Tommy • Wendy Gillespie • Robert Gleason and Marc Matys ♥ • Fred and Lisa Goldberg • Cathryn Golden • Sheila and Tom Gorey • George C. Guerra • Charles Gyselbrecht and Eric Taylor • Thomas and Cristina Hahn ♥ • Ms. Cheryl Haimsohn • Guy and Laurie Halgren • Pat and Rick Harmetz • Patrick Harrison and Eleanor Lynch • Nishma and John Held • Phil and Kathy Henry • Laurie Henson • Bill and Nancy Homeyer • Gary and Carrie Huckell • Gail and Ken Ivary • The Jasada Foundation • Jerry* and Marge Katleman • Dr. Gerald and Barbara Kent • Edythe Kenton • Warren and Karen Kessler • J. Robert and Gladys H. King Family Trust • Ken and Sheryl King • Jane and Ray* Klofkorn ♥ • Curt and Nancy Koch • Bill and Linda Kolb ♥ • Rosalie Kostanzer* and Michael Keefe • Dr. Morton and Susan La Pittus • Terry and Mary Lehr • The Leist Family • Ronald and Ruth W. Leonardi • James* and Pamela Lester • Judith and Jack Lief • Robin J. Lipman • Barbara and Mathew Loonin • Kathleen and Ken Lundgren • Jackie and Charlie Mann Fund of the Jewish Community Foundation • Lois Marriott • Marcia A. Mattson • Dr. Ted and Marcy Mazer • Oliver McElroy and Karen Delaurier • Dr. and Mrs. M. Joseph McGreevy • Elizabeth and Edward McIntyre • Judi Menzel • Elizabeth B. Meyer • Dr. Howard and Barbara Milstein • Charles and Ilene Mittman • Akiko Charlene Morimoto and Hubert Frank Hamilton, Jr. • Nancy and James Mullen • Geri Musser ♥ • Elspeth and Jim Myer • Joyce Nash • Aleida Navarro-Frutos • Lyn Nelson • Darrell Netherton and Robert Wheeler • Lawrence Newmark • Mark C. Niblack, MD • Barbara Oswalt • Barbara Parker and Geoff Wahl • Mr. and Mrs. Thomas C. Pastore • L. Robert and Patricia Payne • Barbara Petersen • Col.* and Mrs. Ben Pollard • Bill and Mo Popp • Dr. Daniel Porte, Jr. and Mrs. Sally DuBois • Bobbie Quick • Gerry and Jeannie Ranglas • Sarah B. Marsh Rebelo and John G. Rebelo • Joseph and Sara Reisman Fund of the Jewish Community Foundation • Ann and Tim Rice • Wade and Candi Rich • Nancy J. Robertson • Dr. Julie A. Prazich and Dr. Sara Rosenthal • Ms. Gail Rutherford • Warren and Beverly Sanborn • In memory of Axel • Dr. Myron and Doreen Schonbrun • Robert and Lisa Shaw • Lari Sheehan • Drs. Joseph and Gloria Shurman ♥ • Dee E. Silver, MD • Alan and Esther Siman • Dave and Phyllis Snyder • Marisa SorBello and Peter V. Czipott • Nancy and Alan Spector and Family • Ann* and Robert Steck • Kathleen and Al Steele • Nancy Steinhart and Rebecca Goodpasture • Bob and Mike Stivers • Dr. Paula Tallal and Lark Bearden • Karen and Don Tartre • Tevelson Living Trust • Jack and Pat Thomas Family Fund • Tim and Judy Tillyer • Brenda and Robert Tomaras • Suzanne Poet Turner and Michael T. Turner • Susan and Larry Twomey ♥ • Stanley and Anita Ulrich • Karen Walker • Sue and Bill Weber • Shirli Weiss and Sons • Stephen and Joy Weiss • Judith A. Wenker Charitable Fund at The San Diego Foundation • Ruth and Stanley Westreich • James E. and Kathryn A. Whistler Fund at The San Diego Foundation • Molly and Michael Winkle • Diana (DJ) Barliant and Nowell Wisch Endowment Fund of the Jewish Community Foundation • AC and Dorothy Wood • Anonymous (10) • Anonymous ♥

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Diamond ($1,500 to $2,499) In memory of Stanley E. Anderson • Jeff and Donna Applestein • Sally and John Berry • Glenn and Jolie Buberl • Robert Caplan and Carol Randolph • G. Cole Casey, Esq. • Doris and Wayne Christopher • Ronald D. Culbertson • Bill Eiffert and Leslie Hodge • Mr. William and Dr. Susan Glockner • Louise and Doug Goodman • Dean J. Haas • Richard and Linda Hascup • Tony* and Nancy Janus • Heike Maglaque • Jain Malkin • Thomas Melody • Rena Minisi and Rich Paul • Ursula and Hans Moede • Marsha J. Netzer • Christopher and Susan Pantaleoni • Pratt Memorial Fund • James and Judith Queenan • Gene and Jennifer Rumsey • Susan Salt • Casey and Julie Tibbitts • Vainio Fund • Peggy Ann Wallace • Sandy Wichelecki and Suzanne Dukes • Chester Yamaga and Jean Samuels • Helene and Allan Ziman Fund of the Jewish Community Foundation

Platinum ($1,000 to $1,499) Lucy Anderson • Stephanie Bergsma and Dwight Hare • Sondra and Robert Berk Fund of the Jewish Community Foundation • Janet and Maarten Chrispeels • Richard Clampitt and Rachel Hurst • Drs. Charles Davis and Kathryn Hollenbach • Dean and Mrs. Michael H. Dessent • Berit and Tom Durler • John and Barbara Edgington • James and Ann Marie Elliff • Aileen and Dan Emer • Walt Fidler • Richard and Beverly Fink Family Fund • Gay and Lesbian Fund for San Diego, at The San Diego Foundation • Norman and Patricia Gillespie • Morris and Phyllis Gold Fund of the Jewish Community Foundation • Geraldo and Scarrain Gomes Fund • Chris Graham and Michael Albo • Kendall Hall • Jamie Henson and Robert Houskeeper • Holmlund Family Fund at the Rancho Santa Fe Foundation • Bruce and Jane Hopkins • Joe and Phyl Ironworks • Isaacs Brothers Foundation at The San Diego Foundation • Dr. Jim Jaranson Fund of The Minneapolis Foundation • Fred Jones Family Foundation • Kenneth and Marilyn Jones • Peter and Beth Jupp • James and Janice LaGrone • Michael Lee and Katharine Cline • Jeffrey and Hillary Liber Fund of the Jewish Community Foundation • Sally and Luis Maizel • Joy and Ronald Mankoff • Jasna Markovac and Gary Miller • Robert McCommins • Dennis A. McConnell • Randi McKenzie • Mim and Bill McKenzie • James and Estelle Milch Fund of the Jewish Community Foundation • Lori Partrick • In Memory of Margaret Peninger • Anita Pittman • Robert and Doris Reed • Dr. Robert Reese • John and Josette Rekettye • Michael Robertson and Dale Johnston • Joy Rottenstein • Christine Rounsavell • Ryan Family Charitable Foundation • Julie and Jay Sarno • Kathy Schneider • Susan and Gerald Slavet • Louise and Jack Strecker • The Ward Family Charitable Fund • Colleen and Dennis Williams • Dennis and Carol Wilson • The Witz Family • Joseph and Mary Witztum • Howard and Christy Zatkin • Anonymous (5)

Gold ($500 to $999) Margaret and Tony Acampora • Mrs. Marilyn Adams • B.J. Adelson • Diana and Don Ambrose • George Amerault • Mrs. Cyla Andrus and Mr. Darrell Mead • Arleene Antin and Leonard Ozerkis • Lynell Antrim • Katherine Austin • Axel Coaching, LLC • The Backman Family • Francis and Linda Bardsley • Helene Beck • Bruce and Patricia Becker • Amnon and Lee Ben-Yehuda • Drs. John and Karen Berger • Giovanni and Carolyn Bertussi • Charles and Charlotte Bird • Bob and Joyce Blumberg • Kay Faulconer Boger, Ed.D • Deb and Brand Brickman • Beth and Tim Cann • Luc Cayet and Anne Marie Pleska • Evan Centela and James Reid • Stephen and Carol Center • Ms. Lisa Churchill and Dr. Susan Forsburg • Tamar Climan • Rita and Boyd Collier • Steve Kelly and Maryanne Cordahl • Jerry and Leslie Coughlan • Charley and Barb Crew • Fred Cutler • Cara D'Angelo • Caroline DeMar • Hon. Vincent Di Figlia • Jacqueline and Stanley Drosch • Nate and Margaret Englund • Dr. Joseph and Mrs. Beverly Fremont • Friedel Family Fund of the Jewish Community Foundation • Steven and Susan Garfin • Douglas Gillingham and Dana Friehauf • J. M. Gillman • Edry Goot • Bill Green and Tim Simmons • Carol K. Green • Gary and Anne Grim • Mr. Robert Gross • Richard and Candace Haden • Robert Halleck and Della Janis • Emily and Stewart Halpern • James and Ruth Harris • Gail and Richard Harriss • Diana and Jim Hatfield • Thomas and Linda Hawkins • Kaaren Henderson • Gerald M. Hermanson and Donna L. Buckner • Sarah and Chris Herr • Blaine Hibbard • Donald J. Hickey • Peggy and John Holl • Stephanie and Carl Hurst • Joseph and Donna Hynes • Dr. and Mrs. Bruce W. Johnson • Dr. and Mrs. Clyde W. Jones • Natasha Josefowitz, PhD • David and Susan Kabakoff • Larry and Silvia Kading • Wilfred Kearse and Lynne Champagne • Carol Keppel • Dr. Marvin M. Kripps • Sherry and Rick Levin • Marshall and Judy Lewis Fund of the Jewish Community Foundation • Littman Familiy Fund of the Jewish Community Foundation • Eric and Lori Longstreet • Dr. and Mrs. David D. Lynn • Carl Maguire and Margaret Sheehan • Mr. Neil A. Malmquist • Drs. Betty Joan Maly and John Meyers • Eileen Mason • Peggy Matarese • Rev. Stephen J. Mather • Ronald McCaskill and Robyn Rogers • Nathan Meyers and Vicki Righettini • Craig Missler • Dr. and Mrs. Robert F. Morrison • Mimi and Ernie Mortensen • Charles and Susan Muha • Linda Mulcahy • Joan and Charles Neumann • Jan and Mark Newmark • Mikki Nooney • Noelle Norton and Erwin Willis • Rich and June Nygaard • Thomas and Tanya O'Donnell • Virginia Oliver • Mr. and Mrs. James Park • Joan and Richard Qualls • Dr. Adele Rabin and Mr. Stephen Cohen • Cynthia and Gilbert Raff • Cameron Jay and Kathleen Rains • Dianne and Bruce Ramet • Karen Clark Ristine • Stuart and Linda Robinson • Thomas and Lezli Rogers • Rowling Family Charitable Fund of the Jewish Community Foundation • Mr. and Mrs. Todd Ruth • Linda J. Seifert • Tim and Luci Serlet • Sandy and Stella Shvil • Siegler Family Fund of the Jewish Community Foundation • Anne and Ronald Simon • Linda Hervey Simpson • Malcolm E. Smith • Mr. William D. Smith and Dr. Carol Harter • Norman and Judith Solomon • Bill and Barbara Sperling • Steve Steinke • Richard S. Studer • Ronald and Susan Styn • John and Margery Swanson • Norm and Laura Swauger • Clifford and Kay Sweet • John and Gail Tauscher • Anne Taylor • Jeffrey and Sheila Truesdell • Joseph Valentino • Natalie C. Venezia and Paul A. Sager • Anne Walter • Ken and Susan Watson • Susan Chortek Weisman and Eric S. Weisman Fund of the Jewish Community Foundation • Drs. Christine White and Joseph Traube • Carrie Winder • Carol and Omar Winter • Cass Witkowski Family • Chuck and Curry Wolfe • Mr. and Mrs. C.E. Wylie / C.E. Wylie Construction Company • Brendan M. and Kaye I. Wynne • Dr. Joseph Yedid and Joy Wasserman • Tony and Denise Yousif • RADM.* and Mrs. Guy Zeller • Anonymous (12) * In memoriam ♥ Globe Sustainers: donors who have pledged multiyear gifts This list is current as of September 25, 2018.

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Barry Edelstein, Erna Finci Viterbi Artistic Director Amy E. Allison................................. Director of Administration Llewellyn Crain.................................. Director of Development Dave Henson.......... Director of Marketing and Communications Michelle Yeager........................................... Director of Finance Robert Drake.......................................... Director of Production Freedome Bradley-Ballentine.... Director of Arts Engagement Sandy Parde................................. Director of Human Resources Ray Chambers............Interim Director of Professional Training

ARTISTIC

Justin Waldman............................... Associate Artistic Director Jessica Bird...........................Interim Associate Artistic Director Danielle Mages Amato............... Literary Manager/Dramaturg Lamar Perry.................................................... Artistic Associate Ngozi Anyanwu, Jessica Hilt, Jiréh Breon Holder, JC Lee, Justin Levine, Mona Mansour, Laura Marks, Jonathon Mello, Mike Sears, Gill Sotu, Karen Zacarías........................................Commissioned Artists Andrea Van Den Boogard................................. Artistic Intern

PRODUCTION

Benjamin Thoron...................................... Production Manager Leila Knox...................................Associate Production Manager and Production Stage Manager

Debra Pratt Ballard....................................Producing Associate Ron Cooling................................................. Company Manager Carol Donahue...................................... Production Coordinator Jennifer Watts.............................. Assistant Company Manager TECHNICAL

Joe Powell.......................................................Technical Director Wendy Berzansky......................... Associate Technical Director Adina Weinig................................. Assistant Technical Director Eileen McCann..................................Resident Design Assistant Diana Rendon............................ Scenery Office Assistant/Buyer Gillian Kelleher............................................. Master Carpenter Jack Hernandez............................... Master Carpenter, Festival Quinn Becker, Chris Chauvet, Jason Chohon, William Ebeler, Sloan Holly, Jacob Martin, Christopher Ramirez, Mark Soares............................................................. Carpenters Francisco Ramirez................. Scene Shop Operations Assistant Carole Payette.............................................Charge Scenic Artist W. Adam Bernard.......................................... Lead Scenic Artist Torrey Hyman, Nichol Richardson........................... Painters Christian Thorsen.................... Stage Carpenter/Flyman, Globe Eszter Julian, Kendall Northrop, Val Philyaw....................................................... Run Crew, Globe Alexander Newberry......................................Run Crew, White COSTUMES

Stacy Sutton................................................... Costume Director Charlotte Devaux Shields............... Resident Design Associate Lisa Sanger-Greshko.......................... Assistant to the Director Shelly Williams.................................Design Assistant/Shopper Katie Knox....................................................... Design Assistant Erin Cass..........................................................................Draper Wendy Miller....................................................... Tailor/Draper Anne Glidden Grace, Nicole Sukolics-Christianson...................... Assistant Cutters Mary Miller............................................ Tailoring/Construction Heather Premo............................................................. Stitcher Kristin Womble..........................Craft Supervisor/Dyer/Painter Stephanie Parker.................................................. Craft Artisan Vicky Martinez.............................. Wig and Makeup Supervisor Kim Parker...................... Assistant Wig and Makeup Supervisor Erica Reyes-Burt................................................. Wig Assistant Beverly Boyd............................................. Wardrobe Supervisor Beth Merriman............................. Wardrobe Crew Chief, Globe Kimberly Eddo, Jimmy Masterson............................. Wig Running Crew, Globe Debbie Allen, Anna Campbell, Terrie Cassidy, Jazmine Choi, Carissa Ohm................. Wardrobe Crew, Globe Stephanie Kwik.............................Wardrobe Crew Chief, White Cat Frazier............................................... Wardrobe Crew, White Marie Jezbera........................................................Rental Agent

Timothy J. Shields, Managing Director

PROPERTIES

David Buess.................................................. Properties Director Kristin Steva Campbell...............Associate Properties Director Rory Murphy......................................................... Lead Artisan Jacob Sampson........................................... Prop Shop Foreman Andrew Recker...................................... Property Master, Globe Richard Rossi.........................Stage and Property Master, White Eszter Julian....................................... Property Master, Festival Kyle Melton............................................... Properties Carpenter Lauren Chen, Megan Tuschhoff...............Properties Artisans

Cindy Hunt.................................................... Senior Accountant Mai Nguyen................Payroll Coordinator/Accounting Assistant Trish Guidi.................... Accounts Payable/Accounting Assistant Asia Amic.......................................... Accounts Payable Assistant Tim Cole.................................................................. Receptionist

DEVELOPMENT

Bridget Cantu Wear.....................................Associate Director, Strategic Partnerships

Annamarie Maricle.....................................Associate Director,

Institutional Grants

LIGHTING

Shawna Cadence............................................ Lighting Director Heather Reynolds........................... Assistant Lighting Director Ryan Osborn....................................... Master Electrician, Globe Areta MacKelvie................................ Master Electrician, White Kevin Liddell................................... Master Electrician, Festival Stephen Schmitz.......................................... Lighting Assistant Ginnie Rinehart, Jennifer Thurman.......................Follow Spot Operators, Globe Michelle Aguilar, Sandra Navarro.........................Follow Spot Operators, Festival Michael Lowe.............................................. Programmer, Globe Joel Britt, Amber Montoya, Sean Murray, Kevin Orlof, Michael Rathbun, Ginnie Rinehart, Robert Thoman, Jennifer Thurman, Rachel Tibbetts....................Electricians SOUND

Paul Peterson..................................................... Sound Director Jeremy Nelson......................... Master Sound Technician, Globe Alex Heath...............................Master Sound Technician, White RJ Givens.............................. Master Sound Technician, Festival Brooke Rains..................................................Deck Audio, Globe Jessica Jakes................................................. Deck Audio, White Kevin Anthenill, Daniel Bentz, Jason Chaney, Krystin Cline, Jon Fredette, Heidi Gaare, Jeremy Siebert, Argyle Stone.................................................. Sound Technicians

ADMINISTRATION

Alexandra Hisserich............................. Management Associate Carolyn Budd..................................Assistant to the Artistic and Managing Directors

INFORMATION TECHNOLOGY Dean Yager..............................Information Technology Director John Ralston..........Information Technology Assistant Manager Brittany Summers............... Information Technology Assistant HUMAN RESOURCES

Manny Bejarano........................ Human Resources Coordinator MAINTENANCE

Crescent Jakubs............................................ Facilities Director Johnny Kammerer....................................Custodial Supervisor Violanda Corona, Violeta Fathy, Kenia Garfias, Roberto Gonzalez, Bernardo Holloway, Carolina Lopez de Orellana, Jason McNabb, Victor Quiroz, Vicente Ramos, Andrey Repetskiy................................................ Building Staff

PROFESSIONAL TRAINING

Shana Wride.............................................Program Coordinator Amanda Banks, Brian Byrnes, Maria Carrera, Cynthia Caywood, Ray Chambers, Gerhard Gessner, Jan Gist, Scott Ripley, Fred Robinson, Abraham Stoll, Eileen Troberman...................M.F.A. Faculty Scott Amiotte, Corey Johnston, Nate Parde, Nicole Ries, Robin Roberts..................M.F.A. Production Staff

ARTS ENGAGEMENT

FINANCE

Karen Ann Daniels....... Associate Director of Arts Engagement Lisel Gorell-Getz................................... Master Teaching Artist Reanne Acasio.......... Arts Engagement Operations Coordinator Katherine Harroff, Erika Phillips, James Pillar, Damon J. Shearer.......... Arts Engagement Programs Associates Vietca Do........................ Interim Arts Engagement Coordinator Kendrick Dial, Randall Eames, Gerardo Flores, Monique Gaffney, Jason Heil, Kimberly King, Erika Malone, Crystal Mercado, Jake Millgard, Tara Ricasa, Catherine Hanna Schrock, Gill Sotu, Skyler Sullivan, Valeria Vega, Taylor Wycoff............................Teaching Artists Sarah Lujan...................................... AXIS Production Assistant Rio Villa........ Arts Engagement Community Engagement Intern

Keely Tidrow.............................. Associate Director, Major Gifts Eileen Prisby......................................................Events Director Matthew Richter..........................................Major Gifts Officer Robin Hatfield..................................Individual Giving Manager Matthew B. Williams.......................................... Development

Communications Manager

Janet Gourley................................ Development Administrator Rico Zamora.................. VIP Services and Ticketing Coordinator Caren Dufour.........................................Development Assistant Derek Floyd...................................................... Grants Assistant Stephen Jones......................................... Telefunding Specialist DONOR SERVICES

Jyothi Doughman, Anthony Hackett, Jerilyn Hammerstrom, Helene Held, Barbara Lekes, David Owen, Stephanie Reed, Laura Regal........................ Suite Concierges

MARKETING

Susan Chicoine................................... Public Relations Director Ed Hofmeister..........................Associate Director of Marketing Mike Hausberg.................................Communications Manager Alejandra Enciso-Dardashti............Public Relations Associate Chanel Cook...................Digital and Print Publications Designer Eve Childs................................................... Marketing Assistant Chandler Berke..................... Interim Public Relations Assistant Carolann Malley............................................ Distribution Staff SUBSCRIPTION SALES

Scott Cooke..................................... Subscription Sales Manager Arthur Faro, Janet Kavin, Pamela Malone, Yolanda Moore, Ken Seper, Cassandra Shepard, Jerome Tullmann, Grant Walpole...................... Subscription Sales Representatives TICKET SERVICES

Bob Coddington................................... Ticket Services Director Marsi Bennion................................ Ticket Operations Manager Cristal Salow............................................. Group Sales Manager Kathy Fineman, Caryn Morgan.................. Lead Ticket Services Representatives Kari Archer, Vanya Esteban, Bea Gonzalez, Alejandro Gutierrez, Amanda King, Lauren Mezta, Savannah Moore, Oceana Morisoli, April Smitley, John Sweeney, Michelle Wiegand, Krista Wilford.......................... Ticket Services Representatives

PATRON SERVICES

Mike Callaway..................................... Patron Services Director Cynthia Ochoa, Laura Rodriguez, Mary Taylor...................................................... House Managers Angela Montague Kanish................. Front of House Assistant Nic Hagan....................................... Food and Beverage Manager Patrice Aguayo, Scott Fitzpatrick, Deborah Montes, Stephanie Passera................................... Pub Shift Supervisors Ethan Aguayo, Christian Castro, Alexis Duran, Isai Velazco................................................................. Pub Staff Linda Bahash, Barbara Behling, Stephanie Rakowski............................... Gift Shop Supervisors SECURITY/PARKING SERVICES

Edward Camarena........................................ Security Manager Sherisa Eselin....................................................Security Officer Karen Cole, Jeff Howell, Joseph Lapira, Janet Larson, Bryan Lodahl, Eleuterio Ramos, Alexis Velazquez, Yaphet Yokley................................................... Security Guards Daniel Christie, Joseph Lapira.................. VIP Parking Valets

Jack O’Brien........................... Artistic Director Emeritus Craig Noel........................................... Founding Director

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When she’s not heading out to the neighborhood café or next up in the Wii Bowling tournament, she’s trying her hand at watercolors and learning to play the ukulele.

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Arts

DI N I N G

the

@ SDSU Start

SPICE IT UP! IT’S NO NEWS FLASH THAT SAN Diego is a hub for fine Mexican dining, tequila and taco shops. Yet, over the last two years, a movement has been growing of chefs and bartenders looking to take things up a notch, not simply with cuisine, but also with what to wash it all down with … and agave spirits have become the stars. This means chef-driven fare that is familiar, yet refined and progressive; and craft cocktails that celebrate and epitomize the very best of Baja and other regions beyond the border.

Death by tequila? Let’s hope not.

Forgetting about our cares courtesy of tequila? Yes. Death by Tequila is, in fact, a contemporary restaurant and bar in Encinitas serving healthy, coastal Baja cuisine cour-

tesy of Executive Chef Angelo Sosa (a Top Chef alum). Menu standouts include the wood-fired salsa, organic street tacos, albacore aguachile and a veggie entree that changes daily. The bar menu boasts 80-plus tequilas, 30 mezcals, and wines and beers from Valle de Guadalupe..

569 S. Coast Highway 101, Encinitas, 760.782.2240 Touted as a “fine-casual” concept, Lola 55 is just that—a 3,200-squarefoot, counter-service-style, modern eatery by Tijuana-born founder Frank Vizcarra (whose portfolio includes Tender Greens, McDonald’s and Pizza Hut). Executive Chef and partner Andrew Bent oversees a boutique menu of about nine beautifully crafted tacos—including squash blossom relleno, rib-eye

SAM WELLS

These new spots marry Mexican fare with agave cocktails.

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“It’s elementary”

Pozole verde at Lola 55

carne asada, spicy smoked fish, and vegan and gluten-free tacos (we love the spicy carrot taco).

Bar manager Gareth Moore has designed a menu of fresh, citrus-forward agave libations. Try the Tequila Sling, infused with Creole Shrubb, Jamaica, pineapple, lime and cava. For dessert: homemade churros and ice cream sandwiches. Designed by Bells & Whistles (the edgy design team behind the coolest spots in town), the space alone is reason to visit—soaring industrial ceilings, lush indoor foliage, a turquoise-tiled bar and turquoise-topped tables, and floor-to-ceiling windows. It’s a true urban oasis. 1290 F St., East Village, 619.542.9155 Take the ferry or Coronado Bridge across the bay to El Roy’s Tequila Bar + Kitchen—a charming new offering by Blue Bridge Hospitality.

Featuring more than 90 tequilas and mezcals, El Roy’s serves tasty cocktails such as the Smoky Paloma with mezcal, grapefruit and agave nectar; plus mezcal and tequila tasting flights; eight themed margaritas; and sangria, beer and wine.

Meanwhile, the food menu marries modern with tradition. Think: Mexican corn pudding, duck confit empanadas, pork belly banh mi tacos, and roasted yam and poblano flautas. Rivaling the exceptional food and drink are the views. Take in panoramas of the bay and downtown skyline from the restaurant’s 1,200-square-foot sundeck. 1201 First St., #115, Coronado, 619.537.0195 Agave spirits command the cocktail menu at El Jardin—the

This show has already extended and will sell out quickly, so order your tickets now.

WEST COAST PREMIERE

OCTOBER 17–NOVEMBER 18

BY JEFFREY HATCHER Three men claim to be the missing Sherlock Holmes and Dr. Watson is called upon to do some sleuthing. Prepare yourself for a fast‑paced, thrilling, and suspenseful story that will keep you guessing.

DECEMBER 12–30

BY TED SWINDLEY ADDITIONAL MATERIAL BY ELLIS NASSOUR A dramatic musical theatrical experience that includes many of Patsy’s unforgettable hits such as “Crazy,” “I Fall To Pieces,” and “Walking After Midnight.”

The Year of Magical Thinking starring Linda Purl NOVEMBER 12 & 13

Back by popular demand, Linda Purl returns with her one‑woman tour‑de‑force show based on Joan Didion’s National Book Award winning memoir.

North Coast Repertory Theatre 987 Lomas Santa Fe Drive, Solana Beach, CA Group Sales: (858) 481‑2155, ext. 202

(858) 481-1055 | NORTHCOASTREP.ORG PERFORMANCES MAGAZINE 63

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DI N I N G

The covered dining patio at El Jardin

Liberty Station cocina and tequila bar helmed by Executive Chef Claudette Zepeda-Wilkins (another Top Chef alum). Choose from Baja wines, mezcals, tequilas and Mexican sake. Signature sips—designed

by Christian Siglin—include the Baja-Ma Mama with coffee-infused tequila and Backstrap rum, and the Oaxacan Old Fashioned with reposado tequila and mezcal. To dine, sample regional Mexican cuisine via ancestral recipes from Tijuana to Guadalajara, infused with modern touches. Notable dishes include the roasted bone marrow and crispy octopus; slowcooked pork shoulder; and the surf and turf tostada loaded with dried shrimp ceviche, crispy carne seca, avocado and grasshoppers (yes, grasshoppers). 2885 Perry Road, Point Loma, 619.795.3414 Volcano Rabbit, named after the world’s second-smallest rabbit, which is native to Mexico, is a tequila bar and nightspot-meetsrestaurant. Offerings include 64 PERFORMANCES MAGAZINE

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THE HOLIDAYS ARE COMING...

ANTONIO DÍAZ DE SANDI

WE HAVE THE MUSIC! contemporary Mexican fare (we love the craft tacos and short-rib nachos), mini-bottle service and Saturday mega-brunch. The brickwalled, urban-industrial space houses comfy couches, banquette seating, a sidewalk lounge, DJs regularly spinning, and a full bar with the Gaslamp’s largest selection of tequila—with VIP lockers available for connoisseurs. Choose a decadent signature cocktail such as The Smoking Jacket with El Silencio mezcal, agave nectar, Aztec chocolate bitters and a tamarindo lollipop; and the Spiked Horchata with house-made reposado tequila liqueur. And watch for monthly tequila tasting events. 527 Fifth Ave., Gaslamp Quarter, 619.232.8226 It was a bittersweet opening in August 2018 for Juan Tequila Bar & Restaurant. It’s an upscale, Baja-meets-San Diego bar and eatery, whose bar manager Cervantes Magana—a locally beloved bartender and bar program designer for numerous hotspots—

FRI, DEC 14 | 8PM

Love Actually In Concert Join us for this holiday favorite with its charming score performed LIVE by the San Diego Symphony Orchestra!

Love Actually is a copyright of WT Venture LLC. Licensed by Universal Studios. All Rights Reserved.

SAT, DEC 15 | 8PM FAMILY CONCERT SUN, DEC 16 | 2PM FRI, DEC 21 | 8PM SAT, DEC 22 | 2PM & 8PM

Noel Noel San Diego’s favorite downtown holiday music tradition returns with another wonderful selection of Christmas gems, choral favorites, an audience sing-along and a visit from Old St. Nick!

TICKETS & INFORMATION SANDIEGOSYMPHONY.ORG | (619) 235-0804 PERFORMANCES MAGAZINE 65

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SAN DIEGO’S

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tragically passed away a few weeks prior. Owners Gustavo Giardelli, Jose Dabdoub, Shaker Kan and Daniel Garibay have unveiled a simply beautiful, low-lit urban space—complete with a striking concrete bar with embedded mini sparkle lights, leather-upholstered bar seats, marble-topped tables, glittering chandeliers and hanging lightbulbs. The food menu is a celebration of regional seafood, featuring a raw bar with treats such as grilled chocolate clams and smoked oysters; small plates such as duck chilaquiles and a seasonal cheese selection; and elegant large plates such as seared pork belly verde, blue-corn-breaded fried chicken, and Conejo Tamale with confit rabbit leg and braised rabbit saddle. The cocktails are a true celebration of Baja. The Driftwood is a must-try: chili-infused mezcal, sotol (think of it as tequila’s crazy little brother), cacao, Amaro liqueur and peach. 535 Fourth Ave., Gaslamp Quarter, 619.458.9455 Inspired by Mexican revolutionary Pancho Villa, El Chingon is a two-story venue in the Gaslamp serving up authentic dishes with

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COLE FERGUSON

Death by Tequila’s Chef Angelo Sosa (left); Jessica’s Hibiscus cocktail

premium-quality ingredients, agave-based cocktails and a campy sense of humor. Dine on traditional tacos, burritos, tortas, enchiladas, fajitas and a heavenly carne asada plate served with corn tortillas. The libations menu features margaritas; signatures such as the TJ 1920 cocktail with Milagro reposado, Mexican Coca-Cola reduction, red-cherry-apple bitters and sarsaparilla bitters; and Pick Your Poison, featuring pours of tequila, mezcal, sotol and raicilla—a distilled agave spirit borne in the Mexican state of Jalisco. Salud! 560 Fifth Ave., Gaslamp Quarter, 619.501.1919 And a new restaurant alert: Be on the lookout for Tahona—serving Oaxacan cuisine and cocktails—set to open this month in Old Town.

The 2,000-square-foot restaurant will boast a dedicated mezcal tasting room with 120 varieties; plus agave cocktails such as the Mexican Firing Squad and an old-fashioned margarita. Look for special events, mezcal-tasting group trips to Baja and Oaxaca, and a speakeasy opening this winter. 2414 San Diego Ave., Old Town, tahonasd.com —Sarah Daoust PERFORMANCES MAGAZINE 67

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WINE

Legends Gallery La Jolla Presents

STONY HILL’S NEXT STEP  Historical Napa Valley winery has new owners.

The Art of Dr. Seuss Collection 1205 Prospect Street La Jolla CA 92037

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NEVER MIND THAT FEW PEOPLE today have even heard of Stony Hill Vineyard—the tiny winery atop Spring Mountain is a slice of Napa Valley history. News that Stony Hill was recently sold may not have made national headlines, but it was the equivalent of a small earthquake in California’s most famous wine region.

Founded in the 1940s by Fred and Eleanor McCrea, Stony Hill specialized in chardonnay, riesling and gewurztraminer; cabernet sauvignon was added to the mix less than 10 years ago.

It has employed the same wine-

maker, Mike Chelini, for more than 40 years.

The wines were Old World by design. The chardonnay was prized for its ability to age. Chelini and the McCrea family resisted all the fads and trends over the years and never fell in love with the flavor of oak.

The wines have always been lower in alcohol than wines from most neighboring wineries.

Production topped out at around 5,000 cases per year. At one time, there was a long wait to get on the list just for the opportunity to purchase Stony Hill wines.

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TRAVEL

ALL IS CALM THE CHRISTMAS TRUCE OF 1914

Peter Rothstein

Based on real-life events during WWI along the Western Front when soldiers from opposite sides ventured into No-Man’s Land at Christmas for an unofficial and unsanctioned truce.

A profound a capella chamber opera, All is Calm is a testament to humanity and unity, with familiar holiday and military music. This family-friendly production is new to San Diego Opera and is a copresentation with Bodhi Tree Concerts and SACRA/PROFANA.

COURTESY IMAGE

Stony Hill Vineyard

It was rare to find Stony Hill on a restaurant wine list, rarer still in a retail wine shop.

In recent years, the winery was overseen by Peter, Willinda and Sarah McCrea. They announced the sale to Ted, Laddie and Chris Hall of Long Meadow Ranch, another closely held family winery owned by longtime friends and neighbors who specialize in sustainable and organic vineyard practices.

The sale to Long Meadow Ranch provides an infusion of capital that will enable the winery to do much-needed replanting of its hillside vineyards and address an increasing need for marketing and distribution support.

Chelini will continue as winemaker through the 2018 harvest and then move into a new role as

A co-presentation with Bodhi Tree Concerts and SACRA/PROFANA

December 7–9, 2018

Balboa Theatre

dētour SERIES sdopera.org/perfsd | (619) 533-7000

ILLUSTRATION: SCOTT MCKOWEN

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TR W AVE I NE L

winemaker emeritus. Where Stony Hill goes from here is anyone’s guess, but Long Meadow Ranch CEO Ted Hall has encouraging words.

“We have admired Stony Hill for more than 30 years and look forward to continuing the traditions established by the McCrea family, including their commitment to producing terroir-driven, age-worthy wines with low alcohol, beautiful acidity and minerality,” he said in a statement.

Those who know Stony Hill will find Hall’s reassurance music to their ears. For those who haven’t yet had the pleasure of an aged Stony Hill chardonnay, be grateful the Hall family has stepped in to perpetuate one of the Napa Valley’s greatest treasures.

Tasting Notes Wines are rated on a 100-point scale; scores are simply a measure of the reviewer’s enthusiasm.

Gehricke 2016 Chardonnay (Russian River Valley, $32) It was the Sebastiani family, operating out of a facility just a stone’s throw from the Sonoma town square, that put Sonoma County chardonnay on the map at a time when hardly anyone in the United States was drinking chardonnay that hadn’t been made in Burgundy. That’s important, because this wine is from August Sebastiani, and it’s only fitting that it should remind you of the old days, when chardonnay exhibited delicious notes of lemon cream, apple and pear that you could actually taste because the flavors weren’t masked by the intemperate use of oak. The 70 PERFORMANCES MAGAZINE

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SPAIN

Paella, Tapas & Gypsy Music Since 1987!

Harvesting wine grapes at Stony Hill

oak treatment here is restrained, adding rather than subtracting, and certainly not masking the gorgeous fruit. Rating: 95.

Flora Springs 2017 Sauvignon Blanc (Napa Valley, $27) Few California sauvignon blancs match the Flora Springs expression for fruit complexity, balance and overall pleasure. This vintage has it all, with notes of fig and melon, a touch of citrus and minerality, and impressive texture and length on the palate. Flora Springs achieves its high level of success with the grape by utilizing all of the tools in the winemaker’s toolbox. Through the fermentation and aging process, this wine has seen the inside of stainless-steel tanks, concrete egg tanks, stainless-steel drums, oak puncheons and French oak barrels, with lees stirring to develop creaminess. The results of all that TLC are in the glass. Rating: 94 —Robert Whitley

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HERE’S TO YOU

97%

of audiences read the program.

6.2

million readers annually.

65%

support advertisers who support the arts.

COLOR QUEEN  Meet renowned tetrachromatic painter Concetta Antico.

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PICTURE THIS: YOU’RE AT THE beach, and the tide is rolling along the bluish breakers and whitewash. Now imagine, for a moment, that the waves are hurling themselves ashore in splashes of yellow, orange and pink—with a halo of light emerging from each crest.

A normal person’s eyes have three receptors and can see a million colors; Concetta Antico has four receptors and can see 100 million colors. She is the most developed case of tetrachromacy ever documented, making her the focus of an ongoing study led by

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ARTS

OPPOSITE, KAREN MORRISON; THIS PAGE, COURTESY CONCETTA ANTICO

The artist in her Mission Hills home (left); Abundant Blooms

Dr. Kimberly Jameson at UC Irvine.

Scientific research over the last six years has substantiated Antico’s exceptional abilities by cross-referencing her masterful paintings with highly specialized eye tests.

In late 2012, Dr. Jay Neitz, a professor of ophthalmology and color vision researcher at the University of Washington, discovered that Antico was, in fact, a tetrachromat.

Suddenly, she could see her accomplishments in a new light. She’s been an oil painter since age 6 and swears by the medium for its malleability and radiance. For the sake of science and the arts, it’s good fortune that she was born to paint.

After moving to San Diego in the early ‘90s, she opened a gallery/ workshop called The Salon of Art, attracting artists of all ages seeking instruction and inspiration.

She’s taught and lectured more than 25,000 students, sharing her unique fusion of fine art and color science. Antico frequently hosts events, exhibits and open houses—

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Peacocks on Parade in blue hues (left); and in tetrachromatic form

even at her multicolored home in Mission Hills, which doubles as a gallery. The native Aussie manages to bask eternally in spring and summer, spending half the year in San Diego and the other half at her farm in Byron Bay, Australia.

Her work centers on nature, focusing primarily on America’s Finest City, as well as her hometown. She plays with light and shadows to create a three-dimensional, almost holographic effect, seemingly dancing off the canvas.

Her enhanced vision allows her to see the subtlest of color variations, a brighter and richer palette than most people can possibly imagine.

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COURTESY CONCETTA ANTICO

She has sold thousands of paintings over the past few decades— all originals, no prints. And if her neon-streaked hair and glowing smile are any indication, she’s just getting started. Since the revelation of her tetrachromacy, Antico’s story has gone viral. What was already a successful career has blossomed into a full-blown media frenzy, from the BBC to Vogue, attracting private collectors from around the world and more than 100,000 followers on social media.

“What’s funny is that I never realized I was different,” admits Antico.

CREATED BY THE CIVILIANS WRITTEN BY STEVEN COSSON & JIM LEWIS MUSIC & LYRICS BY MICHAEL FRIEDMAN DIRECTED BY MATT M. MORROW

NOV 8 DEC 9

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Music, ghos

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A CHRISTMAS CAROL

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Nov. 28 – Dec. 20, 2018

Adapted by Sean Murray Original Score by Billy Thompson

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Her daughter came home from school one day and complained that she couldn’t see the whiteboard when the teacher used an orange marker. Ironically, tetrachromats are much more likely to have color-deficient children.

A little internet research allowed her to make the connection.

Approximately 2-3 percent of women carry the genotype for tetrachromacy, including Antico’s own sister, but it’s extremely rare to have it functioning and fully activated. Despite the fact that her sister is also an artist, test results show that her range of color vision is more limited, making Concetta’s superhuman talent all the more extraordinary.

“It’s a mutation—I’m like an X-Woman,” she proudly declares.

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COURTESY CONCETTA ANTICO

SANDIEGOTICKETS.WELKRESORTS.COM 888.802.SHOW

“It affects how efficiently I paint because I mix colors very quickly like a computer.”

All of Antico’s compositions are completed in one sitting. She can finish an intricate 2-foot-long, 3-foot-wide painting in less than two hours, commanding the brush with assertiveness and impeccable accuracy. Every stroke is a single fluid movement void of any correction. Her knack for capturing special moments with realistic clarity, albeit through an impressionistic lens, provides a window into her kaleidoscopic whimsy.

She refuses to paint subject matter that is overtly dark or modern.

Even her night paintings are lush with soft pastels and a mosaic of royal purple, magenta and gold.

Whereas most humans have an

Fresh Paint Gallery LA JOLLA’S NEWEST SPACE FOR EMERGING ART

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www.freshpaintgallery.com IMAGE COPYRIGHT PATRICK N. BROWN

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

“

FIVE STARS. IT KEEPS YOU HANGING ON EACH TURN OF ARGUMENT AND TWIST OF KNIFE.

IT’S DYNAMITE.” TIME OUT NEW YORK

BY LUCAS HNATH DIRECTED BY SAM WOODHOUSE

NOVEMBER 21 – DECEMBER 16, 2018 ON THE LYCEUM STAGE 619.544.1000 | SDREP.ORG | Lyceum Theatre | Horton Plaza

average luminance factor of seven, Antico has a 14, allowing her to see vividly in the evening—much like birds, fish and other animals.

Antico admits that her tetrachromacy affects her personality in good and bad ways. For the most part, she’s happy and upbeat because she finds her surroundings to be so beautiful and stimulating. The flip side is that she sees also ugliness in greater detail. For instance, she can tell when people are getting sick as their skin turns gray, green and blue. Still, she wouldn’t trade places with anyone.

“Color affects my purchases, my tastes, my passion to paint and my love of nature,” explains Antico. “My mission is to make people appreciate the beauty of the world.”

Although her heart will always be Down Under, she’s been in

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9/21/18 5:03 PM

10/9/18 6:53 PM

San Diego Jazz Fest & Swing X Nov 21-25 www.SDjazzfest.org 30+ Bands 6 rooms Big Dance Floors

COURTESY CONCETTA ANTICO

Lily Pond Fantasy, Balboa Park

love with San Diego from the moment she arrived. In addition to her pro bono work and contributions to local homeless charities, Antico is a longtime donor of Rady Children’s Hospital, where her paintings hang in the pediatric reception area.

Her mother died when she was 12, and she had to raise herself, forced to the streets at 16.

When she left Australia bound for Canada, she ended up in Los Angeles with $3 to her name.

She owes everything to her art, which is appreciating by the day.

To meet the muse and see her paintings, check out her next open house in Mission Hills (she holds several receptions per year; visit her website for details).

Her events are free and open to the public. Paint outside the lines at concettaantico.com.

—Derek Shaw

SPONSORED IN PART BY

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REYNAND PACOMA

BACKPAGE ⁄⁄⁄⁄ THE MOON AS IT BALANCES OVER ONE OF THE DECORATIVE FINIALS IN BALBOA PARK

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10/8/18 12:42 PM

Words don’t do it justice.

Some things in life just can’t be described.

And to truly understand them, you must experience them yourself.

Join us on the beautiful Palos Verdes Peninsula, a hidden gem on the Los Angeles coast.

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#Terranea 844.330.1686 | Terranea.com

10/8/18 12:42 PM