Performances Magazine Shakespeare Company Los Angeles June 2018 by California Media Group

June 2018

MAGAZINE

WILLIAM SHAKESPEAREâ&#x20AC;&#x2122;S

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⁄⁄⁄⁄ JUNE 2018

CONTENTS 14 BACK IN BUSINESS

Reprise, which presented lesser known or little revived musicals, is having a reprise of its own.

18 BOWS, TAKE A BOW

Violin and other bows are as essential to performance as the stringed instruments themselves.

P1 PROGRAM

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

L.A. Writers’ Workshop Festival at the Kirk Douglas Theatre; Jungle Book at Pasadena Playhouse.

10 DATELINE Tony Award-nominated plays and musicals in New York; Tartuffe gets an L.A. setting in London.

66 54 SHOPPING

66 DINING

LCD in Venice is now also among the compelling fashion boutiques at downtown’s Row DTLA.

Breva is the dining centerpiece at downtown’s redone and reopened Hotel Figueroa, a 1926 landmark.

62 HOME

72 BACK PAGE

The Wooden Palate transforms timber into exquisite furniture and accessories.

Historic Los Angeles Theatre on Broadway downtown.

P. 62, COURTESY THE WOODEN PAL ATE. P. 66, COURTESY HOTEL FIGUEROA.

6 IN THE WINGS

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tbs1718

BARAK BALLET JUN 29-30, 2018

MELISSA BARAK ARTISTIC DIRECTOR

“Ecstatic and mind-blowing... choreography”

The LA-based contemporary ballet company plans an ambitious program featuring 2017’s renowned E/SPACE, as well as world premieres by Melissa Barak and Nicolas Blanc, making this one of the must see dance events of 2018.

Photo by Nick Rasmussen

— Los Angeles Times

thebroadstage.org 310.434.3200 #thebroadstage SANTA MONICA COLLEGE PERFORMING ARTS CENTER

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EVENTS ⁄⁄⁄⁄ EXHIBITS ⁄⁄⁄⁄ PERFORMANCES

INTHEWINGS

THE LOS ANGELES CONSERVANCY presents its 32nd edition of Last Remaining Seats, seven films screening June 2-23 at historic theaters in the Los Angeles area, most of them downtown; L.A.’s Broadway was the National Register of Historic Places’ first historic-theater district. June 2, the event returns to the State Theatre after 20 years for Mr. Smith Goes to Washington (1939). June 9 brings Kiss of the Spider Woman (1985) to the Million Dollar Theatre. June 13, the Theatre at Ace Hotel hosts In the Heat of the Night (1967). June 16 at Los Angeles Theatre, Who Framed Roger Rabbit (1988) has a matinee slot, and The Birds (1963) is slated for evening. Steamboat Bill, Jr. (1928) is at Orpheum Theatre on June 20. The festival concludes outside the district June 23 with The Joy Luck Club (1993) at San Gabriel Mission Playhouse in San Gabriel. 213.623.2489, laconservancy.org

MIKE HUME

Two films screen at Los Angeles Theatre on the Los Angeles Conservancy series Last Remaining Seats.

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IN 82 PORTRAITS and 1 Still-life, ART through July 29 at the Los Angeles County Museum of Art, David Hockney offers a vibrant and intimate view of people with whom he has developed relationships over the past 50 years. The majority of the portraits were painted in Hockney’s Los Angeles studio, all from life and over a period of two or three days, which the artist has described as “a 20-hour exposure.” None of Hockney’s portraits are commissioned; for this series, he

HOCKNEY, RICHARD SCHMIDT. PLAYWRIGHTS, RYAN MILLER/CAPTURE IMAGING

From left: playwrights Zakiyyah Alexander, Dan O’Brien and Sylvan Oswald

invited family, members of his staff, and close friends to sit for him—including several curators, art dealers and collectors with local and international renown. John Baldessari, Edith Devaney, Larry Gagosian, Frank Gehry and Benedikt Taschen are among those portrayed, as well as LACMA’s Stephanie Barron and Dagny Corcoran. The exhibition originated at the Royal Academy of Arts in London and has traveled to Melbourne, Venice and Bilbao; LACMA hosts its only U.S. showing. 5905 Wilshire Blvd., L.A., 323.857.6000, lacma.org

David Hockney, Fruit on a Bench, 6th, 7th, 8th March 2014

CENTER THEATRE GROUP launches the L.A. Writers’ THEATER Workshop Festival: New Plays Forged in L.A., to be held annually at the Kirk Douglas Theatre, on June 23 from 11 a.m. to 10 p.m. The festival features readings of three new plays by workshop participants from throughout the program’s 13-year history. A Kind of Weather, by Sylvan Oswald, is described as an obsessivecompulsive, time-jumping tragicomedy exploring the effect of gender transition on family relationships and how we learn to be who we are. New Life, by Dan O’Brien, follows a war reporter in Syria and a playwright in treatment for cancer as they try to sell a TV show. How to Raise a Freeman, by Zakiyyah Alexander, is a dark comedy that asks how a middle-class African-American family can keep its son alive in a world where every 28 hours a black man is killed by law enforcement. 9820 Washington Blvd., Culver City, 213.628.2772, centertheatregroup.org PERFORMANCES MAGAZINE 7

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EVENTS ⁄⁄⁄⁄ EXHIBITS ⁄⁄⁄⁄ PERFORMANCES

Lauren Halsey, Kingdom Splurge (2015)

bodies of work from midcareer artists, among them James Benning, Daniel Joseph Martinez and Linda Stark. Mediums include textiles,

Rudyard Kipling’s classic gets a contemporary multimedia approach at Pasadena Playhouse.

performance, painting, video, sculpture, assemblage, photography and installation. 10899 Wilshire Blvd., L.A., 310.443.7000, hammer.ucla.edu

USING A multimedia KIDS theatrical approach, Jungle Book, July 17-29 at the Pasadena Playhouse, reimagines Rudyard Kipling’s classic stories through a contemporary lens to transport audiences to the world’s jungles. The production brings familiar characters—Mowgli the man-cub, Baloo the bear, and Kaa the snake—to life while introducing other colorful inhabitants of Kipling’s books. Eye-popping video, interactive technology and puppetry combined with the

whimsical, soulful stories, poems and songs from the original novel promise a feast for the senses. The show is written and directed by Craig Francis and Rick Miller and produced by Montreal-based Kidoons/WYRD Productions. The New York Times described the team’s Twenty Thousand Leagues Under the Sea as “magical, jaw-dropping, frisky, nifty and zesty.” Recommended for ages 5 and up. Morning and matinee as well as evening performances are scheduled. 39 S. El Molino Ave., Pasadena, 626.356.7529 pasadenaplayhouse.org

HAMMER, TEXAS ISAIAH. JUNGLE BOOK, COURTESY PASADENA PLAYHOUSE

MADE IN L.A. 2018 is the MUSEUM fourth iteration of the Hammer Museum’s biennial exhibition. Organized by Hammer curators Anne Ellegood and Erin Christovale, the show, June 3Sept. 2, is accompanied by a comprehensive catalog and a full roster of free public programming. After more than 200 studio, gallery and museum visits, Ellegood and Christovale selected 32 artists representing a cross-section of Los Angeles and surrounding areas. Made in L.A. features newly commissioned works by artists who recently received their MFAs, including Nikita Gale and Christina Quarles; continuing multiyear projects by artists such as Carolina Caycedo and Alison O’Daniel; and

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⁄⁄⁄⁄ SHOWS ELSEWHERE

DATELINE

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JUNE IS BUSTIN’ out all over as Tony Award-nominated plays and musicals anticipate a real nice clambake when Broadway’s top honors are handed out on June NEW YORK 10 at Radio City Music Hall. Rodgers & Hammerstein’s Carousel at the Imperial Theatre is a contender for best revival of a musical. But nipping at its heels is another blast from the past, My Fair Lady. The street where emancipated Eliza Doolittle and her Svengali, Professor Henry Higgins, live is Lincoln Center’s Vivian Beaumont Theater. Aiming for his second Tony as best actor in a leading role in a play is Denzel Washington, whose searing portrayal of Hickey in the revival of Eugene O’Neill’s four-hour marathon, The Iceman Cometh, transfixes audiences—and hopefully Tony voters—at the Bernard B. Jacobs Theatre.

JOAN MARCUS

Harry Hadden-Patton, Lauren Ambrose and Allan Corduner in My Fair Lady

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⁄⁄⁄⁄ SHOWS ELSEWHERE

OLIVIER AWARD WINNER David Haig is a meteorologist whose weather forecast affects events of June 1944, specifically D-Day, when Gen. Eisenhower’s Allied forces are poised to attack. A true story, Pressure opens June 6 at the West End’s Ambassadors Theatre. Polly Stenham puts a contemporary spin on August Strindberg’s 1888 play Miss Julie in Julie, at the National Theatre through Sept. 8, starring Vanessa Kirby of

Vanessa Kirby (TV’s The Crown), Eric Kofi Abrefan in Julie at the National Theatre

TV’s The Crown. The story revolves around a late-night bash thrown by a reckless party girl that ends brutally. Tartuffe, through which French playwright Molière turned classic comedy on its head, gets an L.A. setting through July 28 at the Theatre Royal Haymarket. In it, a man with a Beverly Hills mansion and lifestyle is led astray by an evangelist hoping to ruin his marriage, marry his daughter and ultimately get his money.

Bayside Summer Nights at Embarcadero Marina Park

MICHAEL TILSON Thomas leads the San THE WEST Francisco Symphony and an internationally renowned cast in semistaged performances of Mussorgsky’s opera Boris Godunov June 14-15 and 17 in Davies Symphony Hall. Inspired by Pushkin’s Shakespearean tragedy, the work follows the rise and fall of a 16thcentury czar. Mezzo-soprano Sasha Cooke joins the orchestra June 28-30 for performances of Mahler’s Third Symphony, a vision of life, death and redemption calling for more than 200 musicians. Find lighter fare in the other direction: The San Diego Symphony presents Bayside Summer Nights outdoors at Embarcadero Marina Park South, popular for picnicking. The lineup includes Star Spangled Pops June 30July 1; July 4 with Clint Black; Broadway’s Megan Hilty July 6-7; trumpeter Arturo Sandoval July 12; Patti LaBelle July 28; and Beethoven by the Bay July 29.

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BACK IN BUSINESS

Bill An

REPRISE, WHICH PRESENTED LESSER KNOWN OR LITTLE REVIVED MUSICALS, HAS A REPRISE OF ITS OWN. BY LIBBY SLATE

its former home, UCLA’s Freud Playhouse in West Los Angeles. Inaugural show Sweet Charity, starring Laura Bell Bundy (Broadway’s Legally Blonde) and directed and choreographed by three-time Tony Award winner Kathleen Marshall, runs June 20-July 1. Victor/Victoria, directed by Richard Israel and choreographed by John Todd—its cast hadn’t been announced at press time—runs Sept. 5-16. Grand Hotel, starring Carmen Cusack (Bright Star on Broadway and at the Ahmanson Theatre last year), directed by Arthur Allan Seidelman and choreographed by Kay Cole, finishes things up Oct. 24-Nov. 4. Seligson had been thinking about reviving the Carolee Carmello and Richard Israel in Reprise's On the Twentieth Century. (Below) Marcia Seligson, founder-producing artistic director of Reprise! Broadway’s Best and Reprise 2.0.

GL PHOTOS TOM DRUCKER

OR THE PAST SEVERAL YEARS—WHETHER SHE was attending performances of the Los Angeles Philharmonic or L.A. Master Chorale downtown or was at a movie theater or restaurant— Marcia Seligson would often be approached by strangers who recognized her from her tenure as founder and producing artistic director of the Los Angeles theater company Reprise! Broadway’s Best. The group had fallen on hard times after her departure and officially ceased operations in 2013. The strangers all said pretty much the same thing: “We loved Reprise. Could you please bring it back?” Finally, at one such encounter at dinner in Malibu, Seligson was able to tell the woman who’d approached her table, “I have some good news for you.” Yes, Reprise is back, now christened Reprise 2.0, with Seligson once again at the head. The company, which presents musicals that are either lesser known or rarely revived locally, is producing a three-show season at 14 PERFORMANCES MAGAZINE

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The Henry Mancini-Leslie company for a while. She had Bricusse-Frank Wildhorn score for been in charge for its first 10 the 1995 Victor/Victoria will be years, leaving in 2005 to cofamiliar to some from the movie found the Festival of New on which it’s based. 1989’s Grand American Musicals, now called Hotel is also based on a film; set the Foundation for New American in 1928 Berlin, “it’s a very lyrical Musicals, where she remains on and serious musical, the closest the board. Actor Jason Alexander of the three to having a classical took over as artistic director of style,” Sternbach says. The score is Reprise, but the company drifted by Robert Wright, George Forrest, from its initial mission, and the Maury Yeston and Wally Harper. subscriber base dwindled. Its last Now, as previously, Sternbach show was a well-received producdoes copious research to track tion of Cabaret in 2011. down orchestrations and learn In July 2016, “I sent out an email about the shows. He long ago to people from the old days— learned the secret to working directors, choreographers, techniunder accelerated circumstances, cal people, stage managers—invitsince he has only 10 days of ing them to come to my home for rehearsal. a meeting on a Saturday morning, “You hire the best people you to have lox and bagels and discuss possibly can, who know what the idea of coming back,” Seligson you want and give you what you recalls. “Twenty-six out of 30 want,” he says. “You’re trying to people showed up—I wasn’t sure I do the most with the least, to do had enough bagels!” what the original composers and By the end of what she refers to producers wanted. We’re working as “the bagel meeting,” Seligson to do the best job we can to serve adds, “we had a core group and a the music and the storytelling.” vision. Everybody said, ‘We want It’s not only the audience that to bring it back to the original will benefit from those efforts. mission’—it was about presentIn upcoming Reprise productions: Laura Reprise had previously weling rarely revived shows that Bell Bundy (Legally Blonde on Broadway) in Sweet Charity, Carmen Cusack (Bright Star, comed UCLA theater students to would focus on wonderful scores Broadway and Ahmanson) in Grand Hotel. perform in the ensemble when that people had rarely or never appropriate and intern behind heard before.” the scenes, but this time around its relationship with The 1966 Cy Coleman-Dorothy Fields score for Sweet the university has been expanded. Charity is certainly well known—“Hey, Big Spender,” In a meeting with UCLA department of theater chair “If My Friends Could See Me Now”—but the show is Brian Kite, Seligson recalls, “Brian said, ‘I don’t want not often revived in Los Angeles, Seligson says. you to be renters. I want us to be partners.’” Plans call “It’s a sassy, brassy, warmhearted Broadway show,” for more extensive internship opportunities in numersays Reprise 2.0 resident musical director Gerald ous areas. Sternbach, who had been Reprise resident conductor Reprise 2.0 ticket sales have been brisk, Seligson from 2002 to 2007. He is using the original Ralph Burns says, and now performers are the ones approaching orchestrations and hopes to do as many of the original her, to say they’d like to be involved. dance sequences as possible, “with some judicious It’s amazing what a few bagels can accomplish. cutting.” 16 PERFORMANCES MAGAZINE

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YOU DON’T PAY TO WATCH SHOWS THAT FOLLOW A FORMULA. YOU SHOULDN’T PAY YOUR ADVISOR TO FOLLOW A FORMULA, EITHER. Is your advisor focused on beating a benchmark, or meeting your personal financial goals? Let’s Talk. After the performance, that is. Enjoy the show.

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BOWS, TAKE A BOW VIOLIN AND OTHER BOWS ARE AS ESSENTIAL TO PERFORMANCE AS THE INSTRUMENTS THEMSELVES. BY LIBBY SLATE

violinist Joel Pargman, are the featured performers in LACO’s “China a la Carte” program June 5 at the USC Pacific Asia Museum in Pasadena. Kennedy has four bows, including a Baroque bow of 20 years that she uses for LACO’s Baroque concert series. “Some are lighter, some heavier. Some are more stiff, or more flexible,” she explains. “It’s nice to be able to choose which bow to use depending on the repertoire.” Because Kennedy is petite, she uses a 7/8-scale bow. The average weight of a violin bow is 60 grams (2.11 ounces); a bass bow can weigh up to 150 grams (5.29 ounces). Though the Italian craftsmen of centuries past are considered the finest violin makers, for bows, it’s the French, who began the tradition using Pernambuco wood imported from Brazil; an 18th- or 19th-century French bow can be worth six figures. Most contemporary professional musicians’ bows are crafted either of wood—Pernambuco or brazilwood—or synthetic carbon-fiber composites. John /CONTINUED ON PAGE 70 Walz, principal cellist of the Jeffrey Kahane and L.A. Chamber Orchestra strings; violinist Carrie Kennedy is back row, second from left. Right: John Walz, principal cellist of L.A. Opera Orchestra.

LACO, LEE SALEM. WALZ, DIRK PEUSER

HOULD YOU HAPPEN TO COME ACROSS THE terms saltato, sul tasto or sautillé, they might whet your appetite. But these are not ways to prepare pasta or chicken. Rather, they’re terms for some of the many bowing techniques used by players of stringed instruments—violin, viola, cello and double bass—indicating where and how to move the bow across the strings. It’s those movements that create the vibrations on strings that in turn produce the musical sound. Sometimes called “the stick” by players, the seemingly unassuming bow—which is indeed a stick, with horsehair attached to it—is as vital to performance as the instruments themselves. “People think you just look for a violin with a beautiful sound,” says violinist Carrie Kennedy, a member of the Los Angeles Master Chorale Orchestra, the Los Angeles Chamber Orchestra and other ensembles. “But if you don’t have the right bow, it can completely change the sound. It can make the strings muted or not able to speak clearly.” The chorale performs the Brahms Requiem and other works June 9-10 at Walt Disney Concert Hall; Kennedy and her husband,

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Welcome to...

Wyatt Fenner & Paul Perri in A Midsummer Night’s Dream

The Shakespeare Center of Los Angeles In 1986, The Shakespeare Center, then operating as Shakespeare Festival/LA, presented the first Summer Festival, with performances of Twelfth Night in Pershing Square. In lieu of admission it launched a ‘Food for Thought’ admission policy that generated more than $2 million in non-perishable foodstuffs for the needy.  In 1993, SCLA expanded to offer outreach programs such as Will Power to Youth, an employment and enrichment program that combines hands-on artistic experience with paid job training, specifically created to provide an arts immersion for at-risk youth. In January 2000, SCLA purchased and moved into its permanent downtown headquarters. In recent years, SCLA has been a national leader and innovator in the field of arts and human services. Partnerships have included the National Endowment for the Arts, U.S. Department of Justice, the LA County Department of Mental Health, US Department of Veteran Affairs, The Society for Arts and Healthcare, Volt Workforce Solutions in Anaheim, and the Linked Learning office of the Los Angeles Unified School District.

Peter Cambor, Tessa Thompson in As You Like It Michael Manuel as Bottom in A Midsummer Night’s Dream

This year, SCLA has expanded partnerships with Linked Learning to serve more students with our youth employment initiative; and with Santa Monica College, host for the educational dimension of Veterans In Art. On YouTube, check out WHY SHAKESPEARE?, an inspirational documentary created by the National Endowment for the Arts featuring the award-winning programs, people and staff of Shakespeare Center of Los Angeles.

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Brian Joseph, Helen Hunt, Dakin Matthews, Grace Gummer in Much Ado About Nothing

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Will Power to Youth Program red head font version Willoutlined Power to Youth® is a nationally recognized youth development, enrichment, and employment initiative that employs young people to work their way through a Shakespeare play. Youth are challenged and guided through a series of experiences and activities that engage their hands, hearts, and imaginations in an art-making process. This process is designed to help them better understand themselves and each other, practice workforce skills, build academic resiliency and literacy skills, enhance their interpersonal communication, and nurture an appreciation for creative, artistic expression. The initial program and its follow-up components are meant to support youth through high school and into a successful transition to adulthood.

The Will Power to Youth process is a 200-hour, 7-week employment period that occurs during school break wherein young people are guided and supported by professional adult mentor-artists as they investigate, write, create, construct, and perform their own original adaptation of a Shakespeare play. In so doing, Youth Participants learn the importance of community, communication, collaboration, and cooperation. The initial 200-hour paid employment experience is augmented by a sequential series of follow-up programming and engagement opportunities that include cultural field trips, leadership training, tutoring, career and college counseling, and a culture of concerned, caring adults and peers. These follow-up, wrap-around services are available until youth complete high school and embark on post-secondary school transitions.

PROGRAM AWARDS AND RECOGNITIONS • • •

• • •

Performances at the U.S. Capitol White House Coming Up Taller Award Selected as a case study for Harvard Project Zero report, The Quality of Qualities: Understanding Excellence in Arts Education, Commissioned by the Wallace Foundation Selected as one of the “top 50 programs in USA” by the Ash Institute at the Kennedy School of Government, Harvard University. Keynote presenter for the White House launch of “Helping America’s Youth” at Howard University Keynote presentation at the annual convention for the Association for Supervision and Curriculum Development, an international educator membership organization with more than 150,000 members. Presentation at the U.S. Capitol for US Senators and members of US House of Representatives Catalyst for Inter-Agency agreement between U.S. Department of Justice and National Endowment for the Arts Recognized by Los Angeles Board of Supervisors, the Mayor of the City of Los Angeles and Los Angeles City Council, Los Angeles Drama Critics, California Educational Theater Association, and Actors Equity Association

It is atypical for a nonprofit arts organization like The Shakespeare Center of Los Angeles (SCLA) to engage in best practices youth development activities. These endeavors require a level of institutional commitment, expertise, and allocation of resources not readily or fully understood and appreciated by the leadership of most arts organizations. But, because of SCLA’s vision – building community play by play – and its commitment to demonstrating that art-making must be an accessible process that equally involves all, special attention is focused on engaging under-served youth in ways that empower them to play central roles in their own personal transformations and transitions to adulthood. Will Power to Youth offers one such way.

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Veterans in Art® (ViA) is The Shakespeare Center of Los Angeles’s signature arts-based transitional employment opportunity offering short-term paid on-the-job entry-level vocational training in technical theatre arts and life-skills development for chronically unemployed military veterans. In 2016, our partnership with Santa Monica College enabled us to expand our program initially run with the Department of Veterans Affairs. Santa Monica College currently offers veterans an educational outreach program which goes hand-in-hand with our own Veterans in Art Employment program, enabling these students to work on both student and professional productions, gaining new skills and contributing to the economy. Veterans work in all aspects of live performing arts production, including: venue and scenic crews, audio engineers, wardrobe assistants, ushers, parking attendants, site specific marketers, technical director, and actors. Additionally, SCLA offers veterans, active military members, their family members, and caregivers free admission to professional theatrical productions and programs. Over the first three pilot years, SCLA created transitional employment for 100 chronically unemployed veterans, 35 of whom report securing ongoing employment for the first time in more than four years. The existing SMC Veteran program will go hand in hand with our program and help us expand the opportunities and positive life-changing experiences for those who have risked their lives for our freedom. 35% of chronically unemployed veterans find on going employment after the immersive on-the-job arts-based training initiative.

“And smooth the frowns of war with peaceful looks...”

-Henry VI, Part III

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Dear Henry IV Theatre Patrons, It is with great pleasure that The Shakespeare Center of Los Angeles presents the 2018 “Summer of Shakespeare.” The Japanese Garden on the West Los Angeles Veterans Administration Campus is a magical setting for this production of William Shakespeare’s Henry IV. These performances are made even more special by having veterans from all the branches of our armed services working with SCLA as our technical and support staff. It is with the greatest honor and respect that we dedicate these pages to the men and women who have made each day safer for us. We gratefully salute all those that serve, have served, and will serve. –The Board of The Shakespeare Center of Los Angeles

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Henry IV SCLA VETERAN LEADERSHIP TEAM w CHAD ROWLETT, Platoon Leader / Master Carpenter RANK/BRANCH: E-6, US Navy MILITARY OCCUPATION: Seabee Builder DATES OF SERVICE: 2000 – 2012

JOSHUA VALDEZ, Squad Leader / Venue Maintenance & Concessions Lead RANK/BRANCH: E-4, US Air Force MILITARY OCCUPATION: Crew Chief DATES OF SERVICE: 1993 – 1997

DARRELL MORRISON, Squad Leader / IT & Box Office Lead RANK/BRANCH: Sgt./E-5, US Marine Corps MILITARY OCCUPATION: 0351 Assaultman DATES OF SERVICE: 2008 – 2011

DONNIE WILLIAMS, Squad Leader / Front of House Security Lead RANK/BRANCH: E-2, US Army DATES OF SERVICE: 1977 – 1977

BRADLEY WASSIL, Squad Leader / Light Board Operator

RANK/BRANCH: E-5, US Navy MILITARY OCCUPATION: Air Traffic Controller / Sonar Technician Submarines DATES OF SERVICE: 1993 – 2004

SHAWN MCKELVEY, Squad Leader / Parking Attendant Lead RANK/BRANCH: LCPL, US Marine Corps MILITARY OCCUPATION: Field Radio Operator DATES OF SERVICE: 1990 – 1993

ARIEL BELL, Squad Leader RANK/BRANCH: E-3, US Army DATES OF SERVICE: 1996 – 1998

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GEORGE ANDERSON, Running Crew RANK/BRANCH: US Navy MILITARY OCCUPATION: Structural Mechanic DATES OF SERVICE: 1960 – 1963

DAREN BARBER RANK/BRANCH: E-4, US Army MILITARY OCCUPATION: Ammunition Specialist DATES OF SERVICE: 2010 – 2014

PHILLIP BERNAL, Building Crew RANK/BRANCH: E-4, US Air Force MILITARY OCCUPATION: Air Frame Repair DATES OF SERVICE: 1980 – 1985

KENNETH BERRY, Building Crew RANK/BRANCH: E-4, US Marine Corps MILITARY OCCUPATION: 0311 Rifleman DATES OF SERVICE: 1981 – 1985

ADRIAN BREVARD, Running Crew RANK/BRANCH: E-4, US Army MILITARY OCCUPATION: Teletype & Radio Operator DATES OF SERVICE: 1976 – 1979

RONALD CASTELLON, Running Crew RANK/BRANCH: Lance Corp., US Marine Corps MILITARY OCCUPATION: 311 DATES OF SERVICE: 1981 – 1985

ANDREW CASTILLO, Running Crew RANK/BRANCH: US Army MILITARY OCCUPATION: Infantry DATES OF SERVICE: 1995 – 1998

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JAMES GRIMBALL, Building Crew RANK/BRANCH: Sgt./E-5, US Army MILITARY OCCUPATION: 62B DATES OF SERVICE: 1990 – 1998

DANIEL HAIN, Running Crew RANK/BRANCH: E-2, US Army MILITARY OCCUPATION: 36K DATES OF SERVICE: 1972 – 1973

REX HARRISON RANK/BRANCH: First Lieutenant, US Marine Corps MILITARY OCCUPATION: Ground Intelligence / Scout Sniper DATES OF SERVICE: 1995 – 2000

RUDOLPH HERMANSEN, Running Crew RANK/BRANCH: E-4, US Army MILITARY OCCUPATION: 11C10 DATES OF SERVICE: 1975 – 1977

ROBERT JEFFERSON, Running Crew RANK/BRANCH: E-1, US Army MILITARY OCCUPATION: Communication DATES OF SERVICE: 1980 – 1980

KEVIN LAM, Building Crew RANK/BRANCH: PFC, US Army MILITARY OCCUPATION: Infantry DATES OF SERVICE: 2003 – 2006

RONNIE LOVE, Running Crew RANK/BRANCH: E-1, US Navy MILITARY OCCUPATION: Diesel Opp. E Mech. DATES OF SERVICE: 1974 – 1977

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DEREK MAGEE, Building Crew RANK/BRANCH: E-4, US Air Force MILITARY OCCUPATION: Security Forces DATES OF SERVICE: 1999 – 2004

ANDREW MAHONEY, Building Crew RANK/BRANCH: E-4, US Army MILITARY OCCUPATION: 46R-10 Broadcast Journalist DATES OF SERVICE: 1996 – 2000

HERBERT MANNERY, Street Team RANK/BRANCH: E-4, US Navy DATES OF SERVICE: 1975 – 1976

HEATHER MARCH, Building Crew RANK/BRANCH: IT-3, E4/E5, US Navy MILITARY OCCUPATION: IT / Computers DATES OF SERVICE: 2005 – 2009

DANIEL MARTIN, Building Crew RANK/BRANCH: E-4, US Army MILITARY OCCUPATION: 76Y10 Supply DATES OF SERVICE: 1977 – 1980

KEVIN MCKINLEY, Building Crew RANK/BRANCH: E-4, US Marine Corps MILITARY OCCUPATION: 2111 DATES OF SERVICE: 1987 – 1991

LEONCIO PACHECO, Street Team RANK/BRANCH: E-4, US Army DATES OF SERVICE: 1982 – 1984

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DEREK ROYSTER, Running Crew RANK/BRANCH: E-4, US Army MILITARY OCCUPATION: 72 E Telecomm. Op.

DANNY TUCKER, Street Team RANK/BRANCH: SPC/E-4, US Army MILITARY OCCUPATION: 11M DATES OF SERVICE: 1992 – 1997

JOE TOKASH, Running Crew RANK/BRANCH: E-3, US Navy DATES OF SERVICE: 1964 – 1967

JEFFREY SONNENBERG, Building Crew RANK/BRANCH: E-4, US Navy MILITARY OCCUPATION: SH3 DATES OF SERVICE: 1989 – 1993

JONATHAN WILLETT, Building Crew RANK/BRANCH: E-2, US Air Force MILITARY OCCUPATION: Aircraft Armament DATES OF SERVICE: 2001 – 2004

ALEXANDER WELCH RANK/BRANCH: Private First Class, US Marine Corps MILITARY OCCUPATION: 0311 Infantry DATES OF SERVICE: 2005 – 2006

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★ ★★★ Veterans building the theatre at the Japanese Garden

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11301 Wilshire Blvd., Los Angeles, CA 90073 Open Daily, 7 am — Sunset heroesgolfcourse.com

Come Support Our Veterans! OPEN TO THE PUBLIC Veterans Job Training Program Discount for Veterans Free PGA Classes for Veterans Job Placement for Veterans Non-Profit Bandini Foundation

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★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ ★ 5/22/18 12:32 PM

A Message from SMC Superintendent/President Dr. Kathryn E. Jeffery

“Therefore be merry… Some good thing comes tomorrow.” – Henry IV Part 2: Act 4, Scene 1 From Santa Monica College, congratulations to the cast, crew, and educators of Shakespeare Center of Los Angeles on this landmark production of Henry IV! This marks the third year that SCLA’s Veterans in Arts program has offered the men and women who served and completed their active duty in our nation’s armed forces an opportunity to enroll in Santa Monica College’s Technical Theatre program, in preparation for careers in live performing arts production. At SMC, we offer hands-on support to help more than 2,100 veteran students each year succeed in their academic and career goals. Our Veterans Resource Center operates year-round to support transitions and new beginnings to civilian life. And today we have yet another good thing to celebrate! SMC and SCLA are working to deepen our collaboration—the welcoming of Shakespeare Forever to a new outdoor stage at the SMC main campus in the not-too-distant future. I am confident that the outdoor performance space being imagined will transform the landscape of Los Angeles’s Westside and enable SCLA to reach new audiences and strengthen its core services. Santa Monica College provides open access to a high-quality, affordable education to a diverse student body. We look forward to the years to come when we will partner with SCLA to help many more students to realize that—to borrow from an idea the Bard himself voiced—their destinies lie within themselves. Together, we will continue our work to equip our veterans, students, and audience for their destinies. Congratulations again—we’ve ALL been waiting for this!

Kathryn E. Jeffery, Ph.D. Superintendent/President

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THE WORLD OF SHAKESPEARE’S HENRY IV 1399 - 1413 Henry Bolingbroke — King Henry IV — is having an unquiet reign. He believes that his uneasiness, after usurping his predecessor and cousin Richard II, would be resolved by a crusade to the Holy Land. Brawls on his borders with the armies of the Douglas family in Scotland, and Owen Glendower in Wales, prevent that. Moreover, he finds himself increasingly at odds with the Percy family — Thomas Percy, Earl of Worcester; Henry, Earl of Northumberland; and the Earl of Northumberland’s son — also named Henry Percy, nicknamed “Hotspur.” He also is at odds with Edmund Mortimer, the Earl of March. Adding to King Henry’s troubles is the misbehavior of his son Hal, Prince of Wales and heir to the throne. Hal (the future Henry V) has forsaken his father’s Royal Court and wastes his time in taverns with thieves, whores, and drunkards. Scorned by noblemen, Prince Hal’s royal worthiness is increasingly called into question. Hal’s friend and lowlife foil is the rascal Sir John Falstaff. Fat, old, drunk, and corrupt as he is, he has a charisma and a zest for life that captivates the Prince. The play features three communities of characters that interact slightly at first, and then come together in the Battle of Shrewsbury, where the success of a rebellion is decided. THE FIRST COMMUNITY OF CHARACTERS – KING HENRY AND THE COURT The first of the three communities is comprised of King Henry himself, Hal’s brothers John of Lancaster and Thomas, Duke of Clarence, and the king’s immediate councilors the Earl of Westmoreland and Sir John Blunt. King Henry IV is the engine of the play, but usually in the background. THE SECOND COMMUNITY, OF CHARACTERS – THE PERCY FAMILY OF REBELS Next, there is the group of rebels. They are Henry Percy (“Hotspur”) his father, also named Henry Percy, the Earl of Northumberland, and Thomas Percy, Earl of Worcester, the uncle of younger Henry and brother of older Henry. Later, Archibald, Earl of Douglas and Edmund Mortimer, Earl of March, also join the rebel alliance. THE THIRD COMMUNITY OF THE PLAY – THE EASTCHEAP TAVERN At the heart of the play is the Eastcheap tavern and its lively community of characters led by young Prince Hal and his companions Falstaff, Poins, Bardolph, Peto, Pistol, Mistress Quickly and Doll Tearsheet. Streetwise and pound-foolish, these rogues and rascals manage to paint over a bloody history of civil war and bloodshed with robust comedy that springs from a lust for life and camaraderie. P14 PERFORMANCES MAGAZINE

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ACT ONE – THE PLOT OF HENRY IV PART 1 w As the play opens, King Henry is angry with Henry Percy, also known as “Hotspur” for refusing to relinquish the prisoners he has taken in a recent action against the Scots in the north at Holmedon Hill. The King would like to take possession of Hotspur’s prisoners and then collect ransom for them to fill his Royal Coffer. He wants to retain the most dangerous Scottish warrior, the Earl of Douglas, to prevent him from returning to Scotland and causing more northern border troubles. Hotspur would like King Henry to ransom Edmund Mortimer, his wife’s brother, from Owen Glendower, the Welshman who has been holding him for some time. Henry refuses, questioning Mortimer’s loyalty. He incites Hotspur and the other Percy family members, who have helped King Henry to the throne and to win the latest insurrections, with threats and rudeness. Stung and alarmed by King Henry’s dangerous and unjust accusations, Hotspur releases his prisoners without ransom and his Percy family members proceed to join forces with the Welsh and Scots and conspire to depose King Henry. Rebellion begins brewing. Meanwhile, King Henry’s son Prince Hal is joking, drinking, and thieving with Falstaff and his associates. Hal particularly enjoys insulting Falstaff, goading him into committing grand lies and then exposing his falsehoods. Hal joins forces with his nefarious compatriot Poins in a plot to disguise themselves, then rob and terrify Falstaff after Falstaff and his pals commit highway robbery. Hal and Poins plan to loot Falstaff and his petty thieves immediately after they hold up very wealthy travelers on a country road. Poins and Prince Hal anticipate the fun of watching Falstaff talk himself out of a corner, when Hal and Poins reveal it was they that looted them. After a good laugh, Hal returns the stolen money to its lawful owners. Prince Hal decides the time is coming to end his trouble-making and that he must re-assume his rightful high place in his father’s Royal Court by showing himself worthy to his father through noble exploits. Hal wishes to earn respect from the members of the court. The revolt of Mortimer and the Percy family very quickly provides Prince Hal the opportunity to prove his mettle. The Royal Court and the Eastcheap Tavern community unite and Prince Hal reconciles with his ill father. King Henry IV gives his reconciled son a high command and Hal vows to kill the rebel Hotspur. Hal orders Falstaff to recruit a group of foot soldiers and proceed to Shrewsbury to fight on behalf of England. Falstaff accepts bribes from able-bodied men seeking to dodge the draft. He also decides to keep the wages of the poor souls he enlists who will be killed in battle. King Henry and Prince Hal outnumber the rebels. Hotspur, with the wild hope of despair, leads his troops into battle. The day of battle wears on. The wild Scot, Douglas, ranges the battlefield searching for King Henry. Prince Hal and Hotspur face off to fight for glory, for their lives, and for the kingdom. No longer a tavern brawler but now a warrior, the future king prevails, killing Hotspur in single combat. Falstaff dishonorably counterfeits his own death to avoid attack by Douglas. After Hal leaves Hotspur’s body on the field, Falstaff revives in a mock miracle. Seeing he is alone, he stabs Hotspur’s corpse in the thigh, and with Hotspur’s blood on his sword claims credit for the kill. Though Hal knows better, he allows Falstaff his disreputable tricks. The first part ends at Shrewsbury, after the battle. The death of Hotspur has taken the heart out of the rebels and the king’s forces prevail. Henry is pleased with the outcome because it gives him a chance to execute Thomas Percy, the Earl of Worcester, his chief enemy and leader of the rebellion. Victorious, Hal shows kingly mercy and in praise of his personal valor releases his prisoner Douglas without demanding any ransom. The Battle of Shrewsbury is over, but the war rages on and the king’s forces must now deal with the Archbishop of York, who has joined with Northumberland, the slain Hotspur’s father, Edmund Mortimer, and the Welsh rebel Glendower. This unsettled ending sets the stage for this evening’s second act.

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ACT TWO – THE PLOT OF HENRY IV PART 2 w Our second half focuses on Prince Hal’s journey toward kingship and his ultimate rejection of Falstaff. However, unlike the first half, Hal’s and Falstaff’s stories are almost entirely separate. The two characters meet only twice and very briefly. The tone of much of this half is reflective, as it portrays an aging Falstaff approaching death, mirroring the progress of an increasingly sick King Henry IV. Falstaff is still drinking and engaging in petty thefts in the London underworld. Falstaff first appears followed by a page delivering an analysis of his urine. Falstaff complains about his financial insolvency and vows to find himself a rich wife from the local brothels. The Lord Chief Justice arrives looking to hold Falstaff accountable for a recent robbery. Falstaff pretends he is deaf and changes the topic of conversation to King Henry’s failing health. Characteristically, Falstaff asks the Chief Justice for one thousand pounds to help offset the expenses of his military expedition, but is denied. Doll Tearsheet, a prostitute resident at the Eastcheap Tavern, gets into a fight with Pistol, one of Falstaff’s troops. After Falstaff ejects Pistol, Doll asks him about Prince Hal, who has secretly returned to the tavern and disguised himself as a serving man. Prince Hal overhears Falstaff as he makes disparaging remarks about the prince. Hal reveals himself and delights in watching Falstaff try to talk his way out of speaking ill of the prince. News of a second rebellion arrives at the tavern. Falstaff joins the army again, and goes to the country to raise forces. He encounters an old school friend, Justice Shallow, and they reminisce about their youthful follies. Shallow brings forward potential recruits for the loyalist army. It is a motley collection of rustic yokels. Falstaff and his cronies accept bribes from two of them, Mouldy and Bullcalf, who hope to avoid the draft. Prince Hal continues trafficking with the people of London’s underbelly and seems unsuited to kingship. His father, King Henry IV, is ill and his disappointment in the young prince grows, despite reassurances from the court that the prince’s exploits are purposeful and aimed at gaining an understanding of England’s common people. Another rebellion is launched against Henry IV. It is defeated this time not by a battle, but by the duplicitous diplomacy and political machinations of Hal’s brother, Prince John. King Henry appears to die. Hal, witnessing his father expire on his deathbed and believing he is king, removes the crown from his father’s head and places it upon his own. King Henry, who momentarily revives, is devastated, thinking Hal cares only about becoming king. Hal convinces him otherwise and the old king and his son are reconciled and the king dies content. The two storylines meet in the final scene, in which Falstaff, having learned from Pistol that Hal is now king, travels to London in expectation of great rewards. But Hal rejects him, saying that he has now changed and can no longer associate with the likes of Falstaff. The London lowlifes, expecting a paradise of thieves under Hal’s governance, are instead purged and imprisoned by the authorities. Falstaff is banished until he can demonstrate he has changed his ways.

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Dramatis Personae Anthony Mark Barrow*......................................................... Lord Bardolph / Vernon / ensemble Raffi Barsoumian*.................................................................................................Hotspur / Pistol Josh Clark*..........................................................................Worcester / Chief Justice / ensemble Benji Coelho.................................................................................... Mouldy / Morton / ensemble James Michael Cowan..........................................................................Snare / Feeble / ensemble Harry Groener*.....................................................Northumberland / Justice Shallow / ensemble Tom Hanks*..........................................................................................................Sir John Falstaff Hamish Linklater*............................................................................................ Hal (Prince Henry) Jeff Marlow*................................................................. Archbishop / Sir Walter Blunt / ensemble Joe Morton*.....................................................................................................................Henry IV Chris Myers*...................................................................................... Lancaster / Peto / ensemble Chris O’Reilly........................................................................................Bullcalf / Davy / ensemble Alexander Pimentel.................................Falstaff’s Page / Prince Thomas of Clarence / ensemble Ray Porter*.....................................................................................Douglas / Warwick / ensemble Rondi Reed*........................................................................................................ Mistress Quickly Chris Rivera*.......................................................................................................Poins / ensemble Emily Swallow*................................................................. Lady Percy / Doll Tearsheet / ensemble Geoffrey Wade*........................................................................Westmoreland / Fang / ensemble Time Winters*.............................................................................Bardolph / Mowbray / ensemble Sheldon Donenberg...................................................................................Rehearsal Understudy Peter Van Norden*.......................................................................................... Understudy Falstaff *Denotes member of Actors Equity Association, the Union of Professional Actors and Stage Managers in the United States.

THERE WILL BE ONE 10 MINUTE INTERMISSION. The use of flash photography, video cameras, or any other recording equipment during the performance is strictly prohibited. Please remember to turn off all electronic devices. No alcohol is permitted in the Japanese Garden on the West Los Angeles VA Campus.

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Henry IV THE COMPANY w ANTHONY MARK BARROW (Lord Bardolph / Vernon / ensemble) Born in the same county as Shakespeare, Anthony trained at The Birmingham Theatre School, East 15 Drama School and the worldrenowned Royal Central School of Speech and Drama in London. He made his West End debut as the lead - Lucky Luciano, in the London West End production of Lady Salsa. He then went on to start his long association with theatre director Deborah Warner, joining her at The Royal National Theatre in her production of The Power Book. He has worked with Warner in the West End and on world tours of Julius Caesar, Mother Courage and The School for Scandal. Anthony has also worked under past National Theatre director Nicholas Hytner on the West End transfer of Mother Clap’s Molly House and Cheek by Jowls Declan Donnelan, and on their Barbican Theatre and European tour of Troilus and Cressida. He now resides in LA and has worked in all mediums on both sides of the pond. RAFFI BARSOUMIAN (Hotspur / Pistol) Broadway: Les Liaisons Dangereuses. Los Angeles: Guards at the Taj (The Geffen Playhouse); Red Noses (The Actor’s Gang); Zoo Story, Counting the Ways (Luna Playhouse). New York: Privacy, Pericles (The Public Theater); King Lear, Arok of Java (Exit, Pursued By a Bear). Regional: The Count of Monte Cristo, Antony and Cleopatra, King Lear, Cymbeline, Troilus and Cressida, Henry V (Oregon Shakespeare Festival); The Taming of the Shrew, The Merchant of Venice, Henry V (American Shakespeare Center); As You Like It, King John (Actor’s Shakespeare Company); Restoration Comedy, Don Juan (Stanford Summer Theater). International: Sedimenti (Compagnie Du Faubourg). TV/Film: The Code (upcoming on CBS); Shameless; The Vampire Diaries; NCIS; The Rest of Us. Training: École Jacques Lecoq; Carnegie Mellon University. JOSH CLARK (Worcester / Chief Justice / ensemble) Broadway: Execution of Justice, the ‘March Hare’ in Alice in Wonderland, and The Man Who Came To Dinner. Other New York credits include three US premiers at the Manhattan Theater Club, including The Rear Column by Simon Gray,  Molly (Hudson Guild), The Browning Version (Roundabout), The Old Glory (American Place). Featured Actor Ovation nomination for The Savannah Disputation at the Colony. Biloxi Blues and Of Mice And Men at the Pasadena Playhouse. iWitness at the Mark Taper Forum. At Antaeus: Hothouse, Picnic, Peace In Our Time, Oedipus, The Autumn Garden, more. TV/ Film: Mr. Clark had a supporting role in the Disney film McFarland, USA, a leading role in the upcoming indie film The Wanting Mare, and has guest starred in many television shows, most recently The Last Ship, West World (recurring), How To Get Away With Murder, Murder In The First (recurring), True Detective 2, Scorpion, Aquarius, Hawaii 5-0, Shameless, Scandal.

BENJI COELHO (Mouldy / Morton / ensemble) Originally born and raised in Rhode Island, Benji Coelho moved to California where he earned his MFA from California State Fullerton. Some of the most notable Shakespeare productions that he’s had the pleasure of working on include ‘Benedick’ in Much Ado about Nothing (The Young Theatre), ‘Tranio’ in Taming of the Shrew (The Will Theatre), ‘Antonio’ in Twelfth Night (New Swan Shakespeare Festival), ‘Edmund’ in King Lear, ‘Brutus’ in Julius Caesar, and ‘Demetrius’ in A Midsummer Night’s Dream (Mixed Magic Theatre). He is very excited to be a part of the amazing cast of Henry IV at The Shakespeare Center of Los Angeles. JAMES MICHAEL COWAN (Snare / Feeble / ensemble) James Michael Cowan is a Los Angeles based artist with a Bachelor of Fine Arts in Acting from California Institute of the Arts. He has had the pleasure of working with many artists throughout the greater Los Angeles area, nationally, and internationally. Most recently James has worked with The Speakeasy Society in their Kansas Collection, and Macbeth In Rhythm at the Shakespeare Center of Los Angeles. James is most interested in investigating the limits of his work, while also pushing past those limits in order to mine the deep formless connection between all experiences. James is grateful to have the opportunity to share the work that many talented artists have put into this process. This performance is dedicated to Ray and Lorrie Cowan whose love and support has always been a guiding force. SHELDON DONENBERG (Rehearsal Understudy) Theatre credits: Footloose! The Musical – El Portal & Pantages Theatre, Dog Sees God: Confessions of a Teenage Blockhead – Shakespeare Center of Los Angeles; Film: Shanty Town (dir. Matthew Stanosolovich). Sheldon is thrilled to be a part of his second summer show with the Shakespeare Center of Los Angeles (previous credit: Antonio, Twelfth Night – 2016). Born and raised in East Los Angeles, Sheldon was fortunate to have graduated from the Los Angeles County High School for the Arts in 2016 in the discipline of Theatre. He has been consistently working and creating as an actor, writer, director, experimental theatre and film artist, editor, and musician ever since both. In 2017, Sheldon was selected as a National YoungArts Foundation Finalist, also in the Theatre discipline. He would like to thank Ben, Dan, Tracy, Tom, Hamish, and the rest of this incredible cast and production team for this eye-opening and amazing experience. PERFORMANCES MAGAZINE P19

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w HARRY GROENER (Northumberland / Justice Shallow / ensemble) Mr. Groener was last seen as ‘Big Daddy’ in the Antaeus Theater Company production of Cat On A Hot Tin Roof for which he received an Ovation and LA Drama Critics Circle Award. Other credits include: ‘William Tecumseh Sherman’ in The March, Steppenwolf Theatre, title roles in The Madness of King George, Cyrano De Bergerac, Chicago Shakespeare Theatre, King Lear, Antaeus Theatre Company. Broadway credits include: Crazy For You (Theatre World Award, Tony & Drama Desk Nominations), Oklahoma! (Tony Nomination), Cats (Tony Nomination), Harrigan and Hart, Oh Brother!, Is There Life After High School, Sunday in the Park with George, Imaginary Friends, Sleight Of Hand, Spamalot. Film, partial: About Schmidt, Road to Perdition, Patch Adams, Amistad, Brubaker, Dance with Me, A Cure For Wellness, A Futile And Stupid Gesture. Television, partial: Buffy The Vampire Slayer, Dear John, Star Trek: The Next Generation, Voyager, and Enterprise, How I Met Your Mother. TOM HANKS (Sir John Falstaff) Tom Hanks made his professional stage debut in 1977 portraying ‘Grumio’ in The Taming of the Shrew at the Great Lakes Shakespeare Festival in Cleveland, OH, where he performed for three seasons. In the years since, he has appeared in films, on Broadway, and has written and directed for film and television. His most recent film was Steven Spielberg’s The Post. He recently filmed Greyhound for Playtone, which will be released in 2019. HAMISH LINKLATER (Hal / Prince Henry) Hamish Linklater’s theater credits include Cymbeline, Much Ado About Nothing, Comedy of Errors (Drama Desk nom.), Merchant of Venice, Winter’s Tale, & Twelfth Night (Drama Desk nom) all at the Public Theater’s Shakespeare in the Park. Other New York theater includes, Seminar (Broadway), Romeo & Juliet (Acting Co.), School for Lies (Classic Stage, OBIE Award, Lortel, OCC nom.). Los Angeles area theater credits include: Hamlet, Violet Hour (South Coast Rep), A Midsummer Night’s Dream, and Measure for Measure (dir. Sir Peter Hall, Ahmanson), Abduction from The Seraglio (LA Opera), Mamma Mia! (Hollywood Bowl). TV and Film credits include: Legion, Fargo, The Crazy Ones, The Newsroom, The Big Short, Unicorn Store, Ithaca, Magic in the Moonlight, 42, Battleship, The Future, The New Adventures of Old Christine, and the upcoming Tell Me Your Secrets.

JEFF MARLOW (Archbishop / Sir Walter Blunt / ensemble) Theatre credits include Junk, Hollywood, Glengarry Glen Ross and Sideways at the La Jolla Playhouse; All the Way, Yoga Play, Hamlet and Nothing Sacred at South Coast Repertory; Moonlight and Magnolias, An Empty Plate in the Café du Grand Boeuf, And the Winner Is and The Sleeper at the Laguna Playhouse; and You Can’t Take It With You at the Geffen Playhouse. As a member of the Reduced Shakespeare Company, Jeff has toured the US, Europe, and Asia in The Complete Works of William Shakespeare (abridged), The Complete History of America (abridged), and Completely Hollywood (abridged). TV and film credits include Reverie, Criminal Minds, Silicon Valley, The Mick, Dr. Ken, Angie Tribeca, Brooklyn Nine-Nine, Pure Genius, The Player, Mistresses, Rizzoli & Isles, Grey’s Anatomy, Akeelah and the Bee, and The Hebrew Hammer. Jeff is a founding board member of Shakespeare’s Birthplace America (shakespeare.org.uk/support-us/sba), the US arm of Stratford-upon-Avon’s Shakespeare Birthplace Trust. JOE MORTON (Henry IV) Emmy® Award-winning film, television and stage veteran Joe Morton is best known for his dynamic role as “Rowan Pope” in Shonda Rhimes’ groundbreaking series Scandal and for his iconic roles in films The Brother from Another Planet, Terminator 2: Judgement Day, Speed, and Justice League, among many others. Morton made his Broadway debut in the Tony Award®-winning musical Hair, followed by his starring role in Raisin for which he garnered a Tony nomination and Theatre World Award. In 2016, Morton returned to his theater roots portraying the iconic comedian Dick Gregory in the one-man show Turn Me Loose off-Broadway and was honored with the Lucille Lortel Award and the NAACP Theatre Lifetime Achievement Award. He reprised his role in Turn Me Loose at The Wallis-Annenberg Center for the Performing Arts in the fall of 2017. CHRIS MYERS (Lancaster / Peto / ensemble) Chris Myers is thrilled to be making his LA theatre debut with The Shakespeare Center of LA. Selected Theater: Julius Caesar (The Public/ Shakespeare in the Park), The Winter’s Tale (The Public), An Octoroon (Soho Rep; Obie Award for Acting), Whorl Inside A Loop (Second Stage Theater), On The Grounds of Belonging (The Public), Little Children Dream of God (Roundabout Underground), War (Lincoln Center/LCT3), Brownsville Song (Lincoln Center/LCT3), Fences (McCarter/Long Wharf; Dir. – Phylica Rashad), A Midsummer Night’s Dream (Shakespeare Theater DC). TV: Sneaky Pete (Amazon), She’s Gotta Have It (Netflix - Dir: Spike Lee), The Break with Michelle Wolf (Netflix), The Good Fight (CBS), The Breaks (VH1). Chris has also written and produced two short films, Post-Emma and The Interruption along with a half hour comedy about gentrification called GUAP. His work and more can be found at chrismyersinc.com. Instagram/Twitter: @chrismyersinc.

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w CHRIS O’REILLY (Bullcalf / Davy / ensemble) Chris O’Reilly is thrilled to be making his Shakespeare Center of Los Angeles debut! Originally from Boston, Chris has been very fortunate to have performed Shakespeare and contemporary works on both coasts, as well as balancing film work in between shows. Endless love and thanks to his family, Sharon, Colm, Aaron, Aidan, his mentors from East to West, Jim Beauregard, Howard Fine, David Coury, his best friends who helped him with every audition piece no matter the time, Nick, Bruce, Ian, Mike, and anyone who ever covered a serving shift for him at the last minute. Not all heroes wear capes…but some wear aprons. Also, in his spare time, Chris really enjoys creating music and comedy, sometimes even blending the two. @OReillyFacktor. ALEXANDER PIMENTEL (Prince Thomas of Clarence / Falstaff’s Page / ensemble) Alexander Pimentel is thrilled to be making his Shakespeare Center of Los Angeles debut. Alexander was most recently seen in the world premiere of The Madres at The Skylight Theatre Company, and in the lead role in the workshop of the new musical Havana Music Hall. Favorite past credits include: ‘Gabe’ in Next to Normal, ‘Hal’ in Henry IV, and ‘Fabrizio’ in The Light in the Piazza. Training: B.M. from Westminster Choir College. M.A. from London Academy of Music and Dramatic Arts. www.alexpp.com. RAY PORTER (Douglas / Warwick / ensemble) Ray was an actor at the Oregon Shakespeare Festival for 18 seasons. He also appeared in Rosencrantz and Guildenstern are Dead at A.C.T. In San Francisco, Distracted at The Mark Taper Forum, and An Octoroon at Berkeley Rep. He has appeared in numerous films and television shows, most recently he was seen in Modern Family. In addition, he has narrated almost 300 audiobooks and garnered numerous awards for his narration.

RONDI REED (Mistress Quickly) Rondi Reed is a member of the acclaimed Steppenwolf Theatre Company of Chicago and a TONY Award® Winner for her performance in August: Osage County (Bdwy). Other theater includes Wicked (Bdwy/Chicago), Steve Martin’s Picasso at the Lapin Agile (Original Cast), Romeo & Juliet (Chicago Shakespeare), and over 60 MainStage productions at Steppenwolf. Recent TV and Film credits include: Mike & Molly (Series Regular), Masters of Sex (Recurring), Scandal, Disjointed, and HBO: You Don’t Know Jack and Normal. Ms. Reed thanks Stewart Talent, Shakespeare LA, and the Company and Crew of Henry IV. In loving memoriam, John Mahoney, Glenne Headley, Mariann Mayberry, and Martha Lavey. CHRIS RIVERA (Poins / ensemble) Chris has been a part of the SCLA team since 2005 working on such productions as A Midsummer Night’s Dream, Romeo & Juliet, The Merchant of Venice, Julius Caesar, and Twelfth Night. He is happy to be a part of this production and if you would like to learn more about his other credits via film and television, you can visit IMDB.com. His training comes from his mother and father, wife, Juilliard, and his cute little daughter. Enjoy the show. EMILY SWALLOW (Lady Percy / Doll Tearsheet / ensemble) LA Theatre: Disgraced at the Mark Taper Forum and LA Theatre Works; The Country House  (Geffen Playhouse); Nicky (Coeurage Theatre); Completeness (Vs.Theatre); Lobby Hero, An Enemy of The People, Hamlet, Between Riverside and Crazy (LATW). New York Theatre: High Fidelity (Broadway); Romantic Poetry (MTC); Measure for Pleasure and Much Ado About Nothing (Public Theatre); The Black Eyed (NYTW). Regional Theatre: Nice Fish (with Mark Rylance), Cat On a Hot Tin Roof, A Midsummer Night’s Dream (Guthrie); The Taming of the Shrew, King Lear and The Madness of George III (Old Globe).  Television: The Mentalist, How to Get Away with Murder, Man with a Plan, Supernatural, Timeless, The Good Wife, Flight of the Conchords, Monday Mornings, The Girlfriends’ Guide to Divorce, and others.  You may recognize her voice from the Netflix animated series Castlevania. MFA: NYU Tisch.

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w PETER VAN NORDEN (Understudy Falstaff) Peter Van Norden most recently appeared in Harold Pinter’s The Hothouse at The Antaeus Thr. Co. Peter was the first American actor to play the title role in Mike Bartlett’s King Charles III at Arizona Thr. Co. Other recent appearances: as ‘Shylock’ in The Merchant of Venice (L.A. Shakespeare Center); and as ‘Henry Kissinger’ in Top Secret: The Battle for the Pentagon Papers (L.A. Theatre Works, New York Thr. Workshop and China tour). In his native NYC: Little Johnny Jones (with Donny Osmond), Hamlet (with both Kevin Kline and Sam Waterston), Jungle of Cities (with Al Pacino), Henry V (with Meryl Streep), and Saint Joan (with Lynn Redgrave). Included among his dozens of film and TV roles are leads opposite Oscar winner Jodie Foster in The Accused, as Steve Guttenberg’s inept partner in Police Academy 2 and as ‘Ralph Brentner’ in the Stephen King mini-series, The Stand. petervannorden.com. GEOFFREY WADE (Westmoreland / Fang / ensemble) Geoffrey most recently appeared in the National Tour of The Curious Incident of the Dog in the Nighttime. He’s worked on and off Broadway, and extensively in regional theater including SCR, Rep. Theatre of St Louis, The Old Globe, Great Lakes Shakespeare, Center Stage, GeVa, the Guthrie, Denver Center, multiple seasons at the Cincinnati Playhouse in the Park, and a long association with Vermont’s Weston Playhouse. LA theatre: La Jolla Playhouse, La Mirada, the Odyssey, and many shows at Antaeus. He works in episodic television (NCIS, Mad Men, The Mentalist, Numb3rs, ER, four Law & Orders…), in radio, and tours with LATW. Films include The BFG, City Hall, The Divide… He directed critically acclaimed productions of A Walk in the Woods and The Crucible. Geoffrey has taught at the Antaeus Academy since 2003; he trained at Central in London and is married to the delightful actress Amelia White. TIME WINTERS (Bardolph / Mowbray / ensemble) Time Winters happily appeared in the Shakespeare Center of Los Angeles’s Twelfth Night, Loves Labors Lost, and As You Like It. Other Theatres: The Blank: ‘LBJ’ in The Tragedy of JFK; Pasadena Playhouse: Pygmalion, Good Doctor, Equus; Geffen: Yes, Prime Minister; A Noise Within: The Tempest, Cymbeline; South Coast Rep: How the World Began; La Mirada Theatre: The Little Mermaid, Mary Poppins, Camelot; Boston Court: Good Book of Pedantry and Wonder; Amadeus (Broadway), and many others. Film: Backseat, Velvet Buzzsaw, Plus One, Framed, Lavalantula, Runaways, Life & Death of Peter Sellers, A Little Princess, Doc Hollywood, Thinner, Sneakers, Gremlins II, more. TV: New Sci-Fi David Fincher/Netflix series, Shameless, You’re the Worst, About a Boy, Criminal Minds, Star Trek: The Next Generation, and others. He is married to wonderful actress/dialect coach, Tracy Winters.

DANIEL SULLIVAN Director & Adaptor Noted theatre director Daniel Sullivan has directed over 30 Broadway productions, and at least as many Off-Broadway, including 10 for the Public Theater’s Shakespeare in the Park.  In the current Broadway season, Sullivan is represented by Saint Joan at Manhattan Theatre Club, and John Lithgow: Stories by Heart. Among his Broadway credits are The Little Foxes, The Homecoming, Prelude to a Kiss, Julius Caesar, Morning’s at Seven, I’m Not Rappaport, A Moon for the Misbegotten, The Heidi Chronicles, Conversations with My Father, Ah, Wilderness!, The Sisters Rosensweig and Proof. Among his Off-Broadway credits are The Merchant of Venice, The Night Watcher, Twelfth Night, A Midsummer Night’s Dream, Intimate Apparel, Stuff Happens, Far East, Spinning into Butter, and Dinner With Friends. He has served as Artistic Director of Seattle Repertory Theatre from 1981 to 1997.  He is the Swanlund Professor of Theatre at University of Illinois, Urbana-Champaign. RALPH FUNICELLO Scenic Designer Ralph Funicello has designed the scenery for over 300 productions of plays and operas throughout the world including the Broadway productions of Julius Caesar, Brooklyn Boy, Henry IV (Outer Critics Circle, Drama Desk, and Tony Award nominations), King Lear, QED, and Division Street, Off-Broadway productions including Saturn Returns, Ten Unknowns (Lortel Nomination), Pride’s Crossing, and Labor Day, New York City Opera’s La Rondine, San Diego Opera’s Don Quichotte, Murder in the Cathedral and LA Opera’s acclaimed productions of The Dwarf and The Broken Jug. He is an Associate Artist at the Old Globe Theatre in San Diego, and has designed numerous productions at The Mark Taper Forum and the South Coast Rep. He has also designed for The Theatre Royal Bath, The Stratford Festival, and The Royal Shakespeare Company. He holds the position of Powell Chair in Set Design at San Diego State University. HOLLY POE DURBIN Costume Designer Holly Poe Durbin loves to design meaningful experiences for live audiences. Favorite past designs include All the Way and Death of a Salesman for the South Coast Repertory in Costa Mesa; Peter and the Starcatcher for PlayMakers Theater in Chapel Hill, NC; Shipwrecked for the Cincinnati Playhouse, Much Ado About Nothing starring Helen Hunt in Los Angeles, Opus for Portland Playhouse and Repertory Theater of St Louis, and Top Secret for the New York Theater Workshop which was featured on NPR’s All Things Considered. Themed entertainment designs include Motion Picture Madness featuring Steven Spielberg, the original Gateway attraction for Universal Studios Japan. International works include designing clowns for the Arezzo Festival in Italy, Chekhov’s The Wood Demon on London’s West End, the UK tour of Miss Evers’ Boys, the world tour of a new opera Don Juan Flamenco in Spain, and five seasons of 18th century opera costume construction in Göttingen, Germany. She is the head of MFA Costume Design studies at the University of California- Irvine. You may view her work at www.hollypoedurbin.com.

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w TREVOR NORTON Lighting Designer Thank you, Ben, for 20 years of working together. Regional designs with The Old Globe Theatre, San Jose Rep, San Diego Rep, Shakespeare Center LA, Pasadena Playhouse, La Jolla Playhouse, The Dorothy Chandler Pavilion, A Noise Within, Lobero Theatre, Bottom’s Dream, Wheeler Opera House, Mark Taper New Works Festival, LA Theatre Works, and many more. Trevor has designed several world premiere productions and currently teaches design and stage management at the University of Redlands. Other work includes industrial designs, architectural lighting designs and building “green” houses on the side. Trevor is owner of Cleverco Designs, is a private pilot and has a wonderful family including wife, Jennifer, and kids, Lillian and Reid. DREW DALZELL Sound Designer Drew is happy to once again be working with The Shakespeare Center of Los Angeles. He has previously designed two productions of A Midsummer Night’s Dream, Two Gentlemen of Verona, and a haunted house experience based on Macbeth. South Coast Repertory, The Laguna Playhouse, The Colony Theater, and The Rubicon Theater are just a few of the other companies where he has designed. Drew has been awarded three Ovation Awards for Best Sound Design, two of them for his work on Wicked Lit with Unbound Productions. He owns Diablo Sound, Inc., which specializes in sound and control for themed entertainment and provides rental equipment to numerous theaters around the Los Angeles area. KRISTEN OSBORN Assistant Director Kristen Osborn is a Chicago-based director who is passionate about sparking compassion through storytelling. She is the founder and producing artistic director of JoyistLA. Directing credits include Eugene O’Neill’s Fog, JoyistLA’s First Embrace, and an original adaptation of the Orpheus and Eurydice myth, Lift. Assistant directing credits include The Scene (dir. Kimberly Senior, Writers Theatre), Sex With Strangers (dir. Kimberly Senior, Geffen Playhouse), Relativity (dir. BJ Jones, Northlight Theatre) The Cake (dir. Lauren Shouse, Rivendell Theatre Ensemble), Threesome (dir. Jason Gerace, Other Theatre Company), Choir Boy (dir. Trip Cullman, Geffen Playhouse), Fighting Shadows (dir. Robert Egan, Inner-City Arts). Kristen was the Artistic Associate of the 2017 Ojai Playwrights Conference, where she co-directed Intersection: Truth Will Out, having previously been the Associate Director of OPC’s Intersection: Across the Divide in 2016. She is the Artistic Assistant at Northlight Theatre, and is a graduate of UCLA’s School of Theater, Film and Television.

MICHAEL ROTH Composer & Soundscape Michael is a composer and sound designer whose work — film scores, chamber music, operas, and music/sound for over 250 productions, including Broadway, Off-Broadway, Canada’s Stratford Festival, as a resident artist at SCR and La Jolla — has been called “music one could imagine Ives composing had he encountered rock and roll and beat poetry.” Previous projects and collaborators include: Christopher Plummer (The Tempest (stage/film), A Word or Two), Stacy Keach (Pamplona), PBS (Jews & Baseball), Anne Bogart, Des McAnuff, Sarah Ruhl, Peter Sellars, Tom Stoppard, Daniel Sullivan, Mac Wellman; as a pianist, accompanying many from Alicia Keyes to Alice Ripley and Michael McKean; his music/theatre treatment of Beckett’s Imagination Dead Imagine for string quartet and laptop (European premiere in Prague in September); and many projects with Randy Newman, including musical direction for Disney’s The Princess & the Frog and orchestrations for Faust. Upcoming: The Web Opera, to be premiered online. More info: http://rothmusik.wix.com/rothmusik. STEVE RANKIN Fight Director Broadway: Carousel (Drama Desk nom., Outstanding Fight Choreography), Summer, Doctor Zhivago, Memphis, Jersey Boys, The Who’s Tommy, Macbeth, Guys and Dolls, Twelfth Night, Henry IV, Two Shakespearean Actors, Getting Away With Murder, Anna Christie, The Real Inspector Hound, The Farnsworth Invention. Off-Broadway: Below the Belt, The Third Story, The Night Hank Williams Died. Stratford Shakespeare Festival: Romeo & Juliet, Henry V, Caesar & Cleopatra, Macbeth. Metropolitan Opera: Iphigenie et Tauride, Faust, Rodelinda, Boris Godunov. Regional: Mark Taper Forum, Ahmanson, La Jolla Playhouse, Old Globe (Associate Artist), Berkeley Rep, Actors Theater of Louisville, Aslo, GEVA, Center Stage, etal. Mr. Rankin plays mandolin with the Americana Folk artist Susie Glaze and the New Folk Ensemble. He is a proud member of SDC. TRACY LILIENFIELD, CSA Casting Tracy began her career in New York casting for Broadway, Off-Broadway, and some of our most prestigious regional theaters. Since relocating to Los Angeles, Tracy has earned multiple Emmy Award and Artios Award nominations and wins for her television work including the original episodes of Will & Grace, The New Adventures of Old Christine (reuniting her here with Hamish Linklater) and currently for Netflix’s popular Grace & Frankie starring Jane Fonda, Lily Tomlin, Martin Sheen and Sam Waterston. A longtime colleague and friend of SCLA, Tracy is thrilled to be a part of this production. Many thanks, as always, to Casting Associate extraordinaire, Emily Towler, CSA.

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w DAVID LOBER Production Stage Manager Broadway: Groundhog Day, Matilda, Saturday Night Fever. Los Angeles: Wicked, The Lion King, Disney’s Beauty & the Beast, The Ten Commandments. National Tours: Million Dollar Quartet, Aida, Sunset Boulevard, and The Light in the Piazza. Special thanks to Colleen and Phillip. DavidLober.com. MICHELLE BLAIR Assistant Stage Manager Michelle Blair has enjoyed a long history of stage managing in Los Angeles and is excited to be working with The Shakespeare Center of Los Angeles for the first time. She works extensively with Center Theatre Group and has worked on over 30 productions within their three theaters. Other favorites include The Pee-wee Herman Show at Club Nokia, A Long Bridge Over Deep Waters with Cornerstone Theater Company, and Jersey Boys in Las Vegas. Graduate of the University of Southern California and the University of Amsterdam. Mom to ten-yearold Liam and six-year old Imogen. SUSAN HEGARTY Speech / Text Coach Susan has coached and/or acted with regional theatres and Shakespeare festivals throughout the country. Formerly on the CalArts Theatre School faculty, she is now one of Hollywood’s top dialect coaches, having served on the sets of at least 55 feature films, as well as numerous others in pre/post-production - including many years collaborating with Kate Winslet and Rachel Weisz. Performances she’s coached have won Golden Globes, Emmys, and an Oscar. Henry IV marks her happy return to the Shakespeare Center, where previously she played Kate in Taming of the Shrew, and Adriana in A Comedy of Errors. DAVIDSON & CHOY PUBLICITY Press Representative Davidson & Choy Publicity is a Los Angeles based performing arts publicity firm, with a resume that includes musicals from the original Los Angeles productions of Evita at the Shubert Theatre through The Book of Mormon at the Pantages Theatre, and dozens of dance companies including long stints with American Ballet Theatre and Alvin Ailey American Dance Theater. The firm currently works with The Actor’s Gang, The Broad Stage, Disneyland Park, Dizzy Feet Dance Foundation, The El Capitan Theatre, Ford Theatres, Hollywood Bowl, Japanese American Cultural and Community Center, KCRW FM Radio, Long Beach Ballet, Long Beach Opera, Lythgoe Family Pantos, A Noise Within, Pasadena Playhouse, Segerstrom Center for the Arts, The Shakespeare Center of Los Angeles, The Soraya (Valley Performing Arts Center), and Walt Disney Imagineering.

JESSICA HIRD Director of Marketing & Sales Jessica has worked in marketing for TheatreWorks Silicon Valley and Berkeley Repertory Theatre in the Bay Area. She recently relocated to Los Angeles after 11 years in Las Vegas managing marketing and sales for Ticketmaster and Vegas.com. Some of her signature campaigns include the multi-million dollar, ground breaking Summer of Cirque du Soleil, Broadway in Vegas, and Magic May. She also developed marketing and advertising campaigns with global reach for artists and shows such as Brad Garrett, Celine Dion, Bette Midler, Le Rêve, Magic Mike Live, Mamma Mia!, Phantom, and Santana. She is happy to be back with the Bard after cheating on him with many magicians, hypnotists, fire breathers and aerialists. TOM WARE Executive Producer Producing Director at the venerable Pasadena Playhouse: 26 World Premiers including development of Broadway’s Accomplice, Solitary Confinement, Twilight of the Golds, Looped, Baby It’s You, Sister Act: the Musical and Off-Broadway’s Vanities: the Musical. International tours include Sisterella and A Class Act. Senior Producer for Walt Disney Imagineering Creative Entertainment in the development of the live entertainment program for the seven live-performance stages at Shanghai Disney Resort, China. Tom presides over Production Solutions, providing production and technical support services for musical artists around the globe. Featured artists include Joan Baez, Stevie Wonder, Faith Hill and Tim McGraw. BEN DONENBERG Executive Artistic Director Ben Donenberg is the Founder and Executive Artistic Director of The Shakespeare Center of Los Angeles (SCLA) and has received awards and national recognition from two United States Presidents, Actors’ Equity Association, NAACP, Los Angeles Drama Critics Circle, California Educational Theatre Association, the Los Angeles County Board of Supervisors, and Mayor of Los Angeles. He served on the National Council on the Arts, and participated in the U.S. Department of Defense Joint Civilian Orientation Conference, where he was immersed in the training and simulated working conditions of all five branches of our Armed Forces. He has lectured at universities and seminars. He has directed many theatrical productions and served as a unit producer in feature films.

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ADDITIONAL STAFF & CREDITS SHAKESPEARE CENTER OF LOS ANGELES STAFF Artistic Director...............................................................Ben Donenberg Director of Programs & Operations .....................................Marina Oliva Youth & Education Program Consultant............................Chris Anthony Business Affairs...................................................................Jerry Scharlin Operations Associate.......................................................... Paul Mackley Senior Development Consultant......................................... Michael Ruff Senior Philanthropic Strategist...........................Nicholas Goldsborough Board Development Consultant............................................. Andy Knox Institutional PR Specialists......................................C4 Communications VA Liaison....................................................... Rear Admiral Tim Sullivan Special Event Coordinator.................................................. Harvin Rogas Production Intern/ County Intern........................................ Steven Garry HENRY IV PRODUCTION STAFF Technical Director...............................................Michaelangelo DeSerio Props Master.......................................................................... Kirk Graves Speech / Text Coach.......................................................... Susan Hegarty Scenic Construction....................................Set Masters; Rocksteady, Inc. Vendor Coordinator........................................................ Marshall Bissett Properties Scenic Artist............. Courtney L. Dusenberry / Prop or Scenic Associate Costume Designer............................................... Karen Rivera Assistant Costume Designer.............................................Emily N. Smith Wig and Make Up Design..........................................Shannon Hutchins Costumes Crafts / Dyer........................................................ Katie Wilson Falstaff Dyer / Ager................................................................. Teri Tavares Falstaff Bootmaker....................................................................Armstreet Costumers................ Sydney Bacenas, Rebecca Guzzi, & Bonnie Sinclair Costume Construction....................Muto Little Costume, AJS Costumes, Michelle Love, Suzanne Schultz Reed, & Western Costume Company Costume Logistics............................................................. Michael Millar Costume Vendors & Purchasing Coordinator......................Karen Weller Costume Liaison for Fights / Weapons................................Kara McLeod Wardrobe Supervisor............................................................ Kit Peterson Master Craftsperson............................................................ Katie Wilson Craftspeople...................................... Whitney Claytor & Kaylynn Sutton Assistant to the Lighting Designer....................................... Curtis Scheu FOH Mixer / Audio............................................... Anna Libbie Grossman Associate Fight Choreographers............ Bobby C. King, Wayne Kohanek & Jess Jones Production Assistant..............................................Nidia Kimberly Flores Production Intern............................................................... Eden Lederer Front of House Design.........................................................Doug Rogers Box Office Manager......................................................Nanor Avedissian Box Office Associates..................................Mecca Herd, Eddie Hustleby, & James Patrick Fitzgerald Key Art Designer..............................................................Cheshire Isaacs Social Media Manager.................................................Charissa J. Adams Program Designer.............................................................Holly Robbins

VETERAN LEADERSHIP TEAM Platoon Leader/ Master Carpenter...................................... Chad Rowlett Squad Leader/ Venue Maintenance & Concessions Lead.........................................................Joshua Valdez Squad Leader / IT & Box Office Lead............................... Darrell Morrison Squad Leader / Front of House Security Lead................Donnie Williams Squad Leader / A2 Audio Tech........................................... Bradley Wassil Squad Leader / Parking Attendant Lead....................... Shawn McKelvey Squad Leader.............................................................................Ariel Bell MUSIC CREDITS: Guitar.................................................................................Peter Sprague Cello...............................................................................Stephen Erdody Violin.................................................................. Batya MacAdam-Somer Percussion...........................................................................Morris Palter Trumpet.......................................................... Elizabeth Meeker Howard Music recorded at SpragueLand Studios.

CREDITS

Custom arms, armour by master blacksmith, Tony Swatton, Sword and The Stone.

Actors’ Equity Association (“Equity”), founded in 1913, is the U.S. labor union that represents more than 51,000 actors and stage managers. Equity fosters the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actors’ Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. www.actorsequity.org #EquityWorks

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Judge Harry Pregerson

The Shakespeare Center of Los Angeles wishes to acknowledge Judge Harry Pregerson as the champion of this project. Federal Judge Harry Pregerson served in the U.S. Marines during WWII. He was severely wounded during the Battle of Okinawa. After the war, he attended UCLA and U.C. Berkeley Law School on the GI Bill. He was a tireless advocate for homeless veterans and their families. He successfully led efforts to create shelters, transitional housing, child care centers, and job training facilities to help veterans throughout Los Angeles. His efforts include the Salvation Army’s Haven Program on the West Los Angeles VA campus, which cared for hundreds of formerly homeless men and women who served in the armed forces. He played an important role in bringing the L.A. Shakespeare Festival to the V.A. campus. His wife of more than 65 years, Bern, is a microbiology professor at Pierce College. Judge Pregerson passed away on November 25, 2017.

Jesse ‘Jay’ Morales is a retired banker, former Marine, and past District Commander and Adjutant Emeritus of Los Angeles Post 8 of The American Legion. He has been instrumental in spearheading efforts to successfully achieve SCLA objectives while working to bring this annual summer Shakespeare Festival event to fruition. Mr. Morales has also worked with senior VA leadership as a charter advocate to promote the Veterans in the Arts program. In his capacity as chairman of the VA Voluntary Service Executive Committee, he has completed over twelve-thousand hours of VA Voluntary Service in the Greater LA Healthcare System, VISN-22. Jay has been elected to American Legion, Veterans of Foreign Wars, Disabled American Vets, and AmVets state-wide offices; and is a proud protégé of Judge Harry Pregerson. Jesse ‘Jay’ Morales Patrick Stansfield

The Shakespeare Center of Los Angeles gratefully acknowledges the extraordinary support of the late Patrick Stansfield. For nearly two decades Patrick reached out to many of his friends and colleagues for world-class equipment and services for shows at The Shakespeare Center. His illustrious career began as a Stage Manager at The Guthrie Theater and evolved into service as a Production Supervisor, Production Manager, and Touring Manager for such luminaries as Barbra Streisand, Bob Dylan, The Rolling Stones, Neil Diamond, The Beatles, Santana, Grateful Dead, Crosby Stills & Nash, George Harrison, and the NY Central Park Mass and Sunrise Concert of Pope John Paul’s 1996 visit. Patrick is remembered as the The Godfather of Shakespeare Center of Los Angeles.

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P26 PERFORMANCES MAGAZINE

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BOARD OF DIRECTORS OFFICERS CHAIR: Mee Hae Semcken / Lee Consulting Group PRESIDENT: Craig Darian / Occidental Entertainment Group Holdings SECRETARY: Nathan Hochman / Morgan, Lewis & Bockius TREASURER: Diana Timuryan / Pacific Western Bank CHAIR EMERITUS: Michael J. Narvid / Narvid Scott LLP DIRECTORS Marshall Bissett Spencer Churchill / Production Accounting Gilbert J. DeGloria / Walt Disney Parks & Resorts Ben Donenberg / The Shakespeare Center of Los Angeles Sy Exter Alan H. Friedenthal / LA County Family Court Commissioner, Retired Michelle Itzkowitz / The Capital Group Rosalinda O’Neill / Greatness Building Sharon Pregerson / College Counseling Jennifer Quiesenberry / Followed by a Bear Productions Rita Wilson / The Playtone Company IN MEMORIAM Ethel Narvid, Founding Chair Frank J. Sherwood, Founding Angel Patrick Stansfield, Board Director

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Your Legacy now. Here’s your opportunity to ensure that the presentation of Shakespeare will continue to thrive in Los Angeles for generations to come. Name The Shakespeare Center of Los Angeles in your will or trust to allow thousands of young people to experience theatre for the first time, to support transitional employment and successful recovery for veterans, and to sustain the production of world-class Shakespeare in Los Angeles. Make the art you love your legacy. For the generous donation of your planned giving, you’ll also receive: • Complimentary personal consultation to maximize the efficacy of your gifts. • Special tax deductions and upgraded donor benefits for you and your family. • Prominent recognition by our theatre. Is The Shakespeare Center of Los Angeles already in your will? Please let us know so we can honor your generosity.

Support

THE SHAKESPEARE CENTER OF LOS ANGELES

NTER

THE S H

Call Alan H. Friedenthal at (818) 667-8675 to learn more.

The Shakespeare Center of Los Angeles is a 501(c)(3) non-profit organization that enriches and nurtures personal growth, SPEAR KE E A social professional development and change through engaging and accessible arts experiences inspired by Shakespeare’s plays and poetry, with a special focus on empowering underserved youth and veterans. O S S L

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THE SHAKESPEARE CENTER OF LOS ANGELES IS GRATEFUL TO ITS 2017/2018 PHILANTHROPIC SUPPORTERS: Katie McGrath & J.J. Abrams The Ahmanson Foundation Linda Ainsworth The Annenberg Foundation Andy & Avery Barth BBVA Compass Jerry Bruckheimer, Bruckheimer Films California Community Foundation The Capital Group Kate Capshaw & Steven Spielberg The Carol and James Collins Foundation Creative Artists Agency Rivers Cuomo Craig & Kimberly Darian and Albert Sweet Jeffrey Davidson Gilbert DeGloria Dwight Stuart Youth Foundation David Geffen Foundation Entertainment Industry Foundation Sy Exter Faucett Catalyst Fund Russell & Carol Faucett Yehuda & Jane Fishman John Frankenheim Alan H. Friedenthal David Geffen Foundation Arent Fox LLP Ann & Jim Gianopulos The Rosalinde and Arthur Gilbert Foundation David Glaser L. and S. Gold Family Trust Carol Goldsmith The Green Foundation Gallo Family Vineyards The Honorable Jane Harman HBO David Hilliard Thomas Hobbs Alan & Cindy Horn Harry Horowitz Vivienne & Nathan Hochman Hollywood Canteen Foundation Imagine Entertainment Phil Israels Michelle W. Itzkowitz Sherry Johnson Marilyn & Jeffrey Katzenberg Catherine Kaufman

★

The Karsh Family Foundation David Kobrin Los Angeles County Supervisor Sheila Kuehl Elvis Kunesh Land of the Free Laurie Lerner John Lavely, Jr. The Edward F. Limato Foundation Loeb and Loeb LLP Ed Lucks Allison & Steven Martini Mirman, Bubman & Nahmias Casey Mott Nabih and Isis Youssef Family Fund Narvid Scott LLP Lauren Nichols Occidental Entertainment Group Holdings Rosalinda O’Neill Oro Capital Advisors, LLC Pacific Western Bank Catherine Pankow Paramount Pictures The Ralph M. Parsons Foundation Benjamin Pohlmeier Frank & Katherine Price Anthony & Jeanne Pritzker Family Foundation Sandra Rapke Rose Hills Foundation Richard Rosenberg Michael Ryan Barry Shaffer Sony Pictures Entertainment The John and Beverly Stauffer Foundation The Stern Memorial Trust The Streisand Foundation Mee & John H. Semcken, III Richard Siegel Squid & Squash Foundation, George Mohlsbarger Natalie Tee-Gaither Dianne Todd Michael Tusing The Walt Disney VoluntEars Fund The Weingart Foundation Luanne Wells Rita Wilson & Tom Hanks The Wunderkinder Foundation And, those who wish to remain anonymous

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UPCOMING EVENTS AT THE SHAKESPEARE CENTER OF LOS ANGELES

JUNE 23 — AUGUST 11, 2018

THE SHAKESPEARE INSTITUTE Led by acclaimed Shakespeare director, Louis Fantasia, this is a unique, two-week institute for English and Drama teachers, presented by the SCLA and the UCLA William Andrews Clark Library. For information and to apply, contact Marina Oliva at (213) 481-2273.

SEPTEMBER 16, 2018

STAGED READING: TITUS ANDRONICUS At 7PM. Special guest stars to be announced soon! Reading benefits the Will Power to Youth program.

NOVEMBER 4, 2018

STAGED READING: CORIOLANUS At 7PM. Special guest stars to be announced soon! Reading benefits the Will Power to Youth program.

SPEAR E K E

NTER

WILL POWER TO YOUTH SUMMER 2018 Award-winning one of a kind youth development and empowerment program that hires young people ages 15-21 living at the poverty threshold from the LA area. Youth are hired full time for seven weeks to produce and perform an adaptation of a Shakespeare play.

THE S H

JULY 10 — JULY 20, 2018

★

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FIND US ON SOCIAL MEDIA:

@Shakescenter @shakescenterLA @shakespearecenterla Don’t forget to add the hashtags: #whatisHonor #henry4honor #henryiv #falstaffandhal

outlined font version

CONTACT & GENERAL INFORMATION:

red head

General Info:

(213) 481-2273 1238 W. 1st Street, Los Angeles, CA 90026

To Rent Our Theatre in Downtown LA:

(213) 481-2273

Late Seating:

Late comers will be seated at a suitable break in the performance and in conveniently reachable seating locations. Late comers will be seated at the discretion of management

Smoking:

No smoking, vaping, or other smoking of any kind.

Lost & Found:

Please let an usher know if you might have left something behind, or call us at (213) 481-2273

Age:

Henry IV is suggested for ages 12+

No Recording:

The use of cameras, recording devices, cell phones, beepers and other electronic devices during the performance is prohibited.

Please be advised, NO ALCOHOL is permitted on the VA Campus.

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Helping you achieve your goals has always been ours Congratulations to David G. Adishian for being recognized on the Forbes’ “Best-in-State Wealth Advisors” list in 2018.1 David was named to the inaugural Forbes list of America’s Top State-by-State Advisors in California.

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Source: Forbes “Best-in-State Wealth Advisors” ranking was developed by SHOOK Research and is based on in-person and telephone due diligence meetings to evaluate each advisor qualitatively, a major component of a ranking algorithm that includes: client retention, industry experience, review of compliance records, firm nominations; and quantitative criteria, including: assets under management and revenue generated for their firms. Investment performance is not a criterion because client objectives and risk tolerances vary, and advisors rarely have audited performance reports. Rankings are based on the opinions of SHOOK Research, LLC and not representative nor indicative of any one client’s experience, future performance, or investment outcome. Neither Forbes nor SHOOK Research receives compensation in exchange for placement on the ranking. Forbes is a trademark of Forbes Media LLC. All rights reserved. Merrill Lynch Wealth Management makes available products and services offered by Merrill Lynch, Pierce, Fenner & Smith Incorporated, a registered brokerdealer and Member SIPC, and other subsidiaries of Bank of America Corporation.

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AN EPIC CLOSET  LCD opens a second boutique, this one downtown.

JULY 12-15

THE JAMES BRIDGES THEATER/UCLA Lucille Ball and Desi Arnaz are perhaps the most famous TV couple of all time. Who would believe the chemistry, casting, and plot of their iconic show would all be questioned before it made its way into millions of American homes? We’ve got some ’splainin to do. UP CLOSE AND PERSONAL L.A. Theatre Works has entertained the world for over 40 years with our signature radio theatre format. No sets, no costumes, just great performances.

TICKETS AND INFORMATION

LATW.org | 310.827.0889

THE POPULARITY OF THE ARTS district downtown among creative people is well established. Bordering that wide swath of former factories and warehouses is Row DTLA, an ambitious 32-acre mixed-used project centered around the city’s centuryold produce market. LCD, whose original store is in Venice, is among the compelling fashion boutiques drawn to Row DTLA. “I loved the architecture of the space and the history of the produce market,” says owner Geraldine Chung. She was also impressed with the leasing concept of the Runyon Group, the same company responsible

for fashion-forward Platform in Culver City. “They seemed to really understand the importance of food to our culture these days and how shopping can intersect with that,” says Chung, who notes that visitors to the every-Sunday Smorgasburg LA marketplace are discovering the neighborhood. The former music industry executive launched LCD as an online store before opening in Venice in 2016, followed by DTLA late last year. “We were really inspired by the work of Spanish architects Arquitectura-G, in terms of their use of simple utilitarian materi-

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als and monochromatic spaces,” Chung says of her vision for the store, executed by Brooklyn-based interior designer Hillary Taymour. “We wanted to shy away from any obvious Instagram-bait while still creating a space that would be a sensory experience.” The result of their efforts is a breezy, high-ceilinged space that feels much larger than its 1,000 square feet; it’s anchored by a modern centerpiece sofa that invites people to linger. “Our goal is for our customers to feel like they’re at their best friend’s house, hanging out with the older sister who’s sharing her epic closet with them, trying on clothes,” Chung says of the relaxed vibe. Customers are offered a glass of rosé, a bit of chocolate or even lunch while struggling over their style decisions. The downtown clientele differs slightly from that of Venice, and Chung makes minor adjustments in her selection of merchandise. “The DTLA customer is a bit more streetwear-y and interested in vintage tees, Vans, etc.,” notes Chung. “It’s a very L.A. client, and by that I mean real Angelenos,

Photo by Hugo Glendinning

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not folks who live in Beverly Hills or West Hollywood.” For a luxurious take on a timeless classic, LCD carries a cashmere/silk black cardigan ($1,330) by designer Ryan Roche. From multifaceted talent Hillary Taymour’s eco-conscious Collina Strada clothing line is the white denim Disnee skirt ($295), a breezy, ruffled piece whose asymmetric design speaks to a sense of independence. Designed in L.A. but crafted in Spain are LOQ’s strappy Xavi sandals ($310), with 2½-inch stacked heels in a beachy coral tone. Cream-colored Bella Knit boots ($905) by Alyx fit like socks, but their crimson stiletto heels make a statement. “It’s just the most incredible quality of postpunk meets streetwear meets luxury fashion,” Chung says of Alyx, whose products are manufactured in Italy. The proprietor, who is inspired by modern art, says, “I approach buying [fashion] in much the same way that I approach buying art—looking for not only buzz but also for some sort of a new twist, a new approach to an old idea.” 58 PERFORMANCES MAGAZINE

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GORDON GETTY

2 SHOWS ONLY! JUNE 22 & 24 at The Broad

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Further explaining her selection of designers, Chung says, “It’s usually a combination of a gut response to the look, what the history and values of the brand might be, and if it’s something that would speak to our clientele.” For accessories, Chung showcases flirty Swing earrings ($210) from Faris, the limited-production, handmade jewelry line of Seattle-based designer Faris Du Graf, and sophisticated handbags such as a chic cross-body bucket bag ($355) in rusty brown from L.A.’s VereVerto. “Our customer is typically someone who has a strong individual streak in them and doesn’t particularly like being told what to do or what to wear,” says Chung, noting she attracts a lot of creative people. “Our customers tend to be a bit rebellious while still operating completely in the ‘real world.’ ” —Joseph LeMoyne

LCD Row DTLA, 1318 E. 7th St., Suite 126, downtown, 213.372.5525 1121 Abbot Kinney Blvd., Suite 2 Venice, 424.280.4132; shoplcd.co

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INGRAINED ELEGANCE  The Wooden Palate’s exquisite culinary products and furniture EVEN IN ARCHITECTURAL environments defined by glass and concrete, there is always a place for handcrafted wood accents and furnishings. Its timelessness, versatility and surprising strength make the organic material perpetually fashionable. The Wooden Palate, founded by Ryan Silverman and wife Eileen O’Dea, transforms timber into exquisite furniture and accessories. Silverman, who holds an MBA from the University of Chicago, was making serious money in corporate America as a director of mergers and acquisitions before he followed his passion into the woodshop.

“I wasn’t leaving anything behind, just moving numbers around on a spreadsheet,” he says of his previous career, noting that his father encouraged him to find a more satisfying path in life. In high school and college, the Midwestern native had apprenticed for a custom woodworker, and in 2003 he returned to the craft. In 2012, just months after meeting O’Dea, the Wooden Palate was founded. “When I met the woodworker, I wanted to learn how to make cutting boards for my culinary students,” recounts O’Dea, a former private chef, cooking instructor and yogi.

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with live performance by East LA band Las Cafeteras Sat, Nov 10, 2018 at 8pm This bold, multilingual dance company draws on their Los Angeles roots— fusing Salsa, Afro-Cuban, Hip-Hop, urban, and contemporary dance—to create an invigorating engaging work. Teaming up with Las Cafeteras, the East LA band that has taken the music scene by storm, joyUS justUS explores joy as the ultimate expression of resistance.

FLAMENCO VIVO CARLOTA SANTANA

Sat, Feb 2, 2018 at 8pm

TRINITY IRISH DANCE COMPANY

Sat, Mar 2, 2018 at 8pm

AN EVENING WITH LILY TOMLIN

SEP 29, ’18 at 8PM Lily Tomlin returns with comical insights and wildly witty observations on what The Washington Post calls a “wise and howlingly funny” trip.

CIRQUE MECHANICS

42FT – A Menagerie of Mechanical Marvels

OCT 13, ’18 at 8PM Step right into the world of gears, canvas, pulleys, and sawdust as they explore the lore and history of the one-ring circus!

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performing arts

AN EVENING WITH PAULA POUNDSTONE

JAN 19, ’19 at 8PM Poundstone can find the hilarious angle of almost any subject—from the absurdity of the political world to the deviousness of housecats—and deliver it with impeccable timing and razor-sharp wit.

WE SHALL OVERCOME A CELEBRATION OF MARTIN LUTHER KING, JR.

JAN 27, ’19 at 2PM Inspired by the words and actions of Dr. Martin Luther King, Jr., five astounding singers and a quartet of musicians, led by acclaimed music director Damien Sneed, celebrate a repertoire of music traditions.

562.985.7000 CarpenterArts.org

PETER SAGAL

Host of NPR’s Wait Wait… Don’t Tell Me!

MAR 16, ’19 at 8PM Celebrating 20 years of the hit NPR news quiz, host Peter Sagal, in an entertaining and thoughtprovoking evening, goes behind the scenes to explore the show’s most memorable moments while taking a look at today’s news stories.

Artists and date subject to change without notice.

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A redwood slab and trunk, used to make monumental furniture pieces such as dining tables

“She was fascinated by the shop and kept coming back to learn everything she could,” explains Silverman, who was able to parlay some of O’Dea’s small designs into larger projects. The couple’s other business, Studio E&R, is dedicated to making custom staircases, beams and flooring for woodcrafted interiors. As they completed a job at Jennifer Aniston’s home in 2012, they presented their client with a cutting board as a parting gift. “She said she had never seen such a beautiful cutting board,” O’Dea recalls, “and asked, ‘Can you make another 50 for me to give to my friends?’ ” Clearly, there was demand for the Wooden Palate’s culinary products, which have since been embraced by world-class chefs such as Thomas Keller. The cutting boards can be extraordinary, with as many as 700 pieces of wood integrated into the tessellated products.

“It takes time to not only make them beautiful but to create something that will last forever, something you can pass on to your daughter or granddaughter,” says O’Dea, who tests products in her own kitchen to ensure their durability. The Eileen board ($735), used every day by O’Dea in the couple’s own home, stands on stout legs that elevate the chopping surface 5 inches above the countertop. Offered in black walnut or fumed oak, it is a dazzling composition of nuanced wood grains. A 6-inch-square, easily portable mini-chop board ($100) is almost as impressive, and a board with a lip ($535) to ensure greater stability on the countertop is also available. The self-healing end-grain construction prevents most knife marks from showing on the board and is easy on cutlery. A gorgeous chop block island ($6,500), available in walnut,

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white oak or fumed oak, features painted black feet. Even more stunning is an end-grain-constructed white-oak island with a dramatic cantilevered edge ($6,500). The Wooden Palate also creates some exquisite custom furniture, such as a luxurious black-walnut coffee table ($4,500) on solid talk of the town by brass legs with a waterfall end and live edge that displays the wood’s glorious imperfections. The Aleece dining table (starting at $17,500) features strips of fumed oak, presented in a modern composition in which a No two voices are alike — and at the USC Voice Center, no two central inlaid-brass base allows treatments are, either. Our team of renowned physicians and the top to extend outward, uninspeech pathologists provide personalized, interprofessional care hibited by traditional legs. for a wide range of disorders related to vocal health and swallowing The quarter-sawn white oak or airway issues. You can feel confident your voice is in good hands. and walnut used by the Wooden Palate is sustainably produced on For appointments, call (800) USC-CARE a multigenerational family farm or visit ent.KeckMedicine.org in Kentucky. Some custom furniture pieces are monumental, such as dining tables crafted from naturally fallen Big Sur redwood, for which prices can approach $60,000. “We’re unique in the sense that our work encompasses so many things, from taking down a © 2017 Keck Medicine of USC whole tree and not wasting any of it,” says O’Dea. Her comments reflect her husband’s reverence USC-18044_OtoVoiceCenter-Ad_HP4C_PerformMag_4.625x7.375.indd 1 for the wood, particularly a 1,000-year-old redwood whose Rachmaninoff ’s Faithful majesty will live on in homes Accompaniment touched by the Wooden Palate. “There are only two important things —Roger Grody which I took with me on my way to America. It’s been my wife Natalja and my precious Blüthner.”

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DOWNTOWN’S HOTEL FIGUEROA was burdened with an incongruous Moroccan decor when new investors embarked on a massive makeover in 2015. Finally reopened, the 1926 landmark now recaptures the hotel’s original Spanish Colonial aesthetic but with a modern interpretation that feels fresh and inviting. The Figueroa’s centerpiece dining venue is Breva, a Basqueinspired concept showcasing the talents of Casey Lane, a buzz-worthy chef best known for the Tasting Kitchen in Venice. Located off the hotel’s lobby, Breva is an intimate restaurant with the high-energy vibe of a

brasserie. Neo-rustic chandeliers hang from a high ceiling over white or black marble-topped tables. Despite its shoebox-size, the space possesses volume as well as intimacy; its lively bar extends into the lobby beneath a glass ceiling. A small-plate format allows tables to share a wide range of Mediterranean- and Basqueinspired dishes family-style. From the bar comes a variety of oysters from the Northwest, either raw or grilled; mushroomfoie gras toast makes for an indulgent first bite. Moorish-spiced carrots are plated with crushed hazelnuts and tangerine slivers, a

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Bone marrow drizzled with chimichurri sauce.

sweet yet light presentation. Other options include sautéed pea tendrils—definitely a hot ingredient in L.A. right now— topped with lemon breadcrumbs and blistered shishito peppers, and plated with creamy labneh cheese and shaved mojama (saltcured tuna). A long bone is halved and roasted for its marrow and is drizzled with chimichurri sauce before leaving the kitchen. A quartet of perfectly round ham-and-cheese croquetas anchored in aioli arrives in a wooden bowl. The size of pingpong balls, they are very delicately breaded and luxuriously creamy within, reminiscent of those you find in the better tapas bars in Spain. Fried sweetbreads are custardy beneath their battered crust and excel thanks to a gastrique created with honey and sherry vinegar. They are served on a little tray along with acidic, fennellaced greens to cut the richness of the meat. Larger plates include fried chicken presented over Catalan greens. The chicken does not have the decadence of Southern fried chicken, no doubt a minor disappointment to some, but is more nuanced. Among the dish’s best attributes is the creamy, warm jamón-jalapeño potato salad that arrives alongside. A whole pan-seared branzino is enhanced with almonds and pole beans, in a brown butter beurre blanc; the flat iron steak

800-745-3000 | 5startheatricals.com

JULY 20 - 29, 2018

With music by Alan Menken, and lyrics by Howard Ashman and Tim Rice, this much-anticipated production will transform your spirit, leaving you captivated by adventure, revenge, true friendship and love that knows no limitations.

For the first time since originating the role on broadway, Susan Egan returns to the stage as Belle!

2017-2018 Season Honorary Producers HUGH & KEETS CASSAR

ANNOUNCING THE LINEUP FOR OUR

NEW 2018-2019 SEASON

OCT 19-28, 2018

MARCH 22-31, 2019

JULY 26-AUG 4, 2019

5-STAR THEATRICALS Kavli Theatre - Thousand Oaks Civic Arts Plaza 5-Star Theatricals is a 501(c)(3) nonprofit organization.

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Survivor: My Father's Ghosts Hannah Kozak, photographer, filmmaker and writer, retraces her father’s footsteps through eight Nazi forced-labor camps.

openinG May 20, 2018 LoS anGeLeS MuSeuM oF the hoLocauSt 100 the Grove Drive, Los angeles, ca 90036 | 323.651.3704 | www.lamoth.org admission always free

Distinctive Residential Settings | Chef-Prepared Dining and Bistro Premier Health and Wellness Programs | Award-Winning Memory Care Professionally Supervised Therapy and Rehabilitation Services

with green garlic butter and frites seems well suited to the bistro-like ambience of Breva. Lane, who makes a point of working closely with local farmers, ranchers and purveyors, sources all of his beef from Huntington Meats, a butcher that has been operating out of L.A.’s Original Farmers Market for decades. The menu offers various dry-aged steaks, short ribs and a burger layered with Mahón cheese and caramelized onions. The desserts of pastry chef Ashley Jacoby, formerly with the Lucques Group, are well worth exploring. Her mille-feuille, exquisitely presented and layered with mascarpone and rose jam, is lighter than the classic French version; her rhubarb-pistachio crostata is a more rustic finale with a quenelle of cardamom creme fraiche. The wine list, on which California, Spain, Italy and France are all well represented; it features some particularly attractive

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EIGHT CONVENIENT LOCATIONS West Los Angeles

11801 Santa Monica Blvd. (at Granville) prices for a trendy Los Angeles restaurant. The cocktail program, which is showcased at several venues throughout the newly renovated hotel—including the reservationsonly Bar Alta—is overseen by innovative mixologist Dushan Zaric of New York’s Employees Only and Macao Trading Co. For most Angelenos, Hotel Figueroa was a building they passed on the way to thte Staples Center for a game or concert. Its strategic location was largely wasted, so the reimagination of the Figueroa, with a new look and generous amenities that include a serious food and beverage program, is welcome. And striking just the right notes of informality and sophistication is Breva. —Roger Grody

Breva Hotel Figueroa 939 S. Figueroa St., downtown 213.660.3006, brevadtla.com

West Los Angeles

10960 Santa Monica Blvd. (at Veteran)

Mid-Wilshire Area

360 N. Fairfax Ave. (at Oakwood)

Pico-Robertson Area

8520 W. Pico Blvd. (at La Cienega)

Mar-Vista Area

12120 Venice Blvd. (at Grandview)

Studio City

12203 Ventura Blvd. (west of Laurel Canyon)

Van Nuys

14526 Victory Blvd. (west of Van Nuys Blvd.)

Canoga Park

21716 Sherman Way (east of Topanga Canyon Blvd.)

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L.A. Opera Orchestra, owns both among his seven or eight bows. “I use a carbon-fiber bow for L.A. Opera,” says Walz; the company offers a double bill of Edgar Allan Poe operas by Gordon Getty at the Broad Stage in Santa Monica June 22 and 24. “Not only does it draw a very nice sound, but it’s extremely light and easy on the arm. Does it draw as warm and refined a sound as my beautiful French wooden bow? No, but when you’re doing a three- or four-hour opera, it saves wear and tear on the arm.” Choice of bow can depend on whether the performance is indoors or out, solo or ensemble. “I would use a heavier bow if I were playing a solo, or playing Romantic music, to produce a fuller sound,” Kennedy says. “I’d use a lighter one for ensemble playing— you want to blend into the orchestra better.” Orchestral bowing in a given passage is decided by the concertmaster and the conductor. “It’s harder to choose a bow [to purchase] than an instrument,” says Walz. The pairing must sound right—bows and instruments alike have various degrees of sonic brightness and darkness—and feel natural to hold and to move as the bow hair “grabs” the strings. That hair, which is stretched and attached to both ends of the bow, comes from horses—preferably stallions, which have cleaner hair than mares—in cold climates such as Mongolia, Siberia and northern Canada, where the hair is thicker due to the weather. Players apply rosin—a specially processed tree resin—to the hair to make it sticky, creating the friction that produces 70 PERFORMANCES MAGAZINE

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sound when the bow is drawn; the sound changes depending on the rosin and hair quality. Were all those considerations not enough, bows need to be rehaired from time to time, and the stick can lose its curved shape with repeated use. “The curve is done using high heat and pressure,” says Thomas Metzler, whose Thomas Metzler Violin Shop in Glendale has sold and repaired string instruments and bows for almost 40 years. “It makes the bow much more playable—otherwise the hair won’t hug the strings as well and will skitter around a bit.” The re-curving process is known as re-cambering. Metzler notes that carbon fiber is becoming increasingly popular: With many parts of the bow traditionally made with materials —ivory in particular—now banned as endangered, traveling musicians don’t have to worry about having their bows confiscated by customs officials; a U.S. customs website page is filled with dizzying instructions for proper bow paperwork. “That’s why I bought my carbon-fiber bow originally,” says Walz, citing a tour he took with his Pacific Trio. “We didn’t want to take a chance ... getting our instruments in and out of Russia.” Kennedy hasn’t encountered customs trouble as yet. She does look back fondly at the mastercrafted French bow she played on loan for several years. “I cried when I had to give it back,” she says. “It made my violin sound really rich, the way it hugged the strings. It’s crazy that a stick could be so magical.”

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Unparalleled Performing Arts Education BACHELOR OF FINE ARTS DEGREE and PROFESSIONAL CONSERVATORY PROGRAMS Schedule your audition now! amda.edu 800.281.8156 PERFORMANCES MAGAZINE 71

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COURTESY LOS ANGELES CONSERVANCY

BACK PAGE ⁄⁄⁄⁄ LOS ANGELES THEATRE DOWNTOWN ⁄⁄⁄⁄ PHOTO BY MIKE HUME

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