Knoy Before You Go | Hands on a Hardbody

PERFORMANCES MAGAZINe P1PERFORMANCES MAGAZINe P1

CHRISTOPHERashley

ARTISTIC DIRECTOR

MISSION:

La Jolla Playhouse advances

theatre as an art form and

as a vital social, moral

and political platform by

providing unfettered creative

opportunities for the leading

artists of today and tomorrow.

With our youthful spirit and

eclectic, artist-driven approach,

we will continue to cultivate

a local and national following

with an insatiable appetite for

audacious and diverse work. In

the future, San Diego’s La Jolla

Playhouse will be considered

singularly indispensable to the

worldwide theatre landscape,

as we become a permanent

safe harbor for the unsafe and

surprising. The day will come

when it will be essential to

enter the La Jolla Playhouse

village in order to get a glimpse

of what is about to happen in

American theatre.

P2 PERFORMANCES MAGAZINe

OUR MISSION

A MESSAGE FROM THE artIstIc dIrector

A MESSAGE FROM THE manaGInG dIrector

PERFORMANCES MAGAZINe P3

The show you will see today, Hands on a Hardbody, is a La Jolla Playhouse original — a new work that was commissioned by us, developed in a series of workshops, and is now receiving its world-premiere on our stage. New plays and musicals are the lifeblood of the American theatre, and I am extremely proud to offer a home for the best and brightest artists here at the Playhouse.

A few years ago, Doug Wright, who fi rst came to the Playhouse with I Am My Own Wife in 2001 and later with his adaptation of August Strindberg’s Creditors, brought me his idea for a new musical: an adaptation of the award-winning documentary Hands on a Hard Body. The story tracks 24 people at an East Texas car dealership who enter a contest for a brand new hardbody truck. The contestant that keeps at least one hand on the truck the longest gets to drive it off the lot — winning both the keys to the truck and to his or her very own American Dream.

Doug was describing a musical unlike any other. He grew up in Texas and I had no doubt he would capture a slice of life and that “true grit” spirit that drives the people of Longview where the contest took place. I didn’t hesitate to commission him and his collaborator, lyricist Amanda Green, to put this story on paper.

Doug and Amanda, after a trip to Longview, Texas, decided to shape their musical around ten of the contestants. They rounded out their creative team with Phish guitarist and composer Trey Anastasio, director Neil Pepe (Artistic Director of New York’s Atlantic Theater Company) and Benjamin Millepied, who choreographed the fi lm Black Swan, for musical staging.

Through the course of three developmental workshops, the musical grew into a starkly profound look at hardscrabble Texans facing all manner of personal and economic obstacles to their individual American dream. As they stand around the truck, day in and day out in the blazing sun, with minimal breaks and no sleep, we hear their intimate stories and bear witness to the brutal toll the contest takes on each of them.

What makes them endure when their bodies want to stop? After all, it’s just a truck. Over the course of the show, what at fi rst appears to be a simple contest transforms into a testament to quintessential American values — competition, the desire for a better life, the belief that anyone who works hard can win and, ultimately, the power of community.

We like to say that La Jolla Playhouse is “where American Theatre is born.” There is no better example of that than our production of Hands on a Hardbody.

Not only did we commission this musical but everything you see on stage was designed and built in our shops by the men and women of the Playhouse production staff – check out page 14 of your program for some great photos of the team at work. It’s also interesting to note that the Nissan Hardbody truck was originally created around the corner from the Playhouse at the Nissan Design America Center.

Ours is an innovative, creative and forward-thinking community and we are proud to play our part as we develop new works of theatre. In fact, #HOHB (if you want to follow the show on Twitter) is the 70th world premiere and the 40th commissioned work @LJPlayhouse since 1983.

And yes, that is a Playhouse-branded hardbody truck driving around the streets of San Diego. And yes, you can often fi nd me behind the wheel. Please do wave and give a little honk if you see us. Especially if it’s me as I’m still trying to remember how to drive a stick shift.

@MrMikeRosenberg


LA JOLLA PLAYHOUSE PrESEntS

Music DirecTOr scenic Designer

cOsTuMe DesignerLighTing Designer

sOunD DesignerArrAngeMenTs

ADDiTiOnAL ArrAngeMenTs VOice AnD DiALecT cOAch

DrAMATurgPrODucTiOn sTAge MAnAger

FirsT AssisTAnT sTAge MAnAgersecOnD AssisTAnT sTAge MAnAger

cAsTingAssOciATe PrODucer

PrODucTiOn MAnAger

Zachary DietZchristine Jonessusan hilfertyKevin aDamssteve canyon KenneDytrey anastasio & carmel Deanmatt GallaGherPhil thomPsonshirley fishmanlinDa marvel*erin Gioia albrecht*emily hayes*telsey + comPany Dana i. harrellinDa s. cooPer

FeATuring Keith carraDine*, allison case*, hunter foster*, Jay armstronG Johnson*, DaviD larsen*,

Jacob minG trent*, Kathleen eliZabeth monteleone*, mary GorDon murray*, Jim newman*, connie ray*, Jon rua*, miKe sears*, Keala settle*, Dale soules*, scott waKefielD*, william youmans*

neil PePeDirecTeD BY

benJamin millePieDMusicAL sTAging BY

amanDa GreenLYrics BY

trey anastasio & amanDa GreenMusic BY

DouG wriGhtBOOK BY

Christopher Ashley Artistic Director

Michael S. rosenbergManaging Director

Hands on a Hardbody is based on the documentary film by S.R. Bindler and Kevin Morris


tHE CASt

JD Drew ........................................................................................................................... Keith CarradineKelli Mangrum........................................................................................................................ Allison Case Benny Perkins .......................................................................................................................Hunter FosterGreg Wilhote ..................................................................................................... Jay Armstrong JohnsonChris Alvaro ...........................................................................................................................David LarsenRonald McGowan..........................................................................................................Jacob Ming TrentHeather Stovall .................................................................................... Kathleen Elizabeth MonteleoneVirginia Drew ......................................................................................................... Mary Gordon MurrayMike Ferris ............................................................................................................................Jim NewmanCindy Barnes ............................................................................................................................ Connie RayJesus Peña .....................................................................................................................................Jon RuaNorma Valverde ......................................................................................................................Keala SettleJanis Curtis .............................................................................................................................Dale SoulesFrank Nugent ....................................................................................................................Scott WakefieldDon Curtis/Dr. Stokes .....................................................................................................William Youmans

Associate Choreographer ............................................. Jason Fowler

Associate Scenic Designer .......................................Brett J. Banakis

Associate Costume Designer ..................................Tricia Barsamian

Associate Sound Designer ......................................Walter Trarbach

Assistant Director .......................................Akeem Baisden-Folkes

Assistant Music Director and Copyist ...............................Jeff Tanski

Assistant Costume Designer .....................................Erick Sundquist

Assistant Lighting Designer..........................................Wen-Ling Liao

Lighting Design Assistant ............................................ Kristin Hayes‡

Stage Management Assistant ......................................Laura Zingle‡

Production Assistant .....................................................Sarah Kolman

Music Department Assistant .................................. Russell Angelico

ACknOwLEdgEMEntS

Sound Equipment provided by Sound AssociatesLighting Equipment provided by ELS

Additional Musical Equipment provided by Cohen keyboardsSharp Business Systems

Special thanks to Peter and richard Fitzgerald, troy downey from A.P.E. wraps, Anne Poyner

UnderstudiesMike Sears (don Curtis/dr. Stokes) and william Youmans (Jd drew)

(in alphabetical order)

La Jolla Playhouse is a member of the League of Resident Theatres (LORT) and a constituent of Theatre Communications Group (TCG), the national service organization for the nonprofit professional theatre.

This Theatre operates under an agreement between the League of Resident Theatres and United Scenic Artists, Local USA-829 of the IATSE.

This Theatre operates under an agreement between the League of Resident Theatres and the Stage Directors and Choreographers Society, an independent national labor union.

* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association.‡

UC San Diego M.F.A. Candidates in residence at La Jolla Playhouse

SettingThe Floyd King Nissan Dealership, Longview, Texas

while our musical, Hands on a Hardbody, is based upon the events portrayed in a documentary of the same name, certain story points are fictitious. Although some of the characters are based on characters in the documentary, and in some cases bear their names, many of the

facts about their lives and much of the dialogue have been invented for dramatic purposes. It is our intention to capture the spirit of the film and we have freely used dramatic license in trying to accomplish that.

Hands on a Hardbody is performed with a 15-minute intermission.


It’s a Human Drama ThingAlone with Me

Master Benny’s Winning StrategiesA Little Somethin’ Somethin’

If I Had a Truck My Problem Right There

Burn That BridgeI’m Gone

Joy of the LordStronger

Hunt with the Big Dogs

MUSICAL nUMBErS

ACt One

ACt tWO on a HardbodyBorn in Laredo

It’s a FixUsed to Be

God Answered My PrayersThe Tryers

Joy of the Lord (Reprise)Keep Your Hands on It

Music Director/Conductor/Keyboards ..................................................................................................................................Zachary DietzAssistant Music Director/Keyboards ......................................................................................................................................... Jeff TanskiAcoustic, Electric Guitars/Mandolin ...................................................................................................................................Adrian DemainPedal Steel/Lap Steel/ Electric Guitar ................................................................................................................................... Rick SchmidtElectric Bass ....................................................................................................................................................................Mark VanderpoelDrums .......................................................................................................................................................................................Cliff AlmondContractor................................................................................................................................................................................Lorin Getline

MUSICIAnS

All musicians are represented by the American Federation of Musicians of the United States and Canada.

Rehearsal Piano ...............................................................................................................................................Zachary Dietz, Jeff TanskiSynthesizer Programmer ........................................................................................................................................................Randy CohenMusic Copying.......................................................................................................................................... Jeff Tanski and Zachary Dietz


Keith Carradine, JD DrewBroadway: Hair; Foxfire (Outer Critics Circle Award); The Will Rogers Follies (Tony Award nomination); Dirty Rotten Scoundrels. Off-Broadway: Wake Up It’s Time to Go to Bed (NY Public Theater); Mindgame (Soho Playhouse); A Lie of the Mind (The New Group).

Regional: Another Part of the Forest (Seattle Repertory Theatre); Detective Story (Ahmanson Theater); U.S. premiere of Stuff Happens (Mark Taper Forum); New Year’s Eve (George Street Playhouse). Films include: McCabe and Mrs. Miller, Emperor of the North, Thieves Like Us, Nashville (Academy Award, Composer: Best Song, “I’m Easy”), The Duellists, Pretty Baby, Choose Me, The Long Riders, Southern Comfort, The Moderns, Cowboys and Aliens. TV includes: Deadwood, Dexter, Crash, Damages, Missing.

allison Case, Kelli Mangrumis excited to be back in her native Southern California and grateful to be part of the Hands on a Hardbody crew! She originated the role of Crissy in the Tony Award-winning revival of Hair (Off-Broadway, Broadway, West End). Favorite credits include Sophie in Mamma

Mia! (Broadway); Nemo in Finding Nemo: The Musical (Disney); Por Quinly and The Only Child (South Coast Repertory). Workshops: The Book of Mormon, Hands on a Hardbody, Dogfight. TV: Nurse Jackie, NYC 22. Film: The Blue Eyes, Patient 001. B.A. in Drama from UC Irvine. Couldn’t do it without my favorite people in the world, who inspire me every day: Thanks Mom, Dad, Parks, Ashley, family, friends, teachers. LOVE!

hunter Foster, Benny PerkinsLa Jolla Playhouse: Little Miss Sunshine. Broadway: Million Dollar Quartet, The Producers, Little Shop of Horrors (Tony, Drama Desk and Outer Critics Award nominations), Urinetown (Outer Critics nomination), Les Miserables, Grease, Footloose and King David. Off-

Broadway: Burning, Happiness (Drama Desk nomination), Ordinary Days, Frankenstein, Dust, Modern Orthodox, Urinetown (Lucille Lortel nomination). Regional: Kiss of the Spider Woman (Signature Theatre—Helen Hayes nomination); The Government Inspector, Martin Guerre (Guthrie); Mister Roberts (Kennedy Center); Children of Eden (Paper Mill); Lend Me a Tenor, Moon Over Buffalo, Boeing Boeing (Cape Playhouse). National Tours: Cats, Martin Guerre, The Producers. As a writer, wrote the books for the musicals Summer of ’42, which opened Off-Broadway in 2001; Clyde ‘n Bonnie: A Folktale, which opened in 2012 at the Aurora Theatre in Atlanta, GA; and The Hollow, which premiered in 2011 at the Signature Theatre in Arlington, Virginia. Mr. Foster is a graduate of the University of Michigan. Love to my wife, Jen Cody.

Jay armstrong Johnson, Greg WilhoteBroadway: Catch Me If You Can (Frank Abagnale Jr. standby), Hair (Claude u/s). Off-Broadway: Wild Animals You Should Know (MCC). First National Tour: A Chorus Line (Mark). Regional: Pool Boy (Nick - world premiere, Barrington Stage); Hairspray (Link - Weston

Playhouse); Godspell (Jeffrey - Casa Mañana). Workshops/Readings: Small Engine Repair (Chad); “8” on Broadway (Spencer); Newsies (Jack); Tío Pepe (Jamie); Tales of the City (Mouse); Dogfight (Eddie Birdlace); Bring It On (Steven); Mrs. Sharp; Darling. Concerts: 35mm: A Musical Exhibition, Birdland; The Kennedy Center; Joe’s Pub. Film: Sex & the City 2. TV: Law & Order: SVU, The Apprentice.

david larsen, Chris AlvaroBroadway: Tunny in American Idiot; Tony (u/s) in Billy Elliot; Bobby in Good Vibrations. TV: three episode guest star on Boston Public. Regional: Rolf in The Sound of Music (Hollywood Bowl); Pippin in Pippin (Bay Street Theatre); Emmett in Legally Blonde and Paul in

Married Alive! (Marriott Lincolnshire); Richie Cunningham in Happy Days (Goodspeed). Education: Carnegie Mellon School of Drama. To provide hope and healing to our veterans of war, please visit at http://ptsdusa.net/.

JaCob ming trent, Ronald McGowanBroadway: Shrek the Musical (original cast, Papa Ogre; understudy Shrek). Off-Broadway: The Merchant of Venice (TFANA); On the Levee (Lincoln Center Theater); Widowers’ Houses (Epic Theatre Ensemble). National Tour: The 25th Annual Putnam County Spelling Bee (first

national), Continental Divide (Time Magazine’s Theatre Event of the Year), The Merchant of Venice, Two Gentlemen of Verona. Mr. Ming Trent has also appeared in workshops and productions with The Acting Company, American Conservatory Theater, London’s Barbican Theatre, Birmingham Rep, Berkeley Rep, Crossroads Theater, Pittsburgh City Theater, La Jolla Playhouse, Long Wharf Theatre, McCarter Theatre Center, New Georges, Playwrights Horizons, The Public and Yale Rep. TV: Bored to Death, Law & Order, Unforgettable. Film: Forbidden Love. Education: A.C.T. MFA Program.

Kathleen elizabeth monteleone, Heather Stovallmost recently played Dede Halcyon-Day in the world premiere of Tales of the City (American Conservatory Theater). Other credits include the national tour of Legally Blond:The Musical (Elle Woods/

ensemble); Sophie in Departure Lounge (SPF); Vixen in Angels: The Musical (The Strand); Amber in Hairspray (Paper Mill Playhouse) and Pam in Urban Cowboy (Gateway Playhouse). Screen credits include NBC’s Grease: You’re the One That I Want (Spiritual Sandy) and the film 27 Dresses. A graduate of Marymount Manhattan College, Ms. Monteleone is currently the “Savvy Girl” host on 24SAVVY.com. KathleenMonteleone.com.

mary gordon murray, Virginia Drewappeared this season as Bess in Who’s Your Mommy (York Theatre); Fraülein Schneider in Cabaret (Reprise) and Margret in The Light in the Piazza (Bay Cities CLO). Broadway credits include the Baker’s Wife in Into the Woods; Belle in Little Me, for which she received a Tony

Award nomination; Footloose; Coastal Disturbances; Grease; Play Me a Country Song and The Robber Bridegroom. Off Broadway, Ms. Murray was in the original casts of The Spitfire Grill, A...My Name Is Alice and The Knife. On television, she has portrayed Laura Bush in DC: 9/11, spent years as Becky on One Life to Live, and has guest starred from The Ghost Whisperer to L.A. Law. Ms. Murray is delighted to return to La Jolla Playhouse, previously working here playing Gussie in Stephen Sondheim’s Merrily We Roll Along.

THE ComPany


Jim newman, Mike FerrisBroadway: Curtains (Parson Tuck), Minnelli on Minnelli, Steel Pier (Happy), Sunset Boulevard and The Who’s Tommy. Encores!: On a Clear Day You Can See Forever (Millard). First National Tour: Kiss Me Kate (Bill Calhoun); Big! (Josh Baskin) and Joseph...Dreamcoat with Donny

Osmond (Levi). Off-Broadway: Almost Heaven (John Denver); Newsical! (George Bush/Osama Bin Laden); Destry Rides Again (Destry); A Good Swift Kick and Up Against It (NYSF). TV: Tony Awards (1997 and 2007), Hope and Faith, All My Children, One Life to Live, The View, The Rosie O’Donnell Show, The Magic of Music on NBC, and The Name Game on Nickelodeon. Film: Out of Sync, with L.L. Cool J and The Big Gay Musical.

Connie ray, Cindy BarnesBroadway: Next Fall, The Heidi Chronicles. Off-Broadway: Next Fall, Smoke on the Mountain (which she also wrote), among others. Off-Off-Broadway: Fast Eddie, Forgetting Frankie, Catfish Loves Anna. Ms. Ray has written and performed extensively for Manhattan

Class Company. Film: Flags of Our Fathers, Thank You for Smoking, About Schmidt, Bobby Jones: Stroke of Genius, Ice Princess, Hope Floats, Stuart Little, The Time Machine, Idle Hands, My Fellow Americans, among others. TV: Star of NBC and Disney Channel’s The Torkelsons, The Big C, Law & Order: SVU, Justified, Entourage, Worst Week, George Lopez, My Name Is Earl, Greek, among many others.

Jon rua, Jesus PeñaBroadway: Sonny in In the Heights. Off-Broadway: Elaborate Entrance of Chad Deity (Second Stage Theater); Damn Yankees (City Center’s Encores!). Regional: Alejandro in Somewhere (Old Globe Theatre; Craig Noel Award nomination), Twig in Bring It On: The

Musical (Alliance Theatre, world premiere). Workshops: Hands on a Hardbody (La Jolla Playhouse); Stuck Elevator (Sundance Theatre Lab Banff); Pan, Bare, Stardust Ballroom, All Fall Down (Intar); Kingdom (Public Theatre); Lincoln Center’s American Songbook. TV: Law & Order. Choreography: Broadway Bares, NBA/NCAA Entertainment, Union Square, assistant for In the Heights, Bring It On, NYCC’s The Wiz, Insanity. For Mom, Dad, Gabrielle, Station 3 and GOD. www.JonRua.net.

Keala settle, Norma ValverdeKIA ORA!!! Thank you so much for supporting live theater by being here tonight. Who cares what I’ve done in the past: we’re all here now, so LET’S ENJOY THE EVENING!!! GAME ON!!! Love you Mum and Dad.

dale soules, Janis CurtisTheatre includes: Broadway: debut in the landmark musical Hair (Jeanie); Dude (Shadow); The Magic Show (Cal) co-starring with magician Doug Henning and introducing Stephen Schwartz’s songs “Lion Tamer” and “West End Avenue”; The Crucible (Sarah Good,

Richard Eyre dir.); Whose Life Is It Anyway; and most recently Grey Gardens (covering and playing Edith Bouvier Beale, Michael Greif dir.). Off-Broadway: Marsha Norman’s Getting Out (Arlene); Jet Lag (Builders Association); The Joy of Going Somewhere Definite, Blithe Spirit and The Water Engine (Atlantic Theatre Co.); Pericles (Red Bull); and many productions with The Public Theatre, MTC, Mabou Mines, and Lincoln Center. Regional: Paris Commune (La Jolla Playhouse); Candide (Guthrie); Macbeth (Centerstage); Romeo and Juliet (Dartmouth); All’s Well That Ends Well (Yale Rep.); Well (Vermont Stage); Doubt (Gulfshore Playhouse). TV/Film: American Playhouse, Sesame Street, Maurice Sendack’s Really Rosie, Law & Order, The Messenger. Awards: New Dramatists (for dedication to new work and extraordinary contribution to theatre), SUNY (Richard Porter Leach Fellowship). Ms. Soules is a teacher, oral historian and a Usual Suspect with NYTW.

sCott waKeField, Frank Nugenthas appeared on Broadway in It Ain’t Nothin’ But the Blues and Ring of Fire. Off-Broadway credits include: The Joy Luck Club, Still Getting My Act Together…, The American Clock and Golden Boy of the Blue Ridge. Mr. Wakefield has performed regionally at Cincinnati

Playhouse, Seattle Repertory, Milwaukee Repertory, Missouri Repertory, Delaware Theatre Company, Asolo Repertory, Alliance Theatre Company, Syracuse Stage and many others. He has garnered best actor awards for his portrayal of Will Rogers (Boston and Honolulu), Woody Guthrie (Tampa and Kansas City) and Sheriff Ed Earl Dodd from Best Little Whorehouse in Texas (Cortland/Syracuse). Mr. Wakefield is an avid singer/songwriter and has two acclaimed CDs of original music, Vegetarian Nightmare and Older Than Dirt, available at ScottWakefield.com and iTunes.

william youmans, Don Curtis/Dr. StokesLa Jolla Playhouse: Dracula, Twelfth Night, The Cherry Orchard, Sweet Bird of Youth. Broadway: Wicked, Billy Elliot, The Farnsworth Invention, Finian’s Rainbow, Baz Luhrmann’s La Boheme, Titanic, Big River, The Little Foxes (with Elizabeth Taylor). Off Broadway: Horton

Foote’s The Widow Claire, Tony Kushner’s Brundibar/Giraffe, Stephen Sondheim’s Road Show, Alan Menken’s Weird Romance. Film: Extremely Loud and Incredibly Close, Mrs. Soffel, A League of Their Own, Nadine, Fresh Horses, Compromising Positions. TV: The Little Match Girl, Separate But Equal, lots of cop shows.

THE ComPany

» continued on page 28


1947 Gregory Peck, Dorothy McGuire and Mel Ferrer found La Jolla Playhouse. For 18 summers, Hollywood luminaries such as Ginger Rogers, Groucho Marx, Vivian Vance and Dennis Hopper explore their craft in La Jolla.

2001 The Playhouse introduces the Page To Stage Program with Doug Wright’s I Am My Own Wife. The subsequent Broadway production is awarded the 2004 Pulitzer Prize for Drama; photo by Joan Marcus.

1983 After 19 years of tireless fundraising by dedicated supporters, the Playhouse re-opens under the direction of Des McAnuff .

1992 Des McAnuff directs The Who’s Tommy which later earns fi ve Tony Awards; photo by Ken Howard .

1993 The Playhouse receives the Tony Award for Outstanding Regional Theatre.

2004 The world premiere musical Jersey Boys plays for 15 weeks. It later earns four Tony Awards, including Best Musical; photo by Scott Humbert.

2010 Following a successful run at the Playhouse in 2008, Christopher Ashley’s production Memphis wins the 2010 Tony Award for Best Musical; photo by Kevin Berne.2007 Christopher Ashley is named Artistic Director; photo by Carol Rosegg.

la Jolla PlayhouseTHROUGH THE YEARS


When an auto dealership in Longview,

Texas launches an endurance contest

as a marketing promotion to attract

customers, ten economically-strapped

strangers enter and embark on a

journey that puts their hearts, bodies

and minds to the test in ways they

could not have imagined. Each believes

they have the nerve, tenacity and

strategy to keep at least one hand

on a brand-new hardbody truck the

longest, and that they will get to drive

it off the lot. Only one can win, but for

all involved the truck holds the key to

their own private American dream.

&the ComPetitive edgeenduranCe ContestsDance marathons were an American endurance phenomenon of the 1920s and 1930s in which couples danced almost non-stop for hundreds of hours (for as long as a month or two), competing for prize money. These partially-staged performance events originated as part of a jazz-age fad for human endurance competitions, such as fl agpole sitting, sports car and bicycle racing. The desperation Americans endured during the Great Depression was mirrored by the grueling dance contests in which some contestants became delusional or hysterical, talked to an imaginary person, or cracked under the pressure to perform when their bodies were taken over by intense fatigue.

By the 1960s dance marathons disappeared but the fascination for endurance contests continues, now observed by millions on television, e.g., “The Biggest Loser,” “Survivor,” and “Amazing Race”, alongside marathons, bike races, triathlons, and the like. On the lighter side, the Guinness Book of World Records cites all manner of endurance records, from juggling and drumming to the heaviest vehicle pulled over 100 feet,

deepest cycling underwater, and hula hoop contests.

What is required to succeed when bodies are pushing forward under extreme limits? Athletes, coaches and sports psychologists often cite “mental toughness” as a prerequisite, with an image of oneself that one has to live up to and lack of fear of failure as being important keys to endurance. The ability to focus and not be distracted, and not allowing oneself to be overtaken by doubts helps contestants overcome pain and, despite the pressure of competition, to persist. Athletes have described mental toughness as “not being affected by anything but what’s going on in the race.”

Psychologists cite a “psychological edge” that enables mentally tough competitors to cope under pressure, including unshakable self-belief, desire, motivation, the ability to deal with anxiety, and pushing back against pain and hardship.

While mental toughness is a key factor in competition, the physical effects of lengthy endurance contests can undermine the advantages of a competitor’s “psychological edge.” Prolonged sleep deprivation can lead to fl uctuations in body temperature, pulse and blood pressure that can short-circuit memory, creative thinking and the ability to problem solve. Hallucinations and distorted reality can cause psychosis, and dehydration can cause delirium and muscle deterioration. When the body cannot continue to perform, the adage of “mind over matter” no longer holds sway.

addItIonal readInG:

“hands on a hardbody”: s. r. bIndler on teXas, trucks and determInatIonhttp://www.indiewire.com/article/hands_on_a_hardbody_s._r._bindler_on_texas_trucks_and_determination

top ten endurance raceshttp://www.forbes.com/2005/03/30/cx_ns_0330feat_ls_print.html


&“[The American dream] is that dream of a land in which life should be better and richer and fuller for everyone, with opportunity for each according to ability or achievement…. It is not a dream of motor cars and high wages merely, but a dream of social order in which each man and each woman shall be able to attain to the fullest stature of which they are innately capable, and be recognized by others for what they are, regardless of the fortuitous circumstances of birth or position.” - James Truslow Adams, The Epic of America, 1931

“If you really want something, keep your hands on it.” Benny Perkins’ mantra won him a pickup truck in the past, and he’s back to win again. Each of the contestants in Hands on a Hardbody has their own reasons for entering the brutal contest that takes them to physical, mental and spiritual extremities. On the one hand, it’s just a truck, but it’s also a symbol of their personal American dream.

What is the American dream? The values that have been attributed to the American character stem from our nation’s origins, as stated in the Declaration of Independence.

“We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable rights, that among these are Life, Liberty and the pursuit of Happiness.”

The ability to compete fairly, achieve, reinvent the self, open a door to a new future and move toward our dreams by working hard, taking risks and grabbing opportunity when it presents itself, is ingrained in the American psyche — as is reaping the rewards of steadfast motivation and determination in achieving one’s goals. Those who are born here grow up believing in these ideals; those who are not, come to America because of them.

But these are tough times for the American dream, and our economic reality puts our ideals to the test. An opportunity to

realize the American dream can sometimes present itself in the form of a material object of desire — a free truck, for example. But going about winning it is where the American character comes in. The Hands on a Hardbody contestants step up and out of the forgotten underclass created by our economic recession. They put everything on the line, striving with every fi ber of their being to outlast their neighbor — not just to win but to affi rm their place in the fabric of American life.

In the end, there are no losers among the Hands on a Hardbody contestants. They competed fair and square, and each walked away with a new sense of self and of community in an experience of a lifetime. And as Heather, the young woman with Cinderella dreams, proves — there’s more than one chance to win in our American life.

-By Shirley Fishman

hands on a hardbody&ameriCan dreamTHE

exas is a mythic place — hyperbolic, sometimes manic — and has a

sportive sense of humor about itself. As a native Texan, these are things that still touch me about my home, even though I left it thirty years ago.

I grew up in a Dallas suburb, and our play is set in rural East Texas near the Piney Woods. Despite my big-city origins, I still absorbed a dollop of authentic Texas trail dust. My dad was an amateur Will Rogers; he’d perform rope tricks at our birthday parties, and sometimes take us to the Mesquite rodeo on Friday nights. When I was in the high school drama club, I’d drive to small towns like Tyler, Longview and Nacogdoches to compete in one-act play contests and at forensics tournaments. In country gymnasiums and cafetoriums, I’d soak up works by Chekhov, Shaw and Shakespeare, all delivered in a distinct twang. In the sixth grade, our class took a field trip to the Alamo, displaying the same awed reverence that Catholic pilgrims reserve for the Vatican.

As I work on this show, certain memories from my childhood come flooding back.

I remember serving Thanksgiving dinner at a ball bearing factory outside Corpus Christi, where my cousin Alan worked in management, filling the plates of factory workers with turkey, cornbread stuffing, and red beans. In those days, this country was still a manufacturing mainstay, creating tangible products instead of obscure financial derivatives and exportable pop culture. The characters in our show could’ve been plucked from that assembly line, or from the Dr. Pepper plant in Waco, or the Mrs. Bairds bakery in Grand Prairie. Now those opportunities have diminished, and those same people are resorting to unusual lengths to achieve economic security, like standing around a truck for days on end under a scorching sun.

As we were writing the musical, Amanda, Trey and I became convinced that it could speak to our current economic climate. We went to Longview to meet the contestants from the documentary and saw the financial difficulties they faced. One in five Texans lives in poverty, yet the state boasts forty-four billionaires. We live in a culture that values corporations over the common man; in the Hands on a Hard Body competition, a multinational company promised participants fabulous dividends, but only if they first endure back-breaking exploitation.

That said, there’s something undeniably heroic and even inspirational in the

way the characters approach the contest. They see potential for salvation and deliverance from their work-a-day problems, if only they can win a shiny new truck. It’s a vehicle that can bring them income, mobility, even transcendence. While the contest at first seems like a kitschy sideshow, a roadside carnival attraction, it’s actually a life-defining moment for the intrepid souls who participate.

I hope Hands on a Hardbody explores the double-edged sword that is the American Dream. On the one hand, it’s a Horatio Alger promise that anyone who works hard can succeed. But coursing beneath that maxim is another, more enigmatic one: Darwin’s survival of the fittest.

obb Bindler, the director of the wonderful documentary Hands on

a Hard Body, has said that being “on the truck” and making the film was the gift

that keeps on giving. Similarly, making this musical has been a labor of love and a project we feel passionately about.

The first gift was the opportunity to work with the spectacular Doug Wright. In 2005, Doug and I watched the DVD of the film. I started out laughing and shaking my head at the absurdity of the contest, and ended up inexpressibly moved. The contestants surprised me: they were complex, funny, full of heart and revealing — with dreams, frailties, foibles and also strengths they didn’t know they possessed. They were in turn ironic, sly, sincere, and always human.

As a writer, I also loved the way they expressed themselves. Song ideas popped into my head right away: “A truck to a Texan is just like his hat….”, “If you can’t hunt with the big dogs….,” ”My problem right there….”, etc. Not only did I fall in love with their Texan turns of phrase, I fell in love with them.

When the Playhouse agreed to support our musical with a formal commission, we took our first trip to Texas to visit some of the contestants. Writing songs for Hands on a Hardbody would be the first time I’d written for living, breathing people; they weren’t just characters in a play. I felt beholden to treat them with respect and authenticity.

Doug and I searched for a year to find the right composer. At that point, I had a bunch of lyrics and bits of melody that I kept humming to myself — how I imagined the music would sound. I’d written plenty of songs before, but had never composed for a whole musical.

When Doug heard me sing the lyrics with the melodies I’d devised, he just said, “You should go for it.” So I did. I have always loved Texas, alt country music and Americana. Lyle Lovett, Mary Gauthier, Willie Nelson, Lucinda Williams, Steve Earle, Julie and Buddy Miller, Robert Earl Keen — these were some of my influences. But while music writing flowed, there were songs and moments

that needed something more than I felt I could deliver. Which is where the astonishing Trey Anastasio came in. Trey and I were introduced several years ago by a friend. We immediately hit it off and began writing songs together. I didn’t talk to Trey much about the show, but I secretly wanted to slip some of the lyrics to him. One night he came to hear me sing some of my show tunes at a club in New York, and even joined me on stage to sing a song of ours. Later that evening, Trey confessed that he loved musicals. He had written one while in school and had always wanted to work on another. My husband took me aside and said, “Why don’t you ask Trey to work on Hands on a Hardbody?” Luckily for Doug and me, Trey was inspired by the documentary in the same way. The first song he and I worked on together was the opening number, and he kicked it out of the gate! The range of his musical sophistication, expertise and unparalleled rock bona fides bring an incredibly exciting, dynamic authenticity to the music.

One of the things the three of us decided early on was that we wanted to write songs that the contestants might actually listen to and like themselves. We hope we succeeded. It’s been an honor and a privilege to work with them and with Neil Pepe, Benjamin Millepied, and our cast and crew. I hope you enjoy your time “on the truck” as much as we have!

manda and I were introduced to one another in New York by

a mutual friend, who was also an acquaintance of Doug’s. She mentioned that she and Doug were looking for a musical collaborator on a show about contestants who spent days with their hands on a truck in order to win it. I watched the documentary and started to do some research. I could see that it had the potential to be a great show. My first thought after reading the script was that it reminded me a bit of Twelve Angry Men. It’s turned out to be more than I ever imagined.

We had dinner with S.R. Bindler in New York, who told us about walking past the truck at 2:00 am and seeing the contestants, in silence, standing beneath the fluorescent lights. He said it felt like a ritual to him. That aspect of the play is what fascinates me the most. I’ve always been interested in music as ritual. At one concert with Phish, we played in a field for 70,000 people from 11:00 p.m. until sunrise — eight straight hours without a break, with people dancing the entire time. I remember the feeling we all shared when the sun came up, a sense of the audience and the band unified.After standing together for hours, there was a shift in perspective. It didn’t seem as important to be “good” at music — what was important was the shared experience. Going through it together.

I was fascinated by the idea that these contestants would be both exhausted and stuck within two or three feet of complete strangers with whom they were in competition for something that they all desperately needed.

Writing for a musical is entirely different from writing pop music. In pop music, you can make purely musical decisions — you can venture off into a motif for a couple of seconds. You might add a few bars because it sounds cool to hold out a long note. In a musical, the songs have to be about the development of a character. Choices are determined

DOUG WRIGHT

AMANDA GREEN

Book Writer

Music & Lyrics

TREY ANASTASIOMusic

T

R

A

HANDS ON!

The Hands on a Hardbody creative team, Doug Wright, Amanda Green, Trey Anastasio, Neil Pepe and Benjamin Millepied, reveal their thoughts about their respective journeys deep into the heart of Texans, as they create a new musical at La Jolla Playhouse.

P12 PERFORMANCES MAGAZINe PERFORMANCES MAGAZINe P12

exas is a mythic place — hyperbolic, sometimes manic — and has a

sportive sense of humor about itself. As a native Texan, these are things that still touch me about my home, even though I left it thirty years ago.

I grew up in a Dallas suburb, and our play is set in rural East Texas near the Piney Woods. Despite my big-city origins, I still absorbed a dollop of authentic Texas trail dust. My dad was an amateur Will Rogers; he’d perform rope tricks at our birthday parties, and sometimes take us to the Mesquite rodeo on Friday nights. When I was in the high school drama club, I’d drive to small towns like Tyler, Longview and Nacogdoches to compete in one-act play contests and at forensics tournaments. In country gymnasiums and cafetoriums, I’d soak up works by Chekhov, Shaw and Shakespeare, all delivered in a distinct twang. In the sixth grade, our class took a field trip to the Alamo, displaying the same awed reverence that Catholic pilgrims reserve for the Vatican.

As I work on this show, certain memories from my childhood come flooding back.

I remember serving Thanksgiving dinner at a ball bearing factory outside Corpus Christi, where my cousin Alan worked in management, filling the plates of factory workers with turkey, cornbread stuffing, and red beans. In those days, this country was still a manufacturing mainstay, creating tangible products instead of obscure financial derivatives and exportable pop culture. The characters in our show could’ve been plucked from that assembly line, or from the Dr. Pepper plant in Waco, or the Mrs. Bairds bakery in Grand Prairie. Now those opportunities have diminished, and those same people are resorting to unusual lengths to achieve economic security, like standing around a truck for days on end under a scorching sun.

As we were writing the musical, Amanda, Trey and I became convinced that it could speak to our current economic climate. We went to Longview to meet the contestants from the documentary and saw the financial difficulties they faced. One in five Texans lives in poverty, yet the state boasts forty-four billionaires. We live in a culture that values corporations over the common man; in the Hands on a Hard Body competition, a multinational company promised participants fabulous dividends, but only if they first endure back-breaking exploitation.

That said, there’s something undeniably heroic and even inspirational in the

way the characters approach the contest. They see potential for salvation and deliverance from their work-a-day problems, if only they can win a shiny new truck. It’s a vehicle that can bring them income, mobility, even transcendence. While the contest at first seems like a kitschy sideshow, a roadside carnival attraction, it’s actually a life-defining moment for the intrepid souls who participate.

I hope Hands on a Hardbody explores the double-edged sword that is the American Dream. On the one hand, it’s a Horatio Alger promise that anyone who works hard can succeed. But coursing beneath that maxim is another, more enigmatic one: Darwin’s survival of the fittest.

obb Bindler, the director of the wonderful documentary Hands on

a Hard Body, has said that being “on the truck” and making the film was the gift

that keeps on giving. Similarly, making this musical has been a labor of love and a project we feel passionately about.

The first gift was the opportunity to work with the spectacular Doug Wright. In 2005, Doug and I watched the DVD of the film. I started out laughing and shaking my head at the absurdity of the contest, and ended up inexpressibly moved. The contestants surprised me: they were complex, funny, full of heart and revealing — with dreams, frailties, foibles and also strengths they didn’t know they possessed. They were in turn ironic, sly, sincere, and always human.

As a writer, I also loved the way they expressed themselves. Song ideas popped into my head right away: “A truck to a Texan is just like his hat….”, “If you can’t hunt with the big dogs….,” ”My problem right there….”, etc. Not only did I fall in love with their Texan turns of phrase, I fell in love with them.

When the Playhouse agreed to support our musical with a formal commission, we took our first trip to Texas to visit some of the contestants. Writing songs for Hands on a Hardbody would be the first time I’d written for living, breathing people; they weren’t just characters in a play. I felt beholden to treat them with respect and authenticity.

Doug and I searched for a year to find the right composer. At that point, I had a bunch of lyrics and bits of melody that I kept humming to myself — how I imagined the music would sound. I’d written plenty of songs before, but had never composed for a whole musical.

When Doug heard me sing the lyrics with the melodies I’d devised, he just said, “You should go for it.” So I did. I have always loved Texas, alt country music and Americana. Lyle Lovett, Mary Gauthier, Willie Nelson, Lucinda Williams, Steve Earle, Julie and Buddy Miller, Robert Earl Keen — these were some of my influences. But while music writing flowed, there were songs and moments

that needed something more than I felt I could deliver. Which is where the astonishing Trey Anastasio came in. Trey and I were introduced several years ago by a friend. We immediately hit it off and began writing songs together. I didn’t talk to Trey much about the show, but I secretly wanted to slip some of the lyrics to him. One night he came to hear me sing some of my show tunes at a club in New York, and even joined me on stage to sing a song of ours. Later that evening, Trey confessed that he loved musicals. He had written one while in school and had always wanted to work on another. My husband took me aside and said, “Why don’t you ask Trey to work on Hands on a Hardbody?” Luckily for Doug and me, Trey was inspired by the documentary in the same way. The first song he and I worked on together was the opening number, and he kicked it out of the gate! The range of his musical sophistication, expertise and unparalleled rock bona fides bring an incredibly exciting, dynamic authenticity to the music.

One of the things the three of us decided early on was that we wanted to write songs that the contestants might actually listen to and like themselves. We hope we succeeded. It’s been an honor and a privilege to work with them and with Neil Pepe, Benjamin Millepied, and our cast and crew. I hope you enjoy your time “on the truck” as much as we have!

manda and I were introduced to one another in New York by

a mutual friend, who was also an acquaintance of Doug’s. She mentioned that she and Doug were looking for a musical collaborator on a show about contestants who spent days with their hands on a truck in order to win it. I watched the documentary and started to do some research. I could see that it had the potential to be a great show. My first thought after reading the script was that it reminded me a bit of Twelve Angry Men. It’s turned out to be more than I ever imagined.

We had dinner with S.R. Bindler in New York, who told us about walking past the truck at 2:00 am and seeing the contestants, in silence, standing beneath the fluorescent lights. He said it felt like a ritual to him. That aspect of the play is what fascinates me the most. I’ve always been interested in music as ritual. At one concert with Phish, we played in a field for 70,000 people from 11:00 p.m. until sunrise — eight straight hours without a break, with people dancing the entire time. I remember the feeling we all shared when the sun came up, a sense of the audience and the band unified.After standing together for hours, there was a shift in perspective. It didn’t seem as important to be “good” at music — what was important was the shared experience. Going through it together.

I was fascinated by the idea that these contestants would be both exhausted and stuck within two or three feet of complete strangers with whom they were in competition for something that they all desperately needed.

Writing for a musical is entirely different from writing pop music. In pop music, you can make purely musical decisions — you can venture off into a motif for a couple of seconds. You might add a few bars because it sounds cool to hold out a long note. In a musical, the songs have to be about the development of a character. Choices are determined

DOUG WRIGHT

AMANDA GREEN

Book Writer

Music & Lyrics

TREY ANASTASIOMusic

T

R

A

HANDS ON!

The Hands on a Hardbody creative team, Doug Wright, Amanda Green, Trey Anastasio, Neil Pepe and Benjamin Millepied, reveal their thoughts about their respective journeys deep into the heart of Texans, as they create a new musical at La Jolla Playhouse.

PERFORMANCES MAGAZINe P13P13 PERFORMANCES MAGAZINe

P14 PERFORMANCES MAGAZINe P14 PERFORMANCES MAGAZINe

by the lyric, story and intention of the character. A rhyme or the length of a pause in a sentence has to be dramatically appropriate. There can’t be any extraneous musical ideas. It may seem like a limitation, but it’s actually the opposite. It’s a completely different kind of discipline and focus — it has to come 100% from the story.

I’ve written a lot of songs and, for the most part, the singer is singing in my voice. The characters in Hands on a Hardbody each have their own voice. It presents an opportunity to explore emotions that I wouldn’t be able to reach in the songs that I record. It’s liberating to write a song for a character who is experiencing a spiritual change in the play. I’m hoping that the universal, human truths of the characters’ lives as expressed by the music, songs, book, staging and performers will touch the audience as deeply as it has touched me.

hen I read the Hands on a Hardbody script and listened to the music,

I was immediately taken with it. I was moved by the characters’ quest for this particular truck that they believed would solve what was not working in their lives.

Choreographing for a musical is not so different from a ballet. Since most of the characters center their movement around a truck for most of the show, my first thoughts were about how it would work conceptually. How do we make the movement in all the scenes interesting

and imaginative, while supporting the drama of the story and songs?

The challenge is to come up with the right theatrical idea, the rules to the movement which give it a unique kinetic signature. The next challenge is to make sure the dancing feels organic and unforced, and also stays true to each character and the ensemble. For the audience, the musical staging should appear seamless and always bring them into the moment, enhancing their understanding as well as their enjoyment of the entire show.

hen the documentary film of Hands on a Hard Body first came out,

friends told me about it and I thought it inspired. Contestants standing around a truck for days seemed odd, absurd and very American. The more I heard about the film, it struck me as a surprising story about ordinary people with their eye on a prize that could change their lives, and what they would endure to win it.

When Doug and Amanda were interested in meeting me about the possibility of directing a musical adaptation of the film, I rented it. What fascinated me was its potential to access something about what’s going on in America that few people want to deal with — the forgotten working class and what’s happened to them.

The challenge for me is how to stay true to the heart of the piece without having the characters appear as one-

dimensional, and not fully fleshed out human beings. This musical has an incredible heart; it’s in the family of those American works that try to grapple with who Americans really are and what they’re going through at any given time in our history.

The truck is a symbol of everybody’s version of the American dream, but it’s also a material thing. The thought is: if I get this house, piece of land, lifestyle, girlfriend, into this country club, it will somehow make me whole. The truck represents possibility and fulfillment, but the deceptive nature of the American dream is that you may get it, but it can also get you. It’s certainly something to strive for, win, challenge yourself to achieve, but it can be skewed and out of balance if you think that winning a material thing is going to bring happiness.

The Hands on a Hardbody contest is an endurance contest, and you can’t underestimate that. These people are standing up for four or five days without sleep. The more exhausted the contestants are, the more they let their guard down and the more they connect with each other and who they truly are. What I love is the idea of people coming to terms with the limitations of where they are in their lives, and being heroic in trying to do something about it. I’m reminded of the John Lennon lyric — “A working class hero is something to be.” I hope the audience sees and celebrates the value of these people who are trying to get by.

Having produced a number of musicals at my own theatre (Atlantic Theater Company in New York City), directed a number of shows on and off-Broadway, and having been a musician and blues/rock guitarist for a while, I’m tremendously excited by the opportunity to marry a love of great playwriting, great music and stories that somehow speak to the truth of the times in which we live.

I happened upon the contest by chance in 1992. On break from college and back home in Texas for the summer, I was out with friends at a local tavern and had seen the dealership lights still on at two in the morning. I wandered over and saw five bleary-eyed contestants standing with their hands on a truck, not moving. It was bizarre, a strange spectacle — utterly boring yet oddly captivating. I asked how long they had been there and was told “days.” I asked what was in it for them, and they told me, “the truck.”

I watched for maybe thirty minutes. Nothing happened. Or at least nothing I could see. But a year later I was still thinking about those people and that truck. Why were they there? What were their stories? How long would they stand?

In 1995, I went back with cameras and a small filmcrew. We interviewed the contestants and filmed the contest. And after distilling a hundred hours of footage down to ninety minutes, everyone could finally see what I couldn’t that summer night: that a human drama about the American Dream was playing out around the truck.

Storytellers look for metaphor; documentarians have always looked for big ideas in the small and seemingly mundane. The eventual winner of the truck summed it up by saying, “If you really want something, you have to keep your hands on it.” What was that something? Money? Glory? God? A loved one?

We will all eventually stand around our own truck. How will you fare? Will you win or lose? Hold on or let go? Maybe what we learn is more valuable? Maybe when the lesson is learned it’s time to let go?

Truth is subjective. When you make a documentary this becomes abundantly clear. When editing, I felt an enormous responsibility to represent the contestants as truthfully as possible — as I experienced them. They had put themselves out there, vulnerable before our cameras.

When Doug Wright approached me about making a musical about these people and the contest, I had to consider many things. Mainly I had to feel certain he (and the team he put

– S.R. Bindler, Director Hands on a Hard Body documentary film

BENJAMIN MILLEPIEDMusical Staging

NEIL PEPEDirector

W

W

A HUMAN DRAMA KIND OF THINGS.R. Bindler’s 1997 award-winning film, Hands on a Hard Body, documented an endurance contest at a Longview, Texas Nissan dealership in which 24 people entered to win a brand new hardbody truck. The contestant that kept at least one hand on the truck the longest got to drive it off the lot. What appeared at first to be nothing more than a marketing gimmick, revealed a microcosm of humanity and community that affirmed the contestants and the American spirit. Bindler recalls his experience of filming the contest.

together) would become the contestants’ second champion and guardian.

If you spend any amount of time with Doug you quickly recognize a deep humanity. His work reflects this and he has wonderful insight and integrity. He’s also from Texas, two hours from where I grew up and the contest took place. So, it was this combination that, as we say in Texas, “got ‘er done.”

Doug and Amanda Green, the gifted lyricist and co-composer with Trey Anastasio, director Neil Pepe and the Hands on a Hardbody company have furthered the distillation process that the documentary started, resulting in a celebration of the event and of life itself — a potent mix of happiness, heartache, sorrow, joy, compassion, anger and finally, love.

After seeing the first developmental workshop of the musical in New York last year I found myself walking down Broadway, humming the melody to the fantastic closing song and thinking about Benny, Norma, Ronald, JD and the rest of the contestants, and how they would feel after seeing themselves singing and dancing on stage. I think they’d be very pleased, even inspired, that their story continues to touch so many people. I pictured them all in the audience smiling, laughing and clapping their hands.

On a personal note, I have to acknowledge the other filmmakers who made the documentary with me so many years ago: Kevin Morris, Chapin Wilson, Julia Wall and Michael A. Nickles.



by the lyric, story and intention of the character. A rhyme or the length of a pause in a sentence has to be dramatically appropriate. There can’t be any extraneous musical ideas. It may seem like a limitation, but it’s actually the opposite. It’s a completely different kind of discipline and focus — it has to come 100% from the story.

I’ve written a lot of songs and, for the most part, the singer is singing in my voice. The characters in Hands on a Hardbody each have their own voice. It presents an opportunity to explore emotions that I wouldn’t be able to reach in the songs that I record. It’s liberating to write a song for a character who is experiencing a spiritual change in the play. I’m hoping that the universal, human truths of the characters’ lives as expressed by the music, songs, book, staging and performers will touch the audience as deeply as it has touched me.

hen I read the Hands on a Hardbody script and listened to the music,

I was immediately taken with it. I was moved by the characters’ quest for this particular truck that they believed would solve what was not working in their lives.

Choreographing for a musical is not so different from a ballet. Since most of the characters center their movement around a truck for most of the show, my first thoughts were about how it would work conceptually. How do we make the movement in all the scenes interesting

and imaginative, while supporting the drama of the story and songs?

The challenge is to come up with the right theatrical idea, the rules to the movement which give it a unique kinetic signature. The next challenge is to make sure the dancing feels organic and unforced, and also stays true to each character and the ensemble. For the audience, the musical staging should appear seamless and always bring them into the moment, enhancing their understanding as well as their enjoyment of the entire show.

hen the documentary film of Hands on a Hard Body first came out,

friends told me about it and I thought it inspired. Contestants standing around a truck for days seemed odd, absurd and very American. The more I heard about the film, it struck me as a surprising story about ordinary people with their eye on a prize that could change their lives, and what they would endure to win it.

When Doug and Amanda were interested in meeting me about the possibility of directing a musical adaptation of the film, I rented it. What fascinated me was its potential to access something about what’s going on in America that few people want to deal with — the forgotten working class and what’s happened to them.

The challenge for me is how to stay true to the heart of the piece without having the characters appear as one-

dimensional, and not fully fleshed out human beings. This musical has an incredible heart; it’s in the family of those American works that try to grapple with who Americans really are and what they’re going through at any given time in our history.

The truck is a symbol of everybody’s version of the American dream, but it’s also a material thing. The thought is: if I get this house, piece of land, lifestyle, girlfriend, into this country club, it will somehow make me whole. The truck represents possibility and fulfillment, but the deceptive nature of the American dream is that you may get it, but it can also get you. It’s certainly something to strive for, win, challenge yourself to achieve, but it can be skewed and out of balance if you think that winning a material thing is going to bring happiness.

The Hands on a Hardbody contest is an endurance contest, and you can’t underestimate that. These people are standing up for four or five days without sleep. The more exhausted the contestants are, the more they let their guard down and the more they connect with each other and who they truly are. What I love is the idea of people coming to terms with the limitations of where they are in their lives, and being heroic in trying to do something about it. I’m reminded of the John Lennon lyric — “A working class hero is something to be.” I hope the audience sees and celebrates the value of these people who are trying to get by.

Having produced a number of musicals at my own theatre (Atlantic Theater Company in New York City), directed a number of shows on and off-Broadway, and having been a musician and blues/rock guitarist for a while, I’m tremendously excited by the opportunity to marry a love of great playwriting, great music and stories that somehow speak to the truth of the times in which we live.

I happened upon the contest by chance in 1992. On break from college and back home in Texas for the summer, I was out with friends at a local tavern and had seen the dealership lights still on at two in the morning. I wandered over and saw five bleary-eyed contestants standing with their hands on a truck, not moving. It was bizarre, a strange spectacle — utterly boring yet oddly captivating. I asked how long they had been there and was told “days.” I asked what was in it for them, and they told me, “the truck.”

I watched for maybe thirty minutes. Nothing happened. Or at least nothing I could see. But a year later I was still thinking about those people and that truck. Why were they there? What were their stories? How long would they stand?

In 1995, I went back with cameras and a small filmcrew. We interviewed the contestants and filmed the contest. And after distilling a hundred hours of footage down to ninety minutes, everyone could finally see what I couldn’t that summer night: that a human drama about the American Dream was playing out around the truck.

Storytellers look for metaphor; documentarians have always looked for big ideas in the small and seemingly mundane. The eventual winner of the truck summed it up by saying, “If you really want something, you have to keep your hands on it.” What was that something? Money? Glory? God? A loved one?

We will all eventually stand around our own truck. How will you fare? Will you win or lose? Hold on or let go? Maybe what we learn is more valuable? Maybe when the lesson is learned it’s time to let go?

Truth is subjective. When you make a documentary this becomes abundantly clear. When editing, I felt an enormous responsibility to represent the contestants as truthfully as possible — as I experienced them. They had put themselves out there, vulnerable before our cameras.

When Doug Wright approached me about making a musical about these people and the contest, I had to consider many things. Mainly I had to feel certain he (and the team he put

– S.R. Bindler, Director Hands on a Hard Body documentary film

BENJAMIN MILLEPIEDMusical Staging

NEIL PEPEDirector

W

W

A HUMAN DRAMA KIND OF THINGS.R. Bindler’s 1997 award-winning film, Hands on a Hard Body, documented an endurance contest at a Longview, Texas Nissan dealership in which 24 people entered to win a brand new hardbody truck. The contestant that kept at least one hand on the truck the longest got to drive it off the lot. What appeared at first to be nothing more than a marketing gimmick, revealed a microcosm of humanity and community that affirmed the contestants and the American spirit. Bindler recalls his experience of filming the contest.

together) would become the contestants’ second champion and guardian.

If you spend any amount of time with Doug you quickly recognize a deep humanity. His work reflects this and he has wonderful insight and integrity. He’s also from Texas, two hours from where I grew up and the contest took place. So, it was this combination that, as we say in Texas, “got ‘er done.”

Doug and Amanda Green, the gifted lyricist and co-composer with Trey Anastasio, director Neil Pepe and the Hands on a Hardbody company have furthered the distillation process that the documentary started, resulting in a celebration of the event and of life itself — a potent mix of happiness, heartache, sorrow, joy, compassion, anger and finally, love.

After seeing the first developmental workshop of the musical in New York last year I found myself walking down Broadway, humming the melody to the fantastic closing song and thinking about Benny, Norma, Ronald, JD and the rest of the contestants, and how they would feel after seeing themselves singing and dancing on stage. I think they’d be very pleased, even inspired, that their story continues to touch so many people. I pictured them all in the audience smiling, laughing and clapping their hands.

On a personal note, I have to acknowledge the other filmmakers who made the documentary with me so many years ago: Kevin Morris, Chapin Wilson, Julia Wall and Michael A. Nickles.



La Jolla Playhouse’s production departments are well versed in creating the physical environment for numerous world premieres on our stages. But for Hands on a Hardbody, they took on the challenge of creating the “title” character—a hardbody truck that spends almost the entire performance center stage.

Each department has been involved in outfitting a truck for the show, as well as one for the rehearsal room—from making it sturdy enough for actors to climb on, yet light-weight enough to move around the stage. They’ve also developed a way for the production team to remotely control its lights, horn and dashboard functions.

After purchasing a special truck to use in the show, the scenic, prop, electric and sound shop staffs each got their “hands” on it to help realize the designers’ vision and get it ready for its Playhouse debut!


Chris borreson, teChniCal direCtor

“With Show Carpenter Kyle Ahlquist and Carpenter

Mason Peterson taking the lead, we prepared the truck for

the show, shaving 2800 lbs off its weight, reinforcing the

roof, bed, and hood, and turning it into a fully percussive

and dance-able character. Although we spent four weeks

gutting it, there was a major effort to maintain the truck’s

authenticity – we wanted to make the vehicle able to do

everything that a normal truck would, while still fulfilling

the staging needs. The collaboration between the design

team and production staff was phenomenal, allowing for a

lot of great ideas and experimentation. Good thing we had

the rehearsal truck to practice on.”

miKe doyle, lighting suPervisor

“To make various lights in the truck operate on cue, La Jolla Playhouse electricians Mike Lowe and Andrea Ryan replaced all of the internal wiring in the truck with a system that works wirelessly and is controlled from the booth during the show. The modifications allowed us to operate standard automotive electronics like headlights and tail lights, as well and theatrical additions such as lighting in the wheel wells and additional interior lighting to highlight the actor’s faces. All of this is powered by standard car batteries and controlled with a state-of-the-art wireless dimming system.”

deb hatCh, ProP master

“Our involvement was early in the process, finding the show truck to purchase on ebay. We also shopped for a black rear step bumper and black rims for the wheels. Props Artisan Ryan Lewis has been involved in the reinforcement of the hood and roof and cut the handles in the truck bed cover. We went over the rehearsal truck very carefully, checking for sharp edges and places where there was grease. Soft Goods Artisan Betsy Egan cleaned the seat with a toothbrush and built the custom black truck cover for the top of the show out of china silk. Prop Shop Foreman Will Widick will be wrapping the vehicle as one of the last projects before it goes on stage.”

Joe huPPert, sound suPervisor

“The sound department needed to provide the sounds of windshield wipers, horn and other effects. While we ended up using the truck’s own horn, we also put a wireless, battery-powered speaker in the bed of the truck through which we could play recorded effects. Recorded effects weren’t enough though, as the composer wanted to use the truck as a percussion instrument for the cast to play during some of the numbers. This meant we also put four wireless microphones on the truck in strategic locations, so that the sounds the actors generate can be amplified and mixed with the band.

Photo Credits (clockwise from top left): Kyle Ahlquist, Show Carpenter; Mason Peterson, Carpenter; Kyle Ahlquist, Show Carpenter - photos by Dana Holliday; Mason Peterson, Carpenter - photo by Kyle Ahlquist; Set Designer Christine Jones; Co-Composer Trey Anastasio (left) and Director Neil Pepe - photos by Terri Rippee.


When La Jolla Playhouse Artistic Director Christopher Ashley came up with the idea for Without Walls (WoW), he kept returning to a single sentence: “La Jolla Playhouse is defined by the art we create, not the spaces in which it’s performed.”

Part of the excitement of developing new work is the thrill of breaking with tradition, taking risks and sprinting out of your comfort zone. By presenting and developing cutting-edge, site-specific shows throughout the San Diego community, WoW takes audiences outside the confines of our conventional performance spaces and introduces them to a new way of experiencing a live theatrical event.

Supported by a generous grant from The James Irvine Foundation, WoW was inaugurated last September with David Leddy’s Susurrus. When audience members arrived at the San Diego Botanic Garden in Encinitas, they were handed headphones, an iPod and a map of the garden. At eight different sites in the beautiful garden, audiences listened to eight different parts of a haunting, moving audio play. An instant critical and commercial hit, Susurrus extended its sold-out run and won the 2012 San Diego Critics Circle Award for Outstanding Theatrical Event.

In February, 2012 the Playhouse revved up its second WoW production: a presentation of Moving Arts’ The Car Plays: San Diego. In this one-of-a-kind theatrical experience performed inside a series of parked cars, audiences of two people move from vehicle to vehicle, enjoying five 10-minute plays that unfolded just inches away. The Playhouse teamed up with dozens of San Diego-based writers, actors and directors to present audiences with a thoroughly unique examination of our car culture. Another immediate success, The Car Plays garnered rave reviews, with an extension selling out just hours after it was announced.

The Playhouse recently announced that it will hold a Without Walls festival in Fall, 2013. Designed to give audiences as diverse a set of site-specific experiences as possible, the WoW Festival will bring many exciting international and national artists to San Diego for the first time, and allow us to continue our partnership with local artists. In addition to the return of The Car Plays, the Playhouse has commissioned renowned artists like playwright and Chair of the UCSD graduate playwriting program Naomi Iizuka and puppeteer Basil Twist (Dogugaeshi) to create brand-new, site-based works specifically for the festival.

Whether at a treasured landmark, a favorite community gathering spot or at your local mall, WoW performances will continue to be intrinsically connected to the people, places and history of San Diego. Once outside the boundaries of a theatre, the performers, audience and passersby become moving parts in a living theatre piece – showing that art lives in ideas and people, not within walls.

WI THOUTWALLS

Without Walls issupported by a grant from:


Above: Will Tulin in The Car Plays: San Diego - photo by J. Kataryzna Woronowicz; bottom (from left): David Leddy’s Susurrus; Basil Twist-photo by Terri Rippe. PERFORMANCES MAGAZINe P19


CHOOSEYOUR PACKAGE

MUSICAL LOVERSSee All Three Musicals

DESIGN YOUR OWN SUBSCRIPTION PACKAGEPick the Shows You WantCall the Box Office for options

3 NEW MUSICALS , 2 WEST COAST PREMIERES AND A PULITZER PRIZE-WINNING PLAY SEE THEM ALL!

YOUR BENEFITS FORSUBSCRIBING ‣ Pay less than single-ticket buyers

‣ Free parking passes Tuesday – Friday

‣ Free ticket exchange

SUBSCRIBE NOW FOR AS LOW AS $118

DIRECTED BY

NEIL PEPESpeed-the-Plow

Based on true events… For ten strangers, it’s more than a contest — it’s the American Dream.

La Jolla Playhouse Commission

april 27 june 17 BOOK BY

DOUG WRIGHTLYRICS BY

AMANDA GREENMUSIC BY

TREY ANASTASIO AND AMANDA GREEN MUSICAL STAGING BY

BENJAMIN MILLIPIED DIRECTED BY

NEIL PEPEBased on the film Hands on a Hard Body by S. R. Bindler

DIRECTED BY CHRISTOPHER ASHLEY

BY DAVID MAMET

GARRYGLENGLEN ROSS

september 18 october 21

Pulitzer Prize Winner

“In the nearly 30 years since it first burst upon the scene, Glengarry Glen Ross hasn’t lost an ounce of its ferocity, relevance or impact.” – Artistic Director Christopher Ashley

CONCEIVED AND DIRECTED BY

DES McANUFFJesus Christ Superstar

YOSHIMIPINK ROBOTS

BATTLESWorld Premiere Musical

MUSIC AND LYRICS BY THE FLAMING LIPS

STORY BY WAYNE COYNE AND DES McANUFF


DIRECTED BY

DES McANUFF

“It’s wonderful and poignant and powerful — a perfect combination of my fantastical robot-world vision and McAnuff’s internal, humanistic version of what that music is.” – Wayne Coyne of The Flaming Lips

If you love Hands on a Hardbody, don’t miss the rest of the thrilling season!

DIRECTED BY

MOISÉS KAUFMAN33 Variations

MUSIC BY

DUNCAN SHEIKSpring Awakening

BOOK AND LYRICS BY

STEVEN SATERSpring Awakening

NIGHTINGALEjuly 10 august 5

Page To Stage MusicalTHE

BY

J.T. ROGERS DIRECTED BY

LUCIE TIBERGHIEN

BLOODGIFTS

ANDWest Coast Premiere

june 12 july 8

From Washington, DC to Afghanistan, J.T. Rogers’ cat-and-mouse game reveals the secret spy war behind the Cold War.

“A superb new play.” – The New York Times

THE FULL SEASONThe Best Value for All 6 PlaysPRICES START AT $176

PRICES START AT $118

A haunting song tempts a young Chinese emperor into the dangerous world beyond the walls of the Imperial Palace.

ILIADAN West Coast Premiere

august 11 september 9

BY

DENIS O’HARE AND LISA PETERSON DIRECTED BY

LISA PETERSONBased on Homer’s THE ILIAD, TRANSLATED BY ROBERT FAGLES

“A combination of a naturally exciting narrative and the engaged, virtuosic performance” – The New York Times

“100 intelligent, emotional minutes” – The Huffington Post


CHOOSEYOUR PACKAGE

MUSICAL LOVERSSee All Three Musicals

DESIGN YOUR OWN SUBSCRIPTION PACKAGEPick the Shows You WantCall the Box Office for options

3 NEW MUSICALS , 2 WEST COAST PREMIERES AND A PULITZER PRIZE-WINNING PLAY SEE THEM ALL!

YOUR BENEFITS FORSUBSCRIBING ‣ Pay less than single-ticket buyers

‣ Free parking passes Tuesday – Friday

‣ Free ticket exchange

SUBSCRIBE NOW FOR AS LOW AS $118

DIRECTED BY

NEIL PEPESpeed-the-Plow

Based on true events… For ten strangers, it’s more than a contest — it’s the American Dream.

La Jolla Playhouse Commission

april 27 june 17 BOOK BY

DOUG WRIGHTLYRICS BY

AMANDA GREENMUSIC BY

TREY ANASTASIO AND AMANDA GREEN MUSICAL STAGING BY

BENJAMIN MILLIPIED DIRECTED BY

NEIL PEPEBased on the film Hands on a Hard Body by S. R. Bindler

DIRECTED BY CHRISTOPHER ASHLEY

BY DAVID MAMET

GARRYGLENGLEN ROSS

september 18 october 21

Pulitzer Prize Winner

“In the nearly 30 years since it first burst upon the scene, Glengarry Glen Ross hasn’t lost an ounce of its ferocity, relevance or impact.” – Artistic Director Christopher Ashley

CONCEIVED AND DIRECTED BY

DES McANUFFJesus Christ Superstar

YOSHIMIPINK ROBOTS

BATTLESWorld Premiere Musical


STORY BY WAYNE COYNE AND DES McANUFF


DIRECTED BY

DES McANUFF

“It’s wonderful and poignant and powerful — a perfect combination of my fantastical robot-world vision and McAnuff’s internal, humanistic version of what that music is.” – Wayne Coyne of The Flaming Lips

If you love Hands on a Hardbody, don’t miss the rest of the thrilling season!

DIRECTED BY

MOISÉS KAUFMAN33 Variations

MUSIC BY

DUNCAN SHEIKSpring Awakening

BOOK AND LYRICS BY

STEVEN SATERSpring Awakening

NIGHTINGALEjuly 10 august 5

Page To Stage MusicalTHE

BY

J.T. ROGERS DIRECTED BY

LUCIE TIBERGHIEN

BLOODGIFTS

ANDWest Coast Premiere

june 12 july 8

From Washington, DC to Afghanistan, J.T. Rogers’ cat-and-mouse game reveals the secret spy war behind the Cold War.

“A superb new play.” – The New York Times

THE FULL SEASONThe Best Value for All 6 PlaysPRICES START AT $176

PRICES START AT $118

A haunting song tempts a young Chinese emperor into the dangerous world beyond the walls of the Imperial Palace.

ILIADAN West Coast Premiere

august 11 september 9

BY

DENIS O’HARE AND LISA PETERSON DIRECTED BY

LISA PETERSONBased on Homer’s THE ILIAD, TRANSLATED BY ROBERT FAGLES

“A combination of a naturally exciting narrative and the engaged, virtuosic performance” – The New York Times

“100 intelligent, emotional minutes” – The Huffington Post

SPECIAL THANKS to those who gave so generously to the Playhouse’s Gala 2012 education paddle raise:

Tony and Margaret Acampora, Kathleen and Gary Acosta, Lisa and Steven Altman, Christine Ashworth, Michael Bartell and Melissa Gar�eld Bartell, Lisa Betyar and Karl Walter, Dave Bialis, Paula Marie Black, Barbara Bloom, Gail and Ralph Bryan, Todd and Debby Buchholz, Annie Finch and Doug Carlson, Marsha and William Chandler, Florence Cohen, Leslie and Thomas Coll, David C. Copley, Drs. Edward and Martha Dennis, Ellen Sarver Dolgen and David P. Dolgen, Susan E. Dubé, Michael and Juanita Eagle, Victor Felix and Julie Nunes-Felix, Valerie and Gregory Frost, Wendy Gillespie, Miles Grant, Tammy and Larry Hersh�eld, Jennifer and Doug Houser, Osborn and Dea Hurston, Debby and Hal Jacobs, Joan and Irwin Jacobs, Salim and Alice Janmohamed, Jeanne Jones and Don Breitenberg, Lewis and Patricia Judd, George and Gail Knox, William and Lynelle Lynch, Margret and Nevins McBride, Christy and Alan Molasky, Marci and Ronnie Morgan, Cheryl and Bill Naumann, Ronald and Lucille Neeley, Kathy Paulin, Scott Peters, Lori and Kenneth Polin, Julie and Lowell Potiker, Vivien and Jeffrey Ressler, Marilyn and Michael Rosen, Alex and Laleh Roudi, Camille and David Saltman, Judy and Stephen Smith, Dr. and Mrs. David Smotrich, Iris and Matthew Strauss, Deborah and Tom Trimble, Mary Lindenstein Walshok, Ph.D., Sheryl and Harvey P. White, Jennifer Winward, Jill and Bruno Wolfenzon, Marilyn and Michael Yeatts.

PLEASE JOIN THEM IN GIVING THE GIFT OF LIVE THEATRE TO OUR COMMUNITY’S CHILDREN. Contact Jessica Burger at (858) 550-1070 x142 to make a donation today.

Each summer, the Tony Award-winning La Jolla Playhouse offers an intensive six-week acting experience for high school students grades 10-12. This program is designed for performers who want to develop the skills for a career in the professional theatre.

Once in a lifetime experience

SUMMER 2012

Application process includes:• Online application with essay questions• Two letters of recommendation• Participation in a group workshop• Audition• Interview

Tuition for the six-week program is $1,800.Class space is limited to 20 students.

How to Apply Contact La Jolla Playhouse’s Education &Outreach Department at (858) 550-1070 x101 or visit LaJollaPlayhouse.org.

A limited number of need-based scholarships are available from the Sidney E. Frank Foundation Scholarship Fund.

2012

summer

Young Performers’ Worksh

op

Choice of two-week workshops:

Red 1: June 25 – July 6*9:00 am – 4:30 pm daily

Tuition Red 1$383 Subscribers$450 Non-subscribers

Red 2: July 9 – July 209:00 am – 4:30 pm daily


redstudents entering grades 3-4

*In observance of the July 4th holiday, these workshops will be 9 sessions instead of 10.

One-week workshop:

June 25 – June 299:00 am – 4:30 pm daily

orangeTuition$200 Subscribers$250 Non-subscribers

students entering grades 3-5


Yellow 1: June 25 – July 6*9:00 am – 4:30 pm daily

Tuition Yellow 1$383 Subscribers$450 Non-subscribers

Yellow 2: July 9 – July 209:00 am – 4:30 pm daily



yellowstudents entering grades 5-6

Three-week workshop:

June 25 – July 139:00 am – 4:30 pm daily

Tuition$675 Subscribers$750 Non-subscribers

greenstudents entering grades 7-8 bluestudents entering grades 9-12

Three-week workshop: July 2 – July 209:00 am – 4:30 pm daily


One-week workshop: July 16 – July 209:00 am – 12:00 pm daily


students entering grade 2 purple

Plus, attend major moments in La Jolla Playhouse mainstage shows:

Company BreakfastsFirst Read-Throughs

Designer/Director PresentationsTechnical RehearsalsPerformances

Attend:Master Classes with artists working on stage at La Jolla PlayhouseClasses taught by professionals

working in the theatre industryConservatory Alumni college panelAnd many more exciting workshops and master classes!

+

+

+

+

+

July 2 – August 10, 2012

La Jolla Playhouse offers unique opportunities for audience members to delve deeper into Hands on a Hardbody with these special performance series options:

don’t miss our illuminating audience events

INSIDER: Meet with a Playhouse staff member prior to the performance for an insider’s discussion about the play. Insider performances are Wednesday, May 23 & Saturday, May 26 matinee.

TALKBACK TUESDAY: Join cast and crew for a discussion following the performance. Talkback Tuesday performances are Tuesday, May 8 & May 15. Sponsored in part by

DISCOVERY SUNDAY: Join special guest speakers after the performance as they explore the themes of the production. Discovery Sunday performances are Sunday, May 27 following 2:00pm performance. Sponsored in part by


SPECIAL THANKS to those who gave so generously to the Playhouse’s Gala 2012 education paddle raise:

Tony and Margaret Acampora, Kathleen and Gary Acosta, Lisa and Steven Altman, Christine Ashworth, Michael Bartell and Melissa Gar�eld Bartell, Lisa Betyar and Karl Walter, Dave Bialis, Paula Marie Black, Barbara Bloom, Gail and Ralph Bryan, Todd and Debby Buchholz, Annie Finch and Doug Carlson, Marsha and William Chandler, Florence Cohen, Leslie and Thomas Coll, David C. Copley, Drs. Edward and Martha Dennis, Ellen Sarver Dolgen and David P. Dolgen, Susan E. Dubé, Michael and Juanita Eagle, Victor Felix and Julie Nunes-Felix, Valerie and Gregory Frost, Wendy Gillespie, Miles Grant, Tammy and Larry Hersh�eld, Jennifer and Doug Houser, Osborn and Dea Hurston, Debby and Hal Jacobs, Joan and Irwin Jacobs, Salim and Alice Janmohamed, Jeanne Jones and Don Breitenberg, Lewis and Patricia Judd, George and Gail Knox, William and Lynelle Lynch, Margret and Nevins McBride, Christy and Alan Molasky, Marci and Ronnie Morgan, Cheryl and Bill Naumann, Ronald and Lucille Neeley, Kathy Paulin, Scott Peters, Lori and Kenneth Polin, Julie and Lowell Potiker, Vivien and Jeffrey Ressler, Marilyn and Michael Rosen, Alex and Laleh Roudi, Camille and David Saltman, Judy and Stephen Smith, Dr. and Mrs. David Smotrich, Iris and Matthew Strauss, Deborah and Tom Trimble, Mary Lindenstein Walshok, Ph.D., Sheryl and Harvey P. White, Jennifer Winward, Jill and Bruno Wolfenzon, Marilyn and Michael Yeatts.

PLEASE JOIN THEM IN GIVING THE GIFT OF LIVE THEATRE TO OUR COMMUNITY’S CHILDREN. Contact Jessica Burger at (858) 550-1070 x142 to make a donation today.

Each summer, the Tony Award-winning La Jolla Playhouse offers an intensive six-week acting experience for high school students grades 10-12. This program is designed for performers who want to develop the skills for a career in the professional theatre.

Once in a lifetime experience

SUMMER 2012

Application process includes:• Online application with essay questions• Two letters of recommendation• Participation in a group workshop• Audition• Interview

Tuition for the six-week program is $1,800.Class space is limited to 20 students.

How to Apply Contact La Jolla Playhouse’s Education &Outreach Department at (858) 550-1070 x101 or visit LaJollaPlayhouse.org.

A limited number of need-based scholarships are available from the Sidney E. Frank Foundation Scholarship Fund.

2012

summer

Young Performers’ Worksh

op


Red 1: June 25 – July 6*9:00 am – 4:30 pm daily


Red 2: July 9 – July 209:00 am – 4:30 pm daily


redstudents entering grades 3-4


One-week workshop:

June 25 – June 299:00 am – 4:30 pm daily

orangeTuition$200 Subscribers$250 Non-subscribers

students entering grades 3-5


Yellow 1: June 25 – July 6*9:00 am – 4:30 pm daily


Yellow 2: July 9 – July 209:00 am – 4:30 pm daily



yellowstudents entering grades 5-6

Three-week workshop:

June 25 – July 139:00 am – 4:30 pm daily


greenstudents entering grades 7-8 bluestudents entering grades 9-12

Three-week workshop: July 2 – July 209:00 am – 4:30 pm daily


One-week workshop: July 16 – July 209:00 am – 12:00 pm daily


students entering grade 2 purple

Plus, attend major moments in La Jolla Playhouse mainstage shows:

Company BreakfastsFirst Read-Throughs

Designer/Director PresentationsTechnical RehearsalsPerformances

Attend:Master Classes with artists working on stage at La Jolla PlayhouseClasses taught by professionals

working in the theatre industryConservatory Alumni college panelAnd many more exciting workshops and master classes!

+

+

+

+

+

July 2 – August 10, 2012

La Jolla Playhouse offers unique opportunities for audience members to delve deeper into Hands on a Hardbody with these special performance series options:

don’t miss our illuminating audience events

INSIDER: Meet with a Playhouse staff member prior to the performance for an insider’s discussion about the play. Insider performances are Wednesday, May 23 & Saturday, May 26 matinee.

TALKBACK TUESDAY: Join cast and crew for a discussion following the performance. Talkback Tuesday performances are Tuesday, May 8 & May 15. Sponsored in part by

DISCOVERY SUNDAY: Join special guest speakers after the performance as they explore the themes of the production. Discovery Sunday performances are Sunday, May 27 following 2:00pm performance. Sponsored in part by



Joan and IrwIn Jacobs From two world-premiere musicals to a Pulitizer Prize-winning play and from a re-imagined classic to a Page To Stage workshop, we truly can stamp this season “Made in La Jolla!” Congratulations to Chris, Mike and the entire Playhouse team.

GaIl and ralph bryanWe’re proud to support the Playhouse this season and especially proud to sponsor Hands on a Hardbody, a new American musical about a life-changing endurance competition.

audrey s. GeIsel, dr. seuss Fund/ san dIeGo FoundatIon Seuss celebrates another fantastic season with La Jolla Playhouse!

sherI l. and stuart w. JamIeson Christopher Ashley and his team proudly carry on the tradition of the Playhouse as a safe harbor for unsafe work. Cheers to another great year!

becky mooresMy family and I are tremendous fans of La Jolla Playhouse. I am delighted to help bring this incredible season to San Diego for all to enjoy.

VIVIen and JeFFrey ressler The Playhouse is an artistic home to our family. We are honored to support this glorious new season as we reflect on the joy the Playhouse has given us for so many years.

rIch FamIly FoundatIon We are pleased to lend our support to La Jolla Playhouse to promote the hard work, dedication and atmosphere that creates and launches new productions. colette and IVor royston We’re so thrilled to see the outstanding work coming out of the La Jolla Playhouse over the past 26 years of our involvement. Congratulations to the Playhouse for their creativity and stellar leadership.

mandell weIss charItable trust La Jolla Playhouse is an important and vital part of the San Diego arts community. We look forward each season to a wide variety of engaging plays, intriguing stories and original theater. We are proud to support the Playhouse.

steVen strauss and lIse wIlsonWhat a season ahead of us! It seems like old times witnessing the incomparable collaboration between Des McAnuff and La Jolla Playhouse in creating yet another stunning world premiere musical - Yoshimi Battles the Pink Robots!

SEASON SPONSORS: PRODUCTION SPONSORS:lon and denIse beVers As fans of the man…Who made the golgi apparatus cool…And the man who was his own wife…We can hardly wait to see…This new play come to life!

paula marIe black I am thrilled to welcome Doug Wright, Neil Pepe, Trey Anastasio, Amanda Green and Benjamin Millepied, the entire cast and crew to the La Jolla Playhouse Family. Put your hands together and give them a big San Diego welcome.

barbara bloom Here’s to the American Dream and all who seek it. Congratulations to La Jolla Playhouse for birthing a musical that celebrates it!

dowlInG & yahnkeDowling & Yahnke salutes the Playhouse’s tireless commitment to providing us with the gift of world-class performances in our backyard. Their dedication to excellence, creativity and culture remains paramount to making San Diego “America’s Finest City. “

Front porch communItIesFront Porch retirement communities Casa de Mañana in La Jolla and Wesley Palms in Pacific Beach are pleased to sponsor La Jolla Playhouse. Front Porch communities celebrate the art of the individual and the spirit of community. We salute the Playhouse for its exceptional commitment to creative excellence and innovation.

JulIe and lowell potIker La Jolla Playhouse stands at the vanguard of American theatre. The powerful and exciting works that emanate from its talented team and collaborators enrich both our own community and society at large. We are proud to lend our sponsorship to such a worthy endeavor!

procopIoProcopio is proud to support La Jolla Playhouse and applauds its tremendous efforts to empower our community through the performing arts, and to set the stage for the future of American theatre. As a local organization whose impact spans the globe, the Playhouse inspires our philanthropic spirit and commitment to the cultural vitality of our community.

us bankThere is not a finer arts organization than La Jolla Playhouse. From daring debuts to Broadway-bound premieres, there truly is a show for every one of our customers, employees and stakeholders to enjoy. Through our partnership, we are able to express our support of the arts to myriad people, as so many diverse groups are attracted to La Jolla Playhouse and its fine work.

Hands on a Hardbody is also supported by the La Jolla Playhouse 2012/2013 New Musical Initiative, made possible through the generous support of Joe DiPietro and David Bryan and The Jordan Ressler Endowment Fund.

LA JOLLA PLAYHOUSE SPONSORS


Additional institutional support provided by:


LA JOLLA PLAYHOUSE SPONSORS

Opportunities for corporations to partner with La Jolla Playhouse are numerous and varied, each providing exclusive benefits and recognition. For information, please contact Jill McIntyre at (858) 550-1070 x137.

IN-KIND CIRCLE

CORPORATE MATCHING COMPANIESBank of America • Caterpillar • Google • Goodrich • Hewlett-Packard • H&R Block • IBM International • Intuit • Pfizer • Qualcomm Incorporated

Sempra Energy • U.S. Bank • Union Bank • Wells Fargo

Advanced Time Concepts • Daniel Norwood Photography • Floral FX • St. Petersburg Vodka

Wright & L'EstrangE

$100,000 +

$25,000 +

$20,000 +

$15,000 +

$10,000 +

$5,000 +

MEDIA SPONSORS

LA JOLLA PLAYHOUSE: CorPorate CirCle

Allianz Global Investors Capital • Avalon Ventures • Forward Ventures / Carson Royston Group LLC

Holland America Line • Macy’s Foundation • Nordstrom • ResMed Inc. • SD Scientific, Inc. • Torrey Pines Bank • US Trust


A MESSAGE FROM the board ChairI am delighted to welcome you to this performance of Hands on a Hardbody and the launch of the Playhouse’s 2012/2013 season. As I enter my second year as Chair of the Board of Trustees, I am deeply honored to be a part of the Playhouse leadership team and to tout our recent accomplishments.

This past March, the Playhouse celebrated at its annual Gala, where we enjoyed exquisite entertainment and cuisine, as well as selections from our generous Playhouse wine hosts’ private collections, all while raising much-needed funds for our Education & Outreach and New Play Development programs. Speaking of play development, this past year the Playhouse saw four of its projects move on to successful productions in New York, including the Playhouse-commissioned Milk Like Sugar, the 2009 Page To Stage production of Peter and the Starcatchers, the hit musical Bonnie & Clyde, and the acclaimed Stratford Shakespeare Festival presentation of Jesus Christ Superstar. Meanwhile, the Playhouse-born Jersey Boys and Memphis remain major hits on Broadway and on national tour.

All of these projects demonstrate our mission to develop new work and to serve as a home for artists to explore their craft. The Playhouse Board plays a critical role in upholding this mission, by helping to secure the resources the institution needs to continue providing unfettered creative opportunities for the leading artists of today and tomorrow.

Once again, on behalf of my fellow trustees, thank you for joining us for another astounding Playhouse season. I look forward to working with all of you on continuing the Playhouse’s legacy of success throughout 2012 and beyond.

MICHAEL EAGLE ChairJEFFREY RESSLER First Vice-Chair LYNELLE LYNCH Second Vice-ChairTIM SCOTT Third Vice-ChairMICHAEL bARTELL Treasurer MARGRET MCbRIdE Secretary

TRUSTEES Gayle Allen Weston AnsonDave Bialis Paula Marie Black Barbara Bloom Ralph Bryan* Robert Caplan Linda L. Chester Flossie Cohen Doug Dawson Edward A. Dennis, Ph.D. Susan E. Dubé Victor M. Felix Suzanne FigiMarye Anne Fox, Ph.D. Gregory FrostWendy Gillespie Hanna Gleiberman Kay Gurtin Hanaa Hensersky Debby Jacobs Joan Jacobs Sal Janmohamed Jeanne Jones Gail Knox Lucille Neeley Reenie O'Dea

Julie Potiker Steve Relyea Donald Rosenberg Ivor Royston Camille SaltmanSusan Polis Schutz Judith C. SmithDavid SmotrichAmy Spielman Steven M. Strauss* Arthur Wagner, Ph.D. Michael Yeatts Mark ZebrowskiBarbara ZoBell

HONORARY TRUSTEES David Copley John Goodman Geri Ann Warnke* Robert Wright, Esq.

EMERITUS TRUSTEES Richard Atkinson, Ph.D. Rita Bronowski (1917-2010)Milton Fredman (1920-2005) Ewart W. Goodwin, Jr.* Marian Jones Longstreth (1906-1997)Hughes Potiker (1925-2005) Ellen Revelle (1910-2009)Roger Revelle (1909-1991)Willard P. VanderLaan, M.D.* Mandell Weiss (1891-1993)

1947 FOUNdERS Mel Ferrer Dorothy McGuire Gregory Peck

*Past Chair of the Board

LA JOLLA PLAYHOUSE board oF trustees

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MICHAELeagleCHAIR, BOARD OF TRUSTEES

List as of April 3, 2012

LA JOLLA PLAYHOUSE: Foundation & government suPPort


ELLEN ANd ROGER REvELLEhelped revive La Jolla Playhouse in the early 1980s. For more than 20 years, they helped sustain live theatre through volunteer leadership and charitable giving. Now they are helping endow the Playhouse for future generations through a bequest in their estate.

The Revelle Society is dedicated to telling the story of Ellen and Roger Revelle’s visionary philanthropic legacy.

La Jolla Playhouse hopes you will be inspired by the Revelles to review your financial and estate plans to consider

how philanthropic legacy planning could benefit you and help build the Playhouse endowment. Regardless of the size of your estate or the size of your gift, we would be honored to be counted among your philanthropic priorities.

Create a lasting legacy through The Revelle Society. Learn more about philanthropic legacy planning for gifts that: • Cost you nothing during your lifetime • Generate income for you during your lifetime • Preserve wealth for your family

Please contact Deborah Trimble, Director of Development, at (858) 550-1070 x140 or [email protected] for a confidential consultation.

THESE GENEROUS SUppORTERS HAvE bEEN SO INSpIREd ANd, IN TURN, ARE INSpIRING OTHERS:

Christopher AshleyScott AylwardCynthia BolkerRalphº and Gail BryanLeslie J. Cohen*Ted CranstonºArmando de Peralta, Sr.*Grace Margaret Duhamel*Sherrilyn and Ewart W. Goodwin, Jr.ºBob Jacobs

Joan and Irwin JacobsCharmaine*º and Maury* KaplanJohn O'DeaMargaret F. Peninger*Jeffrey and Vivien ResslerEllen* and Roger* Revelle Michael S. RosenbergRuth Shepherd*Mickey SternSteve Straussº and Lise Wilson

Kathryn SturchWillard P. VanderLaanºArthur and Molli WagnerGeri Ann Warnke º and Joseph F. Kennedy, M.D.Mandell Weiss*Gary L. WollbergºAnonymous (1)

*denotes deceasedºdenotes past Board Chair

Wish you could print tickets at home? So do we. La Jolla Playhouse would like to thank The Parker Foundation for granting a generous lead gift to our technology fund, which will bring new features to our patrons’ experience, such as Print at Home ticketing and online photo previews of the view from the seats. Please donate today at www.LaJollaPlayhouse.org/technology to match the foundation’s grant and help us reach our goal. Every dollar helps!

County of San diego

$100,000 +City of San diego Commission for Arts and Culturethe James Irvine FoundationHelen k. and James S. Copley Foundationthe Shubert Foundation, Inc.the william Hall tippett and ruth rathell tippett Foundation

$50,000 - $99,999the County of San diegoMandell weiss Charitable trust

$25,000 - $49,999the national Endowment for the ArtsEdgerton FoundationLas PatronasThe Parker Foundation; Gerald T. & Inez Grant ParkerSidney E. Frank Foundation

$10,000 - $24,999the Ariel w. Coggeshall Fund; the Creative Catalyst Fund; and the Colonel Frank C. wood Memorial Fund of the San diego Foundation, in Partnership with the James Irvine FoundationEllen Browning Scripps FoundationSan diego Scottish rite Community Foundationthe Seth Sprague Educational and Charitable Foundation

$5,000 - $9,999Price Family Charitable FundJohn and Marcia Price Family Foundation

$1,000 - $4,999national Alliance for Musical theatreThe City of Encinitas & Mizel Family Foundation Community grant Programthe Sutherland Foundation

The Samuel I. & John Henry Fox FoundationCity of Chula Vista, Performing and Visual Arts Grantthe Arthur and Jeanette Pratt Memorial Fundthe Samuel goldwyn FoundationLa Jolla kiwanis Foundation

$250 - $999Rising Arts Leaders, San Diego’s Emerging Leaders of Arts and Culture, and the San diego Foundation in partnership with the James Irvine Foundation the Philanthropy Club Foundation, Coastal Community Foundation, and the 3rd Grade Class of Solana Vista Elementary School

La Jolla Playhouse would like to thank Las Patronas and the County of San diego for making the 2011/2012 Mandell weiss theatre Lighting retrofit possible.


Directors' circle - $100,000+Joan and Irwin JacobsDr. Seuss Fund at The San Diego FoundationRao and Padma MakineniBecky Moores

Directors' circle - $50,000+Gail and Ralph BryanFaiya FredmanSheri L. and Stuart W. JamiesonTamara and Kevin KinsellaVivien and Jeffrey Ressler Family Fund of the Jewish Community FoundationBob and Mindy RichColette and Ivor RoystonSteven Strauss and Lise Wilson

Directors' circle - $25,000+AnonymousChristopher AshleyMichael Bartell and Melissa Garfield BartellDenise and Lon BeversPaula Marie BlackBarbara BloomLinda Chester and Dr. Kenneth RindFlorence CohenMichael and Juanita EagleDebby and Hal Jacobs Family Fund of the Jewish Community FoundationWilliam W. KaratzWilliam and Lynelle LynchRonald and Lucille NeeleyJulie and Lowell PotikerMolli and Arthur Wagner Ph.D.

Directors' circle - $15,000+Anonymous (2)Kenny and Marleen Alhadeff, In Honor of Christopher AshleyJoseph M. CassinEllen Sarver Dolgen and David P. DolgenSusan E. DubéValerie and Gregory FrostGurtin Fixed IncomeJeanne Jones and Don BreitenbergGeorge and Gail KnoxDon and Stacy RosenbergTim and Emily ScottThe Crawford Smith FoundationAmy and Charles Spielman

Directors' circle - $10,000+Tony and Margaret AcamporaWeston Anson and Susan Bailey In Honor of Adelaide BaileyDrs. Edward and Martha DennisSilvija and Brian DevineEric and Marsi GardinerWendy GillespieGleiberman Family Fund of the Jewish Community Foundation

Frank and Betsy GrassoDeni and Jeff Jacobs Fund of the Jewish Community FoundationDes McAnuffMargret and Nevins McBrideDr. Howard and Barbara MilsteinJudy and Alan RobbinsCamille and David SaltmanGad and Suzan ShaananDr. and Mrs. David Smotrich

inner circle - $5,000+Kimberly L. Beane and Michael S. RosenbergArthur Brody and Phyllis CohnChrista Burke and Walt DittmerLeonard and Susan ComdenDorothy and Anthony DainAndrea GilbertMiles GrantJeanne and Gary HerbergerEileen and Leonard HermanJoel and Rosanne HollidayMary Beth Jernigan, In memory of Richard H. JerniganPaul and Samara LarsonCarol and George LattimerBarbara LeeSheila and Jeffrey Lipinsky and FamilyBarbara and Carl MaggioProf. Marianne McDonaldLaurie Dale Munday and Marcia GreenPaula and Brian PowersLaurel and Paddy RainwaterRita Bronowski TrustBecky RobbinsMurray and Janet RosenthalMarvin and Tina SimnerMickey SternIris and Matthew StraussSusan and Richard UlevitchPamela J. WagnerMary Lindenstein Walshok, Ph.D.Karin E. WinnerKarl and Barbara ZoBell

inner circle - $2,500+Anonymous (2)Mrs. Jane BastienRobert Brunst Leichtag Family Foundation Fund of the Jewish Community FoundationKaren and William DowHomer and Nina EatonRon and Devora Eisenberg– Great News!Joan R. FisherBill and Judy GarrettRoss and Mary-K GilbertJohn and Angie LongeneckerBetsy ManchesterShearn and Linda Platt Fund of the Jewish Community FoundationPeter and Peggy PreussLarry and Robin RusinkoGeri Ann WarnkeLaura Spielman Williams

Gary L. Wollberg and Dr. Yumi Miyamoto

inner circle - $1,000+Anonymous (3)Ahern Insurance Brokerage/ Brian AhernEdward L. Anderson and Joan E. ParsonsJeremy AsherRobert Baizer and Diane Jacobs BaizerGinger and Ken BaldwinJoan and Jeremy BergCharles Bergan and Lisa KanetakeSondra and Robert Berk Fund of the Jewish Community FoundationDale and Marshall BlockLoyce R. BruceTodd and Debby BuchholzDaniel and Deborah, Michael and David CarnickJack and Carol ClarkPamela CokerStephanie Cooper and John ClarkeCorinna Cotsen and Lee RosenbaumStacy Cromidas and Ruth GilbertMarty and Sheldon DillerDr. Ralph B. DilleyBarbara and Dick EnbergDrs. Marianne and Robert EngleDaniel and Phyllis EpsteinJennifer and Kurt EveInge Feinswog Fund of the Jewish Community FoundationSusan FinkelsteinNancy Fisher and Mike SaltSusanna and Michael FlasterEllen FujikawaDr. Irma GigliLee and Frank GoldbergDrs. Tom and Cindy Goodman In Honor of Whitney GoodmanArthur and Marlene GreenbergPat and Rick HarmetzLeonard and Elaine HirschGerald and Ingrid Hoffmeister Fund at The San Diego FoundationGeorge and Maryka HooverRichard and Janet HunterRuth and Paul JacobowitzPat JaCobyAnthony and Joyce JosephLewis and Patricia JuddJim and Jennifer KellyBill and Linda KolbRosalie Kostanzer and Mike KeefeJoan and Robert KrollDr. K.B. Lim and Linda Lee LimEstelle and Hamilton LoebJain Malkin Inc.Jasna Markovac and Gary MillerLinda and Dan MastersJames and Anne McCammonValorie McClelland

Holly McGrath and David BruceDr. Ken Melville and Dr. Sabina WallachDawn Moore and Lawrence AlldredgeGregg MotsenbockerEsther NahamaLyn NelsonDr. Mark NiblackSally and Howard OxleyF. Richard PappasDr. Paul Pearigen and Dr. Kim KerrMaryanne and Irwin PfisterLori and Kenneth PolinClaire ReissKathy Roeder and Stan MorrisRichard and Laura RomeroMr. and Mrs. Mason RosenthalSara Rosenthal, M.D. and Julie Prazich, M.D.San Diego Branch English Speaking Union - Alice KirbyWarren and Beverly SanbornRobert and Lora SandroniJudge and Mrs. H. Lee SarokinHerb Schnall in memory of Ann SchnallMorton and Marjorie Hansen ShaevitzSigesmund FamilyDr. Edward and Evelyn SingerKevin G. SnoverStone Family Foundation of the Jewish Community FoundationPlace D. TeglandEloise Fletcher ThomasJ. Marie TuthillBill VanderLaanJim and Kathy WaringJo and Howard WeinerCarrie and Wayne WilsonHoward and Christy ZatkinJack and Sandy ZemerEmma and Leo Zuckerman

ovation club - $500+Anonymous (1)Stella Durham in Memory of Joyce AsheBarbarella RestaurantDr. and Mrs. Jorge BarreraDr. Kim E. BarrettMona Baumgartel and John DeBeerBill and Sharon Beamer Arnold and Esther BelinskyJoni and Miles BenickesAmnon and Lee Ben-YehudaKay Chandler and Chris BerticsThe Bodenstab FamilyHelen and Douglas BoydenJoan and Lou ChesnerLeslie and Thomas CollDaniel Collins and Nancy ShimamotoGigi CramerMark and Jenny DowlingAra DrobniesJacqueline and Stanley Drosch

Bob DuffieldEsther and Robert FeierDrs. Bessie and Ron FloydDr. Charles FreebernMr. and Mrs. James R. FurbySusan and Steven GarfinKathryn GoetzDr. Carol A. Harter and Mr. William D. SmithSuzanne and Lawrence HessDr. Peter and Mrs. Megan HoaglandSharon and Robert HubbardDr. David S. JohnsonWendy S. JohnsonRob and Kathy JonesNatasha JosefowitzJo Ann KiltyJerry and Martha KrasneFriends of EncantoRichard and Sherry LevinSally and Luis MaizelCarole and Henry ManfredoMary Lou MatthewsHon. James A. and Victoria M. McIntyreTe and Anabel MintzDr. and Mrs. Charles MittmanHelga and James MooreDr. Katherine L. Morse and Mr. David L. DrakeDr. Rodney and Barbara OrthBrigit and Alan PitcairnSan Diego Concierge AssociationScarano Family Foundation at The San Diego FoundationBeverly and Howard SilldorfAlan and Esther SimanHerbert J. and Elene Solomon Fund of the Jewish Community FoundationPhoebe and Gene TelserCharles and Rita TesarDavid and Tina ThomasDoris A. Trauner M.D. and Richard StanfordCynthia WalkGraydon and Dorothy Wetzler

ovation club - $250+Anonymous (3)Mary Beth AdderleyRich and Mary Lou AmenCharles and Barbara ArledgeSusan Atkins and Crystal WeathersDr. Judith BardwickBeverly L. Bartlett and Barbara SailorsDr. Aviva BerlinGerlinde and Greg BeuerleinMichael and Wendy CareyGlenn and Lynne CarlsonLarry CarterSteven and Adina ChinowskyJune ChochelesJ. Clark & M. ThorstensenPeter B. ClarkEd and Melissa Cook

LA JOLLA PLAYHOUSE: individual donors


Alicia CovillDr. Pedro and Carol CuatrecasasBetsy DamBruce and Joanne DaneMarcus and Ann De BarrosWayne and Liz DernetzWally and Linda DieckmannDavid DonovanDeirdre Elliott, M.D.Maria FerryBarbara M. FinnDieter Fischer’s Mercedes Service, Inc.Ms. Pauline FormanSusan Forsburg and Lisa ChurchillDrs. Jan and Helane FronekPam and Hal FusonMr. and Mrs. Robert GansJoyce M. GattasDrs. Charles and Nancy GirvinGary GistMichael and Brenda GoldbaumCarolyn and Jimmie GreenslateJames and Carrie GreensteinDr. Jeffrey Hall and Fern PlattBlake Harper and Janice DeatonThomas Harvey and Bonnie DroletTracy Hatfield In Memory of Cheryl L. SarnoMarie HeaveyJamie Henson and Robert HouskeeperBlue Herron CottagesRichard and Veronique HoBill and Nancy HomeyerFonda HopkinsEd and Linda JanonJay and Kendra JeffcoatNeil and Vivien JoebchenBarbara and Casey JohnsonIn Memory of James & Adrienne Jones and Edward & Betty ThomasRoy and Bobbie JosephoRobert Kaplan and Marina BaroffMick and Sherrie LaverDixon and Pat LeeMarvin and Reinette LevineLeonard LevyKaren and Mark LiebowitzVivian Lim and Joseph WongGerald and Ann Lipschitz Fund of the Jewish Community FoundationMathew and Barbara LooninKaren and Charles MacbethRussell MangerieHeidi and Peter MaretzLance and Jan MasonEdward and Barbara MayersChrista McReynoldsLaura and Eric MichelsenDr. and Mrs. Paul E. MichelsonStory and Richard MorenoMarilyn MoriartyBeatrice E. PardoSusan C. ParkerDr. William and Beth PennyDon and Nola Picht

Dr. Kevin Rapeport and Dr. Angeli HillRavet Family Fund of the Jewish Community FoundationJodyne RosemanManuel and Paula RotenbergCarole SachsMark and Theresa SadoffParag SanghviDr. and Mrs. Simon SayreMario and Anna ScipioneJeff and Jean SelzerSandy and Stella ShvilDrs. Ron and Marilyn SimonClark and Kathryn SmithCarol and Stuart SmithNorman and Judith SolomonGary and Susan SpotoFrancy StarrCynthia Stauffer and Melinda ArnoldDr. Jennifer Stewart and Mr. Scott HarrisonHarriet and John TaylorReed and Solange ThompsonKelly and Elisa ThomsonMichael Tierney and Andrea MigdalAldad and Ommid VakiliScott VandenbergKatharine Sheehan and Frederick WalkerMarybeth WardGary and Debbie WassermanMel and Isabelle WassermanSusan and Eric WeismanFrankie and Allen WhiteMr. Stephen WorlandBrendan and Kaye WynneHoward and Judy Ziment

ovation club - $150+Anonymous (6)Ben and Debra AbateRaul Arthur and Lisa AlbanezTimothy W. AlexanderSharon and Terry AllenDr. Philip O. Anderson and Dr. Veronica ValdesPolly BallGene and Ed BarthBillie BeardenPatricia BehrendPhylaine Bemel-SchermerhornEve Benton and Malcolm BundJan and Robert BitmeadLeslie and Dorothy BlairBob and Joyce BlumbergSue Boiko and Martin SchwartzJames B. Bond, CLSBDrs. Jeffrey and Jennifer BraswellMary E. BrewerJerre and Aylin BridgesLaVerne and Blaine BriggsRay and Bonnie BrooksJeffrey BrownHal and Linda BrownDr. and Mrs. Simon C. BrumbaughMargot Burger and Jerry Dame

Julia CarsonMr. Neal P. ChazinL. Owen and Ruth ClintonMichael and Ellise CoitMary CoryLili VidalMr. and Ms. Peter CreaAnnette CrossDanny and Beth DabbyMr. and Mrs. Gary DavidTed and Deanna DeFrankKevin DeguiseDawn and Dutch DershemBob and Chris DilworthThe Ditty FamilyCapt. Robert and Elaine DonnellyBeth and Stephen DoyneThe Drummond FamilySteven DueJinx EckeVirginia EddyDr. and Mrs. Ronald EdelsonAmy Corton and Carl EiblSteven and Amy EpnerHelen Trahan FarschonMuriel FilmanMr. and Mrs. Ross FisherMr. and Mrs. Standish FlemingSusan FoersterAnne Q. FomonDavid Fox and Lydia ThompsonIn Honor of Faiya FredmanElizabeth Austin and David E. FreedheimDavid GarciaSteve and Janet GaspariDr. and Mrs. Arnold GassArline and Daniel GenisRoberta and James GeorgeWayne and Martha GerthAlan and Marleigh GleicherMr. and Mrs. Christopher GlennGloria and Neal GobarDick GordonDrs. Daniel and Ulrika GreenDinia GreenWilliam and Candy GriffithHarry Griswold and Stephanie WebberTheodore GrygaPat and Pepper GuevaraSandra HaleMr. and Mrs. Jerry HallMary HardwickJeff and JoelShirley A. HarperBarbara HenchDiana and Mike HillHon. Herbert Hoffman Ret.Dr. and Mrs. Michael HollandIsabella Furth and Everett HoweKent and Candace HumberRandy and Carrol JacksonDr. Arthur and Beatriz JacobsonNora and Alan JaffeDavid and Betty JohnsonMr. and Mrs. Myron JosephMichael and Nancy KaehrJennifer Kagnoff

Dr. and Mrs. Martin KagnoffMaurine KellmanJulie and Kern KenyonCynthia and John KlinedinstKaren KrupinskyRobert and Elena KucinskiHelen KupkaJuan and Alexis LasherasDr. and Mrs. Elliott LasserVeronica and Miguel Leff, Esq.Marshall and Judy Lewis Fund of the Jewish Community FoundationDavid MacCormackBonnie MacritchieSue and Peter MadsenBarbara MalkJanet MaloneDavid MandellMr. Joseph Marron and Dr. Deborah HoflerGary and Barbara MarsellaHarold and Beverly MartynTom and Ina MastenPeggy MatthewsWallace McCloskeyDennis A. McConnellIn Honor of Thos. L. Crist & George A. LaPointeDr. and Mrs. Robert MeredithDr. and Mrs. Eli MishuckIsaac and Nancy MizrahiCarrie MorrowSusan MotenkoMartha MutschlerAnn NathanJoani NelsonDr. and Mrs. Steven OrnishPaula Tallal and Colleen OsburnRobert OttoMichelle ParkerMr. and Mrs. Michael PaurazasSusan PeinadoErnie and Mary PennellDr. and Mrs. John PersonDon and Robyn PhillipsMarina PiccioniMr. and Mrs. Kenneth PoggenburgHowdy and Sharon PrattKevin QuinnCynthia and Gilbert RaffMike and Laura RavineBill and Jacqui ReaveyMr. and Mrs. Christopher ReichDavid and Melissa RewolinskiDeborah ReynoldsKathy Rhodes

Joy and Lawrence RogersGeorge and Karen SachsRaymond and Marcia SachsBarbara J. SaltmanJocelyn and Peter SchultzRobert Singer and Judith HarrisJ & J SlobodnyDr. Robert and Mrs. Jacquelyn SlotkinWilliam and Gloria SnyderSteven and Phyllis SpiererRay and Lauren StainbackSusanne Stanford and Tom MatthewsKarla and Edward StocktonDr. Michael Sutherland and Linda GreenbergScott T. SwazeyMary and Tim SwiftStephanie and Alan TarkingtonJohn and Gail TauscherMichael ThorsnesEdward and Karin ThreatBill and Lee TollefsonHal WalbaMichael and Beth WapnerNancy and Tim WatersJane WheelerCaryl Lees WitteNorah and William WolffPeter and Donna WorcesterPaul and Kathryn Zucker

list as of april 1, 2012.We apologize for any errors or accidental omissions. Please contact the Individual Giving Office at (858) 550-1050 x142 if you would like to change your listing.

LA JOLLA PLAYHOUSE: individual donors

in gratitude:

The La Jolla Playhouse Board of Trustees and

staff wish to express their deepest appreciation

and gratitude to Vivien and Jeffrey Ressler for

establishing the Jordan Ressler Endowment

Fund. With the creation of this endowment, the Playhouse will

receive much-needed annual support for the express purpose

of developing new work and sustaining key artistic projects

throughout the creative process.


doug wright, Authorwon the Pulitzer Prize, the Tony Award and the Drama Desk Award for I Am My Own Wife in 2004. The play was developed at the Playhouse as the institution’s inaugural Page To Stage workshop production. He received Tony and Drama Desk nominations for his book for the Broadway musical Grey Gardens. He also authored the book for the stage incarnation of Disney’s beloved film The Little Mermaid. In 2009, he adapted and directed August Strindberg’s Creditors for La Jolla Playhouse in a production that was named Best Adaptation of the Year by the San Diego Critics Circle. His stage work has been seen internationally in countries from Japan to Romania. Mr. Wright won an Obie Award for his play Quills. He went on to write the screenplay adaptation, which was nominated for a Golden Globe Award and received the Writer’s Guild of America’s Paul Selvin Award. The film garnered three Academy Award nominations and was named Best Picture by the National Board of Review. Other notable film work includes production rewrites on major releases at Sony Pictures, Twentieth Century Fox and The Weinstein Company. For director Rob Marshall, he penned the television special Tony Bennett: An American Classic, which received seven Emmy Awards. Mr. Wright currently serves on the boards of the New York Theater Workshop, Yaddo and the Dramatists Guild. He is a member of the Society of Stage Directors and Choreographers, and of the Writer’s Guild of America.

amanda green, Composer/Lyricistco-wrote the lyrics for Bring It On: The Musical, which opened at the Ahmanson Theater in Los Angeles this past November and is currently on a national tour. On Broadway, she wrote the lyrics for High Fidelity. Tapped by Arthur Laurents, she wrote additional lyrics for the revival of Hallelujah Baby (Arena Stage, directed by Mr. Laurents). She co-starred/wrote the lyrics for For the Love of Tiffany: A Wifetime Original Musical (NY Fringe Festival). Winner of The Jonathan Larson Award and Abe Ohlman Award for Excellence in Songwriting. She has written episodes of The Wonder Pets for Nick, Jr. and comic essays for Playboy Magazine. In addition to Hands on a Hardbody, Ms. Green and Trey Anastasio have penned songs, some of which he performs with his bands Phish and TAB. Ms. Green performs her songs everywhere from Birdland to The Bluebird Café in Nashville. Her revue, Put a Little Love in Your Mouth! The Songs of Amanda Green, sold out at Off-Broadway’s Second Stage Theater and Joe’s Pub. CD available at www.greenpiecemusic.com.

trey anastasio, ComposerComposer/guitarist/vocalist Trey Anastasio is a founding member of Phish. One of the most successful and innovative rock bands of the last 30 years, Phish has built a career on uncompromising musicianship and spectacular live performances. Mr. Anastasio – who also tours regularly with Trey Anastasio Band – has received GRAMMY® nominations for his recordings with Phish and for his solo work. He has collaborated with such artists as Dave Matthews, Herbie Hancock, Carlos Santana, Toots and the Maytals, B.B. King and The Roots, and – as part of the trio Oysterhead – Les Claypool (Primus) and Stewart Copeland (The Police). Named by Rolling Stone as one of the 100 Greatest Guitarists of All Time, Mr. Anastasio has performed his original compositions with numerous symphonies, including the Los Angeles Philharmonic. The New York Times hailed Mr. Anastasio’s Carnegie Hall performance with the New York Philharmonic as “that rarest of rarities, a classical-rock hybrid that might please partisans from both constituencies.” He is currently at work on a new solo album, which will be released this fall.

neil PePe, Directordirected the acclaimed Broadway revival of Speed-the-Plow starring Raul Esparza, Jeremy Piven and Elisabeth Moss, as well as the recent Broadway production of David Mamet’s A Life in the Theatre, starring Patrick Stewart and T.R. Knight. Since 1992, he has been the Artistic Director of the award-winning Atlantic Theater Company, which has produced more than 125 plays, establishing itself as one of the premiere Off-Broadway theater companies. Off-Broadway, he recently directed the world premiere of Happy Hour by Ethan Coen, continuing their collaboration after Offices and Almost an Evening. In the fall, he directed the world premiere of Adam Rapp’s Dreams of Flying, Dreams of Falling at the Atlantic. Other recent shows include the revival of Frank Gilroy’s The Subject Was Roses at Center Theatre Group, starring Martin Sheen, Frances Conroy and Brian Geraghty; David Mamet’s Keep Your Pantheon and School; Jez Butterworth’s Parlour Song, his third collaboration with the playwright following the American premieres of The Night Heron and Mojo; David Pittu’s What’s That Smell: The Music of Jacob Sterling and its transfer to New World Stages; David Mamet’s Romance and its run at the Mark Taper Forum in Los Angeles; Howard Korder’s Sea of Tranquility; The Beginning of August by Tom Donaghy, starring Mary Steenburgen at South Coast Repertory and Atlantic; Harold Pinter’s Celebration and The Room; and the revival of David Mamet’s American Buffalo starring William H. Macy, Phillip Baker Hall and Mark Webber, which had its initial run at the Donmar Warehouse in London before moving to New York.

benJamin millePied, Musical StagingBorn in Bordeaux, France, Benjamin Millepied began his dance training at the age of eight with his mother Catherine Millepied, a modern dancer. He studied classical ballet at the Conservatoire National de Lyon and later at the School of American Ballet - the official school of the New York City Ballet - becoming principal dancer at the company in 2001. A sought-after dancer and choreographer with an extensive repertoire that includes featured and premiere roles in works by Balanchine, Robbins, Wheeldon, Martins, and Ratmansky, among others, Millepied has directed the Morris Center Dance Workshop and has held the post of Choreographer-in-Residence at the Baryshnikov Arts Center in New York. Millepied’s works have been commissioned, premiered, and presented in collaboration with the Grand Théâtre de Genève; Paris Opera Ballet; Metropolitan Opera; New York City Ballet; Joyce Theatre New York; Mariinsky Theatre, St. Petersburg, and many others. For a full list of works, visit benjaminmillepied.com. In 2010, Millepied choreographed and starred in Darren Aronofsky’s feature film Black Swan. In the same year he was made Chevalier in the Order of Arts and Letters by the French Ministry of Culture. The 2012-13 season will inaugurate the newly-conceived L.A. Dance Project - an art collective that aims to establish new models for creative collaboration with the goal of reaching out to broader audiences. Mr. Millepied’s upcoming projects include choreography for a world premiere for the New York City Ballet and an animated feature for Quad Productions. Benjamin Millepied is the face of Yves Saint Laurent’s new fragrance “l’homme libre.”

zaChary dietz, Music Directoris thrilled to be joining the Hands on a Hardbody family! Recent Broadway credits include In the Heights and Wicked. Other recent credits include Dogfight, Yellow Brick Road and The Single Girls Guide, a developmental musical with Capitol Repertory Theater. Mr. Dietz is a graduate of The Cincinnati College Conservatory of Music. Much love to my family and to C.

THE ComPany


Christine Jones, Set DesignerBroadway: American Idiot (Tony Award), Everyday Rapture, Spring Awakening (Tony nomination), all directed by Michael Mayer; The Green Bird, with director Julie Taymor (Drama Desk nomination). Off-Broadway includes: Coraline (Lucille Lortel); The Book of Longing, music by Philip Glass, based on the poems of Leonard Cohen (Lincoln Center Festival). Currently she is designing Rigoletto for the Metropolitan Opera. She is the Artistic Director of THEATRE FOR ONE, and is an Adjunct Faculty member at NYU’s Tisch School of the Arts.

susan hilFerty, Costume DesignerMs. Hilferty has designed more than 300 productions for theatres across America and internationally. For La Jolla Playhouse: 80 Days, A Funny Thing Happened on the Way to the Forum, A Lesson from Aloes, Down the Road, Elmer Gantry, Figaro Gets a Divorce, Fortinbras, Gillette, How to Succeed…, Le Petomane, My Children! My Africa!, Playland, The Captain’s Tiger, Creditors, The Matchmaker, The Misanthrope, The Tempest and Two Rooms. Recent work: Taylor Swift’s Speak Now! world tour. Broadway: Wonderland, Sondheim on Sondheim, Spring Awakening (Tony nomination), Lestat (Tony nomination), Assassins, Into the Woods (Hewes Award, Tony nomination). Her numerous awards include the Tony, Drama Desk and Outer Critics Circle Awards for Wicked.

Kevin adams, Lighting DesignerBroadway credits include: American Idiot (Tony Award), Spring Awakening (Tony Award), Next to Normal (Tony nomination), Hair (Tony nomination), Passing Strange, The 39 Steps (Tony Award), On a Clear Day..., Everyday Rapture, Hedda Gabler and Take Me Out. Solo shows for John Leguizamo, Eve Ensler, Eric Bogosian, Anna Deveare Smith and Sandra Bernhard. Off-Broadway: Hedwig and the Angry Inch, Rent, Carrie, new work by Edward Albee, Christopher Durang, Richard Greenberg, Kander and Ebb, Tony Kushner, Terrence McNally, Charles Mee, Neil Simon and Paula Vogel. Obie Award for Sustained Excellence. www.ambermylar.com

steve Canyon Kennedy, Sound Designerwas the production engineer on such Broadway shows as Cats, Starlight Express, Song & Dance, The Phantom of the Opera, Carrie and Aspects of Love. His Broadway sound design credits include Jesus Christ Superstar, Catch Me If You Can, Guys and Dolls, Mary Poppins, The Lion King, Jersey Boys (Drama Desk Award), Billy Crystal’s 700 Sundays, Hairspray, The Producers, Aida, Titanic, Big, How to Succeed in Business Without Really Trying, Carousel and The Who’s Tommy (Drama Desk Award). He is married to actress Loni Ackerman and together have two sons, Jack and George. Special thanks to my Associate, Walter Trarbach.

Phil thomPson, Voice and Dialect Coachhas been a text and accent coach for the past 15 years, working on more than 100 productions at theatres across the country. He is a master teacher of Fitzmaurice Voicework, and teaches voice and speech at UC Irvine, where he also heads the MFA program in Acting.

shirley Fishman, Resident DramaturgNow in her 11th season at the Playhouse, Ms. Fishman recently served as dramaturg on American Night, Surf Report, A Midsummer Night’s Dream, Bonnie & Clyde, Creditors, Herringbone, Unusual Acts of Devotion, the Playhouse’s production of Xanadu and UC San Diego’s The Revenger’s Tragedy directed by Christopher Ashley. At the Joseph Papp Public Theatre she dramaturged such projects as Jessica Hagedorn’s Dogeaters, Two Sisters and a Piano by Nilo Cruz, Tina Landau’s Space, among others. She serves as a Playwright’s Dramaturg for UC San Diego’s Baldwin New Play Festival. She has been a Creative Advisor/Dramaturg at the Sundance Theatre Lab. She is an M.F.A. graduate of Columbia University’s Theatre Theory/Criticism/Dramaturgy program.

telsey + ComPany, CastingBroadway/Tours: Porgy and Bess, Bonnie & Clyde, Godspell, Chinglish, SPIDER-MAN, Sister Act, Catch Me, Priscilla, The Addams Family, Memphis, Rock of Ages, Wicked, Bring It On. Off-Broadway: Rent, Million Dollar Quartet (and Tour, Chicago), Atlantic, MCC, Signature. Film: The Odd Life of Timothy Green, Joyful Noise, Friends with Kids, Margin Call, Howl, Sex and the City, Jonah Hex, I Love You Phillip Morris, Rachel Getting Married, Dan in Real Life, Then She Found Me, Across the Universe, Ira & Abby, Rent, Pieces of April, Camp. TV: “Smash,” “A Gifted Man,” “The Big C.” www.telseyandco.com. Bernie Telsey CSA, Will Cantler CSA, David Vaccari CSA, Bethany Knox CSA, Craig Burns CSA, Tiffany Little Canfield CSA, Rachel Hoffman CSA, Justin Huff CSA, Patrick Goodwin CSA, Abbie Brady-Dalton CSA, David Morris, Cesar A. Rocha, Andrew Femenella, Karyn Casl, Kristina Bramhall.

linda marvel, Production Stage ManagerBroadway: Fela!, 33 Variations, The Little Dog Laughed, How to Succeed in Business… La Jolla Playhouse: The Scottish Play, 33 Variations. Off-Broadway: premieres of Sam Shepard’s The God of Hell and Michael Weller’s Beast, and productions at Second Stage, Playwrights Horizons, NYTW, MCC and TFANA. Regional: Long Wharf Theatre, Centerstage Baltimore, Olney Theatre, Pittsburgh Public and Westport Playhouse. Currently, Ms. Marvel is the Production Supervisor for Seven, a documentary theatre piece performed in Europe, Asia and the United States.

erin gioia albreCht, Assistant Stage Managerpreviously worked on the La Jolla Playhouse productions of Milk Like Sugar, Creditors, The Third Story and No Child…. Other regional credits include August: Osage County, Dividing the Estate, Jane Austen’s Emma, Brighton Beach Memoirs, Broadway Bound, The Madness of George III, King Lear, Cyrano de Bergerac, Coriolanus and Bell, Book and Candle at The Old Globe. Her New York credits include The Third Story (MCC Theater), Marvin’s Room (T. Schreiber Studio), The Great American Desert (78th Street Theatre Lab) and The Chekhov Dreams (Manhattan Theatre Source). Ms. Albrecht obtained her M.F.A. in Stage Management from UC San Diego.

emily hayes, Assistant Stage ManagerInternational credits: Continuum: Beyond the Killing Fields (TheatreWorks Singapore, Brazil Tour 2011); Peter Pan (King’s Head Theatre, London). Additional credits: Fourteen Flights (New York International Fringe Festival); after the quake, Assassins (Company One, Boston); Hula Hoop Sha-Boop (Florida Studio Theatre). Other credits include Spring Awakening, The Revenger’s Tragedy, Joe Turner’s Come and Gone (UC San Diego). Ms. Hayes received her M.F.A. in Stage Management from UC San Diego.

THE ComPany

P32 PERFORMANCES MAGAZINe PERFORMANCES MAGAZINe P32

The Playhouse Partners donate their time, service and skills to support and promote La Jolla Playhouse. This active, friendly group provides many ways to become involved, such as leading backstage tours, organizing special events for the cast and crew, and staffing the gift shop and information desk. In return, Partners receive many exciting benefits, from attending special events to learning more about the backstage world of the theatre, all while representing one of the foremost regional theatres in the country. La Jolla Playhouse is deeply grateful for the Partners’ efforts on behalf of the theatre.

A full listing of the Playhouse Partners is available online at LaJollaPlayhouse.org. For more information about the Playhouse Partners, please visit LaJollaPlayhouse.org, or contact Jessica Burger at (858) 550-1070 x142 or [email protected].

SPECIAL THANKS TO THE Playhouse Partners

L-R: Lois Bradbury, JoAnne O’Dea, Reenie O’Dea and Teresa O’DeaPartners Carmen Mannarino and Lois Bradbury prepare Company Breakfast.

ChristoPher ashley, Artistic Directorhas served as La Jolla Playhouse’s Artistic Director since October, 2007. During his tenure, he has helmed the Playhouse’s productions of A Dram of Drummhicit, A Midsummer Night’s Dream, Restoration and the acclaimed musicals Xanadu and Memphis, which won four 2010 Tony Awards including Best Musical. Prior to joining the Playhouse, he directed the Broadway productions of Xanadu (Drama Desk nomination), All Shook Up and The Rocky Horror Show (Tony, Drama Desk and Outer Critics Circle Award nominations), as well as the Kennedy Center Sondheim Celebration productions of Sweeney Todd and Merrily We Roll Along. Other New York credits include: Blown Sideways Through Life, Jeffrey (Lucille Lortel and Obie Awards), The Most Fabulous Story Ever Told, Valhalla, Regrets Only, Wonder of the World, Communicating Doors, Bunny Bunny, The Night Hank Williams Died, Fires in the Mirror (Lucille Lortel Award), among others. Mr. Ashley also directed the feature film Jeffrey and the American Playhouse production of Blown Sideways Through Life for PBS. Mr. Ashley is the recipient of the Princess Grace Award, the Drama League Director Fellowship and an NEA/TCG Director Fellowship.

miChael s. rosenberg, Managing Directorwas appointed Managing Director of La Jolla Playhouse in April, 2009. During his first three years, he has worked in partnership with Artistic Director Christopher Ashley to produce ten world premieres, six Playhouse commissions and the hit musicals Jesus Christ Superstar, Limelight and Little Miss Sunshine. He was also instrumental in bringing the Page To Stage workshop of John Lequizamo’s Diary of a Madman to the Playhouse, which transferred to Broadway. Additionally, he fostered the growth of the Playhouse’s award-winning Performance Outreach Program (POP) tour, achieving the most performances at local schools in Playhouse history. Previously, Rosenberg was Co-Founder and Executive Director of Drama Dept., a New York non-profit theatre company, where he produced new works by the likes of Douglas Carter

Beane, Warren Leight, Isaac Mizrahi, Paul Rudnick and David and Amy Sedaris. He has been a part of the producing teams for the Broadway productions of Grey Gardens and American Buffalo and the national tour of Little House on the Prairie.

debby buChholz, General Managerhas served as general manager of La Jolla Playhouse since 2002. She is a member of the Executive Committee and of the League of Resident Theaters (LORT). In 2009, she received a San Diego Women Who Mean Business Award from The San Diego Business Journal. Previously she served as Counsel to the John F. Kennedy Center for the Performing Arts and the National Symphony Orchestra in Washington, D.C. She was a faculty member of the Smithsonian Institution’s program on Legal Problems of Museum Administration. Prior to the Kennedy Center, she served as a corporate attorney in New York City and Washington, DC. She is a graduate of UC San Diego and Harvard Law School. Ms. Buchholz and her husband, noted author and White House economic policy advisor Todd Buchholz, live in Solana Beach and are the proud parents of Victoria, Katherine and Alexia.

des mcanuFF, Director Emeritusserved as La Jolla Playhouse’s Artistic Director from 1983 through 1994, and from 2001 through April, 2007. Under his leadership, the Playhouse garnered more than 300 awards, including the Tony Award for Outstanding Regional Theatre. Playhouse to Broadway credits: Jersey Boys (four Tony Awards); Billy Crystal’s 700 Sundays (Tony Award); How to Succeed in Business Without Really Trying (five Tony nominations); director and co-author with Pete Townshend on The Who’s Tommy (Tony and Olivier Awards for Best Director) and Big River (seven Tony Awards), among others. Film credits: Quills, The Adventures of Rocky and Bullwinkle, The Iron Giant (9 Animation Society awards) and Cousin Bette. Recipient of the Drama League’s 2006 Julia Hansen Award, Mr. McAnuff currently serves as Artistic Director at Canada’s Stratford Festival.

LA JOLLA PLAYHOUSE leadershiP


PATRON SERVICES

PAtROn SeRViCeS is located in the lobby area of each theatre. A representative is available to answer questions and hand out assisted listening devices, restaurant guides, performance schedules and subscription information.

BARS AnD COnCeSSiOnS are open one hour prior to curtain and during intermissions. to avoid the rush, intermission beverages can be ordered before the show. Concessions by:

CAMeRAS AnD ReCORDing DeViCeS are strictly prohibited in the theatre. Please check these items with the House Manager and turn off your camera phone.

PARKing is free for subscribers; $2 for the general public on weekdays (free on weekends). Upon arrival to campus, please enter your parking space number and pay the automated paystations located by the information kiosk. Spaces that are not paid for are subject to ticketing by UC San diego Campus Police.

DOCtORS AnD PARentS expecting calls during the performance should leave their names and seat numbers with the House Manager before the show. Leave the following number with your service: (858) 550-1030.

ACCeSSiBiLitY

La Jolla Playhouse provides wheelchair-accessible seating and parking. wheelchair seat locations are available for wheelchair users and a companion at all performances; be sure to advise the reservationist that you require a wheelchair location. Additionally, a golf cart is available to assist patrons with accessibility needs to and from the parking lot. Please notify the Box Office prior to your performance if you are in need of this service; additionally, you may pull into the five minute parking in front of the theatre, and a friendly La Jolla Playhouse greeter will assist you.the Playhouse also provides assisted listening devices for patrons who are hard of hearing. devices are available, free of charge, at the Patron Services Center prior to performances (subject to availability).

ACCeSS One performance of each production is designated as an ACCESS performance. these performances feature American Sign Language interpretations for the deaf and hard of hearing and live audio description for blind/low-vision audience members. Pre-show sensory tours provide design information to enhance the production experience for blind/low-vision patrons as well. The ACCESS performance for Hands on a Hardbody takes place on Saturday, May 19, 2:00 pm performance.

LAteCOMeRS or PAtROnS WHO LeAVe tHeiR SeAt DURing tHe PeRFORMAnCe will be admitted to the standing room section of the theatre at the discretion of the House Manager. they may take their assigned seats at intermission. La Jolla Playhouse accepts no responsibility for inconvenience to latecomers. SAFetY in tHe tHeAtRe DiStRiCt La Jolla Playhouse is constantly working with the UC San diego Police department and UC San diego transportation and Parking Services, which operates the parking lot and security system, to maintain and improve security conditions for patrons and staff members. Additionally, patrons and staff are welcome to use UC San diego Community Service Officers (CSOs) for an escort to their cars by calling (858) 534-WALK (9255). Further questions regarding security may be addressed to UC San Diego Police at (858) 534-HELP (4357).

BABeS in ARMS Out of respect for fellow audience members and the performers, babes in arms are not permitted in the theatre during performances.

PLeASe SiLenCe all electronic devices including cellular phones, watches and pagers before the performance.

tHeAtRe tOURS tour the stages and production shops of the Playhouse facilities and learn more about the history of La Jolla Playhouse and the role that it plays in the community. tours are available to groups for a nominal fee.

Listening devices Provided in Part by

For more information on our innovative programs and season, visit us on the web at

THEATRE.UCSD.EDU 858.534.4574

NEW DIRECTIONSdirected by Liam Clancy & Eric Geiger

featuring world premiere dance and dance theatre by our talented MFA graduates and undergraduates

June 6 - 9Sheila & Hughes Potiker Theatre

Productions include:

ElizabEth i by Paul Foster Dancetheatrethesisworks

titus andronicus by william shakesPeare

winterworks Dance balDwin new Play Festival

with Four worlD Premiere Plays

new Directions Dance Plus Five ProDuctions yet to be announceD!

Subscribe and join us for our upcoming

2012-13 Season!


artistiCAssociate Producer Dana I. Harrel Resident Dramaturg Shirley FishmanLiterary Director Gabriel GreeneDirector Emeritus Des McAnuffExecutive Assistant to Christopher Ashley Rick VanNoy Artistic Assistant/Local Casting Director Marike Fitzgerald Commissioned Artists Trey Anastasio, Mark Bennett, Keith Bunin, Amanda Green Kirsten Greenidge, Joe Iconis, Naomi Iizuka, Gregory S. Moss, Ernie Nolan, Basil Twist, Alfred Uhry, Doug Wright

ProduCtionProduction Manager Linda S. CooperAssistant Production Manager Cate O. BargerSCENE SHOPTechnical Director Chris BorresonAssistant Technical Director Mike SchwentScene Shop Foreman David WeinerMaster Carpenter Mike CurtisStaff Carpenters Bill George, Tom Lucenti, Ty MeservyStaff Show Carpenters Kyle Ahlquist, Preston SpenceShop Carpenters Mihai Antonescu, William Bender, Jacob Bruce, Matt Clark, Stephen Kromka, Stephen Lutz, Andrew Lynch, Mason PetersenShop Helper Doug CollindPAINT SHOPCharge Scenic Artist Joan NewhouseAssistant Charge Artist JR BruceScenic Artist Edee Armand, Dwaine Best, Vicki Erbe, Kristen Flores, Syd Stevens, Faith Swickard, Tiffany TuckerPROPERTIES SHOPProp Master Debra HatchAssociate Prop Master Jenny FajermanProp Shop Foreman Will WidickSoft Goods Elizabeth EganLead Artisan Ryan LewisProps Artisan Ryan Lewis, Carlos WaumanCOSTUME SHOPCostume Shop Manager Sue MakkooCostume Shop Supervisor Ingrid HeltonCostume Shop Foreman/Tailor Lissa SkilesFirst Hand/Master Stitcher K-Joy Lehmann-WayDrapers Sarah Maisel, Joan MathisonWigs Lisa WylieFirst Hands Jan Blankenship, Claudia LaRueCrafts Corey Johnston, Christy JonesStitchers Rebecca FabaresELECTRICSLighting Supervisor Mike DoyleAssistant Lighting Supervisor Kathryn SturchStaff Electricians Mike Lowe, Ramon Wenn, Matt WilsonElectricians Kristyn Kennedy, Patricia Lesinski, Areta MacKelvie, Andrea RyanSOUND/VIDEOSound/Video Supervisor Joe HuppertAssistant Sound Supervisor Rachel LeVineSound Shop Foreman Steve NegreteSound Technicians Rene Barger, Chris Luessmann Shaun McAdams Video Engineer Eric May

administration General Manager Debby Buchholz Associate General Manager Jenny Case Assistant General Manager Katherine Stout Human Resources Manager Derrick McGeeCorporate/Legal Counsel Robert C. Wright, Wright & L’Estrange Theatre/Legal Counsel F. Richard Pappas, Esq. Executive Assistant to Michael S. Rosenberg Christopher Hines COMPANY MANAGEMENTAssistant Company Manager Heather LoseyCompany Management Assistants Karissa Ferlin, Jonathan Orara

FinanCe Director of Finance John O’Dea Assistant Director of Finance Mary HarrisComptroller Brian BaileyPayroll AP Jill Valdez Production Accountant Sharon Ratelle IT Systems and Data Manager Roy Waters

develoPment Director of Development Deborah Ann TrimbleAssociate Director of Development, Corporate Relations Jill McIntyreAssociate Director of Development, Government & Foundation Relations Erin M. KnightAssociate Director of Development, Individual Giving Antonello Di BenedettoSpecial Events Manager Elizabeth GallowayDevelopment Database Manager Marcus MyersIndividual Giving Associate Jessica BurgerSpecial Events Coordinator Laura JacksonAssistant to the Director of Development Hermione Gilpin

marKeting Director of Marketing Mary Cook Director of Public Relations Becky Biegelsen Associate Director of Marketing Mia FiorellaMultimedia Designer Dana HollidayCommunications Specialist Deanna Chew TELESALES / TELEFUNDING Telesales and Telefunding Manager Steven KangSubscription Sales / Fundraising Associate Paul Preston Subscription Sales / Fundraising Representatives Suzanne Eliasson, Thomas Trimble, Dorothy Varonin, Blair WhitcombBOX OFFICE Box Office Manager M. Nikki Cooper-GrigalunusBox Office Assistant Manager Alicia ViolaBox Office Lead Operators Samuel Carr, Pearl Hang, Steven Lone Box Office Reservationists David Armstrong, Amanda Prodinski

eduCation & outreaCh Director of Education & Outreach Stephen McCormick Education & Outreach Associate Marisol Best Education & Outreach Coordinator Nicole Keepers Audio Describers Mernie Aste, Brian Berlau, Tina Dyer, Shari Lyon, Kay O’Neil, Helen Warren Ross, Deborah Sanborn, Janet Schlesinger, Sylvia SoutherlandASL Interpreters Angela Glebock, Billieanne McLellanASL Volunteers Bonnie Fountain, Esther Shen Teaching Artists Jennifer Barclay Newsham, Brian Bose, Rebecca Dennis, Lucas Dominguez, Erin Gordon, Cory Hammond, Wendy Maples, Johamy Morales, Katie Palmer, Lori Petermann, Erika Phillips, James Pillar, Mary Reich, Megan E. Robinson, Craig Rovere, Spencer Smith, Cynthia StokesINTERNS Marisa Acosta, Abigail Caywood, Sophia Suejin Chung, Monique Goeders, Samuel Jue, Victoria Le, Danita Lee, Andrew London Park, Tylar-Nicole Pendgraft-Clabby, Carmen Quiñones, Brittney Scolari2011/2012 STUDENT BOARD OF TRUSTEES OFFICERS Carmen Quiñones (Chair), Lila Gavares (Vice Chair), Kayla Solsbak (Secretary)

oPerations Director of Operations Ned Collins Operations Associate Jen McClenahan FRONT OF HOUSE House Manager John Craft Assistant House Managers Katherine Cordova, Amy Covington, Megan Danielson, Philip Kerkstra, Cameron McMartin, Eric Nickerson, Heather Wolf Janitorial Professional Maintenance Systems

HANDS ON A HARDBODY STAFFShow Carpenter Kyle AhlquistAutomation Operator/Deck William BenderDeck Tarin Hurstell, Andrea RyanProps Runner Carlos WaumanWardrobe Supervisor Debbie CallahanHair & Wig Maintenance/Dresser Lisa WileyLight Board Operator Mike LoweFollow Spot Operators Patricia Lesinski, Kristyn KennedySound Engineer Dave HorowitzDeck Sound Chris LuessmannMoving Lights Programmer Jay Penfield

LA JOLLA PLAYHOUSEChristopher Ashley, Artistic Director Michael S. Rosenberg, Managing DirectorstaFF

Documents

Knoy Before You Go | Hands on a Hardbody