PROGRAM Dancing in the Dark:Program Dancing in the Darkpressarchive.theoldglobe.org/_pdf/Programs/2007-08... · Welcome to the world premiere of Dancing in the Dark, based on the

PERFORMANCES MAGAZINE P1

Welcome

UPCOMING

Louis G. SpistoExecutive Producer

Dear Friends,

Welcome to the world premiere of Dancing in the Dark,based on the classic MGM film, The Band Wagon. Weare so proud that some of today’s most sought-afterartists join our team at the Globe to bring you thisexciting production. Tony-nominated authorDouglas Carter Beane’s plays have achieved successacross the country and on Broadway, Director GaryGriffin comes to us straight from his Broadway mega-hit, The Color Purple, and our leading actors representsome of the brightest stars on Broadway, television

and film. I believe there are two primary reasons we are continually called upon todevelop new work for the theatre industry — we have the best production and creativeartists on staff at the Globe, and we have the most supportive, enthusiastic and knowl-edgeable audience in the country.

In that spirit I want to encourage each and every one of you to share your opinions withus through our new audience review e-mail program which began last summer. If wehave your e-mail address, you will receive a survey after each production asking youropinion of the show. I encourage you to add your e-mail address through our box office,our new website, TheOldGlobe.org, or by completing the card enclosed in this program.

You may have read that the Globe recently opened a new Technical Center inSoutheastern San Diego’s Diamond District (at Market and Euclid Streets). This new43,000 square foot facility (of which we will use 33,000 square feet) has been desper-ately needed. As the sixth largest regional theatre in the country, I think you’ll agree wedeserve a proper place to build our sets, work with designers and house our vast costumeand prop inventory. However, the Technical Center will not only serve our design staffand talented craftspeople, it will also serve as the centerpiece for new programs that willengage more of our community – and more young people. With your support we willbegin to train and inspire the next generation of theatre artists and theatre loversthrough programs that teach the scenic arts, including carpentry, electrics and painting.

The fundraising campaign for the new Conrad Prebys Theatre Center and our educationprograms here in the Education Center and throughout the community is tremendous-ly exciting (see the article in this program), but it is still a long way from reaching itsgoal. I encourage you to review our outreach efforts and education programs as you con-sider making a gift to the campaign or to our annual fund.

I look forward to hearing from you and I encourage you to continue to support thetheatre that you have nurtured to become one of the most important and respected inthe country.

Enjoy Dancing in the Dark!

THE AMERICAN PLAN

February 23 - March 30, 2008Cassius Carter Centre Stage

THE GLASS MENAGERIE

April 12 - May 18, 2008Cassius Carter Centre Stage

HERSHEY FELDER’SBEETHOVEN, AS

I KNEW HIMMay 3 - June 8, 2008

Old Globe Theatre

HERSHEY FELDER’SMONSIEUR CHOPIN

June 11 - June 22, 2008Old Globe Theatre

HERSHEY FELDER’SGEORGE GERSHWIN ALONE

June 25 - June 29, 2008Old Globe Theatre

2008 SummerSHAKESPEARE

FESTIVALJune 14 - September 28, 2008Lowell Davies Festival Theatre

ROMEO AND JULIETTHE MERRY WIVES OF WINDSOR

ALL’S WELL THAT ENDS WELL

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P2 PERFORMANCES MAGAZINE

S e a s o n S p o n s o r sThe Old Globe is deeply grateful to its Season Sponsors, each of whom has made an annual donation of $50,000 or greater.

These gifts are critical to maintaining the Theatre’s high quality of artistic programming and award-winning work in the community.

To become a Season Sponsor, please contact Director of Development Todd R. Schultz at (619) 231-1941 x2310.

The Legler Benbough Foundation

Karen and Donald Cohn

Peter Cooper and Norman Blachford

Valerie and Harry Cooper

Audrey S. Geisel

Globe Guilders

Joan and Irwin Jacobs

Las Patronas

The Lipinsky Family

Conrad Prebys

Donald and Darlene Shiley

Supervisor Pam Slater-Price and the County of San Diego

Sheryl and Harvey P. White

Anonymous


P R E S E N T S

CHOREOGRAPHER

Warren Carlyle

SCENIC DESIGN

John Lee BeattyCOSTUME DESIGN

David WoolardLIGHTING DESIGN

Ken Billington

DIRECTED BY

Gary Griffin

STAGE MANAGER

Daniel S. Rosokoff

SOUND DESIGN

Brian Ronan

MUSIC SUPERVISOR/ARRANGER

Eric Stern

MUSIC DIRECTOR

Don YorkORCHESTRATIONS

Larry Hochman

DANCING IN THE DARK

CASTING BY

Jay Binder/ Mark Brandon

BOOK BY Douglas Carter BeaneFROM THE SCREENPLAY BY

Betty Comden and Adolph Green

MUSIC BY Arthur SchwartzLYRICS BY Howard Dietz

Based on the classic MGM musical “The Band Wagon”Produced by permission of Warner Bros. Theatre Ventures, Inc.

Old Globe Theatre, Donald and Darlene Shiley StageMarch 4 - April 13, 2008


C a s t o f C h a r a c t e r s

Jeffrey Cordova ............................................................................................................................................................Patrick Page

Hal Meadows ......................................................................................................................................................Benjamin Howes

Lily Martin....................................................................................................................................................................Beth Leavel

Lester Martin .............................................................................................................................................................Adam Heller

Tony Hunter .............................................................................................................................................................. Scott Bakula

Paul Byrd..........................................................................................................................................................Sebastian La Cause

Gabrielle Gerard/Janey...................................................................................................................................................Mara Davi

Ensemble ..........................................................................................................Jacob ben Widmar, Rachel Coloff, Dylis Croman, Nicolas Dromard, Cara Kjellman, Adam Perry,

Eric Santagata, Kiira Schmidt, Branch Woodman, Ashley Yeater

Swings ............................................................................................................................................Brandon Bieber, Angie Canuel

Stage Managers:Stage Manager ..................................................................................................................................................Daniel S. Rosokoff

Assistant Stage Manager...........................................................................................................................................Julie Baldauff

Assistant Stage Manager .......................................................................................................................................Tracy Skoczelas

Dance Captain ..................................................................................................................................................Jacob ben Widmar

(please see enclosed insert for specific cast member roles)

There will be one 15-minute intermission

The Actors and Stage Managers employed by this production are member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Si desea una sinopsis de esta obra en Español, favor de pedírsela al acomodador que le entregó este programa. If you would like a synopsis of this production in Spanish, please request it from an usher.

In Order of Appearance


B o a r d o f D i r e c t o r s

Major funding provided by the City of San Diego Commission for Arts and Culture.

The Old Globe is supported in part by grants from Supervisor Pam Slater-Price and The County of San Diego.

DIRECTORSMary Beth Adderley-WrightJoseph BenoitDeni S. CarpenterRobert CartwrightPeter J. CooperValerie S. CooperStephen M. CusatoElaine Bennett DarwinDavid W. DownJoel EwanPamela A. FarrJake FigiSally Furay, R.S.C.J.Harold W. Fuson, Jr.*Victor P. GálvezRobert Gleason

BOARD OF DIRECTORS / OFFICERSDonald Cohn*

ChairKathy Hattox*

Immediate Past Chair

Anthony S. Thornley*Vice Chair Finance

& Treasurer

Sandra Redman*Vice Chair

Nominating

Harvey P. White*Secretary

Susan Major*Vice Chair

Development

Martin GoodmanViviana IbañezDeni JacobsDaphne JamesonTimothy A. MacDonaldFern MurphyMarianne NelsonArthur NeumannRobin NordhoffRafael Pastor*Conrad Prebys*John RebeloSara Rosenthal, M.D.Jeri RovsekJean ShekhterNancy A. SpectorLouis G. Spisto*

Daniel L. Sullivan, Ph.D.Julie H. Sullivan, Ph.D.Evelyn Mack TruittDebra TurnerCrystal WatkinsRuth Wikberg-LeonardiJune YoderCarolyn YorstonDeborah YoungTim K. Zinn

EMERITUS DIRECTORSGaret B. Clark J. Dallas Clark (1913–2005)Bernard Lipinsky (1914-2001) Delza Martin (1915–2005)Patsy Shumway

HONORARY DIRECTORSMrs. Richard C. Adams

(1912–2005)Clair Burgener (1921-2006)Mrs. John H. Fox (1908–2003)Audrey Geisel Paul Harter Gordon Luce (1925-2006) Dolly Poet (1921-2007)Deborah Szekely Hon. Pete Wilson

Donald Cohn, Chair,Board of Directors

Dear Friends,

As the new Chair of the Board of Directors, it is my pleasure to welcome you to this evening’s performance and to begin my term at this important moment in the life of The Old Globe. For more than 70 years, the Globe has been recognized as one of the leading regional theatres in the United Statesfor its world-class theatrical productions and educational outreach programs for the youth of San Diego.

We are now in the midst of a Capital and Endowment Campaign that will create the Conrad PrebysTheatre Center, including a replacement for the venerable Cassius Carter Centre Stage and a new education center, ensuring the future of our beloved Theatre for generations to come. For the past three

years, I have had the pleasure of working with Lou Spisto and a team of dedicated board members in the development program tomeet our financial goals. Accordingly, I would like to invite you to assist us in this challenging endeavor in any way possible.

This season, we are proud to introduce a new leadership team with Lou Spisto, Jerry Patch and Darko Tresnjak. These talented individuals will add new luster to the proud history of The Old Globe.


Production Sponsors

Sheryl and Harvey WhiteSheryl and Harvey White have played and continue to play an essential role at TheOld Globe. The Whites began their association with the Globe as season ticketholders, then Founder Circle donors and Production Sponsors. They have servedas Season Sponsors for the past nine years, and Sheryl and Harvey have providedessential leadership to the Theatre, each serving as Chair of the Globe’s Board ofDirectors. Harvey currently is on the Board of Directors and serves as Co-Chairof the Globe’s Capital and Endowment Campaign Committee. Sheryl co-chairedher fifth Globe Gala this past year, and Harvey was one of the chairs for theGlobe’s 70th Anniversary Gala in 2005. The Whites have previously sponsoredThe Times They Are A-Changin’, Don Juan, Pentecost, Imaginary Friends and Misalliance.Harvey and Sheryl have endorsed The Old Globe’s artistic vision through a generous leadership gift of $5 million, helping to build a dynamic new era for theGlobe and a $1 million endowment gift to help secure the Globe for generationsto come.

Peter Cooper and Norman BlachfordPeter Cooper and Norman Blachford are longtime supporters of The Old Globe and well known for their philanthropic activities and community activism. Norman founded a manufacturing firm producing noise control materials for the transportation industry. Now retired, he enjoys traveling and helping others as a majorphilanthropist. Peter is a member of the Globe’s Board of Directors, serving on the Education and NominatingCommittees. While running a successful commercial/industrial lighting company in San Diego, Peter also serveson the Board of the San Diego Youth Symphony and Conservatory and the Rendezvous In The Zoo (RITZ)Committee for the San Diego Zoo. Together with Norman, they are Founding Council members of The WilliamsInstitute at the UCLA School of Law, and are actively involved with the San Diego Human Dignity Foundation.

DANCING IN THE DARK is supported, in part, by the following generous sponsors:


The Old Globe is proud to recognize California Bank& Trust as a sponsor for its production of Dancing in the Dark. California Bank & Trust is a longtime supporter of the Globe, providing volunteer and financial contributions for several productions including Hay Fever, The Sisters Rosensweig, The Lady withAll the Answers, Dinner with Friends, Julius Caesar andPericles. Joel Ewan, Executive Vice President ofCalifornia Bank & Trust, serves on the Globe’s Boardof Directors, and Sandra Redman, Senior VicePresident and Manager of California Bank & Trust’sPrivate Banking Division, serves on the Globe’sExecutive Board and is the Chair of the NominatingCommittee.

(L-R) Deirdre Lovejoy, Janet Zarish, and Jackie Hoffman in The Sisters Rosensweig

Judith Lightfoot Clarke and SantinoFontana in Hay Fever.

The cast of Pericles

Robert Foxworth in Julius Caesar

SANDRA REDMAN, SENIOR VICE PRESIDENT& MANAGER, CALIFORNIA BANK & TRUST’SPRIVATE BANKING DIVISION

JOEL EWAN, EXECUTIVE VICE PRESIDENT,CALIFORNIA BANK & TRUST

All photos by Craig Schwartz

Capital & Endowment Campaign


KRESGE FOUNDATION CHALLENGES YOU WITH A $1 MILLION GRANT

The Old Globe is pleased to announce thereceipt of a $1 million challenge grant from theKresge Foundation to help support the Globe’sCapital and Endowment Campaign. In order forthe Globe to receive this grant, however, theTheatre must raise the remaining capitalrequired to complete the Campaign, and yourparticipation is vital.

The Securing a San Diego Landmark campaignwas launched in March 2006 with the singulargoal of securing the Globe’s long-term stabilitythrough: 1) new and updated facilities, 2) aspecial Artistic and Education Fund, 3) anenhanced annual fund and 4) an appropriatelysized endowment. The Kresge Challenge Granthelps fund the first two pieces of this campaign,and in 2008 the Globe asks friends, subscribersand donors to help meet the Kresge Challenge.

One way for you to participate is by purchasinga personalized granite paver, which will be creatively designed into two prominent centrallocations on the new Copley Plaza. Paymentplans are available, and pavers can be purchasedat $10,000, $25,000 and $50,000 each.

New displays can be found in the theatre lobbieswith information about a variety of naming opportunities, including the personalized granite pavers.

Help ensure that this great institution continues to thrive and grow for many years by contributing today. For further information,please call the Development Department at(619) 231-1941 x2317.

ABOUT THE CONRAD PREBYS THEATRE CENTER

In June of 2008, The Old Globe will break ground onthe new Conrad Prebys Theatre Center. In addition to technical and artistic support spaces for all three theatres, the facilities project will provide better access,new and improved amenities and an improved experience for all Globe patrons and visitors.

The Globe’s rejuvenated and enhanced facilities willsupport artistic and education goals and provide for thecomfort and enjoyment of audiences and artists. Theproject includes:

• The Sheryl and Harvey White Theatre, a new arena stage replacing the Cassius Carter Centre Stage, will retain all of the benefits afforded both audiences and artists by having an intimate performance space. Nearly identical in size and configuration to the current facility, this theatre’s critically needed improvements will include: an expanded lobby and improved ADA-compliant accessibility for patrons with special needs, better stage access for actors and crew, a lighting grid and trap room, additional dressing rooms and a new green room to support all three theatres.

ARCHITECTURAL RENDERING OF THE INTERIOR OFTHE SHERYL AND HARVEY WHITE THEATRE


• The Karen and Donald Cohn Education Center will provide on-site classroom and performance space for the Globe’s education programs serving children, as well as adults. This new Education Center will help alleviate the ongoing challenge to simultaneously secure space for visiting artists, graduate students, children from local schools, teachers and others — whose needs are all vitally important to the Globe and the San Diego community.

• A Redesigned Copley Plaza, accessible year-round to the morethan 12 million visitors in Balboa Park, will make more efficient use of the Globe’s public space in Balboa Park. The new Plaza will continue to serve as the Globe’s “outdoor lobby” for more than 620 performances and 300,000 admissions each year, as well as venue for the annual Globe Gala, free public events, education activities and the annual open house, which opens the summer Shakespeare Festival. With improved wheelchair accessibility, the new Plaza will provide additional seating areas and benches, as well as a newpavilion for outdoor dining.

ARCHITECTURAL RENDERING OF THE NEW FACILITY

• Upgraded Backstage, Technical and Support Spaces will help ensure the Globe’s continued ability to meet the needs and expectations of our creative teams. The high caliber of the Globe’s productions depends, in part, upon the theatre’s ability to offer outstanding technical support.

OLD GLOBE WINS 14 SAN DIEGO THEATRE CRITICS CIRCLE “CRAIG NOEL” AWARDS

The Old Globe recently took home 14 awards at the San Diego Theatre CriticsCircle “Craig Noel” Awards Ceremony on Monday, January 21 – the most awardsfor any San Diego theatre given this year. The Globe’s world-premiere productionof A Catered Affair won seven awards, including Outstanding New Musical, aswell as awards for direction: John Doyle; score: John Bucchino; Lead Actor: TomWopat; Lead Actress: Faith Prince; Lighting Design: Brian MacDevitt; andOrchestrations: Don Sebesky. Other Globe winners included Paul Peterson(sound design, Bell, Book and Candle), Karen Perry (costume design, Two TrainsRunning), James Sutorius (lead actor, Who’s Afraid of Virginia Woolf?), ChuckCooper (lead actor, Two Trains Running), Globe Associate Artist JonathanMcMurtry (featured actor, 2007 Shakespeare Festival); Measure for Measure(Ensemble) and Itamar Moses (Outstanding New Play, The Four of Us.)

The evening was also highlighted by a special tribute to the Globe’s Artistic Director Emeritus Jack O’Brien, who received theCritic’s Circle’s Lifetime Achievement Award. O’Brien’s tribute included a short film featuring appearances by celebrated play-wright Tom Stoppard, composer David Yazbek, Globe CEO/Executive Producer Lou Spisto, and many other friends and col-leagues who have played an important role in Jack's life and career. A week later Jack was inducted in the Theater Hall ofFame. This starry event took place at the Gershwin Theater, where Jack and the other 2007 inductees (Actors John Cullum,Harvey Fierstein, Dana Ivey and Lois Smith, playwright Peter Shaffer, librettist Joseph Stein, and critic Mel Gussow) werefeted by their peers in the industry.

JACK O’BRIEN ACCEPTING LIFETIME ACHIEVEMENT AWARD.


P r o g r a m N o t e s

By Laurence Maslon, from the official PBS website forBROADWAY: THE AMERICAN MUSICAL, a 2004 documentary film by Michael Kantor.

By the 1930s, the theater and film capitals of America were sepa-rated by an entire continent. In the early days of the GreatDepression, artists had to make a choice: stay in New York, withits harsh winters and gray, shuffling breadlines, working for abusiness staggering from layoffs and cutbacks; or move toHollywood, where it was sunny all year round, smelled of euca-lyptus, and money was thrown at you in fistfuls by studio execu-tives. Which would you choose? It is, of course, a trick question.Although the motion picture studios jumped at the chance toadd musicals to their rosters after the introduction of soundwith The Jazz Singer in 1927, it was several years before they mas-tered the technology of filming a musical successfully. Soundreproduction was tinny and false, and camera movement severelylimited.

None of this kept the Hollywood studios from exploiting thenovelty of sound musicals. They acquired and filmed an enor-mous amount of material from 1927 to 1932. Film musicals wereeither portmanteau revues like King of Jazz, Hollywood Revue of1929, or Paramount on Parade; awkwardly filmed stage adaptationslike The Cocoanuts, Sally, or Show Boat (1929); or newly crafted

stories, often with abackstage theme thatglamorized that cos-mopolitan city on theEast Coast (TheBroadway Melody,Broadway Babes,Footlights and Fools).Unfortunately,Hollywood glutted themarket with an inferi-or product, and by theearly '30s, audienceswere turned off by thetechnical limitationsof the film musical.

A former marine drill instructor and Broadway dance directornamed Busby Berkeley turned all this around. In 1933, he con-ceived the dances to the quintessential backstage film musical,42nd Street. His visual skill at manipulating both chorus girlsand the camera finally made a string of backstage yarns success-ful for Warner Bros. Soon, the other studios were churning outtheir own musical styles (Paramount, elegant and sophisticated;MGM, glossy and overblown; RKO, Astaire and Rogers), and theHollywood musical reached its heyday with a barrage of originalmusicals that would enrapture depression-era America.

Every major Broadway songwriter was under some kind of filmcontract by the early 1930s. Irving Berlin was initially distrustfulof film technology and studio interference, but he was lured backto write Top Hat for Astaire and Rogers and began a healthy rela-tionship with various studios. (The greatest hit he — anyone —ever wrote, White Christmas, came out of the 1942 film HolidayInn). The Gershwins loved the lifestyle of Hollywood but fre-quently commuted back and forth to the East Coast untilGeorge's negative reviews on Porgy and Bess sent him back intothe arms of RKO. Jerome Kern, never one to suffer fools, surprisingly liked Hollywood. He teamed up with various

FRED ASTAIRE, NANETTE FABRAY AND JACK BUCHANAN INTHE BAND WAGON FILM, 1953.

FRED ASTAIRE AND CYD CHARISSE INTHE BAND WAGON FILM, 1953.

"Broadway and Hollywood"


CYD CHARISSE AND FRED ASTAIRE FROM THE BAND WAGON FILM.

studio-contracted lyricistslike Dorothy Fields,Johnny Mercer, even IraGershwin, and producedsome of his most extraor-dinary songs: “The WayYou Look Tonight," “I'mOld-Fashioned," and“Long Ago and Far Away."Cole Porter was easilyamenable to the assembly-line method of creatingsongs in Hollywood; hewas always content to tossout one song and startover again on another.

But Hollywood never had the one thing Broadway reveled in:creative freedom. In addition to interference by studio chiefs andproducers, Hollywood had its own form of self-censorship. TheProduction Code, better known as the Hays Code, was intro-duced in 1934. Even if film producers wanted sophisticatedBroadway material reproduced intact on its sound stages, theHays Code made that impossible.

Hollywood soon relied on its own stable of songwriters. HaroldArlen’s and Johnny Mercer’s “Blues in the Night," “One for MyBaby," and “That Old Black Magic" came from some utterly for-gettable movies. Sadly, their one great ambition was to write ahit Broadway musical. It never happened. The most spectacularsongwriting team in Hollywood was Harry Warren and AlDubin, who created the scores for the Busby Berkeley movieswith such legendary numbers as “I Only Have Eyes for You" and“Lullaby of Broadway." Other writers like Dorothy Fields, FrankLoesser, and Jule Styne were nurtured by the studio system andable to extend their successes to Broadway in the late 1940s and1950s when Hollywood musical production was slowing down.

When Hollywood did buy the rights to a Broadway property, itrarely, if ever, made its way to celluloid intact. Wholesale revi-sionism was typical of Hollywood, especially with shows fromthe 1930s, but even small changes in the book musicals of the1940s and 1950s changed their tone: the 1950 version of On the

Town throws away the World War II setting so crucial to itsmeaning; Kiss Me, Kate in 1953 kept most of the score, but idioti-cally has someone pretending to be Cole Porter sort of introduc-ing the movie.

Broadway producers, songwriters, and librettists learned to cryall the way to the bank as film options on their material becamemore and more frequent in the 1950s. Record sums for therights to shows like My Fair Lady topped out at $5 million.Hollywood would have the last laugh on its East Coast detrac-tors, flooding Broadway in the 1980s and 1990s with stage ver-sions of original Hollywood musicals such as Gigi, 42nd Street,Singing in the Rain, Meet Me in St. Louis,and Footloose, as well asDisney animated films like The Lion King.

— Laurence Maslon is the associate arts professor at NYU's TischSchool of the Arts. With Michael Kantor, Maslon is the co-authorof the companion volume, BROADWAY: THE AMERICANMUSICAL, published in 2004 by Bulfinch Press.

FOR MORE INFORMATION ABOUT THIS PRODUCTION, PLEASE VISIT OUR WEBSITE AT WWW.THEOLDGLOBE.ORG

BETTY COMDEN AND ADOLPH GREEN


P r o g r a m N o t e s

The Band Wagon was originally conceived as a musical revue by composer ArthurSchwartz and lyricist Howard Dietz and premiered on Broadway on June 3, 1931. Itfeatured the talents of Fred Astaire and his sister Adele, as well as actors FrankMorgan, Helen Broderick, and Philip Loeb. Schwartz and Dietz wrote some of theirmost memorable songs for The Band Wagon, including “Dancing in the Dark" and“Something to Remember You By." Unlike the traditional musical format, The BandWagon did not tell an ongoing story; instead, it featured individual skits that werewritten by playwright and humorist George S. Kaufman. (See below for a history ofthe musical revue.)

Both Schwartz and Dietz began in other professions; Schwartz was trained as alawyer, and Dietz had a day job as MGM's advertising manager (he created theirfamous lion mascot). Their eventual partnership in show business seemed fated.“When they began collaborating at the end of the 1920s,” Broadway historianLaurence Maslon recalls, “they made beautiful music together. They rode in on thecoattails of the ‘Little Shows,’ intimate, sophisticated revues that gave audiencessome relief from the bombast of [Florenz] Ziegfeld and [George] White.” In addi-

tion to The Band Wagon, the team wrote three other successful revues: Three's a Crowd, Flying Colors, and At Home Abroad.

In 1953, MGM released the film version of The Band Wagon. Although many of the original songs were featured in the movie,Schwartz and Dietz added other numbers, most notably “That’s Entertainment!,” which quickly became a Broadway stan-dard. The Kaufman skits were traded for a screenplay by Betty Comden and Adolph Green, who were coming off of anotherMGM favorite, Singin’ in the Rain. Casting was also overhauled; while Fred Astaire remained on the project, legendary dancerCyd Charisse joined the production, as well as Oscar Levant and Nanette Fabray, who played the husband-and-wife writingteam patterned after Comden and Green themselves. The Band Wagon earned three Academy Award nominations.

— Kim Montelibano Heil

“THE BAND WAGON” POSTER FROM THE ORIGINALBROADWAY PRODUCTION

Excerpts from"Rise of the Revue"By Broadway Historian Laurence Maslon

In the years between the world wars, nothing on Broadway catered to Manhattan nightlife like the revue.During the Roaring Twenties, nearly 150 revues opened on Broadway. Pioneered by Florenz Ziegfeld andhis elegant “Follies," revues allowed for an ever-shifting variety of songs, dances, skits, and productionnumbers. Idiosyncratic comics, specialty dancers, emotive singers, and chorus girls all found a home fortheir particular talents. Costume and scenic designers’ flash, color, topicality, and brazenness caught thespirit of the age. Revues had their conveniences, too; unlike musical comedies, you could miss the firstact and it wouldn't make any difference. Revues could be assembled easily, and there was always room foran additional investor, whether it was a newly minted Wall Street broker with a crush on a showgirl or a bootlegging gangster whowanted to see his girlfriend installed at the end of a chorus line. There were so many chances for a songwriter to get his number placedin a show that the revue became the greatest incubator for popular music the country has ever seen.

After the advent of the narrative musical with Oklahoma! in 1943, it was harder to engage audience interest in a disconnected show.Television put the final nail in the coffin of the revue in 1948 by offering topical material, comedy, and dancing with a speed andeconomy that the Broadway stage could no longer match.

FRED AND ADELE ASTAIRE INTHE BAND WAGON, 1931


DANCINGWITHDOUGLASCARTERBEANEDancing in the Dark is not playwrightDouglas Carter Beane’s first movie-musical adaptation, yet his approachto writing the book for this MGM

favorite had to be much different from his work on Xanadu, the2007 Broadway hit that was based on the notoriously bad1980 movie starring Olivia Newton-John. The Band Wagon, themovie on which Dancing in the Dark is based, was nominated forthree Academy Awards, including Best Music (Scoring of aMusical Picture) to Adolph Deutsch, and Best Writing (Storyand Screenplay) to Betty Comden and Adolph Green. It wasalso recently rated #17 on the American Film Institute’s list ofthe 25 Greatest Movie Musicals. Conversely, Xanadu was a boxoffice flop, and was even nominated for six “Razzies” – awardsfor the worst acting, worst directing, etc. – including “WorstMusical.” The vastly different track records of the two movie-musicals offered Beane the opportunity to explore adaptationin a new light.

“The thing about Xanadu is,” he explains, “it is so awful, butthe soundtrack was hugely successful. So most people knewthe basic premise and the score. There was a certain freedomto that. Most people who see the show on Broadway nowhaven't even seen the movie.

“The Band Wagon is loved by people in the theatre, but mostpeople don't know it,” Beane says of his current project.

“There is a greater level of respect in my adaptation of Dancingin the Dark. There is also a deeper and richer story I wish to tellthan there ever was in Xanadu.”

The “greater level of respect” that Beane speaks of refers to hisreverence to the original material, authored by Comden andGreen, who were friends of Beane’s. He was fortunate to havediscussed the project with Comden, who gave him a copy ofthe original shooting script.

“In a weird way [adapting The Band Wagon is] like I’m having aconversation with an old friend,” he says of the process.“Adolph and I had spoken about The Band Wagon — he wasvery forthcoming about its flaws and strengths. This conversa-tion happened long before I even considered working on it.

“Sadly,” he adds, “Betty passed away before I could show heranything I had written. But when you see the show — thereare plenty of places where I make a point of referencing Bettyand Adolph’s life and shows and performing style. And thesemoments are done with the utmost love.”

As a playwright, Beane not only made waves with Xanadu butwith his play The Little Dog Laughed, which was nominated for aTony Award for Best Play in 2007. The four-character piece is alot more intimate than the large-scale spectacle of both of hismusical adaptations, proving his dexterity in writing bothstraight plays and musical theatre. He notes that there arepayoffs in both genres.

“Musicals have so many different and exciting departments —you never feel alone on a musical. A play can be lonely.” Hethinks about it. “But then the playwright is all powerful in aplay — so it balances out. Power but loneliness.”

As for the criticism that musicals lack depth and meaning,Beane scoffs. “If [musicals] are criticized this way, it is beingdone by an extremely shallow person,” he says. “The BandWagon is about a man returning home. It is about a lonerbecoming a part of a community for the first time. It is theprodigal son, bruised and broken and returning to his real life.And it has a great hayride number.”

So what kind of project is next on Beane’s dance card?

“I like stories that talk about who we are, in America,” he says.“No matter when it is set.

“And,” he adds cheekily, “there should be a great hayridenumber.”

— Kim Montelibano Heil


Scott Bakula(Tony Hunter)

THE OLD GLOBE:Debut. BROAD-WAY: Romance/Romance (TonyAward® nomina-tion), Marilyn: AnAmerican Fable(Broadway debut).OFF-BROADWAY:

Three Guys Naked from the Waist Down, It’sBetter with a Band, Godspell, Broadway Babylon.REGIONAL: Quality of Life, Geffen Play-house; Shenandoah, Ford’s Theatre; NoStrings, LA Reprise!; Nite Club Confidential,LA and Boston; Magic To Do, CincinnatiPlayhouse. TELEVISION: Quantum Leap(Golden Globe Award, Emmy® nomina-tion), Star Trek: Enterprise, Boston Legal, TheNew Adventures of Old Christine, DesigningWomen, Murphy Brown,Tom Clancy’s Net Force,Bachelor’s Baby, Papa’s Angels, What GirlsLearn. FILM: American Beauty, NecessaryRoughness, Lord of Illusions, Life as a House, Mi Familia/My Family, Major League: Back tothe Minors, A Passion to Kill, Sibling Rivalry,Cat’s Don’t Dance . CONCERTS: CarnegieHall, The Kennedy Center Honors, Ford’sTheatre, Hollywood Bowl.

Jacob ben Widmar(Male Ensemble/Dance Captain)

THE OLD GLOBE:Debut. MUSCIALTHEATRE:Original Companyof White Christmas,LA, Detroit andBoston; Productiontenor in Singin’ in the

Rain, Goodspeed Opera House; Hortensioin Kiss Me Kate, The Music Man, Hello Dolly!and more, Sacramento Music Circus; Onthe Town, Reprise! Broadway’s Best; BillyLawlor in 42nd Street (Robbie Award nom-ination), Mark in A Chorus Line, AMT of

San Jose. EDUCATION: BFA in music,dance, theater, Brigham Young University.

Brandon Bieber(Male Swing)THE OLD GLOBE: Debut. NATIONAL

TOUR: Annie.REGIONAL: ThePajama Game, HelloDolly!, Oklahoma!,Seven Brides..., AnnieGet Your Gun, 42ndStreet, The Music Man,Annie, Crazy for You,Showboat, Fiddler on

the Roof, Joseph and the Amazing TechnicolorDreamcoat, Peter Pan, A Chorus Line, EvitaBrigadoon, Singin’ in the Rain, MUNY; Bye, ByeBirdie, Stages St. Louis; Beauty and the Beast,Grease, 42nd Street, Seven Brides..., PCLO. TV:One Life to Live. EDUCATION/TRAINING:BFA, Musical Theater, Cincinnati Conser-vatory of Music.

Rachel Coloff(Female Ensemble/understudy Lily Martin)THE OLD GLOBE: Debut. BROADWAY:

Candide, Urinetown,Fiddler on the Roof,Lestat. OFF-BROADWAY: Urine-town, Das Barbecu,Tip-Toes, Pardon MyEnglish, My Fair Lady,Face the Music.REGIONAL: My Fair

Lady, McCarter Theatre; Fiddler on the Roof,Fulton Theatre; Urinetown, St. Louis Rep;Camelot, The Berkshire Theatre Festival;Sunday in the Park with George, Seattle Reper-tory Theatre.

Angie Canuel(Female Swing)

THE OLD GLOBE:Debut. BROAD-WAY: The Producers.REGIONAL: Mer-cury, Wings Theatre;Little Me, Evita, DamnYankees, She Loves Me,Drayton FestivalTheatre; Me and My

Girl, King’s Wharf Theatre; Spirit of a Nation,Janis Dunning; TV/FILM: The Producers TheMusical, One Life to Live, Straight Ahead, CurbYour Enthusiasm, Bollywood/Hollywood, WeWill Not Forget. TRAINING: AmericanAcademy of Dramatic Arts, Ryerson Uni-versity (Theatre/Dance).

Dylis Croman(Female Ensemble)

THE OLD GLOBE:Debut. BROAD-WAY: A Chorus Line(Standby Cassie/Sheila) , Sweet Char-ity (u/s Charity),Oklahoma!, ThouShalt Not, Fosse(Trumpet solo).

NATIONAL TOUR: Movin’ Out (Brenda),Thoroughly Modern Millie, Fosse, Chicago,Applause. REGIONAL: Kiss Me Kate, TheatreUnder The Stars; Cats, California MusicTheatre; No Strings, ENCORES!; Applause,Papermill Playhouse; Gregory Hines in Con-cert, Tampa Bay Performing Arts Center. TV:Guiding Light (Andrea Daniels). Dancedwith Feld Ballets, New York.

P r o f i l e s


Mara Davi(Gabrielle Gerard/Janey)

THE OLD GLOBE:Debut. BROAD-WAY: The DrowsyChaparone (JanetVan de Graaff), AChorus Line (MaggieWinslow). NEWYORK: Of Thee ISing (Miss Emily

Benson), City Center Encores!; The PrincessBride (Princess Buttercup), Reading.TOUR: Peggy Sawyer in 42nd Street (Amer-ica and Japan). REGIONAL: Irving Berlin’sWhite Christmas, Wang Center, Boston;Dames at Sea (Ruby), Baby (Lizzie), Gypsy(Louise), and George M! (Josie Cohan).

Nicolas Dromard(Male Ensemble/understudy Tony Hunter)

THE OLD GLOBE:Debut. BROAD-WAY: Mary Poppins(Bert u/s), The BoyFrom Oz, Oklahoma!.NATIONALTOUR: Wicked(Fiyero u/s),Mamma Mia!.

TORONTO: Hairspray (Link & Corny u/s),Mamma Mia!. OTHER CREDITS: Big Dealin West Side Story, Stratford Festival ofCanada; Tulsa in Gypsy, Arkansas RepertoryTheatre. Mille Merci to my parents for theirundying love and support.

Adam Heller(Lester Martin)

THE OLDGLOBE: Falsettos.BROADWAY: Car-

oline, or Change; AClass Act; Victor/Vic-toria; Les Miserables.OFF- BROAD-WAY: Make Me aSong: The Music of

William Finn; The Immigrant, New WorldStages; Endgame, Irish Rep; Normal, Trans-port Group; Merrily We Roll Along, York.NATIONAL TOUR: Titanic; Falsettos.REGIONAL: Party Come Here, Williams-town; Caroline, or Change, Arden; Merrily WeRoll Along, Kennedy Center Sondheim Cele-bration; Art, Hartford Theaterworks; Dinnerwith Friends, Coconut Grove Playhouse; NoWay to Treat a Lady, Barrington Stage; Rag-time, Sacramento; March of the Falsettos &Falsettoland,Hartford Stage; American Vaude-ville, Alley. FILM: Off the Menu: The Last Daysof Chasen's; Isn't She Great. TV: The Sopranos(penultimate episode); Law & Order (All);Oz. GRADUATE: NYU/ Tisch.

Benjamin Howes(Hal Meadows/understudy Jeffrey Cordova)

THE OLDGLOBE: Debut.OFF-BROADWAY:[title of show], Vine-yard Theatre; TheCharity That BeganAt Home, Mint The-ater Co; Veronique,Pecadillo Theatre.

AUSTRALIAN THEATRE: Les Miserables,Cameron Mackintosh; Beauty and the Beast,Walt Disney Productions; Little Shop of Hor-rors, David Atkins Enterprises; Grease, Gor-don Frost Organisation; Hedda Gabler,Zenith Theatre. REGIONAL: A Christmas

Carol, North Shore Music Theatre; Singin’ inthe Rain, Flat Rock Playhouse; Little Shop ofHorrors, Lady Be Good, A Funny Thing...Forum,Skylight Opera Theatre; Route 66, Milwau-kee Repertory Theatre. TV: One Life to Live,Law & Order: Criminal Intent. TRAINING:BFA, University of NSW; Conservatoriumof Sydney.

Cara Kjellman(Female Ensemble/understudy Gabrielle Gerard/Janey)

THE OLD GLOBE:Debut. Cara isthrilled to be per-forming at The OldGlobe for the firsttime! BROAD-WAY: Broadwayrevival of 42nd Street(original cast); She

is also working on the upcoming Broadwayproduction of Billy Elliot. NEW YORK: Facethe Music (original recording); Of Thee ISing, Encores!; Medea in Athens.REGIONAL: White Christmas, Boston, St.Paul, San Francisco, MUNY. TV: GuidingLight, and several television and radio com-mercials. EDUCATION: MMC and TheAtlantic Theater Company. Much gratitudeMDKBB!

Sebastian La Cause(Paul Byrd)

THE OLD GLOBE:Debut. Recentlystarred as Marco inThe Kennedy Cen-ter revival of Carni-val and will appearin Dreamworks2008 release, GhostTown. BROAD-

WAY: Once Upon a Mattress, Chicago, Minnellion Minnelli (cast album), The Rocky HorrorShow (cast album). NATIONAL TOUR:Spider Woman. REGIONAL: Take Me Out,


Caldwell Theatre; She Loves Me, Arena Stage;West Side Story, Paramount Theatre (AustinCritic’s Circle nomination); FascinatingRhythm, Hartford Stage. OFF-BROAD-WAY: Wingman, Altered Stages; Edenville,Emerging Artists Theatre Company; Tiger bythe Tail, Wings Theatre Company; Tooth andClaw, The Bus to Buenos Aires, Ensemble Stu-dio Theatre; Competing Narratives, BarrowGroup Theater. FILM/TV: Chicago, Show-girls, Boogie Nights, Eraser, Sister Act II, and theaward-winning short Penny Dreadful; All MyChildren, One Life to Live and Johnny Zero.www.sebastianlacause.com

Beth Leavel(Lily Martin)

THE OLDGLOBE: Debut.BROADWAY: TheDrowsy Chaperone(Tony Award®/Drama Desk andOuter Critic Circleawards), 42nd Street(Original

Company and Revival), The Civil War,Showboat, Crazy for You. NATIONAL TOUR:42nd Street, Grease. OFF-BROADWAY: LoneStar Love, Broadway Jukebox, JohnHouseman Theatre; The Jazz Singer, JewishRepertory Theatre; An Unfinished Song,Provincetown Playhouse; Promises, Promises,Applause, Equity Library Theatre.REGIONAL: The Drowsy Chaperone,Ahmanson Theatre; A Little Night Music,The Pajama Game, Pittsburgh CLO; Annie,Songs for a New World, Helen HayesPerforming Arts Center; The Civil War,Alley Theatre; Kudzu, Ford’s Theatre,Gershwin’s Fascinating Rhythm, HartfordStage; Funny Girl, North Carolina Theatre.FILM/TV: Ryan’s Hope, Kennedy CenterHonors Ginger Rogers – 1992, 42nd Street andnumerous commericals. TRAINING/EDUCATION: MFA in Acting, Universityof North Carolina at Greensboro.

Patrick Page(Jeffrey Cordova)

THE OLD GLOBE:Debut.BROADWAY:The Grinch in Howthe Grinch StoleChristmas! (dir. JackO’Brien); Scar in TheLion King; DeciusBrutus in JuliusCaesar (with Denzel

Washington); Lumiere in Beauty and theBeast; Marley in A Christmas Carol; TheKentucky Cycle. OFF-BROADWAY: Title rolein Rex; Richard II (dir. Steven Berkoff).REGIONAL: Macbeth in Macbeth and Iagoin Othello (Helen Hayes Award) at TheShakespeare Theatre Company inWashington DC; Sergius in Arms and theMan at Long Wharf; Cyrano, Henry V, RichardIII at Pioneer Theatre Company; plusleading roles (Hamlet, Brutus, Mercutio,Benedick, Dracula, Antony, etc.) at Seattle,Indiana and Missouri Reps, ACT,Cincinnati Playhouse, Arizona TheatreCompany, Oregon, New York, Utah,Alabama Shakespeare Festivals, and manymore. PLAYWRIGHT: Swansong (TheatreRow, Kennedy Center, Seattle, etc).TV/FILM: Law & Order SVU, One Life to Live,All My Children, The Substance of Fire. FavoriteRole:Husband to Paige Davis. More info:www.patrickpageonline.com.

Adam Perry(Male Ensemble/understudy Paul Byrd)

THE OLD GLOBE:Debut. BROAD-WAY/NEW YORK:Wicked, The MostHappy Fella, LastDance, 2006 TonyAwards. NATIONALTOUR: Sweet Charity,Cats. REGIONAL:

State Farm Industrial; Best Little Whorehouse in

P r o f i l e s c o n t i n u e d

Texas; Chicago, Oklahoma!, Seaside MusicTheatre; The Lost Colony. EDUCATION/TRAINING: BFA, Performing Arts,Western Kentucky University.

Eric Santagata(Male Ensemble)

THE OLD GLOBE:Debut. BROAD-WAY: The Apple Tree.NATIONALTOUR: The BoyFriend, Casper: TheMusical (with ChitaRivera). NEWYORK: Stairway to

Paradise, Face the Music, City CenterEncores!; REGIONAL: Little Shop ofHorrors, Westchester Broadway Theatre;Singin’ in the Rain, Lyric Theatre ofOklahoma; White Christmas, HummingbirdTheatre (Toronto); The Boy Friend,Goodspeed Opera House; Hello Dolly!,Paper Mill Playhouse; Dames at Sea,Riverside Theatre; How to Save the World...,NYMF; Miss Saigon, Dreamgirls, The MusicMan, Me and My Girl, Funny Girl, Singin’ in theRain, Guys and Dolls, Pittsburgh CLO. EDU-CATION/TRAINING: BFA, MusicalTheatre, University of Cincinnati CollegeConservatory of Music.

Kiira Schmidt(Female Ensemble)

THE OLDGLOBE: Debut.NEW YORK:Stairway to Paradise,NY City Center.REGIONAL:Mame, TheKennedy Center;Irving Berlin's White

Christmas, The Wang Center; The FoxTheater; Sweet Charity, Gateway Playhouse;Chicago, Riverside Theater; West Side Story,Barrington Stage; Fulton Opera House.


EDUCATION/ TRAINING: B.F.A. ElonUniversity, NC.

Branch Woodman(Male Ensemble/understudy Hal Meadows, Lester Martin)

BROADWAYDEBUT: Crazy forYou. (Mingo) NEWYORK: DisappearingAct (original cast);Out of this World(Mercury); DearWorld; Patti Lupone’sShoulda, Coulda,

Woulda (Carnegie debut). NATIONALTOUR: Big, the Musical (Lipton, AssistantChoreographer). REGIONAL: She Loves Me(Tango Dancer), Paper Mill Playhouse;George M (Archie), Call Me Madam(Senator Brockbank) Goodspeed; TheCocoanuts (Eddie), Actors Theatre ofLouisville; Dames at Sea (Lucky), StudioArena; My Way, Milwaukee Rep; WhiteChristmas (Phil Davis), Chicago (Billy),Smokey Joe’s Café, Skylight Opera Theatre;Bat Boy (Dr. Parker), BirminghamSummerfest Theatre; HMS Pinafore,Arizona Theatre Company. LOCALCREDITS: The Candlelight Pavilion,Fullerton CLO, Musical Theatre West,Performance Riverside, Los Angeles revivalof A Chorus Line. Also, credits as Director,Choreographer, Musical Director.Recordings, too! A proud third generationSouthern California native, Mr. Woodmanis making his Old Globe debut.

Ashley Yeater(Female Ensemble)

THE OLD GLOBE:Debut. BROAD-WAY: The Producers(Usherette).NATIONALTOUR: Chicago(Hunyak), TheProducers (Usher-ette), Footloose

(Ariel) , Cats (Bombalurina). TV/FILM:Grace and the Storm, Plastic People, GuidingLight, Today.

Douglas Carter Beane(Playwright)Douglas Carter Beane is delighted to haverecently opened the musical Xanadu onBroadway to rave reviews. His play The Lit-tle Dog Laughed opened last season onBroadway where it was nominated for theTony Award and received the GLAADMedia Award and the HX for Best Play.His other plays include As Bees in HoneyDrown (Outer Critics Circle John GassnerAward), Music from a Sparkling Planet andThe Country Club. He wrote the screenplayfor the film adaptation of his play Advicefrom a Caterpillar which won Aspen ComedyFestival’s best feature. His film To Wong Foo,Thanks for Everything, Julie Newmar was pro-duced by Steven Spielberg, was the numberone film in America for a month and is nowa television favorite. The Big Time, Beane’sfirst musical, received great reviews lastyear. Fascinated by non-traditional forms oftheater, Beane has written the revues WhiteLies and Mondo Drama, and last season alive theatrical soap opera, The Cartells. Asartistic director of the New York theatrecompany Drama Dept, Beane producedover 40 productions, including acclaimedrevivals of As Thousands Cheer, June Moonand The Torchbearers and world premiereworks by Paul Rudnick, David Sedaris andWendy Wasserstein. His new play, Don’t Fol-

low Me, I’m Lost, Too will open next season inNew York and he is currently developing atelevision series for producer LorneMichaels. He resides in New York City withhis partner, composer Lewis Flinn, theirson, Cooper, and daughter Gabrielle.

Arthur Schwartz(Composer)A former educator and attorney, composerArthur Schwartz began his career in the1920s and remained active for some sixdecades, crafting lilting, memorablemelodies for such standards as “I Guess I'llHave to Change My Plan," “That's Enter-tainment" and “Dancing in the Dark".Ironically, Schwartz was not encouraged byhis family in his musical interest. Schwartzsecretly taught himself how to play thepiano and by age 14 was accompanyingsilent films at the Cortelyou Movie Empo-rium in his native Brooklyn. He completedhis studies at New York University andColumbia University. While working on hislaw degree, Schwartz taught English tohigh school students and pursued compos-ing songs as a hobby. During the summerof 1924, Schwartz spent time working as acounselor in the Adirondacks where he metlyricist Lorenz Hart, and the pair soon col-laborated on songs for camp shows.Schwartz also became friendly with com-poser George Gershwin who providedencouragement. While not abandoning law,he continued to pen songs, several of whichbegan to find placement in revues like “TheGrand Street Follies."At Hart's insistence,Schwartz took a year off from his successfullegal practice and quickly caught the atten-tion of producer Tom Weatherly who hiredhim to compose the score for a Broadwayrevue. Weatherly introduced Schwartz tothe man who was to become perhaps hisbest remembered collaborator -- HowardDietz, a native New Yorker who was a class-mate of Lorenz Hart and Oscar Hammer-stein II. In 1931, Schwartz and Dietz were



asked to compose a complete score for amusical, the revue The Band Wagon, a vehiclefor Fred and Adele Astaire. The Astairesshone in their dance numbers (like“Hoops") but the standout song was“Dancing in the Dark," sung by JohnBarker and danced to by Tilly Losch. Oftenhailed for his craftsmanship and the beautyof his melodies, Schwartz was awarded thesecond annual ASCAP/ Richard RodgersAward (shared with Harold Arlen) justprior to his 1984 death from a stroke.

Howard Dietz(Lyrics)Howard Dietz was born in New York Cityon September 8, 1896. He briefly studiedjournalism at Columbia University, andthen began working in advertising. After astint in the Navy, he returned to advertis-ing for several movie firms, serving as pub-licity director for Goldwyn PicturesCorporation and later as director of adver-tising and publicity for MGM, a positionhe held for over 30 years. In 1923, Dietzwrote the lyrics for an Arthur Samuelsmelody called “Alibi Baby," which was a hitin W.C. Fields’ stage show, Poppy. Over thenext few years, Dietz collaborated onseveral Broadway shows, including Dear Sir(1924) with Jerome Kern, and the revueMerry-Go-Round (1927). Dietz began hislong collaboration with composer ArthurSchwartz in 1929 with the Broadway pro-duction of The Little Show (1929), whichincluded the hit song, “I Guess I’ll Have toChange My Plan.” Their other notablesongs include "Something to RememberYou By" and “The Moment I Saw You”from Three’s a Crowd (1930), “Dancing inthe Dark" from The Band Wagon (1931),"Alone Together" from Flying Colors (1932),"You and the Night and the Music" fromRevenge with Music (1934), "By Myself,""Triplets," and "I See Your Face BeforeMe" from Between the Devil (1938). After1938, Dietz and Schwartz dissolved their

partnership for over a decade and Dietzcontinued his work for MGM, while alsowriting material for radio and television.He collaborated with Vernon Duke in 1944on Sadie Thompson, which introduced thesong “The Love I Long For." In 1948,Dietz again teamed with Schwartz to writethe score for Inside USA, and their last twoBroadway scores were The Gay Life (1961),starring Barbara Cook, and Jenny (1963),starring Mary Martin. Dietz served asdirector of ASCAP from 1959 to 1961, andwrote an autobiography, “Dancing in theDark," in 1974.

Gary Griffin(Director)Gary Griffin made his Broadway debutwith the hit musical The Color Purple. Also inNew York, Griffin has directed The AppleTree, A Tree Grows in Brooklyn, Pardon My Eng-lish and The New Moon for City CenterEncores! and Beautiful Thing at the CherryLane Theatre. His production of PacificOvertures was seen at London's DonmarWarehouse and received the Olivier Awardfor Outstanding Musical Production. He isAssociate Artistic Director of the ChicagoShakespeare Theatre, where he has directedA Little Night Music and Sunday in the Parkwith George. His production of My Fair Ladyplayed at the McCarter Theatre and Hart-ford Stage after its debut at Chicago's CourtTheatre. He has received eight Joseph Jeffer-son Awards and has twice been named a"Chicagoan of the Year in the Arts" by theChicago Tribune.

Warren Carlyle(Choreographer)OFF-BROADWAY: Stairway to Paradise,Encores! at City Center; You Again, NYFringe; Working, Zipper; Slut!, ATA; Round-about Gala 2006. US REGIONAL: A Tale ofTwo Cities, Asolo Theatre; Mame, KennedyCenter; The Pirates of Penzance, Paper MillPlayhouse and Goodspeed; The Bakers Wife,

Goodspeed; Pageant,Second City. In hisnative England, Me and My Girl (UK Tour,director as well); The Goodbye Girl, (1st

national tour); Pageant, Moving On (Sond-heim); Scrooge (European tour). FILM &TELEVISION: The Tourist (20th CenturyFox), Hope and Faith (ABC), An Evening at theBoston Pops (PBS), Elton John's Made in Eng-land video. As Associate Choreographer forSusan Stroman: The Producers (Broadway &film), Oklahoma! (Broadway), Center Stage(film). RESIDENT DIRECTOR/CHOREOGRAPHER: Jolson (London/Toronto), Fosse (London), Oklahoma!(London). UPCOMING: Juno (Encores! atCity Center).

John Lee Beatty(Scenic Design)THE OLD GLOBE: Dr. Seuss’ How the Grinch Stole Christmas!, Redwood Curtain.BROADWAY: The Color Purple, Dr. Seuss’How the Grinch Stole Christmas!, Rabbit Hole,Doubt, The Odd Couple, Chicago, WonderfulTown, Dinner at Eight, Frankie and Johnny inthe Claire de Lune, Morning’s at Seven, Proof,Footloose,The Little Foxes, The Last Night ofBallyhoo, A Delicate Balance, The Heiress, AbeLincoln in Illinois, Anna Christie, RedwoodCurtain, The Sisters Rosensweig, The MostHappy Fella, Penn and Teller (twice), BurnThis, Ain’t Misbehavin’ (twice), Talley’s Folly,Fifth of July, Crimes of the Heart. OFF-BROADWAY: Sylvia, The Substance of Fire,Lips Together, Teeth Apart, The Road to Mecca,Song of Singapore, A Life in the Theatre, TheMiss Firecracker Contest, 32 seasons atManhattanTheatre Club and Circle Rep, 15seasons at City Center Encores!. Creditsalso at major regional theatres, and in film,opera and TV. Recipient of the Tony, Obie,Drama Desk, Outer Critics Circle Awards;member of the Theatre Hall of Fame.Graduate of Brown University and the YaleSchool of Drama.


David Woolard(Costume Design)THE OLD GLOBE: The Sisters Rosensweig,Dinner with Friends, Damn Yankees.BROADWAY: The Farnsworth Invention, Ringof Fire, All Shook Up, 700 Sundays, The Smell ofthe Kill, The Rocky Horror Show (2001 TonyAward nomination), Voices in the Dark, TheWho’s Tommy (1993 Tony and OlivierAward nominations), Bells Are Ringing,Marlene, Wait Until Dark, Horton Foote’sThe Young Man from Atlanta, Damn Yankeesand A Few Good Men. He has designed fornumerous off-Broadway, regional theatersand opera. Recent credits include CurvyWidow in San Francisco and Dividing TheEstate. With his partner Gary Field, hestarted Career Gear, a nonprofit organiza-tion that provides work-appropriate cloth-ing and follow-up support to men gradu-ating from job retraining programs.

Ken Billington(Lighting Design)Ken is currently represented on Broadwaywith Sunday in the Park with George andChicago as well as the touring productionsof The Drowsy Chaperone, Chicago, Annie, HighSchool Musical and Riverdance for which hethe lighting supervisor. Ken has designedover 80 Broadway and 70 off-Broadwayshows and has been honored with sevenTony award nominations and received the1997 Tony Award for his work on Chicago.His Tony nominations include: The DrowsyChaperone (2006), End of the World (1984),Foxfire (1982), Sweeney Todd (1979),Working (1978), and The Visit (1973). In addition, millions of audience membershave seen Ken’s work at New York's RadioCity Music Hall Christmas Spectacular for26 seasons, Disneyland's nighttime extrav-aganza Fantasmic!, the long-running LasVegas spectacular Jubilee!, The WaterfrontVillage at Sea World of Florida and Shamu Rocks! for Seaworld Orlando andSan Diego.

Brian Ronan(Sound Design)THE OLD GLOBE: Debut. Brian hasdesigned the Broadway productions ofGrease, Curtains, Spring Awakening, GreyGardens, The Pajama Game, All Shook Up, 12Angry Men, Master Harold & the Boys, TheLook of Love, The Boys from Syracuse, Fortune’sFool, The Tale of the Allergist’s Wife, TheRainmaker, You’re a Good Man Charlie Brown,Little Me, Cabaret, Triumph of Love, 1776 andState Fair. Regionally Brian has designedMcCarter Theatre’s A Christmas Carol;Manhattan Theatre Club’s Wild Party, Time& Again and Newyorkers; Into the Woods,Ordway of St. Paul; Bleacher Bums, RoyalGeorge Theatre of Chicago; A LittlePrincess, Theatre Works of Palo Alto. Off-Broadway designs include 10 Million Milesand Bug for which he won the Obie andLucille Lortel awards.

Eric Stern (Music Supervisor/Arranger)THE OLD GLOBE: Into the Woods.BROADWAY: Xanadu, Follies, Music Man,Parade, Candide, Show Boat, Once Upon aMattress, The King and I, Carousel (LincolnCenter), Gypsy (Tyne Daly), Sunday in thePark with George, Rags and more. REGION-AL: Merrily We Roll Along (KennedyCenter); Marty, Zhivago, Palm Beach andmany more. CONCERTS & RECORD-INGS: Barbara Cook, Dawn Upshaw,Audra McDonald, Mandy Patinkin, BettyBuckley, Fred Hersch, Leonard Bernstein'sNew York, Lady Be Good!, Pardon My English,Oh, Kay, The Irish Tenors, and many, manymore. AWARDS: Emmy, Grammy, 3Gramophone Awards.

Don York(Music Director)On Broadway Mr. York conducted orarranged I Love My Wife, Little Me, Can-Can,5-6-7-8 Dance!, Sunset, The Marriage of Figaroand most recently Sweet Charity with

Christina Applegate. He arranged and con-ducted Bette Midler’s Clams on the Half ShellRevue and Live at Last, conducted nationaltours of Beauty and the Beast, Fosse, HelloDolly!, The Ann-Margret Show and TheProducers, and played or arranged for Hall &Oates, Maureen McGovern, Judy Collins,Esther Phillips, Elvin Jones, Nick Brignolaand Lee Konitz. As musical director of ThePaul Taylor Dance Company, Mr. York con-ducted 18 New York seasons as well as manyengagements worldwide. Two of his sevenTaylor scores are represented on PBS’s DanceIn America. He was resident guest conductorfor the New York City Ballet for eightseasons, and composed and conducted forMiami City Ballet, Mark Morris DanceGroup, Jose Limon Company, BalletMet,Milwaukee Ballet and Ballet Marseilles/Roland Petit.

Larry Hochman(Orchestrator)TONY NOMINATIONS: Fiddler on the Roof,A Class Act, Monty Python’s Spamalot (alsoDrama Desk nomination). BROADWAY:Jane Eyre, The Gershwins’ Fascinating Rhythm,Late Nite Comic. REGIONAL: 23 showsincluding Señor Discretion (Loesser pre-miere). OFF-BROADWAY: A Woman of Will,4 others. FILM: Cinderella, Lady and the TrampII, Geppetto, Annie, ...Mattress, A ChristmasCarol, 12 others. COMPOSER: The WonderPets (Nickelodeon), Little Mermaid II (addi-tional music), three films, Amazing Stories,documentaries, In Memoriam (symphonicpoem publ. E.B. Marks). CONTRIBUTINGORCHESTRATOR: Little Mermaid, MusicMan, Chita Rivera: The Dancer’s Life, KingDavid, five other Broadway shows.RECORDINGS AND CONCERTS: Not theMessiah (Eric Idle/John Du Prez), MandyPatinkin, Audra McDonald, Brian StokesMitchell, Betty Buckley, Michael Feinstein,Barry Manilow, Dawn Upshaw, André deShield, Marrin Mazzie, Maury Yeston, Jean-Yves Thibaudet. Boston Pops, San Francisco



Symphony, Toronto Symphony, LincolnCenter’s American Songbook, Big AppleCircus. www.LarryHochman.net

Daniel S. Rosokoff(Stage Manager)BROADWAY: Dirty Rotten Scoundrels, Dr.Seuss' How the Grinch Stole Christmas! TheMusical, By Jeeves (Ayckbourn /Lloyd Web-ber), Swinging on a Star. OFF-BROADWAY:Mr. Goldwyn starring Alan King. TOURS:Dirty Rotten Scoundrels, The Full Monty, BarryManilow's Copacabana, Jolson: The Musical,Joseph and the Amazing Techincolor Dreamcoat,NYC ENCORES: Strike Up the Band, Babes inArms. FILM: By Jeeves . REGIONAL: Good-speed, Long Wharf, Old Globe, KennedyCenter, Shakespeare Theatre, Geffen Play-house, Pittsburgh Public and PittsburghCLO. Member Actors' Equity Association.

Julie Baldauff(Assistant Stage Manager)THE OLD GLOBE: 6 seasons and over 20productions. BROADWAY: The WeddingSinger, I Am My Own Wife, King Lear, Henry IVparts 1 and 2, The Play What I Wrote, The FullMonty, Fool Moon, The Little Foxes, TheRehearsal, Summer and Smoke, Getting Awaywith Murder. OFF-BROADWAY: Hair (40thAnniversary Concert at the Delacort), YouNever Can Tell, Pride’s Crossing, Arms and theMan, Hapgood, Cather County. REGIONAL:Garden of Earthly Delights, American DanceFestival; I Am My Own Wife, Dublin,Krakow, London; The Children of Herakles,European Tour; Fool Moon, Kennedy Center.

Tracy Skoczelas(Assistant Stage Manager)THE OLD GLOBE: A Catered Affair, HayFever, Two Trains Running, The Four of Us, TheTimes They Are A-Changin’, SummerShakespeare Festivals (‘04 - ‘06), Vincentin Brixton, I Just Stopped By to See the Man,Dirty Rotten Scoundrels, The Food Chain, TwoSisters and a Piano, Bus Stop, Rough Crossing,

Much Ado About Nothing, Julius Caesar, DirtyBlonde, Pentecost, Loves & Hours, Oldest LivingConfederate Widow Tells All, Splendour,Pericles, All My Sons, Compleat Female StageBeauty, Betrayal, Smash, Memoir, Dr. Seuss’How the Grinch Stole Christmas! (‘01-’07),Twelfth Night, A Midsummer Night’s Dream,Henry V, The Trojan Women. EDUCATION:BFA, University of North Carolina atGreensboro.

Jay Binder Casting(Casting)Jay Binder, C.S.A. (Casting) with Jack Bow-dan, C.S.A, Mark Brandon & Sara Schatz.Have cast over 50 Broadway shows includ-ing Gypsy, A Chorus Line, The Thirty Nine Steps,Is He Dead? Inherit the Wind, Journey’s End,Butley, Well, Virginia Woolf, Sweet Charity, Won-derful Town, Movin’ Out, Urinetown, 42ndStreet, Class Act, Dinner Party, Music Man, TheIceman Cometh, Charlie Brown, High Society,Sound of Music, Lion King, Proposals, Beautyand the Beast, The Last Night of Ballyhoo,Chicago, The King and I, Damn Yankees, Lost inYonkers, Jerome Robbins’ Broadway, GoodbyeGirl. Encores! FILM: Hairspray, Dreamgirls,Chicago. TV: Once Upon A Mattress, The MusicMan, Warner Bros, and Sony Pictures Tele-vision. Eight-time Artios Award winner.

SPECIAL THANKSRosebrand

Jon Lagerquist, South Coast Repertory

The Directors are members of the Society of StageDirectors and Choreographers, an independent nationallabor union.

This theatre operates under an agreement between theLeague of Resident Theatres and Actors’ EquityAssociation, the union of professional actors and stagemanagers in the United States.

This Theatre operates under an Agreement with theInternational Alliance of Theatrical Stage EmployeesLocal No. 122.

The Scenic, Costume, Lighting and Sound Designers inLORT Theatres are represented by United Scenic ArtistsLocal USA-826, IATSE.

FOR THIS PRODUCTIONAsst. Director . . . . . . . . . . . . . . .Amy BiedelAsst. Choreographer . . . . . . . . .Parker EsseAssociate Conductor . . . . . . . .Ron ColvardAssociate Lighting Designer . . . . . . . . . . . . .Phillip RosenbergNew York Lighting Asst. . . . . .Cory PattakMoving Light Programmer . . . . .Eric LotzeAsst. Sound Design . . . . . . . .Mike FarfallaSynthesizer Programmer . . . . . . . . . . . .Mark HartshornFight Choreographer . . . . . . . . . .George YéStage Management Intern . .Kelly GlasowStage Management Intern . . .Alicia Lerner

Additional lighting equipment from PRG Lighting

Additional sound equipment from PRG Audio

UNDERSTUDIESJeffrey Cordova ...............Benjamin HowesHal Meadows/Lester Martin ................Branch Woodman

Lily Martin............................Rachel ColoffTony Hunter ...................Nicolas DromardPaul Byrd .................................Adam PerryGabrielle Gerard..................Cara Kjellman

CastingJAY BINDER CASTING

Jay Binder, C.S.A.Jack Bowdan, C.S.A., Mark Brandon,

Sara Schatz, Nikole Vallins & Allison Estrin

“THAT’S ENTERTAINMENT”(HOWARD DIETZ AND ARTHUR SCHWARTZ)© 1952 (RENEWED)

CHAPPELL & CO., INC. (ASCAP)ALL RIGHTS RESERVED. USED BY PERMISSION.

N e w Te ch n i c a l C e n t e r O p e n s


On January 30, 2008, The Old Globe officially opened its new Technical Centerfacility in southeastern San Diego, which will house Globe’s renowned scene shopand warehouse. The 43,000 square-foot property is located at 5335 Market Street.

On hand to help celebrate the opening were Mayor Jerry Sanders and CityCouncilman Tony Young, who joined Globe CEO/Executive Producer Lou Spistofor an exciting press conference and ribbon-cutting ceremony. The festivities alsoincluded tours of the facility, led by Technical Director Ben Thoron, CostumeDirector Stacy Sutton and Props Director Neil Holmes.

“We’re thrilled to showcase our new Technical Center to the media and the community,” said Spisto. “The acquisition of this important facility is a major stepforward for the Globe, providing much-needed space to build and house ourscenic elements for all our productions – from the unit set of the ShakespeareFestival to large-scale plays and musicals.”

The previous scene shop space, located at the back of the theatre and utilizing the rear loading dock, had become inadequate to handle the work load of theGlobe’s depth and scope. The new Technical Center includes space for the construction of all Globe sets, as well as the appropriate layout of stage floors,full-stage drops, and the complete assembly of scenic elements. Additionally, thefacility will provide sufficient prop and costume storage for the Theatre’s widevariety of productions.

THE OLD GLOBE’S NEW 43,000 Sq. Ft. TECHNICAL CENTER IN

SOUTHEASTERN SAN DIEGO IS A HIT!

TECHNICAL CENTER RIBBON-CUTTING CEREMONY: (L-R) CITY COUNCILMEMBER TONY YOUNG, LOU SPISTO AND MAYOR JERRY SANDERS. PHOTO BY J. KAT WORONOWICZ

The Old Globe would like to recognize andthank the following generous individuals

who have made extraordinary gifts of $1 million or more to this organization. Thesemajor contributions have been designated forartistic projects, the endowment and facilities,

and help The Old Globe remain one of ourcountry’s great theatre institutions.

Leadership Gifts to The Old Globe

$20,000,000 or greater

Donald and Darlene Shiley


Conrad Prebys


Sheryl and Harvey White

Kathryn Hattox

Karen and Donald Cohn


California Cultural and Historical Endowment

Estate of Dorothy S. Prough

The Rivkin Family

Estate of Beatrice Lynds

Audrey S. Geisel / San Diego Foundation

Dr. Seuss Fund

Mr. and Mrs. Victor H. Ottenstein

Mrs. Helen Edison

The Stephen and Mary BirchFoundation

The Kresge Foundation


E d u c a t i o n E x p e r i e n c e s

The Old Globe’s Education Department directly serves some15,000 students each year through its various programs.Children of all ages are treated to top-notch professional the-atrical productions on the Globe’s stages, In-School workshopsand residencies, Backstage and Shakespeare-based Tours of thetheatre, and the wildly successful Globe Readers Program. TheTheatre has long been known for its commitment to educationand to supporting the community’s access to live theatre.

It takes highly professional people to deliver the kind ofquality programming for which The Old Globe is known. Ourroster of professional Teaching Artists is at the core of that pro-gramming.

The term “Teaching Artist” is unfamiliar to most people andoccasionally creates confusion when it is assumed that it refersonly to visual artists. An artist is a practitioner of any of themajor art forms. Visual art, dance, music, literary arts, andtheatre are generally considered to be part of the category of TheArts. A Teaching Artist (TA) is an artist first and foremost. Thisartist is practicing his or her art form in the professional realmand has considerable knowledge, talent, and experience. Butthis professional artist also takes pleasure and joy in his or herability to share that knowledge and talent with others. Thisartist enjoys a skill that not all artists possess. He or she isadept at teaching; a talent that sets him or her apart from therest and elevates the artist to the level of master of the art form.

Eric Booth, actor, Teaching Artist, writer and speaker, givesthis description of the etymology of the term Teaching Artist:

"It seems that the term was officially coined by June Dunbarat Lincoln Center Institute in the early 1970s. In answer to myquestion about this anecdotal history, she wrote, ‘I guess I wasthe originator of the term Teaching Artist. I came up with thewords as a reaction to the dreadful one used by my rather short-

lived predecessor at what was then known as the EducationDepartment at Lincoln Center. The words she used to describethe activities of artists in schools sounded to me like a descrip-tion for a typewriter repairman, plumber or an irritating educa-tionalese term: Resource Professional. Anyway, my term seemedmore direct and specific, and it has stuck.’ So, at its origin, thenew term shifted the identity of this artist-educator away fromthe needs of the institutions involved toward the unique hybridpractice we still struggle to define; and it put ‘artist’ at thecenter.”

In the ensuing nearly three decades, the term has been usedwithin the network of Institutes of Aesthetic Education, led byLincoln Center Institute, and has appeared in other programstoo. In recent years, the term has gained wider use, by many dif-ferent programs and by individuals; as Richard Burrows wrote, ‘Ihave noticed the term Teaching Artist has been appropriatednationally as a designation of this kind of work.’ "

Burrows’ comment is important because “this kind of work”has evolved over the course of the 30-odd years that the termTeaching Artist has been in use. In the 1970s educators werebeginning to re-recognize the role of the Arts in education.Educational philosophy had changed and the classic Greek idealof the truly educated person having a base of knowledge inmath, science, language, and The Arts gradually devolved toinclude only “reading, writing, and ‘rithmatic.’ Whatever hap-pened to the arts was not fully understood but the loss was,thankfully, recognized by savvy educators and a quiet campaignbegan to revive them as a part of the core curriculum in schools.

It began with a small but motivated core of arts and educa-tion professionals who found innovative ways to approach

TEACHING ARTIST MATT BIEDEL CONDUCTS A WORKSHOP.

TEACHING ARTIST JANET HAYATSHAHI CONDUCTS A WORKSHOP.


learning through the arts. Studies by major universities toutedthe value of arts learning to the ability to conceptualize andcomprehend other subject matter. Practicing the Arts, it wasbeginning to be understood, helped people’s brains absorbknowledge in a variety of critical ways. It is part of the develop-ment of the whole person, not an add-on that can be skipped ifthere isn’t time.

Being a part of that renaissance of arts education practice 30years ago seemed exciting and revolutionary. Young artists wererecruited to venture (often untrained) into schools to share theirlove and knowledge of their art forms. It didn’t always go well.Teaching, it turned out, is an art unto itself and the idea thatbecause someone is good at his or her creative discipline doesnot necessarily transfer to an ability to teach it to others.Organizations like New York’s Lincoln Center understood thisand built their highly regarded Institute (LCI) program aroundthe training of what they called Teaching Artists. Most peopleoutside LCI didn’t use the term then but they often do now. Theterm Teaching Artist has become the generally accepted name foran emerging profession that even has its own professionaljournal which debuted in 2003. Conferences, seminars, and fulltraining courses abound and more are being developed everyday. There is no set standard for TA training but educators andarts organizations are working hard to develop a curriculum thatwill prepare the next generation of TAs for this honorable andcrucial profession.

The Old Globe trains its Teaching Artists through a series ofworkshops that focus on arts education philosophy, methodolo-gy, education standards, and more. TAs are hired based first ontheir arts background and second on their demonstrated abilityto work with young people and to be flexible and creative intheir approach to teaching. The Theatre’s programs are variedand it takes a solid knowledge base and a passion to share it fora TA to be successful in the classroom.

Before The Old Globe’s TAs go out to schools to prepare stu-dents for one of the Theatre’s Student Matinees, the TAs meet inplanning sessions to brainstorm themes and ideas about theshow that will serve as the backbone for their workshops. Theydiscuss “stumbling blocks” that may sidetrack students’ under-standing and enjoyment of the show. They try to put themselvesin the place of the students and to see the show as teenagersmight. Will they “get” that historical reference? Will they bedistracted by the language or accents used? How will they relateto the adult themes? Where will they be confused? What willput them off? What will they wonder about?

These stumbling blocks are explored and the TAs createtheatre games such as improvisations, movement activities, andvocal exercises that incorporate the themes and stumblingblocks. The workshops allow students to explore the show’sideas kinesthetically and experientially rather than through alecture mode. A TA might have the students improvise scenesusing a series of given circumstances that will be found in theshow. Without giving away any surprises from the play, the stu-dents are still able to reflect on the themes and have been guidedin how this show may resonate for them personally. It isuncanny how some of the classroom improvisations bear strik-ing resemblances to scenes that will play out in the productioneven though the Teaching Artist only gave a few, simple instruc-tions on character, setting, and circumstances to the students.

Additional training sessions for current and new TeachingArtists takes place throughout the year with the goal of provid-ing solid, continuing education for these arts education profes-sionals and supporting their work in and out of schools.Ongoing training of Teaching Artists is crucial to the integrity ofThe Old Globe’s Education Programs. By focusing on qualitytraining the Theatre is serving not only its own programmingbut that of other organizations and schools in which these ArtsEducation professionals will serve in the future. The future ofarts patrons and arts practitioners is being shaped by these tal-ented and committed professionals and The Old Globe is proudof its roster of exceptional Teaching Artists.

— Roberta Wells-FamulaDirector of Education

TEACHING ARTIST AMY BIEDEL GUIDES STUDENTS IN A PRE-SHOW LEARNINGACTIVITY.


The Old Globe’s ability to maintain the highest standard of excellence, while keeping ticket prices affordable, is due in large part to thefinancial support of more than 3,500 individuals, businesses, foundations and government agencies. Please join us in giving a warmthanks and recognition to these leaders who have made tonight and our 625 other performances possible. The Old Globe appreciatesthe support of those who have stepped into the spotlight.

A n n u a l Fu n d D o n o r s

Lawrence G. Allredge & Dawn MooreAnonymous Mrs. Inge Lehman Barta in memory of

Chester K. Barta, MDJane Smisor BastienCharles & Molly BrazellDale Burgett & F. George GilmanThe Louis Yager Cantwell Private

FoundationDeni & Ken CarpenterElaine & Dave DarwinMr. & Mrs. Brian DevineDr. & Mrs. Robert EpstenPamela A. Farr

Hal & Pam FusonLee & Frank GoldbergMartin GoodmanLeonard & Elaine HirschDr. & Mrs. Harry F. Hixson, Jr.Daphne JamesonMr. & Mrs. Neil KjosDr. Ronald & Mrs. Ruth LeonardiJacquelyn LittlefieldSue & John MajorDr. Patricia MontalbanoHank & Robin NordhoffThe Kenneth T. & Eileen L. Norris

FoundationAllison & Robert PriceSandra & Allen Redman

Jean & Gary ShekhterChris SkillernNancy & Alan Spector and FamilyMs. Jeanette StevensAnne Taubman & David BoyleGillian & Tony ThornleyEvelyn Mack TruittErna & Andrew ViterbiWeingart-Price Fund at

The San Diego FoundationStewart & Brenda WeissmanBrent V. Woods & Laurie C. MitchellJune E. YoderCarolyn W. YorstonRobert & Deborah Young

Benefactors($100,000 and above)Bank of AmericaCity of San Diego, Commission for

Arts & CultureAudrey S. Geisel/The San Diego

Foundation Dr. Seuss Fund

Globe GuildersIrving HughesThe James Irvine FoundationMicrosoft

The San Diego Union-TribuneDonald & Darlene ShileyThe Shubert FoundationSupervisor Pam Slater-Price

and the County of San Diego

Season Sponsors($50,000 to $99,999)American ExpressThe Legler Benbough FoundationJohn A. BerolCalifornia Bank & TrustJ. Dallas & Mary H. Clark Fund at

The San Diego Foundation

Peter Cooper & Norman Blachford Advised Fund at the San Diego Human Dignity Foundation

Karen & Donald CohnValerie & Harry CooperJoan & Irwin Jacobs

Las PatronasThe Lipinsky FamilyConrad PrebysQUALCOMM, INC.Wells FargoSheryl & Harvey White Foundation

Production Sponsors($25,000 to $49,999)Mary Beth Adderley-Wright,

Richard Wright & Elizabeth AdderleyAmerican AirlinesAT&TAlan BenaroyaMary Ann Blair Fund

at The San Diego Foundation

Bombardier Flexjet

Cohn Restaurant Group/Prado Restaurant Continental AirlinesDanah H. FaymanJake & Todd FigiKathryn & John HattoxHM Electronics, Inc.Deni & Jeff JacobsNokia

Sempra EnergySheraton San Diego Hotel & MarinaPatsy & Forrest ShumwayStarbucks Coffee CompanyUnion Bank of CaliforniaU.S. BankMandell Weiss Charitable Trust

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


FOUNDER CIRCLE ($5,000 to $9,999)Dr. & Mrs. Wayne AkesonAnonymous (2)Ken & Ginger BaldwinThe Colwell Family Fund at The San Diego FoundationR. Patrick & Sharon ConnellAnn & John DaviesNina & Robert DoedeBernard J. Eggertsen & Florence NemkovCarol Spielman-Ewan & Joel EwanAlan & Pauline FatayerjiMartha & George GaffordMary Ann & Arnold GinnowRobert Gleason & Marc MatysLeo S. Guthman FundFred & Alicia HallettLeonard & Elaine HirschMelissa & James HoffmannDr. & Mrs. Richard L. KahlerCarol & George LattimerPeter & Inge ManesBob MartinetPaul I. & Margaret W. MeyerMoney/Arenz Foundation, Inc.Harle Garth MontgomeryArthur & Marilyn NeumannCharles & Barbara NoellDolly* & Jim PoetJohn & Marcia Price Family FoundationMike & Elizabeth RabbittEllen C. RevelleJeannie & Arthur RivkinDeborah SzekelyDixie & Ken UnruhJean & Tim Weiss

PLAYWRIGHT CIRCLE($2,500 to $4,999)Gail, John & Jennifer AndradeDr. Bob & Jill AndresMr. & Mrs. Richard BaldwinMelissa Garfield Bartell & Michael BartellJoan & Jeremy BergPerry S. Binder, MDPaul BlackDr. & Mrs. Edgar D. CanadaCecilia Carrick & Stan NadelCarol & Rudy CesenaCarol & Jeff ChangGaret & Wendy ClarkJack & Carol ClarkMs. Heidi Conlan/The Sahan Daywi FoundationSusan B. CowellGigi & Ed CramerDarlene G. Davies in memory of Lowell DaviesMrs. Philip H. DickinsonNoddy & Ira EpsteinSamuel I. & John Henry Fox Foundation at

Union Bank of CaliforniaMillicent & Charles FroehlichBarbara & Albert GarlinghouseDr. & Mrs. William GottMs. Cheryl HaimsohnSusan & Dr. Ronald HellerAlexa Kirkwood HirschTish & Jere HorsleyRichard & Janet HunterHutcheson Family Fund at The San Diego FoundationAl & Pat JaCobyMary & Russell JohnsonWilliam Karatz

Bob & Gladys KingRosalie Kostanzer & Mike KeefeBob & Laura KyleSusan L. LeoneJames & Pamela LesterMerriel F. Mandell, Ph.D.Dr. Marianne McDonaldJudy & George MillerMr. & Mrs. David MullikenTom & Lisa PierceMr. & Mrs. Matthew PollackBrenda Marsh-Rebelo & John G. RebeloDr. H. Warren RossRoberta J. SimpsonMarisa SorBello & Peter CzipottJulie & Bob SullivanJay & Diane SweeneyMarilyn Elizabeth ThompsonCarol VassiliadisDoris & Lou VetteseJordine Von WantochPatricia & Christopher Weil Family FoundationHelene & Allan Ziman

CRAIG NOEL CIRCLE ($1,500 to $2,499)The Family of Richard & Mary AdamsRichard AddessoAnonymous (3)Edwin BacherDiana Barliant & Nowell WischMrs. Lazare F. BernhardSally & John BerryCharles & Charlotte BirdCynthia Bolker & Greg RizziRonda & Stanley BreitbardTerry & Bill BurdClint & Susie BurdettAnita Busquets & William LaddTrish Butler & Cary LoweDr. & Mrs. Robert M. CallicottEllen CaseyPam & Jerry CesakDolores ClarkHon. Arthur J. Collingsworth & Brian R. SimmonsMike Conley & Sue SteeleRoger Cornell, M.D.Richard & Stephanie CouttsSally & Pat CrahanDr. & Mrs. Francis C. Cushing, Jr.Fran & Matt DaltonMrs. Gail Powell DavisPat & Dan DerbesDean & Mrs. Michael H. DessentMarion EggertsenPeter & Doris EllsworthCarol FinkDieter & Susan Fischer/Dieter’s Mercedes ServiceMary & David FitzSusanna & Michael FlasterMr. & Mrs. Richard FordSid & Jean FoxKaren & Orrin GabschDeede GalesElaine & Murray Galinson Bill & Judy GarrettLeslie & Robert GarsonDrs. Thomas H. & Jane D. GawronskiDaniel & Arline GenisTeresa C. GeorgeMartin & Enid GleichTom & Sheila Gorey

Drs. Barbara & Leonard GosinkJay & Mary HansonNorm Hapke & Valerie Jacobs HapkeDrs. Patrick Harrison & Eleanor LynchSalah M. HassaneinDr. & Mrs. Peter K. HellwigRhonda Heth & Thomas MabieMichael & Jill HolmesDr. David K. HostetlerGary & Carrie HuckellRoberta HusseyDrs. Sonia & Andy IsraelMr. & Mrs. David J. JohnsonMarge & Jerry Katleman William & Edythe KentonJo Ann KiltyKen & Sheryl KingWebster & Helen KinnairdDr. & Mrs. Ara S. KlijianSherry & Larry KlineDr. & Mrs. R.W. KlofkornCurt & Nancy KochBrooke & Dan KoehlerAl Isenberg & Regina KurtzDr. Eric LasleyLedford Enterprises Inc.Terry & Mary LehrMs. Sherrill LeistSandy & Arthur LevinsonJerry & Elsa LewisRobin J. Lipman & Miro StanoMathew & Barbara LooninMaday/O’Donnell Design Collective —

Dimitri J. Callian III & Lauren ZarobinskiCharlie & Jackie MannF. Dale & Lois MarriottR.J. Maus, ArchitectsTony & Nancy McCuneBill & Jeri McGawElizabeth & Edward McIntyreHarold O. McNeilElizabeth MeyerJoel & Deirdre MickEstelle & Jim MilchRena Minisi & Rich PaulJudith & Neil MorganJan & David MullinRuth & Jim MulvaneyJosiah & Rita NeeperBob Nelson & Murray OlsonEileen & Lawrence NewmarkNordstromMr. & Mrs. Victor H. OttensteinParker & Crosland, LLPSigrid Pate & Glenn ButlerMarcia & Jim PiperMartha Meade PitzerMo & Bill PoppDr. & Mrs. Daniel PorteJoanne PowersJim & Claudia PrescottPeggy Wynn PriceMarie & Don PrisbyJoseph & Jane RascoffMrs. Charlotte ReesLynne RichEdward H. Richard & Warren P. KendrickMr. & Mrs. Roger RobertsNancy J. RobertsonRachel A. Rosenthal & Michael LierschMr. & Mrs. Charles P. RoyceWarren & Beverly Sanborn


Sanderson Family Donor Advised Fund at the Rancho Santa Fe Foundation

Sherry & C.A. SheppardDrs. Joseph & Gloria ShurmanDee E. Silver, M.D.Alan & Esther SimanDotti & Joel SollenderHerbert & Elene SolomonN.L. Stanworth in loving memory of ScottNancy Steinhart & Rebecca GoodpastureEugene L. & Hannah StepThe Tarlov FamilyMr. & Mrs. Donald TartreMr. & Mrs. Charles TaubmanPat & Jack ThomasCherie Halladay TirschwellEd Torres & Mark VonderHaarGene & Celeste TreptePamela J. WagnerMerle & Phil WahlJan Harden Webster & Raul OrtegaJames & Ellen WeilShirli Fabbri WeissThe Grey White Family FundMichael & Penny WilkesMr. & Mrs. Harold B. WilliamsKeith J. Wong

PLATINUM ($1,000 to $1,499)Anonymous Michael Bark & Laura BenedictJudy & Larry BelinskyNicholas B. BinkleyH.L. & Irene BoschkenSandra & Harry CarterJane CowgillDan & Sue DonovanRon & Devora Eisenberg–Great News!Dan & Phyllis EpsteinEarl N. FeldmanPeter & Christine GaultRobert & Edry GootSandra Gulden & Leon J. Goldberger

Gulden Private FoundationMr. & Mrs. Thomas M. HenrySuzanne & Lawrence HessJackie Johnston-SchoellWarren & Karen Kessler Fund of the

Jewish Community FoundationDr. & Mrs. James E. LasryMr. & Mrs. James LimDon & Mary Jane LincolnJoy & Ronald MankoffJasna Markovac & Gary MillerAkiko Charlene Morimoto &

Hubert Frank Hamilton,Jr.Rod & Barbara OrthSusan ParkerDan RehmWilliam & Susane RobertsDon & Darlene RussellDebbie & Shayna Seid Family Fund of the

Jewish Community FoundationAlice & Lewis SilverbergJohn & Margery SwansonStan & Anita UlrichPat & Allen WeckerlyBrendan M. & Kaye I. WynneDr. Joseph Yedid Christy & Howard Zatkin

GOLD ($500 to $999)Tony & Margaret AcamporaJanet Anderson & John GlascockAnonymous (4)Jeff & Donna ApplesteinRhoda & Mike AuerMr. & Mrs. David A. BaerShawn & Jennifer BakerIna S. BartellRichard & Linda BasingerBen-Yehuda Family Fund of the

Jewish Community FoundationNancy BlayneyBob & Joyce BlumbergSuzanne I. BondMrs. Wyloma BradshawMr. & Mrs. Blaine A. BriggsDr. & Mrs. Simon C. Brumbaugh, Jr.Ruth Mary CampbellBeth & Tim CannGreg & Loretta CassRay & Shelley ChalupskyLynne Champagne & Wilfred KearseDoug & Elisabeth ClarkAnne C. ColemanRonald D. CulbertsonDr. & Mrs. William DavidsonWes & Elaine DillonDr. Donald & Eilene DosePatricia EichelbergerWilliam Eiffert & Leslie HodgeDr. Susan Dersnah FeeRichard & Donna FerrierRichard & Beverly Fink Family FoundationSally FullerDr. & Mrs. Steven GarfinTheresa & Craig GeorgiArthur & Judy GetisNorman & Patricia GillespieThe Golemb FamilyLouise & Doug GoodmanDrs. Thomas L. & Cynthia L. GoodmanChris Graham & Michael AlboCarol & Don GreenMr. & Mrs. Norman GreeneSuzanne & Charles GrimshawMr. George GuerraRichard & Candace HadenLinda E. HansonAlex & Mary HartMr. Stephen Hopkins & Dr. Carey PrattSteven & Nancy HowardViviana IbanezIsabella Fund at The San Diego FoundationDr. & Mrs. Clyde W. JonesKathy & Rob JonesKenneth & Marilyn JonesAndrew & Denise KaplanPatricia & Alexander KelleyMr. & Mrs. Kevin KiernanGayle & Jerry KluskyJo Ann & Lee KnutsonBill & Linda KolbMarvin M. Kripps, M.D.LABS, Inc./Silvia DreyfussJohn Q. Lalas, Jr.Janet & Dan La MarcheThomas LeightyMr. Richard LeviSherry & Rick LevinKris & Briana Lichter

Dr. & Mrs. David D. LynnEdward & Nancy LyonCarl Maguire & Margaret SheehanDr. Robert & Marcia MalkusJeanne MalteseRon & Mercy MandelbaumMartin & Passante AALChristopher Maxin & Stephanie Buttell-MaxinDr. & Mrs. M. Joseph McGreevyKeith & Lesley McKenzieMr. & Mrs. William McKenzieCarole S. MillerJoel, Annette & Arianna MillmanTom & Doris NeumanKatherine NewtonMark NiblackJack & Virginia OliverMr. & Mrs. David J. PettittDeborah B. PettryDr. Ken Pischel & Dr. Katherine OzanichDrs. Paul & Katherine PonganisDr. Julie Prazich & Dr. Sara Rosenthal Mr. & Mrs. Kedar PyattElaine RendonJoseph W. RobinsonStuart & Linda RobinsonJoseph J. Rusche

Dr. Joseph & Carol SabatiniThe Sapp FamilyBarbara A. SawreyJohn & Patricia SeiberDrs. Lawrence & Miriam ShermanMr. & Mrs. Randall SilviaRodney & Dolores Smith Fund at

The San Diego FoundationGloria Penner Snyder & Bill SnyderSharon S. Storey & Theodore A. MilbyHelga & Sam StrongRon & Susan StynEdward D.S. SullivanJohn & Linda SunkelClifford & Kay SweetDr. Terry & Naomi TanakaLinda TerramagraMrs. Terry TidmoreMr. & Mrs. Jeffrey C. TruesdellMs. C. Anne Turhollow & Mr. Michael J. PerkinsNatalie C. Venezia & Paul A. SagerJo & Howard WeinerJanice L. WeinrickMr. & Mrs. David WeinriebKatherine WhiteRoss & Barbara WhiteDennis & Carol WilsonDr. Dolores WozniakM.J. ZahnleElizabeth Zeigler & Bernard Kuchta

SILVER ($250 to $499)Ben AbateMr. Gale Acker & Dr. Nancy AckerSybil & B.J. AdelsonMr. & Mrs. Donald AllisonGeorge AmeraultMr. & Mrs. Thomas AndersonAnonymous (4)Drs. Michael & Gabriela AntosEarl AsburyJohn & Elizabeth BagbyAllen & Nancy BaileyBeverly Bartlett & Barbara Sailors

A n n u a l Fu n d D o n o r s continued


Ruth & Jim BatmanSharon & Bill BeamerBruce & Patricia BeckerEdgar & Julie BernerArmand Bernheim, Jr.Joan BernsteinThomas Bilotta & FamilyMr. & Mrs. Stanley BirsteinDaniel & Barbara BlackBruce & Linda BlakleyRobert Blanton & Ann ClarkJoann Boone & Nancy DannigerRobert & Yvonne BoyerEd BrookinsJulia BrownBeth BrutonMarie F. BuckeyDavid Burns & Diane LischioHelen M. CaldwellJane CarriganWilliam & Shirley CarringtonJerry L. CarterLuc & Ann Marie Cayet-PleskaChateau du MeowElaine & Peter ChortekRichard Clampitt & Rachel HurstBarbara Mistler CrewGlenn Currie PhotographyJohn Davis & Bill HughesDutch & Dawn DershemWally & Linda DieckmannPatricia & Glen DoughtySean & Kellie DoyleStephen & Sandra DrewLizbeth Ecke & David MeyerEsther & Robert FeierDrs. Lawrence & Irene FineLarry & Jan FordPauline Forman in memory of Sid FormanClare & Paul FriedmanRandee & Richard FriedmanCharles & Jeanne GahaganEstephan A.G. Gargost Ferdinand GasangThomas Gass, DDS & Chester McLemoreDavid & Marcia GillDr. & Mrs. Michael GoldbaumHoward & Carole GoldfederEuvoughn L. GreenanMr. & Mrs. Arthur A. GreenbergMartin & Deanna GreenbergTheodore GrygaJerome & Anita GutkinMargaret HallHelen M. HammondRobert M. & Helen M. HansenC. HarbordtMark & Corrine HarveyJoan HenkelmannDonald J. HickeyChristine Hickman & Dennis RagenMr. & Mrs. Thomas O. HippieJohn & Peggy HollPaul & Barbara HolzNancy & Bill HomeyerMr. & Mrs. Lee HorowittKendyl & Merri HoudyshellIn Memory of Ray HowardStephanie & Carl HurstRobert HymanJoseph & Donna Hynes

Susan D. InotBill & Cheri JamesNancy B. & David A. JamesEdward & Linda JanonDr. Jim JaransonIn Memory of Donald JenkinsJan JessopJudge & Mrs. Anthony C. JosephJim & Sharon JustesonMichel KarpDr. Michael & Mrs. Lucy KeehanLouis & Mary Beth KellyGail KendallLloyd & Joanna KendallKathleen Kim & Zachary RattnerLouis J. KnobbeRemik Kolodziej & Steven DarisMr. & Mrs. Jay KranzlerMr. & Mrs. Albert W. KrasnoffLou KruegerJanay KrugerBetty & Richard KuhnElizabeth LasleyElliott & Phyllis LasserDixon & Pat LeeTom & Terry LewisDonald Lipkis, MD & Arlene PollardRoy & Carol LongSally & Bill LusterJudge & Mrs. Frederick MandabachKathleen MarkhamHarold & Beverly MartynBruce & Brenda MasonCdr. & Mrs. John C. Mathews IIIGene & Donna McAllisterRonald McCaskill & Robyn RogersOliver McElroy & Karen DelaurierTeresa McEuenCristie C. McGuireJohn Paul McHughSteve McInteeCharles & Billie McKnightDrs. John Meyers & Betty Joan MalyMr. & Mrs. David MichanDr. & Mrs. Paul E. MichelsonJames & Dorothy MildiceDr. James & Mrs. Nancy MillerCharles W. Mills, Jr.Stan & Phyllis MinickDr. Isaac & Mrs. Nancy MizrahiDr. & Mrs. Robert MorrisonSusan & Charles MuhaMary Jo MurphyMichael & Danna MurphyJoyce & Martin NashHarvey & Marsha NetzerJack & Judy NicholsFloyd T. OlsonLarry & Marcia OsterinkDr. David & Elizabeth OstranderBarbara PainterEd & Carolyn ParrishJulius J. Pearl Fund at The San Diego FoundationClifford T. Pentrack & Mary E. GiovanielloLawrence Roy PerrinMr. & Mrs. Leslie D. ReedRobert & Doris Reed Daniel & Lynn ReisfeldBrent & Bev RobinsonClarice & Irl RobinsonMr. & Mrs. Christopher Rohrer

Diane RolandMilton & Dorothy RollGerald & Ruth RosenbaumDr. & Mrs. Richard RowenRowling Family Charitable Fund of the

Jewish Community FoundationDr. Norman & Barbara RozanskyFran & Tom RyanGeorge & Karen SachsSamiljan Family Fund of the Jewish

Community FoundationPatrick Sammon & Mark MunseyJosiah & Abigail SandJames M. Santora & Dr. Daniel D. SewellSimon & Ruth SayreAnn & Herb SchnallMartin & Connie SchroederRAdm. & Mrs. H. James T. SearsLinda J. SeifertNatalie H. ServiceLori Severson & Eric LongstreetGlenda Allen ShekellDr. & Mrs. Hano SiegelJerry & Beth SilvermanEunice M. Simmons, M.D.Anne & Ronald SimonChristopher & Carmen SkipworthTerrence & Kathryn SlavinPatti Sloan in honor of Jack SloanLance & Arlene SmithMalcolm E. SmithNorman & Judith SolomonBill & Barbara SperlingMr. & Mrs. Fred C. StalderAlan M. StallPaul & Janet StannardMr. & Mrs. George StassinopoulosMark & Dale SteeleJames K. StenderupWootsie StocktonJan & Dave StormoenAbbe Wolfsheimer StutzMrs. J.B. SwedeliusDonald & Margaret SweimlerDr. Blake S. & Mrs. Peggy Jean TalbotMr. Harold S. TaxelDr. Marshall & Leila TaylorDouglas & Lynn ToddMr. & Mrs. John TorellRobert C. & Melesse W. TraylorBarbara C. WardKathy & Jim WaringMr. & Mrs. James WelterlenSandy WicheleckiOlivia & Marty WinklerCass Witkowski FamilyMr. & Mrs. John W. WittDr. Perri L. WittgroveJanet WolfMr. & Mrs. H.D. WolpertDavid WorkmanPaul & Claudia ZimmerVicky Zollweg & J. Michael Dunteman

This list is current as of February 1, 2008 To learn more about supporting The Old Globe’s

performances and education and outreach programs, please visit our website at

www.TheOldGlobe.org or call Courtney Quinn at (619) 231-1941 x2311.


Lawrence G. Alldredge and Dawn MoorePerry S. Binder, M.D.Paul BlackDr. and Mrs. Edgar D. CanadaCarol and Rudy CesenaJack and Carol ClarkMary H. Clark Steven J. CologneR. Patrick and Sharon ConnellSusan B. CowellGigi and Ed CramerDarlene G. DaviesMrs. Philip H. DickinsonNina and Robert DoedeMarion EggertsenBernard J. Eggertsen and Florence NemkovDanah H. FaymanSusanna and Michael FlasterMary Ann and Arnold GinnowAlexa Kirkwood Hirsch

Leonard and Elaine HirschAl and Pat JacobyMary and Russell JohnsonBob and Gladys KingRosalie Kostanzer and Mike KeefeBob and Laura KyleJames & Pamela LesterMerriel F. Mandell, Ph.D.Peter and Inge ManesBob MartinetDr. Marianne McDonaldPaul I. and Margaret W. MeyerDavid and Noreen MullikenCharles Noell and Barbara VossJeannie and Arthur RivkinDr. H. Warren RossDonald and Darlene ShileyRoberta J. SimpsonMs. Jeanette StevensJay and Diane Sweeney

Dixie and Ken UnruhDoris and Lou VetteseJordine Von Wantoch

Globe Ambassadors are generous supporters of The OldGlobe who attend special presentations about activities atthe Globe and serve as the Theatre’s Ambassadors in thecommunity.

For more information please contact Courtney Quinn at

(619) 231-1941 x2311.

G l o b e A m b a s s a d o r s

Anonymous (14) Robert S. Albritton*Diana BarliantNancine BelfioreAlan BenaryoaDr. and Mrs. Edgar D. CanadaGaret and Wendy ClarkJ. Dallas* and Mary H. ClarkR. Patrick and Sharon ConnellPatricia W. Crigler, Ph.D., CAPT/USN/Ret.Carlos and Patricia CuellarPatricia and Donn DeMarce*Mrs. Philip H. DickinsonDr. and Mrs. Robert EpstenFrank A. Frye, IIINancy Reed GibsonRobert Gleason and Marc MatysMarcy GoldstoneKathryn Crippen HattoxDavid and Debbie HawkinsCraig and Mary HunterBarbara Iredale*Bob Jacobs

Joseph E. Jessop*J. Robert and Gladys H. KingMarilyn KneelandJean and David LaingJerry Lester FoundationDr. Bernard Lipinsky*Heather ManionCalvin Manning*Chris and Jill MetcalfPaul I. and Margaret W. MeyerJudy and George MillerSteve MillerDr. Robert W. MinerShirley MulcahyLaurie Dale MundayStanley Nadel and Cecilia CarrickAlice B. NesnowArthur and Marilyn NeumannCraig NoelGreg and Polly NoelPACEM (Pacific Academy of

Ecclesiastical Music)Mrs. Margaret F. Peninger*

Velda Pirtle*Florence Borgeson Plunkert*Dolly* and Jim PoetDorothy Shorb Prough*Brenda Marsh-Rebelo and John RebeloDonald and Darlene ShileyPatsy and Forrest ShumwayB. Sy and Ruth Ann SilverStephen M. SilvermanRoberta SimpsonDolores and Rod SmithJohn and Cindy SorensenMarje SpearNancy A. Spector and Alan R. SpectorJeanette StevensEric Leighton SwensonAnne C. TaubmanCherie Halladay TirschwellMarian Trevor (Mrs. Walter M.)*Evelyn Mack TruittGinny UnanueCarol and Lawrence VeitHarvey* and Jordine Von Wantoch

Merle and Phil WahlHolly J.B. WardSheryl and Harvey P. WhiteMrs. Jack Galen WhitneyStanley E. Willis II*Julie Meier WrightCarolyn Yorston*Deceased

Craig Noel League members are leavinglasting gifts to the theatre through plannedgifts, cash contributions, bequests and otherestate planning options.

For more information, please contactDirector of Development, Todd R. Schultz(619) 231-1941, x2310 or TSchultz@The OldGlobe.org.

C r a i g N o e l L e a g u e M e m b e r sP l a n n e d G i v i n g S o c i e t y o f T h e O l d G l o b e


Special Thanks to our Corporate Donors

Corporate Partners enjoy exclusive benefits and recognition, especially the opportunity to entertain clients and employees with exclusive receptions in our Patron and Lipinsky Family Suites, behind-the-scenes tours, and preferred seating at our shows. For information, please contact Todd Schultz at (619) 231-1941 x2310.

PRODUCTION SPONSORS($25,000-$49,999)

SEASON SPONSORS($50,000 and more)

DIRECTOR CIRCLE($10,000-$24,999)

FOUNDER CIRCLE ($5,000-$9,999)

PLAYWRIGHT CIRCLE ($2,500-$4,999)

Break-Away ToursCity National BankCyberknife Centers of San Diego, Inc./

Radiation Medical Group

Higgs, Fletcher & Mack, LLPKPMG, LLPMercer Neiman Marcus

ResMed FoundationTorrey Pines BankVistage

Citigroup Foundation/Smith BarneyM2000 CorporationSan Diego Business JournalSycuan Resort & CasinoThe Westgate Hotel

Cush Family FoundationNicholas-ApplegateWD-40 Company

TICKET SERVICES HOURSMonday: noon – 6pmTuesday - Sunday: noon – last curtainHours subject to change. Please call ahead.Phone (619) 23-GLOBE or (619) 234-5623FAX (619) 231-6752Email [email protected]

ADMINISTRATION HOURS Monday - Friday : 9am – 5pmPHONE (619) 231-1941WEBSITE www.TheOldGlobe.orgADDRESS The Old Globe

P.O. Box 122171San Diego, CA 92112-2171

ORDERING TICKETS/CHANGE OF ADDRESSThe Old Globe accepts Visa, Discover, Master Card, or AmericanExpress. Phone orders for non-subscribers are subject to a $3 perticket service charge, not to exceed $12. Ticket exchanges are subjectto a service charge for non-subscribers. If you have moved, pleasenotify the Ticket Services Office to update our records. Call (619)234-5623 during Ticket Services hours, mail your change of addressto the Ticket Services Office, or email us at [email protected].

UNABLE TO ATTEND?If you find you are unable to use your tickets, please give them to afriend, or turn them in to the Ticket Serivces Office and receive a taxreceipt for your donation. Tickets must be received by show time.

RESTROOMS AND TELEPHONESRestrooms are located in the lower lobby of the Old Globe Theatreand adjacent to the Festival Theatre; pay phones may be found in thelower Globe Theatre lobby and next to the Gift Shop.

SEATING OF LATECOMERSAlthough we understand parking is often at a premium, the seatingof latecomers is extremely disruptive. Latecomers may be given alternative seating and will be seated at an appropriate interval.

YOUNG CHILDRENChildren five years of age and under will not be admitted to performances.

ELECTRONIC DEVICES AND CAMERASUse of recording devices and cameras is not permitted. If you arewearing a digital watch or pager, or if you are carrying a cellularphone, please silence it prior to entering the theatre.

SENNHEISER® LISTENING SYSTEMFor the convenience of the hearing impaired, the Sennheiser®Listening System is available in the Old Globe Theatre. Lightweightheadsets may be obtained from the house manager prior to perfor-mances, free of charge.

PUBLIC TOURSGo behind the scenes at The Old Globe to learn about the history,three stages, shop and craft areas. Open tours: most Saturdays andSundays at 10:30am. Groups by reservation. $5 adults; $3 seniorsand students. Phone (619) 231-1941 x2142 for information/reserva-tions.

LOST AND FOUNDIf you have misplaced a personal item while at the theatre, pleasecontact the Ticket Services Office or Security as soon as possible. Ifwe are unable to locate your item, we’ll happily take down yourcontact information as well as a description of the item and contactyou if it is found. The Old Globe does not assume liability for itemsleft behind on premises.

Natural Herb Cough Drops - Courtesy of Ricola USA, Inc. availableupon request. Please ask an usher.

William Anton Jacqueline Brooks Lewis Brown* Victor Buono* Wayland Capwell Kandis Chappell * Eric Christmas George Deloy

Darko Tresnjak, Co-Artistic Director

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

Joseph Hardy Mark HarelikBob James* Peggy Kellner Tom Lacy Diana Maddox Dakin Matthews Deborah May

Katherine McGrath John McLain Jonathan McMurtry Stephen Metcalfe Robert Morgan * Ellis Rabb Steve Rankin Robin Pearson Rose

Marion Ross Steven Rubin Ken Ruta Douglas W. Schmidt Seret Scott David F. SegalRichard Seger Diane SinorDon Lee Sparks

David Ogden Stiers Conrad Susa Deborah Taylor * Irene Tedrow Sada Thompson Paxton Whitehead James Winker Robert Wojewodski * G Wood * in memoriam

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

Louis G. Spisto, CEO/Executive Producer Jerry Patch, Co-Artistic Director


Associate Artists of The Old Globe

Patron Information

DARKO TRESNJAKCo-Artistic Director

Artistic Director of the Globe’s 2004-2007Shakespeare Festivals, Darko Tresnjak's directorialcredits at the Globe include: Pericles, The Winter's Tale,Hamlet, A Midsummer Night’s Dream, Titus Andronicus,The Comedy of Errors, The Two Noble Kinsmen, Antonyand Cleopatra and Bell, Book and Candle. Earlier thisyear he directed The Merchant of Venice at Theatre for aNew Audience, a production that traveled to theRoyal Shakespeare Company’s Complete WorksFestival. Other credits include All's Well That EndsWell at Theatre for a New Audience; The Two NobleKinsmen at The Public Theatre; Princess Turandot andHotel Universe at Blue Light Theater Company; MoreLies About Jerzy at the Vineyard Theater Company; TheSkin of Our Teeth, Rosencrantz and Guildenstern AreDead, The Winter's Tale, Under Milk Wood, MovingPicture, The Blue Demon, Princess Turandot and The Loveof Three Oranges at Williamstown Theatre Festival;Heartbreak House, What the Butler Saw, Amphitryon andThe Blue Demon at the Huntington Theatre; Hay Feverand Princess Turandot at Westport Country Playhouse;Rosencrantz and Guildenstern Are Dead at Long WharfTheater Company; A Little Night Music, Amour atGoodspeed Opera House; and La Dispute, UCSD.Other directing credits include productions atFlorida Grand Opera, Opera Theatre of St. Louis,Virginia Opera, Florentine Opera Company, and theAmerican premiere of Rimsky-Korsakov’s May Nightat Sarasota Opera. Upcoming projects include TheDwarf and The Broken Jug for Los Angeles Opera’s“Recovered Voices” series and Antony and Cleopatra atTheatre for a New Audience. He is the recipient ofthe Alan Schneider Award for Directing Excellence,TCG National Theater Artist Residency Award, BorisSagal Directing Fellowship, NEA New Forms Grant,two Pennsylvania Council on the Arts IndividualArtist Fellowships, San Diego Critics Circle Awardsfor his direction of Pericles and The Winter's Tale, andPatté Awards for his direction of The Winter’s Tale andTitus Andronicus. He has performed with numerousPhiladelphia dance and theatre companies andtoured across the United States and Japan with theUNIMA Award-winning Mum Puppettheatre. Hewas educated at Swarthmore College and ColumbiaUniversity.

LOUIS G. SPISTOCEO/Executive Producer

Louis G. Spisto has led The Old Globe sinceOctober, 2002. During his tenure, Spisto spear-headed the return of the Shakespeare RepertorySeason and brought to the Globe several new musi-cals, including the critically-acclaimed A CateredAffair, the launch of the national tour of the TonyAward-winning Avenue Q and the Broadway transfersof Chita Rivera: The Dancer’s Life, and the TwylaTharp/Bob Dylan musical, THE TIMES THEY ARE A-CHANGIN’. He has produced over 75 plays andmusicals, including Dirty Rotten Scoundrels, the westcoast premiere of the Tony-winning play Take Me Outand the annual holiday favorite, Dr. Seuss’ How theGrinch Stole Christmas!. Spisto has managed theGlobe’s Capital Campaign to raise $75 million by theTheatre’s 75th anniversary in 2010. Launched inMarch 2006, the campaign has reached 75% of itsgoal to date. During the past four seasons, the Globehas grown its subscription audience an unprece-dented amount, resulting in the highest level ofattendance in over a decade. The Globe was also rec-ognized by Charity Navigator, America’s premierecharity evaluator, which recently gave the Globe itsthird consecutive 4-Star rating. A strong advocate ofarts education, Spisto initiated several new pro-grams including an innovative cross-border projectinvolving students from both San Diego and Tijuanain a unique bilingual production of Romeo and Juliet.He also launched a free matinee series which bringsthousands of students to the Globe’s productions.Spisto established a reputation as a superb arts executive here in California, where he spent over tenyears as the Executive Director of the PacificSymphony Orchestra in Orange County. During histenure there, he tripled the orchestra’s annualbudget, while eliminating a prior deficit and success-fully completing the orchestra’s first endowmentcampaign. In addition, he established a series ofinnovative recording projects with Sony Classicaland oversaw a number of nationally recognizedcommissioning projects. He also served as the chiefexecutive at both American Ballet Theatre and TheDetroit Symphony. He holds a Masters degree fromthe University of Wisconsin in Arts Administrationand a Bachelors of Business Administration fromthe University of Notre Dame, and spent many yearsdirecting, producing and as an actor in plays andmusicals throughout his college and graduate schoolyears, as well as in professional summer theatre.

JERRY PATCHCo-Artistic Director

Jerry Patch was appointed Resident Artistic Directorof The Old Globe in February 2005, during whichtime he brought to the Theatre works by suchrenowned playwrights as Amy Freed, RichardGreenberg and Donald Margulies. In the past threeseasons, eleven world premieres and two secondproductions of new works have been presented,including A Body of Water, winner of the 2006 BestNew American Play Award. He previously served asthe Dramaturge and a member of the longstandingartistic team at the Tony Award-winning SouthCoast Repertory (SCR), where he coordinated thedevelopment of 150 new plays, including twoPulitzer Prize winners and numerous other Pulitzerfinalists. While at SCR, Patch worked as Dramaturgon numerous new works, including DonaldMargulies’ Sight Unseen and Brooklyn Boy, whichrecently opened to critical acclaim on Broadway,Margaret Edson’s Pulitzer Prize-winning Wit,Howard Korder’s Search and Destroy, Amy Freed’s TheBeard of Avon, as well as Intimate Apparel, Freedomlandand world-premieres of several plays by RichardGreenberg, including Three Days of Rain, Hurrah atLast!, The Violet Hour and Everett Beekin. In addition,he co-conceived The Education of Randy Newman withMichael Roth and Mr. Newman. Patch also served asthe founding project director of SCR’s PacificPlaywrights Festival, which annually introducesseven new plays to Orange County audiences andnational theatre leaders. Typically, more than 75% ofthe festival plays presented receive multiple produc-tions in theatres across the country. During histenure at SCR, Patch also held the position ofArtistic Director (1990-1997) of The SundanceTheatre Program, which included the SundancePlaywrights Laboratory, one of the nation’s leadingnew play development programs. Additionally, heran the Sundance Summer Theatre, a repertory of 2-3productions staged outdoors for Utah audiences andThe Sundance Children’s Theatre, which was dedi-cated to the development and presentation of newworks for family audiences by leading Americanplaywrights. He has also served as a consulting dra-maturge for New York’s Roundabout TheatreCompany, one of two of the largest theatre compa-nies in the country.


D i r e c t o r P r o f i l e s


Darko TresnjakCo-Artistic Director

Jerry PatchCo-Artistic DirectorStaff Louis G. Spisto

CEO/Executive Producer

Courtney Quinn . . . . . . . . . . . . . . . . . .Development Coordinator, Individual Annual Giving

Diane Addis . . . . . . . . . . . . . . . . . . . . .Membership AdministratorJosh Martinez-Nelson . . . . . . . . . . .Development AdministratorDiana Steffen . . . . . . . . . . . . . . . . . . . . . . .Development AssistantKristen Mulvihill . . . . . . . . . . . . . . . . . . . .Development AssistantDonor ServicesBabs Behling, Joyanne Buscemi, Monica Jorgensen, BarbaraLekes, Richard Navarro, Stephanie Reed, Judy Zimmerman . . . . . . . . . . . . . . . . . . . . . . . . . .Suite Concierges

MARKETINGBecky Biegelsen . . . . . . . . . . . . . . . . . . . .Public Relations DirectorEd Hofmeister . . . . . . . . . . . . . .Audience Development ManagerDani Meister . . . . . . . . . . . . . . . . . . . . . . . . .Group Sales ManagerJackie Anderson . . . . . . . . . . . . . . . . . . .Publications CoordinatorClaire Kennelly . . . . . . . . . . . . . . . . . . . . . . . . .Marketing AssistantSamantha Haskins . . . . . . . . . . . . . . . .Public Relations AssistantJoyanne Buscemi, Monica Jorgensen,Judy Zimmerman . . . . . . . . . . . . . . .Marketing/Events AssistantsErica Dei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Graphic DesignerCraig Schwartz . . . . . . . . . . . . . . . . . . . .Production Photographer

Subscription SalesScott Cooke . . . . . . . . . . . . . . . . . . . .Subscription Sales ManagerAnna Bowen-Davies, Arthur Faro, Andy Fink, Randi Hawkins, Pamela Malone, Yolanda Moore, Jessica Morrow, Ken Seper, Cassandra Shepard, Grant Walpole,Andrea Leigh Walsh . . . . . . . . . . . . . . . . . . . . . .Subscription Sales

RepresentativesTicket ServicesShari Ressel . . . . . . . . . . . . . . . . . . . . . . . .Ticket Services ManagerMarsi Roche . . . . . . . . . . . . . . . . . . . . .Ticket Operations ManagerLyle Wilson . . . . . . . . . . . . . . . . . . . . . .Ticket Services Supervisor/

Training Coordinator

Shouna Shoemake . . . . . . . .Lead Ticket Services RepresentativeBrian Abraham, Brian Adams, Ricky Allen, Elizabeth Brown,Tony Dixon, Alicia Lerner, Jenna Long, Caryn Morgan,Christine Perez, Michael Pousson, Carlos Quezada,Jessica Seaman, Liam Wade, Haley White, Molly Wilmot . . . . . . . . . . . . . . . . . Ticket Services Representatives

PATRON SERVICESMike Callaway . . . . . . . . . . . . . . . . . . . . . . . . . . . .Theatre ManagerAdam Lindstaedt . . . . . . . . . . . . . . . . . . .Front of House AssistantMerlin D. “Tommy” Thompson . . . . . . . . . .Patron Services Rep.Rob Novak, Ashley Roberts . . . . . . . . . . . . . . . . .House ManagersDana Juhl . . . . . . . . . . . . . . . . . . . . . .Food and Beverage ManagerHaydee Aldas . . . . . . . . . .Food and Beverage Assistant ManagerMichelle Elliott, Brandi Mahan, Perla Rios, Brock Roser, Anne-Marie Shafer, Tess Thompson . . . . . . . . . . . . . . . .Pub StaffBabs Behling, Rose Espiritu, Stephanie Rakowski, Stephanie Reed . . . . . . . . . . . . . . . . . . . . . . .Gift Shop Supervisors

Security/Parking ServicesRachel “Beahr” Garcia . . . . . . . . . . . . . . . . . . . . .Security/Parking

Services Supervisor

Irene Herrig . . . . . . . . . . . . . . . . .Associate Supervisor of Security Sherisa Eselin, Janet Larson, Michael Moran, Jeffrey Neitzel, Sonia Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Security OfficersAlex Chacona, Deborah Elliott, Nicole Hagemeyer, Lou Hicks, . . . . . . . . . . . . . . . . . . . . . . . . .Parking Lot Attendants Mark Brickman, David Nguyen . . . . . . . . .V.I.P. Valet Attendants

Michael G. Murphy . . . . . . . . . . . . . . . . . . . . . . .General ManagerDave Henson . . . . . . . . . . . . . . . . . . . . . . . .Director of Marketing

and CommunicationsTodd Schultz . . . . . . . . . . . . . . . . . . . . . .Director of DevelopmentMark Somers . . . . . . . . . . . . . . . . . . . . . . . . . . .Director of FinanceRichard Seer . . . . . . . . . . . . . . .Director of Professional TrainingRobert Drake . . . . . . . . . . . . . . . . . . . . . . . .Director of ProductionRoberta Wells-Famula . . . . . . . . . . . . . . . .Director of Education

ARTISTICSamantha Barrie . . . . . . . . . . . . . . . . . . . . . . .Artistic CoordinatorKim Montelibano Heil . . . . . . . . . . . . . . . . . . . .Literary AssociateJan Gist . . . . . . . . . . . . . . . . . . . . . . . . . . .Voice and Speech CoachBernadette Hobson . . . . . . . . . . . . . . . . . . . . . . .Artistic AssistantStage ManagementLeila Knox . . . . . . . . . . . . . . . . . . . . . . .Production Stage ManagerTracy Skoczelas . . . . . . . . . . . . . . . . . . . .Assistant Stage Manager

PRODUCTIONDebra Pratt Ballard . . . . . . . . . .Associate Director of ProductionEllen Dieter . . . . . . . . . . . . . . . . . . . . . . . . . . . .Company ManagerCarol Donahue . . . . . . . . . . . . . . . . . . . . .Production Coordinator

TechnicalBenjamin Thoron . . . . . . . . . . . . . . . . . . . . . . . .Technical DirectorWendy Berzansky . . . . . . . . . . . . . . . .Assistant Technical DirectorKacie Lyn Hultgren . . . . . . . . . . . . . . . .Resident Design AssistantEliza Korshin . . . . . . . . . . . . . . . . . . . . .Technical Assistant/BuyerChristian Thorsen . . . . . . . . . . . .Stage Carpenter/Flyman, GlobeCarole Payette . . . . . . . . . . . . . . . . . . . . . . . . .Charge Scenic ArtistKristi Armand, Adam Bernard, Victoria Erbe,Trish Rutter, Jacque Velasquez, Ryan Weckel . . . . .Scenic ArtistsGillian Kelleher . . . . . . . . . . . . . . . . . . . . . . . . . . .Master CarpenterRobert Dougherty . . . . . . . . . . . . . . . . .Master Carpenter, FestivalRobin Barnett, William Barron, Marlon Bunch, Tracy Crowder,David Dick, Matt Giebe, Sheldon Goff, Larry Hall, PeterMakarushka, Jason McIntyre, Laura McEntyre, Mongo Moglia,Mason Petersen, Andy Recker, Andrew Young . . . . . .CarpentersNick Fouch . . . . . . . . . . . . . . . . . . . . . . . . . .Construction Drafting

CostumesStacy Sutton . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Costume DirectorCharlotte Devaux . . . . . . . . . . . . . . . . .Resident Design AssistantMaureen Mac Niallais . . . . . . . . . . . . . . .Assistant to the DirectorShelly Williams . . . . . . . . . . . . . . . . . . .Design Assistant/ShopperAshley Bruce . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Design AssistantGay Crusius, Louise M. Herman, Star Rabinowitz, Randal Sumabat . . . . . . . . . . . . . . . . . . .DrapersBabs Behling, Gloria Bradford, Anne Glidden Grace,Somsi Norfolk . . . . . . . . . . . . . . . . . . . . . . . . . . .Assistant CuttersJyothi Doughman, Leslie Malitz,Joan Mathison, Mary Miller . . . . . . . . . . . . . .Costume AssistantsMark Baiza, Sarah Hendel, Holly Hess, Nancy Liu, Sandra Mangusing, Julia Ortiz-Rios . . . . . . . . . . . . . . . .StitchersTeri Tavares . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Dyer/PainterJudith Craigo . . . . . . . . . . . . . . . . . . . . . . . . . . .Lead Crafts ArtisanKelley Convery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Craft ArtisanMolly O’Connor . . . . . . . . . . . . . . . .Wig and Makeup SupervisorKim Parker . . . . . . . . . . . . . .Asst. to Wig and Makeup SupervisorErin Schindler . . . . . . . . . . . . . . . . . . . . . . . .Wardrobe SupervisorJasmin Mellado . . . . . . . . . . . . . . . . . . . . . . . . . Crew Chief, CarterSarah Hendel . . . . . . . . . . . . . . . . . . . . . . . . . . . Crew Chief, GlobeKristin Bongiovanni, Marcella Hammond, Nola Walkup,Beth Merriman, Nikki Gilman . . . . . . . . . . Globe Running CrewMarie Jezbera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rental Agent

PropertiesNeil A. Holmes . . . . . . . . . . . . . . . . . . . . . . . . .Properties DirectorKristin Steva Campbell . . . . . . . . . . . . . .Assistant to the Director

Amy Reams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Properties BuyerPat Cain . . . . . . . . . . . . . . . . . . . . . . . . . . . .Property Master, GlobeDavid Buess . . . . . . . . . . . . . . . . . . . . . . . .Property Master, CarterM.H. Schrenkeisen . . . . . . . . . . . . . . . . . . . . . . . . . .Shop ForemanRory Murphy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Lead CraftsmanRyan Buckalew, Patricia Rutter . . . . . . . . . . . . . . . . .CraftspersonsKristi Rosen . . . . . . . . . . . . . . . . . . . . . . . . . . .Properties Assistant

LightingChris Rynne . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Lighting DirectorMegan Fonseca . . . . . . . . . . . . . . . . . . . . . . . . . .Lighting AssistantTonnie Ficken . . . . . . . . . . . . . . . . . . . . .Master Electrician, GlobeJim Dodd . . . . . . . . . . . . . . . . . . . . . . . . .Master Electrician, CarterKevin Liddell . . . . . . . . . . . . . . . . . . . . .Master Electrician, FestivalTodd Adams, Elizabeth Burress, Jason Bieber, BonnieBreckenridge, Michelle Echeverria, Kristen Flores, MaureenHanratty, Justin Hobson, Jennifer Horowitz, Shawna Kyees,Molly Mande, Michael Paolini, Katie Reynolds, Chris Walsh,Amanda Zieve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ElectriciansSoundPaul Peterson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sound DirectorErik Carstensen . . . . . . . . . . . . .Master Sound Technician, GlobeRachel Eaves . . . . . . . . . . . . . . . .Master Sound Technician, Carter

ADMINISTRATIONDarla Lopez . . . . . . . . . . . . . . . . . . . . . . . . . . . .Executive AssistantBrian Ulery . . . . . . . . . . . . . . . .Assistant to the General ManagerInformation TechnologyDean Yager . . . . . . . . . . . . . . . .Information Technology ManagerThad Steffen . . . . . . . . . . . . . .Information Technology Asst. Mgr.J. Adam Latham . . . . . . . . . . . .Information Technology AssistantHuman ResourcesSandra Parde . . . . . . . . . . . . . . . . . . . .Human Resources DirectorMaintenanceRandy McWilliams . . . . . . . . . . . . . . . . . . . . . . .Facilities ManagerViolanda Corona, Ismael Delgado, Miguel Gaspar, RobertoGonzalez, Reyna Huerta, Margarita Meza, Jose Morales, AlbertRios, Maria Rios, Nicolas Torres . . . . . . . . . . . . . . .Building Staff

PROFESSIONAL TRAININGLlance Bower . . . . . . . . . . . . . . . . . . . . . . . . .Program CoordinatorMaria Carrera, Cynthia Caywood, Sabin Epstein, Robert Barry Fleming, Gerhard Gessner, Jan Gist, Peter Kanelos, FredRobinson, Liz Shipman . . . . . . . . . . . . . . . . . . . . . . . .MFA FacultyCorey Johnston, Robin Sanford Roberts, Ben Seibert, George Yé . . . . . . . . . . . . . . . .MFA Production Staff

EDUCATIONRaúl Moncada . . . . . . . . . . . . . . . . . . . . . . . . .Education AssociateHolly Ward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tour CoordinatorCarol Green . . . . . . . . . . . . . . . . . . .Speakers Bureau CoordinatorAmy Biedel, Matt Biedel, Marisela De la Parra, Kimberly ParkerGreen, Janet Hayatshahi, Sarah Price, David Sievit,David Tierney . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Teaching Artists

FINANCEPaula Nickodemus . . . . . . . . . . . . . . . . . . . . . . .Senior AccountantDana M. Bryant . . . . . . .Accounts Payable/Accounting AssistantAngela Yoshida . . . . . .Payroll Coordinator/Accounting AssistantTim Cole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Receptionist

DEVELOPMENTAnnamarie Maricle . . . . . . . . . . . . . . . . . . . . . . .Associate Director,

Institutional Grants

Marilyn McAvoy . . . . . . . . . . . . . .Associate Director, Major GiftsEileen A. Prisby . . . . . . . . . . . . . . . . . . . . . . . . . . . .Events Manager

Jack O’BrienArtistic Director Emeritus

Craig NoelFounding Director

Documents

PROGRAM Dancing in the Dark:Program Dancing in the Darkpressarchive.theoldglobe.org/_pdf/Programs/2007-08... · Welcome to the world premiere of Dancing in the Dark, based on the