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TheatreWorksS I L I C O N V A L L E Y
Jane Austen’sEmma
December 2015
Volume 47, No. 4
Paul Heppner Publisher
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AFFILIATIONS—TheatreWorks Silicon Valley is a member of the League of Resident Theatres (LORT) andoperates under agreement between LORT and Actors’ Equity Association (AEA), the union of professional actorsand stage managers in the United States. TheatreWorks is a constituent member of Theatre CommunicationsGroup, Inc., the national organization for the nonprofit professional theatre. TheatreWorks is a member of theNational Alliance for Musical Theatre, a national service organization for musical theatre. In addition,TheatreWorks is a member of Theatre Bay Area, the Palo Alto Chamber of Commerce, and the Mountain ViewChamber of Commerce. TheatreWorks’ 2015/16 Season is presented in cooperation with the City of MountainView and the City of Palo Alto, Community Services Department, Division of Arts and Sciences.
The director is a member of the Society of Stage Directors and Choreographers,Inc., an independent national labor union. The scenic, costume, lighting, and sounddesigners are members of United ScenicArtists. This season is supported in part byan award from the National Endowmentfor the Arts.
About TheatreWorks Silicon ValleyWelcome to TheatreWorks Silicon Valley and our 46th season of award-winningtheatre. Led by Founding Artistic Director Robert Kelley and Managing DirectorPhil Santora, TheatreWorks Silicon Valley presents a wide range of productionsand programming throughout the region.
Founded in 1970, we continue to celebrate the human spirit and the diversity ofour community, presenting contemporary plays and musicals, revitalizing greatworks of the past, championing arts education, and nurturing new works for theAmerican theatre. TheatreWorks Silicon Valley has produced 65 world premieresand over 150 US and regional premieres. In the 2015/16 season, we add theworld premiere of the musical Triangle and five more regional premieres to ourrésumé.
TheatreWorks Silicon Valley’s 2014/15 season included the world premiere of The Great Pretender, as well as regional premieres of Water by the Spoonful, The Lake Effect, and Fire on the Mountain. Last season’s holiday production,Peter and the Starcatcher, joined our January show 2 Pianos 4 Hands as the two highest-grossing plays in our history. In the course of the year, shows thatdebuted here were produced at theatres around the world, including our worldpremiere Memphis, which opened in London’s West End.
With an annual operating budget of $8 million, TheatreWorks Silicon Valley produces eight mainstage productions at the Lucie Stern Theatre in Palo Altoand the Mountain View Center for the Performing Arts. Fifteen years ago, welaunched the New Works Initiative, rededicating ourselves to the development of new plays and musicals. The Initiative has since supported over 140 new works through retreats, workshops, staged readings, developmental productions,and the annual New Works Festival, inspiring The Mercury News to call us “a premiere breeding ground for new musicals, which has put the company on thenational map.”
TheatreWorks Silicon Valley believes in making theatre accessible to the entireSilicon Valley community. Our Arts Education Department reaches more than25,000 students in 70 schools in 7 counties annually. It sponsors outreach programs that include the Children’s Healing Project at Lucile Packard Children’sHospital, the Young Playwright’s Initiative, specially-priced student matinees,extensive school tours, post-show discussions, and theatre camps, classes, andconservatories for youth.
For more information on our 2015/16 season, New Works Festival, and EducationPrograms, please visit theatreworks.org or call 650.463.1950.
Garden Court is the officialhotel of TheatreWorks.
ENCORE
J. Lohr is the official wine of TheatreWorks.
The Mercury News is TheatreWorks’2015/16 Season Media Sponsor.
Hengehold Trucks is the official trucking provider ofTheatreWorks.
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In this Issue2 About TheatreWorks
Silicon Valley
6 We’re Growing!
7 Coming Next: Hershey Felder as Irving Berlin
8 Give the Gift of TheatreWorks
10 Director’s Notes
11 About the Play & Playwright
12 About Jane Austen
13 The Regency Period
15 TheatreWorks Silicon Valley presents Jane Austen’s EMMA
18 Who’s Who
20 Janeites and Austen Fandoms
25 The Season of Giving
26 Contributors
29 TWSV Staff
31 TWSV General Information
Continue the conversation online!
Become our fan on Facebook!
Follow us onTwitter and Instagram
@TheatreWorksSV#EmmaMusical
BOARD OF TRUSTEESBarbara Shapiro, Chair
Jayne BookerBill Coughran
Susan FairbrookCiro Giammona Anne Hambly Judy HeyboerLarry HortonRoy Johnson
Derry Kabcenell
Michael Kahn Julie KaufmanRobert Kelley
Tom Kelley Ray A. RothrockAdam Samuels
Phil SantoraLoren Saxe
Nancy Ginsburg SternDebra Summers
Lynn Szekely-GoodeTzipor UlmanMark VershelHolly Ward
Lisa WebsterJane Weston
Gayla Lorthridge Wood
BOARD EMERITUSNancy Meyer, Founder
William F. Adler • Edward T. Anderson, MD • Doug Barry • Lauren Berman • Chuck Bernstein •Sharon Anthony Bower • Michael Braun • Polly W. Bredt • Bruce C. Cozadd • Jeff Crowe •Peggy Dalal • Yogen Dalal • Jenny Dearborn • Michael R. Flicker • Peggy Woodford Forbes •Dan Garber • Doug Garland • Aaron Gershenberg • Marcia Goldman • Emeri Handler • SusanM. Huch • Perry A. Irvine • Nancy Lee Jalonen • Lisa Jones • Gina Jorasch • Roberta R. Katz •Robin Kennedy • Michael Kwatinetz • Dick Maltzman • Suzanne Martin • Patti McClung • DonMcDougall • Bruce McLeod • Cynthia S. Miller • Leslie Murphy-Chutorian • Eileen Nelson •Karen Nierenberg • Carrie Perzow • Carey Pickus • Margot Mailliard Rawlins • John Reis • EddieReynolds • Sandi Risser • Lynn Wilson Roberts • Denise Stanford • Rosina Lo Sun • JamesSweeney • Cathie Thermond • Helaina Titus • Robert J. Van der Leest, MD • Ronni Watson •Elissa Wellikson
Jane Austen
From the Board ChairI recently returned from New York City where I very happily bingedon theatre. Not only did I see some of Broadway’s best, I was privileged to spend two days at the National Alliance for MusicalTheater’s (NAMT) 27th Festival of New Musicals. This wonderfuljuried event presents excerpts from eight new musicals to industryinsiders who have the experience and resources to further developand/or produce the work. The Festival is a fast and furious trade-show of sorts, replete with talented playwrights, musicians, andBroadway-level actors performing to an attentive and appreciative
audience. Its longevity coupled with the creativity of the offerings underscore boththe enormous talent transforming musical theatre today and the continued broadaudience appeal of this very American art form.
I wish all my theatre-loving friends could have been there, but since they couldn’t,it’s wonderful that TheatreWorks Silicon Valley is committed to bringing innovativemusical theatre to the stage here at home. In fact, over the years, many shows developed through TheatreWorks’ own New Works Festival, such as this season’sTriangle and Emma, have been featured at this prestigious event and have benefitedfrom the support and feedback of producers and theatre executives from across the country.
Seeing newly created shows in NAMT’s festive atmosphere was an exceptionalgift. It got me thinking about my own gift giving for the holidays (they do sneak upon us, don’t they!). If you’re like me, finding the “right” gifts for family, friends, and colleagues gets more difficult every year. Fortunately, TheatreWorks is offeringus the perfect solution. For those who either love theatre or don’t yet know theywill love theatre, a gift subscription to all or part of our remaining season is literally just the ticket! The variety of plays ahead offers a world of diverse, unique, andextremely satisfying experiences. Gift subscriptions are a terrific gift—well pricedand completely flexible. Shows can be pre-scheduled for specific dates orredeemed for any performance other than opening nights. And if plans change,ticket exchanges are remarkably easy.
Oh, did I mention that your gift will be wrapped according to your holiday preference and will definitely include chocolates? It’s not quite a binge, but it is asweet start.
Happy Holidays!
Barbara Shapiro
Upcoming TWSV EventsDec, Jan, & Feb
12/12 @ 11:30amGARDEN COURT HOTEL HOLIDAY TEASumptuous food & beverages followed by a matinee performance of Jane Austen’s EmmaPricing is available for the tea onlyFor tickets: theatreworks.ejoinme.org/gardencourt
1/9 @ 12 noonPRODUCER BRUNCHWRITERS’ SHOWCASEPre-event opportunity to meet the artists for donors of $10,000and aboveTheatreWorks Green RoomSobrato Center for Nonprofits
1/9 @ 2:00pmWRITERS’ SHOWCASEPerformances of new work in earlydevelopment for donors of $3,000and aboveTheatreWorks Rehearsal HallSobrato Center for Nonprofits
1/20, 1/27, 2/3HERSHEY FELDER ASIRVING BERLINDISCUSSION WEDNESDAYSPost-show discussion Mountain View Center for the Performing Arts
1/21 @ 12 noonFUTUREWORKS LUNCHEONThank you for donors who haveincluded TWSV in their estate plan-ningGarden Court Hotel, Palo Alto
2/9 @ 6:00pmSEASON ANNOUNCEMENT ANDRECEPTIONAll are welcome to attend this freeevent announcing TWSV’s 2016/17SeasonMountain View Center for the Performing Arts
“My child started this camp without knowing anyone and itended up being the best camp experience she had this summer! She learned how to project her voice—and gainedconfidence in her abilities. She was so proud of what shehelped create!” – Parent, PlayMakers Summer Camp
Was your child unable to attend a session of TheatreWorks’ Characters@ Play Spring Break Camp or PlayMakers Summer Camp in 2015?
Were the camps full by the time you tried to sign up? Were you on vacationduring an available session?
After last spring and summer’s sold-out sessions, it was clear that we neededmore space available for the young actors in our community. So we areexpanding our camps in 2016!
How are we growing?• We are doubling the size of our Characters @ Play Spring Break Camp
in Palo Alto. This means there will be twice as many friends!
• We are adding two additional sessions of PlayMakers Summer Camp in Menlo Park in July that will run at the same time as the sessions in Palo Alto. There will be more opportunity to attend camp close to home or during the dates your child is available.
We are so excited to offer more theatre opportunities for the families in ourcommunities and look forward to growing with your children this spring and summer. For more information, please email [email protected], call 650.463.7146, or visit the website at www.theatreworks.org/learn.
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6 THEATREWORKS
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COMING NEXT
Hershey Felder as
Irving BerlinLyrics & Music by Irving Berlin Book by Hershey Felder
Directed by Trevor Hay
Jan 13–Feb 14, 2016Mountain View Center for the Performing Arts
theatreworks.org 650.463.1960
“A remarkable portrait…richly entertaining.”
LA Times
Northern California PremiereThe inspiring story of “America’s Composer”Irving Berlin takes center stage in this tour-de-force performance by piano virtuosoHershey Felder, internationally acclaimed forbringing to life such composers as Gershwin,Beethoven, Chopin, and Bernstein. Capturingthe rhythms of the Lower East Side, andeventually enchanting the entire world, Berlinepitomizes the American Dream. From “BlueSkies” to “White Christmas,” this remarkableevening with Irving is an unforgettable journey in song.
encoreartsprograms.com 7
A NEW MUSICAL PLAY
Hershey Felder as Irving BerlinLyrics & Music by Irving Berlin Book by Hershey FelderDirected by Trevor Hay
Northern California Premiere
The inspiring story of “America’sComposer” Irving Berlin takes center stage in this tour-de-forceperformance by piano virtuosoHershey Felder, internationally
acclaimed for bringing to life such composers as Gershwin,Beethoven, Chopin, and Bernstein. Capturing the rhythms of the Lower East Side, and eventually enchanting the entire world,Berlin epitomizes the American Dream. From “Blue Skies” to“White Christmas,” this remarkable evening with Irving is anunforgettable journey in song.
“A remarkable portrait…richly entertaining.” LA Times
Jan 13 – Feb 14, 2016 Mountain View Center
A DELECTABLE COMIC DRAMA
tokyo fish storyBy Kimber LeeDirected by Kirsten Brandt
Northern California Premiere
Generations, gender, and tradi-tion collide as a revered SushiMaster struggles to preserveancient artistry in a societyobsessed with change. In pursuitof perfection, Koji inspires his brilliant protégé of a son, intimidates a parade of young
apprentices, and discovers that in today’s world, even a three-star chef has much to learn. Set in a legendary sushi restau-rant, this warm-hearted comic drama was a highlight ofTheatreWorks’ New Works Festival.*
“Captivating, thought-provoking theater.” StageSceneLA
Mar 9 – Apr 3, 2016 Lucie Stern Theatre, Palo AltoMarcia Pizzo & Jason Kuykendall in The Country House / Photo by Kevin Berne
The perfect gift for family,
friends, teachers…or just treat
yourself!
8 THEATREWORKS
THE SWASHBUCKLING ROMANCE
CyranoBy Edmund Rostand Translated by Michael HollingerAdapted by Michael Hollinger &Aaron PosnerDirected by Robert Kelley
Regional Premiere
Alive with swashbuckling swordplay,witty wordplay, and irresistibleromance, this classic tale of unrequited passion and panacheflows from the rollicking theatres of
17th century Paris to distant battlements long besieged. Here literature’s greatest love triangle evolves in a modern, intimate,and good-humored adaptation that entangles the enchantingheiress Roxane, handsome cadet Christian, and nose-challengedswordsman Cyrano in the love affair of a lifetime.
“Sterling. Illuminating. A joy to watch.” Philadelphia Inquirer
Apr 6 – May 1, 2016 Mountain View Center
AN EXPLOSIVE COMEDY
The Velocityof AutumnBy Eric CobleDirected by Giovanna Sardelli
Regional Premiere
An octogenarian artist has barricad-ed herself in her Brooklyn brown-stone, booby-trapped with enough homemade bombs to take out theneighborhood. In a wry, spiritedquest to “not go gentle” into a
retirement home, Alexandra battles both the fears of her familyand the ravages of time, negotiating the terms of her futurewith a long-estranged son who has battles of his own.*
“Wickedly funny and wonderfully touching.” Broadway World
June 1 – 26, 2016 Mountain View Center
* Contains mature language
Cyrano
Over 50% savings!
3 plays for $99(just $33 per play)
4 plays for $128(just $32 per play)
Gift wrapped* and sentto your lucky someone!
* Custom gift wrapping for $5.Bonus gift for
4 Play Gift Subscriptions!
Order online at
theatreworks.orgor call
650.463.1960
encoreartsprograms.com 9
Director’s Notes by Robert Kelley
At TheatreWorks we consider our holiday showsa special gift to our community, a chance to
share the joy, energy, and good will of the seasonwith our friends throughout the Bay Area. This yearwe reprise, and reinvent, a musical premiere thatdelighted all of us almost a decade ago: JaneAusten’s Emma. The novel was published exactly200 years ago, in December, 1815. Today, thisenchanting musical version joins an elite group ofshows TheatreWorks has found worthy of revival at the holidays: Oliver!, Peter Pan, and Into theWoods. Join us tonight on an exhilarating journeyinto the Regency world of Jane Austen, set a mere16 miles from London in the charming village ofHighbury. Fewer than 800 hardy souls dwell here,and you will soon feel like one of them. Here you’llmeet one of the most charming, warm-hearted,confident yet utterly deluded heroines to evergrace the pages of a novel or the boards ofTheatreWorks’ stage.
Emma is written and composed by Tony Awardnominee Paul Gordon, who condenses Austen’slong novel into a flowing theatrical narrative.Though he often uses Austen’s own words, Gordongives her work a new voice, a contemporary intensity that speaks of the exhilarating uncertaintyof romance from a new perspective. In abridgingthe novel he highlights its often-satirical comedy,allowing us to laugh at Emma’s matchmaking andmanipulations amidst the small town society ofHighbury, only to realize that the essence of ourown lives and loves is easily recognized in Austen’sworld. If the sense and sensibility of it all is entirelyJane Austen, Paul Gordon’s musical resonates nowas much as it did then.
In one of the musical’s most telling moments,our heroine accuses her friend Mr. Knightley ofhaving no “insight to the heart.” It’s exactly thatinsight that defines Austen’s work: a profoundunderstanding of human nature and a celebrationof the complex progress of love. If Austen wrote
primarily about the privileged, the fortunate, herwork endures because it explores the shared territory of longing and hope common to us all.
In the years since our original production ofEmma in 2007, the show has been produced atfour major theatres around the country, and Paul Gordon has written several wonderful newmusicals, including two that premiered atTheatreWorks—Being Earnest (from Oscar Wilde’sThe Importance of Being Earnest) and DaddyLong Legs (from the novel by Jean Webster). After successful performances around the world,Daddy is currently running off-Broadway in NewYork City.
First staged at the Mountain View Center forthe Performing Arts, Emma remains one ofTheatreWorks’ best-loved and highest-attendedproductions. We’ve reassembled the acclaimeddesigners who created that production, reimagin-ing the scenery and the costumes to grace themuch smaller stage of the Lucie Stern Theatre.And many members of our original cast havereturned to bring Emma to life once again, joinedby a new group of wonderful actor/singers assem-bled from across the country. Most importantly,author Paul Gordon has returned to revise the production with new scenes, songs, and lyrics. Asfor the director, I am thrilled to spend the holidayswith this enchanting, favorite friend. I hope youwill be thrilled as well.
Emma was TheatreWorks’ 50th world premiere(we have since created 15 more!), and we areproud to make it our gift to the community thisjoyful season. To the warmth of the holidays, wedelight in adding the allure of music, the ring oflaughter, and the endless invention of the theatre.On this festive evening we offer a holiday toastsure to bring cheer to everyone in our extendedtheatre family: May you always find your insight tothe heart.
Insight to the Heart
10 THEATREWORKS
About the Play and Playwright
TheatreWorks audiencesfirst became acquainted
with composer Paul Gordon’swork when we produced Jane Eyre in 2003, followingits seven-month run onBroadway. With music andlyrics by Gordon and book by John Caird, the Broadwayproduction garnered five Tony
Award nominations, including Best Musical and BestOriginal Score. TheatreWorks’ production was amuch-acclaimed hit, and established what wouldbecome a very special relationship between Gordonand the TheatreWorks community.
Following Jane Eyre, Gordon turned his attentionto Jane Austen’s Emma, a novel he’d long dreamt ofmusicalizing. Though he was wary of becomingknown as “the guy who took 19th century novels witha woman’s name in the title and turned them intomusicals,” he took the plunge and started writing,this time writing both the music and the book.
Emma first graced TheatreWorks’ stage duringthe New Works Festival in 2006, directed by ArtisticDirector Robert Kelley. Even in its infancy the showproved a promising contender for a mainstage production, especially after revisions drawing on theFestival audience’s feedback. Later that year Gordonpresented a 45-minute version at the NationalAlliance for Musical Theatre Festival in New York, andin January 2007 he continued honing the script atTheatreWorks’ annual Writer’s Retreat. In February, TheatreWorks announced that Emma would be partof the next mainstage season. As Gordon continuedrevising the script, TheatreWorks assembled anincredible team of designers, actors, musicians, andtechnicians to bring the show to life under Kelley’sdirection.
TheatreWorks’ world premiere production openedin August 2007, marking the company’s 50th worldpremiere. It was a momentous occasion, made all thebetter by the fact that the show was TheatreWorksborn and bred. Emma was all anyone could havehoped for, and became one of the biggest hits inTheatreWorks history. It smashed box office records,and drew more patrons than any previous production.
Word of Emma’s success spread fast, and soonBay Area audiences weren’t the only ones hummingGordon’s tunes. In 2008, Cincinnati Playhouse in the
Park and Repertory Theatre of St. Louis co-producedthe show, directed by Kelley with TheatreWorks’ original leading actors. Subsequent productions at theOld Globe in San Diego in 2011, and Arizona TheatreCompany in 2012 featured primarily new casts anddirectors, and a new title: Jane Austen’s Emma.
In the meantime, TheatreWorks’ audiences con-tinued to enjoy Gordon’s new works. TheatreWorksteamed up with Ventura’s Rubicon Theater to co-produce the world premiere of Daddy Long Legs,another collaboration with book writer John Caird, atthe Mountain View Center in January 2010. It hassince been produced throughout the country, as wellas in Canada, Tokyo, and London’s West End, a totalof 15 productions. It is now playing at the DavenportTheatre off-Broadway in New York.
TheatreWorks audiences saw a somewhat differ-ent side of Gordon with the 2013 world premiere ofBeing Earnest, written with Jay Gruska. This newmusical reimagined Oscar Wilde’s The Importance ofBeing Earnest in 1960s London, retaining much ofWilde’s text but inserting original, ‘60s inspired music.Though markedly different from the period musicalswe’d seen from him before, Being Earnest was closeto Gordon’s roots. In his “former life” (before hebegan writing for the theatre), Gordon was a song-writer for major music publishing companies, withseveral hits on the Billboard Pop Charts. Clearly, PaulGordon’s music and talent transcend traditional genres.
As much as we’d like to claim Gordon exclusivelyas our own, he’s penned a number of other musicalsthat have been performed at companies around thecountry. Prior to Jane Eyre, Gordon co-wrote themusical Greetings From Venice Beach with JayGruska, which was produced in Hollywood in 1992.The duo also adapted the film The Front for thestage. Gordon’s Analog and Vinyl premiered at theWeston Playhouse Theatre Company in Vermont lastyear, his new adaptation of Sense and Sensibility was produced at Chicago Shakespeare Theatre in thespring, and Death: The Musical had its first reading at Village Theatre in Issaquah, Washington last summer. The holiday oriented Little Miss Scrooge, acollaboration with John and Sam Caird, is currently in development.
This holiday season, though the show and its creator have garnered acclaim far and wide, we arethrilled to welcome our Emma back to itsTheatreWorks home. – KATIE DAI
encoreartsprograms.com 11
financial prospects weren’t any better than his. Thetwo were kept apart for the remainder of their lives.
The period that followed was a productive one.The first draft of her second novel, which she calledFirst Impressions, was completed by 1799. She alsorevised Elinor and Marianne, and drafted a thirdnovel titled Susan.
In 1800, George Austen surprised everyone byretiring and moving the family to Bath. Jane did notwelcome the change, as it meant leaving the onlyhome she’d ever known. She wrote little—making afew revisions to Susan, starting and then abandoninganother novel.
In 1802 Austen received a marriage proposalfrom Harris Big-Wither, the brother of an old friend.The match would have secured her family’s future,and for that reason she accepted. The next day, however, she recanted. It seems she simply felt noaffection for the man.
Austen’s father fell ill, and died January 21, 1805.This threw the family into turmoil—the Austen womenwere now entirely dependent on Jane’s brothers to support them. For four years they lived an unsettledlife, moving frequently until 1809 when Jane’s brother Edward, who had been adopted by wealthycousins, offered them a cottage in Chawton village.In this setting, Austen was finally able to return toher writing.
In 1811, with the help of her brother Henry,Austen found a publisher for Elinor and Marianne,
Continued on page 14
On December 16, 1775, Jane Austen was born toGeorge and Cassandra Austen, the seventh of
eight children. The family was part of the lower echelon of the landed gentry, residing in Steventon,Hampshire, where George Austen was rector. To supplement their income, George also farmed andtutored.
While she was growing up, Austen’s family valuedcreativity and learning. Though she spent some timeat boarding school studying French, music, and dancing, the majority of Austen’s education camefrom reading from her father’s vast library. She wasencouraged to read, write, and draw, and the familyfrequently staged plays in their home. It was in thisnurturing environment that one of England’s greatestliterary minds was formed.
By the age of twelve, Austen began filling volumes with poems and fiction. She tried out variousforms, parodying popular literature in her original stories and poems. These works would be publishedunder the title Juvenilia years after her death.
In 1795, Austen completed Lady Susan, a shortepistolary novel which marked a turning point in herwriting. She then began work on her first full-lengthnovel, Elinor and Marianne.
Though little is known of her personal life, herletters indicate that a relationship bloomed betweenAusten and Thomas Lefroy in December, 1795. Lefroywas the nephew of a neighbor, who relied on externalfinancial support while he studied. Lefroy's family tooknote of the flirtation and sent him away, as Austen’s
12 THEATREWORKS
The Regency Period
The Regency is best remembered for being a period of great elegance and social refinement—
contemporary depictions of the Regency highlightthe vibrant balls, delicate styles of dress, and theintricate systems of courtship. Surprisingly, this eralasted only nine years—from 1811 to 1820—afterKing George III was declared insane and his son,George IV, became Prince Regent. Yet, within thatshort time, a series of social practices and rules ofpropriety developed that would become iconic inBritish history.
During these years, British society was dominatedby the aristocracy, which was comprised of about 200families. These families could trace their nobility backfor generations and were often exceptionally wealthybecause of their large historic land holdings. The nexttier of society was made up of the landed gentry—non-titled families whose wealth was derived fromrents charged on their land holdings. These familieswere often also very wealthy, but their legacies weremore uncertain, as contemporary rules of inheritanceleft the whole of the family estate to the eldest son.Younger sons had to either find work in a respectableprofession—the army, the clergy, or the law—ormarry into an aristocratic family in order to make aliving. Most upper class women had little financialsecurity except through their husbands, which is whymany spent the majority of their lives cultivating skillsthat would make them more eligible for a good marriage to a wealthy, landed gentleman.
Society women during the Regency would betaught skills such as painting, embroidery, and musicalperformance. A gentleman’s daughter would havebeen literate and potentially have learned one or twoelegant foreign languages like French or Italian, butwould have received little other education. Somewomen did work as governesses or as teachers, but awoman working was regarded unfavorably and it wasassumed that one would only do so out of necessity.Most women were married by the age of 25, thoughmany married in their teens. The essential importanceof developing one’s refinements and of making agood match, for the sake of one’s family’s livelihoodas well as that of the individual, is a common themethroughout all of Jane Austen’s novels.
Women and men met in a highly regulated socialworld, in which each interaction occurred under aclearly established code of manners and behaviors.
Men and women would greet each other using formaltitles that acknowledged age, birth rank, and aristo-cratic class. To disregard these rules—to refer tosomeone to whom one was not related or engagedby their first name, for example—would be an act ofimpropriety.
The hours of the day were also decided by socialconvention: there were hours for paying social calls,hours for tea, hours for letter writing, and hours forevening visitors. The procession through these eventsfollowed a specific order and rhythm. The family dinner, for example, which was the largest and mostimportant meal of the day, was served with as manycourses and on the finest china and silver plate thatthe house could afford. After dinner, the womenwould retire to the drawing room while the menstayed in the dining room to smoke and drink. Themen would later join the women and all would partakeof tea. The members of the family would then enter-tain themselves with talk, cards, live performances atthe piano, and occasionally impromptu dances.
Dancing most often took place, however, at theball—the most structured and yet the most liberatingsocial event in the Regency world. It was structuredin the sense that the dances were British countrydances where couples moved in pre-established patterns. Yet it was liberating in that the intimacy of a dance provided a unique opportunity for privateconversation between men and women. In the generalhubbub and whirl of a quadrille, two people could talk without being clearly overheard by the massesaround them. Those who were not inclined to dancecould also find a ball enjoyable, as there were oftenrooms adjacent to the ballroom in which one couldplay cards, drink tea, and make light conversation.
Regency society was not very kind to JaneAusten, an unmarried female supporting herselfthrough literary work. Though her works were widelyread during her lifetime, they did not bear hername—she published anonymously. Austen was notpersonally accepted into the highest circles of societyand experienced a fair degree of social judgment.Ironically, the social world of the Regency becameimmortalized through the descriptions of one whomthat world rejected as a social deviant.
– HOLLY DAYTON
encoreartsprograms.com 13
About Jane Austen Continued from p. 12
retitled Sense and Sensibility. The novel was printedanonymously—the title page indicated only that it waspenned by “a lady.” Popular with readers and critics, it wasfollowed in 1813 by the publication of First Impressions,now called Pride and Prejudice. With the public hungryfor more works by the anonymous “lady,” Mansfield Parkwas printed in 1814. Sales of Austen’s works were sostrong, she moved to a larger publishing house.
Emma was published in 1815, and Mansfield Parkreceived a second printing soon after. Though Emma didwell, sales of Mansfield Park’s reprint did not. Financial problems in the family prevented publication of her nextnovel, The Elliots.
In 1816, Austen’s health began to decline. She continued to work for some time, revising The Elliots andbeginning another novel, but by the spring of 1817 shewas confined to a bed, and in May she travelled toWinchester for medical treatment. She died there on July18, 1817, and is buried in Winchester Cathedral.
After her death, Austen’s family arranged to have herremaining unpublished works printed. Northanger Abbeyand Persuasion, formerly known as Susan and The Elliots,respectively, were published as a set collection, alongwith a biographical note finally identifying Austen as theauthor. – KATIE DAI
14 THEATREWORKS
presents
JaneAusten’sEmmaMusic, Lyrics, and Book by Paul GordonAdapted from the novel by Jane Austen
Directed by Robert Kelley
Musical Direction by WIlliam Liberatore
Scenic Designer Joe RageyCostume Designer Fumiko BielefeldtLighting Designer Steven B. Mannshardt
Sound Designer Jeff MockusDialect Coach/Cultural Consultant Richard Newton
Casting Director Leslie MartinsonNew York Casting Director Alan Filderman
Stage Manager Randall K. Lum*Assistant Stage Manager Emily Anderson Wolf*
* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
EMMA received its World Premiere at TheatreWorks and was developed through our New Works Initiative.EMMA was presented at the National Alliance for Musical Theatre’s Festival of New Musicals in 2006.
EXECUTIVE PRODUCERSPhil Kurjan & Noel Butler
PRODUCERSElaine Baskin & Ken Krechmer • Julie Kaufman • Tom & Sharon Kelley • Dorothy Lazier
SHOW SPONSORGarden Court Hotel
SEASON SPONSORSGarden Court Hotel • J. Lohr Vineyards & Wines • Sobrato Philanthropies
SeaSon Media SponSorThe Mercury News
Jane Austen’s EMMA plays December 2, 2015 – January 2, 2016
TheatreWorksS I L I C O N V A L L E Y
encoreartsprograms.com 15
THE CAST(In order of speaking)
Miss Emma Woodhouse Lianne Marie Dobbs*Mrs. Weston Lee Ann Payne*
Mr. Woodhouse Richert Easley*Mr. Knightley Timothy Gulan*
Miss Bates Lauren Cohn* Miss Jane Fairfax Sharon Rietkerk*
Mrs. Bates/Mrs. Elton Michelle DrexlerMr. Weston Richard Frederick*
Mr. Frank Churchill Travis LelandMr. Elton Brian Herndon*
Miss Harriet Smith Leigh Ann Larkin* Mr. Robert Martin Nick Nakashima*
Housemaids & Citizens of Highbury Alyssa Bryanne EsquilinRebecca EuchlerBrigitte Losey Neiry Rojo
* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
TIME AND SETTINGThe village of Highbury, south of London, 1815
EMMA WILL BE PERFORMED WITH ONE 15-MINUTE INTERMISSION.
THE ORCHESTRAConductor/Piano William Liberatore
Violin Carol KutschOboe/English Horn Peter Lemberg
Cello Kris YenneyOrchestra Personnel Manager Diane Ryan
All musicians are members of the American Federation of Musicians of the United States and Canada.
ACKNOWLEDGMENTSGordon DeVinney, Cincinnati Playhouse in the Park
Alyssa Oania, Opera San JoseFarrah Southam • Mary Ann Flippin
16 THEATREWORKS
encoreartsprograms.com 17
MUSICAL NUMBERS
ACT I
“Pride and Sense” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ensemble
“I Made the Match Myself” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Emma and Mr. Knightley
“Hartfield” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ensemble
“Relations” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ensemble
“A Gentleman’s Daughter” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Emma and Ensemble
“The Portrait” . . . . . . . .Mr. Elton, Mr. Knightley, Emma, Mr. and Mrs. Weston, and Miss Bates
“The Argument” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mr. Knightley and Emma
“Should We Ever Meet” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Emma
“Badly Done” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mr. Knightley
“Have A Piece of Cake” . . . . . . . . . . . . . . . . .Miss Bates, Emma, Jane, Harriet, and Mrs. Bates
“Mr. Robert Martin” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Harriet and Emma
“Home” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Frank Churchill and Emma
“The Recital” . . . . . . . . . . .Emma, Jane, Frank Churchill, Mr. Knightley, Harriet, and Ensemble
ACT II
“Pride and Sense” (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ensemble
“This Is How Love Feels” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Emma and Frank Churchill
“Mr. Robert Martin” (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Harriet and Robert Martin
“This Is How Love Feels” (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Emma
“Humiliation” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Harriet
“Emma” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mr. Knightley
“A Gentleman’s Daughter (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Emma
“Stranger Things Have Happened” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Emma and Harriet
“Box Hill” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ensemble
“Badly Done” (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mr. Knightley
“Home” (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Frank Churchill and Jane Fairfax
“The Epiphany” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Harriet and Emma
“Badly Done” (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Emma
“Humiliation” (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Harriet
“Emma” (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mr. Knightley
“Finale” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ensemble
18 THEATREWORKS
Who’s Who
LAUREN COHN(Miss Bates) completed a nearlythree-year run as“Rosie” in MammaMia! on Broadwayearlier this year.
She is a 2011 Helen Hayes AwardNominee for Outstanding SupportingActress in a Musical for her work inthe world premiere of Glimpses of the Moon at MetroStage. Prior tothat, she was seen playing the titularcharacter in The Drowsy Chaperoneat Gateway Playhouse. Her film andtelevision appearances include:Desperate Housewives, The Suite Lifeof Zack & Cody, Catch Me If You Can,Secretary, Legally Blonde 2, House,Monk, ER, Morning Glory, Deadbeat,Royal Pains, Bored To Death, and theupcoming ABC drama, The Family.Ms. Cohn is an Adjunct Professor atPace University. Friends call her Coco.
LIANNE MARIEDOBBS (Emma)returns to portrayEmma, the role sheproudly originated at TheatreWorks. She also appeared
in TheatreWorks’Ragtime, Jane Eyre,and A Little Night Music, among others. Her credits include the 1stNational Tour of White Christmas,Emma at Repertory of St. Louis/Cincinnati Playhouse, A Tree Grows in Brooklyn (Off-Broadway), LesMisérables, Jekyll & Hyde, andSmokey Joe’s Café. A Bay Area nativeand graduate of San Francisco StateUniversity’s Theatre Department, she studied at Young Rep in Walnut Creek and performed at AmericanConservatory Theater, AmericanMusical Theatre of San Jose,Broadway By The Bay, 42nd StreetMoon, and Center Rep. She is a jazz
vocalist at Birdland and Feinstein’s 54Below, and has performed her soloshow at The Metropolitan Room.Follow engagements on Facebook andwww.liannemariedobbs.com. Her album,Everything Old Is New Again, onSHOUT! Broadway Records, is avail-able in the lobby. Thank you, Paulee!
MICHELLE DREXLER(Mrs. Elton/Mrs.Bates) is honored tobe making herTheatreWorks SiliconValley debut.Regional credits
include Company, Into the Woods, andCamelot (San Francisco Playhouse);Harry Thaw Hates Everybody(Shotgun Players); The 25th AnnualPutnam County Spelling Bee (BerkeleyPlayhouse); Julius Caesar (SanFrancisco Shakespeare Festival onTour); Knuffle Bunny and Tales ofOlympus (Bay Area Children’s Theater);Much Ado About Nothing and Romeoand Juliet (Kingsmen ShakespeareCompany); Sugar (42nd St. Moon); A Midsummer Night’s Dream and King Lear (Great River ShakespeareFestival); and Tonya and Nancy: TheRock Opera (American RepertoryTheatre). She has also played sold-outhouses at Feinstein’s at the HotelNikko in SF and the Laurie Beechmanin NYC with her identical twin sister,Lily, in A Very Drexler Cabaret. Ms.Drexler is a proud native of SanFrancisco. Emerson College: BFAActing. www.MichelleDrexler.com
RICHERT EASLEY(Mr. Woodhouse) isdelighted to be making his firstappearance atTheatreWorks inEmma. He is continu-
ing his association with the musical,
having played Mr. Woodhouse in productions at Cincinnati Playhouse in the Park, Repertory Theatre of St. Louis, Arizona Theatre Company,and The Old Globe in San Diego. OnBroadway, he has appeared in theRadio City Music Hall production andnational tour of Porgy and Bess, andOh! Calcutta! Off-Broadway, heplayed the role of Doc in Junkyard,and his film and TV appearancesinclude the Canadian cult classicOutrageous, Happy Birthday Gemini,and Law and Order: Criminal Intent.
ALYSSA BRYANNEESQUILIN (Maid) isthrilled to be makingher TheatreWorksdebut in Emma. She most recentlyappeared in the
Silicon Valley Shakespeare productionsof The Comedy of Errors (SecondMerchant) and The Tempest (Iris/Water Spirit), as well as the San JoseState production of Zoot Suit (Bertha).She is a recent graduate of San JoseState University, having received a BAin Theatre.
REBECCA EUCHLER (Maid) ishappy to be makingher TheatreWorksdebut in Emma. Hermost recent stagecredits include
Sweeney Todd at Ohlone Summerfest,and Christmas Revue and Cabaret atCalifornia State University Sacramento.She received a BA in Theatre Artsfrom California State UniversitySacramento and studied at the BritishAmerican Drama Academy.
Who’s Who
riChArD FreDeriCk (Mr. Weston) hasappeared atTheatreWorks as Roy in The Light inthe Piazza, Elliot in
Opus, Mr. Weston in Emma (2007),and in New Works readings of TheGreat Pretender and The Giver. BayArea credits include Company, MyFair Lady, and Harper Regan at SFPlayhouse, and work at AmericanConservatory Theatre, 42nd StreetMoon, Central Works, AmericanMusical Theatre of San Jose, amongothers. Regionally, he has appeared atFord’s Theatre (DC), Hangar Theatre(NY), Casa Manana (TX), TheatreThree (TX), and Dallas Children’sTheatre (TX). Mr. Frederick holds anMFA from The Shakespeare Theatreat George Washington University.
TiMOThY gULAn(Mr. Knightley) ishappy to be back atTheatreWorks, wherehe first played thisrole in the premiereof Emma. Most
recently on Broadway he performedin Sting’s The Last Ship. OtherBroadway and Broadway Tour creditsinclude Les Misérables 25th Anniver-sary, South Pacific, Dirty RottenScoundrels, Some Like It Hot, Picassoat the Lapine Agile, Carousel,Falsettos, The Lion King, BloodBrothers, Passion, The Frogs. WorldPremieres include For the Boys, Emma,Houdini, Eliot Ness in Cleveland, TheKing Stag, Just So, and Get In the Car.His television and film appearancesinclude South Pacific (Carnegie Hall),Passion (Lincoln Center Theater), The Knick, Salt, MacGruber, Ice Age,Boardwalk Empire, Extremely Loud &Incredibly Close, and The Producers.Mr. Gulan has taught and guest lec-
tured at colleges and theatres aroundthe country. Love to my wife Kat andmy pal Yogi. timothygulan.com
BriAn hernDOn(Mr. Elton) lastappeared atTheatreWorks in TheMan in the Ceilingas part of the 2015New Works Festival.
For TheatreWorks, he has performedin Being Earnest, Emma, The ElephantMan, The Learned Ladies of ParkAvenue, A Little Princess, The LastNight of Ballyhoo, and Arcadia, as wellas many New Works productions.Other theatres at which he hasworked include San Jose Stage, NewConservatory Theatre Center, SanFrancisco Shakespeare Festival,Shotgun Players, and Marin TheatreCompany. Favorite roles include Leo
Bloom in The Producers andMortimer in Failure: A Love Story. Mr. Herndon teaches stage combatand theatre at Odyssey MiddleSchool. He holds an MFA from theAlabama Shakespeare Festival, and is a proud member of Actors’ Equityand the PlayGround Company.
Leigh AnnLArkin (Harriet) is making herTheatreWorks debutwith Emma.Broadway creditsinclude A Little
Night Music (Petra) and Gypsy(Dainty June). She appeared in theNational Tour of Disney‘s On TheRecord, and has appeared regionallyin both the Alliance Theatre and the Ahmanson Theatre‘s productionsof Harmony (Mary), The Kennedy
encoreartsprograms.com 19
Janeites and Austen FandomsT hough Jane Austen’s novels have been popular
since the Regency era, modern fascination withJane Austen resurged in 1995. That was the year theBBC’s wildly popular adaption of Pride and Prejudicewas broadcast, starring Colin Firth and Jennifer Ehle, followed by the premiere of Emma Thompson’sAcademy Award-winning film adaption of Sense andSensibility, starring Thompson, Kate Winslet, and HughGrant. 1995 also saw the release of a young, contempo-rary retelling of Austen’s Emma set in Beverly Hills:Clueless, starring Alicia Silverstone. The next decadebrought more star-studded adaptations, includingGwyneth Paltrow’s 1996 Emma and Keira Knightley’s2005 Pride and Prejudice.
The mostrecent devel-opments inthe Austenfandom havebeen originalstoriesinspired bythe worldsof herworks, such as the novelsPride andPrejudiceandZombies,
Death Comes toPemberly, and Longbourn; and the viral
video series “The Lizzie Bennet Diaries.” In these works,contemporary authors tell stories that extend or twistthe charaters, places, and events that Austen created.Longbourn, for example, recounts Pride and Prejudicethrough the eyes of the domestic staff of the Bennethousehold, providing a wholly fresh perspective on the now very familiar tale of the Bennet sisters. DeathComes to Pemberly starts with Lizzie Bennet and Mr. Darcy six years after their marriage and quicklydevelops into a murder mystery, weaving a deadly newplot using Austen’s characters as a framework.
“The Lizzie Bennet Diaries” goes further in the realm of
vicariously living in Austen’s world. It is a series of videoblogs, social media posts, and websites that imagine the story of Lizzie Bennet as a modern 24 year-old com-munications graduate student. The multiplatform formatencouraged viewer participation, as viewers could tweetat characters to give them moral support, or make postson Facebook that might get incorporated in the nextinstallment of the series. The series won an Emmy Awardfor Outstanding Interactive Program in 2013, andmarked a new format through which Austen fans couldlive out their love for Austen’s world.
The most active admirers of Jane Austen and her workshave earned their own title—“Janeites.” The term wasoriginally coined by a 19th century academic to refer tohis own literary appreciation of Austen. It is used nowa-days to refer to a less academic and more theatricalAusten hyper-fan: one who sews her own Regency teagowns, sings light art songs accompanied by thepianoforte, and writes her close acquaintances letters inRegency-style language.
Janeites have gatherings for balls and socials, wherethey can mix and mingle according to the strict rules ofRegency modesty, but the largest gathering happensone weekend a year at the Annual General Meeting ofthe Jane Austen Society of North America, or JASNA.The weekend features speakers, events, workshops, andpresentations of literary research all related to JaneAusten. This next year the General Meeting will be heldin Washington, DC—the theme is Emma at 200: “NoOne But Herself.”
The strange and devoted world of Janeites has becomethe basis for yet other movies (Lost in Austen, BridgetJones’ Diary, Austenland ) and has been the subject ofstudy by sociologists. Critics of modern Janeites accusethem of having fallen in love with a fantasy version of the Regency world in which Austen’s books are set, andof not understanding how Austen’s characters are them-selves frustrated by that world. They assert that Janeitesare using their fandom as an outlet for their desire toreturn to a simpler, more rigidly structured, more formal-ized time. Whatever critics may say, the popularity andsocial organization of Janeites seems to indicate thatthey will be around to celebrate Emma’s birthday formany more years to come. – HOLLY DAYTON
Advertisement for the successful Hollywood film, Clueless,
based on Jane Austen’s popular novel, Emma.
20 THEATREWORKS
Who’s Who
Center‘s Ragtime (Evelyn Nesbit),New York City Center‘s Gypsy (DaintyJune), Capital City Theatre‘s Violet(Violet), Williamstown TheatreFestival, Pittsburgh Civic Light Opera,Pittsburgh Musical Theatre, and YorkTheatre. She is featured on the castrecordings of A Little Night Music,Gypsy, and Disney‘s On The Record. Her film/TV appearances include TheGood Wife, Elementary, LipstickJungle, Flight of the Concords, andRemember to Breathe. Many thanksto everyone at Stewart Talent andUntitled Entertainment. For my family.Philippians 4:13. leighannlarkin.com
TRAVIS LELAND(Frank Churchill) ismaking hisTheatreWorks mainstage debut withEmma. He was lastseen in the New
Works Festival readings NormanRockwell’s America, The Giver, and asan understudy for Fly By Night. Othercredits include: Joe Hardy in DamnYankees (Cabrillo Music Theatre); LesMisérables (Musical Theatre West);Nightmare Alley (Geffen Playhouse);Adding Machine: The Musical(Odyssey Theater); The FreedomMachine (NoHo Performing ArtsCenter); and See What I Wanna See(UCLA). He came in Second Place inLA’s Next Great Stage Star competi-tion 2014, and is a graduate of UCLAand AMDA in Los Angeles. Mr. Lelandis an Equity Member Candidate and amember of the Screen Actors Guild—American Federation of Televisionand Radio Artists.
BRIGITTE LOSEY(Maid) is happy to be making herTheatreWorks debutin Emma. Sheappeared recently inHillbarn’s A Funny
Thing Happened on the Way to TheForum (Gymnasia). Other recent credits include Palo Alto Players’Legally Blonde (Margot), and Cal PolyTheatre and Dance’s As You Like It(Celia), A Year with Frog and Toad(Turtle), and Grey Matter (Marge). She graduated from Cal Poly San LuisObispo with a BA in Theatre.
NICK NAKASHIMA(Robert Martin) isthrilled to be back inHighbury, havingtaken part inTheatreWorks’ 2007world premiere of
Emma. He has also appeared inTheatreWorks’ productions of TheLearned Ladies of Park Avenue, ALittle Night Music, and New WorksFestival readings for Burnt Part Boys,Unlock’d, and Emma. Having lastappeared in The Producers at Wood-minster Amphitheater, Mr. Nakashimahas also performed regionally inChildren of Eden (American MusicalTheatre of San Jose), Candide, TheKing and I, Les Misérables, and JesusChrist Superstar, to name a few.
LEE ANN PAYNE(Mrs. Weston) recently performedwith TheatreWorks inNorman Rockwell’sAmerica, (Mary) atthe New Works
Festival. Her regional credits includeThe Snow Queen (multiple roles) withSan Jose Repertory Theatre and theNew York Musical Theatre Festival;Gun Metal Blues, Company, and The World Goes ’Round with JewelTheatre; and Hairspray, Swing!,Anything Goes, and 42nd Street withThe Little Theatre on the Square inIllinois. Ms. Payne has also workedwith Broadway By The Bay, HillbarnTheatre, Palo Alto Players, and manyother local companies as a performer,
director, and choreographer. Sheearned her MFA in Musical Theatrefrom San Diego State University.
SHARON RIETKERK(Jane Fairfax) waslast seen atTheatreWorks inTriangle as Cynthia/Chaya (Theatre Bay Area Award
nominee—a role she also played at the Lyric Theatre of Oklahoma and inTheatreWorks’ New Works Festival); in Marry Me A Little (Theatre BayArea Award); as Meg in Little Women;and as Rose in The Secret Garden.Other regional credits include Elinorin Sense and Sensibility (ChicagoShakespeare Theater); Candida in AMinister’s Wife (San Jose RepertoryTheatre); The Blonde in GunmetalBlues (North Coast Repertory Theatre);Mabel in The Pirates of Penzance (SanFrancisco Opera Guild); Life Could Bea Dream, Rumors (Center REPertoryCompany); Little Me, Nymph Errant,Strike up the Band (42nd StreetMoon); Marian in The Music Man(South Coast Symphony); and in concert with the Grammy-nominatedBay Brass, South Coast, and BearValley Symphonies.
NEIRY ROJO (Maid)is making herTheatreWorks debutin Emma. She was apart of Santa CruzShakespeare’s inaugural season,
playing Audrey in As You Like It, theHost of the Garter Inn in The MerryWives of Windsor, and QueenElizabeth I in The Beard of Avon. Shemost recently appeared as Trinculo in Half Moon Bay ShakespeareCompany’s The Tempest. Ms. Rojoearned her MA in Theatre Arts fromUC Santa Cruz.
encoreartsprograms.com 21
22 THEATREWORKS
Who’s Who
PAUL GORDON (Music, Lyrics, andBook) was nominated for a 2001 TonyAward for composing the music andlyrics to the musical Jane Eyre(TheatreWorks production 2003). Hewon a 2009 Ovation Award for hismusic and lyrics to Daddy Long Legs(TheatreWorks world premiere 2010)with productions all over the world,and currently at the DavenportTheatre Off-Broadway, and won the2007 Bay Area Critics Circle Award orhis libretto to the musical, Emma,developed and premiered by TheatreWorks and later staged at The Old Globe Theatre in San Diego.Sense and Sensibility was commis-sioned by Chicago ShakespeareTheatre and premiered there in 2015.Analog and Vinyl premiered at TheWeston Playhouse in 2014. BeingEarnest, written with Jay Gruska, premiered at TheatreWorks in 2013.His other shows include: Little MissScrooge; Death: The Musical; TheFront; and The Sportswriter.paulgordonmusic.com
FUMIKO BIELEFELDT (CostumeDesigner) has designed over 60 productions for TheatreWorks since1983, including Fallen Angels,Sweeney Todd, Silent Sky, LittleWomen, Being Earnest, 33 Variations,Sense and Sensibility, Snow Falling onCedars, The Light in the Piazza, andthe 2007 production of Emma, whichtraveled to Cincinnati Playhouse inthe Park and the Repertory Theatre of St. Louis (Kevin Klein AwardsNominee). Her designs have appearedin the Bay Area at AmericanConservatory Theater, Aurora TheatreCompany, California ShakespeareTheatre, Magic Theatre, Marin TheatreCompany, San Jose RepertoryTheatre, and The Eureka Theatre,among others. She graduated fromWaseda University (Tokyo) and studied costume design at Stanford.Ms. Bielefeldt has received many
design awards, including the 2004Barbara Bladen Porter Special Award,Bay Area Theatre Critics CircleAwards, Dean Goodman ChoiceAwards, and Back Stage WestGarland Award.
ROBERT KELLEY (Director) Pleaserefer to bio on page 24.
WILLIAM LIBERATORE (MusicalDirector) is TheatreWorks’ ResidentMusical Director and has conductedover 25 shows including SweeneyTodd, Marry Me a Little, Once onThis Island (2014 TBA Award), LittleWomen, Being Earnest, Big River, TheSecret Garden, A Christmas Memory,Harold and Maude, Crowns, JaneEyre, Ragtime, and Pacific Overtures.He was musical director at AmericanMusical Theatre of San Jose, conducting over 30 shows includingFlower Drum Song, Gypsy, A ChorusLine, 42nd Street, Follies, andChildren of Eden. He has won BayArea Theatre Critics Circle Awards forA Little Night Music, South Pacific,and Damn Yankees (AMTSJ), and BatBoy: The Musical; Into the Woods;Emma; Caroline, or Change; and TheLight in the Piazza (TheatreWorks).He is also the director of the award-winning Gunn High School Choirs.
RANDALL K. LUM (Stage Manager)has stage managed TheatreWorks’The Country House, Fallen Angels,The Lake Effect, Peter and theStarcatcher, Water by the Spoonful,Marry Me a Little, Once on ThisIsland, Little Women, Time StandsStill, and Other Desert Cities. Othercompanies and selected creditsinclude four seasons at OregonShakespeare Festival (Equivocation;American Night: The Ballad of JuanJosé; Dead Man’s Cell Phone,Fences; Ruined; The Unfortunates–Workshop), La Jolla Playhouse,Center Theatre Group (The Royale;
American Night: The Ballad of JuanJosé), The Old Globe, AmericanConservatory Theater, BerkeleyRepertory Theatre (The Birds),California Shakespeare Theatre,Seattle Repertory Theatre, LagunaPlayhouse, Pasadena Playhouse, and18 Seasons and over 90 productionsas Resident Stage Manager at SouthCoast Repertory (Wit, IntimateApparel, Three Days Of Rain, BlueDoor, The Further Adventures ofHedda Gabler, Kimberly Akimbo).
STEVEN B. MANNSHARDT (LightingDesigner) has been the lighting designer for over 70 productions atTheatreWorks, having won numerousBay Area Theatre Critics Circle,Theatre Bay Area and Dean GoodmanChoice Awards for his work. Hisregional design credits include Long Wharf Theatre, New Haven; A Contemporary Theatre, Seattle;American Repertory Theater,Cambridge; Studio Arena Theatre,Buffalo; Magic Theatre; PasadenaPlayhouse; The Weston PlayhouseTheatre Company, Vermont;Vancouver Playhouse TheatreCompany; and Olympia Theatre,Dublin, Ireland. He previously taughtlighting design at Santa Rosa JuniorCollege for 14 years and now runs anorganization dedicated to improvingthe education system for both children and adults in Nepal.www.nepal.wwep.org
LESLIE MARTINSON (CastingDirector) is TheatreWorks’ AssociateArtistic Director and Casting Director.Her many TheatreWorks directing credits include Proof, the regional premieres of Water by the Spoonfuland Time Stands Still, and the WestCoast premieres of The Pitmen Painters and Superior Donuts. A graduate of Occidental College, shehas been a Watson Fellow in political theatre, a member of Lincoln Center
encoreartsprograms.com 23
BRITEX
Who’s Who
Director’s Lab, a member of the LaMaMa International DirectingSymposium, and has served onTheatre Bay Area’s Theatre ServicesCommittee since 2002. She wasawarded an Individual ArtistFellowship in Stage Direction from the Arts Council of Silicon Valley forartistic achievement and communityfimpact. She leads master classes andaudition workshops throughout theBay Area, and is a Guest Coach inleadership communication trainingwith Stand and Deliver Group.
JEFF MOCKUS (Sound Designer)designed TheatreWorks’ SweeneyTodd, Once on This Island, Silent Sky,Little Women, Being Earnest, BigRiver, Of Mice and Men, The SecretGarden, Fly By Night, SuperiorDonuts, and [title of show]. His recentwork includes Center REPertoryCompany’s Tenderly, The WesternStage’s Corridos, and Santa CruzShakespeare’s As You Like It andMerry Wives of Windsor. Mr. Mockusserved as Director of Sound for PCPATheaterfest (1990–1993), and as SanJose Repertory Theatre’s ResidentSound Designer (1994–2007). Otherregional credits include UtahShakespearean Festival, AmericanConservatory Theater, CaliforniaShakespeare Theatre, Contra CostaMusical Theatre, Berkeley RepertoryTheatre, Marin Theatre Company,Asian American Theater Company,Sledgehammer Theatre, AContemporary Theatre, HuntingtonTheatre Company, and OregonShakespeare Festival.
RICHARD NEWTON (dialect Coach/Cultural Consultant) is a native ofLiverpool, england, with extensive professional dialect experience in theBay area. He is delighted to continuehis connection in this revival of Emma.additional shows for TheatreWorksinclude Fallen Angels, Peter and the
Starcatcher, and The 39 Steps. othertheatre credits include Oliver!, TheUnderpants, and The Odd Couple(Coastal repertory Theatre, where hewill direct Awake and Sing in 2016); Dr. Jekyll & Mr Hyde (City LightsTheatre); SMASH and The Woman inBlack (dragon productions TheatreCompany). He holds an MFa indirecting/dramaturgy and non-profitmanagement from rooseveltUniversity, Chicago. He supplementshis professional theatrical career withthe healing arts where his main focusis the horse/human interaction; thishe finds resonates with his theatricaltraining and teaching.
JOE RAGEY (Scenic Designer) hasdesigned over 55 shows forTheatreWorks over the last 28 years.Some of his favorite TheatreWorksdesigns include Little Women, BigRiver, Sense and Sensibility, The 39 Steps, A Christmas Memory,Merrily We Roll Along, Baby Taj, My Ántonia, Jane Eyre, Peter Pan,Triumph of Love, You Can’t Take itWith You, Equus, Conversations WithMy Father, Nagasaki Dust, HonorSong for Crazy Horse, La Bete, andPacific Overtures. He has receivedover a dozen Bay Area Theatre Critics Circle Awards, LA Drama-Logue Awards, and Dean GoodmanChoice Awards for shows hedesigned for TheatreWorks.
EMILY ANDERSON WOLF (AssistantStage Manager) has been theAssistant Stage Manager for Fire onthe Mountain, Peter and theStarcatcher, Sweeney Todd, TheHound of the Baskervilles, Little Women, Other Desert Cities, Wild with Happy, and Being Earnest forTheatreWorks, after being the Production Assistant from 2002–06.She was also Assistant StageManager or threesixty’s First NationalTour of Peter Pan; Journey to the
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Who’s Who
West at the New York MusicalTheatre Festival; The 25th AnnualPutnam County Spelling Bee with San Jose Repertory Theatre; andFlower Drum Song, Guys and Dolls,The King and I, and Gypsy withAmerican Musical Theatre of SanJose. Ms. Wolf also works as a stage-hand throughout the Bay Area and is
a proud member of the InternationalAlliance of Theatrical StageEmployees. She holds a BA inTheatre, Cum Laude from MountHolyoke College.
ROBERT KELLEY (Artistic Director) is a Bay Area native and StanfordUniversity graduate. He founded
TheatreWorks in 1970 and has directed over 165 TheatreWorks productions, including many worldand regional premieres. He hasreceived the Silicon Valley ArtsCouncil’s Legacy Laureate Award; theBay Area Theatre Critics Circle PaineKnickerbocker Award for lifetimeachievement; BATCC Awards forOutstanding Direction for his productions of The Hound of theBaskervilles; Into the Woods; PacificOvertures; Rags; Sweeney Todd;Another Midsummer Night; Sundayin the Park with George; Jane Eyre;and Caroline, or Change; and BackStage West Garland Awards for hisdirection of Side Show and Sunday in the Park with George. He recentlydirected The Country House, FallenAngels, Peter and the Starcatcher,Sweeney Todd, Marry Me a Little,The Hound of the Baskervilles, Onceon This Island, Little Women, BeingEarnest, and Big River.
PHIL SANTORA (Managing Director)joined TheatreWorks in 2007. He has served as Managing Director ofNorthlight Theatre (Chicago) andGeorgia Shakespeare Festival(Atlanta), as well as DevelopmentDirector for Great Lakes TheatreFestival (Cleveland) and GeorgeStreet Playhouse (New Brunswick). He holds an MFA in TheatreAdministration from the Yale Schoolof Drama and a BA in Drama fromDuke University. He is Vice Presidentof the National Alliance for MusicalTheatre Board. Prior board serviceincludes the League of ChicagoTheatres, Atlanta Coalition ofTheatres, and the executive commit-tee of the League of ResidentTheatres (LORT). He was named2000’s Best Arts Administrator byAtlanta Magazine and received theAtlanta Arts and Business Council’s1998 ABBY Award for ArtsAdministrator.
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World-class theatrebegins with you.
Join us during this Season of Giving.
Your gift today will make it possible to produce your next favorite production,
discover new works, and grow our next generation of artists and audiences
through our theatre education programs.
Make your gift to TheatreWorks a holiday gift to our community.
Use the enclosed envelope and drop it off in the lobby,
give online at theatreworks.org/give, or call Hans Cárdenas at 650.463.7155.
Thank You.
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encoreartsprograms.com 25
TheatreWorks Silicon Valley ContributorsTHE PRODUCER CIRCLEAnne & Larry Hambly, Executive Producer Co-Chairs • Lynn Szekely-Goode & Gayla Lorthridge Wood, Producer Co-Chairs
TheatreWorks Producers have made a gift of $10,000 or more. They are invited to exclusive events with visiting artists, and on special theatre trips. Producers may selecta production to follow from “page to stage” by attending the design presentation, rehearsals, and opening nights. Producers also receive all Inner Circle benefits.Contact Jodye Friedman at 650.463.7135 or [email protected] for more information
Visionary Producers($50,000 and above)Ann S. BowersDr. & Mrs. W. M. Coughran, Jr.Bruce CozaddAnne & Larry HamblyMorgan Family FoundationRay & Meredith RothrockTheatreWorks Board EmeritusLisa Webster & Ted Semple
Executive Producers($25,000 to $49,999)AnonymousYogen & Peggy DalalThe John & Marcia Goldman
FoundationLarry Horton & George WilsonThe Dirk & Charlene Kabcenell
FoundationPhil Kurjan & Noel ButlerMichelle & Michael Kwatinetz
Mendelsohn Family FundCynthia SearsJanet Strauss & Jeff HawkinsLynn Szekely-Goode &
Dr. Richard GoodeMark & Teri VershelGayla Lorthridge Wood &
Walt Wood
Producers($10,000 to $24,999)Marsha & Bill AdlerLois & Dr. Edward AndersonElaine Baskin & Ken KrechmerLucy Berlin & Glenn TrewittJayne BookerBredt Family Fund at Truckee
Tahoe Community FoundationSteve & Gayle BruglerSteven & Karin ChaseGeorge & Susan CrowGordon & Carolyn Davidson
Susan FairbrookDan & Catharine GarberSylvia & Ron GerstKathryn GreenRichard & Kathy HawesJudy Heyboer & Brian ShallyWilliam J. HiggsPitch & Cathie JohnsonLisa & Marc JonesMike & Martha KahnJulie KaufmanRobert Kelley & Ev ShiroTom & Sharon KelleyRobin & Don KennedyDick & Cathy LampmanDorothy LazierMark & Debra LeslieMark Lewis & Barbara ShapiroMarks Family FoundationThe Marmor Foundation/
Drs. Michael & Jane Marmor
THE INNER CIRCLEHolly Ward & Jayne Booker, Co-Chairs
Members of The Inner Circle contribute a minimum of $1,500 each season and enjoya variety of benefits including priority subscription seating, VIP ticket purchases andexchanges, access to house seats on Broadway, and invitations to Meet-the-Artistsevents. Contact Hans Cárdenas at 650.463.7155 or [email protected] for moreinformation.
Associate Producers($6,000 to $9,999)AnonymousDavid & Ann CrockettJohn & Susan DiekmanDavid E. Gold &
Irene BlumenkranzLinda M. Hinton & Vince FoeckeEdward Hunter & Michelle GarciaThomas Kailath & Anu MaitraLarry Kramer & Sarah DelsonSue & Dick LevyRob & Ann MarangellKevin McCoyYvonne & Mike NevensBill & Janet NichollsRon & Lila SchmidtNancy & Bart Westcott
Directors($3,000 to $5,999)Anonymous (3)Paul Asente & Ron JenksCarol BacchettiPaul & Debbie BakerJoel & Wendy BartlettJim Bassett & Lily HurlimannAnne & Buz BattleKatherine Bazak & John DohnerThe BelleJAR FoundationDavid & Lauren BermanMarah & Gene BrehautKathy BridgmanBruce & Gail ChizenDean & Wilma ChuDiane & Howard CrittendenClaudia & Bill ColemanJeff & Amy CroweRandy Curry & Kay SimonRanae DeSantisJohn & Wynne DobynsKlaus & Gloria DoernerRichard & Josephine Ferrie
Suzanne Martin & John DoyleLeslie & Douglas Murphy-
ChutorianBeth & Charlie PerrellJoe, Nancy, Sam & Sara RageyAdam SamuelsPhilip Santora & Cristian AsherDorothy SaxeLoren & Shelley SaxeMartha Seaver & Scott WaleckaLeonard Shustek &
Donna DubinskyLarry & Barbara SonsiniRick Stern & Nancy Ginsburg SternDebra Summers & John BakerHolly Ward & Scott SpectorWatkins Family Charitable FundCarol WattsHarriet & Frank WeissBill & Janne Wissel
45 for 45CircleTheatreWorks 45 for 45 Circle members have made a multi-yearpledge of $45,000 or more to honor Robert Kelley and TW’s45th Anniversary. Contact Jodye Friedman at 650.463.7135 [email protected] for more information.
Elaine Baskin & Ken KrechmerAnn S. BowersGayle & Steve Brugler Bruce CozaddGordon & Carolyn DavidsonSylvia & Ron GerstAnne & Larry HamblyJudy Heyboer & Brian ShallyJulie KaufmanTom & Sharon KelleyPhil Kurjan & Noel ButlerMichelle & Michael KwatinetzDorothy LazierMark & Debra LeslieCarole & Michael Marks
Suzanne Martin & John Doyle
Mendelsohn Family FundRebecca & James MorganCynthia SearsBarbara Shapiro &
Mark LewisRick Stern & Nancy Ginsburg
SternMark & Teri VershelLisa WebsterWatkins Family Charitable
FundCarol WattsJanne & Bill Wissel
26 THEATREWORKS
Gayle FlanaganPeggy Woodford Forbes &
Harry BremondPeter & Rose FriedlandTerry & Carolyn Gannon
in honor of Robert KelleyCiro & Eileen GiammonaPeter & Laura HaasElaine & Eric HahnEmeri & Brad HandlerDavid & Noreen HenigJerre & Nancy HitzMaureen HobergD & J Hodgson Family FoundationPerry A. Irvine &
Linda Romley-IrvineBarbara JonesClaiborne S. JonesLouise KarrChris KenrickHal & Iris KorolBill & Terry KrivanArlene & Jack LeslieRichard & Charlene Maltzman
in memory of Carol AdlerThe Merrimac FundBuff & Cindy MillerMyrna & Hy Mitchner, PhDGillian & Tom MoranRichard NiblockMargo & Roy OgusIn memory of Pearl ReimerOrli & Zack RinatTom Rindfleisch & Carli ScottBetsy Boardman RossMark & Martha RossRita & Robert RoveEdward & Jane SeamanBart SearsJoyce Reynolds Sinclair &
Dr. Gerald M. SinclairLisa & Matthew SonsiniSusanne Stevens & Monte MansirCatherine & Jeff ThermondCraig & Susie ThomBrent & Michèle TownshendTed & Betty UllmanGriff & Lynne WeberJane Weston & J. HornKaren Carlson White & Ken JaffeeMark & Sheila Wolfson
Players ($1,500 to $2,999)Anonymous (4)Marc & Sophia AbramsonDouglas & Loretta AllredMary Ann Anthony & Ken FowkesPeter Bacchetti in memory of
Ray BacchettiLisa Backus &
Anthony MontefuscoShirley BaileyDoug & Marie BarryPat Bashaw & Gene SegreElizabeth & George BechtelDon & Deborah BennettStuart & Marcella BernsteinDr. Barbara L. Bessey in memory
of Dr. Kevin J. GilmartinCaroline BeverstockCharlotte & David BiegelsenWendell & Celeste BirkhoferBob & Martha BowdenDarrell & Lauren BoyleMichael & Leslie BraunEllen & Marc BrownChet & Marcie BrownChristine B. Butcher+
Eric Butler MD & Suzanne Rocca-Butler
Jeff & Deborah ByronCalvin & Jennifer CarrRon & Sally CarterJosephine Chien &
Stephen JohnsonNancy M. CohenJodi Corwin & Irv Duchovny in
memory of Milt, Michael, & JackRichard & Anita DavisScott & Edie DeVineDouglas DexterDennis & Cindy DillonPamela DoughertyJack & Marcia EdelsteinJames J. ElacquaFrances EscherichSheldon Finkelstein &
Beatriz V. InfanteKathleen FittsLynda & Steve Fox
Diane & Bob FrankleBarbara Franklin & Bernie LothJodye & Jonny FriedmanJay & Joyce FriedrichsMarkus Fromherz & Heike SchmitzMarilee GardnerNancy & Charles GeschkeRenee & Mark GreensteinNancy & Bill GroveBarbara GuntherJim & Linda HaganRussell & Debbie HallCraig & Deborah Hoffman
in memory of Susan WoodsAnne & Emma Grace HolmesDavid Hornik &
Pamela Miller-HornikSusan M. HuchSudhanshu & Lori JainLeigh & Roy JohnsonCraig & Gina Jorasch Family FundJack JorgensonMr. & Mrs. Abdo KadifaRuth Ann & David KeeferCynthia & Bert KeelyArthur KellerJames Kern & Monica DonovanWoof Kurtzman & Liz HertzLinda LesterDonald & Rachel LevyDan’l & Susan LewinRobert J. Lipshutz &
Nancy Wong, MDJanet Littlefield &
William CoggshallDrs. John & Penny LoebTom & Sally LogothettiThe Kohls-Lunt FamilyMalcolm MacNaughtonJoe MargeviciusAnne B. McCarthyPatricia McClung & Allen MorganPatricia McGuiganGerald & Betty McIntyreDave & Carolyn McLoughlinRani Menon & Keith AmidonShauna Mika & Rick CallisonSonda Murphy & Jeremy PlattEileen Nelson & Hugh Franks
Annie Nunan*Lynn & Susan OrrJim & Ellice PappRichard PartridgeDavid Pasta in memory of
Gloria J.A. GuthCarrie Perzow & Von LeirerCarey & Josh PickusJohn & Valerie PoggiKathy & Gary RebackKaren & John ReisEddie Reynolds & Ed JonesEdward & Verne RicePaul & Sheri RobbinsAlicia Rojas & Howard LyonsRobert & Suzanne RubensteinEllen & Jerry SalimanJoseph & Sandy SantandreaElizabeth & Mark ScharLee & Kim ScheuerTom & Hilary SchroederCharles G. Schulz & Claire E. TaylorCarolyn Schutz*Pamela & Rick ShamesJack & Dorothy ShannahanSarah Shema & Neyssa MarinaMarge & Jim ShivelyCarolyn & Rick SilbermanGerry SipesEllen & Ed SmithDenise & Jim StanfordJim Stephens & Abraham BrownThe Sher-Right FundPolly TaylorJan Thomson & Roy LevinHelaina TitusTzipor Ulman & Yigal RubinsteinRobert J. Van der Leest, MDMimi & Jim Van HorneMargaret & Curt WeilPaul & Barbara WeissElissa Wellikson & Tim ShroyerKen & Ruth WilcoxBruce & Elinor WilnerNeil & Ann WolffBill & Sue Worthington
Benefactors($750 to $1,499)Sally Abel • Lynn Bahrych • Mr & Mrs. David W. Beach • Cheryl Booton & Robert Mannell • James B. Brennock • Lee & Amy Christel • Robert A. Cook • Peter & MelanieCross • Anne Dauer • Mary David • Ronald Dickel • Sue & Jeff Epstein • Patrick Farris • Vickie Feeman • Karen & Lorry Frankel • Aaron & Julia Gershenberg • Shoshana& Martin Gerstel • Sue & Bill Gould • Sue Greathouse • Mary Ann & John Grilli • Kovin Hagan • Susan & Don Hanson • Tom & Mary Haverstock • Anna Henderson • MitziHenderson • Nancy Lee Jalonen • Dean & Patricia Johnson • Fred & Peggy Johnson • Carl Jukkola & Desmond Lee • Deborah Karlson • Elza & Theo Keet • Professor &Mrs. David Kennedy • Bob & Edie Kirkwood • Brian Kleis & Jim Lock • Michael & Ina Korek • Allan & Linda Kramer • Jim & Marilyn Lattin • Stephen & Nancy Levy •George & Ann Limbach • Robert & Paige Locke • Alexander & Anne Long • Chris Lunt & Rachel Kohls-Lunt • Anders & Juneko Martinson • Bob & Kathie Maxfield •Karen & Bob McCulloch • Nancy & Patrick McGaraghan • Linda & Tony Meier • Gus Meyner in memory of Miriam • Vivian Nahimas • James Niemasik • Dr. Condoleezza
Rice • Bob Rodert & Bev Kiltz • Jill Sagner & Steve Lipman • Emil J. & Barbara Sarpa • Perry Segal • Sheri Sobrato • Pat Terman • Thomas Vogelsang • David Vroom •Arlene & Bruce S. White • Judith & Peter Wolken
Contributions listed were received between 10/12/2014 and 10/12/2015. Program deadlines and space limitations prevent us from listing all of our greatly appreciated patrons. For corrections, or to make a contribution, please contact Michelle Piasecki at 650.463.7132 or [email protected].
* Indicates donors whose gifts include in-kind goods or services. + Indicates members of the Encore Club, who make ongoing monthly or quarterly gifts.
encoreartsprograms.com 27
Visionary Sponsors ($50,000 and above)The Garden Court Hotel*The William & Flora Hewlett
FoundationJ. Lohr Vineyards & Wines*The Mercury News*Microsoft CorporationThe David & Lucile Packard
FoundationThe Shubert FoundationSobrato Philanthropies*
Presenting Sponsor($25,000 to $49,999)Avant! FoundationHarrell RemodelingNational Endowment for the ArtsSand Hill FoundationSAP
Supporting Sponsors($15,000 to $24,999)Applied MaterialsCarla Befera Public Relations*Fenwick & West LLPThe Harold & Mimi Steinberg
Charitable Trust
Sponsors($10,000 to $14,999)Adams Wine Group*Aeris Communications, Inc.The Leonard C. & Mildred F.
Ferguson FoundationGerstcoHeising-Simons FoundationHengehold Motor Company*Hurlbut-Johnson Charitable
TrustsSilicon Valley BankTarlton Properties
Benefactors($5,000 to $9,999)Bloomingdale’sDodge & Cox Investment
ManagersNordstromPalo Alto Weekly Holiday FundPillsbury Winthrop Shaw
Pittman LLP
Supporters($2,500 to $4,999)AvidbankCooley LLP*S. H. Cowell FoundationThe Morrison & Foerster
FoundationPalo Alto Weekly*
Perkins Coie LLPSynapticsTiffany & Co.*Wells Fargo
Friends($1,000 to $2,499)AnonymousApplied Materials Excellence in the
Arts Grants, a program of Silicon Valley Creates
ChaseVP*DES Architects + EngineersThe Dramatists Guild FundGoodwin Procter LLP*International ProInsurance Services LLCLuther Burbank SavingsNikon Precision, Inc. Peter Michael Winery*Piacere Restaurant &
Chef Miriam Russell-Wadleigh*The Law Office of Nanette S. StringerTBS Construction
Matching GiftsMany companies will double or triple theiremployees’ contributions to nonprofits. It’s a great way to make your gift toTheatreWorks go further at no extra cost.Call 650.463.7160 for more information.
* Indicates donors whose gifts include in-kind goods or services.
CORPORATE CIRCLE, FOUNDATION, & GOVERNMENT GIFTS Jayne Booker, Chair
Foundations and Corporate Circle members sponsor productions, support new works, and fund education programs for K–12 students. Sponsors may host events at the theatre, receive heightened community visibility, and enjoy other hospitality benefits.Contact Jodye Friedman at 650.463.7135 or [email protected] for more information.
VISIONARY SPONSORS
PRESENTING SPONSORS
SUPPORTING SPONSORS
SPONSORS
Marsha & Bill Adler • Marsha & Bill Adler • William C. Anderson • Ann S. Bowers • Polly & Tom Bredt • BruceCozadd & Sharon Hoffman • Peter & Melanie Cross • Yogen & Peggy Dalal • Carl H. Feldman • Kathryn Green• The John & Marcia Goldman Foundation • Emeri & Brad Handler • Hurlbut-Johnson Charitable Trusts •Charles & Roberta Katz Family Foundation • Patricia McClung & Allen Morgan • The Rathmann FamilyFoundation • Eddie Reynolds • John & Diane Savage • Joyce Reynolds Sinclair • Lynn Szekely-Goode & Dr.Richard Goode
ENDOWMENT FUNDTheatreWorks Silicon Valley thanks the following lead donors for their extraordinarily generous Endowment gifts.
Anonymous (6) • Marc Abramson • The Estate of William C. Anderson • Ray & Carol Bacchetti • PaulineBerkow & Ronald Kauffman • David & Lauren Berman • Jayne Booker • James & Diane Bordoni • Ann S.Bowers • Steve & Gayle Brugler • The estate of Cathryn Z. Cannon • Eleanor W. Caughlan • Steven & KarinChase • Jodi Corwin • Bruce Cozadd & Sharon Hoffman • George & Susan Crow • John & Linda Elman •Frances Escherich • Susan Fairbrook • Harriett Ferziger • Gayle Flanagan • Carole & David Florian • Peter &Rose Friedland • Terry & Carolyn Gannon • Ed Glazier • Marcia & John Goldman • Kathryn Green • LorieGriswold • Maureen Hoberg • Anne & Emma Grace Holmes • Kenny Hom • Sam & Elaine Housten • SusanM. Huch • Edward Hunter & Michelle Garcia • John W. & Nancy Lee Jalonen • Barry Lee Johnson • ClaiborneS. Jones • Dr. Steve Kelem • Robert Kelley & Ev Shiro • Bill & Terry Krivan • Phil Kurjan & Noel Butler • WoofKurtzman • Mr. & Mrs. Robert Mangelsdorf • Steve Mannshardt • Suzanne Martin & John Doyle • LeighMetzler & Jim McVey • Cynthia S. Miller • Tami & Craney Ogata • Karen & John Reis • Eddie Reynolds • BetsyBoardman Ross • Adam Samuels • Philip Santora & Cristian Asher • Dorothy Saxe • Loren & Shelley Saxe •Edward & Jane Seaman • Barbara Shapiro & Mark Lewis • Joyce Reynolds Sinclair • Gerry Sipes • Carol Snell& Mindy Rauch • Esther Sobel • Jim & Mary Southam • Cherrill M. Spencer • Rick Stern & Nancy GinsburgStern • Susanne Stevens • Mark Stevenson • Carol Watts • Renee & Herman Winick
FUTUREWORKSFutureWorks members have made an estate gift from a will or living trust, a beneficiary designation in an IRA, a gift of life insurance, a gift that returns lifetime income, or another planned gift. Contact [email protected] for more information.
28 THEATREWORKS
TheatreWorks SV Staff Artistic Director Robert Kelley Managing Director Phil Santora
SCENERY
Technical DirectorFrank Sarmiento
Lead Scenic Artist /CraftsmanTom Langguth
Master CarpenterBill Roberts
CarpentersEsteban Calvillo, Rodrigo Frausto,Henry Ing
PROPERTIES
Properties MasterChristopher Fitzer
Properties Stock ManagerAlfred Rudolph
COSTUMES
Costume DirectorJill Bowers
Assistant CostumerNoah Marin
Lead Cutter/DraperYen La Wong
Wardrobe ManagerThom Hoffman
Costume Rentals ManagerConni Edwards
Assistant Cutter/First HandMichelle Earney
StitchersNhan Thi Luu, Son Pham
Hair StylistJeanne Naritomi
Costume Construction InternLiza Dally
Costume Rentals InternsTaylor Chase, Liza Dally
STAGE MANAGEMENT
Resident Stage ManagerRandall K. Lum
DEVELOPMENT
Director of AdvancementJodye Friedman
Associate Director of Individual GiftsH. Hans Cárdenas
Institutional Gifts ManagerNicole McClain
Events ManagerJodi Corwin
Development Operations ManagerMichelle Piasecki
EDUCATION
Director of EducationAmy Cole-Farrell
Associate Education Director—SchoolsKatie Bartholomew
Associate Education Director—PlaywritingJake Arky
Master Teaching ArtistPiper LaGrelius
Teaching ArtistsCaroline AltmanBrittany CaineMaggie ColeJennifer Debevec Martin Rojas Dietrich Amanda JohnsonEmily Jordan Rebecca LongworthJosh MarxMichileen OberstStephanie OwensKelly RinehartTory RossElissa StebbinsMia TaganoMaryssa Wanlass
Playwright-in-ResidenceJake Arky
MARKETING
Director of MarketingLorraine VanDeGraaf-Rodriguez
Art DirectorEv Shiro
Associate Director of MarketingSyche Phillips
Box Office ManagerAlix Josefski
Sales ManagerSarah Benjamin
Digital Media ManagerJennifer Gosk
Tessitura SpecialistAndrew Skelton
Patron Services CoordinatorTracy Hayden
Ticket Services RepresentativesMegan Bartlett, Bill McFarland,Heather Orth, Margaret Purdy, Pamela Rosen
Graphics AssistantKatie Dai
Sales RepresentativesConstance Gannon, Gerald Gist
Public Relations & AdvertisingCarla Befera & Co.Carla Befera, Molly Kullman
Company PhotographersKevin BerneAlessandra Mello
ADMINISTRATIVE
General ManagerScott DeVine
Database AdministratorKen Maitz
BookkeeperJason Hyde
Staff AccountantBarbara Sloss
Front Desk VolunteersJoan Doherty, Cindi Sears
And thanks to our fabulousTheatreWorkers!
EMMA ADDITIONAL STAFF
ARTISTIC
Associate Artistic DirectorLeslie Martinson
Director of New WorksGiovanna Sardelli
Company Manager/Casting AssociateJeffrey Lo
FutureWorks FellowAkemi Okamura
Resident Musical DirectorWilliam Liberatore
New Works Reading CommitteeDoug Brook, Sue Krumbein, Shareen Merriam, Patty Reinhart,Cindi Sears, Amy Sundberg, Scott Walecka
Dramaturgy InternHolly Dayton
Artistic Engagement ApprenticesAlyssa Bryanne Esquilin, Rebecca Euchler, Brigitte Losey, Neiry Rojo
PRODUCTION,
LIGHTING, & SOUND
Production ManagerDavid A. Milligan
Assistant Production ManagerElizar Ivanov
Operations Manager/Master ElectricianSteven B. Mannshardt
Resident Lighting DesignerSteven B. Mannshardt
Production CoordinatorKaren Szpaller
ElectriciansSteven Fetter, Carolyn Foot, Elizar Ivanov, Dan Kaminski, Nick Kumamoto, Kelly Jean Mack,Harris Meyers, Gary Nelson, Seth Tuthall, Alex Underwood, Becca Van De Vanter,Jarku Virtanen, Jackson Wijtman
Load-in/Strike VolunteersRick Amerson, Ed Hunter
Lighting InternHarry Heller
Light Board Operator Justin BuchsFollowspot Operator Henry HellerSound Engineer Quinn PierronBackstage Audio Dimitri WentworthShow Carpenter Megan Hall
Props Runner Patrick BiggsFloor Crew Sara SparksDressers Sarah Hatton,
Thom Hoffman, Christine Huynh, Kira Karbowski
Wigmaster Sharon RidgeAdditional Wigs by WigboysDraper Marina AgabekovCrafts Maggie Heaman
encoreartsprograms.com 29
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TheatreWorks SV General InformationCONTACT USMailing Address:PO Box 50458, Palo Alto, CA 94303-0458Phone: 650.463.1950 Fax: 650.463.1963E-mail: [email protected]
TICKET SERVICESTickets to all TheatreWorks Silicon Valley performances are sold through the TheatreWorksSilicon Valley Box OfficeHours: Monday–Friday, 11am–6pm; Saturday-Sunday, 12pm-6pmPhone: 650.463.1960
Tickets may also be obtained through theMountain View Center Ticket OfficeHours: Wednesday–Saturday, noon–6pmPhone: 650.903.6000
WALK-UP TICKET SERVICESThe walk-up ticket office will open one hourprior to each performance.
PERFORMANCE TIMES Wed, Thur, Fri Previews 8pmTuesday & Wednesday Eve 7:30pmThursday–Saturday Eve 8:00pmSunday Eve 7:00pmWednesday, Saturday, & Sunday Matinee 2:00pm
AUDIO-CAPTIONINGTheatreWorks Silicon Valley productions havedesignated performances where audio caption-ing is available for the visually impaired. Pleasecall 650.463.1960 for details.
LATE ARRIVALSLatecomers will not be seated until appropriateintervals, and may not be seated in their exactseat locations until intermission.
PLEASE REMEMBERThere is no smoking in the theatres or lobbies.Cameras and recording devices of any kind are strictly prohibited. Neither food nor drink ispermitted in the theatres. Please ensure that all electronic devices are set to the “off“ position while you are in the theatre.
Children 5 and under are not permitted in the theatre. Persons 14 and under must beaccompanied by an adult. Every person, regard-less of age, must have a ticket.
Schedules, shows, casts, and ticket prices aresubject to change.
Single ticket purchases are non-refundable, butare exchangeable for $15 per ticket. Some restrictions apply.
Visit theatreworks.org for detailed information or to purchase tickets.
INDIVIDUAL TICKET PRICES* Preview Prices:Adult: $54 Senior: $45Educator: $45 30 & Under: $25
Sections A / B / C:Tues, Wed, Thurs, Sun Eves and Wed Matinee:
Adult: $69/$61/$25 Senior/Educator: $56/$48/$25 30 & Under: $35/$25/$19
Fri and Sat Eve, Sat and Sun Matinee:Adult: $74/$69/$25 Senior/Educator: $65/$58/$25 30 & Under: $42/$35/$25
Opening Night:All tickets: $80
*Prices do not include $6 per ticket convenience fee. Prices subject to change.
GROUP SAVINGSSavings are available for groups of 8 or more. For more information, call Sarah Benjamin at650.463.7177 or email [email protected].
WHEELCHAIR SEATINGSeating is available for wheelchair patrons.Please telephone the Ticket Office in advanceso that special arrangements may be made.
LISTENING SYSTEMS Both theatres are equipped with listening systems for the Deaf and Hard of Hearing. Please see the house manager for details.
A DELECTABLE COMIC DRAMA
By Kimber LeeDirected by Kirsten Brandt
“Captivating, thought-provoking theater.”StageSceneLA
Mar 9– Apr 3, 2016 Lucie Stern Theatre, Palo Alto
theatreworks.org 650.463.1960
encoreartsprograms.com 31
MARIMEKKO STANFORD SHOPPING CENTER
(650) 353-2170
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