The 2012/2013 Season is made possible by Joan & Irwin Jacobs, City of San Diego Commission for Arts and Culture, DLA Piper, The Shubert Foundation, Dr. Seuss Fund at the San Diego Foundation, Qualcomm Incorporated, Becky Moores, Faiya Fredman, Sheri L. & Stuart W. Jamieson, Gail & Ralph Bryan, Tamara & Kevin Kinsella, Vivien & Jeffrey Ressler, Rich Family Foundation, Colette & Ivor Royston, Steven Strauss & Lise Wilson and Mandell Weiss Charitable Trust.
PErFORMANCEs MAGAZINE P1
A MESSAGE FROM THE
ARTISTIC DIRECTOR To understand the present, examine the past. Blood and Gifts, J.T. Rogers’ fiercely smart play about America’s involvement in the 1981-91 Soviet War with Afghanistan, shows how our naive foreign policy in Central Asia drew us into a secret war that spun out of control and eventually landed in our own backyard.
MISSION STATEMENT: La Jolla Playhouse advances theatre as an art form and as a vital social, moral and political platform by providing unfettered creative opportunities for the leading artists of today and tomorrow. With our youthful spirit and eclectic, artistdriven approach, we will continue to cultivate a local and national following with an insatiable appetite for audacious and diverse work. In the future, San Diego’s La Jolla Playhouse will be considered singularly indispensable to the worldwide theatre landscape, as we become a permanent safe harbor for the unsafe and surprising. The day will come when it will be essential to enter the La Jolla Playhouse village in order to get a
When I first read Blood and Gifts I was entertained by its spy thriller intensity: loyalties shift, promises are broken and betrayals abound. It was fascinating to see the escalating war move from Afghanistan to Pakistan (and the treacherous border terrain where rebels hold sway) to Washington’s den of politicos. The Americans and their ally operatives are as off-balance in foreign countries as they are in their own. There are too few playwrights willing to tackle foreign politics. The brilliance of J.T.’s craft lies in his weaving together of historical fact and personal stories that play out against a high-stakes political canvas. Although it presents us with a dark mirror in which to see our place in the Soviet/Afghan war, the play’s wry commentary and almost absurdist situations point to the nonsensical nature of our foreign policy, the ridiculous lengths that nations will go to serve their self interests, and how little we understand of other cultures. For more than a century Afghanistan has been a thorn in the side of Western and Eastern bloc imperialist countries. What is new — and what is so effectively inferred in the play — is how religious fervor born of political chaos blossomed into a potent ideological force. Blood and Gifts shows us that we can no longer afford to see other countries through our own lens — the price of whatever “gifts” we have to offer is much higher than anyone can predict.
glimpse of what is about to happen in American theatre.
CHRISTOPHER ASHLEY ARTISTIC DIRECTOR
La Jolla Playhouse has received the highest rating from Charity Navigator, the nation’s premier charity evaluator. P2 PERFORMANCES MAGAZINe
La Jolla Playhouse
Board of Trustees Clockwise from top left: Lucille Neeley; Edward Dennis; Lynelle & William Lynch; Gail Knox; Board Chair Michael Eagle with former Chair Ralph Bryan; Michael Yeatts with wife Marilyn. Photos by Daniel Norwood Photography.
MICHAEL EAGLE Chair JEFFREY RESSLER First Vice-Chair LYNELLE LYNCH Second Vice-Chair TIM SCOTT Third Vice-Chair Michael bartell Treasurer margret mcbride Secretary TRUSTEES Gayle Allen Weston Anson Dave Bialis Paula Marie Black Barbara Bloom Ralph Bryan* Robert Caplan Linda L. Chester Flossie Cohen Doug Dawson Edward A. Dennis, Ph.D. Susan E. Dubé Victor M. Felix Suzanne Figi Marye Anne Fox, Ph.D. Gregory Frost Wendy Gillespie Hanna Gleiberman Kay Gurtin Hanaa Hensersky Debby Jacobs Joan Jacobs Sal Janmohamed Jeanne Jones Gail Knox Lucille Neeley
Reenie O’Dea Julie Potiker Steve Relyea Donald Rosenberg Ivor Royston Camille Saltman Susan Polis Schutz Judith C. Smith David Smotrich Amy Spielman Steven M. Strauss* Arthur Wagner, Ph.D. Michael Yeatts Mark Zebrowski Barbara ZoBell HONORARY TRUSTEES David Copley John Goodman Geri Ann Warnke* Robert Wright, Esq. EMERITUS TRUSTEES Richard Atkinson, Ph.D. Rita Bronowski (1917-2010) Milton Fredman (1920-2005) Ewart W. Goodwin, Jr.* Marian Jones Longstreth (1906-1997) Hughes Potiker (1925-2005) Ellen Revelle (1910-2009) Roger Revelle (1909-1991) Willard P. VanderLaan, M.D.* (1917-2012) Mandell Weiss (1891-1993) 1947 FOUNDERS Mel Ferrer Dorothy McGuire Gregory Peck *Past Chair of the Board
A MESSAGE FROM THE BOARD CHAIR It is my pleasure to welcome you to this performance of Blood and Gifts, a fascinating work that was named one of the top ten plays of 2011 by The New York Times and was nominated for a Lucille Lortel Award for Outstanding New Off-Broadway Play. Last month, the Playhouse announced two exciting honors: three Broadway productions developed at the Playhouse — Peter and the Starcatcher, Bonnie & Clyde and Jesus Christ Superstar — earned 13 Tony Award nominations, while the institution received the highest rating (four stars) from Charity Navigator, the nation’s premier charity evaluator. This prestigious organization helps guide intelligent giving by evaluating the financial health, accountability and transparency of more than 5,000 charities. A four-star rating from Charity Navigator represents a ringing endorsement of the Playhouse’s business operations, from the staff to the Board level. While we are extremely proud of the awards garnered by our productions — a true testament to our mission of developing new plays and musicals and to helping those works have an ongoing life outside our walls — it is equally gratifying to receive Charity Navigator’s highest rating for sound fiscal management, demonstrating that the Playhouse is recognized both for the art we produce and how we produce it. We thank you for your endorsement of the Playhouse today, and we look forward to your continued support as a patron, subscriber or donor.
Mike Eagle Chair, Board of Trustees
PErFORMANCEs MAGAZINE P3
LA JOLLA PLAYHOUSE presents Michael S. Rosenberg Managing Director
Christopher Ashley Artistic Director
J.T. Rogers directed BY
Lucie Tiberghien Featuring
Ngozi Anyanwu‡, Amir Arison*, Kelly AuCoin*, Benjamin Burdick*, Demosthenes Chrysan*, Danvir Singh Grewal‡, Sarah Halford‡, Regan Linton‡, Donald Sage MacKay*, Scott Patteson‡, Daniel Pearce*, Triney Sandoval*, Babak Tafti*, Geoffrey Wade*, Maurice Williams‡, touheed TONY Yousef* Set/Projection Designer Costume Designer Lighting Designer original music/Sound Designer Accent Coach/Language Coordinator Dramaturg Stage Manager Assistant Stage Manager casting Local Casting Director Associate Producer Production Manager
Kris Stone Charlotte Devaux MattHEW Richards Shahrokh Yadegari Ursula Meyer Shirley Fishman Anjee Nero* Megan Alvord* Telsey + Company; Will Cantler, Csa Marike Fitzgerald Dana I. Harrel Linda S. Cooper
Blood and Gifts was commissioned by Lincoln Center Theater, where it made its American debut. The play received its world premiere at the National Theater, London. Blood and Gifts is presented by special arrangement with Dramatists Play Service, Inc., New York. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association. ‡
P4 PERFORMANCES MAGAZINe
UC San Diego M.F.A. Candidate in residence at La Jolla Playhouse
THE CAST in order of appearance Dmitri Gromov................................................................................................................................... Triney Sandoval James Warnock...................................................................................................................................... Kelly AuCoin Colonel Afridi............................................................................................................................................Amir Arison Military Clerk............................................................................................................................ Danvir Singh Grewal Simon Craig...........................................................................................................................................Daniel Pearce Abdullah Kahn........................................................................................................................Demosthenes Chrysan Saeed.........................................................................................................................................................Babak Tafti Soldier............................................................................................................................................ Maurice Williams Mujahid Warrior............................................................................................................................. Benjamin Burdick Mujahid Warrior........................................................................................................................ Danvir Singh Grewal Mujahid Warrior....................................................................................................................... Touheed Tony Yousef Political Speechwriter.................................................................................................................... Benjamin Burdick Administrative Aide.............................................................................................................................Scott Patteson Congressional Staffer........................................................................................................................... Sarah Halford Walter Barnes..........................................................................................................................Donald Sage Mackay CIA Analyst............................................................................................................................... Danvir Singh Grewal Senator Jefferson Birch...................................................................................................................... Geoffrey Wade Barbara Birch..........................................................................................................................................Regan Linton Fundraiser Guest................................................................................................................................Ngozi Anyanwu Fundraiser Guest............................................................................................................................ Maurice Williams Other parts played by members of the company SETTING 1981 to 1991 Pakistan, America and Afghanistan Assistant Director Anthony Luciano Assistant Sound Designer Nick Drashner Scenic Design Assistant Kathryn Lieber ‡ Costume Design Assistant Halei Parker ‡ Production Assistant Andrea Gutierrez Afghan Cultural Consultant Humaira Ghilzai Farsi Language Consultant Shahrokh Yadegari Pashto Language Consultant/Coach Touheed Tony Yousef Pashto Translator Janara Bahramzi Russian Language Consultant Yuliya Ladygina Urdu Language Consultant Aleem Siddiqui
Acknowledgements Humaira Ghilzai, Tim McGirk, Edward R. Starnes, Rubicon II Music Clearance LLC “Dreamweaver” by Gary Wright, courtesy of Universal Music; “Hit Me with Your Best Shot” by Edward Schwartz, courtesy of Sony ATV Music; “Hot Child in the City” by Nick Gilder and James McCulloch, courtesy of EMI Music and Capital Records
Blood and Gifts is performed with a 15-minute intermission. This Theatre operates under an agreement between the League of Resident Theatres and the Stage Directors and Choreographers Society, an independent national labor union.
This Theatre operates under an agreement between the League of Resident Theatres and United Scenic Artists, Local USA-829 of the IATSE.
La Jolla Playhouse is a member of the League of Resident Theatres (LORT) and a constituent of Theatre Communications Group (TCG), the national service organization for the nonprofit professional theatre.
Education & Outreach Programs PERFORMANCE OUTREACH PROGRAM (POP) TOUR
Every year, the Playhouse commissions a new play that addresses real concerns of today’s youth and brings a professional production to schools and community centers in diverse communities across San Diego county. School performances are integrated into the classroom curriculum through pre-performance visits by Playhouse Teaching Artists.
In partnership with San Diego County and City Visual and Performing Arts Departments, Playhouse Teaching Artists teach theatre skills in classrooms across the county, ensuring theatre becomes an integral part of the education of all San Diego children while fostering a relationship with the Playhouse that will continue as they grow into adulthood.
YOUNG PERFORMERS’ WORKSHOP
Creative exploration of theatre arts in a summer program for students entering into grades 2-12.
Six-week summer intensive training in acting, voice, movement and text for grades 10-12. By audition only. Supported in part by Sidney E. Frank Foundation.
Illuminating Audience Events
The Playhouse offers unique opportunities for audience members to delve deeper into the play with these special performance series options: Insider: Meet with a Playhouse staff member 1 hour prior to the performance for an insider’s discussion. • Wed., June 27 at 6:30 pm
Talkback Tuesday: Join cast and crew for a discussion following the performance. • Tue., June 19 following 7:30 pm performance • Tue., June 26 following 7:30 pm performance
-Sponsored in Part by
Discovery Events: Join special guest speakers after the performance as they explore the themes of the production. • Sun., July 8 following 2:00 pm performance
-Sponsored in Part by
For more information on Education & Outreach programs at La Jolla Playhouse, please contact Stephen McCormick at (858) 550-1070 x102.
• Sat., June 30 at 1:00 pm
PErFORMANCEs MAGAZINE P5
WHO’S WHO in Blood and Gifts Ahmad Shah MasSoUd Ahmad Shah Massoud was born in 1953 in the Jangalak district of Panjsher. To his admirers, he is known as the “Lion of Panjsher”, a name given to him for his successes as a military commander during the war against the Soviet occupation. After the Communists were defeated, Massoud’s troops were the first Mujahideen group to enter Kabul and establish a Mujahideen government. He served as President Burhanuddin Rabbani’s Defense Minister, and engaged in numerous battles to prevent Rabbani’s rivals, such as Gulbuddin Hekmatyar, from taking over the government. Eventually, Rabbani’s government fell and the Taliban, with secret financial and military help from the Pakistanis, took over the capital. Massoud and his allies pulled their forces north and worked on defending the northern and central regions from being completely taken over by the Taliban. Massoud was chosen as the military leader of UNIFSA (United National Islamic Front for the Salvation of Afghanistan). On September 9, 2001, two days before the terrorist attacks in the U.S., Massoud was killed, a victim of an Al Qaeda suicide attack. The attackers posed as television journalists, setting off a bomb packed inside their video camera. In 2001, after the removal of the Taliban by the UNIFSA and U.S. forces, the Afghan Interim Government under president Hamid Karzai, awarded Massoud the title of “Hero of the Afghan Nation”.
Mohammed Najibullah Trained as a doctor, Mohammad Najibullah rejected medicine for politics and, as an 18-year-old in 1965, joined the PDPA Afghan communist party. Once the PDPA came to power, Najibullah fell out with the new president, Hafizullah Amin, and went into exile. Following the Soviet Union’s invasion of Afghanistan in 1979, Najibullah returned and was appointed by Babrak Karmal, the new Soviet-backed president, as head of the secret police, overseeing the torture and execution of thousands of Afghans. In May 1986, the new general secretary of the Soviet Union, Mikhail Gorbachev, replaced Karmal as president of Afghanistan with Najibullah. Realizing that his Soviet-backed regime would never defeat the Mujahideen rebels, he extended offers of reconciliation. The Mujahideen rejected them all. After almost a decade of war, Soviet forces, withdrew from Afghanistan in February 1989. Najibullah re mained in power. The loose alliance of the Mujahideen forged by the Soviet invasion soon fell apart, splintering into different regional, ethnic and religious groups. Afghanistan erupted into a violent, protracted civil war that was to last until 1996 and was more intense in its violence than anything witnessed during the Soviet-Afghan War. As the Afghan Civil War progressed and Soviet aid diminished, Najibullah’s position became increasingly vulnerable. A number of defections forced Najibullah into resigning and, in April 1992, he tried to flee from Kabul to the city airport. En route his car was stopped by troops loyal to the Mujahideen. Najibullah’s driver managed to deliver him safely into the United Nations compound within the capital. During Najibullah’s years of sanctuary, the Taliban grew in strength and number. By September 1996 they were in control of much of the country. On September 26, 1996, Ahmad Shah Massoud realized that resistance was futile and ordered the withdrawal of his forces out of the capital. Before leaving, he offered to take Najibullah with him. The former president, distrusting of Massoud, refused the offer, declaring that the Taliban, poised outside the city, would do him no harm. It was to prove a fatal error. The Taliban strolled into the capital and their first task was to remove Najibullah from the UN compound. On September 28, Najibullah together with his brother, was publicly beaten, tortured, castrated and killed. Their bodies were strung up on a traffic barricade and left for days.
P6 PERFORMANCES MAGAZINe
Gulbuddin Hekmatyar Gulbuddin Hekmatyar was born in 1947 in Kunduz province in northern Afghanistan and is a member of the Ghilzai Pashtun. He was sent to military academy in 1968, but was expelled two years later due to his radical political views. In 1970 he attended Kabul University’s engineering department but was unable to complete his degree. He remained active at the University until 1972. He was implicated in the killing of a rival member of a Maoist group and sent to jail for two years. Hekmatyar became a pro-Soviet militant of the People’s Democratic Party of Afghanistan. Partly due to his studies at Kabul University, Hekmatyar’s communist ideology was affected by Islamic extremism. He joined the underground Muslim Youth group and his extreme radicalism began to surface. The Islamist movement had two main factions: the Jamiat-i islami (“Islamic Society”) led by Burhanuddin Rabbani, which advocated a gradualist strategy to gain power through infiltration of society and the state apparatus. The other movement, Hezb-i islami (“Islamic Party”), led by Hekmatyar, favored a more radical approach — an uprising led by Islamist intellectuals. Pakistani support went to Hekmatyar’s group, which undertook to instigate an uprising against the government in October 1975. Without popular support, the rebellion ended in complete failure and hundreds of militants were arrested. The failure of Hekmatyar’s attempt led to a formal split between the two factions (both of which were allowed to open offices in Peshawar), resulting in the polarization of Mujahideen politics between gradualists and radicals. In April 1992, as the Democratic Republic of Afghanistan began to collapse, government officials joined the Mujahideen, choosing different parties according to their ethnic and political affinities. In April 1992, Hekmatyar’s troops infiltrated Kabul and seized the city. After two days of heavy fighting, Defense Minister Ahmed Shah Massoud routed and expelled Hezb-i Islami and its allies from Kabul. A peace agreement was signed with Massoud in May 1992, which made Hekmatyar Prime Minister. Immediately after taking office, he began issuing severe decrees engendering outrage among the population who had endured Hekmatyar’s attacks. The Rabbani/Hekmatyar regime lasted only a few months before the Taliban took control of Kabul in September 1996. From 1992 to 1996 the warring factions destroyed most of Kabul and killed thousands of people, most of them civilians. Hekmatyar’s group was responsible for most of the damage, having deliberately targeted civilian areas, purportedly in retaliation for their collaboration with the Soviets and lack of sufficient religious conviction. The Pakistani military had supported Hekmatyar in the hope of installing a Pashtun-dominated government in Kabul that would be friendly to their interests. By 1994, it had become clear that Hekmatyar’s extremism had antagonized most Pashtuns. The Pakistanis began turning to new allies: the fundamentalist and predominantly Pashtun Taliban. Hekmatyar fled to Iran in 1997 where he is reported to have resided for almost six years. After 9/11, Hekmatyar, who had “worked closely” with Osama bin Laden in early 1990s, declared his opposition to the U.S. campaign in Afghanistan and criticized Pakistan for assisting the U.S. As a result of pressure by the U.S. and the Karzai administration, Hekmatyar was expelled from Iran in 2002. He reportedly lives today in an unknown location in southeastern Afghanistan, somewhere close to the Pakistani border.
ADDITIONAL RESOURCES Ghost Wars: The Secret History of the CIA, Afghanistan and Bin Laden from the Soviet Invasion to September 11, 2011, by Steve Coll The Great Gamble: The Soviet War in Afghanistan, by Gregory Feifer Legacy of Ashes: The History of the CIA, by Tim Wiener
P7 PERFORMANCES MAGAZINe
The Hidden War: A Russian Journalist’s Account of the Soviet War in Afghanistan, by Artyom Borovik
The True Story of Charlie Wilson’s War, Documentary. The History Channel, 2007
Charlie Wilson’s War: The Extraordinary Story of the Largest Covert Operation in History, by George Crile
The Art of Intelligence: Lessons from Life in the CIA, by Henry A. Crumpton
Anatomy of a Victory: CIA’s Covert Afghan War
published in Europe and Pakistan a detailed account of his role and that of the CIA, titled “The Bear Trap.” This article and another to follow are based on extensive interviews with Yousaf as well as with more than a dozen senior Western officials who confirmed Yousaf’s disclosures and elaborated on them.
An intelligence coup in 1984 and 1985 triggered the Reagan administration’s decision to escalate the covert progam in Afghanistan, according to Western officials. The United States received highly specific, sensitive A specially equipped C-141 Starlifter transport carrying William Casey touched down at a military air base south information about Kremlin politics and new Soviet war plans in Afghanistan. Already under pressure from of Islamabad in October 1984 for a secret visit by the Congress and conservative activists to expand its support CIA director to plan strategy for the war against Soviet to the mujaheddin, the Reagan administration moved forces in Afghanistan. Helicopters lifted Casey to three in response to this intelligence to open up its highsecret training camps near the Afghan border, where he watched mujaheddin rebels fire heavy weapons and learn technology arsenal to aid the Afghan rebels. to make bombs with CIA-supplied plastic explosives and Beginning in 1985, the CIA supplied mujaheddin rebels detonators. with extensive satellite reconnaissance data of Soviet targets on the Afghan battlefield, plans for military During the visit, Casey startled his Pakistani hosts by operations based on the satellite intelligence, intercepts proposing that they take the Afghan war into enemy of Soviet communications, secret communications territory -- into the Soviet Union itself. Casey wanted networks for the rebels, delayed timing devices for to ship subversive propaganda through Afghanistan tons of C-4 plastic explosives for urban sabotage and to the Soviet Union’s predominantly Muslim southern sophisticated guerrilla attacks, long-range sniper rifles, republics. The Pakistanis agreed, and the CIA soon supplied thousands of Korans, as well as books on Soviet a targeting device for mortars that was linked to a U.S. atrocities in Uzbekistan and tracts on historical heroes of Navy satellite, wire-guided antitank missiles, and other equipment. Uzbek nationalism, according to Pakistani and Western officials. The move to upgrade aid to the mujaheddin roughly “We can do a lot of damage to the Soviet Union,” Casey coincided with the well-known decision in 1986 to provide the mujaheddin with sophisticated, U.S.-made Stinger said, according to Mohammed Yousaf, a Pakistani antiaircraft missiles. Before the missiles arrived, however, general who attended the meeting. those involved in the covert war wrestled with a wideranging and at times divisive debate over how far they Casey’s visit was a prelude to a secret Reagan should go in challenging the Soviet Union in Afghanistan. administration decision in March 1985, reflected in National Security Decision Directive 166, to sharply Roots of the Rebellion escalate U.S. covert action in Afghanistan, according In 1980, not long after Soviet forces invaded Afghanistan to Western officials. Abandoning a policy of simple to prop up a sympathetic leftist government, President harassment of Soviet occupiers, the Reagan team Jimmy Carter signed the first -- and or many years decided secretly to let loose on the Afghan battlefield an array of U.S. high technology and military expertise in the only -- presidential “finding” on Afghanistan, the classified directive required by U.S. law to begin covert an effort to hit and demoralize Soviet commanders and operations, according to several Western sources familiar soldiers. Casey saw it as a prime opportunity to strike at with the Carter document. an overextended, potentially vulnerable Soviet empire.
Steve Coll, ‘Washington Post’ July 19, 1992
Eight years after Casey’s visit to Pakistan, the Soviet Union is no more. Afghanistan has fallen to the heavily armed, fraticidal mujaheddin rebels. The Afghans themselves did the fighting and dying -- and ultimately won their war against the Soviets -- and not all of them laud the CIA’s role in their victory. But even some sharp critics of the CIA agree that in military terms, its secret 1985 escalation of covert support to the mujaheddin made a major difference in Afghanistan, the last battlefield of the long Cold War. How the Reagan administration decided to go for victory in the Afghan war between 1984 and 1988 has been shrouded in secrecy and clouded by the sharply divergent political agendas of those involved. But with the triumph of the mujaheddin rebels over Afghanistan’s leftist government in April and the demise of the Soviet Union, some intelligence officials involved have decided to reveal how the covert escalation was carried out. The most prominent of these former intelligence officers is Yousaf, the Pakistani general who supervised the covert war between 1983 and 1987 and who last month
In all, the United States funneled more than $ 2 billion in guns and money to the mujaheddin during the 1980s, according to U.S. officials. It was the largest covert action program since World War II. In the first years after the Reagan administration inherited the Carter program, the covert Afghan war “tended to be handled out of Casey’s back pocket,” recalled Ronald Spiers, a former U.S. ambassador to Pakistan, the base of the Afghan rebels. Mainly from China’s government, the CIA purchased assault rifles, grenade launchers, mines and SA-7 light antiaircraft weapons, and then arranged for shipment to Pakistan. Most of the weapons dated to the Korean War or earlier. The amounts were significant -- 10,000 tons of arms and ammunition in 1983, according to Yousaf -- but a fraction of what they would be in just a few years. Beginning in 1984, Soviet forces in Afghanistan began to experiment with new and more aggressive tactics against the mujaheddin, based on the use of Soviet special forces, called the Spetsnaz, in helicopter-borne assaults on Afghan rebel supply lines. As these tactics succeeded, Soviet commanders pursued them increasingly, to the point where some U.S. congressmen who traveled with the mujaheddin -- including Rep. Charles Wilson (D-Tex.) and Sen. Gordon Humphrey (R-N.H.) -- believed that the war might turn against the rebels. The new Soviet tactics reflected a perception in the Kremlin that the Red Army was in danger of becoming bogged down in Afghanistan and needed to take decisive steps to win the war, according to sensitive intelligence that reached the Reagan administration in 1984 and 1985, Western officials said. The intelligence came from the upper reaches of the Soviet Defense Ministry and indicated that Soviet hard-liners were pushing a plan to attempt to win the Afghan war within two years, sources said.
Cracking the Kremlin’s Strategy The intelligence about Soviet war plans in Afghanistan was highly specific, according to Western sources. The Soviets intended to deploy one-third of their total Spetsnaz forces in Afghanistan -- nearly 2,000 “highly trained and motivated” paratroops, according to Yousaf. In addition, the Soviets intended to dispatch a stronger KGB presence to assist the special forces and regular troops, and they intended to deploy some of the Soviet The Carter finding sought to aid Afghan rebels in Union’s most sophisticated battlefield communications “harassment” of Soviet occupying forces in Afghanistan equipment, referred to by some as the “Omsk vans” through secret supplies of light weapons and other assistance. The finding did not talk of driving Soviet forces -- mobile, integrated communications centers that out of Afghanistan or defeating them militarily, goals few would permit interception of mujaheddin battlefield communications and rapid, coordinated aerial attacks on considered possible at the time, these sources said. rebel targets, such as the kind that were demoralizing the rebels by 1984. The cornerstone of the program was that the United States, through the CIA, would provide funds, some At the Pentagon, U.S. military officers pored over the weapons and general supervision of support for the intelligence, considering plans to thwart the Soviet mujaheddin rebels, but day-to-day operations and escalation, officials said. The answers they came up direct contact with the mujaheddin would be left to the with, said a Western official, were to provide “secure Pakistani Inter-Services Intelligence agency, or ISI. The communications [for the Afghan rebels], kill the gunships hands-off U.S. role contrasted with CIA operations in and the fighter cover, better routes for [mujaheddin] Nicaragua and Angola. infiltration, and get to work on [Soviet] targets” in Saudi Arabia agreed to match U.S. financial contributions Afghanistan, including the Omsk vans, through the use of satellite reconnaissance and increased, specialized to the mujaheddin and distributed funds directly to ISI. guerrilla training. China sold weapons to the CIA and donated a smaller number directly to Pakistan, but the extent of China’s role has been one of the secret war’s most closely guarded secrets.
“Spetsnaz was key,” said Vincent Cannistraro, a CIA operations officer who was posted at the time as director of intelligence programs at the National Security Council. Not only did communications improve, but the Spetsnaz forces were willing to fight aggressively and at night. The problem, Cannistraro said, was that as the Soviets moved to escalate, the U.S. aid was “just enough to get a very brave people killed” because it encouraged the mujaheddin to fight but did not provide them with the means to win. Conservatives in the Reagan administration and especially in Congress saw the CIA as part of the problem. Humphrey, the former senator and a leading conservative supporter of the mujaheddin, found the CIA “really, really reluctant” to increase the quality of support for the Afghan rebels to meet Soviet escalation. For their part, CIA officers felt the war was not going as badly as some skeptics thought, and they worried that it might not be possible to preserve secrecy in the midst of a major escalation. A sympathetic U.S. official said the agency’s key decision-makers “did not question the wisdom” of the escalation, but were “simply careful.” In March 1985, President Reagan signed National Security Decision Directive 166, and national security adviser Robert D. McFarlane signed an extensive annex, augmenting the original Carter intelligence finding that focused on “harassment” of Soviet occupying forces, according to several sources. Although it covered diplomatic and humanitarian objectives as well, the new, detailed Reagan directive used bold language to authorize stepped-up covert military aid to the mujaheddin, and it made clear that the secret Afghan war had a new goal: to defeat Soviet troops in Afghanistan through covert action and encourage a Soviet withdrawal.
There the CIA specialists met with Pakistani intelligence officers to help plan operations for the Afghan rebels. At any one time during the Afghan fighting season, as many as 11 ISI teams trained and supplied by the CIA accompanied the mujaheddin across the border to supervise attacks, according to Yousaf and Western sources. The teams attacked airports, railroads, fuel depots, electricity pylons, bridges and roads, the sources said. CIA and Pentagon specialists offered detailed satellite photographs and ink maps of Soviet targets around Afghanistan. The CIA station chief in Islamabad ferried U.S. intercepts of Soviet battlefield communications. Other CIA specialists and military officers supplied secure communications gear and trained Pakistani instructors on how to use it. Experts on psychological warfare brought propaganda and books. Demolitions experts gave instructions on the explosives needed to destroy key targets such as bridges, tunnels and fuel depots. They also supplied chemical and electronic timing devices and remote control switches for delayed bombs and rockets that could be shot without a mujaheddin rebel present at the firing site. The new efforts focused on strategic targets such as the Termez Bridge between Afghanistan and the Soviet Union. “We got the information like current speed of the water, current depth of the water, the width of the pillars, which would be the best way to demolish,” Yousaf said. In Washington, CIA lawyers debated whether it was legal to blow up pylons on the Soviet side of the bridge as opposed to the Afghan side, in keeping with the decision not to support military action across the Soviet border, a Western official said.
the wall of Yousaf’s office was covered with detailed maps of Soviet targets in Afghanistan such as airfields, armories and military buildings. The maps came with CIA assessments of how best to approach the target, possible routes of withdrawal, and analysis of how Soviet troops might respond to an attack. “They would say there are the vehicles, and there is the [river bank], and there is the tank,” Yousaf said. CIA operations officers helped Pakistani trainers establish schools for the mujaheddin in secure communications, guerrilla warfare, urban sabotage and heavy weapons, Yousaf and Western officials said. The first antiaircraft systems used by the mujaheddin were the Swiss-made Oerlikon heavy gun and the Britishmade Blowpipe missile, according to Yousaf and Western sources. When these proved ineffective, the United States sent the Stinger. Pakistani officers traveled to the United States for training on the Stinger in June 1986 and then set up a secret mujaheddin Stinger training facility in Rawalpindi, complete with an electronic simulator made in the United States. The simulator allowed mujaheddin trainees to aim and fire at a large screen without actually shooting off expensive missiles, Yousaf said. The screen marked the missile’s track and calculated whether the trainee would have hit his airborne target. Ultimately, the effectiveness of such training and battlefield intelligence depended on the mujaheddin themselves; their performance and willingness to employ disciplined tactics varied greatly. Yousaf considered the aid highly valuable, although persistently marred by supplies of weapons such as the Blowpipe that failed miserably on the battlefield.
At the least, the escalation on the U.S. side initiated with Reagan’s 1985 National Security Directive helped to change the character of the Afghan war, intensifying New Covert U.S. Aid the struggle and raising the stakes for both sides. This The new covert U.S. assistance began with a dramatic change led U.S. officials to confront a difficult question increase in arms supplies -- a steady rise to 65,000 tons that had legal, military, foreign policy and even moral annually by 1987, according to Yousaf -- as well as what implications: In taking the Afghan covert operation more he called a “ceaseless stream” of CIA and Pentagon The most valuable intelligence provided by the Americans directly to the Soviet enemy, how far should the United specialists who traveled to the secret headquarters of States be prepared to go? Pakistan’s ISI on the main road near Rawalpindi, Pakistan. was the satellite reconnaissance, Yousaf said. Soon Despite several attempts, Afghan rebels trained in the new program never brought the Termez Bridge down, though they did damage and destroy other targets, such as pipelines and depots, in the sensitive border area, Western and Pakistani sources said.
PErFORMANCEs MAGAZINE P9
HIDDEN CIA WAR AGAINST
THE SOVIETS: Battleground Afghanistan “We believe that we still could believe. We knew there was much we didn’t want to know. We tried to understand what was impossible to understand. And we even wanted what we had no right to want. Somewhere far behind, we’d cross the line: there was no way back.” – From Afghanistan: A Russian Soldier’s Story by Vladislav Tamarov
s the Cold War was developing in the years following World War II, Afghanistan was a country of 5.5 million people with no highways, railroads, telephones, electricity or higher education system. Since it occupies the only access from Central Asia to the West, the country became of interest to the world’s major powers. In 1979, the Soviet Union, which had been funding the country for three decades, became convinced that Afghanistan’s leader, Hafizullah Amin, was turning in
favor of the U.S. In response, they marched 80,000 soldiers across the border. News of the Soviet invasion stunned the world. As fighting escalated between the two countries, the CIA — with the help of MI6, its British counterpart, and ISI (Pakistan’s military intelligence agency) — organized a covert operation to arm the mujahideen, the Afghan resistance fighters. Weapons came from all over the world, and as the war escalated they became more sophisticated and deadly.
The Soviet/Afghan War ended in a disastrous defeat for the Soviet Army, which hastened the decline of the USSR. The U.S., believing it was victorious in the war against the Soviets, cut ties with Afghanistan. A civil war began among Afghan warlords, and the ensuing chaos paved the way for the emergence of the Taliban and al-Qaida. Once again the U.S. finds itself working alongside the British and ISI to countervail terrorism, no longer in unfamiliar, unknown territory, but in the world’s backyard.
A BRIEF TIMELINE OF EVENTS IN AFGHANISTAN 1973
A coup installs Mohammed Daud Khan as President. Afghan republic declared. Daud turns to Soviets for financial aid to modernize country. Fails to build a modern state. Daud overthrown in 1978.
September: Moscow installs Hafizullah Amin as President, develops plan for military support. KGB troops land in Kabul, kill Amin who is replaced by Babrak Karmal. By December 31, 80,000 Soviet troops in Afghanistan. P10 PERFORMANCES MAGAZINe
Pakistani dictator, Gen. Muhammad Zia-ul-Haq, becomes U.S. friend, fights against Soviets. One million Afghan refugees flee into Pakistan. Pres. Carter authorizes $30 million in aid to rebel groups (mujahideen). Zia-ul-Haq and ISI allow mujahideen to establish base camps in Pakistan’s Northwest Frontier Province which borders Afghanistan. PErFORMANCEs MAGAZINE P10
Newly-elected Pres. Reagan reauthorizes former Pres. Carter’s funding to secretly supply weapons to mujahideen.
Rebel factions fight amongst themselves as much as against Soviets.
ISI enforces strict controls over CIA’s contact with mujahideen.
November: Gorbachev replaces Karmal with former Afghan secret police chief Mohammad Najibullah.
Soviets kill hundreds of demonstrating civilians. Rebel support rises. Attacks escalate.
1982 U.S. negotiates access to Afghan frontier via Pakistan to
supply weapons. ISI pushes CIA to recruit Muslim radicals from around the world to fight mujahideen. Afghan warlords, aware of ISI manipulation, become hostile to the Pakistanis. August: Soviets attack Panjshir Valley, decimating the population. Soviets install Mohammad Najibullah as Chief of the KhAD (Afghanistan security and intelligence agency). By year-end, Soviets unable to neutralize the resistance. More than two million Afghans have fled to Pakistan and Iran.
Cash flows; CIA unable track funds. ISI officers sell arms bought by U.S., Saudi Arabia, Poland, China, Turkey, Egypt to mujahideen. Some sell weapons for personal profit.
1984 Congress increases CIA’s budget to $200 million. Near civil war erupts between mujahideen warlords Ahmad Shah Massoud and Gulbiddin Hekmatyar.
1985 January: Soviet and Afghan armies begin major
offensives to crush mujahideen.
March: Gorbachev becomes General Secretary of USSR. As Perestroika takes hold, Afghan war reaches peak.
1986 $500 million U.S. funds allocated to Afghan war. CIA, MI6, ISI fund and coordinate guerrilla attacks, led by Hetmatyar, into Soviet Tajikistan and Uzbekistan.
December: Withdrawing Soviet forces from Afghanistan becomes official Soviet policy.
1987 Soviet 40th Army pushed back by CIA/ISI-supported forces. Soviets ask U.S. to stop backing rebels to enable withdrawal without bloodbath.
April: Peace deal with Soviets reached in Geneva. Soviets continue to give billions in aid to Afghan government, but U.S. and Pakistan must stop rebel support. End of year: Backed by ISI, Hekmatyar begins clandestine assassinations of rival mujahideen commanders; tries to establish an Islamic Party as national force in Afghanistan.
1989 January: As they remove forces, Soviets suffer great
casualties fighting mujahideen. U.S. embassy in Kabul closed for security reasons. November: Berlin Wall falls.
1990 Soviet Union begins to dissolve, Germany reunites. U.S.
covert action policy now on autopilot as Afghanistan becomes a “third-tier” foreign policy issue.
1991 Christmas Day: Gorbachev resigns; USSR formally disbands. Republic of Afghanistan left to fend for itself.
December 31: CIA authority to conduct covert action in Afghanistan ends, as does U.S. funding. As fighting continues, the countryside is set ablaze by a civil war between rival warlords.
Stinger missiles distributed. US-trained ISI officers teach mujahideen how to operate them; drastic impact on the war with 40-70% of fired Stingers destroying Soviet helicopters.
Glossary Allahu Akbar: God is great. Inshallah: If it is God’s will. Hajj: A pilgrimage to Mecca. Jihad: A crusade for a principle or belief; also, a holy war waged against unbelievers. Mullahs: Educated Muslims trained in religious law and doctrine. Pashtun: The world’s largest tribal Pashto-speaking people who live in southeastern Afghanistan and
Geographic Glossary northwestern Pakistan. Majority population of Afghanistan.
Islamabad: Capital of Pakistan.
Saab: A term used for respect, akin to “Sir.”
Jalalabad: Largest city east of Kabul and closest to Khyber Pass/Pakistan border.
Salaam alaikum: Peace be upon you.
Kabul: Largest city and capital of Afghanistan.
Tajik: Persian-speaking people of Iranic origin with traditional homelands in Afghanistan, Tajikistan and Uzbekistan; smaller communities in Iran and Pakistan, mainly refugees from Afghanistan and immigrants from Tajikistan.
Kandahar: Second largest city in Afghanistan, located in the southeast, heavily populated by Pashtun people. Khyber Pass: A mountain pass and main road connecting Afghanistan and Pakistan. Panjshir: A north central valley in Afghanistan; home to more than 140,000 people, including Afghanistan’s largest concentration of ethnic Tajiks. PErFORMANCEs MAGAZINE P11
BLOOD AND GIFTS:
Politics, History and Not Taking Sides
A Conversation between Playwright J.T. Rogers and Dramaturg Shirley Fishman Shirley Fishman: What drew you to write about the Soviet War in Afghanistan? J.T. Rogers: That it was a U.S.-backed hidden war. Secrets, duplicity and things not being what they seem are interesting to me as a playwright. It gives me lots of colors for a storytelling palette. SF: You did an extraordinary amount of historical research as well as interviews with journalists and political writers. JTR: As someone who fools myself into thinking that I know a lot about current events, I didn’t know about major events in this war. SF: The play shows how events that happened more than two decades ago escalated into a conflict. How much of a role did hindsight play as you’re writing the play? JTR: That’s really interesting. It’s not so much that we’re getting to see the events played out with the benefit of hindsight. It’s that we’re getting to see the shock of how the past directly affects the present. Often in this country we think of the past as a foreign country, which means it doesn’t really have anything to do with us. SF: In doing my own research for the production, I was surprised by how far back the origins of the conflict went. JTR: Afridi, the Pakistani officer in the play, sees the British as the origin of the problem. In 1893, the British and Afghanistan agreed to draw a line (The Durand Line) between Afghanistan and what was then British colonial India. It arbitrarily split the territory into two, creating the borders of Afghanistan and what is now Pakistan, cleaving the homeland of the Pashtun people in two. The treaty ended in 1993. Afghanistan
P12 PERFORMANCES MAGAZINe
has refused Pakistan’s entreaties to extend it. The 100 years are up and many Afghans want what is now a huge chunk of Pakistan to be returned to them. That’s how far back the story goes. The people of Afghanistan and Pakistan are still talking about this. SF: It’s also interesting to look at a map and to see that Afghanistan is surrounded on all sides by the former USSR, Iran and Pakistan. JTR: Yes, it’s a land-locked, pressed-upon powder keg. In this case, geography is destiny. Afghanistan must be passed through in order to get to the Middle East and Central Asia. Because of where it’s located, it’s been traveled through and conquered for thousands of years. SF: Despite its strategic importance in the world, a great many Americans couldn’t have found Afghanistan on a map before 9/11. JTR: What’s interesting about the specific moment Blood and Gifts is set against is that it marks the end of a period in history where we Americans were able to live our lives isolated from events taking place in faraway places. With technology and globally intertwined economies, a conflict like the Afghan-Soviet war could not be ignored today. SF: You said something very interesting in rehearsal today: “When a conflict goes from being about territory to being about ideology, it gets dangerous.” What accounts for that shift? JTR: Ideological conflicts are much more violent because they are more personal. And if the other person is totally wrong, it’s a very simple leap to dehumanizing them. That gives permission to do horrible things because, “We’re not doing it to people like us.”
Playwright J.T. Rogers
The Russians viewed the Afghans as savages; the Afghans viewed the Russians as infidels, and violence on a seismic level occurred. SF: You’ve written several plays that draw on geopolitical themes in which the personal lives of the characters are thrown against a larger political canvas. JTR: It’s the telling of a story with history in it that’s interesting to me. Shakespeare is a great model. Some of his dramas are not political plays per se, they’re history plays. I’m very interested in the story of America played out against a global landscape and what that story tells us about who we are. I try to avoid the pitfall of lecturing the audience, or the tedious idea of Americans as “the innocents abroad.” What I love about Shakespeare is that his authorial hand is respectful and interested in everyone on stage. He doesn’t have straw men and women. He doesn’t have good guys and bad guys. My hope with Blood and Gifts is that the audience will come away and not say, “This guy was right, and that guy was wrong”, but rather, “I see both points of view, including the guy I passionately disagree with.” I’m always trying to not have a point of view or take sides in the play.
THE COMPANY Ngozi Anyanwu, Fundraiser Guest just finished her second year as an M.F.A. actor at UC San Diego. UCSD credits: June Moon, The Storm, Joe Turner’s Come and Gone, Hedda Gabler, Small Prophecies, Hookman. New York credits: As You Like It (directed by Eve Best); War (Rattlestick Playwrights Theater). Regional and tour credits: Hair, Rent, The Crucible and Showboat. You can check out her latest project on Nigerianproject.com.
Sarah Halford, Congressional Staffer is a second-year UC San Diego acting student. Her productions at UCSD include Wendla in Spring Awakening; Varvara in The Storm and The Threepenny Opera. She also has played in Hookman and Salamander Leviathan, which both premiered in the Baldwin New Play Festival. She holds a B.A. from Westmont College in Santa Barbara, where she received an Indy Award for her work in Jane Eyre and Anon(ymous).
Amir Arison, Colonel Afridi Off-Broadway: Aftermath (NYTW, Old Vic UK, Galway – Drama League Award nomination); Christopher Durang’s Why Torture Is Wrong… (Public Theater); Charles Mee’s Queens Boulevard (Signature); A Very Common Procedure (MCC, Dir: Michael Grief); Modern Orthodox (Dir James Lapine), Omnium Gatherum, Candy & Dorothy, A First Class Man, (Naked Angels). International: Love’s Labour’s Lost (RSC’s Complete Works Festival). Regional: New Harmony Project, Shakespeare Theatre DC, Huntington, Yale Rep, Paper Mill, Long Wharf, Lyric, Shakespeare St. Louis, Olney, Dorset. TV: American Horror Story, In Security (TBS Pilot), Fringe, NCIS, Funny Or Die, Gossip Girl, Medium, Undercovers, Law & Order, Law & Order: CI, Traveler, Hope & Faith, The Jury, recurring roles on Homeland, Law & Order: SVU, State of Georgia, As the World Turns. Upcoming: Bryan Singer’s H+, Dallas (TNT), True Justice 2 (Reelz). Film: I Hate Valentine’s Day, The Visitor, Today’s Special. Upcoming: Big Words and Amy Heckerling’s Vamps.
Regan Linton, Barbara Birch is currently a third-year graduate student in UC San Diego’s M.F.A. Acting program. UCSD theatre/dance credits include: The Glass Menagerie, The Threepenny Opera, Small Prophecies, The Storm, and The Rest Is Silence. Ms. Linton has also worked extensively with PHAMALY Theatre in Denver, CO. Last summer she taught Acting with the Playhouse’s Young Performers Workshop. B.A., USC: M.S.W., Univ. of Denver. “Love and gratitude to my family, friends and mentors. Cheers!”
Kelly AuCoin, James Warnock La Jolla Playhouse: A Dram of Drummhicit. Broadway: Julius Caesar. National Tour: Copenhagen. Off-Broadway: Happy Now? and Boy (Primary Stages); Jailbait (Cherry Lane); Some Men (Second Stage); Fifth Column (Mint); Ladies of the Corridor (13th St. Theatre). Regional: Happy Now? (Yale Rep); Finks (NYS&F); The Real Thing and Born Yesterday (Syracuse Stage); Melissa Arctic (Folger); Arcadia (TheatreVirginia); Quills (Florida Stage); Oregon Shakespeare Festival. TV: Blue Bloods 27 East (Pilot), Untitled Jersey City Project (miniseries), Body of Proof, Law & Order: CI, Gossip Girl, White Collar, The Good Wife, Kings, Without a Trace, Third Watch, Waterfront, The Sopranos, Law & Order. Film: The Word, The Music Never Stopped, Julie & Julia, The Kingdom, Serial, A Perfect Fit, A Perfect Murder. For my dear Dale Davis. Darlin’, I miss you.
Benjamin Burdick, Mujahid Warrior/Political Speechwriter is a native of Idaho, a graduate of Yale University and a proud member of The Open Fist Theatre Company in Los Angeles. Recent credits: God of Carnage (The Hippodrome, Gainesville); Arcadia (Sierra Madre Playhouse); The Real Thing (ETC, Santa Barbara). With The Open Fist: Rock-n-Roll (Los Angeles premiere); Light Up the Sky (LA Weekly Nominee - Best Actor in a Comedy); Travesties (LA Weekly Winner-Best Actor in a Comedy); Neil LaBute’s Autobahn (West Coast premiere). Film: The Stranger, Tattoo: A Love Story (Grand Jury Prize, Florida Film Fest), The Board Room (HBO & Montreal Comedy Festivals). TV: Enlightened, Awake (recurring), The Glades, The Mentalist, Monk, Conspiracy (series regular), 24, Las Vegas, Entourage, CSI, Born Free (series regular).
Demosthenes Chrysan, Abdullah Khan was recently seen in Travesties, directed by Sam Buntrock (McCarter Theatre). Other theatre credits include: world premiere of Blood and Gifts (National Theatre, London); world premiere of Water by the Spoonful (Hartford Stage); world premiere of Urge for Going (Public Theater); world premiere of Aftermath (NYTW); world premiere of Queens Boulevard (Signature Theatre); world premiere of Tennis in Nablus (Alliance Theatre); world premiere of The Kite Runner (San Jose Repertory); regional premiere of Homebody/Kabul (Trinity Repertory). Film: Layla Is Bad, Santa Claus in Baghdad and the soon-to-be-released A Case of You. TV: Boardwalk Empire, Damages, Law & Order: SVU, One Life to Live, Louie, 30 Rock.
Danvir Singh Grewal, Military Clerk/Mujahid Warrior/CIA Analyst is a first-year UC San Diego M.F.A. Acting student. UCSD credits: Amad in Santa Barbarians and Window Cleaner in June Moon (MW Forum Theatre). CSU Bakersfield credits: Che in Evita and Pablo Picasso in Picasso at the Lapin Agile (Dore Theatre). He has studied with the Steppenwolf Theatre Company as well as at the Moscow Art Theatre. He holds a B.A. in Theatre & B.S. in Marketing from CSU Bakersfield.
P13 PERFORMANCES MAGAZINe
Donald Sage Mackay, Walter Barnes returns home to La Jolla Playhouse after 22 years, when he appeared in Des McAnuff’s Macbeth as a UC San Diego/M.F.A. actor. Other regional credits: lead role in Ken Ludwig’s world premiere The Game’s Afoot (Cleveland Playhouse); The Old Globe; Mark Taper Forum/Ahmanson; Utah Shakespeare; Milwaukee Rep; San Jose Rep and A Noise Within (Los Angeles Drama Critics Circle Award). Film/TV: Transformers 2, The Good Wife, Mad Men, House, Weeds, NCIS, Criminal Minds, The West Wing, Frasier, The Shield, Scrubs (recurring) and many others.
Scott Patteson, Administrative Aide is entering his third year as part of the M.F.A. Acting program at UC San Diego and is very grateful to be making his La Jolla Playhouse debut. Graduate credits include: Hedda Gabler (Judge Brack); Spring Awakening (Hansy); The Storm (Boris); Small Prophecies and Gas House Baby (BNPF ’11, ‘12). Originally from Northern California, Mr. Patteson earned his B.A. in Theater from UCLA. He is also a proud Eagle Scout. Enjoy the show!
Daniel Pearce, Simon Craig Broadway: The 25th Annual Putnam County Spelling Bee (Circle in the Square). Off-Broadway: Passion Play (Epic); King Lear, Measure for Measure, Henry V, Henry VI (NYSF/Public); The Picture of Dorian Gray (Irish Repertory); A Mother, a Daughter, and a Gun (New World Stages); Love’s Fire (Public); Romeo and Juliet (New Victory). Regional: Long Wharf, Shakespeare Theatre DC, ATL, Guthrie, among others. Film: Salt, An Invisible Sign, Clowns, Godzilla. TV: Damages, Queens Supreme, Chappelle’s Show and all of the Law & Order flavors.
Triney Sandoval, Dmitri Gromov Broadway: A Free Man of Color, A Man for All Seasons, Frost/Nixon. Other New York Theatre: Timon of Athens; The Idiot; Elliot, a Soldier’s Fugue; As You Like it, Whisper. Regional: Baltimore CenterStage, Yale Rep., Repertory Theatre of St. Louis, The Alliance, Milwaukee Rep, The Old Globe, Alabama Shakespeare, California Shakespeare, Shakespeare Santa Cruz and ﬁve seasons as a resident company member with the Oregon Shakespeare Festival. TV: The Sopranos, Lights Out, All My Children and recurring roles on Law & Order and Law & Order: SVU.
Babak Tafti, Saeed is making his La Jolla Playhouse debut. His prior theatrical production was Scorched at the American Conservatory Theater with David Strathairn. His film and television credits include Blue Bloods, Crash (TV series), In the Valley of Elah and Terminator Salvation. He recieved his M.F.A. from the Yale School of Drama.
PErFORMANCEs MAGAZINE P13
THE COMPANY Geoffrey Wade, Senator Birch has appeared on and off-Broadway. Regional: Denver Center, Rep of St. Louis, Cincinnati Playhouse, Pioneer, CenterStage, GeVa, Guthrie, Caldwell, Weston. National tours: Crazy for You and four LA Theatre Works shows. Locally: Tale of the Allergist’s Wife (La Mirada). Member of Antaeus Company, has appeared there in The Malcontent, Autumn Garden, Tonight at 8:30 and taught at the Academy for ten years. TV: Mad Men, Mentalist, The Office, Numb3rs, ER, Scrubs, King of Queens, Law & Order. Trained at Central.
Maurice Williams, Soldier/Fundraiser Guest is currently a second-year M.F.A. student at UC San Diego from Queens, New York. Off-Broadway credits: In Conflict (Barrow Street Theater). His UCSD credits include: Joe Turner’s Come and Gone, June Moon, The Storm, The Devil in Salamander Leviathan (BNPF ‘11) and Three Penny Opera. For Joyce and Gladstone. .X. - J.MP.R - 1.Zr.iV - MyN.r
TOUHEED TonY Yousef, Mujahid Warrior is an Afghan actor, born in Kabul, Afghanistan. He is fluent in five languages, including Farsi, Pashto, Hindi, Russian and English. His recent credits include Mary Stuart, Edward II, In Arabia We’d All Be King and Homebody Kabul. His interest in the arts started from a young age, following in his grandfather’s footsteps. He graduated with a double major from University of California, Irvine’s School of Drama and Political Science. He currently resides in Los Angeles.
J. T. Rogers, Playwright is the author of The Overwhelming, which debuted at the National Theatre in London and had its American premiere at the Roundabout Theater Company (Top Ten Plays of the Year, Time Magazine). Blood and Gifts debuted at the National as well and had its American premiere last season at Lincoln Center Theater (Top Ten Plays of the Year, The New York Times). His works have been staged throughout the United States and in Australia, Canada, Israel and Germany. He is a member of New Dramatists and the Dramatist Guild, is a 2012 Guggenheim Fellow and holds an honorary doctorate from the University of North Carolina School of the Arts.
Lucie Tiberghien, Director Credits include Barcelona by Bess Wohl (workshop at Ojai Playwriting Conference and upcoming production at Contemporary American Theater Festival), That Old Black Magic by Koffi Kwahule (workshop at the Lark and upcoming workshop at NYTW), Craig Wright’s The Pavilion (Drama Desk nomination for best play, Rattlestick Theater, CATF) and Blind (world premiere at Rattlestick), Augusta by Richard Dresser (world premiere, CATF), Stephen Belber’s Geometry of Fire (world premiere, Rattlestick Theater, New York Stage and Film) and A Small Melodramatic Story (world premiere, LAByrinth), Lee Blessing’s Great Falls (world premiere, Humana Festival), The Winning Streak (George Street Playhouse) and Flag Day (CATF), Katori Hall’s Hoodoo Love (world premiere, Cherry Lane) and Hurt Village (Juilliard Playwright’s Festival), We Are Here by Tracy Thorne (CATF), Another Girl by John Yearley (workshop at Playpenn), J.T. Rogers’ Blood and Gifts (workshop at Playpenn and New Dramatists) and The Overwhelming (workshop at Playpenn), Only the end of the world by Jean Luc Lagarce (Directors Company), The Last Schwartz by Deborah Laufer (CATF), Quand j’avais cinq ans je m’ai tué by Howard Buten (Théâtre Jean Vilar, Paris), Mine by Laura Marks (Juilliard Playwright’s Festival), among others. Ms. Tiberghien has translated numerous plays, including Eric Assous’s An Ordinary Day, Veronique Olmi’s Mathilde, Jean Luc Lagarce’s Only the end of the world and Stephen Belber’s Tape and Match, which enjoyed a 3-month run at Le Théâtre de la Madeleine in Paris in 2010 and is currently on tour in France and Switzerland. She has worked as associate director at New City Opera, Glimmerglass Opera, Washington Opera, Le Theatre du Chatelet in Paris and the Milwaukee Opera.
KRIS STONE, Set/Projection Designer NYC premieres include: A Lifetime of Burning (Primary Stages); God’s Ear (Vineyard/ New Georges at CSC); What Once We Felt (Lincoln Center at the Duke); A Cool Dip (Playwrights Horizons). Regional/International: Hartford Stage, Long Wharf, Berkeley Rep, The Old Globe, Yale Rep, Abbey Theatre, Edinburgh Theatre Festival, Riverside Studios – London, Wiesbaden Festival, The Royal Theatre – Tasmania and past 10 years of the Dublin Theatre Festivals. Awards: Drama Desk nomination for Brundibar by Kushner & Sendak, 2006 Bay Area Critics Award for Best Set Design, The Irish Times Theatre Award nomination for Best Set Designer.
P14 PERFORMANCES MAGAZINe
Charlotte Devaux, Costume Designer is honored to make her La Jolla Playhouse debut. Ms Devaux has designed costumes for over 20 productions at The Old Globe Theatre. A few of her credits include Somewhere, The Last Romance with Marion Ross, Kingdom, The Price, Who’s Afraid of Virginia Woolf, A Body of Water and All My Sons. She has also designed for Mo’olelo Performing Arts Company, San Diego Dance Theatre and The Miami Center for the Performing Arts’ Miami Libre, A Cuban Dance Musical. Internationally, she has designed costumes for theatre and television for 10 years in New Zealand, with additional design credits in Sydney, Austraila and London. She was designer and stylist for TV2, Christchurch, New Zealand. Ms. Devaux is the Resident Associate Costume Designer at The Old Globe Theatre where she has worked on over 35 productions.
Matthew Richards, Lighting Designer Off-Broadway: Storefront Church (Atlantic Theater Company); RX (Primary Stages); Hand to God (Ensemble Studio Theatre); Invasion! (Play Company); Graceland (Lincoln Center); The Drunken City and Pen (Playwrights Horizons); Grace (MCC); Len, Asleep in Vinyl (Second Stage); Seussical! and Click!, Clack!, Moo! (TheatreworksUSA); One Loss Plus (Brooklyn Academy of Music); Rattlestick. Regional: Actor’s Theater of Louisville, Arena Stage, Baltimore’s CenterStage, Bay Street, Cleveland Playhouse, Dallas Theater Center, Ford’s Theatre, The Goodman, Hartford Stage, The Hangar, Huntington Theatre, Long Wharf, New York Stage & Film, The Old Globe, Shakespeare Theatre, Westport Playhouse, Williamstown Theatre Festival, Yale Repertory Theatre. Graduate: University of Massachusetts and Yale School of Drama. matthewrichardsdesign.com.
Shahrokh Yadegari, Original Music/Sound Design has collaborated with such artists as Peter Sellars, Robert Woodruff, Gabor Tompa, David Schweizer, Maya Beiser and Steven Schick, among others. He has performed and his music and sound designs have been presented internationally in such venues as the Carnegie Hall, Festival of Arts and Ideas, Ravinia Festival, OFF-Avignon Festival, Ruhr-Triennale, Vienna Festival, Holland Festival, Forum Barcelona, La Jolla Playhouse, Freud Playhouse, Japan America Theatre, Magnes Museum in Berkeley, Contemporary Museum of Art, San Diego, and the Institut fur Neue Musik und Musikerziehung (Darmstadt).
Ursula Meyer, Accent Coach/Language Coordinator Regional credits: La Jolla Playhouse, South Coast Repertory Theatre, Utah Shakespeare Festival, The Guthrie Theatre, The Old Globe Theatre, Shakespeare Santa Cruz, Yale Repertory Theatre, ACT – Seattle, Idaho Shakespeare Festival and 14 years with Oregon Shakespeare Festival. Awards: 2007 Distinguished Teaching Award, University of California. Teaching: Yale School of Drama, UC Santa Barbara and currently UC San Diego. Training: Advanced Diploma in Voice Studies – Central School of Speech and Drama in London (graduated with distinction); M.F.A. from University of Washington; Designated Linklater Teacher.
Shirley Fishman, Resident Dramaturg Now in her 11th season at the Playhouse, Ms. Fishman recently served as dramaturg on Hands on a Hardbody, American Night, Surf Report, A Midsummer Night’s Dream, Bonnie & Clyde, Creditors, Herringbone, Unusual Acts of Devotion, the Playhouse’s production of Xanadu and UC San Diego’s The Revenger’s Tragedy directed by Christopher Ashley. At the Joseph Papp Public Theatre she dramaturged such projects as Jessica Hagedorn’s Dogeaters, Two Sisters and a Piano by Nilo Cruz, Tina Landau’s Space, among others. She serves as a Playwright’s Dramaturg for UC San Diego’s Baldwin New Play Festival. She has been a Creative Advisor/Dramaturg at the Sundance Theatre Lab. She is an M.F.A. graduate of Columbia University’s Theatre Theory/Criticism/Dramaturgy program.
Anjee Nero, Stage Manager La Jolla Playhouse: A Dram of Drummhicit, Ruined (also at Huntington Theatre Company & Berkeley Rep), A Midsummer Night’s Dream, Herringbone, starring BD Wong, Tobacco Road, The Seven, The Adding Machine, Current Nobody, Mother Courage (also at Berkeley Rep). Elsewhere: A Room with a View, Richard O’Brien’s The Rocky Horror Show, The Savannah Disputation, Cornelia, Kingdom, and the 2007 Shakespeare Festival (The Old Globe); Venice (Center Theatre Group & Kansas City Repertory Theatre); Antigone (SITI Company); Filler Up! (Adirondack Theatre Festival) among others. Other selected credits: Schick Machine (Paul Dresher Ensemble), touring to Hong Kong later this year; Dream Report (Allyson Green Dance, featuring Lux Borreal); Garden of Forbidden Loves, Garden of Deadly Sound (IMAGOmoves & International Hungarian Theater Festival in Cluj, Romania). Upcoming: Allegiance, directed by Stafford Arima (The Old Globe).
THE COMPANY Megan Alvord, Assistant Stage Manager La Jolla Playhouse: Unusual Acts of Devotion, Memphis, 33 Variations, The Night Watcher, The Deception, 2008 POP Tour. New York credits: The Pee-Wee Herman Show; Memphis; Grease (National Tour); Hurt Village (Signature Theatre Company); Play It Cool (Theatre Row); Shakespeare in the Park 2011; Timon of Athens (Public Theater); The Irish and How They Got That Way (Irish Repertory Theatre); Family Week (MCC); Up Here (Roundabout Theatre Company).
TELSEY + COMPANY, Casting Broadway/Tours: Bring It On, A Streetcar Named Desire, Evita, The Best Man, Newsies, Porgy and Bess, Godspell, SPIDER-MAN Turn Off the Dark, Sister Act, Priscilla Queen of the Desert, Memphis, Rock of Ages, Wicked, The Normal Heart, The Addams Family. Off-Broadway: Rent, Million Dollar Quartet (and Tour, Chicago), Atlantic, MCC, Signature. Film: The Odd Life of Timothy Green, Friends with Kids, Joyful Noise, Margin Call, Sex and the City 1 & 2, I Love You Phillip Morris, Rachel Getting Married, Dan in Real Life, Across the Universe. TV: “Smash,” “A Gifted Man,” “The Big C.” Bernie Telsey CSA, Will Cantler CSA, David Vaccari CSA, Bethany Knox CSA, Craig Burns CSA, Tiffany Little Canfield CSA, Rachel Hoffman CSA, Justin Huff CSA, Patrick Goodwin CSA, Abbie Brady-Dalton CSA, David Morris, Cesar A. Rocha, Andrew Femenella, Karyn Casl, Kristina Bramhall, Jessie Malone- www.telseyandco.com
Christopher Ashley, Artistic Director has served as La Jolla Playhouse’s Artistic Director since October, 2007. During his tenure, he has helmed the Playhouse’s productions of A Dram of Drummhicit, A Midsummer Night’s Dream, Restoration and the acclaimed musicals Xanadu and Memphis, which won four 2010 Tony Awards including Best Musical. Prior to joining the Playhouse, he directed the Broadway productions of Xanadu (Drama Desk nomination), All Shook Up and The Rocky Horror Show (Tony, Drama Desk and Outer Critics Circle Award nominations), as well as the Kennedy Center Sondheim Celebration productions of Sweeney Todd and Merrily We Roll Along. Other New York credits include: Blown Sideways Through Life, Jeffrey (Lucille Lortel and Obie Awards), The Most Fabulous Story Ever Told, Valhalla, Regrets Only, Wonder of the World, Communicating Doors, Bunny Bunny, The Night Hank Williams Died, Fires in the Mirror (Lucille Lortel Award), among others. Mr. Ashley also directed the feature film Jeffrey and the American Playhouse production of Blown Sideways Through Life for PBS. Mr. Ashley is the recipient of the Princess Grace Award, the Drama League Director Fellowship and an NEA/TCG Director Fellowship.
Michael S. Rosenberg, Managing Director was appointed Managing Director of La Jolla Playhouse in April, 2009. During his first three years, he has worked in partnership with Artistic Director Christopher Ashley to produce 12 world premieres, six Playhouse commissions and the hit musicals Hands on a Hardbody, Bonnie & Clyde, Limelight and Little Miss Sunshine. He was also instrumental in bringing the Page To Stage workshop of John Lequizamo’s Diary of a Madman to the Playhouse, which transferred to Broadway. Additionally, he fostered the growth of the Playhouse’s award-winning Performance Outreach Program (POP) tour, achieving the most performances at local schools in Playhouse history. Previously, Rosenberg was Co-Founder and Executive Director of Drama Dept., a New York non-profit theatre company, where he produced new works by the likes of Douglas Carter Beane, Warren Leight, Isaac Mizrahi, Paul Rudnick and David and Amy Sedaris. He has been a part of the producing teams for the Broadway productions of Grey Gardens and American Buffalo and the national tour of Little House on the Prairie. Debby Buchholz, General Manager has served as General Manager of La Jolla Playhouse since 2002. She is a member of the Executive Committee and of the League of Resident Theaters (LORT). In 2009, she received a San Diego Women Who Mean Business Award from The San Diego Business Journal. Previously she served as Counsel to the John F. Kennedy Center for the Performing Arts and the National Symphony Orchestra in Washington, D.C. She was a faculty member of the Smithsonian Institution’s program on Legal Problems of Museum Administration. Prior to the Kennedy Center, she served as a corporate attorney in New York City and Washington, DC. She is a graduate of UC San Diego and Harvard Law School. Ms. Buchholz and her husband, noted author and White House economic policy advisor Todd Buchholz, live in Solana Beach and are the proud parents of Victoria, Katherine and Alexia. Des McAnuff, Director Emeritus served as La Jolla Playhouse’s Artistic Director from 1983 through 1994, and from 2001 through April, 2007. Under his leadership, the Playhouse garnered more than 300 awards, including the Tony Award for Outstanding Regional Theatre. Playhouse to Broadway credits: Jersey Boys (four Tony Awards); Billy Crystal’s 700 Sundays (Tony Award); How to Succeed in Business Without Really Trying (five Tony nominations); director and co-author with Pete Townshend on The Who’s Tommy (Tony and Olivier Awards for Best Director) and Big River (seven Tony Awards), among others. Film credits: Quills, The Adventures of Rocky and Bullwinkle, The Iron Giant (9 Animation Society awards) and Cousin Bette. Recipient of the Drama League’s 2006 Julia Hansen Award, Mr. McAnuff currently serves as Artistic Director at Canada’s Stratford Festival.
PATRON SERVICES PATRON SERVICES is located in the lobby area of each theatre. A representative is available to answer questions and hand out assisted listening devices, restaurant guides, performance schedules and subscription information. BARS AND CONCESSIONS are open one hour prior to curtain and during intermissions. To avoid the rush, intermission beverages can be ordered before the show. Concessions by:
CAMERAS AND RECORDING DEVICES are strictly prohibited in the theatre. Please check these items with the House Manager and turn off your camera phone. PARKING is free for subscribers; $2 for the general public on weekdays (free on weekends). Upon arrival to campus, please enter your parking space number and pay the automated paystations located by the information kiosk. Spaces that are not paid for are subject to ticketing by UC San Diego Campus Police. DOCTORS AND PARENTS expecting calls during the performance should leave their names and seat numbers with the House Manager before the show. Leave the following number with your service: (858) 550-1030.
La Jolla Playhouse provides wheelchair-accessible seating and parking. Wheelchair seat locations are available for wheelchair users and a companion at all performances; be sure to advise the reservationist that you require a wheelchair location. Additionally, a golf cart is available to assist patrons with accessibility needs to and from the parking lot. Please notify the Box Office prior to your performance if you are in need of this service; additionally, you may pull into the five minute parking in front of the theatre, and a friendly La Jolla Playhouse greeter will assist you.The Playhouse also provides assisted listening devices for patrons who are hard of hearing. Devices are available, free of charge, at the Patron Services Center prior to performances (subject to availability). Listening Devices Provided in Part by
ACCESS One performance of each production is designated as an ACCESS performance. These performances feature American Sign Language interpretations for the deaf and hard of hearing and live audio description for blind/low-vision audience members. Pre-show sensory tours provide design information to enhance the production experience for blind/low-vision patrons as well. The ACCESS performance for Blood and Gifts takes place on Saturday, June 23, 2:00 pm performance.
LATECOMERS or PATRONS WHO LEAVE THEIR SEAT DURING THE PERFORMANCE will be admitted to the standing room section of the theatre at the discretion of the House Manager. They may take their assigned seats at intermission. La Jolla Playhouse accepts no responsibility for inconvenience to latecomers. Safety in the Theatre District La Jolla Playhouse is constantly working with the UC San Diego Police Department and UC San Diego Transportation and Parking Services, which operates the parking lot and security system, to maintain and improve security conditions for patrons and staff members. Additionally, patrons and staff are welcome to use UC San Diego Community Service Officers (CSOs) for an escort to their cars by calling (858) 534-WALK (9255). Further questions regarding security may be addressed to UC San Diego Police at (858) 534-HELP (4357). BABES IN ARMS Out of respect for fellow audience members and the performers, babes in arms are not permitted in the theatre during performances. PLEASE SILENCE all electronic devices including cellular phones, watches and pagers before the performance. THEATRE TOURS Tour the stages and production shops of the Playhouse facilities and learn more about the history of La Jolla Playhouse and the role that it plays in the community. Tours are available to groups for a nominal fee.
PErFORMANCEs MAGAZINE P15
LA JOLLA PLAYHOUSE SEASON SPONSORS Joan & Irwin Jacobs From two world-premiere musicals to a Pulitizer Prize-winning play and from a re-imagined classic to a Page To Stage workshop, we truly can stamp this season “Made in La Jolla!” Congratulations to Chris, Mike and the entire Playhouse team. Gail & Ralph Bryan We’re proud to support the Playhouse this season, including this politically illuminating, spy-versus-spy play Blood and Gifts. Dr. Seuss Fund AT THE San Diego Foundation Seuss celebrates another fantastic season with La Jolla Playhouse! Sheri L. & Stuart W. Jamieson Christopher Ashley and his team proudly carry on the tradition of the Playhouse as a safe harbor for unsafe work. Cheers to another great year!
Rich Family Foundation We are pleased to lend our support to La Jolla Playhouse to promote the hard work, dedication and atmosphere that creates and launches new productions. Colette & Ivor Royston We’re so thrilled to see the outstanding work coming out of the La Jolla Playhouse over the past 26 years of our involvement. Congratulations to the Playhouse for their creativity and stellar leadership. Mandell Weiss Charitable Trust La Jolla Playhouse is an important and vital part of the San Diego arts community. We look forward each season to a wide variety of engaging plays, intriguing stories and original theater. We are proud to support the Playhouse.
Becky Moores My family and I are tremendous fans of La Jolla Playhouse. I am delighted to help bring this incredible season to San Diego for all to enjoy.
Steven Strauss & Lise Wilson What a season ahead of us! It seems like old times witnessing the incomparable collaboration between Des McAnuff and La Jolla Playhouse in creating yet another stunning world premiere musical Yoshimi Battles the Pink Robots!
Vivien & Jeffrey Ressler The Playhouse is an artistic home to our family. We are honored to support this glorious new season as we reflect on the joy the Playhouse has given us for so many years.
The Playhouse would also like to thank Faiya Fredman and Tamara & Kevin Kinsella for their support.
Additional institutional support provided by:
FOUNDATION & GOVERNMENT SUPPORT $100,000 + City of San Diego Commission for Arts and Culture The James Irvine Foundation The Shubert Foundation, Inc. The William Hall Tippett and Ruth Rathell Tippett Foundation $50,000 - $99,999 The County of San Diego Mandell Weiss Charitable Trust $25,000 - $49,999 The National Endowment for the Arts Edgerton Foundation Las Patronas The Parker Foundation; Gerald T. & Inez Grant Parker Sidney E. Frank Foundation
$10,000 - $24,999 The Ariel W. Coggeshall Fund; the Creative Catalyst Fund; and the Colonel Frank C. Wood Memorial Fund of The San Diego Foundation, in Partnership with the James Irvine Foundation Ellen Browning Scripps Foundation San Diego Scottish Rite Community Foundation The Seth Sprague Educational and Charitable Foundation $5,000 - $9,999 Price Family Charitable Fund John and Marcia Price Family Foundation $1,000 - $4,999 National Alliance for Musical Theatre The City of Encinitas & Mizel Family Foundation Community Grant Program The Sutherland Foundation
The Samuel I. & John Henry Fox Foundation City of Chula Vista, Performing and Visual Arts Grant The Arthur and Jeanette Pratt Memorial Fund The Samuel Goldwyn Foundation The Creative Capacity Fund’s NextGen Arts Program La Jolla Kiwanis Foundation $250 - $999 Rising Arts Leaders, San Diego’s Emerging Leaders of Arts and Culture, and The San Diego Foundation in partnership with the James Irvine Foundation The Philanthropy Club Foundation, Coastal Community Foundation, and the 3rd Grade Class of Solana Vista Elementary School La Jolla Playhouse would like to thank Las Patronas and The County of San Diego for making the 2011/2012 Mandell Weiss Theatre Lighting Retrofit possible.
County of San Diego
Wish you could print tickets at home? So do we. La Jolla Playhouse would like to thank The Parker Foundation for granting a generous lead gift to our technology fund, which will bring new features to our patrons’ experience, such as Print at Home ticketing and online photo previews of the view from the seats. Please donate today at www.LaJollaPlayhouse.org/technology to match the foundation’s grant and help us reach our goal. Every dollar helps!
List as of May 16, 2012 P16 PERFORMANCES MAGAZINe
LA JOLLA PLAYHOUSE: CORPORATE CIRCLE $100,000 +
$5,000 + Allianz Global Investors Capital • Avalon Ventures • California Bank & Trust • Forward Ventures / Carson Royston Group LLC Holland America Line • Macy’s Foundation • Merck & Co, Inc. • Mission Partners • Nordstrom • ResMed Inc. SD Scientific, Inc. • Torrey Pines Bank • US Trust
CORPORATE MATCHING COMPANIES Bank of America • Caterpillar • Google • Goodrich • Hewlett-Packard • H&R Block • IBM International • Intuit • Pfizer • Qualcomm Incorporated Sempra Energy • U.S. Bank • Union Bank • Wells Fargo
IN-KIND CIRCLE Wright & L'Estrange
Advanced Time Concepts • Daniel Norwood Photography • Floral FX • St. Petersburg Vodka •Stone Brewing Co.
MEDIA SPONSORS SAN DIEGO
Opportunities for corporations to partner with La Jolla Playhouse are numerous and varied, each providing exclusive benefits and recognition. For information, please contact Jill McIntyre at (858) 550-1070 x137. PErFORMANCEs MAGAZINE P17
LA JOLLA PLAYHOUSE: INDIVIDUAL DONORS Directors' Circle $100,000+
Joan and Irwin Jacobs Dr. Seuss Fund at The San Diego Foundation Rao and Padma Makineni Becky Moores Directors' Circle - $50,000+
Gail and Ralph Bryan Faiya Fredman Sheri L. and Stuart W. Jamieson Tamara and Kevin Kinsella Vivien and Jeffrey Ressler Family Fund of the Jewish Community Foundation Bob and Mindy Rich Colette and Ivor Royston Steven Strauss and Lise Wilson Directors' Circle - $25,000+
Anonymous Christopher Ashley Michael Bartell and Melissa Garfield Bartell Denise and Lon Bevers Paula Marie Black Barbara Bloom Linda Chester and Dr. Kenneth Rind Florence Cohen Michael and Juanita Eagle Debby and Hal Jacobs Family Fund of the Jewish Community Foundation William W. Karatz William and Lynelle Lynch Jennifer Moores Ronald and Lucille Neeley Julie and Lowell Potiker Molli and Arthur Wagner Ph.D. Directors' Circle - $15,000+
Anonymous (2) Kenny and Marleen Alhadeff, In Honor of Christopher Ashley Joseph M. Cassin Ellen Sarver Dolgen and David P. Dolgen Susan E. Dubé Valerie and Gregory Frost Gurtin Fixed Income Jeanne Jones and Don Breitenberg George and Gail Knox Don and Stacy Rosenberg Tim and Emily Scott The Crawford Smith Foundation Amy and Charles Spielman Directors' Circle - $10,000+
Tony and Margaret Acampora Weston Anson and Susan Bailey In Honor of Adelaide Bailey Drs. Edward and Martha Dennis Silvija and Brian Devine Eric and Marsi Gardiner Wendy Gillespie P18 PERFORMANCES MAGAZINe
Gleiberman Family Fund of the Jewish Community Foundation Frank and Betsy Grasso Deni and Jeff Jacobs Fund of the Jewish Community Foundation Des McAnuff Margret and Nevins McBride Dr. Howard and Barbara Milstein Judy and Alan Robbins Camille and David Saltman Gad and Suzan Shaanan Dr. and Mrs. David Smotrich Inner Circle - $5,000+
Kimberly L. Beane and Michael S. Rosenberg Arthur Brody and Phyllis Cohn Christa Burke and Walt Dittmer Leonard and Susan Comden Dorothy and Anthony Dain Andrea Gilbert Miles Grant Jeanne and Gary Herberger Eileen and Leonard Herman Joel and Rosanne Holliday Mary Beth Jernigan, In memory of Richard H. Jernigan Paul and Samara Larson Carol and George Lattimer Barbara Lee Sheila and Jeffrey Lipinsky and Family Barbara and Carl Maggio Prof. Marianne McDonald Laurie Dale Munday and Marcia Green Paula and Brian Powers Rita Bronowski Trust Becky Robbins Murray and Janet Rosenthal Marvin and Tina Simner Mickey Stern Iris and Matthew Strauss Susan and Richard Ulevitch Pamela J. Wagner Mary Lindenstein Walshok, Ph.D. Karin E. Winner Karl and Barbara ZoBell Inner Circle - $2,500+
Anonymous (2) Mrs. Jane Bastien Robert Brunst Leichtag Family Foundation Fund of the Jewish Community Foundation Nina and Bob Doede Karen and William Dow Homer and Nina Eaton Ron and Devora Eisenberg– Great News! Danah Fayman Joan R. Fisher Bill and Judy Garrett Ross and Mary-K Gilbert Jeffrey and Carolyn Levin John and Angie Longenecker Betsy Manchester Shearn and Linda Platt Fund of the Jewish Community Foundation
Peter and Peggy Preuss Larry and Robin Rusinko Laura Spielman Geri Ann Warnke Gary L. Wollberg and Dr. Yumi Miyamoto Inner Circle - $1,000+
Anonymous (3) Ahern Insurance Brokerage/ Brian Ahern Edward L. Anderson and Joan E. Parsons Jeremy Asher Robert Baizer and Diane Jacobs Baizer Ginger and Ken Baldwin Joan and Jeremy Berg Charles Bergan and Lisa Kanetake Sondra and Robert Berk Fund of the Jewish Community Foundation Dale and Marshall Block Loyce R. Bruce Todd and Debby Buchholz Daniel and Deborah, Michael and David Carnick Jack and Carol Clark Pamela Coker Stephanie Cooper and John Clarke Corinna Cotsen and Lee Rosenbaum Stacy Cromidas and Ruth Gilbert Marty and Sheldon Diller Dr. Ralph B. Dilley Barbara and Dick Enberg Drs. Marianne and Robert Engle Daniel and Phyllis Epstein Jennifer and Kurt Eve Inge Feinswog Fund of the Jewish Community Foundation Susan Finkelstein Nancy Fisher and Mike Salt Susanna and Michael Flaster Ellen Fujikawa Dr. Irma Gigli Lee and Frank Goldberg Kimberly and Jeffrey Goldman Drs. Tom and Cindy Goodman, In Honor of Whitney Goodman Arthur and Marlene Greenberg Pat and Rick Harmetz Leonard and Elaine Hirsch Gerald and Ingrid Hoffmeister Fund at The San Diego Foundation George and Maryka Hoover Richard and Janet Hunter Ruth and Paul Jacobowitz Pat JaCoby Anthony and Joyce Joseph Lewis and Patricia Judd Jim and Jennifer Kelly Bill and Linda Kolb Rosalie Kostanzer and Mike Keefe Joan and Robert Kroll Dr. K.B. Lim and Linda Lee Lim Estelle and Hamilton Loeb
Jain Malkin Inc. Stewart and Robin Mann Jasna Markovac and Gary Miller Linda and Dan Masters James and Anne McCammon Valorie McClelland Holly McGrath and David Bruce Dr. Ken Melville and Dr. Sabina Wallach Dawn Moore and Lawrence Alldredge Gregg Motsenbocker Esther Nahama Lyn Nelson Dr. Mark Niblack Carla and Trey Nolan Sally and Howard Oxley F. Richard Pappas Dr. Paul Pearigen and Dr. Kim Kerr Maryanne and Irwin Pfister Lori and Kenneth Polin Laurel and Paddy Rainwater Claire Reiss Kathy Roeder and Stan Morris Richard and Laura Romero Mr. and Mrs. Mason Rosenthal Sara Rosenthal, M.D. and Julie Prazich, M.D. San Diego Branch English Speaking Union - Alice Kirby Warren and Beverly Sanborn Robert and Lora Sandroni Judge and Mrs. H. Lee Sarokin Herb Schnall, In memory of Ann Schnall Morton and Marjorie Hansen Shaevitz Sigesmund Family Dr. Edward and Evelyn Singer Kevin G. Snover Jennifer and David Stickney Stone Family Foundation of the Jewish Community Foundation Place D. Tegland Eloise Fletcher Thomas J. Marie Tuthill Bill VanderLaan Jim and Kathy Waring Jo and Howard Weiner Shari and Lee Weinsten Carrie and Wayne Wilson Howard and Christy Zatkin Jack and Sandy Zemer Emma and Leo Zuckerman Ovation Club - $500+
Anonymous (1) Stella Durham in Memory of Joyce Ashe Barbarella Restaurant Dr. and Mrs. Jorge Barrera Dr. Kim E. Barrett Mona Baumgartel and John DeBeer Bill and Sharon Beamer Arnold and Esther Belinsky Joni and Miles Benickes Amnon and Lee Ben-Yehuda Kay Chandler and Chris Bertics
The Bodenstab Family Joan and Lou Chesner Leslie and Thomas Coll Daniel Collins and Nancy Shimamoto Gigi Cramer Mark and Jenny Dowling Ara Drobnies Jacqueline and Stanley Drosch Bob Duffield Esther and Robert Feier Drs. Bessie and Ron Floyd Dr. Charles Freebern Mr. and Mrs. James R. Furby Susan and Steven Garfin Kathryn Goetz Dr. Carol A. Harter and Mr. William D. Smith Suzanne and Lawrence Hess Dr. Peter and Mrs. Megan Hoagland Sharon and Robert Hubbard Dr. David S. Johnson Wendy S. Johnson Rob and Kathy Jones Natasha Josefowitz Jo Ann Kilty Jerry and Martha Krasne Friends of Encanto Richard and Sherry Levin Carole and Henry Manfredo Mary Lou Matthews Hon. James A. and Victoria M. McIntyre Te and Anabel Mintz Dr. and Mrs. Charles Mittman Helga and James Moore Dr. Katherine L. Morse and Mr. David L. Drake Dr. Rodney and Barbara Orth Susan C. Parker Brigit and Alan Pitcairn San Diego Concierge Association Scarano Family Foundation at The San Diego Foundation Beverly and Howard Silldorf Alan and Esther Siman Herbert J. and Elene Solomon Fund of the Jewish Community Foundation Phoebe and Gene Telser Charles and Rita Tesar David and Tina Thomas Doris A. Trauner M.D. and Richard Stanford Cynthia Walk Graydon and Dorothy Wetzler Ovation Club - $250+
Anonymous (3) Mary Beth Adderley Rich and Mary Lou Amen Charles and Barbara Arledge Dr. Judith Bardwick Beverly L. Bartlett and Barbara Sailors Dr. Aviva Berlin Gerlinde and Greg Beuerlein Helen and Douglas Boyden
LA JOLLA PLAYHOUSE: INDIVIDUAL DONORS Michael and Wendy Carey Glenn and Lynne Carlson Larry Carter Steven and Adina Chinowsky June Chocheles J. Clark & M. Thorstensen Peter B. Clark Ed and Melissa Cook Alicia Covill Dr. Pedro and Carol Cuatrecasas Betsy Dam Bruce and Joanne Dane Marcus and Ann De Barros Wayne and Liz Dernetz Wally and Linda Dieckmann David Donovan Deirdre Elliott, M.D. Maria Ferry Barbara M. Finn Dieter Fischer’s Mercedes Service, Inc. Ms. Pauline Forman Susan Forsburg and Lisa Churchill Drs. Jan and Helane Fronek Pam and Hal Fuson Mr. and Mrs. Robert Gans Joyce M. Gattas Drs. Charles and Nancy Girvin Michael and Brenda Goldbaum Carolyn and Jimmie Greenslate James and Carrie Greenstein Dr. Jeffrey Hall and Fern Platt Blake Harper and Janice Deaton Thomas Harvey and Bonnie Drolet Tracy Hatfield In Memory of Cheryl L. Sarno Marie Heavey Jamie Henson and Robert Houskeeper Blue Herron Cottages Richard and Veronique Ho Bill and Nancy Homeyer Fonda Hopkins Ed and Linda Janon Jay and Kendra Jeffcoat Neil and Vivien Joebchen Barbara and Casey Johnson In Memory of James & Adrienne Jones and Edward & Betty Thomas Roy and Bobbie Josepho Robert Kaplan and Marina Baroff Mick and Sherrie Laver Dixon and Pat Lee Marvin and Reinette Levine Leonard Levy Karen and Mark Liebowitz Vivian Lim and Joseph Wong Gerald and Ann Lipschitz Fund of the Jewish Community Foundation Mathew and Barbara Loonin Karen and Charles Macbeth Russell Mangerie Heidi and Peter Maretz Lance and Jan Mason Edward and Barbara Mayers Christa McReynolds Laura and Eric Michelsen
Dr. and Mrs. Paul E. Michelson Story and Richard Moreno Marilyn Moriarty Alan M. Nahum and Victoria J. Danzig Beatrice E. Pardo Dr. William and Beth Penny Don and Nola Picht Dr. Kevin Rapeport and Dr. Angeli Hill Ravet Family Fund of the Jewish Community Foundation Jodyne Roseman Carole Sachs Mark and Theresa Sadoff Parag Sanghvi Dr. and Mrs. Simon Sayre Mario and Anna Scipione Jeff and Jean Selzer Sandy and Stella Shvil Drs. Ron and Marilyn Simon Clark and Kathryn Smith Carol and Stuart Smith Norman and Judith Solomon Gary and Susan Spoto Francy Starr Cynthia Stauffer and Melinda Arnold Dr. Jennifer Stewart and Mr. Scott Harrison Harriet and John Taylor Reed and Solange Thompson Kelly and Elisa Thomson Michael Tierney and Andrea Migdal In Memory of Lorrie Tindel Aldad and Ommid Vakili Scott Vandenberg Katharine Sheehan and Frederick Walker Marybeth Ward Gary and Debbie Wasserman Mel and Isabelle Wasserman Susan and Eric Weisman Frankie and Allen White Mr. Stephen Worland Brendan and Kaye Wynne Howard and Judy Ziment Ovation Club - $150+
Anonymous (6) Ben and Debra Abate Raul Arthur and Lisa Albanez Timothy W. Alexander Sharon and Terry Allen Dr. Philip O. Anderson and Dr. Veronica Valdes Polly Ball Gene and Ed Barth Billie Bearden Patricia Behrend Phylaine Bemel-Schermerhorn Eve Benton and Malcolm Bund Jan and Robert Bitmead Leslie and Dorothy Blair Bob and Joyce Blumberg Sue Boiko and Martin Schwartz James B. Bond, CLSB Drs. Jeffrey and Jennifer Braswell
Mary E. Brewer Jerre and Aylin Bridges LaVerne and Blaine Briggs Ray and Bonnie Brooks Jeffrey Brown Hal and Linda Brown Dr. and Mrs. Simon C. Brumbaugh Margot Burger and Jerry Dame Julia Carson Alberto and Marta Chavira Mr. Neal P. Chazin L. Owen and Ruth Clinton Michael and Ellise Coit Mary Cory Mr. and Ms. Peter Crea Annette Cross Danny and Beth Dabby Mr. and Mrs. Gary David Ted and Deanna DeFrank Kevin Deguise Bethany Derrough Dawn and Dutch Dershem Bob and Chris Dilworth The Ditty Family Capt. Robert and Elaine Donnelly Beth and Stephen Doyne The Drummond Family Steven Due Jinx Ecke Virginia Eddy Dr. and Mrs. Ronald Edelson Amy Corton and Carl Eibl Steven and Amy Epner Helen Trahan Farschon Muriel Filman Mr. and Mrs. Ross Fisher Mr. and Mrs. Standish Fleming Susan Foerster Anne Q. Fomon David Fox and Lydia Thompson In Honor of Faiya Fredman Elizabeth Austin and David E. Freedheim David Garcia Steve and Janet Gaspari Dr. and Mrs. Arnold Gass Arline and Daniel Genis Roberta and James George Wayne and Martha Gerth Alan and Marleigh Gleicher Mr. and Mrs. Christopher Glenn Gloria and Neal Gobar Drs. Daniel and Ulrika Green Dinia Green William and Candy Griffith Harry Griswold and Stephanie Webber Theodore Gryga Pat and Pepper Guevara Sandra Hale Mr. and Mrs. Jerry Hall Mary Hardwick Jeff and Joel Shirley A. Harper Barbara Hench Diana and Mike Hill Hon. Herbert Hoffman Ret. Dr. and Mrs. Michael Holland Isabella Furth and Everett Howe
Kent and Candace Humber Randy and Carrol Jackson Dr. Arthur and Beatriz Jacobson Nora and Alan Jaffe David and Betty Johnson Mr. and Mrs. Myron Joseph Michael and Nancy Kaehr Jennifer Kagnoff Dr. and Mrs. Martin Kagnoff Maurine Kellman Julie and Kern Kenyon Cynthia and John Klinedinst Gladys Kohn Karen Krupinsky Robert and Elena Kucinski Helen Kupka Juan and Alexis Lasheras Dr. and Mrs. Elliott Lasser Veronica and Miguel Leff, Esq. Marshall and Judy Lewis Fund of the Jewish Community Foundation David MacCormack Bonnie Macritchie Sue and Peter Madsen Barbara Malk Janet Malone David Mandell Mr. Joseph Marron and Dr. Deborah Hofler Gary and Barbara Marsella Harold and Beverly Martyn Tom and Ina Masten Peggy Matthews Wallace McCloskey Dennis A. McConnell In Honor of Thos. L. Crist & George A. LaPointe Dr. and Mrs. Robert Meredith Dr. and Mrs. Eli Mishuck Isaac and Nancy Mizrahi Carrie Morrow Susan Motenko Martha Mutschler Ann Nathan Joani Nelson Dr. and Mrs. Steven Ornish Paula Tallal and Colleen Osburn Robert Otto Michelle Parker Mr. and Mrs. Michael Paurazas Susan Peinado Ernie and Mary Pennell Dr. and Mrs. John Person Don and Robyn Phillips Marina Piccioni Mr. and Mrs. Kenneth Poggenburg
Howdy and Sharon Pratt Kevin Quinn Cynthia and Gilbert Raff Mike and Laura Ravine Bill and Jacqui Reavey Mr. and Mrs. Christopher Reich David and Melissa Rewolinski Deborah Reynolds Kathy Rhodes Joy and Lawrence Rogers George and Karen Sachs Raymond and Marcia Sachs Barbara J. Saltman Jocelyn and Peter Schultz Robert Singer and Judith Harris J & J Slobodny Dr. Robert and Mrs. Jacquelyn Slotkin William and Gloria Snyder Steven and Phyllis Spierer Ray and Lauren Stainback Susanne Stanford and Tom Matthews Karla and Edward Stockton Dr. Michael Sutherland and Linda Greenberg Scott T. Swazey Mary and Tim Swift Stephanie and Alan Tarkington John and Gail Tauscher Michael Thorsnes Edward and Karin Threat Bill and Lee Tollefson David Valentine Jr. Hal Walba Michael and Beth Wapner Z.J. Waxenberg Jane Wheeler Caryl Lees Witte Norah and William Wolff Peter and Donna Worcester Paul and Kathryn Zucker List as of May 15, 2012. We apologize for any errors or accidental omissions. Please contact the Individual Giving Office at (858) 550-1050 x142 if you would like to change your listing.
IN GRATITUDE: The La Jolla Playhouse Board of Trustees and staff wish to express their deepest appreciation and gratitude to Vivien and Jeffrey Ressler for establishing the Jordan Ressler Endowment Fund. With the creation of this endowment, the Playhouse will receive much-needed annual support for the express purpose of developing new work and sustaining key artistic projects throughout the creative process.
PErFORMANCEs MAGAZINE P19
LA JOLLA PLAYHOUSE
Associate Producer Dana I. Harrel Resident Dramaturg Shirley Fishman Literary Director Gabriel Greene Director Emeritus Des McAnuff Executive Assistant to Christopher Ashley Rick VanNoy Artistic Assistant/Local Casting Director Marike Fitzgerald Commissioned Artists Mark Bennett, Keith Bunin, Kirsten Greenidge, Joe Iconis, Naomi Iizuka, Gregory S. Moss, Ernie Nolan, Basil Twist, Alfred Uhry, Doug Wright
Production Manager Linda S. Cooper Assistant Production Manager Cate O. Barger
Technical Director Chris Borreson Assistant Technical Director Mike Schwent Scene Shop Foreman David Weiner Master Carpenter Mike Curtis Staff Carpenters Bill George, Tom Lucenti, Ty Meservy Staff Show Carpenters Kyle Ahlquist, Preston Spence Shop Carpenters Mihai Antonescu, William Bender, Jacob Bruce, Matt Clark, Stephan Lutz, Mason Petersen Shop Helper Doug Collind
Charge Scenic Artist Joan Newhouse Assistant Charge Artist JR Bruce Scenic Artists Dwaine Best, Tiffany Tucker
Prop Master Debra Hatch Associate Prop Master Jenny Fajerman Prop Shop Foreman Will Widick Soft Goods Elizabeth Egan Lead Artisan Ryan Lewis Props Artisans Mark Jensen, Ryan Lewis, Carlos Wauman
Costume Shop Manager Sue Makkoo Costume Shop Supervisor Ingrid Helton Costume Shop Foreman/Tailor Lissa Skiles First Hand/Master Stitcher K-Joy Lehmann-Way Drapers Sarah Maisel, Joan Mathison Wig and Makeup Supervisor Lisa Wylie First Hands Jan Blankenship, Claudia LaRue Crafts Corey Johnston, Christy Jones Stitchers Rebecca Fabares Resident Design Assistant Erick Sundquist Costume Shop Assistant Desiree Hatfield-Buckley
Lighting Supervisor Mike Doyle Assistant Lighting Supervisor Kathryn Sturch Staff Electricians Mike Lowe, Ramon Wenn, Matt Wilson Electricians Kristyn Kennedy, Patricia Lesinski, Andrea Ryan
Sound/Video Supervisor Joe Huppert Assistant Sound Supervisor Rachel LeVine Sound Shop Foreman Steve Negrete Sound Technicians Rene Barger, Chris Luessmann Video Engineer Eric May P20 PERFORMANCES MAGAZINe
Christopher Ashley, Artistic Director
General Manager Debby Buchholz Associate General Manager Jenny Case Assistant General Manager Katherine Stout Human Resources Manager Derrick McGee Corporate/Legal Counsel Robert C. Wright, Wright & L’Estrange Theatre/Legal Counsel F. Richard Pappas, Esq. Executive Assistant to Michael S. Rosenberg Christopher Hines
Associate Company Manager Heather Losey Assistant Company Manager Karissa Ferlin Company Management Assistants Jonathan Orara, Justin Gleiberman
Director of Finance John O’Dea Assistant Director of Finance Mary Harris Comptroller Brian Bailey Payroll AP Jill Valdez Production Accountant Sharon Ratelle IT Systems and Data Manager Roy Waters
Director of Development Deborah Ann Trimble Associate Director of Development, Corporate Relations Jill McIntyre Associate Director of Development, Government & Foundation Relations Erin M. Knight Associate Director of Development, Individual Giving Antonello Di Benedetto Special Events Manager Elizabeth Galloway Special Events Coordinator Laura Jackson Assistant to the Director of Development Hermione Gilpin
Director of Marketing Mary Cook Director of Public Relations Becky Biegelsen Associate Director of Marketing Mia Fiorella Multimedia Designer Dana Holliday Communications Specialist Deanna Chew Audience Development Associate Alex Goodman
TELESALES / TELEFUNDING
Telesales and Telefunding Manager Steven Kang Subscription Sales / Fundraising Associate Paul Preston Subscription Sales / Fundraising Representatives Suzanne Eliasson, Thomas Trimble, Dorothy Varonin, Blair Whitcomb
Box Office Manager M. Nikki Cooper-Grigalunus Box Office Assistant Manager Alicia Viola Box Office Lead Operators Samuel Carr, Pearl Hang, Steven Lone Box Office Reservationists David Armstrong, Janelle Conde, Amanda Prodinski
Michael S. Rosenberg, Managing Director
EDUCATION & OUTREACH Director of Education & Outreach
Education & Outreach Associate Marisol Best Education & Outreach Coordinator Nicole Keepers Audio Describers Mernie Aste, Brian Berlau, Tina Dyer, Shari Lyon, Kay O’Neil, Helen Warren Ross, Deborah Sanborn, Janet Schlesinger, Sylvia Southerland ASL Interpreters Lynn Ann Garrett, Suzanne Lightbourn ASL Volunteers Bonnie Fountain, Esther Shen Teaching Artists Jennifer Barclay Newsham, Brian Bose, Rebecca Dennis, Lucas Dominguez, Erin Gordon, Cory Hammond, Wendy Maples, Johamy Morales, Katie Palmer, Erika Phillips, James Pillar, Mary Reich, Megan E. Robinson, Craig Rovere, Cynthia Stokes
Marisa Acosta, Josephine Austin, Samantha Bentson, Emily Cates, Abigail Caywood, Sophia Suejin Chung, Jacob Devine, Taryn Finete-O’Connor, Chloe Foussianes, Micah Frank, Monique Goeders, Katherine Heath, Mika, Jiaravanont, Samuel Jue, Elle Kaplan, Annie Lee, Danita Lee, Isabella Leung, Miriam Mwanga, Olivia O’Connor, Andrew London Park, Jordyn Patton, Tylar-Nicole Pendgraft-Clabby, Carmen Quiñones, Randi Rudolph, Cherie Sandoval, Austin Schumacher, Brittney Scolari, Mark Suennen, Zoe Westbrook
2011/2012 STUDENT BOARD OF TRUSTEES OFFICERS Carmen Quiñones (Chair), Lila Gavares (Vice Chair), Kayla Solsbak (Secretary) OPERATIONS
Director of Operations Ned Collins Operations Associate Jen McClenahan
FRONT OF HOUSE
House Manager John Craft Assistant House Managers Katherine Cordova, Amy Covington, Megan Danielson, Philip Kerkstra, Cameron McMartin, Eric Nickerson, Heather Wolf Janitorial Professional Maintenance Systems
Blood and Gifts STAFF
Show Carpenter Preston Spence Prop Runner Jason Donaldson Wardrobe Supervisor Jan Mah Wig and Makeup Design Lisa Wylie Wigs/Dresser Ksusha Vanyan Dressers Sarah Francis, Alyssa Moser, Adalyn Wilson Light Board Operators Mike Lowe, Ramon Wenn Sound Board Operator Eric May Scenic Design Assistant Caite Hearner, Akiko Kosaka Video Programmer Eric May