ANGRY, RAUCOUS, SHAMELESSLY GORGEOUS
WELCOME TO
ARTISTIC DIRECTOR
TARELL ALVIN MCCRANEY
Today I am holding space. Here, where I would normally share reasons and passion for bringing this play Angry, Raucous, and Shamelessly Gorgeous by scribe and scholar Pearl Cleage, I also need to make room for grief: both mine and our community’s.
This play was brought to my attention by Kimberly Hébert Gregory, a gifted actor, writer, producer, and co-founder of Black Rebirth Collective. My hope was to cede this space for her voice, harmonic and arresting, to invite you into the world of the play. She felt that Geffen Playhouse was the perfect home for this funny, audacious play about artists of multiple generations finding their voice. A play about legacy and the future, ARSG asks us how we put “some respect on the Black women” who have helped shape our world while making way for those to come. If you know Kimberly, you know this directive was at the heart of her work, central to her generosity and stewardship in the community. She wanted to help helm this play on our stage and engage in a rich,
complex conversation with you, our audiences, as she has many times before onstage in By the Way, Meet Vera Stark, Barbecue, and Black Super Hero Magic Mama, as well as offstage in her collaborations with Geffen Playhouse as a producer and advocate.
But Kimberly’s journey on earth ended before that could happen.
While these words could not pay her true homage, I will, in the confines of this ink and parchment, try and address what she has left us in her wake: this production of this wonderful play directed by Ms. LaTanya Richardson Jackson to close our season asks us to find courage, to laugh, and to make room for folks who are often without a voice.
I believe when you witness this work, the feeling of can’t stay still, and the need to laugh harmoniously and make room intentionally are our gift from and for Kimberly.
Tarell Alvin McCraney Artistic Director
PHOTO BY JEFF LORCH
BLACK PARTNERS APPRECIATION NIGHT
FRIDAY, JUNE 26 @ 8PM
In the spirit of Broadway’s Black Out Nights, we welcome Black audiences to experience Angry, Raucous, and Shamelessly Gorgeous alongside passionate community partners in a celebratory environment. And we’re having a party— with a DJ, desserts, and drinks post-show!
100% of single ticket proceeds for this performance benefit these community partner organizations.
THANK YOU TO OUR COMMUNITY PARTNERS
GIL CATES, JR.
Welcome to the Los Angeles premiere of Angry, Raucous, and Shamelessly Gorgeous! As we move into our final production of this season, I wanted to highlight an example of the impact that our Education & Community Engagement programs have had—and continue to have—on our community.
One of our long-standing projects, the High School Partnership Program, works with various high schools around LA to help broaden students’ education and comprehension through the plays on our stages and various workshops led by our incredible teaching artists. On the following page of this program, you will see a letter of testimony written by an English teacher at Lennox Academy, Iona Cano. Iona’s letter describes an experience with our recent production of Noises Off from the previous season, and it emphasizes many of the reasons why arts education is essential to the success of our young people. We are proud to work with Lennox Academy, Iona, and all the other schools and teachers participating in the Partnership Program.
The work we do off our stages changes lives. This is a bold statement, but it’s true. If you are a donor, we are extremely grateful to you for directly helping us in our mission to provide these types of programs to the next generation of theatergoers. If you are not yet a donor, I ask you to please consider giving today and to join us in fostering more experiences like Iona’s by visiting geffenplayhouse.org/donate.
Thank you, and enjoy the show!
Gil Cates, Jr. Executive Director / CEO
BOARD OF DIRECTORS
Mary Ann Cloyd CHAIR
Gil Cates, Jr.
Executive Director / CEO
Ellyce R. Cooper
Merle Dandridge
Dr. Brad Edgerton
Bonnie E. Eskenazi
Mark Fleischer
Susan Nahley Fleishman
Brenda Garcia
Patricia L. Glaser
Adi Greenberg Chair Emeritus
John Horn
Laura Kennedy
Carla Malden
Brian Mann
Tiffany Mayberry
Tarell Alvin McCraney
Artistic Director
Mary Osako
Danny Passman
Holly Rice
Linda Bernstein Rubin
Matt Shakman
Richard Sherman
Celine Parreñas Shimizu
Howard Tenenbaum Chair Emeritus
Miranda Tollman Vice Chair
JaHan Wang
Marc Weinstock
FOUNDING TRUSTEES
Harold A. Brown
Gilbert Cates† Founder
Kirsten Combs
Robert A. Daly
David Geffen
Herbert M. Gelfand†
Marcia Israel-Curley†
Quincy Jones†
Jeffrey Katzenberg Glorya Kaufman†
Audrey Skirball Kenis†
Charles Kenis†
Karl Malden†
Ginny Mancini†
Frank G. Mancuso Chair Emeritus
Ron Meyer
Jerry Moss†
Jerry Perenchio†
Bruce M. Ramer Founding Chair
Victoria Mann Simms
Andy Spahn
Steven Spielberg
Steve Tisch
Edie Wasserman†
Lew Wasserman†
Dr. Charles E. Young† † In Memoriam
LEGAL COUNSEL
Venable LLP
PHOTO BY JEFF LORCH
To Whom It May Concern:
I am writing this letter to express my ardent support and tremendous gratitude for the Geffen Playhouse Education Department. My name is Iona Cano and I am an ELA teacher at Lennox Math, Science, and Technology Academy. My first year at LMSTA coincided with the first year of our partnership with the Geffen Education department, and the past eight years have had a transformative impact on our student body and my teaching practice.
Initially, our partnership centered around Geffen Playhouse’s generous invitation for our students to attend matinees. The overwhelming majority of our student body has never attended a professional play. Simply being in that space has opened many minds to a world of possibilities. The performances are supplemented with pre and post show visits from the Geffen Teaching Artists. These standards aligned, high quality lessons have enhanced students’ understanding of the plays and theater in general. They have also reinforced recurring concepts that I touch upon throughout the school year in various areas of English Language Arts. I am continually impressed by the caliber of teaching artists that have visited our classrooms over the years. Over the past eight years, hundreds of our students have been able to attend these matinees and experience the guest lessons. So many of my students walk away with a love for theater and a commitment to attending plays on their own.
This past school year, our entire senior class was able to attend Noises Off. The performance and the pre and post visits enhanced students’ understanding of farce and in general, they reflected on the tragic and comedic nature of life itself. To end our school year, every senior also participated in a cultural identity monologue workshop. This is our fourth year participating in this workshop, but this was the first year that every senior class participated. The monologue augmented this process for our seniors as it helped them to self-reflect and also gave them needed practice in presenting and working through presentation anxiety. Some students mentioned that their monologues influenced their presentations of learning, and on our last day of class, several of my students shared that the monologues were a highlight of the school year. They enjoyed their own self-reflection and getting to know their peers in new and meaningful ways.
This partnership has pushed me to include more theater arts in my curriculum. This is a partnership that we are incredibly grateful for at LMSTA.
Sincerely,
ANGRY, RAUCOUS, AND SHAMELESSLY GORGEOUS
WRITTEN BY PEARL CLEAGE
DIRECTED BY
PRODUCED IN ASSOCIATION WITH BLACK REBIRTH COLLECTIVE
SCENIC DESIGNER BEOWULF BORITT
SOUND DESIGNER JEFF GARDNER
PRODUCTION STAGE MANAGER (THRU 7/5) SAM ALLEN
COSTUME DESIGNER EMILIO SOSA
PROJECTION DESIGNER HANA S. KIM
ASSOCIATE DIRECTOR KELLY JENRETTE
PRODUCTION STAGE MANAGER (AFTER 7/5) LIZ BROHM HANRAHAN
CASTING DIRECTOR PHYLLIS SCHURINGA, CSA
OPENING NIGHT
LIGHTING DESIGNER LAP CHI CHU
HAIR & WIG DESIGNER GEORGE ROBERT FULLER
ASSISTANT STAGE MANAGER LISA TOUDIC
THURSDAY, JUNE 18, 2026
Susan V. Booth, Artistic Director; Mike Schleifer, Managing Director Angry, Raucous, and Shamelessly Gorgeous is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service imprint. (www.dramatists.com) This production is made possible, in part, by support from Cast Iron Entertainment and the David Lee Foundation. 2025/2026 SEASON SPONSOR
Commissioned by and premiered at Alliance Theatre, Atlanta, GA
ANGRY, RAUCOUS, AND SHAMELESSLY GORGEOUS
CAST OF CHARACTERS
(IN ALPHABETICAL ORDER)
Betty Samson DENISE BURSE
Precious “Pete” Watson .................................................... OLIVIA WASHINGTON
Kate Hughes ............................................................. DEBORAH JOY WINANS
Anna Campbell......................................................... CHARLAYNE WOODARD
UNDERSTUDIES
u/s Precious “Pete” Watson / Kate Hughes ..................................... PAULINE DYER
u/s Anna Campbell / Betty Samson MONICA PARKS
Understudies never substitute for listed players unless specified.
The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SETTING/TIME Atlanta, Georgia. The Present.
RUNNING TIME 1 hour and 40 minutes, no intermission.
PLEASE NOTE
There is no photography or filming of any kind allowed during the performance. Please turn off all electronic devices, including cell phones. Thank you!
ACKNOWLEDGEMENTS
ADDITIONAL PRODUCTION STAFF FOR ANGRY, RAUCOUS, AND SHAMELESSLY GORGEOUS
Black Rebirth Collective
Producing Partner
Tamela Aldridge
Intimacy Director
Sasha Nicholle Smith
Pole Dance Choreographer
Mercy Malick
Casting Consultant
Jamila Webb
Associate Scenic Designer
Alexis Distler
Assistant Costume Designer
Morgan Whittam
Assistant Lighting Designer
Cristo Montañez
Associate Sound Designer
Andrea Allmond
Assistant Projection Designer
Fernando Gonzalez
Production Assistant
Evelyn Pham
Deck Crew
Oliver Brink
Wardrobe Supervisor
Stephanie Castro
Wig Supervisor
Kassidy Klinesmith
Light Board Operator
Jesús Cambero Elias
A2
Matt Colleran
Carpenters
Dante Alanis, Oliver Brink, Grant Gerrard, Mason Irwin, Claudia Peterson, Kalika Reece, Sam Sully
Scenic Painters
Vanessa Lara, Chandish Nester
Properties Artisans & Carpenters
Sigourney Chin, Danny Dolan
Stitchers
Mekhell Cassagnol, Stephanie Castro, Loretta Larissa
Lighting Programmer
Spencer Doughtie
Projection/Disguise Programmer
Erin Teachman
Electricians
Nikki Alday, Shannon Barondeau, Daniel Fernandez, Ezra Fisher, Jacob Magadan, Angelica Mondragon, Ezra Muthiah, Sketkh Williams
Sound Technician Isa Underdahl
PRODUCTION ACKNOWLEDGEMENTS
Scenery Built & Painted By F&D Scene Changes
Lighting Equipment Provided By PRG
Sound Equipment Provided By DnB Design
Projection Equipment Provided By 4Wall Entertainment
Pole Rental & Installation
Monica Kay
Media Filming
Ramon Garcia
Production Photographer
Jeff Lorch
Branding + Key Art Direction
Base Design
Key Art Photography
Corey Olsen
SPECIAL THANKS
UCLA School of Theater, Film, and Television Scene, Prop, Sound, and Costume Shops; Ms. Cleage would like to thank: photographer Quintin Jackson and special assistant Deignan Lomax; LaTanya Richardson Jackson would like to thank: Kendell Hogan, Jeanette Jenkins, and all of my friends who continue to hold me up.
This theater operates under agreement between the League of Resident Theaters and Actors Equity Association, the union of professional actors and stage managers in the United States.
The Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
This theater operates under agreement between the League of Resident Theaters and Stage Directors and Choreographers Society, an independent national labor union.
The Director is a Member of the Stage Directors and Choreographers Society, a national theatrical labor union.
The scenic, costume, lighting, and sound designers in LORT theaters are represented by United Scenic Artists Local USA-829, IATSE.
Geffen Playhouse is supported, in part, by the Los Angeles County Board of Supervisors through the Department of Arts and Culture.
Geffen Playhouse, a not-for-profit theater company, is proudly affiliated with the University of California at Los Angeles.
TUESDAY, AUGUST 4, 2026 7:30PM Please
DENISE BURSE
Betty Samson
Denise Burse is delighted to make her Geffen Playhouse debut. Her most recent theatre credit was as “Aunt Ester” in August Wilson’s Gem of the Ocean (Long Wharf Theatre). Ms. Burse is considered somewhat of a Wilsonian Warrior, with five of the ten-play canon to her credits: Gem of the Ocean, The Piano Lesson, Fences, Seven Guitars, and Radio Golf. Broadway: An American Daughter (and later at Long Wharf Theatre). Off-Broadway: Daphne (LCT3); The Underlying Chris (Second Stage Theater); The Old Settler and Dot (Billie Holiday Theatre); Film & TV: The Home (Miramax); Becky 2: The Wrath of Becky (indie); Emmy–winning episode “San Junipero” of Black Mirror; Doc (Fox); Manifest; New Amsterdam; Greenleaf; House of Payne; reruns of all the Law & Order series. Awards: Theatre World Award, AUDELCO Awards. Nominations: Gregory, Suzi Bass, AUDELCO.
OLIVIA WASHINGTON
Precious “Pete” Watson
Olivia Washington was most recently seen Off-Broadway in Alice Childress' Wine in the Wilderness where she was nominated for a Lucille Lortel Award and a Drama Desk Award for her performance, and in Jeremy O. Harris' Slave Play opposite Kit Harington on the West End. Previously, Olivia starred as "Flora" in Boots Riley's Amazon series, I'm a Virgo, for which she was nominated for a Film Independent Spirit Award. She has also appeared in Abi Damaris Corbin’s feature Breaking, alongside John Boyega, which premiered at Sundance and won the Special Jury Award for Best Ensemble Cast. Other theater credits include: Familiar, directed by Edward Torres, at The Old Globe in San Diego; The Public Theater’s Shakespeare in The Park production of Much Ado About Nothing at the Delacorte Theater, directed by Kenny Leon; and Chicago Shakespeare Theater’s Taming of the Shrew, directed by Barbara Gaines. She is a graduate of New York University’s Tisch School of the Arts.
DEBORAH JOY WINANS
Kate Hughes
Deborah Joy Winans is an actor and singer best known for her role as “Charity Greenleaf” on the award-winning drama Greenleaf, produced by Oprah Winfrey for OWN. She is also featured on the series’ soundtrack across all seasons, including the Top 20 Billboard Gospel single “The Master’s Calling,” and debut single “Changed” from season 3 with Grammy Award–winning artist Patti LaBelle. Born and raised in Detroit, Deborah Joy’s first regional theatre run came when she portrayed “CeCe Winans” in Born for This: The BeBe Winans Story at Alliance Theatre, Arena Stage, and BroadStage. She holds an M.F.A. from California Institute of the Arts and a B.F.A. from Wayne State University. She lives in Los Angeles with her husband and son.
CHARLAYNE WOODARD
Anna Campbell
Two-time Obie Award winner and Tony Award nominee. Off-Broadway: “Daddy”; Hamlet (as “Queen
Gertrude”); War (revival); The Substance of Fire (as “Marge Hackett”); The Witch of Edmonton (Obie Award winner); In the Blood (Obie Award winner); Fabulation, or the Re-Education of Undine (as “Undine”); The Caucasian Chalk Circle (as “Grusha”); Twelfth Night (as “Maria”); Stunning; Sorrows and Rejoicings. Regional: The Garden (as “Casandra”); A Midsummer Night’s Dream (as “Titania”); The Taming of the Shrew (as “Katherine”); The Good Person of Szechwan. Broadway: Ain’t Misbehavin’ (original cast); Hair (revival). Film: Glass, Unbreakable, The Crucible, Eye for an Eye, Sunshine State. TV: Pose (series regular), Secret Invasion (series regular); recurring roles: Ann Rice’s Mayfair Witches, In Treatment, Prodigal Son, Sneaky Pete; Law & Order: Special Victims Unit, ER; guest star: All Rise, The Leftovers, The Blacklist Playwright: The Garden, Pretty Fire, Neat, In Real Life, The Night Watcher, Flight. Nominations: Tony Award, Drama Desk Award, Lucille Lortel Award, Outer Critics Circle Award. Member of The Actors Studio.
PAULINE DYER (she/her)
u/s Precious “Pete” Watson / Kate Hughes
Pauline is an actress and storyteller whose artistic journey began at age eight, when her
second-grade teacher recognized her talent and cast her in a school play. That early spark grew into a lasting passion, leading her from school productions to a focused study of Theatre at Rhodes College, where her love for acting, directing, and writing gained momentum. Deeply influenced by the emotional richness of stage work and the storytelling power of writers like August Wilson, Pauline began shaping a creative voice defined by depth, discipline, and versatility. Her work in film spans as a leading lady in A Stone Cold Christmas, Charming the Hearts of Men, and V for Vengeance. On television, Pauline gained notoriety from her heavily recurring role on CW’s All American. She is repped by Ellis Talent Group and Venture Entertainment Partners.
MONICA PARKS (she/her)
u/s Anna Campbell / Betty Samson Geffen Playhouse: The First Deep Breath (“u/s Ruth Jones/ Pearl Thomas”). Selected Credits—Repertory: The House That Will Not Stand (“Beatrice Albans”) Critic’s Choice nominee, Outstanding Lead Performer in a Play, Ontario, Canada; Gem of the Ocean (“Aunt Ester Tyler”) Shaw Festival Theatre, three seasons; Regional: Rust on Bone (“Devra”) Denver Center Theatre Company’s New Play Summit
reading; Gee’s Bend (Arkansas Repertory Theatre); King Hedley II (Portland Playhouse); The Tempest, Julius Caesar, Romeo & Juliet (St. Louis Shakespeare Festival); Othello, Joe Turner’s Come and Gone, Relativity (originated role of “Dr. Preston”), The Piano Lesson (The St. Louis Black Repertory); The Miracle Worker (Repertory Theatre of St. Louis); Spunk (Indiana Repertory Theatre); Shakin’ the Mess Outta Misery (Capital Repertory Theatre). Other: The Violet Hour (St. Louis Critics’ Judy Award, Best Supporting Actress). Former member Circle Rep Lab. TV & Film: All American: Homecoming, Grey’s Anatomy, Corporate, You’re the Worst, Scandal, Light Girls. Training: M.F.A. Classical Acting, Shakespeare Theatre Company Academy/The George Washington University.
Pearl Cleage is an Atlanta-based writer who serves as the city’s first Poet Laureate. Currently Distinguished Artist in Residence at the Alliance Theatre, she has premiered eight plays there, including Flyin’ West, Blues for an Alabama Sky, What I Learned in Paris, and The Nacirema Society. The first of her eight novels, What Looks Like Crazy on an Ordinary Day, was a New York Times bestseller. Her
PEARL CLEAGE (she/her) Playwright
praise poem, “We Speak Your Names,” commissioned by Oprah Winfrey in 2005 and written in collaboration with her husband, Zaron W. Burnett, Jr., is performed across the country regularly by those who accepted Cleage’s invitation to “use it, adapt it, pass it on.” Her ten-year performance collaboration with Burnett is the subject of the award-winning documentary Live at Club Zebra directed by Matthew and David Adeboye. Cleage’s newest play, Flying Fish & Folding Money, will have its world premiere at the Alliance Theatre in 2028. Ms. Cleage is represented by Ron Gwiazda, Stewart Talent Agency.
L a TANYA RICHARDSON JACKSON Director
LaTanya Richardson Jackson is a three-time Tony Award–nominated stage and screen actress, director, and producer. She recently starred on Broadway in Pulitzer Prize and Tony Award winner Purpose, for which she received Tony, Drama League, and Outer Critics Circle nominations, while honored with Black Women on Broadway’s 2025 Audra McDonald Legacy Award. Her previous Broadway credits include A Raisin in the Sun (Tony and Drama League nomination), To Kill a Mockingbird (Lilly Award), and Joe Turner’s Come and Gone, plus Shake-
speare in the Park’s The Taming of the Shrew, for colored girls…, and August Wilson’s Century Cycle, among many. As a theater creative, she made history as the first woman to direct an August Wilson play on Broadway with the Tony–nominated 2022 revival of The Piano Lesson and co-produced the 2023 revival of Purlie Victorious (Tony nomination). For her decades-long dedication to the theater, she was honored with the NAACP Theater Award’s 2016 Trailblazer Award. LaTanya serves as a Vice Chair of The American Theatre Wing. Her television credits include Show Me A Hero (NAACP Image Award nomination), Grey’s Anatomy, Luke Cage, Introducing Dorothy Dandridge, Sidney Lumet’s 100 Centre Street, and the films Freedomland, Losing Isaiah, The Fighting Temptations, U.S. Marshals, Mother and Child, Diamond, and You Hurt My Feelings. She also executive produced Apple TV’s The Last Days of Ptolemy Grey, EPIX’s Enslaved, and the upcoming Paramount+ series Frisco King. She is a graduate of Spelman College, where she and her husband recently opened the LaTanya Richardson Jackson and Samuel L. Jackson Performing Arts Center. In recognition of her career achievements, support of the arts, and her relentless civic engagement, she has been named a 2026 ESSENCE Black Women in Hollywood distinguished honoree.
BEOWULF BORITT
Scenic Designer
Designed “Master Harold”...and the Boys and Matthew Modine Saves the Alpacas at Geffen
Playhouse. He designed LaTanya Richardson Jackson's production of August Wilson's The Piano Lesson on Broadway. 35 Broadway designs include the Tony Award–winning sets for New York, New York and Act One, and the Tony–nominated sets for The Scottsboro Boys, POTUS, Thérèse Raquin, and Flying Over Sunset. He has designed for the Ringling Bros. and Barnum & Bailey Circus, and designed around the world in England, Russia, China, Australia, and Japan. He received a 2007 Obie Award for Sustained Excellence. Author: Transforming Space Over Time, about Broadway set design. Founder of Obie–winning The 1/52 Project which has provided over half a million dollars in grants to early career designers.
EMILIO SOSA
Costume Designer
Emilio is a six-time Tony Award–nominated costume designer. Some of his Broadway credits include Sweeney Todd, A Beautiful Noise, Ain’t No Mo’, 1776, Good Night, Oscar, Motown: The Musical, On Your Feet!, Trouble in Mind, Porgy and Bess, and Topdog/Underdog. His most recent projects Jesus Christ Superstar starring Cynthia Erivo and Adam Lambert, Masquerade, and Chez Joey. He has designed the Radio City Music Hall Spring Spectacular and Christmas Spectacular. He received a 2025 Emmy Award nomination for Descendants: The Rise of Red He has collaborated with Usher, Mariah Carey, Diana Ross, and Gloria Estefan, and has appeared
on TV’s Project Runway. As the former Chair of the American Theatre Wing, Emilio continues to champion access and representation in the arts.
@esosafashion
LAP CHI CHU (he/him)
Lighting Designer
Recent designs at the Geffen include SYLVIA SYLVIA SYLVIA, The Mountaintop, Man of God, and Power of Sail. Broadway credits include Camelot (Tony nomination), Yellow Face, Uncle Vanya, and Suffs (National Tour). Other New York design credits include The Public Theater, Roundabout Theatre Company, Lincoln Center Theater, New York Theatre Workshop, Signature Theatre, Second Stage Theatre, Performance Space 122, and Kitchen Theatre Company. Regional designs for Mark Taper Forum, Williamstown Theater Festival, Oregon Shakespeare Festival, La Jolla Playhouse, The Old Globe, Berkeley Repertory Theatre, American Contemporary Theater, Goodman Theatre, American Repertory Theater, Arena Stage, Dallas Theater Center, and the Alley Theater. His awards include the Obie for Sustained Excellence in Lighting Design, the Lucile Lortel Award, Los Angeles Drama Critics Circle Angstrom Award for Career Achievement in Lighting Design, the Ovation Award, and multiple Bay Area Theatre Critics Circle Awards. He is a professor and the Head of Lighting Design at University of California, Los Angeles. www.lapchichu.com
JEFF GARDNER (he/him)
Sound Designer
Jeff is an award-winning sound designer, foley artist, and actor. Credits include: The Cake at Geffen Playhouse; The Search for Signs of Intelligent Life in the Universe at the Mark Taper Forum; Inherit the Wind at Pasadena Playhouse; One of the Good Ones at The Old Globe; In the Upper Room at Denver Center for the Performing Arts. Elsewhere: Williamstown Theatre Festival, Cincinnati Playhouse in the Park, Cleveland Play House, Baltimore Center Stage, Shakespeare Theatre Company (DC), Arena Stage, The Kennedy Center, Wallis Annenberg Center for the Performing Arts, A Noise Within, Antaeus Theatre Company, Circle X Theatre Co., The Echo Theater Company, Rogue Machine Theatre, IAMA Theatre Company. Jeff can be seen at L.A. Theatre Works where he regularly performs live sound effects. Online: www.jeffthomasgardner.net
HANA S. KIM (she/her)
Projection Designer
Geffen Playhouse: Extraordinary Chambers, The Untranslatable Secrets of Nikki Corona, The Ants Broadway: The Outsiders, Real Women Have Curves, Redwood, The Old Man & The Pool, Summer, 1976. Off-Broadway/New York: SUMO, The Harder They Come, Eve's Song (The Public Theater); A Knock on the Roof (New York Theatre Workshop); Everything Rises (BAM); Magdalene (Prototype Festival). New music/opera: The Monkey King (San Francisco Opera), L’Orfeo (Santa Fe Opera),
Sweet Land (The Industry), The Anonymous Lover (LA Opera). Awards: Tony Awards, Princess Grace Award, Dorothy and Richard E. Sherwood Award from Center Theatre Group, Helen Hayes Award, Los Angeles Drama Critics Circle Distinguished Achievement Award, among others. www.hananow.com
GEORGE ROBERT FULLER (he/him)
Hair & Wig Designer
George Robert Fuller has spent more than half of his life gallivanting around the world through toxic clouds of hairspray while beautifying behind the scenes of some of the industry’s most iconic people. He does this all in the name of making them “GEorgeous” (not to be confused with gorgeous). His clientele represents legends across the globe, including multi-awardwinning artists Chaka Khan, Patti LaBelle, the late Natalie Cole, Olivia Newton-John, Stephanie Mills, and Anita Baker. George’s versatility has also allowed him to work with leading executives Linda Johnson Rice (Johnson Publishing Company), Juanita Jordan (Juanita Vanoy Jordan Enterprises), Mellody Hobson (Ariel Investments), Cathy Hughes (Urban One), to name a few; and Hollywood royalty—LaTanya Richardson Jackson, Pauletta Pearson Washington, and Tyler Perry. His body of work can be found gracing pages of countless magazines, on television, in films, and even at red carpet events. His expertise led him to secure several national covers of our former First Couple, Pres-
ident Barack Obama and First Lady Michelle Obama.
KELLY JENRETTE
Associate Director
Kelly M. Jenrette is humbled to be working at Geffen Playhouse alongside LaTanya Richardson Jackson as the Associate Director. She is a proud founding member of Black Rebirth Collective, serving as the collective’s Artistic Associate and Playwright in Residence. BRC’s Founder, the late Kimberly Hébert, brought Angry, Raucous, and Shamelessly Gorgeous to Geffen Playhouse, and we couldn’t be happier to bring this production to life. Limited Credits: Theatre—Lines in the Dust (Support Black Theatre and Collaborative Artists Bloc); TV—The Handmaid’s Tale (Hulu, Emmy nomination), American Blue (HBO Max), Grey’s Anatomy (ABC), All American: Homecoming (The CW); Film—Uncorked and All Day and a Night (Netflix).
SAM ALLEN (they/them)
Production Stage Manager (Thru 7/5)
Sam Allen is a freelance stage manager, director, and producer currently based in Los Angeles. Off-Broadway: The Brothers Size (The Shed), Billy Budd (RCI Theatricals). Regional: Table 17, Furlough’s Paradise, Noises Off, The Brothers Size (Geffen Playhouse); La Cage aux Folles (Pasadena Playhouse); Fences, Hell Yeah!, Fat Ham, King James, Pleasant, The Merry Wives of Windsor, All Day (The Old Globe); Primary Trust (Asolo Repertory Theatre); Animals Out of Paper, Flowers of Hawaii (Chautauqua
Theater Company). Sam is a recipient of the 2024 Charlie Blackwell Symposium Scholarship and the 2023 Cody Renard Richard Scholarship. Education: B.F.A. in Stage Management and Directing—Westminster University (2020), M.F.A. in Stage Management—University of California, Irvine (2024).
LIZ BROHM HANRAHAN
(she/her)
Production Stage Manager (After 7/5)
Liz is currently the Associate Production Manager / Resident Production Stage Manager here at Geffen Playhouse. Her affiliation with the theater goes back to 1999 with the company of Merton of the Movies. Other highlights include: The Reservoir; Man of God; Underneath the Lintel; Thom Pain (based on nothing); Bad Jews; Joan Rivers: A Work in Progress by a Life in Progress; Six Dance Lessons in Six Weeks; Looking for Normal; The Weir; and Wit. She is a lecturer in Stage Management at UCLA and holds an M.F.A. from UCSD.
LISA TOUDIC (she/her)
Assistant Stage Manager
Lisa Toudic is an Equity stage manager passionate about fostering collaborative, inclusive backstage environments. Recent credits include a modern adaptation of A Doll’s House by Justin Emeka (Two River Theater), Eureka Day (Pasadena Playhouse), The Reservoir and Noises Off (Geffen Playhouse), and Corktown ’39 (Rogue Machine Theatre). Lisa holds a Master’s in Education and a B.A. in Stage Management from the University of Southern
California. Originally from France, she brings a love of culture, adaptability, and attention to detail to every production. She is grateful to return to Geffen Playhouse and thanks the Angry, Raucous, and Shamelessly Gorgeous team for their collaboration and care. Endless gratitude to her family, friends, mentors, and her cat Felix for always keeping her grounded. www.lisatoudic.com
PHYLLIS SCHURINGA, CSA (she/her)
Casting Director
Phyllis is an Artistic Associate and the Casting Director for Geffen Playhouse. Recent productions include: Furlough’s Paradise, Waiting for Godot, The Reservoir, The Inheritance: Part 1 & Part 2 (Artios Award), Every Brilliant Thing, The Power of Sail, Witch, and Barbecue. Before joining the Geffen, she cast for Steppenwolf Theater Company in Chicago where her favorites include Frank Galati’s adaptation of The Grapes of Wrath (also La Jolla Playhouse, National Theatre in London, and Broadway, where it received the Tony Award for Best Play) and the original production of Steve Martin’s Picasso at the Lapin Agile. Broadway transfers include One Flew Over the Cuckoo’s Nest (Tony Award for Best Revival), The Song of Jacob Zulu, and The Rise and Fall of Little Voice
BLACK REBIRTH COLLECTIVE Producer
Black Rebirth Collective (BRC) is a non-profit collective dedicated to empowering Black women in leadership within the theatre arts. Founded by vision-
ary artist and leader Kimberly Hébert, BRC amplifies Black voices and creates equitable opportunities through curated programs and community initiatives. We foster a supportive space for Black artists, advocate for systemic change, and promote cultural sustainability. BRC is living out its mission to reshape narratives and inspire transformative leadership. Our work has been recognized through numerous successful readings and performances, co-productions with award-winning Los Angeles theatres, and grants from The Black Seed and the California Arts Council.
TARELL ALVIN M c CRANEY
(he/him)
Artistic Director
Tarell Alvin McCraney is Artistic Director of Geffen Playhouse. His script In Moonlight Black Boys Look Blue is the basis for the Oscar–winning film Moonlight directed by Barry Jenkins, for which McCraney and Jenkins won an Oscar for Best Adapted Screenplay. McCraney created the critically acclaimed, Peabody Award–winning OWN: Oprah Winfrey Network drama David Makes Man, which was executive produced by Michael B. Jordan and Oprah Winfrey. McCraney also wrote the film High Flying Bird which premiered on Netflix
and was directed by Steven Soderbergh. McCraney’s plays include We Are Gathered, Ms. Blakk For President (co-written with Tina Landau), The Brother/ Sister Plays trilogy, Head of Passes, Wig Out!, and Choir Boy, which was nominated for four Tony Awards. McCraney is the recipient of a MacArthur Fellowship “Genius Grant,” the Joyce Award, the Whiting Award, the Steinberg Playwright Award, the Evening Standard Theatre Award, the New York Times Outstanding Playwright Award, the Paula Vogel Playwriting Award, the Windham Campbell Prize, and a USA Fellowship Award. He is a lecturer at the UCLA School of Theater, Film, and Television; an associate artist at the Royal Shakespeare Company, UK; an ensemble member at Steppenwolf Theatre Company, Chicago; and a member of Teo Castellanos/D-Projects, Miami.
GIL CATES, JR. Executive Director / CEO
Gil Cates, Jr. is Executive Director / CEO of Geffen Playhouse. In this role, he is responsible for managing the Geffen’s dayto-day operations; developing new, ongoing theater partnerships and leading its mission to inform, entertain and inspire diverse audiences with live theater of the highest caliber.
Prior to being named Executive Director in 2015, Cates served as Geffen Playhouse Board Vice Chairman since 2012 and served as a producer and director in theater, film and television. His theater credits include the award-winning Names (Matrix Theatre Company) and Three Sisters and David Mamet’s A Life in the Theatre (both at Syracuse Stage). Cates’ film credits include The Surface (starring Sean Astin and Geffen Playhouse alumnus Chris Mulkey), Jobs (starring Ashton Kutcher, Josh Gad, Dermot Mulroney, as well as Geffen Playhouse alumni Matthew Modine and Ron Eldard) and the 2011 feature film Lucky (starring Colin Hanks, Ari Graynor and Ann-Margret). In addition, Cates co-produced and co-directed the critically acclaimed Life After Tomorrow, featuring Sarah Jessica Parker, which premiered on Showtime. His other films include Deal (starring Burt Reynolds, Bret Harrison and Charles Durning) and The Mesmerist (starring Jessica Capshaw and Geffen Playhouse alumnus Neil Patrick Harris). Cates’ television directorial debut was an episode of the NBC comedy Joey, starring Emmy winner Matt LeBlanc. He recently directed Displaced, a documentary short chronicling the journey of one of the first refugee families to flee Ukraine and arrive in the U.S. after escaping the Russian invasion. He studied at the National Theatre Institute in Waterford, Connecticut, and holds a B.F.A. in Drama from Syracuse University.
GEFFEN AT A GLANCE
CONTACT
Geffen Playhouse
10886 Le Conte Avenue Los Angeles, CA 90024
ADMINISTRATIVE OFFICES
310.208.6500
Monday–Friday, 10:00am–6:00pm
AUDIENCE SERVICES
310.208.2028
Tuesday–Sunday, 12:00pm–6:00pm
Please visit geffenplayhouse.org for hours, parking and more information.
BOX OFFICE WINDOW
Tuesday–Sunday, 12:00pm–6:00pm, as well as on performance days up until 15 minutes after curtain.
Please note: the box office window is unable to process exchanges or future sales one hour prior to curtain time on performance days.
ACCESSIBILITY
Geffen Playhouse is fully committed to providing access to patrons with mobility, visual and hearing impairments. Parking spaces directly outside the theater are zoned for drop off and pick up, as well as disabled parking spots for patrons with appropriate placards and plates. For more information, visit geffenplayhouse.org/access or call Audience Services.
LATE SEATING
Should you arrive late to the theater or vacate your seat during the performance, please expect to be held in the lobby until an appropriate pause in the action on stage. Some productions or circumstances may not allow for late or return seating. To minimize disturbances to other patrons, you may be seated in the first available location by the house staff even if it is different from your assigned seat.
NO PHOTOGRAPHY
There is no photography or filming of any kind allowed during the performance. Please turn off all electronic devices, including cell phones.
UCLA SCHOOL OF THEATER, FILM AND TELEVISION
Geffen Playhouse is affiliated with the University of California at Los Angeles, specifically the UCLA School of Theater, Film and Television. Geffen Playhouse values its role as an important educational resource by providing students with master classes, workshops and internships. Students are also able to work and learn from distinguished visiting Geffen artists in areas of directing, playwriting, acting, design, dramaturgy, management and production. Geffen Playhouse also draws upon the distinguished experts in the university to enhance the theater’s programs and research.
THE NEW PLAY DEVELOPMENT PROGRAM
Supporting artists is central to the mission of the Geffen Playhouse, and play commissions are a cornerstone of that support. To commission a playwright to write a play means making a commitment to their voice, craft, and vision, with the hope of sharing the fruits of their work on our stage.
We are proud to have the following artists under commission:
LUIS ALFARO
MICHAEL GOLAMCO
NAZARETH HASSAN
BETH HYLAND
MEGHAN KENNEDY
KATIE LINDSAY, TOVA KATZ & ALEXANDRA KALINOWSKI
MATTHEW LÓPEZ
MARTYNA MAJOK Co-Commission with Atlantic Theater Company
TARELL ALVIN M c CRANEY & YORK WALKER
QUI NGUYEN Co-Commission with Manhattan Theatre Club
STACY OSEI-KUFFOUR
JIEHAE PARK
SARA PORKALOB & BRIAN QUIJADA
ESPERANZA ROSALES BALCÁRCEL
JEN SILVERMAN
N’YOMI ALLURE STEWART Co-Commission with New York Theatre Workshop, supported by the Virginia B. Toulmin Foundation
DAVID WIENER
LAUREN YEE
For more information on this program, please visit geffenplayhouse.org/newplays.
THE WRITERS’ ROOM
A group for Los Angeles-based playwrights, The Writers’ Room is a product of the Geffen’s deep commitment to supporting new plays and specifically to fostering bold, relevant work by the vibrant artistic community of this city. During this one-year residency, playwright members gather monthly at the Geffen to share their work and receive feedback from their peers and the Geffen’s artistic staff, culminating in a play reading series.
We are proud to have the following artists in the 2025/2026 Writers’ Room:
DIANA YIFEI DAI
LOUIS REYES M c WILLIAMS
ZHARIA O'NEAL
FRANK PAIVA
RYN STAFFORD
HABIB YAZDI
The Writers’ Room is made possible through the generous support of the William Randolph Hearst Foundation.
For more information on this program, please visit geffenplayhouse.org/thewritersroom.
ALWAYS MAKING SPACE FOR NEW IDEAS
AN INTERVIEW WITH PLAYWRIGHT PEARL CLEAGE
AMY LEVINSON: Can you speak about your inspiration to explore generational divides and differences in this play?
PEARL CLEAGE: The easy answer is the truthful answer. I got old! I became the older person in almost every room: in a rehearsal room, in a project room, whatever it was. It’s kind of a startling thing to realize that you have become (and people have all kinds of romanticized ways of talking about it) an elder. Those labels imply a kind of wisdom that comes with years. But I don’t know if I agree that years make you gain wisdom. I do think that realizing that you are of the age where people can rightfully call you an elder makes you ask, What is my role now? How can I talk to the younger people who are trying to do this work, who may ask, “tell me about how you did this or did that?” And those
are the easy questions! For the tougher ones, what good advice can I give people? The hard thing is figuring out how to make a space for them. And you can only do that by stepping aside—by not trying to be the one who does everything, by not trying to be the one who always thinks that your way is the only way to do it.
That’s the challenging part, especially, I think, for my generation, because we’re so used to thinking of ourselves as the young ‘60s revolutionaries, and now we’re like seventy-five years old, and it’s a different kind of revolution. New rules apply. So, I was thinking a lot about generational conversations, how to listen without critiquing everything that they say.
I worked with a youth program at the Alliance Theatre for fourteen summers, high school seniors and juniors, and the hardest thing was just to
BY AMY LEVINSON, GEFFEN PLAYHOUSE ASSOCIATE ARTISTIC DIRECTOR
PHOTO BY QUINTIN JACKSON
Playwright Pearl Cleage
listen to what a different world they live in without telling them how to make it better, or how to correct it, or how to navigate it. Because being a kid growing up now is different than being a kid when I was growing up. So, I really think that experience helped me understand how important it is to listen to them and to only offer advice when they ask for it. You know, if they don’t ask for it, don’t do it. And I could definitely see in Anna a lot of that raging against being older. We all go through it. Some of us handle it more gracefully than others, but we all go through it. And now we have to figure out what is helpful and interesting for us and for them.
AL: The play has this wonderful thread about the evolution of artists and art, and I was wondering how you’ve felt that evolution in your own work.
PC: I feel like the biggest thing for me as a playwright, and it still is happening, which is good, is that I learned to trust the audience more with every play. Especially now that their attention spans move so much faster. They’re not looking for a four-hour evening at the theater. So, it’s about learning to trust the audience. Can I get to the heart of the idea without a lot of embroidery? And that’s always the temptation, you know, to write pretty pictures as opposed to making the point. That was a great monologue, but did it really move the play forward? And sometimes you have to say, Damn, no, it didn’t. Okay, get rid of it. But if it moves the play forward, great. Trust the audience to get it if you do it right. This forces me to keep working harder to say what I have to say without the flourishes. Just say it.
AL: I remember seeing a production of Flyin’ West in the ‘90s and being so awestruck by your capacity to imitate the style of theater in the time period in which the play took place. You had borrowed these strands of melodrama. And in a different way, I feel that simultaneity in this play. You’re addressing the very frustration within the play about a dearth of roles for Black women. And as you ask the question, you’re answering it with the roles in this play. So, I wondered where you begin with these layers. Are you struck with an idea of what
you want to write, or do you start with a character who comes to you, and that evolves into that idea?
PC: It’s usually a character, a character who has something driving her crazy—usually her—although sometimes the main character is actually the man. But most of the time, it’s a character, and whatever is driving that character crazy is usually something that’s driving me crazy, too. What am I worried about? And how can I think about it through this character? But I’m always very careful not to make that character me. You know, I do a lot of work on making sure characters are who they are, not me pretending to be Anna, but to actually realize that we’re both grappling with the same problem, me and this character, but she’s dealing with it very differently.
It’s interesting what you said about Flyin’ West because somebody came up to me after that show and was just talking to me about how much she enjoyed the symbolism of the apple pie, you know, the all-American apple pie, and how great it was that I had put the symbol in there, and I started laughing, because I didn’t put it in there as a symbol of anything! My mother gave me a great recipe for apple pie, and I almost never bake, but I have this recipe on a little piece of pink paper that belonged to my mother. My mother had passed away by then, and I just did it because I was thinking about my mom and how much I wished she could see the play. But I told the person who asked me the question, I’m totally going to say that the next time somebody asks me about that play. I’ll say I did it for the all-American symbol!
So, I appreciate you saying that about melodrama and reflecting the style of the period of the thing. I’m not sure I did that, but I do love melodrama. I love things where you have to feel something deeply, where the person is probably feeling it so deeply that they’re taking risks and doing something that you would not do, and there are just all of these huge emotions roiling around—I love that kind of work. I’m not a big fan of things that only demand your intellectual involvement. I want people to feel something for these characters, not to just think about them.
In this play I tried to allow Anna to have rage but also ensure that she’s not just a monstrous old lady who’s harassing younger women. How can I think about what she’s dealing with? I have lots of friends who are actors and dancers, and age strikes them differently than it does me. You know, I can be in my office, and if it takes me longer to write the play now than it did when I was thirty, it’s not a problem, because I’m still working by myself and the steps are the same. But if you’re a dancer, you have to worry about your knees, you have to worry about your hips. And if you’re an actor, you start forgetting your lines. You don’t have the same confidence in your ability to get up there and remember everything Medea had to say before she stabbed her children. I have watched a number of my friends just stop acting because they could no longer do the memorizing. And it’s a heartbreaking thing.
So, I had all of that to work with when I was thinking about Anna, which is why she doesn’t say that until later in the play: that she walked out on the stage and couldn’t remember a single thing. Her signature role, you know, and I couldn’t imagine if at a certain point I couldn’t write anymore. When somebody says, well, I’m sorry, but you can’t do that anymore, the thing you’ve always done—what you love so much. So, I understood Anna’s rage, and I knew that rage would have to be the step before she came to understand what her next role was.
AL: So, part of Anna’s rage about Pete is stepping through the judgement? Which again works on a few levels because the audience has a ways to go with their judgements about Pete.
PC: It’s important with Pete that I ask older people not to judge younger people. So, I thought what would be the judgiest thing Pete could possibly do? Now I know people who are liberal about most things, and they consider themselves to be women of the world. They’re so cool, but the minute you mention pornography, anything about that industry, they are absolutely not ok. They instantly turn and say, ”This is terrible! These
women are all dope fiends! They’re being exploited by awful men,” all of that. And in reality, many of these women have a really interesting idea about what they do. But it takes a long time for people to get past their fear of pornography. They may have seen some awful pornography, because most people don’t look at enough to decide, this is fine, but I don’t like that. They just decide it’s all bad. So, in writing Pete as someone who is not only moving around in that world, but has an idea of how to improve it, there’s something in that. She learned from doing this work where her boundaries are.
And Anna, of course, can’t see any of that— she’s too busy judging the pornography. And I think the audience does that too. But then, if I’ve done it right, both Anna and the audience will come to see Pete in a different light. So, they have to question themselves, their judgments.
I always love it if a play can make you say, well, I never thought about it like that. Especially if I can do it without hitting one over the head with a sermon. And I hope that’s what Pete can do, and what Pete and Anna’s relationship can do. I think that’s a moment of permission—no matter what these wild girls have done, we’ve made a space for them to do it, and we have to let them enjoy that space, and we have to take pride in the fact that we’re the ones who made that space. We didn’t say except if you’re going to do this, or except if you’re going to wear that
I think we have to be able to be in the world, to look at the world, to think about the world, to write about the world, to engage people who are actually living and moving around in the real world, and not some idealized version that we might still hold in our imaginations. We have to be able to open up to whatever the modern stuff is, in life and in the theater. Now, an exception: I do not believe in robots on the stage pretending to be people. I will never get behind that. I want human beings. But that being the case, whatever human beings do, I can work with that.
To read more about Angry, Raucous, and Shamelessly Gorgeous, visit geffenplayhouse.org/blog.
PHOTO BY
ANNUAL DONORS
Geffen Playhouse recognizes the following individuals and organizations for their generous support of our Annual Fund. Donors are listed at the Partner’s Circle level and higher for gifts made between March 1, 2025 and April 30, 2026. A full listing of our supporters can be found at geffenplayhouse.org/thankyou.
† Geffen Playhouse Board of Directors ^ Geffen Playhouse Founding Trustees
In appreciation, Annual Fund donors enjoy a host of special benefits including concierge ticketing services, complimentary drinks, receptions, and much more.
For more information, please call Anika Waco at 310.208.6500 ext. 195.
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Susanne & Marty Shallon
Nancy & Bruce Silverman
Marlene Sklar & Joel Moskowitz
Barbara Smith
Karen Smits
Glenn & Linda Solomon
Frances & Sy Strasberg
Andrea & Jay Swerdlow
Joanne Takahashi
Mr. & Mrs. David Tann
David & Cathy Thomas
Brigitta Troy
Barbara Tuchi
Shirah & Jim Vollmer
Barry J. Ward
David & Rita Wells
Michelle & Steven Windmueller
CHAIRMAN’S CIRCLE
The Chairman’s Circle acknowledges the historical contributions of the following individuals, whose support of Geffen Playhouse made the original vision of our founder, Gil Cates, Sr., possible:
Anonymous
Annenberg Foundation
Mrs. Carol K. Block & Chancellor Gene D. Block†
City National Bank
Kirsten^ & Donald Combs
Marcia Israel-Curley & Jim Curley
Gang, Tyre, Ramer, Brown & Passman, Inc.
The David Geffen Foundation
Herbert M.^ & Beverly J. Gelfand
Rabbi Uri D. Herscher & Dr. Myrna Herscher
Audrey & Charles Kenis
Lincy Foundation
Fay & Frank^ Mancuso
Tina & Jerry^ Moss / The Moss Foundation
Perenchio Foundation
The Shubert Foundation
The Simms/Mann Family Foundation
Skirball Foundation
University of California, Los Angeles
Wasserman Foundation
Judy & Chancellor Charles^ E. Young
If your name has been misspelled or omitted from the list in error, please contact Anika Waco, Donor Relations Manager at 310.208.6500 ext. 195.
Tarell Alvin McCraney ARTISTIC DIRECTOR
ARTISTIC
Amy Levinson
Associate Artistic Director
Daniel Ionazzi
Producer
Phyllis Schuringa
Artistic Associate / Casting Director
Bella Luna
Company Manager
Olivia O’Connor
Literary Manager & Dramaturg
Lexy McAvinchey
Associate Producer
Dionn Richardson
Assistant to the Artistic Director
PRODUCTION
Matt Sweeney
Director of Production
Liz Brohm Hanrahan
Associate Production Manager / Resident Production Stage Manager
Melissa Hartman
Technical Director
Philip Rossi
Lead Scenic Carpenter
Greg Mueller
Stage Operator
Rick Gilles
Properties Master
Jenna Scordino
Assistant Properties Master
Sarah Lindsley
Costume Shop Supervisor
Michayla Van Treeck
Costume Shop Coordinator
Spencer Doughtie
Lighting & Projection Supervisor
Jesus Cambero-Elias
Assistant Lighting Supervisor
James Grabowski
House Sound Supervisor
Bob Gilmartin
Resident A1
ADMINISTRATION
Sarah Sturdivant
Chief Financial Officer
Erick R. López
General Manager
Berenice Campos
Director of Human Resources
Janice Gompers
Payroll Manager & HR Admin
Youra Kim
Accounting Manager
Jake Jones
Staff Accountant
Clay Dzygun
Office Coordinator
Chloe Shi
General Management Associate
DEVELOPMENT
Sam Abney
Director of Development & Strategic Growth
Elizabeth Kegley
Director of Institutional Giving
Cody Metzger
Gil Cates, Jr. EXECUTIVE DIRECTOR / CEO
Alyssa Tyson
Audience Services Manager
Jacob Feller, Jon-Paul Schaut
Box Office Managers
Grace Allen, Joe Ayers, Tyler DeLoatch, Peyton Fleming, Cat Hayes, Miranda Heath, Jeffrey Limoncelli, Kayla Page
Box Office Staff
Theater Direct
Outbound Sales
OPERATIONS
Jeni Pearsons
Director of Operations
Advancement & Creative Partnerships
Anika Waco
Donor Relations Manager
Rachel Jacoby
Data Management Coordinator
Zoila Lopez
Development Assistant
EDUCATION
Brian Allman
Director of Education & Community Engagement
Mark J. Chaitin
Manager of Education & Community Engagement
Aja Houston
Education & Community Engagement Associate / Lead Teaching Artist
Sean Michael Boozer, Paris Crayton III, Sidney Edwards, Margot Fitzsimmons, Erròn Jay, BJ Lange, Tiffany Oglesby, Marta Portillo, Tara Ricasa, Ashley Denise Robinson, Gerry Tonella Teaching Artists
MARKETING &
COMMUNICATIONS
Patrick Brown Director of Marketing
Zenon Dmytryk Director of Communications
Karen Gutierrez Director of Advertising & Audience Development
Brian Dunning Director of Content & Creative
Zack Hamra Director of Audience Services & Ticketing
Isaak Berliner
Social Media & Communications Manager
Mel Yonzon
Front of House Manager
Amy Farkas
Lead Concierge
Rob Mersola
Event Manager
Sarah Chute, Anya Pryjmak
Part Time House Managers
Vanessa Bradchulis, Marlon Campos, Jonathan McGill, Karl Perry, Carsen Schroeder
Guest Services
Savanna Chute, Ryan Foreman, Stephen Johnson, Dylan La Rocque, Shannon Noel, Alex Otto Concessions
Brynn Allen, Emma Cort, Lauren Curet, Enzo De Cunto, Sydney Fleischman, Alejandro Hernandez, Ava Kitt, Tiffany La Barbera, James Lambert-Solano, Jalen McKoy, Austin Merrill, Luvina Navarro, Elena Scaringe-Peene, Cody Smith, Myles Williams Ushers
INFORMATION TECHNOLOGY
Abdelkrim Bouzzit
Cloud System Administrator
Dream Warrior Group
System Administrator
FACILITIES
MANAGEMENT
Art Guillen
Facilities Manager
Felipe Ayala, Juan Santillan
Building Maintenance
Mario Santillan
Custodial Lead
Juan Carlos Umaña, Camerina Martinez
Cleaning Custodial