Ava: The Secret Conversations Program

AVA THE SECRET CONVERSATIONS

WELCOME TO

ASSOCIATE ARTISTIC DIRECTOR

PHOTO BY ISAAK BERLINER

AMY LEVINSON

Welcome to Elizabeth McGovern’s Ava: The Secret Conversations. Inspired by the book by Peter Evans & Ava Gardner, which chronicles a series of intimate interviews between Gardner and Evans in 1988, this elegant and imaginative adaptation explores the inner life of one of Hollywood’s most famous women. The world that Elizabeth has created, complete with metatheatrical layers, asks profound questions about a woman’s place in Hollywood and how it has (and has not) changed since the golden age of movies.

Joining Elizabeth is Aaron Costa Ganis, who portrays Peter Evans, the journalist who is sent to uncover the lurid details of Ava’s multiple marriages and instead finds himself a character in a drama all their own. Rounding out this stellar cast is Ryan W. Garcia as Ed Victor, the agent responsible for pairing up Ava and Peter to tell her story. This brilliant 2 P L AY B I L L

cast of three weaves in and out of history to create a previously-unseen portrait of Gardner’s life.

It is our great pleasure to welcome Moritz von Stuelpnagel, a director whose work we have long admired, to the Geffen for the first time. He has helmed this production with a deep sense of empathy and an expansive sense of theatricality, assembling an extraordinary team of designers to bring Ava’s home and memories to life in vivid technicolor.

We are so pleased to premiere Elizabeth’s provocative and insightful play in Los Angeles. We can think of no better place to tell the story of one of Hollywood’s most iconic stars.

Enjoy the show!

Amy Levinson Associate Artistic Director

SAVE THE DATE!

BACKSTAGE ATSATURDAY‚ THE MAY GEFFEN 20‚ 2023 HONORING

DISTINCTION IN THEATER AWARD

DISTINCTION IN SERVICE AWARD

DEBBIE ALLEN GREG BERLANTI TITLE SPONSOR

PRESENTING SPONSORS

THE ADI & JERRY GREENBERG FOUNDATION

TICKET PACKAGES & MORE INFORMATION GEFFENPLAYHOUSE.ORG/BACKSTAGE

BOARD CHAIR

ADI GREENBERG

BOARD OF DIRECTORS Adi Greenberg

PHOTO BY TRISH ALISON PHOTOGRAPHY

CHAIR

Welcome to Geffen Playhouse and the U.S. premiere of Ava: The Secret Conversations, written by and starring Elizabeth McGovern and directed by Moritz von Stuelpnagel. We are proud to present this special production with the support of the Ava Gardner Trust.

There couldn’t be a more fitting theater to present the true story of legendary actress Ava Gardner. Our local history is imbued with the glitz and glamour associated with the early days of motion pictures, thanks to the many stars who graced the silver screen. There’s always more to their stories than what we see splashed across headlines and printed in tabloids, as you will soon find out!

On behalf of the Geffen Playhouse Board of Directors, thank you for being here and for your ongoing support of our artistic endeavors. Your support enables the theater to further develop our education and community engagement programs across Los Angeles.

These programs seek to inspire students and community members to develop a lifelong relationship with the theater, to form a deeper sense of humanity, and to increase their sense of agency in the world.

We thank you for embracing the many exciting world and West Coast premieres we have put on our two stages this season. I hope you leave the theater with a new sense of wonder, curiosity, and passion for the performing arts.

With gratitude, Adi Greenberg Board Chair

4 P L AY B I L L

Victoria Alonso

Victoria Mann Simms

Dr. Gene D. Block

Andy Spahn

Gil Cates, Jr. Executive Director

Steven Spielberg

Mary Ann Cloyd Vice Chair Merle Dandridge

Steve Tisch Dr. Charles E. Young Chair Emeritus

Dr. Brad Edgerton

IN MEMORIAM

Bonnie E. Eskenazi

Gilbert Cates Founder

Mark Fleischer Susan Nahley Fleishman

Marcia Israel-Curley Audrey Skirball Kenis

Patricia L. Glaser

Charles Kenis

Martha Henderson Chair Emeritus

Karl Malden

Loretta Everett Kaufman

Ginny Mancini Jerry Perenchio

Carla Malden

Edie Wasserman

Brian Mann

Lew Wasserman

Tiffany Mayberry Mary Osako Danny Passman Holly Rice Linda Bernstein Rubin Matt Shakman Richard Sherman Cynthia P. Stafford Howard Tenenbaum Chair Emeritus Marc Weinstock

LEGAL COUNSEL Nikki Kerman Venable LLP

ADVISORY BOARD John Sonego Chair Stephanie Carson Lori Collins Ellyce R. Cooper Debra Davis

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Giovanna Desselle Brenda Garcia Ann Gianopulos Priscila Giraldo Eric Heer

Herbert M. Gelfand Chair Emeritus

Laura Kennedy

Quincy Jones

Audrey Povar

Jeffrey Katzenberg

Eric Rollins

Glorya Kaufman

Scott Sandler

Frank G. Mancuso Chair Emeritus

Cela Devine Sutton

Ron Meyer Jerry Moss Bruce M. Ramer Founding Chair

John McCrite

Uma Swami Miranda Tollman Rebecca Vail Laurie Ziegler

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THE GEFFEN PLAYHOUSE PRODUCTION OF

AVA THE SECRET

CONVERSATIONS WRITTEN BY

ELIZABETH MCGOVERN DIRECTED BY

MORITZ VON STUELPNAGEL BASED ON THE BOOK THE SECRET CONVERSATIONS BY

PETER EVANS & AVA GARDNER PRODUCED IN ASSOCIATION WITH

KARL SYDOW

SCENIC DESIGNER

COSTUME DESIGNER

DAVID MEYER SOUND DESIGNER

WIG DESIGNER

ALEX BASCO KOCH

ASSOCIATE DIRECTOR

MATTHEW ARMENTROUT INTIMACY DIRECTOR

RHONDA KOHL

MIA SCHACHTER

DIALECT COACH

DRAMATURG

RON CARLOS PRODUCTION STAGE MANAGER

AMITH CHANDRASHAKER

PROJECTION DESIGNER

CRICKET S. MYERS

JULIE ANN RENFRO*

LIGHTING DESIGNER

TONI-LESLIE JAMES

OLIVIA O’CONNOR ASSISTANT STAGE MANAGER

GABRIELLE J. BRUNO* OPENING NIGHT

THURSDAY, APRIL 13, 2023 PRESENTING SPONSOR

Produced with the Support of the Ava Gardner Trust

6 P L AY B I L L

CASTING DIRECTOR

PHYLLIS SCHURINGA, CSA

AVA THE SECRET

CONVERSATIONS CAST OF CHARACTERS (IN ALPHABETICAL ORDER)

Peter Evans. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AARON COSTA GANIS * Ed Victor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RYAN W. GARCIA Ava Gardner.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ELIZABETH McGOVERN *

UNDERSTUDY Peter Evans. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RYAN W. GARCIA *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.

TIME/SETTING

PLEASE NOTE

London, 1988.

There is no photography or filming of any kind allowed during the performance.

Please turn off all electronic devices, including cell phones. Thank you!

RUNNING TIME

90 minutes There will be no intermission.

OPENING NIGHT SPONSORS

G E F F E N P L AY H O U S E 7

MUSIC CREDITS “Stardust” Performed by Artie Shaw & His Orchestra Courtesy of RCA Records By arrangement with Sony Music Entertainment

“Begin the Beguine” Performed by Artie Shaw & His Orchestra Courtesy of RCA Records By arrangement with Sony Music Entertainment

“Drummer Boy” Performed by Judy Garland Courtesy of Warner Bros. Entertainment Inc. & Turner Entertainment Co.

“Fly Me To The Moon (In Other Words)” Performed by Frank Sinatra Courtesy of Capitol Records under license from Universal Music Enterprises

“One For My Baby” Performed by Frank Sinatra Courtesy of Capitol Records under license from Universal Music Enterprises

“Close To Me” Performed by Tommy Dorsey & His Orchestra Courtesy of RCA Records By arrangement with Sony Music Entertainment

“There Are Such Things” Performed by Tommy Dorsey & His Orchestra Courtesy of RCA Records By arrangement with Sony Music Entertainment

8 P L AY B I L L

PRODUCTION BIOGRAPHIES

AARON COSTA GANIS (he/him)

Peter Evans

Aaron has worked theatrically on and off-Broadway at the Roundabout Theatre Company,

Took a Hatchet at the Edinburgh

for her work in Shakespeare.

Fringe Festival, and the musical

Other theatre credits include

FOUND with IAMA Theatre

The Misanthrope at the Young

Company. He was featured as

Vic, Three Days of Rain at Don-

Domingo on Community, Dude

mar Warehouse, Time and the

Calzone in Nickelodeon’s Side

Conways at Roundabout Theatre

Hustle, and most recently as

Company, and the West End

René Morales on The Lincoln

premiere of Kenneth Lonergan’s

Lawyer. He voices Ricardo in the

Starry Messenger with Matthew

animated feature Fireheart, and

Broderick. With her band Sadie

is currently recurring as multiple

and the Hotheads, she has

roles in the new animated Nick-

released five albums (including

elodeon series Big Nate.

one as a solo release), and is at work on a sixth. Elizabeth would

LAByrinth Theater Company,

like to thank Karl Sydow.

Second Stage Theater, The Public Theater, and more.

He can be seen on TV in the upcoming season of Power Book III: Raising Kanan, this season of Fantasy Island, The Endgame, Bull, Almost Family, Blue Bloods, Jessica Jones, House of Cards, and more. He can be seen in the recent films Susie Searches, The Noel Diary, Lazy Eye, Monsters and Men, and Set It Up. Aaron wishes to dedicate this show to June and Rick, his mom and dad. M.F.A.: NYU Graduate Acting Program, B.A.: Brandeis University and University of Oxford.

E L I Z A B E T H M c G OV E R N

Playwright, as Ava Gardner

Elizabeth McGovern’s career spans theatre, film, television, and music. She recently starred as Lady Cora in the feature film adaptation of Downton Abbey, a role for which she was nominated for a Golden Globe and a Primetime Emmy, and won a SAG Award. Elizabeth recently played Martha in Who’s Afraid of Virginia Woolf? at Theatre Royal Bath, and produced her first feature, The Chaperone, in which she starred. Previous film credits include Ragtime, for which she received Academy Award and Golden Globe nominations;

RYA N W. G A R C I A (he/him)

Ed Victor, u/s Peter Evans

Ryan has been acting professionally since he was a child in Miami, FL. He’s been on stage in LA with 30 Minute Musicals, Ravenswood Manor at Celebration Theatre, Lottie Platchett

Sergio Leone’s classic Once Upon a Time in America with Robert De Niro; Curtis Hanson’s The Bedroom Window; and John Hughes’ She’s Having a Baby.

Elizabeth has performed in the theatre in America and the UK, winning the 2013 Will Award

MOR IT Z VON STUE L P N AG E L

(he/him) Director

Broadway: Theresa Rebeck’s Bernhardt/Hamlet starring Janet McTeer (two Tony nominations); Noël Coward’s Present Laughter starring Kevin Kline (three Tony nominations including Best Revival of a Play); Robert Askins’ Hand to God (five Tony nominations including Best New Play and Best Director). London’s West End: Theresa Rebeck’s Mad House starring David Harbour and Bill Pullman; Hand to God (Olivier nomination).

Off-Broadway: Theresa Rebeck’s Seared (MCC Theater); Larissa FastHorse’s The Thanksgiving Play (Playwrights Horizons); Mike Lew’s Teenage Dick (Ma-Yi Theater Company/The Public Theater); Nick Jones’ Important Hats of the Twentieth Century

G E F F E N P L AY H O U S E 9

PRODUCTION BIOGRAPHIES (Manhattan Theatre Club); Nick

Festival, Australia); Alan Ayck-

Direction: Joker: Folie à Deux

Jones’ Verité (Lincoln Center

bourn’s The Divide with The Old

(upcoming 2024), Lyle, Lyle,

Theatre/LCT3); Mike Lew’s Bike

Vic and Edinburgh International

Crocodile, Top Gun: Maverick,

America (Ma-Yi Theater Compa-

Festival; David Hare’s The

Vice, Birdman, and The Wolf

ny); Nick Jones’ Trevor (Lesser

Moderate Soprano at the Duke

of Wall Street. David studied

America); Robert Askins’ Love

of York’s Theatre; Sketching

Architecture and Theater at

Song of the Albanian Sous Chef

by James Graham at Wilton’s

Syracuse University and re-

(Ensemble Studio Theatre); Mel

Music Hall; as well as Red Joan, a

ceived his M.F.A. in Production

& El: Show and Tell (Ars Nova);

film featuring Dame Judi Dench

Design for Stage and Film at

Michael Mitnick’s Spacebar: A

which premiered at the Toronto

NYU Tisch School of the Arts.

Broadway Play by Kyle Sugarman

International Film Festival. In

www.davidmeyerdesign.com

(Studio 42); and Adam Szymko-

North America, he has produced

wicz’s My Base and Scurvy Heart

Broadway productions of The

(Studio 42). Regional: Alliance

Seagull with Carey Mulligan,

Theatre, Williamstown Theatre

Kristin Scott Thomas, and Peter

Festival, Huntington Theatre

Sarsgaard, and American Buffalo

Company, Hudson Valley

with John Leguizamo; Backbeat

Shakespeare Festival, Woolly

directed by David Leveaux (Royal

Mammoth Theatre Company,

Alexandra Theatre in Toronto,

Pasadena Playhouse, and more.

Ahmanson Theatre in Los Ange-

Upcoming: Michael Shayan’s

les); international tours including

avaaz (South Coast Repertory).

The Last Confession with David

Moritz is the former artistic

Suchet, and Our Country’s Good

director of Studio 42, NYC’s

(the original Tony nominated

producer of “unproducible” plays.

Broadway production and Out

www.moritzvs.com

of Joint’s revival in the West End

Broadway: 26 productions including: Mike Birbiglia: The Old Man & The Pool, The Piano Lesson, Birthday Candles, Paradise Square, Flying Over Sunset, Bernhardt/Hamlet, Come from Away, Jitney, Lucky Guy, The Scottsboro Boys, Finian’s Rainbow, Chita Rivera: The Dancer’s Life, Ma Rainey’s Black Bottom, King Hedley II, The Wild Party, Marie Christine, Footloose, The

and Toronto).

Tempest, Twilight: Los Angeles,

DAV I D M E Y E R (he/him)

nium Approaches & Perestroika,

K A R L SY D OW

Producer

TO N I - L E S L I E JA M E S

Costume Designer

1992, Angels in America: Millen-

Karl Sydow produced Sting’s

Scenic Designer

Chronicle of a Death Foretold,

The Last Ship at the Ahmanson

David is very excited to be doing

and Jelly’s Last Jam. Selected

Theatre in Los Angeles and at

his first show at the Geffen.

venues: Lincoln Center Theater,

the Golden Gate Theatre in San

Other Los Angeles productions

The Public Theater, Second

Francisco in 2020, at the Prin-

include: Head Over Heels, The

Stage Theater, Playwrights

cess of Wales Theatre in Toronto

Father, Native Gardens, Belleville,

Horizons, La Jolla Playhouse,

in 2019, following a 2018 tour

King Charles III, Our Town (Pasa-

Lyric Opera of Chicago, Houston

of the UK and Ireland. Recent

dena Playhouse). Off-Broadway:

Grand Opera, and internation-

theatre includes Noises Off (Lyric

A Sucker Emcee, The Way West,

ally in the UK, Ireland, Australia,

Hammersmith, Garrick Theatre

Empanada Loca, and A Family

and Greece. Television/Film:

West End), The Light in the Piaz-

for All Occasions (LAByrinth

Whoopi for NBC, Rustin for

za (Royal Festival Hall, LA Opera,

Theater Company). Regional:

Netflix (2023). Selected Awards:

Lyric Opera of Chicago); Toast

Hedwig and the Angry Inch and

Four Tony Award nominations,

(West End, UK tour); Sweat

Merrily We Roll Along. Feature

Drama Desk Award, Hewes

(Gielgud Theatre West End, Eve-

Film Production Design: Father

Design Award, Lucille Lortel

ning Standard Award Best Play);

Stu, Without Remorse (reshoots),

Award, the Connecticut Critics

Valued Friends (Rose Theatre

Secret Society of Second-Born

Circle Award, the Irene Sharaff

Kingston); Invisible Cities with

Royals, Corporate Animals, John

Young Master Award, and the

59 Productions (Manchester

Wick: Chapter 2 (reshoots), and

2009 Obie Award for Sustained

International Festival, Brisbane

Permission. Feature Film Art

Excellence in Costume Design.

1 0 P L AY B I L L

PRODUCTION BIOGRAPHIES A M I T H C H A N D R AS H A K E R

(he/him) Lighting Designer

Amith’s work has been featured at The Public Theater, Second Stage Theater, Theatre for a New Audience, Manhattan Theatre Club, Playwrights Horizons, Signature Theatre, New York Theatre Workshop, Williamstown Theatre Festival, Ars Nova, Soho Rep, Berkeley Repertory Theatre, La Jolla Playhouse, Steppenwolf Theatre Company, Atlantic Theater Company, Houston Grand Op-

The Fantasticks); Kirk Douglas

isville, Round House Theatre).

Theatre (Endgame, Bengal Tiger

Concert: The Magnetic Fields

at the Baghdad Zoo); Pasadena

50 Song Memoir.

Playhouse (Real Women Have

www.alexbascokoch.com

Curves, Stoneface); The Wallis (Invincible, Sisters in Law, Blues in the Night). Cricket has earned 24 Ovation nominations, as well as winning The Ruth Morley Award from the League of Professional Theater Women, The Kinetic Award for Outstanding Achievement in Theatrical Design, an LADCC, and a Garland Award in Los Angeles.

R H O N DA KO H L (she/her)

Associate Director

Rhonda Kohl is excited to return to the Geffen and to be working with Moritz again.

Previous Geffen shows include Long Day’s Journey Into Night and Barbecue. Rhonda recently was the theatrical coordinator/ choreographer for the television

www.cricketsmyers.com

show Legacies. She directed/

Festival. He has created new

A L E X B AS C O KO C H (he/him)

premiere of For the Love Of (or,

Projection Designer

dance works with Alexander Ek-

the roller derby play) at the Kirk

Broadway: Be More Chill

Douglas Theatre as a part of

(Drama Desk, Lucille Lortel,

Center Theatre Group’s Block

and Outer Critics Circle award

Party. Rhonda also directed

nominations); Irena’s Vow.

the Los Angeles Times Critic’s

Off-Broadway: Buyer & Cellar

Choice production of Around

(North American Tour, Menier

the World in 80 Days and the

Chocolate Factory, Barrow

U.S. premiere of The Bachelor

Street Theatre, Rattlestick The-

Girls. Rhonda was awarded

ater); Fireflies (Atlantic Theater

the SDCF Traube Directing

Company, Lucille Lortel Award

Fellowship to work with Kath-

nominaton); I Was Most Alive

leen Marshall on the Broadway

with You (Playwrights Hori-

debut of In Transit, and worked

zons); The Liquid Plain (Signa-

again with Mrs. Marshall at the

ture Theatre, Oregon Shake-

Hollywood Bowl, Roundabout

speare Festival); GOODBAR

Theatre Company, and Reprise

(The Public Theater’s Under

2.0. Other associate/assistant

the Radar Festival). Regional:

director credits include working

Indecent (Guthrie Theater);

with David Lee, Jason Alexander,

The Who’s Tommy (Denver

Colman Domingo, and others.

Center for the Performing Arts);

Proud member of SDC.

Approval Junkie, Tiger Style!

www.rhondakohl.com

era, Opera Omaha, Opera Colorado, and The Glimmerglass

man, Liz Gerring, Benoit Swan Pouffer, Sidra Bell, and Rennie Harris. Recipient of the Drama Desk, Obie, and Henry Hewes Design awards. Assistant Professor of Lighting Design at the University of Maryland’s School of Theatre, Dance, and Performance Studies.

C R I C K E T S. M Y E RS (she/her)

Sound Designer

On Broadway, Cricket earned a Tony nomination and a Drama Desk Award for her design of Bengal Tiger at the Baghdad Zoo. She has also designed regionally at the Geffen Playhouse (The Thanksgiving Play, Underneath the Lintel, Play Dead, Discord, Wrecks, Some Girl(s), Emergency); Mark Taper Forum (Bent, Steward of Christendom, Joe Turner’s Come and Gone, Bengal Tiger at the Baghdad Zoo); La Jolla Playhouse (The Squirrels, Guards at the Taj, Sideways, The Nightingale), South Coast Repertory (Sweeny Todd, A Doll’s House, Part 2,

choreographed the West Coast

(Alliance Theatre, Huntington Theatre Company); SOUL The Stax Musical, Marley (Baltimore Center Stage); Invisible Man (Court Theatre, Chicago; Studio Theatre, Washington D.C.; Huntington Theatre Company); ReEntry (Baltimore Center Stage, Actors Theatre of Lou-

M I A S C H AC H T E R (they/them)

Intimacy Director

Mia Schachter is an Intimacy Coordinator for TV, film, and theater (currently in residence at the Geffen Playhouse), a podcaster, and writer living in their hometown of Los Angeles. Their

G E F F E N P L AY H O U S E 1 1

PRODUCTION BIOGRAPHIES credits include Perry Mason

and the author of Introduction

pendent Theatre Company, Ojai

(HBO), Grey’s Anatomy (ABC),

to Speechwork for Actors: An

Playwrights Conference, Long

Twenties (BET), and Season 2 of

Inclusive Approach.

Beach Shakespeare Company, and the 2018 North American

Blindspotting (Starz). Mia runs Consent Wizardry, a consent education school they founded during the pandemic.

O L I V I A O ’C O N N O R (she/her)

Dramaturg

Olivia O’Connor joined the

tour of A Night with Janis Joplin.

Some favorite events include West Hollywood Halloween

www.consentwizardry.com

Geffen as Literary Manager

R O N CA R LO S (he/him)

Her previous creative devel-

Dialect Coach

opment experience includes

A graduate of the A.R.T. Institute

staff positions at Pittsburgh

at Harvard University, Ron taught

CLO (Manager of New Work

voice, speech, and dialects

Development) and Roundabout

at the Yale School of Drama,

Theatre Company (Artistic

Marymount Manhattan College,

Associate), as well as drama-

City College of New York, and

turgy and selection commit-

The Shakespeare Theatre of

tee work with City Theatre

Assistant Stage Manager

New Jersey. Selected credits:

Company, Pittsburgh Public

Gabrielle J. Bruno is a proud

Broadway: It’s Only a Play, The

Theater, Bricolage Production

graduate of California State

Glass Menagerie; Off-Broadway:

Company, Third Space Theatre,

University, Northridge and is so

Sweat, Mlima’s Tale, The Low

The Flea Theater, the National

excited to return to the Geffen

Road, Kings, Gently Down the

Alliance for Musical Theatre,

for this production of Ava: The

Stream, Plenty, Privacy (The

and the 5th Avenue Theatre.

Secret Conversations! Previous

Public Theater); Mary Jane (New

Outside of her institutional

Geffen credits include Produc-

York Theatre Workshop); Charm

work, Olivia has experience as

tion Assistant for Mindplay.

(MCC Theater); The Gentle-

a script consultant, copywriter,

Additional stage management

man Caller (Abingdon Theatre

and playwright.

credits: Rosencrantz and

Company). Regional: Seven

www.oliviaannoconnor.com

Guildenstern Are Dead, A Raisin

& Dramaturg in July 2022.

Guitars, Cadillac Crew, Native Son, Assassins, War (Yale Rep); The Lily’s Revenge, The Glass Menagerie (A.R.T.); The Piano Lesson (Hartford Stage); Murder on the Orient Express (Alley Theatre); Skeleton Crew, Grounded (Westport Country Playhouse); Film and TV: Daisy Jones & The Six, Hunters (Amazon); The Last Thing He Told Me (Apple TV+); Bagman (Lionsgate); The Comey Rule (Showtime); Orange Is the New Black, The Week Of (Netflix). Ron is a certified teacher of Knight-Thompson Speechwork, a Lead Trainer of Fitzmaurice Voicework®, the Founding Coach for BoldVoice—a mobile pronunciation app for English learners,

1 2 P L AY B I L L

Carnaval, Warner Bros. International Television Gala, VidCon, and Made in America Festival.

Julie is from Orange County, CA where she received her B.A. from Vanguard University, and is a proud member of Actors’ Equity Association. LYBNC! GABRIELLE J. BRUNO (she/her)

in the Sun, Mrs. Warren’s ProJ U L I E A N N R E N F R O (she/her)

Production Stage Manager

Julie is grateful to return to the Geffen for Ava: The Secret Conversations! Previous Geffen credits include: Mindplay, A Wicked Soul in Cherry Hill, The Future, Revenge Song, Witch, Invisible Tango, The Untranslatable Secrets of Nikki Corona, Sell/Buy/Date, Letters from a Nut, and The Legend of Georgia McBride. Additional theatre credits: Los Angeles Opera, South Coast Repertory, McCoy Rigby Entertainment, Pasadena Playhouse, Lythgoe Family Productions, Shakespeare Orange County, Sydney Inde-

fession, A Christmas Carol, and Man of La Mancha at A Noise Within; Ambush Cabaret 2021 presented by Ambush Cabaret; Native Gardens at Coachella Valley Repertory; Seven Loves at the Getty Villa; the 2023 Cycle of Poverty reading series presented by Lower Depth Theatre. Additional theatre experience as the Production Manager of the 2021 & 2022 Griffith Park Free Shakespeare Festival presented by Independent Shakespeare Co. and as the Production Manager of InterVallum, A Chorus and A Queen, and Exoskeletal with SideQuest Productions.

PRODUCTION BIOGRAPHIES P H Y L L I S S C H U R I N G A , C SA

(she/her) Casting

Phyllis is an Artistic Associate and the Casting Director for Geffen Playhouse. Recent casting includes The Inheritance: Part 1 & Part 2 and TRAYF. She has received 8 Artios nominations: Power of Sail, Man of God, Witch, Significant Other, Actually, Barbecue, Barcelona, and The Country House. Before joining the Geffen, she was the Casting Director 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), the original production of Steve Martin’s Picasso at the Lapin Agile (and subsequent productions including Westwood Playhouse and Briar Street Theater in Chicago). 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. She is a member of the Casting Society of America.

for managing the Geffen’s day-

refugee families to flee Ukraine

to-day operations; developing

and arrive in the U.S. after es-

new, ongoing theater partner-

caping the Russian invasion, set

ships and leading its mission

for release in 2023. He studied

to inform, entertain and inspire

at the National Theatre Institute

diverse audiences with live

in Waterford, Connecticut, and

theater of the highest caliber.

holds a B.F.A. in Drama from

Prior to being named Executive

Syracuse University.

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

G I L CAT ES, J R .

the NBC comedy Joey, starring

Executive Director

Emmy winner Matt LeBlanc.

Gil Cates, Jr. is Executive

He is currently directing a

Director of Geffen Playhouse.

documentary short chronicling

In this role, he is responsible

the journey of one of the first

A M Y L E V I N S O N (she/her) Associate Artistic Director

During her tenure at the Geffen, Amy has spearheaded numerous programs for commissioning and developing new plays and has shepherded more than 150 plays into production. Dramaturgy credits include the commissions and world premieres of Donald Margulies’ Time Stands Still and Coney Island Christmas, Jane Anderson’s The Quality of Life and The Escort, Amanda Peet’s Our Very Own Carlin McCullough, and Michael Mitnick’s Mysterious Circumstances.

Other dramaturgy credits include Actually, Invisible Tango, Extraordinary Chambers, Build, Equivocation, Joan Rivers: A Work in Progress by a Life in Progress, Guards at the Taj, and Geffen Stayhouse virtual shows including Helder Guimarães’ The Present and The Future, and David Kwong’s Inside the Box. She holds an M.F.A. in Dramaturgy from the University of Massachusetts, Amherst.

G E F F E N P L AY H O U S E 1 3

PRODUCTION BIOGRAPHIES for accounting functions of the

CPA, after holding the position

theater, including operating and

of Director of Accounting at

capital budgets. In addition,

FABS Management, where she

she supports all IT and HR activ-

was responsible for overseeing

ities. Behnaz was named Chief

the finances of more than 25

Financial Officer in 2015 after

non-profit organizations. As

serving as General Manager

a financial professional with

since 2002. She first joined

more than 30 years’ experience

Geffen Playhouse in 1999. Previ-

in for-profit and non-profit

ously, Ataee worked as a senior

financial management and au-

financial analyst for Ultratech

diting, Ataee began her career

Inc., an international semicon-

in the Bay Area as a partner in

Financial Officer of Geffen

ductor company based in San

a small tech startup. She holds

Playhouse. In this role, she

Jose. Prior to Ultratech, she

a master’s degree from Pepper-

has oversight responsibility

was an auditor for Van Sloten

dine University.

B E H N A Z ATA E E Chief Financial Officer

Behnaz “Nazy” Ataee is Chief

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.

The Geffen Playhouse’s New Play Development Program is made possible, in large part, through the leadership and generosity of donations from: The Edgerton Foundation, The Harold & Mimi Steinberg Charitable Trust, Fay & Frank Mancuso, Sandra Krause & William Fitzgerald, Hilary & Jack Angelo and Mary Bianco, The MOCA Foundation.

We are proud to have the following artists under commission: LUIS ALFARO JONATHAN CAREN COLMAN DOMINGO MICHAEL GOLAMCO MEGHAN KENNEDY MATTHEW LÓPEZ

MARTYNA MAJOK CHELSEA MARCANTEL QUI NGUYEN STACY OSEI-KUFFOUR JIEHAE PARK JOHN POLLONO

ROBERT SCHENKKAN JEN SILVERMAN DAVID WIENER CRAIG WRIGHT 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.

Playwrights for the 2023/2024 cycle of The Writers’ Room will be announced in summer 2023.

For more information, please visit geffenplayhouse.org/thewritersroom.

The Writers’ Room is made possible through the generous support of the William Randolph Hearst Foundation and Jerry and Terri Kohl.

1 4 P L AY B I L L

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.

ACCESSIBILTY 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.

ACKNOWLEDGEMENTS PRODUCTION STAFF FOR AVA: THE SECRET CONVERSATIONS Associate Costume Designer Josh Quinn

A1 Bob Gilmartin

Associate Projection Designer Erin Teachman

A2 Jacenta Yu

Movement Consultant Clarice Ordaz

Properties Artisans & Carpenters Christopher R. Baab, Mikayla Bettner, Sigourney Chin, Danny Dolan

Production Assistant Lesley Gonzalez Animator & Editor John Erickson Automation Operator Austin Bosley Deck Crew Oliver Brink, Enrique Garcia, Kassidy Klinesmith Deck Crew Swing Lila Schmitz Wardrobe Supervisor Michayla Van Treeck Wigs Meghan Gottschalk Lighting Programmer Nicole Jaja Light Board Operator Jesus Cambero-Elias Light Board Operator Swing Justin Kelley-Cahill

Automation Specialist Evan Friedman Carpenters Austin Bosley, Oliver Brink, James Crew, David Foubert, Enrique Garcia, Rob Hille, Shadow LaValley, Claudia Peterson, Sydney Shoell, Becca Sundberg, Eiden Weissblum Scenic Painters Vanessa Lara Stitcher Kiko Cheyenne Draper Max Levitt Electricians Erica Ammerman, Shannon Barondeau, Ezra Fisher, Miri Henerson, Juan Lozano, Ezra Muthiah, Christiana Saldibar, James Tatsch

ACKNOWLEDGEMENTS Scenery Built & Painted By F&D Scene Changes

Production Photographer Jeff Lorch

Lighting Equipment Provided By Kinetic Lighting

Media Filming Ramon Garcia

Sound Equipment Provided By Jon Sound Inc., DnB Design, Launch

Design + Art Direction Base Design

Projection Equipment Provided By 4Wall Entertainment

Photography Justin Bettman

SPECIAL THANKS UCLA School of Theater, Film, and Television Scene, Prop, Sound, and Costume Shops; London Cleaners

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.

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 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.

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.

G E F F E N P L AY H O U S E 1 5

THEMES & TOPICS

AVA GARDNER: THE WORLD’S MOST BEAUTIFUL ANIMAL

BY OLIVIA O’CONNOR, DRAMATURG FOR AVA: THE SECRET CONVERSATIONS

Studio publicity still of Ava Gardner for the film The Killers (1946). Photo courtesy Wikimedia Commons.

“If I were a great intellectual, I’d sit and read and study, but I’m not. I’m just a very ordinary woman.

I don’t want to paint. I don’t want to write. I want to go out and play tennis, I want to swim. I’m purely a physical piece of machinery. Or I was.”

—Ava Gardner, 1988.

Quoted in Ava: The Secret Conversations,

by Peter Evans and Ava Gardner

admiration for her acting career has often been eclipsed by fascination with her romantic and sexual life. Married to three high-profile men and linked to dozens of others (from Hollywood co-stars to eccentric billionaires to Spanish bullfighters), Gardner was a magnet for desire—as well as a target for private jealousy and public judgement.

She was first “scouted” in 1941, on the strength of a portrait posted in the window of

Dubbed “The World’s Most Beautiful Animal” in the marketing materials for 1954’s The Barefoot Contessa, Ava Gardner was a golden age star whose fame was inextricably linked to the allure of her body.

Gardner appeared in more than five dozen films and earned critical acclaim for several roles (including an Academy Award–nominated turn in 1953’s Mogambo), but at both the height of her fame and in the decades since, 1 6 P L AY B I L L

her brother-in-law Larry Tarr’s Fifth Avenue photography studio. The office boy who spotted the photo had no star-making power; he asked for Gardner’s telephone number hoping to land a date. Tarr didn’t provide the number but did take the interest seriously, sending photos of Gardner directly to Metro-Goldwyn-Mayer’s New York office. Gardner was granted an interview and an MGM screen test shortly after. The executive who ordered the

THEMES & TOPICS

screen test, Marvin Schenck, believed in the power of Gardner’s beauty, if little else; he sent her reel on to Hollywood without the accompanying voice recording, worried that Gardner’s thick North Carolina accent would dissuade the studio from signing her. His gambit paid off, and Gardner was offered the seven-year, $50/ week contract that would launch her career.

By the time we meet Gardner in the 1988 interviews that inspired Ava: The Secret Conversations, she is decades removed from her legendary love affairs, and her world-famous body has begun to betray her. Her looks have faded, a stroke in 1986 has left her partially paralyzed and with poor eyesight, and a lifetime of smoking has put her at risk of developing emphysema. And yet even at this juncture, with her own mortality looming, Gardner is vital.

In Ava: The Secret Conversations, we are granted access to that vitality: to Gardner not only as a beautiful object, but as a flesh-andblood woman with voracious appetites for alcohol, sex, and laughter—the visceral joys of life at any age.

AVA, MICKEY, ARTIE, & FRANK: THE HIGHLIGHTS 1941: Gardner arrives in Hollywood with her sister Beatrice “Bappie” Gardner and begins her MGM contract. She meets Mickey Rooney on the MGM lot on her first day. Star of the popular Andy Hardy films and frequent costar of Judy Garland, Rooney was one of the most profitable talents at MGM—and, as Gardner would later realize, “the biggest wolf on the lot.” He asks Gardner out to dinner several times before she accepts—and then asks her to marry him at the end of every date until she says yes.

JANUARY 10, 1942: A couple of weeks after Gardner turns 19, she and Rooney marry in a small ceremony in Ballard, California. Their marriage is rocky, young, and fun; they spend more time in nightclubs than at home. It is the first marriage for both; Rooney goes on to marry another seven times.

1943: Ava meets Frank Sinatra for the first time, while still married to Rooney. Sinatra reportedly says, “Hey, why didn’t I meet you before Mickey?

Then I could have married you myself.”

1941–1945: Gardner appears in some two dozen films at MGM, mostly in nonspeaking and bit parts.

MAY 21, 1943: Gardner and Rooney divorce, largely due to Rooney’s brazen infidelity. Gardner’s mother, Mary Elizabeth “Molly” Gardner, dies on the same day their divorce is finalized.

1944: Gardner meets clarinetist, composer, and band leader Artie Shaw. The two hit it off immediately and spend many of their early months together on the road, touring with Shaw’s band.

Though immensely successful, Shaw eventually came to resent his fame. In 1954, he stopped performing and embarked on a career as a writer and intellectual.

AVA & FRANK Ava Gardner and Frank Sinatra in London on December 9, 1951. They had been married on November 7.

Photo courtesy Wikimedia Commons.

OCTOBER 17, 1945: Gardner and Shaw marry at Shaw’s Beverly Hills home. It is Shaw’s fifth marriage (he’ll go on to marry another three times) and Gardner’s second. Shaw is a formiG E F F E N P L AY H O U S E 1 7

THEMES & TOPICS dable—borderline bullying—partner. He takes a

FEBRUARY 14, 1950: Frank and Nancy Sinatra

Pygmalion-like approach to his relationship with

officially announce their separation; Frank moves

Gardner, giving her reading assignments, sending

in with Gardner.

her to his analyst, and even hiring a Russian grand master to teach her chess.

1946: Gardner appears in Whistle Stop, a United Artists’ picture for which she is “loaned out” by MGM. In the film, she kisses costar George Raft with an open mouth: a mistake on her part and a violation of the Hays Code, which forbade “lustful kissing.” It slips by the censors, but not director

1951: Gardner appears in Show Boat.

1951: Gardner appears in Pandora and the Flying Dutchman. The film’s shoots in the UK and Spain take Gardner outside of the US for the first time.

A few years later, Gardner starts living abroad fulltime; in Madrid beginning in 1955 and in London beginning in 1968.

John Huston; he tells Ava it was the scene that got

NOVEMBER 7, 1951: With Sinatra’s divorce

her her role in The Killers.

finalized, he and Gardner marry in Philadelphia.

1946: Gardner appears as Kitty Collins in The Killers, an adaptation of an Ernest Hemingway story that is often described as her breakout film. (She appeared in two other Hemingway adaptations: 1952’s The Snows of Kilimanjaro and 1957’s The Sun Also Rises.)

OCTOBER 25, 1946: Gardner and Shaw divorce.

They had been married for one year and one week.

1947: Gardner appears in The Hucksters, in her first role opposite Clark Gable (others: 1952’s Lone Star and 1953’s Mogambo).

1948: Gardner appears in One Touch of Venus, in which she plays a statue of Venus, the goddess of love and beauty, come to life.

1949: Gardner appears in The Great Sinner, opposite Gregory Peck. Gardner and Peck remained friends for life (and appeared in 1952’s The Snows of Kilimanjaro and 1959’s On the Beach together).

After Gardner’s death, her longtime housekeeper and friend Carmen Vargas (and her beloved corgi, Morgan), moved from London to live with the Peck family in California.

1949: Gardner and Frank Sinatra begin seeing each other, while Sinatra is still married to Nancy (Barbato) Sinatra. On the night they begin their affair, Gardner and Sinatra leave a house party in Palm Springs and drive to Indio, CA. Drunk, giddy, and enamored with one another, they pull a .38 from the car’s glove compartment and start shooting out the town’s streetlights and shop windows. They are arrested but—after a call (and

Though press coverage of the marriage is splashy, Sinatra’s star is on the wane; he is suffering from a vocal injury and is basically broke. In a 1954 interview, he recalled, “There was a very dark period in my career, about 1951… very frankly, and there’s no secret about it, I could hardly get myself a job in those days.”

1953: Gardner appears in John Ford’s Mogambo.

Sinatra appears in From Here to Eternity. Both performances are nominated for an Academy Award; Sinatra wins in his category.

OCTOBER 29, 1953: Gardner and Sinatra announce plans to divorce, but don’t complete the filing. Their globetrotting marriage has been notoriously tempestuous, perhaps because of their similarities (Gardner’s sister Bappie described Ava as “Frank in drag.”).

1954: Ava appears in Joe Mankiewicz’s The Barefoot Contessa, opposite Humphrey Bogart. Many audiences read the film to be based on Gardner herself—and her relationship with producer, aviator, and TWA owner Howard Hughes—though its plot more closely aligns with the story of fellow golden age star Rita Hayworth.

1956: Gardner appears in Bhowani Junction.

1957: After years of on-again, off-again partnership, Gardner and Sinatra divorce. They remain friends until Gardner’s death (of pneumonia) in 1990.

1958: Gardner leaves her contract at MGM after 17 years. She is now officially an independent actress.

possibly a payout) from Frank’s publicist—walk

To read more about Ava: The Secret Conversa-

away scot-free.

tions, visit geffenplayhouse.org/blog.

1 8 P L AY B I L L

THE MOUNTAINTOP 06.06–07.09 WRITTEN BY

KATORI HALL DIRECTED BY

PATRICIA MCGREGOR

ETS K C I T E L SING JUST $30!

START AT 3 10.2 0 8

GEFF .2 0 2 8 •

ENPL A

YHOUS

E .O R G

THE ANTS 06.20–07.30 WORLD PREMIERE

WRITTEN BY

RAMIZ MONSEF DIRECTED BY

PIRRONNE YOUSEFZADEH

NOW ON DISPLAY IN THE LOBBY

ART LIVES HERE

As part of Geffen Playhouse’s Art Lives Here project, four Los Angeles artists have been invited to create original art works to be displayed in our lobby welcoming audiences during our 2022/2023 Season.

We celebrate the diversity in our audiences and our productions, and it is our mission to create, foster, and nourish an environment that is open and welcoming for all. We are a home for the arts, and we believe our physical space should also reflect and be representative of our ongoing commitment to equality, diversity, and inclusion in everything we do and the communities we support.

ican popular culture. It uses the musical play The King and I—of which the historical persistence on using yellowface throughout the decades is emblematic of a general and societal lack of bother—as a vessel to raise awareness and discussion. Two figures emerge vaguely from, and are entangled in a stylized technical execution. It is meant to encourage viewers to look past the surface level of what is presented to us, and vigorously question, identify, and challenge any inherent bias or unfair assumptions from the entertainment that we consume.

ABOUT THE ARTIST

FEATURED WORK #7 The King and I ARTIST

Conan Zhao ON DISPLAY

Apr. 4 – May 7, 2023

The inspiration for this piece comes from my experience of being an Asian-American consumer of entertainment, who grew up being conditioned into believing that my heritage could only amount to a caricatured and culturally insensitive depiction in Amer-

Conan Zhao’s artistic journey began in his teenage years when he became known at school as an entirely self-taught pencil artist who pursued photorealistic portraiture.

After graduating from UC Berkeley with a degree in Applied Mathematics, he moved to Atlanta, Georgia to begin a career as a health actuary. In 2019, Zhao quit his corporate day job to pursue his passion as a full-time artist entrepreneur. During college, he spent a year at Marchutz School of Art (Aix-en-Provence, France), where he discovered the rich history of art and philosophies. His influences include Hokusai, Rembrandt, Turner, Daumier, Bernie Fuchs, and Henri Cartier-Bresson.

The mission of Zhao’s art ties deeply to his desire to spotlight underserved communities. As an Asian-American artist, he has experienced many forms of racial prejudices first-hand, and understands the need for cross-racial support and solidarity.

TO LEARN MORE ABOUT THIS PROJECT VISIT GEFFENPLAYHOUSE.ORG/ARTLIVESHERE

NOW ACCEPTING APPLICATIONS! EDUCATION & COMMUNITY ENGAGEMENT

VETERANS WRITING & PERFORMANCE WORKSHOP JUNE 10–JULY 31, 2023 SATURDAYS 9AM–1PM (PST) • IN PERSON

A P P L ICAT IO N D EA D L INE : M AY 1 2, 2023 TO REGISTER & FOR MORE INFO

Visit geffenplayhouse.org/veterans

PHOTO BY JEFF LORCH

The Veterans Cultural Identity Monologue Writing & Performance Workshop is an 8-week theater-making intensive, in which an ensemble of military veterans come together to create personal, original monologues and share their work in a performance at Geffen Playhouse in the Gil Cates Theater.

ANNUAL DONORS Geffen Playhouse recognizes the following individuals and organizations for their generous support of our Annual Fund and Backstage at the Geffen. Donors are listed at the Partner’s Circle level and higher for gifts made between January 1, 2022 and February 15, 2023. † Geffen Playhouse Board of Directors ^ Geffen Playhouse Founding Trustees §

Geffen Playhouse Advisory Board

In appreciation, Annual Fund donors enjoy a host of special benefits including house seats, complimentary drinks, receptions, and much more.

For more information, please call Tracy Reich at 310.208.6500 ext. 113.

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G E F F E N P L AY H O U S E 2 3

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Ralph Page

Diane Futterman

Clark & Kathryn Porter

The Glass Family

Lise Ransdell & Eric Augusztiny

Linda & Louis Goldsman

Richard Rasiej & Joan Herman

Ellie Goodman

Dolores Rogers

Jill Grigsby & Rett Bull

Allison & Bennett Rosenthal

Deidre Hall

David A. & Karen Richards Sachs

Scott Hartle

Nancy & Ted Sanborn

Murray & Gail Heltzer

Susan Schwarz & Stuart Berton

Jackson Henry

John Shaw

Michael & Candie Herman

Rita & Jose Sigal

Winifred C. Hervey

Ron Silverman & Soraya Ross

Jack Hileman & Roxanne Huddleston

Karen & Bill Skinner

Dr. John D. Hofbauer & Dr. Laura E. Fox

Ronald Smith

William Hoover & Jon Rupp

Lisa Stonich

Gary T. Izumi

Anne C. Taubman

Brenda Marie Izzi

John M. Teeples & Nicolas Martinez, Jr.

Carrie Johnson

Franklin David Tell

Quincy Jones^

Audri & Stan Tendler

Patricia Keating

Marjorie Thomson

24 P L AY B I L L

Marcia & Charles Wasserman Ph.D

Jerome & Joan Snyder

The Baek Family In Memory of Patricia Beals Marjorie Blatt Pamela & Bill Bohnert Michael & Susan Bordy Carol J. Bradshaw Steven Briggs Howard Brightman Marlene Bronson Janet & Mark Brown Colleen O’Beirne Brydon Laura D. Campbell Anthony Carbone Sean & Martha Carey Family Sylvie & Peter Cartmell Sandra Chan & Richard Pezner Shirley Churgin Mike Clements Devorah Colker Muriel Dance & Alvin Martin Zoud Danko Hedva & Dr. Dudley Danoff Susan Dashe Brock Dewey Kristin Diehl Linda Dozier Jeff Eckerle & Marilyn Osborn Ronald Eng Elizabeth A. Evans Katherine A. Evans Terry Feuerborn Carol & John Fox Kenneth J. Friedman & Marilynn J. Friedman Family Foundation

ANNUAL DONORS Catherine Froloff

Cynthia Melville

The Tatasciore Family

Corinne B. Garson

In Memory of Gregory Millar

Barbara & Larry Tenan

Gordon Gerson

Mona D. & Steven J. Miller

David & Cathy Thomas

Linda & Tom Givvin

Lee & Jeff Milman

Rebecca Vail§

Ellen & Reginald Golla

Thomas W. Mitchell

Julia Wackenheim

Roger Gordon

John Moschitta, Jr.

Ira & Laurie Waldman

Liz Gottainer & David Sadkin

Dr. Paula C. Moseley

Herbert Wolas

Howard Gradet

Andrea & Patrick Murray

Albert Wolsky

Marcy Gross

Bonnie Nash

Vera & Paul Guerin

Sabine Oishi

Roberta L. Haft

Janie & Allan Orenstein

In Memory of Jane Hall

Ron Rafay

Keith Hall Jeff Haller Steven & Sylvia Harrison Mary Hartley Hella Hershson Dr. Shelley Hill Robin & Edgar Hirst Paul Gordon Hoffman & Sue Caren Hoffman In Loving Memory of Stan Hollander Lynn Hunt & Margaret Jacob Drs. Sharon & Lou Ignarro Robert & Gail Israel In Memory of Joseph Jacobs Jessica Kaltman & Robert Reznik Linda Kaplan Elodie Keene William & Renee Kendall Nancy Kenney Sharon Kerson Dr. & Mrs. Klausner Leana Kleinman & Jerald Johnson Dr. Leonard & Stella S. Kleinrock Patricia Klous Delores Komar & Susan Wolford

Rollin Ransom & Chris Lacroix Jennifer Redner Elyse Resch Marianne Reynolds Linda & Erin Rice Julie Rogers Eric Rolnick Barry Rosen & Neil Bokal Douglas Ross Dr. Martin & Lorraine Ross

CHAIRMAN’S CIRCLE

As we celebrate our 25th Anniversary, the leadership wishes to acknowledge the historical contributions of these individuals to the Geffen Playhouse who have made the original vision of our founder, Gil Cates, possible: Anonymous Annenberg Foundation Mrs. Carol K. Block & Chancellor Gene D. Block† City National Bank Kirsten^ & Donald Combs Maria Israel-Curley & Jim Curley

Wil Rosser

Gang, Tyre, Ramer, Brown & Passman, Inc.

Peter & Andrea Roth

The David Geffen Foundation

Lisa Rowley

Herbert M.^ & Beverly J. Gelfand

Terry Ryan

Rabbi Uri D. Herscher & Dr. Myrna Herscher

Arlene & Peter Sacks Scott Sandler§ Cliff & Linda Schaffer Mary Lou Schanche Jo Schiff Mr. Bernard Schiffer Gary & Karen Schneider Joel & Sonia Schneider Nancy & Steven Schneider William Schreiber

Sharon & Joel Koppelman

Lester Schwartz

Deborah Lacusta & Daniel Castellaneta

John H. Scott Marc Scott

Lynne Lainer

Susanne Shallon

John & Sandra Langfitt

Donna Shapiro & Angel Castillo

Christo & Jeanne Lavagnino

Peggy & Robert Shapiro

Rhonda K. Lawrence

In Memory of Michael Sherman

Julie Leeds

Robert M. Shore

Lawrin & Linda Lewin

Nancy & Bruce Silverman

Renee Lonner

Marlene Sklar & Joel Moskowitz

Daniel & Jennifer Low

Tricia Small

Elizabeth Luster

Amy Jo & Jeff Smith

Barbara Marshall

Jill & Scott Spiwak

Deborah Marsten

Frances & Sy Strasberg

Liz Martyn Douglas McAvoy, Jr.

Mr. Kayser Sume & Dr. Renee Sabshin

Kathy & Jim McCaffery

Joanne Takahashi

Christina Medigovich

Mr. & Mrs. David Tann

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

IN-KIND SPONSORS

Thank you to our year-round in-kind sponsors for their incredible generosity and support of the arts: Skylight Gardens STK | The ONE Group W Los Angeles — West Beverly Hills Donors at the $150 level and up are recognized on our website at geffenplayhouse.org/thankyou.

If your name has been misspelled or omitted from the list in error, please contact Tracy Reich, Director of Individual Giving at 310.208.6500 ext. 113.

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Gil Cates, Jr. EXECUTIVE DIRECTOR

ARTISTIC

DEVELOPMENT

Daniel Ionazzi Producer

Elizabeth Kegley Director of Institutional Giving

Amy Levinson Associate Artistic Director

Phyllis Schuringa Artistic Associate / Casting Director Bella Luna Company Manager Olivia O’Connor Literary Manager & Dramaturg Lexy McAvinchey Artistic Assistant Colm Summers Director in Residence

PRODUCTION

Renee Duron Director of Production

Sarah Weinberg Director of Development

Tracy Reich Director of Individual Giving Mark San Filippo Director of Donor Stewardship Christine Drew Benjamin Director of Donor Engagement

EDUCATION

Sigourney Chin, Savanna Chute, Ki Duncan, Elizabeth Fritsch, Tony Jose Garcia, Alia Mahboob, Shannon Noel, Autumn Oyemade, Adam Simers Guest Services

Patty Squibb Interim Technical Director

Sean Michael Boozer, DeJuan Christopher Conner, Lyssa Deehan, BJ Lange, Tara Ricasa, Kenzo Rice, Maddy Wagner Teaching Artists

Sarah Lindsley Costume Shop Supervisor Spencer Doughtie Lighting & Projection Supervisor Jesus Cambero-Elias Assistant Lighting Supervisor James Grabowski House Sound Supervisor Bob Gilmartin Resident A1

ADMINISTRATION Behnaz Ataee Chief Financial Officer Erick R. López General Manager Berenice Campos Director of Human Resources Peter Banachowski Accounting Manager Janice Gompers Payroll Specialist & HR Admin Youra Kim Staff Accountant Clay Dzygun Office Coordinator Marguerite Harris Receptionist 2 6 P L AY B I L L

Amy Farkas Lead Concierge

Sarah Chute, Anya Pryjmak, Emir Yonzon Part Time House Managers

Paloma Nozicka Education Associate

Audrey Lastar Costume Supervisor

Mel Yonzon Front of House Manager

Allie Reasol Development Assistant

Melissa Hartman Interim Technical Director

Daniel Lynn Associate Properties Supervisor

Jeni Pearsons Director of Operations

Rob Mersola Event Manager

Jill Barnes Artistic & Production Administrator

Rick Gilles Properties Master

OPERATIONS

Jessica Brusilow Rollins Grant Writing Consultant

Brian Allman Director of Education & Community Engagement

Alexandre Norkus Automation Supervisor

Brianna Barrett, Rachel Jacoby, Sean James, Lauren Machain, Katie Sparks, Sara Turken, Anika Waco, Dennis Woullard Box Office Staff

MARKETING & COMMUNICATIONS Patrick Brown Director of Marketing

Zenon Dmytryk Director of Communications

Brynn Allen, Lulu Altabbakh, Cristiana Barbatelli, Hannah Battersby, Blaire Battle, Avery Brown, Marlon Campos, Matt Clark, Sofia Constantine, Lauren Curet, Enzo De Cunto, Cecily Dowd, Camille Edwards, Blake Elder, Hector Eribez, Sydney Fleischman, Aja Hinds, Meredith McClure, Austin Merrill, Ana Nguyen, Kenneth Sambula Jr., Elena ScaringePeene, Areany Tolentino, Lanae Wilks Ushers

Karen Gutierrez Director of Advertising & Audience Development

Chloe Shi (Administrative Lead), Cecilia Bonner, Bethany Koulias, Bradley Pierce, Elizabeth Rao COVID-19 Safety Managers

Brian Dunning Director of Content & Creative

INFORMATION TECHNOLOGY

Zack Hamra Associate Director of Audience Services & Ticketing Isaak Berliner Social Media & Communications Manager Janice Bernal Box Office Manager Alyssa Tyson Box Office Manager

Karim Bouzzit Cloud System Administrator Dream Warrior Group System Administrator

FACILITIES MANAGEMENT Art Guillen Facilities Manager

Martin Ayala, Felipe Ayala Building Maintenance

Jacob Feller Part Time Box Office Manager

Mario Santillan-Perez Custodial

Vaneh Assadourian House Seat Manager

Juan Carlos Umaña, Camerina Martinez Cleaning Custodial

Geffen Playhouse is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission.

This project was also funded in part by the Department of Cultural Affairs, City of Los Angeles.

Geffen Playhouse, a not-for-profit theater company, is proudly affiliated with the University of California at Los Angeles.

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