LITTLEBOY/LITTLEMAN
ARTISTIC
DIRECTOR
TARELL ALVIN MCCRANEY
I gravitate towards stories about families, of all shapes and sizes. You’ve probably noticed that over the last year or so. My reason has to do with my obsession with the way many voices work together to remain united while striving toward a common good. If those phrases sound familiar, they should; they stem from the preamble of the U.S. Constitution. littleboy/littleman by Rudi Goblen is an American story. It chronicles the ways in which we cross many masses of land and sea to explore what our dreams can become. Someone once said the journey of our dreams is not what we get out of them but who we become by striving for them. These men, Fíto and Bastian, strive in opposite directions, working for dreams that challenge not only each other, but also the worlds in which they wish to exist.
They struggle to make room for each other while ultimately knowing that their need for each other is greater than their disdain.
In this fresh theatrical event, we are asked to dream with these characters. And my hope in bringing you this big-hearted story is that you find ways to dream and discover that your hopes and wishes—for you, your family, and your community—work best when shared.
The dream journey is best done collectively: for who will we be after we’ve all dreamed together? Who will we become?
Welcome.
Tarell Alvin McCraney Artistic Director
PHOTO BY JEFF LORCH
BOARD OF DIRECTORS
Adi Greenberg CHAIR
Gil Cates, Jr.
Executive Director / CEO
Mary Ann Cloyd
Vice Chair
Merle Dandridge
Dr. Brad Edgerton
Bonnie E. Eskenazi
Mark Fleischer
Susan Nahley Fleishman
Dr. Julio Frenk
Brenda Garcia
Patricia L. Glaser
John Horn
Carla Malden
Brian Mann
Tiffany Mayberry
Tarell Alvin McCraney
Artistic Director
Mary Osako
Danny Passman
Holly Rice
Linda Bernstein Rubin
Matt Shakman
Richard Sherman
Howard Tenenbaum
Chair Emeritus
Miranda Tollman
JaHan Wang
Marc Weinstock
FOUNDING TRUSTEES
Harold A. Brown
Kirsten Combs
Robert A. Daly
David Geffen
Jeffrey Katzenberg
Frank G. Mancuso Chair Emeritus
Ron Meyer
Bruce M. Ramer Founding Chair
Victoria Mann Simms
Andy Spahn
Steven Spielberg
Steve Tisch IN MEMORIAM
Gilbert Cates Founder
Marcia Israel-Curley
Herbert M. Gelfand
Quincy Jones
Glorya Kaufman
Audrey Skirball Kenis
Charles Kenis
Karl Malden
Ginny Mancini
Jerry Moss
Jerry Perenchio
Edie Wasserman
Lew Wasserman
Dr. Charles E. Young
LEGAL COUNSEL
Nikki Kerman
Venable LLP
BOARD CHAIR ADI GREENBERG
As we launch the 2025/2026 Season, I’m thankful to share this moment of transition. My tenure as Board Chair ends this October, and while I’ll deeply miss this role, I’m thrilled for what lies ahead for Geffen Playhouse.
Serving this extraordinary theater during a transformative era has been an immense privilege. One of the highlights of my time here was helping welcome Tarell Alvin McCraney as Artistic Director. In just one season, Tarell’s bold and expansive vision has enriched our stage and community. His second season, continuing here in the Audrey Skirball Kenis Theater with the world premiere of littleboy/littleman, promises inspiring storytelling, original works, and journeys that will linger long after the curtain falls.
As one chapter closes, another begins. I’m eager to see new board leadership carry this momentum forward, alongside Executive Director/CEO Gil Cates, Jr., Tarell, and the rest of our Geffen family. While we’re keeping some surprises under wraps for now, bold ambitions are taking shape—ones that capture the creative pulse of Geffen Playhouse, the spirit of Los Angeles, and the global stage awaiting us in 2028. We can’t wait to share this journey with you.
Thank you for being part of this remarkable season. Enjoy the show!
Adi Greenberg Board Chair
LITTLEBOY/ LITTLEMAN
WRITTEN BY RUDI GOBLEN
DIRECTED BY NANCY MEDINA
PRODUCED IN ASSOCIATION WITH BRIXTON HOUSE
SCENIC DESIGNER TANYA ORELLANA
COSTUME DESIGNER SAMANTHA C. JONES
LIGHTING DESIGNER SCOTT BOLMAN
SOUND DESIGN BY UPTOWNWORKS—NOEL NICHOLS, BAILEY TRIERWEILER & DANIELA HART
COMPOSER RUDI GOBLEN
MUSIC DIRECTOR DEE SIMONE
DRAMATURG LAMAR PERRY
PRODUCTION STAGE MANAGER JULIET PARK
ASSOCIATE DIRECTOR VELANI DIBBA
MOVEMENT DIRECTOR CHRISTOPHER SCOTT
SPANISH TRANSLATOR ALBERTO E. MORALES
CASTING DIRECTOR PHYLLIS SCHURINGA, CSA
OPENING NIGHT THURSDAY, OCTOBER 9, 2025
LITTLEBOY/ LITTLEMAN
CAST OF CHARACTERS
(IN ALPHABETICAL ORDER)
Bastian Monteyero ALEX HERNANDEZ †
Fíto Palomino MARLON ALEXANDER VARGAS
MUSICIANS
Drummer DEE SIMONE
Bassist TONYA SWEETS
UNDERSTUDIES
u/s Fíto Palomino
ROBERT LEE HART
u/s Bastian Monteyero BOBBY ROMÁN
u/s Drummer / Bassist D MILLS
Understudies never substitute for listed players unless specified.
†Movement Captain
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 Here. Now.
RUNNING TIME
90 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 LITTLEBOY/LITTLEMAN
Assistant Scenic Designer
Danielle DeLaFuente
Assistant Costume Designer
Alexandria Hoffman
Assistant Lighting Designer
Noemi Barrera
Dialect Coaches
Margarita Lamas, Paul Wagar
Casting Consultant
Jamila Webb
Script Assistant
Rediet Yared
Music Assistant
Aubrey Situmorang
Production Assistant
Hailey Gold
Scenery Built & Painted By
Sets To Go Entertainment
Wardrobe Supervisor
Kassidy Klinesmith
Light Board Operator
Ezra Muthiah
Light Board Operator Swing
Jesús Cambero Elias
A1 & Sound Board Operator
Isa Underdahl
Carpenters
Oliver Brink, Ryan Howard, Mason Irwin, Claudia Peterson, Sam Sully
Scenic Painters
Vanessa Lara, Chandish Nester
Properties Artisans & Carpenters
Sigourney Chin, Danny Dolan, Ryan Howard
Stitcher
Trustin Adams
Lighting Programmer
Spencer Doughtie
Electricians
Ezra Fisher, Emma Inglehart, Ezra Muthiah, Gabriel Rodriguez, James Tatsch
Sound Technicians
Michael Svolos, Isa Underdahl
PRODUCTION ACKNOWLEDGEMENTS
Construction, Raul Vega Martinez
Lighting Equipment Provided By Kinetic Lighting
Sound Equipment Provided By DnB Design
Production Photographer
Jeff Lorch
Media Filming
Ramon Garcia
Design + Art Direction
Base Design
Photography
Corey Olsen
SPECIAL THANKS
UCLA School of Theater, Film, and Television Scene, Prop, Sound, and Costume Shops; Madison Mae Williams, UC San Diego Theater & Dance; Ludwig Drums; Zildjian Cymbals; Vic Firth Sticks; Dee Simone would like to thank: GOD!!, Alva Thompson, Daphne Thompson, Nicole Thompson, Grandma Norma and Frenchie; Nancy Medina would like to thank: Ric de Mowbray, Oscar de Mowbray, Santiago de Mowbray
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.
ALEX HERNANDEZ (he/him)
Bastian Monteyero
Alex Hernandez is a professional actor and amateur hooligan based in Brooklyn, NY, and the first male in his family tree to be born in the US. Stage credits include “Gabriel” in Time Alone (Belle Rêve Theatre Company), “Demetrius” in Midsummer Night’s Dream (The Public Theater/Shakespeare in the Park), “Jason” in Mojada (The Public Theater), and “Mace” in The Elaborate Entrance of Chad Deity (Actors Theater of Louisville and Dallas Theater Center).
Television credits include series regulars “Tommy Constantine” in The Peripheral (Amazon), “Owen Boyd” in UnREAL (A+E Studios), and “Kenny” in Sugar (Apple TV+). Videogame credits include player characters “Lincoln Clay” in Mafia III (2K) and “Jacob Diaz” in MindsEye (Build a Rocket Boy). He garnered a BAFTA nomination for Best Performance as “Lincoln Clay,” and an Ovation nomination plus LA Drama Critics Circle nomination for Best Lead Actor for Time Alone. Now and always, no human being is illegal on stolen land. @alexandhern
MARLON ALEXANDER
VARGAS (he/him)
Fíto Palomino
Marlon Alexander Vargas is a Dominican-born, New Yorkraised multi-hyphenate artist with a love for both movement and language. He is thrilled to be having his Geffen Playhouse debut with the world premiere of littleboy/littleman. He is a Jerome L. Greene Fellow (20242025) and the recipient of the Oliver Thorndike Acting Award for his dedication to the theater (2025). Most recently he worked on a production of Tennessee Williams’ Camino Real at the Williamstown Theatre Festival and this past May he received his M.F.A. from the Yale School of Drama. Marlon is a proud immigrant and a product of the community of Black and brown women who raised him. He thanks his ancestors for informing his work, and dedicates this show to Malik James. www.marlonalexandervargas.com @vc.marlon
DEE SIMONE
Drummer / Music Director
Dee Simone is a versatile drummer whose groove, precision, and dynamic energy make her a sought-after force in live performance. A graduate of Musicians Institute in Hollywood, Dee has over a decade of experience across jazz, gospel, funk, pop, hip-hop, fusion, and R&B. Her training under Fred Dinkins, Donny Gruendler, and Stewart Jean shaped her into a drummer equally at home in intimate ensembles and high-impact productions. Dee has performed with artists such as Jazz In Pink, Madame Gandhi, Alison Wonderland, Ravyn Lenae, and most recently with Doechii for NPR's Tiny Desk Concerts, with appearances at the Hollywood Bowl's Playboy Jazz Festival, and The Voice Live Semi-Finals. In addition to live work, she’s skilled in Pro Tools, Logic, Ableton Live, and Reason. Known for her rhythmic storytelling and musical sensitivity, Dee is passionate about delivering memorable performances and collaborating across genres and creative platforms.
TONYA SWEETS
Bassist
Tonya Sweets is a self-taught bassist from Houston, Texas, who grew up as a preacher’s kid immersed in the soul of church music. Her melodic sound is a genre-bending fusion shaped by influences ranging from hiphop, R&B, gospel, and reggae to fusion, rock, and beyond. With musical heroes like J Dilla, Erykah Badu, MF DOOM, Sly and the Family Stone, A Tribe Called Quest, Pino Palladino, Ethan Farmer, Flying Lotus, and Mint Condition, Sweets’ bass lines carry both deep groove and storytelling spirit. Her passion for collaboration and sonic exploration has led her to share the stage with artists such as Lizzo, Brent Faiyaz, Durand Bernarr, and Klymaxx featuring Bernadette Cooper, among others. Whether she’s laying down pocket or pushing creative boundaries, Sweets sees music as a universal language—and she’s here to have a musical conversation with the world.
ROBERT LEE HART (he/him) u/s Fíto Palomino
Robert Lee Hart is a Los Angeles actor and an M.F.A. graduate from the Yale School of Drama where some of his credits include Marty and the Hands that Could and The Seagull. He has been in shows such as Chicago P.D., FBI, and Criminal. His community is a huge part of his life which led him to being the co-artistic director of the THTR TRUK which looks to bring high quality theater to different communities for free.
BOBBY ROMÁN
u/s Bastian Monteyero Geffen Playhouse debut. Off-Broadway: the beautiful land i seek [la linda tierra que busco yo] (Puerto Rican Traveling Theater), You Will Get Sick (Roundabout Theatre Company). Other theater credits include: Don Juan (Westport Country Playhouse), An Enemy of the People (Yale Repertory Theatre). Television: FBI, Blue Bloods, Bull, WeCrashed, Mr.
Robot. Training: Heidi Marshall Studio, William Esper Studio, M.F.A. Yale School of Drama. Instagram: @_bobbyroman
D MILLS
u/s Drummer / Bassist
D Mills is a Los Angeles-based multi-instrumentalist, producer, and artist whose talent has led him to collaborate with some of the biggest names in music, including Charlie Puth, Shaboozey, Forrest Frank, Jidenna, Paul Russell, and Ryan Beatty. Known for his versatility and ability to move seamlessly across genres, Mills has contributed to major tours, high-profile performances, studio sessions, and on some of the biggest stages in the world with artists at the forefront of contemporary music. A self-taught musician with deep roots in musical tradition, Mills is also the great-great-grandson of legendary blues singer Bessie Smith. His ability to play piano, bass, guitar, drums, and more makes him a rare presence both on stage and in the studio. With an ear tuned to Funk, Country, R&B, Jazz, Rock, and Gospel, his compositions and performances are as fluid as they are genre-defying.
RUDI GOBLEN (he/him)
Playwright / Composer
Rudi is a playwright, educator, and performer who creates solo theater and devised theater work. He is a 2025 USA Fellow, a recipient of the Colman Domingo Award, a three-time winner of playwriting awards from The Kennedy Center, the Lorraine Hansberry Playwriting Award, and an O’Neill Finalist. His accolades include a Future Aesthetics Artist Award, two Miami-Dade County Choreographer Awards, and a FEAST Award for his book of poetry, A Bag of Halos and Horns. He has trained and worked with Cirque du Soleil and DV8 Physical Theatre and is a founding member of Teo Castellanos/D-Projects and Rosie Herrera Dance Theatre. Selected venues where his work has been presented include the Geffen Playhouse, The Shed, New York Theatre Workshop, Vineyard Theatre, the Fisher Center at Bard, Yale Cabaret, Alliance Theatre, and Rattlestick Theater. Publications include Theater Magazine, Imagined Theatres: Writing for a Theoretical Stage, Concord Theatricals, and PEN America. He holds an M.F.A. in playwriting from the Yale School of Drama.
NANCY MEDINA (she/her) Director
Nancy Medina is Artistic Director of Bristol Old Vic, taking the role in 2023. In October 2023 she directed her first production for the theatre, a revival of Tarell Alvin McCraney’s Choir Boy which received both Best Play and Best Director Awards at the Black British Theatre Awards in 2024. Further productions for Bristol Old Vic’s 2025 season included A Good House in co-production with the Royal Court Theatre and The Beautiful Future is Coming. As a director, her credits also include The Darkest Part of the Night (Kiln Theatre), Moreno (Theatre503), Trouble in Mind (National Theatre), The Half God of Rainfall (Fuel Theatre / Birmingham Rep / Kiln Theatre), The Laramie Project (Bristol Old Vic Theatre School), Two Trains Running (Royal & Derngate / English Touring Theatre), Strange Fruit (Bush Theatre), Collective Rage: A Play in 5 Betties (Royal Welsh College of Music & Drama), Yellowman (Young Vic), Curried Goat and Fish Fingers (Bristol Old Vic), and Dogtag (Theatre West). She is a recipient of 2024 Genesis Foundation Prize, 2020/2021 Peter Hall Bursary (National Theatre), 2018 Royal
Theatrical Support Trust Sir Peter Hall Director Award (Royal & Derngate / English Touring Theatre), 2017 Genesis Future Director Award (Young Vic), and 2014 Emerging Director Prize (Tobacco Factory Theatres). She was a visiting director at the Bristol Old Vic Theatre School and was joint Artistic Director and founder of the Bristol School of Acting.
TANYA ORELLANA (she/her) Scenic Designer
Tanya Orellana designs performance spaces for theatre, opera, and immersive experiences. Select credits: Don’t Eat The Mangos (The Huntington); What Became of Us (Atlantic Stage 2); Oedipus (Getty Villa); Mexico Premiere of Angels in America (Teatro UNAM); Derecho (La Jolla Playhouse); Mother Road (Berkeley Repertory Theatre); As You Like It (Oregon Shakespeare Festival); Fefu and her Friends, Big Data, Private Lives (American Conservatory Theater); Where Did We Sit on the Bus? (Denver Center for the Performing Arts), For the People (Guthrie Theater); Stew, One of the Good Ones (Pasadena Playhouse), Alma (Kirk Douglas Theatre). Tanya is engaged in a long-term collaboration with Virginia Grise: rasgos asiáticos, a traveling scenic installation using sound, light and objects to conjure narratives of immigration and migration in the U.S.-Mexico borderlands. M.F.A. (CalArts). 2017 Princess Grace Fabergé Theatre Award. www.tanyaorellana.com
SAMANTHA C. JONES (she/her)
Costume Designer
Samantha C. Jones is excited to return to Geffen Playhouse as a part of this wonderful work. She is a Costume Designer and educator with previous design credits at Geffen Playhouse, Center Theatre Group, Oregon Shakespeare Festival, Huntington Theatre Company, Goodman Theatre, Court Theatre, Paramount Theatre (Aurora), Steppenwolf Theatre, Northlight Theatre, Drury Lane Theatre, Writers Theatre, Lookingglass Theatre Company, Chicago Children’s Theatre, TimeLine Theatre, Porchlight Music Theatre, Jackalope Theatre, Cleveland Play House, Kansas City Repertory Theatre, Alley Theatre, Seattle Children’s Theatre, First Stage Theatre, Skylight Music Theatre, Indiana Repertory Theatre, Peninsula Players Theater, and others. Her work can be viewed at www.samanthacjones.com.
SCOTT BOLMAN
(he/him)
Lighting Designer
Scott has designed lighting for theatre, dance, and opera productions at venues throughout the world. Recent productions include: Yankee Dawg You Die (East West Players), Octavia (Goethe-Theater, Bad Lauchstädt), Adoration (LA Opera/ REDCAT), Private Lives (American Conservatory Theater), Rasgos Asiáticos (A Todo Dar), Reunited in Dance (Renée and Henry Segerstrom Concert Hall), LEAR (Cal Shakes), Place (Walt Disney Concert Hall), Bethy Trio
(Spreehalle, Berlin), On Gold Mountain (LA Opera/The Huntington), and Joy (The Wallis). Scott is a founding member of Wingspace Theatrical Design, a board member of the Equity through Design Mentorship, and a professor of lighting design at California State University, Fullerton. More info at www.scottbolman.com.
UPTOWNWORKS
Sound Design
UptownWorks is a collaborative team designing for theater, film, podcasts, installations, and other media. Credits include The Staircase, You Are Cordially Invited to the End of the World! (South Coast Repertory); Becoming Eve (New York Theatre Workshop); Laughs in Spanish (Hartford Stage); Grandiloquent (Lucille Lortel Theatre); Franklinland (Ensemble Studio Theatre); I Am Not Your Perfect Mexican Daughter (Denver Center for the Performing Arts); Blood of the Lamb (59E59); tiny father (Geffen Playhouse); The Scenarios (Studio Theatre, DC); Dangerous Days (Miami New Drama); The Importance of Being Earnest (Pittsburgh Public Theater); Murder on the Orient Express (Syracuse Stage); FIVE: The Parody Musical (Visceral Entertainment); Munich Medea: Happy Family (WP Theater/ PlayCo); Lady Day at Emerson’s Bar and Grill (Baltimore Center Stage); The Singularity Play (Harvard TDM); black odyssey (Classic Stage Company); Espejos: Clean (Hartford Stage/ Syracuse Stage); Which Way to
the Stage (Signature Theatre, DC); the ripple, the wave that carried me home (Berkeley Repertory Theatre/Goodman Theatre); Blue’s Clues & You! (Round Room Live).
See more of our work at www.uptownworksnyc.com.
NOEL NICHOLS
(they/she) Co-Sound Designer, UptownWorks Noel Nichols is a regional sound designer and composer from Phoenix, Arizona. Select Designs: tiny father (Geffen Playhouse); You Are Cordially Invited to the End of the World!, and The Staircase (South Coast Repertory); avaaz (South Coast Repertory, National Tour); Antíkoni (Native Voices); Walk With Me CTG (Center Theatre Group); The Sandwich Ministry (Skylight Theatre Company); I Love You So Much I Could Die (New York Theatre Workshop); Uncle Vanya (Associate Sound Design, Lincoln Center Theater); the ripple, the wave that carried me home (Berkeley Repertory Theatre/Goodman Theatre); The Scenarios, and Problems Between Sisters (Studio Theatre, DC); Today is My Birthday (Yale Repertory Theatre); Mojada (Indy Shakes).
M.F.A. in Sound Design from Yale School of Drama. Faculty in Sound Design at the University of Southern California. www.noelnicholsdesign.com
BAILEY TRIERWEILER (he/him)
Co-Sound Designer, UptownWorks Bailey Trierweiler is an NYC based sound designer and engineer. Select design credits
include: Becoming Eve (New York Theatre Workshop); On the Evolutionary Function of Shame (Second Stage); Chiaroscuro (National Black Theatre); Dangerous Days (Miami New Drama); The Slow Dance (59E59); FIVE: The Parody Musical (Visceral Entertainment); To the Ends of the Earth (JACK); The Singularity Play (Harvard TDM); Concord Floral, The Underlying Chris (Hamilton College); Lady Day at Emerson’s Bar and Grill (Baltimore Center Stage); black odyssey (Classic Stage Company); Chicken & Biscuits (Asolo Repertory Theatre); Fires in the Mirror (Baltimore Center Stage & Long Wharf Theatre). Select associate credits include: Twelfth Night (The Public Theater); Velour: A Drag Spectacular (La Jolla Playhouse); The Welkin (Atlantic Theater Company); Mad Hatter the Musical (Herberger Theater Center); The Comeuppance (Signature Theatre); Kate (Connelly Theater & Pasadena Playhouse); The Blood Quilt, Flex, Becky Nurse of Salem (Lincoln Center Theater). Education: M.F.A. in Sound Design from the Yale School of Drama.
DANIELA HART (she/they) Co-Sound Designer, UptownWorks Daniela Hart is a sound designer, composer, and filmmaker based in NYC. Selected theater credits include Becoming Eve (New York Theatre Workshop); Laughs in Spanish (Hartford Stage); Franklinland and Las Borinqueñas (Ensemble Studio Theatre); tiny father (Geffen Playhouse); The Importance of Being Earnest
(Pittsburgh Public Theater); Murder on the Orient Express (Syracuse Stage); Hotel Happy (Houses on the Moon); Munich Medea: Happy Family (WP Theater/PlayCo); Lady Day at Emerson’s Bar & Grill (Baltimore Center Stage); black odyssey (Classic Stage Company); Espejos: Clean (Hartford Stage/Syracuse Stage); Blue’s Clues & You! (Round Room Live); Queen (Long Wharf Theatre); Fires in the Mirror (Baltimore Center Stage/ Long Wharf Theatre); Choir Boy (Yale Repertory Theatre); (The Making Of) How to Save the World in 90 Minutes (Cherry Lane Theatre); References to Salvador Dalí Make Me Hot (A.R.T., Harvard). Daniela received their M.F.A. in Sound Design from the Yale School of Drama and is the founder of UptownWorks. www.uptownworksnyc.com
VELANI DIBBA (she/her) Associate Director
Velani Dibba is an LA-based director and multidisciplinary artist. Her work focuses on the collision of cultures through design-focused and ensemble-driven pieces. Select credits include Don’t Touch My Hair (IAMA Theatre Company), Pride and Prejudice (The Dramat at Yale Repertory Theatre), we need your listening (New Ohio Theatre Ice Factory Festival), Apologies to the Bengali Lady (Edinburgh Fringe Festival, The Tank NYC, The Gathering), I Pledge Allegiance (UNESCO International Theatre Festival and World Congress, TCG National Conference), Space
Odyssey (Columbia School of the Arts). She is an Inaugural Fellow at the Laboratory for Global Performance & Politics in Washington D.C., a former Global Cultural Fellow at the University of Edinburgh, and a former SITI Company Artistic Associate. Her work has been reported on by The New York Times, Vulture, The Scotsman, and various other outlets.
Directing M.F.A. Columbia University, B.S.F.S. Georgetown School of Foreign Service.
CHRISTOPHER SCOTT (he/him) Movement Director
Christopher Scott is proud to be making his Geffen Playhouse debut, finding movement through the powerful words of his longtime friend and collaborator, Rudi Goblen. Scott discovered his love for dance at 14 while a student at Hollywood High, a passion that quickly led him to the Third Street Promenade as a tap-dancing street performer. After a chance open call for Step Up 2: The Streets led him to Baltimore, he met director Jon Chu and landed the role of “Hair” in the wildly popular film series. Scott and Chu’s immediate collaborative connection led to Scott’s first choreography credits on the Step Up franchise and The LXD: The League of Extraordinary Dancers From there, Scott became a three-time Emmy–nominated choreographer on So You Think You Can Dance and has since built a career spanning across film, television, live performance,
and stage. His choreography credits include In the Heights (Warner Bros.), Wicked (Universal), and upcoming projects Kiss of the Spider Woman (Lionsgate) and Wicked: For Good (Universal). With that—What time is it…? SHOWTIME!
LAMAR PERRY (he/they) Dramaturg
Lamar Perry is a Queer Black director, dramaturg, and writer who currently serves as an Assistant Professor of Directing at UC San Diego. Recent directing credits include the critically acclaimed world premiere of When We Are Found by Donja R. Love (Penumbra Theatre), Dead Girl’s Quinceañera by Phanésia Pharel (UCSD Wagner New Play Festival), The Last Days of Judas Iscariot by Stephen Adly Guirgis (The Old Globe/USD M.F.A. Acting Program), Animals Out of Paper by Rajiv Joseph (Chautauqua Theater Company), Mud Row by Dominique Morisseau, and Thicker Than… by Agyeiwaa Asante (UCSD Wagner New Play Festival). They have developed new work at Vineyard Theatre, Ensemble Studio Theatre, The Old Globe, Penumbra Theatre, Contemporary American Theater Festival, National Black Theatre, Diversionary Theatre/Spark Festival, UCSD/ Wagner New Play Festival, Eugene O’Neill Theater Center, Chautauqua Theater Company, San Diego Repertory Theatre, Cygnet Theatre, and The Classical Theatre of Harlem. You can find him at www.lamarperry.com or @mrlamarperry
ALBERTO E. MORALES (he/him)
Spanish Translator
Alberto E. Morales is a writer, researcher, and educator with a diverse background. Born in Managua, Nicaragua, and raised in Southern California, he now serves as an Assistant Professor in the Department of Global Studies and Modern Languages at Drexel University. Alberto holds a Ph.D. in Sociocultural Anthropology and a B.A. in French Literature from the University of California, Irvine. Before his faculty appointment in Philadelphia, he was a Postdoctoral Scholar in the Program in Latin American Studies at Princeton University. Prior to his academic career, he taught English as a Foreign Language to migrant communities in South Los Angeles and contributed to the cultural life of Los Angeles as a museum educator at the Los Angeles County Museum of Art (LACMA). Currently, Alberto is working on a book manuscript that explores the experiences of knowledge workers in Latin America as they navigate precarity, absence, and hope.
JULIET PARK (she/her)
Production Stage Manager
Juliet Park is a Los Angeles based stage manager and is always delighted to return to the Geffen Playhouse. Select Geffen credits include Production Assistant for: Waiting for Godot, Fat Ham, The Mountaintop, The Inheritance, Who’s Afraid of Virginia Woolf?. Other regional credits include: The Guy Who
Didn’t Like Musicals: Reprised!, Cinderella’s Castle (StarKid Productions); The Staircase (South Coast Repertory); Inherit the Wind, A Little Night Music, Uncle Vanya (Production Assistant, Pasadena Playhouse). She’d like to thank her friends and family for their continued support.
PHYLLIS SCHURINGA, CSA (she/her)
Casting Director
Phyllis is an Artistic Associate and the Casting Director for Geffen Playhouse. Recent productions include: 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.
BRIXTON HOUSE
Producer
Brixton House is a modern cultural venue in South London. An inspired vision to build a cultural hub centred on the legacy of the former Ovalhouse Theatre. The new multi-arts venue, with a particular focus on theatre, tells stories from underheard voices
and communities that represent its home in the heart of Brixton. Its arts programme reflects the rich and authentic storytelling of local and international diverse communities and champions innovative and creative entrepreneurial perspectives. A place for people to come together to create and enjoy performance, the venue houses two theatres and performance spaces, seven rehearsal rooms, meeting rooms, office space dedicated to creative organisations as well as a public cafe and bar. Brixton House is generously supported by London Borough of Lambeth, Arts Council England, Garfield Weston Foundation, The Wolfson Foundation, Cockayne Grants for the Arts, London Community Fund, The 29th May 1961 Charitable Trust.
TARELL ALVIN M c CRANEY (he/him)
Artistic Director
Tarell Alvin McCraney is Artistic Director of Geffen Playhouse. In this role, he is responsible for identifying, developing, and programming new works and re-envisioned classics. He sets the strategic artistic course for the Geffen’s Gil Cates and Audrey Skirball Kenis Theaters. McCraney is an award-winning writer, producer, and educator, best known for his acclaimed
trilogy, The Brother/Sister Plays. 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 also won a Best Adapted Screenplay Oscar. He is an ensemble member at Steppenwolf Theatre and a member of Teo Castellanos D-Projects in Miami, a graduate of New World School of the Arts, The Theatre School at DePaul University, and the David Geffen School of Drama at Yale. He received an honorary doctorate from the University of Warwick. He was recently Co-Chair of Playwriting at the David Geffen School of Drama, where he remains on faculty. He is an associate at the Royal Shakespeare Company, London, and a member of the Academy of Motion Picture Arts and Sciences (Writers Branch).
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
MEGHAN KENNEDY
KATIE LINDSAY, TOVA KATZ & ALEXANDRA KALINOWSKI
MATTHEW LÓPEZ
MARTYNA MAJOK
Co-Commission with Atlantic Theater Company
TARELL ALVIN M c CRANEY
QUI NGUYEN
Co-Commission with Manhattan Theatre Club
STACY OSEI-KUFFOUR
JIEHAE PARK
SARA PORKALOB & BRIAN QUIJADA
JEN SILVERMAN
N’YOMI ALLURE STEWART Co-Commission with New York Theatre Workshop, supported by the Virginia B. Toulmin Foundation
YORK WALKER
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.
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.
BROTHERS ON BROTHERS
AN INTERVIEW WITH PLAYWRIGHT RUDI GOBLEN
BY LAMAR PERRY, DRAMATURG FOR LITTLEBOY/LITTLEMAN
LAMAR PERRY: You have this ability to see artists beyond the scope of how the industry sees them. You see people in their multiplicities, complexities, and nuance in real life and hold space for it. It’s one of the things that draws me to your work continuously.
RUDI GOBLEN: American theater always tries to like, lock down and box things up—categorize them, us. Obviously, we live in a capitalist country that tells us things should only be categorized in like one way. “Oh, we must define this. We need to know if this is a drama or a comedy or who this play belongs to. Who is the villain? Who is the person you’re supposed to love or hate?” For the work I like and the work that I like to make, that’s just not interesting to me. I’m always thinking about how I can make things as interesting and honest as possible for myself. Black and brown people don’t exist in a singular fashion. We’re expansive, b. It’s the systems that aren’t.
LP: I wanna touch on that word expansive quickly, fam, particularly as it relates to language. Tell us more about how you see language and how it’s used in this play.
RG: I’m so interested in the multiplicity of a person and life, and so that bleeds into everything I do and make. When I think about language, I’m always like, how can I create quotidian language that turns into poetic language, that turns into stylized text, that turns into rhyme, that turns into sound, that turns into music, that turns into movement. We have all these things available to us and I’m interested in utilizing them. And that’s no shade—
LP: No shade at all—
RG: —to people who see language differently. Also, I’m a poet, I’m a spoken word artist, I’m an MC. So, I always go to the theater for the words. I’m like, where are the words? What are you giving me? What are the words you are using, and how are you using them? You know? It’s just like how you
PHOTO BY JOSEPH LYNN
Playwright Rudi Goblen
quote a bar in hip-hop music. Like, “yoooooo, that line is crazy.” I want to leave the theater quoting playwrights instead of recapping plot points, and I want that for audiences too.
LP: That was me at rehearsal the other day when you made that one line change. You ATE that!
RG: Ha, ha, thanks, b. Like, I want to leave the theater quoting a line, you know?
LP: Important to say because, at times when folks encounter variations of English, or different dialects or languages, an othering can happen. You’re asking folks to lean in, which is important now more than ever, especially here in LA. Switching gears a bit, you’ve kind of assembled, like, the Avengers, both on stage and off for littleboy/littleman. How’d the roundtable get built?
RG: When I think about building a room, I’m not only thinking about casting an actor who is technically able to do the thing that we need them to do. I’m also thinking about what kind of collaborator they are in the room, how do they work with a director, how do they take a note, what kind of energy do they bring. It’s not only about bringing in different people who do everything they do well— it’s also about putting together a community that you’re going to go on this journey with for the next few months, right? So, that’s important to me. The vibe and energy are everything to me in collaboration. The second I met Nancy, I knew that we saw eye to eye in a lot of things. I knew that we were of the same tribe, we were of the same worlds. First few minutes of our first call, we busted out laughing, and that was it for me. I went to school with Marlon, and I saw the brother very early on in his journey as a student at Yale. But I knew he was talented and special and raw and natural, and that is always interesting to me. It always draws me in. I love performers that don’t feel performative. The musicians were also very important.
LP: Yoooooo, the musicians are SICK!
RG: No, for real. I knew I wanted female musicians. I also knew I wanted women of color—to be more specific, Black or Brown women to be on stage with these brothers. I’m always thinking about balance of energy. I’m like, who’s on stage? We have these two brothers who are sharing space and tension in a specific kind of energy, so I was like, how do we also balance that off with music
and other bodies? What other energy do we need to bring into the space, which—sidebar—is also the reason why I was really interested in having a woman be director of this project.
LP: We love Nancy, she’s fab. But the musicians, b, ha, ha!
RD: Dee Simone is another gift. I saw her playing with Doechii on Tiny Desk, and I was like, who the—is that?! I was like, yoooooo! I’m always looking for women musicians. It’s just something that, again, I’m very interested in. I saw her then, and when the Geffen sent me a list of people to take a look at, her name was on that list and I was like, oh call her! Then we needed a female bass guitarist, and we asked her, so she introduced us to Sweets. Sweets came in for an audition, and already from her energy and from talking to her, even before we started playing, I was like, yes. Then I heard her play. I was like oh, absolutely. Yeah, absolutely yes! She is a special, beautiful old soul, funky, funny, present, and down to earth, you know?
LP: As I think about this last question, we’re additionally joined by one of our lead actors, Marlon Alexander Vargas. I think it’s important to frame for the audience that we as men don’t just represent collaborators, but brothers in real life. These guys are my real-life family. As I think about us being family, I think about the brotherhood that exists between us all and this play that’s about love. This play is about men who love, men who are reaching for love, failing at love and not giving up. I want to pose this to you both—how do you hope audiences will engage with the offering of this brotherhood?
RG: Yeah... (to Marlon) That’s all you brother, ha, ha.
MARLON ALEXANDER VARGAS: I think a lot of people do not see these kinds of characters on the stage in this kind of way, in this kind of light. It’s a very tender relationship that Rudi has written and allowed people into. I hope that people see these men for all of their parts, not just their pieces. They’re domestic, very intimate, and heartbreaking. But also, still incredibly beautiful and deserving of the space to explore their own becoming.
LP: And it is possible, b—the example is in this room with us. Three brown brothers, from three countries, loving each other softly.
To read the full-length interview, visit geffenplayhouse.org/blog.
THEATER IN EDUCATION HAS THE POWER TO IGNITE CHANGE
Geffen Playhouse is deeply committed to creating powerful and impactful arts education and engagement experiences that amplify, inspire, and encompass our diverse Los Angeles community. Our programs provide unique, in-depth access to theater and the arts for determined and ambitious youth and adults coming from historically excluded communities. We invite all Angelenos to come home here. When you support our education and community engagement programs, you create a world of greater understanding, increased expression, and deeper compassion while enjoying your home away from home at this historic playhouse.
Above: Student Q&A with Dragon Lady star Sara Porkalob after a student matinee.
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 June 1, 2024 and August 25, 2025. 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.
PREMIERE CIRCLE
$100,000+
Anonymous
The Ahmanson Foundation
Jana & Trevor Bezdek
Edgerton Foundation
Louise & Dr. Brad† Edgerton
Patricia Glaser† & Sam Mudie
The Adi† and Jerry Greenberg Foundation
William Randolph Hearst Foundation
Marilyn and Jeffrey Katzenberg^ Fund for Arts Education
Jerry & Terri Kohl
Linda Bernstein Rubin† & Tony Rubin
Jayne Baron Sherman
Shubert Foundation
The Simms/Mann Family Foundation^
S. Mark Taper Foundation
Jodi & Howard† Tenenbaum
Miranda† & Brett Tollman
UCLA
UCLA Health
INNOVATOR CIRCLE
$50,000 – $99,999
City National Bank
Los Angeles County Department of Arts and Culture
Los Angeles County Board of Supervisors
Kenneth T. and Eileen L. Norris Foundation
Holly Rice† & Vince Gilligan
Richard† & Barbara Sherman
PRODUCER’S CIRCLE
$25,000 – $49,999
Anonymous
The Sheri and Les Biller Family Foundation
Capital Group
Marcy Carsey
City of Los Angeles Department of Cultural Affairs
Dwight Stuart Youth Fund
Dr. & Mrs. Paul Eisenberg
Bob & Diana Friedman
Carol & Paul Frimmer
The Rosalinde and Arthur Gilbert Foundation
Kirsten Hansen & Allen Shay
Noble† & Jacquelynn Hansen
Martha Henderson
Marcia Israel-Curley Foundation^
Carol & Bill Ouchi
Allen Blue & Kira Snyder
Judith & Bruce Stern
Shel & Cynthia Stone
Wolfen Family Foundation
PLAYWRIGHTS’S CIRCLE
$10,000 – $24,999
Anonymous
Eva Aaronson—
In Memory of Bucky Hazan
The Berlanti Family Foundation
Katherine Brown & Rene Mendoza
Cast Iron Entertainment
Mary Ann Cloyd†
Ellyce R. Cooper & Barry Cohen / Sidley Austin LLP
Bonnie Eskenazi†
Robyn Field & Anthony O’Carroll
Susan & Mark† Fleischer
Sue & Steve Glusker
In Memory of Morris A. Hazan
Eric & Samantha Heer
Stanley Iezman & Nancy Stark
David & Martha Kadue
Julie & David Kavner
Karen & Walter Loewenstern
Carla Malden† & Norman Beil
Mid-America Arts Alliance in Partnership with the National Endowment for the Arts
Soundis & Danny† Passman
Cheryl Petersen & Roger Lustberg
Yvonne Randle
Thomas L. Safran
Marcia & Robert Shuwarger
The Harold and Mimi Steinberg Charitable Trust
Steward Family Foundation
Deborah Tavlin
U.S. Bank
Waterman and Glicksteen Families
Aurora & Marc† Weinstock
Robert Wilson, Jr. / Select Equity Group Foundation
CREATOR’S CIRCLE
$5,000 – $9,999
Laura & Harvey Alpert
Margaret Campbell Arvey and The Arvey Foundation
Shelly & Libby Bergen
Susan Bloch-Kay & Stephen Kay
Dr. Adrienne Brandriss
Robert Brook & Jacqueline Kosecoff
Jay Butterfield & Susan Ewert
Dr. Fanya Carter, Ph.D.
Marissa Caudill & David Merrill
Steven Cerasale & Mary Katherine Cocharo
The Chisolm Family
Cindy Clark
Linda & John Coleman
Ginger Conrad
In Loving Memory of Ed Cypert
Marisa & Adam Davis
Dr. Joan Denson & Dr. Victoria Berck
Anne Dougherty & David Dobrikin
Barbara & Ed Dreyfus
Lisa Field, Field Family Foundation
In Memory of Lucas Simon Foster
Lynn T. Franklin
Sonia & Robert Freedman and Family
G2 Graphic Service, Inc.
Dr. Cara Gardenswartz & David Melnick
Carla Gardini
Fariba Ghaffari
The Goldenberg Family
Jill Grey
Marc & Erica Hankin
Monique & Jonathan Kagan
Mannon Kaplan
Glorya Kaufman^
Kelton Fund / David Kelton
Laura Kennedy
Leslie King & Robert Welther
Ann & Jonathan Kirsch
Kling Family Foundation / Allen & Jessica Kling
Norman Koplof & Leslie Falick
David Lee Foundation
Rena & Craig Leeds
Tania Lotia & Tamar Tokat
Marcia E. Williams & Gene Lucero
Dr. Jennifer Lucero
Renee & Meyer Luskin
Mara W. Breech Foundation
Laura Maslon
Cookie Miller
Haley Pigman
Carolyn A. Poer & John M. Poer
Richard Rasiej & Joan Herman
Joyce Rey
Carol Risher
Susan Rogers
The Ross Family
Cooper Roth
Dinah C. Ruch & Bill Birdsall
David A. & Karen Richards Sachs
Nancy & Ted Sanborn
Stephen Sass & Steven Hochstadt
John Shustitzky & Rev. Christine Chakoian
Anne C. Taubman
William & Karen Timberlake
Daniel & Shauna Valenzuela
Julie & Peter Weil
Joanne & Ken Weinman
Alison Whalen & Steve Marenberg
Susan & Dan White
Lisa Yen & Tom Bajoras
DIRECTOR’S CIRCLE
$2,500 – $4,999
Aversa Foundation
Robert E. & Maria H. Barron
Madelyn Bennett & Eric Gibson
Susan J. Booth & Christopher Wadden
Paula Brand
Diana Buckhantz and the Vladimir and Araxia Buckhantz Foundation
Joanne Cohen
Tim Curtis & Shandon Youngclaus
Tara Duncan
Lucy Farber & Jim Bright
Dennis & Jackie Fox
In Memory of Jane F. Hall
Harris Family Foundation
Joseph & Kathy Hartley
Barbara Herman
Jack Hileman & Roxanne Huddleston
Rand Hoffman & Charlotte Robinson
Linda Janger
Katherine Kleindienst & Marc Goldsmith
Nancy Koven
Tim McNeal
Thaine & Elizabeth Morris
Susan Oka
Joyce & Harvey Reichard
Snyder Family Foundation
Eric Strom & Eileen Goodis
Judith Leslie Waxman & Leo Stytle
Leslie White & Al Limon
DESIGNER’S CIRCLE
$1,000 – $2,499
Anonymous (2)
Jan & David Altemus
Patti Amstutz
Bonnie & Bill Apfelbaum
Randy & Michael Bayard
Yvette Bergeron & Dean Bailey
Wendy & John Bergquist
Beverlee Bickmore & James Kelly
John Bjorge & Mary McKelvey
Laura & Jerry Callaway
Lexy & John Carroll
Peter & Heidi Cartmell
The Christal Family
Chanel Coney
Michael De Luca
Jacki & Murray Drechsler
Dr. & Mrs. William M. Duxler
Jeff Eckerle & Marilyn Osborn
Colleen M. Ellis
Terri & David Elston
David & Joyce Evans
Melanie Flamminio
In Honor of Frank & Betty Fouce
Anita Dann Friedman & Harvey Friedman
Catherine A. Froloff
Richard & Lori Goldman
Ellie Goodman
Penny Grosz & Eugene Korney
Deidre Hall
Pauliana Cheung Hall
Richard Hart
Scott Hartle
Jackson Henry
Hella Hershson
Dr. John D. Hofbauer & Dr. Laura E. Fox
Lynn Hunt & Margaret Jacob
David Israeli & Dr. Marie Mazzone
Brenda Marie Izzi
Victoria Jackson & Bill Guthy
Nancy & Len Jacoby
Sally & Dr. Manny J. Karbelnig
Corrinne Mann Kempinsky & Louis Kempinsky
Sharon Kerson
Dr. Phyllis H. Klein
Delores Komar & Susan Wolford
Trice Koopman & Mark Freund
Cori Lable
Lena & Mark Labowe
Mindy Lauerlevin & Ed Levin
Christo & Jeanne Lavagnino
Carl Levinger & Karen Siscoe
Lawrin & Linda Lewin
Cathleen Fitzpatrick Linder
Judith Locke
Elizabeth Luster
Susan & Peter Mallory
Barbara Marshall
Kathy & Jim McCaffery
S. McQueen & D. Whalen
Norma & Larry Meyers
Hillary & Lance Milken
Andrew & Laura Mintzer
Thomas W. Mitchell
Lon Morse & Toni Hollander Morse
Mark & Diane Neubauer
Julie Nichols
Ornest Family Foundation
Ralph Page & Patty Lesh
Phil & Agnes Peters
Ruth Popkin
Clark & Kathryn Porter
Lise Ransdell & Eric Augusztiny
Jeffrey S. Rapp & Neil S. Silverman
Dolores Rogers
Allison & Bennett Rosenthal
Oren Rosenthal & Craig Kwiatkowski
Gary & Karen Schneider
Susan Schwarz
In Memory of Pippa Scott and In Honor of Miranda Rich Tollman
Sylvan & Sandra Seidenman
John Shaw
Janne Shirley
Rita & Jose Sigal
Ron Silverman & Soraya Ross
Ronald Smith
Kirk & Mei-lan Stark
Andrew Stearn
The Tatasciore Family
Catherine & Leonard Unger
Leon & Stephanie Vahn
Marcia & Charles Wasserman Ph.D
Westmount Asset Management
Herbert Wolas
Cherie Wrigley
Richard Yaffe
Arnold & Tricia Zane
Ellen & Arnold Zetcher
Bobbi & Walter Zifkin
PARTNER’S CIRCLE
$500 – $999
Anonymous (6)
Toshka & Norman Abrams
Linda Adams & Ken Larson
Loren Adams
Robert C. Anderson
Elizabeth & Marc Axelrod
Frances & Thomas Booth
Philip & Phyllis Colman
Steven & Linda Darling
Dr. Van Anh & Nariman Dastur
Linda Dozier
Kay & Larry Driscoll
Terry Feuerborn & Connie Whitley
Burt & Nanette Forester
Bruce Fortune & Elodie Keene
Elaine & Larry Friedman
Olga Garay-English
Daniel Giesberg & Carol Lifland
Francine Golden & Marvin Schlossman
Marcy Gross
Eve Haberfield & David N. Johnson
Roberta L. Haft
Corinne Hayoun
Murray & Gail Heltzer
Michael & Candie Herman
Dr. Shelley Hill
Ana Hubner
Eric Hyman & Teri Kennady
Drs. Sharon & Lou Ignarro
Robert & Gail Israel
Stephen A. Jones & Victoria A. Walker
Arnedra Lorraine Jordan
Jessica Kaltman & Robert Reznik
Avi Kamienny
Leana Kleinman & Jerald Johnson
Deborah Lacusta & Daniel Castellaneta
Jalyn Lang
John & Sandra Langfitt
Rhonda K. Lawrence
Nancy Hytone Leb
Gina Maria Leonetti
Marla E. Levine
Cari J. Lewis
Littleton Road Productions
Leslie & Adam Lobel
Renee Lonner
Christina Medigovich
Anne & Ronald Mellor
Cynthia Melville
In Memory of Gregory Millar
Joan & Phil Miller
Dr. Gail Devlin Moradi
John Moschitta, Jr.
Ron Myrick
Louise Olin
In Memory of Naidu Permaul
Carol F. Phillips
Gary & Gail Rachelefsky
Robert Rosania
Mary Ann Rosenfeld & Sheldon Kadish
Brad Ross
Linda Sandrich
Cliff & Linda Schaffer
Nancy & Steven Schneider
William Schreiber
John Schunhoff
Tina & John Scott
Marc Seltzer
Nancy & Bruce Silverman
Marlene Sklar & Joel Moskowitz
Barbara Smith
Mr. & Mrs. David Tann
Barbara & Larry Tenan
David & Cathy Thomas
William G. Tierney & Barry H. Weiss
Maud & Tonis Tilk
Brigitta Troy
Linda & Rich Turco
Shirah & Jim Vollmer
Deborah & Glenn Weinberg
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 Coordinator 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
Artistic Coordinator
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
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
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
Elizabeth Kegley
Director of Institutional Giving
Cody Metzger
Gil Cates, Jr. EXECUTIVE DIRECTOR / CEO
Grace Allen, Tori Eriavez, Peyton Fleming, Cat Hayes, Miranda Heath, Gabrielle Johnsen, Jeffrey Limoncelli, Kayla Page, Camila Robles Ruiz
Box Office Staff
Theater Direct Outbound Sales
Advancement & Creative Partnerships
Rachel Jacoby
Data Management Coordinator
Anika Waco
Donor Relations Coordinator
Zoila Lopez
Development Assistant
EDUCATION
Brian Allman
Director of Education & Community Engagement
Mark J. Chaitin
Manager of Education & Community Engagement
Paloma Nozicka
Education Associate
Sean Michael Boozer, Paris Crayton III,
DeJuan Christopher Conner, Sidney Edwards, Margot Fitzsimmons, Aja Houston, Erròn Jay, BJ Lange, Tiffany Oglesby, 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
Alyssa Tyson
Audience Services Manager
Jacob Feller, Jon-Paul Schaut
Box Office Managers
OPERATIONS
Jeni Pearsons
Director of Operations
Mel Yonzon
Front of House Manager
Amy Farkas
Lead Concierge
Rob Mersola
Event Manager
Sarah Chute, Anya Pryjmak, Emir Yonzon
Part Time House Managers
Vanessa Bradchulis, Marlon Campos, Savanna Chute, Stephen Johnson, Taylor McClain, Shannon Noel, Autumn Oyemade
Guest Services
Brynn Allen, Lauren Curet, Enzo De Cunto, Camille Edwards, Sydney Fleischman, Ryan Foreman, Dylan La Rocque, Cassidy LeClair, Jonathan McGill, Jalen McKoy, Austin Merrill, Luvina Navarro, Elena Scaringe-Peene, Cody Smith, Myles Williams, Lanae Wilks 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