®
GEFFEN PLAYHOUSE AUDREY SKIRBALL KENIS THEATER
WELCOME TO
ARTISTIC DIRECTOR
PHOTO BY JEFF LORCH
MATT SHAKMAN
I saw Anna Moench’s Man of God at its closing performance at East West Players in downtown Los Angeles last year. The journey I experienced that afternoon stuck with me for many months, and when we had the opportunity to produce Anna’s play at the Geffen, I jumped at it. In our current culture, privacy is endangered. Social media—and the misuse of it by hostile entities—has pulled back the curtain on everyone’s personal life. Put a Post-it over your laptop camera, right? You never know who might be watching. Anna has taken this pervasive digital unease and built an intimate, funny, and ultimately riveting story about friendship, cultural tradition, and the misuse of authority. Part comingof-age story, part comedy of displacement, and part thriller, Anna’s story entertains even as it asks big questions. 2 P L AY B I L L
This production, with director Maggie Burrows at the helm, balances a wild array of tones, from high comedy to deeply unsettling reality. Maggie, the cast, and the designers have brilliantly immersed us in the many points of view of Anna’s protagonists. I’m grateful to East West Players (Snehal Desai, Artistic Director) for supporting Anna’s play and for launching this bold new piece with a top-notch world premiere production last year. We are enthusiastically following in their footsteps. Enjoy the show! Matt Shakman Artistic Director
BOARD OF DIRECTORS Howard Tenenbaum
EXECUTIVE DIRECTOR
GIL CATES, JR.
CHAIR
Jerry Moss
Beth Behrs
Bruce M. Ramer Founding Chairman
Dr. Gene D. Block
Victoria Mann Simms
Kevin Bright
Andy Spahn
Harold A. Brown Gil Cates Jr. Executive Director Mary Ann Cloyd Merle Dandridge Dr. Brad Edgerton Mark Fleischer
Steven Spielberg Steve Tisch Dr. Charles E. Young Chairman Emeritus
IN MEMORIAM
Sue Fleishman
Gilbert Cates Founder
Patricia L. Glaser
Marcia Israel-Curley
Adi Greenberg Vice Chair
Audrey Skirball Kenis
Arthur Greenberg Martha Henderson Chair Emeritus Loretta Everett Kaufman Carla Malden Brian Mann Barry Meyer Danny Passman Holly Rice Pamela Robinson Chair Emeritus Linda Bernstein Rubin Matt Shakman Artistic Director Richard Sherman Fred Specktor Cynthia P. Stafford Kimberly Steward
Charles Kenis Karl Malden Jerry Perenchio Edie Wasserman Lew Wasserman
LEGAL COUNSEL Peter Rosen Latham & Watkins LLP
ADVISORY BOARD Miranda Tollman Chair Stephanie Carson Lori Collins Ellyce R. Cooper Debra Davis
Marc Weinstock
Ann Gianopulos
Kevyn Wynn
Priscila Giraldo
FOUNDING TRUSTEES
Kirsten Hansen Eric Heer
Kirsten Combs
Laura Kennedy
Robert A. Daly
Wendy Kurtzman
David Geffen
Hannah Linkenhoker
Herbert M. Gelfand Chairman Emeritus
Tiffany Mayberry
Quincy Jones Jeffrey Katzenberg Glorya Kaufman Ginny Mancini Frank G. Mancuso Chairman Emeritus Ron Meyer
PHOTO BY JEFF LORCH
Patricia Kiernan Applegate
John McCrite Audrey Povar Eric Rollins Allen Shay John Sonego Cela Devine Sutton Laurie Ziegler
Thank you for joining us as we welcome the next great decade of thrilling, innovative theater at Geffen Playhouse! We’re excited to be kicking off 2020 in the Audrey Skirball Kenis Theater with our production of Man of God from playwright Anna Moench. This new year also welcomes our signature fundraiser Backstage at the Geffen—our honorees for 2020 include the incomparable Diane Keaton and co-creator/executive producer of the reboot of One Day at a Time, Gloria Calderón Kellett. We will also be introducing the inaugural Founders Award, which will be presented to the highly esteemed Chairman Emeritus of our Board of Directors, Frank Mancuso. Broadway star and host of the Geffen Playhouse Unscripted podcast, Rory O’Malley, will serve as our distinguished master of ceremonies for the evening. Thank you to our Title Sponsor, City National Bank, and Presenting Sponsors, Audi of America and Jodi & Howard Tenenbaum, for their loyal commitment to Geffen Playhouse. We invite you to save the date—Monday, April 20— and join us for a night of lively, unforgettable backstage stories and surprise performances. All proceeds support the art of live theater and Geffen Playhouse’s education and community engagement initiatives. To learn more about various opportunities to support the evening, please contact the Geffen Playhouse Development team at 310.208.6500 ext. 141 or ext. 113, or visit geffenplayhouse.org/backstage. See you Backstage! Gil Cates, Jr. Executive Director G E F F E N P L AY H O U S E 3
THE GEFFEN PLAYHOUSE PRODUCTION OF
MAN OF GOD WRITTEN BY
ANNA MOENCH DIRECTED BY
MAGGIE BURROWS SCENIC DESIGNER
COSTUME DESIGNER
SE HYUN OH
DENITSA BLIZNAKOVA
LIGHTING DESIGNER
ORIGINAL MUSIC & SOUND DESIGN BY
LAP CHI CHU
JONATHAN SNIPES
FIGHT DIRECTOR
THOMAS ISAO MORINAKA PRODUCTION STAGE MANAGER
CASTING DIRECTOR
SAMANTHA COTTON
PHYLLIS SCHURINGA, CSA
OPENING NIGHT
THURSDAY, MARCH 12, 2020 East West Players produced the World Premiere of Man of God in 2019
EXECUTIVE PRODUCERS CIRCLE MEMBERS
Laurie & Bill Benenson Martha Henderson Pamela Robinson Hollander & Robert Hollander Loretta Everett Kaufman & Victor Kaufman
4 P L AY B I L L
Linda Bernstein Rubin & Tony Rubin Kimberly Steward & Josh Godfrey Miranda & Brett Tollman
MAN OF GOD CAST OF CHARACTERS (IN ALPHABETICAL ORDER)
SHIRLEY CHEN † JEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CAMRYN KIM MIMI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NATASHA TINA LIU PASTOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ALBERT PARK KYUNG-HWA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JENAPHER ZHENG SAMANTHA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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. †Fight Captain
SETTING
PLEASE NOTE
A mid-range Bangkok hotel room.
There is no photography or filming of any kind allowed in the theater. 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 5
PRODUCTION BIOGRAPHIES
S H I R L EY C H E N
Samantha
Shirley Chen is an award-winning actress who received the “Best Acting in a Narrative Short” recognition at SXSW 2018 for her role in Krista. Her television credits include ABC’s Speechless (2017), Disney XD’s Gamer’s Guide (2016), and NBC’s Parenthood (2014). When not acting, Shirley moonlights as a Harvard student, studying History & Literature with a focus in Asian-American Studies and minor in Theater, Dance & Media. As a freshman at the university, Shirley became one of the first six women cast in the Hasty Pudding Theatricals, America’s oldest theatrical group with a nearly 200-yearlong history. Shirley stars as the female lead in Beast Beast, based on the short Krista, which premiered at Sundance Film Festival 2020. Shirley is represented by KMR and Gem Entertainment Group.
CA M RY N K I M
Jen
Camryn Kim is thrilled to be making her professional debut in Man of God at the Geffen 6 P L AY B I L L
Playhouse. She first discovered her love of acting while taking on the ever-complex role of “Munchkin” in a local production of The Wizard of Oz and chose to nurture this passion by attending the Orange County School of the Arts (OCSA). Upon graduating in 2017, Camryn entered the Drama B.F.A. program at NYU’s Tisch School of the Arts and spent a year training with the Atlantic Acting School. She is now back in Los Angeles, ready to utilize her artistic voice as a catalyst for change and tackle works that are bold, thought-provoking, and inclusive. Camryn would like to thank her family, friends, and manager Laura Hersh for their unwavering support and positivity: thanks for tagging along on this wild ride because we’re just getting started! Cheers!
N ATAS H A T I N A L I U
Mimi
Natasha Tina Liu is originally from Richmond, Virginia. She is elated to be making her Geffen Playhouse debut! Selected theater credits include Cocks Crow (Ojai Playwrights Conference & East West Players: Counter Culture Series), Gob Squad: Creation (Pictures for Dorian) (REDCAT), The Hotel Play (Playwrights’ Arena/Center Theatre Group), Cino Nights (Rising Phoenix Repertory). Film and television: Synchronic (TIFF), Here and Now (HBO),
Speechless (ABC), Cobra Kai (YouTube Premium), Future Cult Classic (SYFY). Her work as an art model has been featured internationally; highlights include Art Basel Hong Kong (performance art) and New York Fashion Week SS18 for Candice Cuoco & Vanessa Simmons. Education: Interlochen Arts Academy, USC – B.F.A. Acting program, Upright Citizens Brigade (Advanced Study Improv). @natashatinaliu
A L B E R T PA R K
Pastor
Albert Park is thrilled to make his debut at the Geffen Playhouse. Select credits: Where the Mountain Meets the Moon (South Coast Repertory); Cambodian Rock Band (City Theatre Company/Merrimack Repertory); Yoga Play, Jade Heart, A Man, His Wife, and His Hat (MOXIE Theatre); Vietgone (East West Players, LA Drama Critics Circle Award nominee, Stage Scene LA awardee); Soul Fire (Playwrights Project); The Oldest Boy (San Diego Repertory Theatre); All’s Well That Ends Well, The Winter’s Tale (The Old Globe); The Car Plays (Moving Arts, La Jolla Playhouse, Craig Noel Awardee); Extraordinary Chambers, Yellow Face (Mo’olelo Performing Arts Company, Craig Noel Award Nominee); The Odd Couple, Lend Me a Tenor (North Coast Repertory Theatre); Golden Child (Chinese Pirate Produc-
PRODUCTION BIOGRAPHIES tions); Flower Drum Song, BFE (San Diego Asian American Repertory Theater, La Jolla Playhouse). Albert is represented by CESD. He loves and is eternally grateful to Jenny, Felix, Henry, and Coral.
ANNA MOENCH
JENAPHER ZHENG
Kyung-Hwa
Jenapher is an actor, writer, gamer, and visual artist with her Acting M.F.A. from CalArts. She is proud to be making her debut at Geffen Playhouse. Her theater credits include La Jolla Playhouse’s Seize the King; East West Players’ Kentucky; Wuzhen Theatre Festival’s Fantomas; South Coast Repertory’s reading of Tokyo Fish Story; and The Old Globe’s reading of The Great Leap. She is active in immersive theatre, and performed in the ASMR show Whisperlodge. She starred in the short Following Jamie, which screened nationwide at festivals such as Asian World, HAAPIfest, and Silicon Beach. She can also be seen in the pilot Everyone Together at SXSW this year. Elsewhere, she plays Dr. Victoria Kureze in the Niantic AR game Ingress, is a host on PanGeekery podcast, is Co-Writer/Creative Developer for Kwento Comics, and volunteers with the LadyParts Collective.
M AG G I E B U R R OWS
Playwright
Director
Anna Moench is an award-winning playwright and screenwriter. Her plays include Mothers (Playwrights Realm 2019); Man of God (East West Players 2019, InterAct Theatre Company 2020); Birds of North America (BETC 2017, Thrown Stone Theatre Company 2019, Theater With A View 2019); and Sin Eaters (Local Theater Company 2020). She is currently the 2019/2020 Page One Playwright in Residence at The Playwrights Realm and has received fellowships from the New York Foundation of the Arts, the Jerome Foundation, and the Van Lier Foundation. Her awards include the Paul Stephen Lim Playwriting Award from the Kennedy Center, Boulder Ensemble Theater Company’s Generations Award, and East West Players’ 2042: See Change Award. She is an alum of UCSD’s Playwriting M.F.A. program, the Emerging Writers Group at the Public Theater, Youngblood at Ensemble Studio Theatre, and the Jam at New Georges. Anna is a writer on Severence (Apple TV) and the recipient of a Gerbode Special Award in the Arts commission for a new play that will be produced at Magic Theatre in 2022.
Maggie Burrows is a theater and film director living in New York City. She has worked with Playwrights Horizons, New York Theatre Workshop, Williamstown Theatre Festival, Ensemble Studio Theatre, The Tank, and Geffen Playhouse in Los Angeles. She received her B.A. from Yale University, where she was a nominee for the Sudler Prize for Excellence in the Arts. Maggie has served as an Associate Director for Bartlett Sher, Phyllida Lloyd, Dan Sullivan, James Bundy, Davis McCallum, and Daniel Aukin. She is a member of the Lincoln Center Directors Lab, the inaugural 2018-2019 BOLD Resident Director at Northern Stage, and the recipient of the 2018 Boris Sagal Directing Fellowship at Williamstown Theatre Festival. Most recently, Maggie curated a female director-driven reading series called Publicreads, completed her first narrative short film titled Condolences, and directed a GOTV video for Michelle Obama’s When We All Vote Organization. Upcoming: On Your Feet (The Muny) and Mark Sonnenblick’s new musical Devotion. SE HYUN OH
Scenic Designer
Se Hyun Oh is from Seoul, South Korea. He resides in the U.S. and works as a set designer for theater. Recent scenic design credits G E F F E N P L AY H O U S E 7
PRODUCTION BIOGRAPHIES include Silent Sky (Perseverance Theatre); Underneath the Lintel (Geffen Playhouse); Cambodian Rock Band, A Doll’s House Part 2, Yoga Play, Office Hour (South Coast Repertory); The Happiest Song Plays Last (Los Angeles Theater Center); Death of a Salesman (Ensemble Theatre Company); Three Days in the Country, The Hothouse, Hedda Gabler (Antaeus Theatre Company); The Judas Kiss (Boston Court Pasadena). Website: sehyunoh.com Instagram: @se.hyun.oh D E N I T SA B L I Z N A KOVA
Costume Designer
Denitsa is happy to return to the Geffen Playhouse where she previously designed: Constellations, Long Day’s Journey Into Night, Big Sky, and Guards at the Taj (Ovation Award nomination). Her theater design work has been seen nationwide at venues including Pasadena Playhouse, Mark Taper Forum, The Old Globe, La Jolla Playhouse, South Coast Repertory, Denver Center for the Performing Arts, Kennedy Center, Cleveland Play House, Williamstown Theatre Festival, and others. Denitsa’s work for opera includes productions at Los Angeles Opera, San Diego Opera, and Santa Fe Opera. Costume design credits for other media include films and music videos. Nominations for Outstanding Costume Design: LA Stage Alliance Ovation Award and Colorado Theatre Guild Henry Award. Denitsa is a professor and the head of the graduate Design and Technology program in the School of Theatre, TV and Film at SDSU. denitsa.com. LAP CHI CHU
Lighting Designer
He has designed regionally for Mark Taper Forum, William8 P L AY B I L L
stown Theatre Festival, Oregon Shakespeare Festival, La Jolla Playhouse, The Old Globe, Berkeley Repertory Theatre, American Contemporary Theater, Goodman Theatre, American Repertory Theater, Arena Stage, Dallas Theater Center, and the Alley Theatre. His New York design credits include the Public Theater, Roundabout Theatre Company, Lincoln Center Theater, New York Theatre Workshop, Signature Theatre, Second Stage Theater, Performance Space 122, and Kitchen Theatre Company. His awards include the 2018 Obie for Sustained Excellence in Lighting Design, the Lucile Lortel Award, Los Angeles Drama Critics Circle Angstrom Award for Career Achievement in Lighting Design, an Ovation Award, multiple Bay Area Theatre Critics Circle Awards, and a “Drammy” for best lighting. He is the Head of Lighting Design at California Institute of the Arts. lapchichu.com J O N AT H A N S N I P E S
Original Music & Sound Design
Jonathan Snipes is a Los Angeles-based composer and sound designer. He teaches sound design at UCLA and is a member of the rap group “clipping,” currently signed to Sub Pop Records. Other Geffen Playhouse credits include Good People (2012), Wait Until Dark (2013), Mysterious Circumstances (2019), and Macbeth (upcoming, 2020). T H O M AS I SAO M O R I N A K A
Fight Director
Thomas Isao Morinaka is an actor, writer, stunt performer, director, and an award-winning stage combat/fight choreographer. He earned a B.A. with Honors in Theater from the University of Hawai’i with an emphasis in
stage combat, Japanese theater, Japanese theater movement, Japanese history, and Japanese classical literature. He has performed as an actor and stunt person in television shows, films, and regionally on stages throughout the West Coast. He has performed as a voice-over artist for several projects, such as the movie Kubo and the Two Strings and other various animated shows and video games. His awards include an LADCC Award for Distinguished Achievement in Fight Choreography (2018) and a nomination for an Ovation Award for Fight Direction (2019). Morinaka is a proud member of SAG/AFTRA and Equity. imdb.me/thomasisaomorinaka SA M A N T H A C OT TO N
Production Stage Manager
Sam is thrilled to be back at the Geffen for her second production after recently relocating to Los Angeles. Previously based in New York, her favorite credits include: Broadway: The Visit (Lyceum Theatre). Off-Broadway: Dolphins and Sharks and The Way West (LAByrinth Theater Company); You Got Older (Page 73); Uncanny Valley (Contemporary American Theater Festival at 59E59). Regional: The Thanksgiving Play (Geffen Playhouse); Wild Horses (Contemporary American Theater Festival); On The Town and Scott & Hem in the Garden of Allah (Barrington Stage Company); Around the World in 80 Days and Other Desert Cities (Hangar Theatre). She holds a Bachelor of Arts degree from Ithaca College and is a proud member of the Actor’s Equity Association. A big thank you to the amazing Geffen staff and this wonderful team of artists. Love to Dad, Elle, and all of Pooch’s aunts and uncles from here to NYC.
PRODUCTION BIOGRAPHIES P H Y L L I S S C H U R I N G A , C SA
Casting Director
Phyllis is an Artistic Associate and the Casting Director for the Geffen Playhouse. Recent casting includes Witch, Mysterious Circumstances, Black Super Hero Magic Mama, Skeleton Crew, The Legend of Georgia McBride, Guards at the Taj and American Buffalo at the Geffen, and Put Your House in Order at La Jolla Playhouse. She has received 5 Artios nominations: Significant Other, Actually, Barbecue, Barcelona, 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), Austin Pendleton’s Orson’s Shadow, and Charles L. Mee’s Time to Burn. Broadway transfers include One Flew Over the Cuckoo’s Nest (Tony Award for Best Revival) and The Song of Jacob Zulu. She is a member of the Casting Society of America.
M AT T S H A K M A N
tifying, developing and staging new work and revivals of classic plays with a focus on exceptional storytelling and audience experience. Shakman recently helmed Mysterious Circumstances for the Geffen and prior to joining as Artistic Director in 2017, he directed three acclaimed productions at the Playhouse: the West Coast premiere of David Lindsay-Abaire’s Good People (2012), the world premiere of Jeffrey Hatcher’s new adaptation of Wait Until Dark (2013) and Joshua Harmon’s Bad Jews (2015). Shakman founded and was the Artistic Director of the Black Dahlia Theatre in Los Angeles, which was named “one of a dozen young American companies you need to know” by American Theatre magazine and “Best Small Theatre” by Los Angeles magazine. He is a director and producer for FX’s It’s Always Sunny in Philadelphia and has directed episodes of Game of Thrones (DGA nomination), Mad Men, Fargo, The Good Wife and Succession. Shakman recently helmed the pilot episode for Hulu’s The Great starring Elle Fanning and Nicholas Hoult, airing in 2020. This season he will direct Macbeth for the Geffen, starring Nikolaj Coster-Waldau.
G I L CAT E S, J R .
Artistic Director
Executive Director
Matt Shakman is Artistic Director of Geffen Playhouse. In this role, he is responsible for iden-
Gil Cates, Jr. is Executive Director of Geffen Playhouse. In this role, he is responsible
for managing the Geffen’s day-to-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 studied at the National Theatre Institute in Waterford, Connecticut, and holds a B.F.A. in Drama from Syracuse University.
G E F F E N P L AY H O U S E 9
PRODUCTION BIOGRAPHIES accounting functions of the
CPA, after holding the position
theater, including operating and
of Director of Accounting at
capital budgets. In addition, she
FABS Management, where she
supports all IT and HR activi-
was responsible for overseeing
ties. 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. Pre-
in for-profit and non-profit fi-
viously, Ataee worked as a se-
nancial management and au-
nior financial analyst for Ultrat-
diting, Ataee began her career
Behnaz “Nazy” Ataee is Chief
ech Inc., an international semi-
in the Bay Area as a partner in
Financial Officer of Geffen
conductor company based in
a small tech startup. She holds
Playhouse. In this role, she has
San Jose. Prior to Ultratech, she
a master’s degree from Pepper-
oversight responsibility for
was an auditor for Van Sloten
dine University.
B E H N A Z ATA E E
Chief Financial Officer
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: RACHEL BONDS
MARTYNA MAJOK
ROBERT SCHENKKAN
COLMAN DOMINGO
CHELSEA MARCANTEL
JEN SILVERMAN
MICHAEL GOLAMCO
JIEHAE PARK
DAVID WIENER
MEGHAN KENNEDY
JOHN POLLONO
LAUREN YEE
MATTHEW LOPEZ
ZOE SARNAK
ANNA ZIEGLER
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. The Writers’ Room is made possible through the support of Patricia Kiernan Applegate. BONI B. ALVAREZ
INDA CRAIG-GALVÁN
RAMIZ MONSEF
CHLOÉ HUNG
JUAN JOSÉ ALFONSO
RUBY RAE SPIEGEL
For more information on this program, please visit geffenplayhouse.org/thewritersroom.
1 0 P L AY B I L L
ACKNOWLEDGEMENTS
GEFFEN AT A GLANCE
PRODUCTION STAFF FOR MAN OF GOD
CONTACT
Assistant Scenic Designer Mallory Gabbard
Sound Board Operators Aaron Centeno, Ethan Zeitman
Assistant Costume Designer Eliana Mullins
Wardrobe Supervisor Kiko Cheyenne
Geffen Playhouse 10886 Le Conte Avenue Los Angeles, CA 90024
Associate Lighting Designer Rose Malone
Wardrobe Crew Hugh Blewett
Assistant Fight Director Aaron Aoki
Properties Artisan Joshua Shelden
Stage Supervisor Tyler Brogla
Production Assistant Bryan P. Clements
Light Board Operator Brian Gowen
ADMINISTRATIVE OFFICES
310.208.6500 Monday through Friday, 10:00am – 6:00pm BOX OFFICE PHONE LINE
310.208.5454 Daily, 7:00am – 6:00pm AUDIENCES SERVICES
310.208.2028 Daily, 12:00pm – 6:00pm
ACKNOWLEDGEMENTS Scenery Provided By Scenic Highlights
Production Photographer Jeff Lorch
Lighting Equipment Provided By Kinetic Lighting, Inc.
Media Filming Ramon Garcia
Sound Equipment Provided By DnB Design
Design + Art Direction Base Design Photography Jeff Lorch
SPECIAL THANKS UCLA School of Theater, Film, and Television Scene, Prop, Sound, and Costume Shops; London Cleaners; Jesca Prudencio
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 such as Alan Ayckbourn, Jon Robin Baitz, Annette Bening, Ed Harris, David Ives, Neil LaBute, David Mamet, Donald Margulies, Terrence McNally, John Rando and Kathleen Turner 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 scenic, costume, lighting and sound designers in LORT theaters are represented by United Scenic Artists Local USA-829, IATSE.
Please visit geffenplayhouse.org for hours, parking and more information.
TICKET SERVICES The box office window is open daily from 12:00pm – 6:00pm, as well as on performance days up until 15 minutes after curtain during the run of a show. Please note: the box office window is unable to process exchanges and future sales one hour prior to curtain time on any performance day.
ACCESSIBLE ACCOMMODATION 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 about our Accessibility services and programs, visit geffenplayhouse.org/ access or call our box office. Partial support for open captioning provided by Theatre Development Fund.
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. To minimize disturbance 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. Be advised that some productions or circumstances may not allow for late or return seating.
NO PHOTOGRAPHY There is no photography or filming of any kind allowed in the theater. Please turn off all electronic devices, including cell phones.
G E F F E N P L AY H O U S E 1 1
E G A T S K N E C F A F B E GE .2020 0 H 2 . T 4 0 AT HONORING
ARTISTIC IMPACT AWARD
DIANE KEATON
TRAILBLAZERS AWARD
FOUNDERS AWARD
GLORIA FRANK CALDERÓN MANCUSO KELLETT TITLE SPONSOR
PRESENTING SPONSORS
Sponsors as of February 18, 2020
SAVE
THE
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YOU NEVER KNOW WHO WILL SHOW UP TO TELL A STORY‚ PERFORM‚ OR STEAL THE SHOW!
Danny Glover presents an award at Backstage at the Geffen 2019
Jennifer Garner speaks of past inspiration
Billy Crystal has the crowd in stitches
THIS YEAR’S EVENT HOSTED BY
RORY O’MALLEY
Kristen Bell sings a song cut from Frozen
MEZZANINE TICKETS $1‚500
Jane Fonda presents an award at Backstage at the Geffen 2019
Samuel L. Jackson tells a story about how he met his wife in an acting class
ORCHESTRA TICKETS $3‚750
ALL TICKETS INCLUDE PRE-SHOW AND POST-SHOW PARTIES FOR MORE INFORMATION OR TO PURCHASE TICKETS VISIT GEFFENPLAYHOUSE.ORG/BACKSTAGE
BEHIND THE SCENES Q&A
WRITING THE MALE GAZE AN INTERVIEW WITH PLAYWRIGHT ANNA MOENCH
Playwright Anna Moench
BY RACHEL WIEGARDT-EGEL, GEFFEN PLAYHOUSE MANAGER OF NEW PLAY DEVELOPMENT
Set in a hotel room on a mission trip to
for a while, but wasn’t quite sure what the
Thailand, Man of God explores fluctuating
specific setting or situation would be. Then,
power dynamics as four young women
a friend in the Korean American Christian
grapple with the dangers of the outside
community here in LA told me about a
world and with each other. In the first week of rehearsals, I had a chance to chat with playwright Anna Moench about this pressure cooker of a play that manages to be fantastical and funny along the way.
college mission group going on a trip and discovering their leader put a camera in their bathroom. While the play is not based on that story, the premise was certainly inspired by it. I always want to be clear that this is not the true story of what happened.
R AC H E L W I E G A R DT- E G E L : What was
your original inspiration for the piece? A N N A M O E N C H : I wanted to write some-
I don’t know anything about the real people involved, or the details of their experience, so I am not trying to speak for them. In that light, I made the characters high
thing about the moment girls come to
school kids, rather than college kids. I went
realize that the male gaze exists, and has
to an all-girls high school, and as a result
been watching them for longer than they
I’m really fond of and familiar with the way
realized. I’d been thinking about the subject
girls figure out the world together. There’s
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BEHIND THE SCENES Q&A
a freedom, a boldness, a way in which girls
with the buzzwords, but they don’t have a
take up so much space when they’re togeth-
huge depth of understanding of feminism.
er that is amazing and fun. Then there’s a
When they’re trying to figure out the world
contracting when a man is in the room and a
and the rules and what they should expect
sort of shrinking that can happen, especially
for themselves, they need more information
in fraught situations.
than they have access to, and they’re kind of
So the inspiration of this play was a
at a loss. So they reach for the same buzz-
coalescing of my own lived experience, the
words we all reach for when we’re trying to
experiences of friends of mine who have
talk about these things.
suffered various levels of sexual abuse and assault and harassment, and the true story that was the jumping off point. The hidden camera is such a great metaphor for the male gaze, and its discovery is the perfect metaphor for that time in childhood when you realize, “Oh wait, I’m being seen as a sexual being before I’m ready.”
RW: The play also seems very much in con-
versation with the ongoing dialogue about digital privacy and violation. What made you want to explore the ways that this specifically affects teenage girls? A M : I truly cannot imagine coming of age
in the time of Instagram and TikTok and all
“THE HIDDEN CAMERA IS SUCH A GREAT METAPHOR FOR THE MALE GAZE‚ AND ITS DISCOVERY IS THE PERFECT METAPHOR FOR THAT TIME IN CHILDHOOD WHEN YOU REALIZE‚ ‘OH WAIT‚ I’M BEING SEEN AS A SEXUAL BEING BEFORE I’M READY.’” – PLAYWRIGHT ANNA MOENCH
RW: Did the #MeToo era coming into the
national consciousness impact the way you ended up writing the play? A M : I actually wrote this play before the
Harvey Weinstein scandal broke, and before the #MeToo movement exploded into the national consciousness, but the subject matter of the play didn’t change based on the #MeToo movement. If anything, I just had to be sure that the girls in the play were aware of the #MeToo movement existing, which they weren’t in my early drafts. In the play’s current iteration, all of the girls are familiar 1 6 P L AY B I L L
that. I feel simultaneously fortunate that I grew up without that pressure but also filled with dread because now I have kids who are growing up with all of that stuff around. I have no idea how to equip them for it. There is a level of being on display, being watched, that high school kids today are more aware of than when I was in high school. And at that age, even without technology, there is a sense of always being watched by other people. I certainly felt that. You feel awkward in your body; you feel insecure about all kinds of things;
BEHIND THE SCENES Q&A
you’re pretty narcissistic, so you’re sure that
RW: I’d love to hear more about the play’s
everyone else is thinking about you all the
relationship to religion and how you ap-
time. Social media only serves to enhance
proached writing these characters to whom
that existing feeling.
faith is so important.
One thing that I’m not sure everyone is aware of is that there is a huge problem right now, especially in South Korea, of hidden cameras in toilets in public bathrooms. It’s such a problem that cities in South Korea are employing tens of thousands of public employees whose entire job is to go into public restrooms and sweep them for hidden cameras. There’s a whole online porn industry of videos taken of women using the bathroom without their consent. It’s so creepy. When I read about that epidemic, it was again after I had written the play and again I thought, “Wow, this play is onto something.” RW: What was the development process
like for this play?
A M : I have written these characters very
specifically as Korean American Christian kids from Southern California, in part because of the story that inspired the play, and in part from elements of my own experience. I grew up in a progressive protestant Christian household and congregation and I went to a more conservative Catholic high school (during those high school years I was getting a lot of religion between school, home, and Sundays). But this upbringing wasn’t scarring or difficult for me. I found it to be a supportive community, and I still think that elements of the Christian faith are very positive. Even though I’m not very religious as an adult, I have a familiarity with organized religion,
A M : I wrote the play while I was in grad
and Christianity in particular. I’ve written
school and I sent it to Jesca Prudencio, who
a couple plays that take place in Christian
ended up being the director at East West Players. We had always wanted to work together, and she really responded to Man of God. She had spent a year doing the Julie Taymor directing fellowship, spending many months working on a project about sex workers in Thailand, so she was very familiar with the setting of this play. When Snehal [Desai, the Artistic Director at East West Players] asked her what she was interested in, she sent him this play and that’s how it found its way to East West. Some of my plays have had needed a long development process, but this play hasn’t changed a ton since its first iteration. Certainly I have changed things, expanded things, but this was one of those plays that came out really fast and really strong. I knew the characters, I knew the world, I knew the problem, and it was just about keeping up with the play as I wrote it. I love when it goes that way.
communities—but to be honest, I don’t see these plays as being “about” Christianity. I have no interest in writing about whether God exists, or whether Christianity is good or bad. My plays are about gender roles, structural injustice, coming of age, love, growth, fear—universal things that all people deal with. But there’s something theatrical about the way that religion allows people to grapple publicly with the things we’re all grappling with privately. In some ways, religion is very inflexible in how it tells you to handle difficult situations. But people are infinitely flexible. And I find it fascinating to watch characters go through contortions to fit themselves into the rigid container their religion gives them… or the moment when they strike out on their own to find a way forward. To read more about Man of God, visit blog.geffenplayhouse.org. G E F F E N P L AY H O U S E 1 7
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Judy Frith-Smith Catherine Froloff Laurelle Frome & Brady Frome Gina Furth Diane Futterman Dr. Lee Gardenswartz Mr. Scot McIntoh & Ruchira Grig Corinne B. Garson Patricia Geffner Judith Ashmann-Gerst & Robert Gerst Seth Gettleson Charles Gherardi Linda & Tom Givvin Jill Glasband Carol & Neil Goldberg Lorain Goldberg Francine Golden & Marvin Schlossman Les Goldman Dina Goldstein Roger Gordon Howard Gradet Shelley Hill Grant Jana & Randall Greer Roslyn & David Grinberg Marcy & Edgar Gross Vera & Paul Guerin Beach Cities Child Development Center Kambiz & Sylvia Hakim Mary & Alan Halkett Carol & Fred Halperin Roberta & Marc Hamilton Susan & Norm Harper Brian & Karen Hatch Hanna Heiting Dr. Jacqueline Heller Dr. Felicia D. Henderson Carla & Alan A. Herd Michael & Candie Herman Matthew Herrmann Hella Herson Winifred C. Hervey Gabrielle & David Hill Jan Hines Hella Hershon Robin & Edgar Hirst Mike & Wanda Hogan Melvin Horowitz Marissa Horrigan Anne Ichuji & Todd Humphrey Robert & Gail Israel Jackie & Warren Jackson Barbara Jacobs Frederic A. & Nancy Jacobus Mary James Carla Janzen Judith & Steaven Jones Martha Jones Roz & Jerry Joseph G E F F E N P L AY H O U S E 2 3
ANNUAL DONORS Joanne & Larry Kahn Kallis Family Charitable Foundation Jessica Kaltman & Robert Reznick David Kaminow Jean Kaplan Linda Kaplan Owen Kato Dana Katz Morgan Kay Michael Keir Jim Kelly Nancy Kenney William & Renee Kendall Sharon Kerson Grant & Annie Kim Cynthia King Cathy & Bill Kirkpatrick Ann & Jonathan Kirsh Dr. & Mrs. Klausner Joanna Klein Phyllis H. Klein Charles Kolstad Carolyn & Charles Knobler Charles Kristenson Barbara Kroll & Ruth Spielman Kimberly Kruse Carol D. Lande Joan Larkin Alyce LaViolette Rhonda Lawrence Linda Lawson Learning Encounters, Valerie & Pam Lev Ann Leland Don Lettiere Joan & Stuart Levin Suzann & Jimmy Levine Harla Levitt Rick & Vivian Levy June Lewin Katia Benthale & Josh Lewensohn Ms. J. Lieberman Angela & Jonathan Light Victor & Madeline Lindenheim Joanne Lindsay Andria Litto Leslie & Adam Lobel Jessica & Frederick Lodge Alex Loewenthal Renee Lonner Laura Louie Mr. Eric Lund Loris & Kory Lunsford Anne L. Lynch Barbara Marcus Dean S. Marks Annette Marmalefsky Gina Martino Ruth Massaro 24 P L AY B I L L
Phyllis & Bert Massing Linda May Douglas Mcavoy, Jr. Kathleen McCarthy Kathy & Jim McCaffrey Derrick McCray Christina Medigovich Marcie & Steven Medof Jay Melnick Cynthia Melville Robert Mercer & Carol Chanel Mercer Eileen & Paul Meshekow Sara & Henry Michrowski Lois Miller Lee & Ron Miller Lee & Jeff Milman Teddie J. Milner Denise V. Moore Marvin & Jean Moore Dr. Brian Morrow Dennis Moss Bill Mullins Charlotte C. Myers Stephen Nathan Robert M. Nelson Paulette & Ron Nessim Sherri & Arnie Nelson Shauna Nep Mark & Diane Neubauer Tom Nevermann Dennis Nollette Adrienne & Arthur Omansky Martin Ordman Allan & Janie Orenstein Sharon Oxborough Ron Ozuro & Nancy Lahana Cynthia & Todd Palm Sylvia & Robert Paris Edward Parker Lawrence Parker In Memory of Robert & Stephen Paskus Abhilash and Kelly Patel Dr. Kristine Penner & Steven Klein Naidu & Jane Permaul Dr. David B. Peterson Carol F. Phillips Leo & Nina Pircher Berta & Lou Pitt Jack & Jane Pollock Matthew Pomerantz Zazi Pope Cheryl & Mel Posner Susan Poulson Eric Powers Patricia Price Jose Quinonez Dr. Stephen & Lani Rabin Joan Ransohoff Marvin Rapaport Michael & Gloria Rausch
Fred & Denise Reimer Marianne Reynolds Amy Richards Linda & Erin Rice Linda & Steve Richman William & Polly Ridgeway Carol Risher Natalie Roberts Linda Rodriguez Barbara & David Rognlien Peter Romwall Robert Rosania Barry Rosen & Neil Bokal Donna Rosen Mary Ann Rosenfeld & Sheldon Kaddish Adrienne Rosenthal Beverly & Mel Rosenthal Brad Ross Lawrence Ross & Linda Nussbaum Cathy Ross Robert & Susan Rovner Dr. Diane & Michael Glazer In Honor of Eric Chown Sylvia Ruiz Anne Sacks Jay & Linda Sandrich Susan & Kenneth Sarno Maxine Savitz Linda & Cliff Schaffer Chris T. Schmidt Gary & Karen Schneider Myrna Schwam Dean Teri Schwartz Brandon Scott Marc Seltzer Lisa Shalet Eric Shalov Barbara Vickery & Martin Shapiro Melanie Sharp & Kevin Miller George Shohet Seymour & Dorothy Siegel Leah Sklar Marlene Sklar & Joel Moscowitz Diane Good & Frank Smith Ronald Smith Karen Smits Joan & Jerome Snyder Chris Sorgi Melvin Spears Debra Spector Alice Cortez & Richard Spitzer
Irina & Alex Stavchanskiy M Leslie Stearns Penny Strowger Mr. Kayser Sume & Dr. Renee Sabshin Stanley Schneider Frances & Sy Strasberg Miriam & Gene Summ Ann & Paul Sunderland Robin & David Swartz Lance & Maureen Tan Deborah Tavlin David Tepper Cathy Thomas Cathy & Asher Thompson Natalie & Matthew Thompson Rebecca Thyret Judy & Art Tompkins Brigitta Troy Dr. Gerald D. Turbow Dr. Harold Urman Nancy & Anthony Vasek Valerie Vetters Barbara Vickery & Martin Shapiro The Vig Family Bobette Vikan Carole Wagner-Vallianos & Peter Vallianos William Wallace Louise Wannier Barry Ward Elisa Wayne Julie Waxman Sherry Weinman & Michael Umansky Travis Webb Marsha & Steven Weiss Pat West Karen White Teresa & Bill White Janet Whitman Bruce Whizin Rae Jean Williams Susan Williams Karen & Gary Winnick George & Diane Wolfberg Albert Wolsky Kimberly & Andrew Zakanych Arnold & Tricia Zane Diane Zapack David Zimmerman Laura Zucker & Allan Miller Sandy Zwirn
HAVE WE MADE AN ERROR?
To report a misspelling or omission in these listings, please contact the Development department at 310.208.6500 ext. 195
Matt Shakman
Gil Cates, Jr.
ARTISTIC DIRECTOR
EXECUTIVE DIRECTOR
ARTISTIC
Amy Levinson Associate Artistic Director Daniel Ionazzi Producer Phyllis Schuringa Artistic Associate / Casting Director Young Ji Associate Producer / Company Manager Rachel Wiegardt-Egel Manager of New Play Development Kristopher Karcher Literary & Casting Assistant
PRODUCTION
Isaac Katzanek Production Manager Jill Barnes Production Office Manager Evan Friedman Technical Director Patrick Squibb Assistant Technical Director Aidan Welch Assistant Technical Director Alex Norkus Gil Cates Theater Stage Supervisor Tyler Brogla Audrey Skirball Kenis Theater Stage Supervisor Rich Gilles Properties Master Miriam Avital Levenson Associate Properties Master James Grabowski House Sound Supervisor Jake Delgado Associate House Sound Supervisor Ramine Ameli Lighting & Projection Supervisor Brandon Paul Production Electrician Brian Gowen Production Electrician Liz Rose Wardrobe Supervisor
ADMINISTRATION
Behnaz Ataee Chief Financial Officer Peter Banachowski Senior Accountant & Financial Analyst Nova George Staff Accountant & Payroll Specialist Clay Dzygun Office Coordinator Marguerite Harris Receptionist
DEVELOPMENT
Stacy Barnes Senior Director of Philanthropy Ellen Catania Senior Vice President of Development
Jessica Brusilow Rollins Director of Education Partnerships & Donor Relations Mark San Filippo Director of Donor Stewardship Christine Drew Benjamin Development Manager Ava Bogle, Sam Peurach Development Assistants Austin Merrill Development Intern
Lexy McAvinchey Assistant Box Office Manager
EDUCATION
FRONT OF HOUSE
Jennifer Zakkai Director of Education & Community Engagement Joannarae Ibañez Manager of School & Community Programs Brian Allman Manager of Theater Education Celia Rivera Community Engagement Coordinator Brian Majestic Veterans Project Coordinator Jake Arky, Darien Battle, Anniwaa Buachie, Ramy El-Etreby, Lyssa Deehan, David Guerra, Robert Paterno, Carissa Pinckney, Tara Ricasa, Celia Rivera, Jessica Winward 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 Associate Director of Audience Services & Ticketing Kevin O’Brien Marketing Manager Georgia Arnold Social Media & Communications Associate Ramon Garcia Video Producer Wendell Pascual Production Artist Janice Bernal Box Office Manager Alyssa Tyson Box Office Manager
Clifton Adams, Kelsey Arlington, Vaneh Assadourian, Dashawn Barnes, Anthony Cloyd, Rebecca Connolly, Jamie Dawson, Alan Kistler, Sam Peurach, Jonathan Ramos, Cameron Reck Box Office Staff Sue Fleishman Communications Consultant Jeni Pearsons Director of Special Events Mel Yonzon Front of House Manager Amy Farkas Lead Concierge Sigourney Chin, Anya Pryjmak, Madison Shamoun House Managers Katherine Banos, Ian Benchwick, Ryan Brophy, Rogelio Douglas, Lucas Gust, Caitie Hawthorne, Lucy Houlihan, Fiona Leahy, Hunter Lowden, Olivia Lowe, Robert Mahaffie, Austin Merrill, Sidne Phillips, Brandon Root, Chuck Soo-Hoo, Charmee Taylor, Caragh Tiernan, Robin Vega, Emir Yonzon Ushers Rob Mersola Bar Manager & Mixologist Adam Carr Bar Captain Skylar Adams, Rachel Brunner, Brenda Davidson, Sarah Drescher, Lauren Hargrave, Andrew Lees, Nick Marini, Ryan Turner Bartenders / Event Staff
INFORMATION TECHNOLOGY
Karim Bouzzit System Administrator
FACILITIES MANAGEMENT Miguel del Castillo Facility Manager
Martin Ayala, Felipe Ayala Building Maintenance Mario Santillan-Perez Custodial 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. G E F F E N P L AY H O U S E 2 5