®
GEFFEN PLAYHOUSE GIL CATES THEATER
WELCOME TO
ARTISTIC DIRECTOR
PHOTO BY JEFF LORCH
MATT SHAKMAN
There are many writers I admire. Many plays I have truly loved. But I am a fan of Qui Nguyen. As the high priest of Geek Theatre, he inspires this kind of response. The same pull that brings Marvel and Star Wars fans on opening day drives me (and many others) to the debut of a new Qui play. His sense of style, his deeply felt and beautifully wrought characters, his brilliant sense of humor, and—above all—his pure originality, all conspire to create a unique night in the theatre. When I began at the Geffen, I knew that I wanted our audiences to have that experience, so Qui was my first call. And he became the first commissioned playwright of my tenure as Artistic Director (along with his partners in crime, director Robert Ross Parker and the Obie Award-winning theater collective Vampire Cowboys). 2 P L AY B I L L
From the start, Qui wanted to tell the story of Julie d’Aubigny—a swashbuckling, boundary-defying 17th century luminary now lost to time. From his initial concept to the finished production, everyone at the Geffen has been thrilled by the inventiveness of Qui and the Vampire Cowboys. This team has forged a combined aesthetic over a decade of close collaboration. They utilize unique skills in puppetry, fight choreography, filmmaking, scenic design and a comic book spirit to build a wholly original theatrical world—one that is intricately forged while maintaining a spirit of improvisation. Which is a pretty apt way to describe Qui’s writing as well. Please enjoy this world premiere by a very special voice in American theatre. I expect you will leave a fan. Matt Shakman Artistic Director
BOARD OF DIRECTORS Howard Tenenbaum
EXECUTIVE DIRECTOR
GIL CATES, JR.
CHAIR
Beth Behrs
Ron Meyer Jerry Moss
Dr. Gene D. Block
Bruce M. Ramer Founding Chairman
Kevin Bright
Victoria Mann Simms
Harold A. Brown
Andy Spahn
Gil Cates Jr. Executive Director
Steven Spielberg
Mary Ann Cloyd Merle Dandridge Dr. Brad Edgerton
Steve Tisch Dr. Charles E. Young Chairman Emeritus
Mark Fleischer
IN MEMORIAM
Sue Fleishman
Gilbert Cates Founder
Patricia L. Glaser Adi Greenberg Vice Chair
Marcia Israel-Curley
Arthur Greenberg
Charles Kenis
Martha Henderson Chair Emeritus
Karl Malden
Loretta Everett Kaufman
Edie Wasserman
Carla Malden Brian Mann Barry Meyer Danny Passman Holly Rice Pamela Robinson Chair Emeritus Linda Bernstein Rubin Teri Schwartz Matt Shakman Artistic Director
Audrey Skirball Kenis
Jerry Perenchio Lew Wasserman
LEGAL COUNSEL Peter Rosen Latham & Watkins LLP
ADVISORY BOARD Miranda Tollman Chair Stephanie Carson
Richard Sherman
Lori Collins
Fred Specktor
Ellyce R. Cooper
Cynthia P. Stafford
Debra Davis
Kimberly Steward
Ann Gianopulos
Marc Weinstock
Priscila Giraldo
Kevyn Wynn
Kirsten Hansen
FOUNDING TRUSTEES
Eric Heer Laura Kennedy
Kirsten Combs
Wendy Kurtzman
Robert A. Daly
Hannah Linkenhoker
David Geffen
Tiffany Mayberry
Herbert M. Gelfand Chairman Emeritus
John McCrite
Quincy Jones Jeffrey Katzenberg Glorya Kaufman Ginny Mancini Frank G. Mancuso Chairman Emeritus
Audrey Povar Eric Rollins Allen Shay John Sonego Cela Devine Sutton Laurie Ziegler
PHOTO BY JEFF LORCH
Patricia Kiernan Applegate
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 with our world premiere production of Revenge Song: A Vampire Cowboys Creation from playwright Qui Nguyen. 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 Sponsor, Audi of America, 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
REVENGE SONG A VAMPIRE COWBOYS CREATION WRITTEN BY
QUI NGUYEN DIRECTED BY
ROBERT ROSS PARKER ORIGINAL MUSIC BY
SHANE RETTIG SCENIC & LIGHTING DESIGNER
COSTUME DESIGNER
SOUND DESIGNER
NICK FRANCONE
JESSICA WEGENER SHAY
SHANE RETTIG
PROJECTION DESIGNERS
PUPPET & CREATURE DESIGN BY
MUSIC DIRECTOR & VOCAL ARRANGEMENTS BY
KAITLYN PIETRAS JASON H. THOMPSON CHOREOGRAPHER
STACY DAWSON STEARNS PRODUCTION STAGE MANAGER
ROSS JACKSON
DAVID VALENTINE
RYAN O’CONNELL
FIGHT DIRECTORS
VAMPIRE COWBOYS PRODUCER
MAGGIE MACDONALD TIM BROWN ASSISTANT STAGE MANAGER
LIZZIE THOMPSON
ABBY MARCUS CASTING DIRECTOR
PHYLLIS SCHURINGA‚ CSA
OPENING NIGHT
THURSDAY‚ FEBRUARY 13‚ 2020 This play was commissioned as part of the Geffen Playhouse’s New Play Development Program thanks to the generosity of The Harold & Mimi Steinberg Charitable Trust Major support for this world premiere production provided by the Edgerton Foundation New Play Production Fund Developed in part with CalArts Center for New Performance and with assistance from the Orchard Project, Ari Edelson, Artistic Director
4 P L AY B I L L
EXECUTIVE PRODUCERS CIRCLE MEMBERS
Laurie & Bill Benenson Martha Henderson Pamela Robinson Hollander & Robert Hollander Loretta Everett Kaufman & Victor Kaufman
Linda Bernstein Rubin & Tony Rubin Kimberly Steward & Josh Godfrey Miranda & Brett Tollman
REVENGE SONG CAST OF CHARACTERS (IN ALPHABETICAL ORDER)
NOSHIR DALAL† * EMILY AND OTHERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BETH HAWKES LOUIS, GAULARD AND OTHERS �������������������������������������������������������������������������������������TOM MYERS JULIE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MARGARET ODETTE MADAME DE SENNETERRE AND OTHERS . . . . . . . . . . . . . . . . . . . AMY KIM WASCHKE ALBERT AND OTHERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EUGENE YOUNG SERANNES, GASTON AND OTHERS ����������������������������������������������������������������������
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. *Dance Captain
†Fight Captain
PLEASE NOTE
There is no photography or filming of any kind allowed in the theater. Please turn off all electronic devices, including cell phones. Thank you!
OPENING NIGHT SPONSORS
G E F F E N P L AY H O U S E 5
PRODUCTION BIOGRAPHIES the West Coast! Previous VC (New York) shows include: Six Rounds of Vengeance, Alice in Slasherland, Men of Steel, Living Dead in Denmark, and A Beginner’s Guide to Deicide. Most recently, you may have seen him on NBC’s The Good Place, Sunnyside (NBC/Hulu), or HBO’s Veep: The Final Season. His N O S H I R DA L A L
B E T H H AW K E S
Serannes, Gaston and others
Emily and others
Nosh is very glad to reunite with
Beth Hawkes is thrilled to be mak-
his Vampire Cowboys crew. Past
ing her Geffen Playhouse debut. A
plays include: Men of Steel and
recent transplant from New York
Fight Girl Battle World for VC,
City to Los Angeles, she is a gradu-
Cymbeline at Lincoln Center,
ate of the University of North Caro-
Arabian Nights at Berkeley Rep,
lina School of the Arts with a B.F.A.
Take Me Out at Gallery Players,
in Acting, with supplement training
as well as Caligula, Macbeth, and
at the Upright Citizens Brigade.
King Lear at Classical Theatre
She can be seen on season 3 of
of Harlem. He has recurred on
Marvel’s Runaways (Hulu) and sea-
television in Good Trouble and
son 1 of Liza on Demand (Youtube
General Hospital, along with roles
Premium). Selected theater credits
on S.W.A.T., Hawaii Five-O, Rizzoli
include: Janet Van De Graaff in
& Isles, and Pair of Kings. For the
The Drowsy Chaperone (UNCSA,
gamers, you’ll see his performance
directed by Matt Loehr); Mrs.
capture work as Charles Smith
Morehead in The Women (UNCSA,
(Red Dead Redemption 2), Sgt.
directed by Giovanna Sardelli); Ad-
Pettibone (Love, Death & Robots),
elaide u/s in Guys and Dolls (UNC-
Zeyad Khalil (Call of Duty: Black
SA, directed by Gus Kaikkonen);
Ops III), or Days Gone, Spider-Man,
Tom Snout in A Midsummer Night’s
Death Stranding, Halo, Halo Wars,
Dream (NC Symphony, directed by
and others. You may hear him tell
Carl Forsman); and Beauty in the
you to hit up Taco Bell, or in Sekiro,
The Beast’s Beauty (Lincoln Center
No More Heroes 3, Gears Tactics,
Education, directed by Ethan Nien-
Outer Worlds, Fallout 4, Titanfall
aber). Much love to Mom and Dad,
2, Scooby-Doo, Mickey’s Roadster
Ethan, and Craig.
Racers, and more. Noshir dedicates
The Funhouse Massacre, Where are You? (short), and OJ: The Musical. Tom would like to thank his family and friends for all of their love, support, and inspiration. Much love.
MARGARET ODET TE
Julie
Margaret Odette recently appeared in the Public Theater’s Shakespeare in the Park production of Much Ado About Nothing, directed by Tony Award winner Kenny Leon. Other New York theater credits include The Convent (Rattlestick Playwrights Theater, Art NY), She Kills Monsters (The Flea Theater, Vampire Cowboys), Figaro (The Pearl), and Sehnsucht (JACK). Regionally,
this performance, and the role of
she’s appeared in Paradise Blue
Gaston in particular, to his wife
(Long Wharf Theatre), Taming of
Sharon, and their son, Koa. Our
the Shrew, and The Vibrator Play
brave boy...I feel you near me with
(Chautauqua). Margaret will next
every breath. You are our greatest
appear in Eddie Huang’s feature
joy, little warrior. Your Mommy and
film debut Boogie, How to Make
I love you so...no matter where you
Love to a Black Woman (Show-
go. Have fun and go play!
time), and Blindspot (NBC). Other TO M M Y E R S
Louis, Gaulard and others
Tom Myers is excited to be back with the Vampire Cowboys Theatre Company family, creating some new VC mischief and magic to share for the first time ever with 6 P L AY B I L L
most recent film work includes:
film and television credits include Sleeping with Other People (IFC), Instinct, Elementary (CBS), and The Public Theater’s Much Ado About Nothing (PBS). B.A., Brown University; M.F.A., NYU Tisch Graduate Acting.
PRODUCTION BIOGRAPHIES Award, 2016 LADCC Ted Schmidt New Play Award, 2016 Kennedy Prize Finalist); Poor Yella Rednecks; She Kills Monsters (2013 AATE Distinguished Play Award); Soul Samurai (2009 GLAAD Media Award nom); Begets; Krunk Fu Battle Battle; and the critically acclaimed Vampire Cowboys A M Y K I M WAS C H K E
E U G E N E YO U N G
Madame de Senneterre and others
Albert and others
Amy Kim Waschke is thrilled to
Eugene Young is making his Gef-
be making her Geffen Playhouse
fen Playhouse debut. He recently
debut. She has performed with
appeared in the world premiere
the Vampire Cowboys in The
production of Qui Nguyen’s Poor
Inexplicable Redemption Of Agent
Yella Rednecks at South Coast
G, Alice In Slasherland, and Living
Repertory and has performed with
Dead In Denmark. Amy is also a
the Vampire Cowboys in Alice in
proud company member of the
Slasherland and Geek!. Much love
Oregon Shakespeare Festival
and thanks to Qui, Robert, Abby,
(OSF), where she was last seen as
and the rest of the VC fam. Other
Lady Macbeth in Macbeth and the
theater credits include Cardinal
Queen of Hearts in Alice In Won-
(Second Stage Theater); Tiger
derland. Select theater credits
Style! (Eugene O’Neill Theater
include: Othello, Snow In Midsum-
Center); Twelfth Night (Leviathan
mer, The Winter’s Tale, Hannah
Lab); as well as the operas La
and the Dread Gazebo (OSF);
Bohème, Turandot, and Carmina
Water By The Spoonful (Studio
Burana (Lincoln Center New
Theatre); Vietgone (OSF, Seattle
York City Opera). Film: Amazon
Rep); Edward II (Shakespeare
Studios’ Bliss. Select television
Theatre Company); The White
credits include Veep (HBO), Jane
Snake (The Old Globe, Berkeley
the Virgin (CW), Criminal Minds
Rep, McCarter Theatre Center,
(CBS), Unforgettable (CBS), and
Goodman Theatre, Guthrie
Revenge (ABC). Eugene is a grad-
Theater, OSF, and the Wuzhen
uate of Dartmouth College and the
Theater Festival in China). Film
National Theatre Institute.
and television credits include: Law
IG: @eugeyoung
& Order: SVU; Eighteen Seconds;
productions of The Inexplicable Redemption of Agent G, Alice in Slasherland, Fight Girl Battle World, Men of Steel, and Living Dead in Denmark. For television/ film, Qui’s written for AMC, SYFY, PBS, Netflix, and Marvel Studios. He currently writes for Walt Disney Animation Studios. Notable honors include a 2016 Daytime Emmy Award for Outstanding Writing in a Preschool Animated Program (Peg+Cat), a 2015 NY Community Trust Helen Merrill Playwriting Award, and a 2014 Sundance Institute/Time Warner Fellowship. He’s currently under commission by South Coast Repertory/Manhattan Theatre Club (The Vietgone Saga), Geffen Playhouse, Center Theatre Group/Goodman Theatre, Atlantic Theater Company, and Oregon Shakespeare Festival. He is a proud member of the WGA, The Dramatists Guild, The Playwrights Center, Ensemble Studio Theatre, The Ma-Yi Writers Lab, and an alumnus of New Dramatists and Youngblood.
The Feminist Cooking Show (web series). Amy is a graduate of the University of Washington’s Professional Actor Training Program. Much love to Moses. VC4Life.
QUI NGUYEN
Playwright
Qui Nguyen is a playwright, television and film writer, and co-founder of the Obie Award-winning Vampire Cowboys of NYC. Scripts include Vietgone (2016 Steinberg
R O B E R T R O SS PA R K E R
Director (Writer/Director of Opening Trailer)
Robert is co-founder of the Obie-winning Vampire Cowboys. He has directed all of their pro-
G E F F E N P L AY H O U S E 7
PRODUCTION BIOGRAPHIES J E S S I CA W E G E N E R S H AY
ductions including Soul Samurai,
NYMF). 2015 Frederick Loewe
Alice in Slasherland, Fight Girl/
Award (War is F*cking Awesome),
Costume Designer
Battle World, and The Inexplica-
Drama Desk, and Lortel nomina-
7 seasons as Resident Designer
ble Redemption of Agent G. Other
tions. Regional: Actors Theatre
for the Vampire Cowboys. Broad-
credits include Anna Moench’s
of Louisville, Arena Stage, Berk-
way: The Performers. Off-Broad-
Mothers (The Playwrights Realm);
shire Theatre Festival, Baltimore
way/New York: Measure for
Vietgone (Royal Manitoba The-
Center Stage, Children’s Theatre
Measure (The Acting Co); Lewis-
atre Centre); Disgraced (Mirvish,
Company, Dallas Theater Center,
ton/Clarkston (Rattlestick Play-
Citadel Theatre, Hope and Hell
La Jolla Playhouse, South Coast
wrights Theater); A Kid Like Jake,
Theatre Company); Fast Compa-
Repertory, Williamstown Theatre
All-American (LCT3 at Lincoln
ny (Ensemble Studio Theatre Los
Festival, Yale Repertory Theatre,
Center Theater); Outside People
Angeles, where Robert is a mem-
Prague Quadrennial. Upcoming:
(Vineyard Theatre and Naked
ber); Branched (InViolet Theater);
Poor Yella Rednecks at MTC,
Angels); Suicide, Inc., The Dream
How to be a New Yorker (CRC
electronic chill album Alt/Freq,
of the Burning Boy (Roundabout
productions); She Kills Monsters
and a retrospective album of the
Underground); Oliver Parker!, The
(The Flea Theater); Goodbye Cru-
music of the 80s punk band An-
Gingerbread House (The stage-
el World (The Roundtable Ensem-
gry Kavanaughs.
FARM); OohRah! (Atlantic Theater Company); Next Fall, Armed &
ble), and Hamlet (solo) (Hope and Hell Theatre Company) which
NICK FRANCONE
Naked in America, The Mistakes
has toured for ten years playing
Scenic & Lighting Designer
in the U.S., Canada, and the U.K.
Nick Francone is a New York
Germ Project (New Georges);
Acting credits include Constella-
based production designer
H.M.S. Pinafore (Vortex Theater);
tions (Hangar Theatre) and Fran-
working in theatrical produc-
Regional: Cyrano, The Sea Maid’s
kenstein (Soho Rep./The Flying
tion, television, and film. Recent
Music, Love’s Labour’s Lost, A
Machine). He is the former editor
theatrical design credits include
Midsummer Night’s Dream (Hud-
of The Dramatist, the Journal of
projects with Vampire Cowboys,
son Valley Shakespeare Festival);
the Dramatists Guild of America.
Ensemble Studio Theater, Ma-Yi
Sex With Strangers (City Theatre
M.F.A., Ohio University.
Theater Company, New Georges,
Company); Out of the City (Merri-
Public Theater, Labyrinth Theater
mack Repertory Theatre); Agnes
Company, HERE Arts Center, The
Under the Big Top, Bad Dates,
Flea Theater, and many more.
Shipwrecked!, Underneath the
Shane Rettig is a composer,
Television and film credits include
Lintel (Long Wharf Theatre); The
sound designer, music producer,
production design for New Year’s
Last Smoker in America (Contem-
and lyricist. He has written, de-
Eve with Carson Daly and Red
porary American Theatre Compa-
signed for, and performed with
Nose Day. Art direction credits
ny); Complete Works of William
a diverse range of theater and
include upcoming feature films
Shakespeare (Abridged) (Weston
dance companies including Vam-
with Aaron Sorkin and Judd Ap-
Playhouse). Awards: Recipient of
pire Cowboys, Public Theater,
atow, and two seasons of Bull for
NY Innovative Theatre Award for
Manhattan Theatre Club (MTC),
CBS. Broadway associate design
Costume Design. Jessica is also a
Monica Bill Barnes & Company,
collaborations include Wicked
mom, a farmer, and the costume
The New Group, Signature The-
with Eugene Lee (Broadway and
supervisor for theater at Fordham
atre, Roundabout Theatre Com-
adaptations around the world),
University at Lincoln Center.
pany, Ensemble Studio Theatre,
Billy Elliot with Ian Macneil, 9 to
Ma-Yi Theater Company, Clubbed
5 with Scott Pask, and Love Never
Thumb, New Georges, The Flea
Dies with Gabriela Tylesova. Ed-
Projection Designer
Theater, The New Victory The-
ucation and affiliations include a
Geffen Playhouse: Mysterious
ater, La MaMa Experimental The-
B.A. in Theater Arts from Gonza-
Circumstances. Other recent
atre Club, Soho Rep., Rattlestick
ga University, an M.F.A. in Scenic
credits: How to Catch Creation,
Playwrights Theater, and HERE
and Lighting Design from Ohio
Mother Road, UniSon, Mojada
Arts Center. Music/co-lyricist
University, and membership in
(Oregon Shakespeare Festival);
for War is F*cking Awesome with
USA Local 829.
Lost Highway (Frankfurt Opera);
Qui Nguyen and William Jackson
www.nickfrancone.com
A Trip to the Moon, Young Cae-
SHANE RETTIG
Original Music & Sound Designer
Madeline Made (Naked Angels);
K A I T LY N P I E T R AS
Harper (2013 Sundance Lab).
sar (Los Angeles Philharmonic);
Music for The Unknown (2005
Vietgone (East West Players,
8 P L AY B I L L
PRODUCTION BIOGRAPHIES LADCC award); Smart People
DAV I D VA L E N T I N E
Bublé’s Christmas in Hollywood
(Denver Center for the Performing
Puppet & Creature Design
Arts); Flora & Ulysses and OZ 2.5
For Vampire Cowboys: Alice
Dragons (Dreamworks), I Am
(South Coast Repertory); Breaking
in Slasherland (NY Innovative
Big Bird (Copperpot Pictures),
Through (Pasadena Playhouse);
Theatre Award nomination); The
Cuba Libre (Artists Repertory The-
Calgary Stampede, choral ar-
Inexplicable Redemption of Agent
atre); A Fable (Cherry Lane The-
rangements for Shawnee Press/
G, Fight Girl Battle World (Amer-
Alfred. Catch him performing
ican Theatre, Wing Henry Hewe’s
weekly at the Golden Horseshoe
Design nomination), She Kills
in Disneyland.
atre); The Gin Baby (IRT Theatre); Do Like the Kids Do, Shiner (IAMA Theatre Company); RII (The Theatre @ Boston Court); Thieves, Slipping (Rattlestick West). pxtstudio.com @pxtstudio JAS O N H . T H O M P S O N
Projection Designer
Designs projections for opera, dance, theater, theme parks, commercial, architecture, and corporate events. Geffen Playhouse: Mysterious Circumstances, Underneath the Lintel, Long Day’s Journey Into Night, By the Waters of Babylon, The Quality of Life, The God of Hell. Other recent credits: Lost Highway (Frankfurt Opera); A Trip to the Moon (Los Angeles Philhar-
(NBC). As composer/arranger:
Monsters. Film: Muppets Most Wanted (Disney), The Happytime
S TACY DAWS O N S T E A R N S
Murders (STX). Television: Sesa-
Choreographer
me Street (since season 44), The
Stacy Dawson Stearns is a Bessie
Furchester Hotel (CBBC), Julie’s
Award winning artist known for
Greenroom (Netflix), Helpsters
her work with Big Dance Theater,
(Apple TV+) Saturday Night Live
David Neumann, Hal Hartley, Ken
(NBC), The Chris Gethard Show
Nintzel, and Blacklips Perfor-
(TruTV). David is the resident
mance Cult. She has performed
puppet designer of Vampire Cow-
in 9 countries and in domestic
boy Theatre Company, as well as
venues including Jacob’s Pillow,
a puppet builder for The Jim Hen-
American Dance Festival, Spole-
son Company. Follow his work on
to USA, Walker Art Center, The
Instagram @dvpuppets
Whitney, The Ontological-Hysteric Theater, Classic Stage Com-
RYA N O ’C O N N E L L
Music Director & Vocal Arrangements
pany, HERE, City Center, Lincoln Center, Dance Theater Workshop
Ryan O’Connell is a music
(now NYLA), PS 122, MassMoCA,
director, orchestrator, arranger,
Chicago Museum of Contempo-
composer, and performer. He
rary Art, The Performing Garage,
recently music directed and
Mother, and REDCAT. Beyond
orchestrated the off-Broadway
theater, Stacy has choreographed
run of Ernest Shackleton Loves
stage shows for pop icons Debbie
Me at Second Stage NYC
Harry and Ann Magnusen. Film
(streaming on Broadway HD).
acting credits include: No Such
He also contributed music to
Thing, Wigstock: the Movie!, and
Star Wars: Galaxy’s Edge at
filmmaker Jonathan Demme’s
Disneyland and the Walt Disney
performance film of Big Dance
World Resort. Favorite music
Theater’s Another Telepathic
directing credits: Mary Poppins,
Thing. She is a proud recipient
West Players, LADCC Award); Tales
Oliver (Musical Theatre West),
of the 2019 Pieter Dancemakers
from Hollywood (Guthrie Theater);
In The Heights, Into the Woods,
Grant. Special thanks to Dan
The Steward of Christendom (Mark
CATS (Broadway at the Gardens),
Safer, Robert, Abby, and Qui for
Taper Forum); Great Immensity and
Bonnie & Clyde, Bright Star (Can-
bringing me into the VC Universe.
Venice (Public Theater, Ovation
dlelight Pavilion Dinner Theater),
stacydawsonstearns.com
Award for Venice); Chavez Ravine
42nd Street (Palos Verdes), Loch
(Kirk Douglas Theatre, Ovation
Ness, Claudio Quest (Chance
Award); Stars on Ice (2007-2019);
Theater), Pipe Dream, On the
Fight Director
Scott Hamilton CARES Founda-
20th Century, Pal Joey (MTW
Maggie Macdonald first worked
tion. He’s also created two video
Reading Series), Grammy Expe-
with Vampire Cowboys 15 years
rience (Norwegian Cruise Line),
ago in New York City and is
Nightline: JFK Special (NBC). As
thrilled to be back in action with
orchestrator: Loch Ness, Claudio
her theater family! She is an ac-
Quest, Sinatra 100 (CBS), Michael
complished fight director, stunt
monic); Die Walküre (Karlsruhe, Germany); Tri Sestri (Vienna State Opera); Hopscotch (The Industry); Cunning Little Vixen and Pelléas et Mélisande (Cleveland Orchestra/ Vienna), Young Caesar (Los Angeles Philharmonic); Grey Gardens (Center Theatre Group); Tarzan: Call of the Wild and Frozen A SingAlong (Disney Shanghai Resort); Cage Songbooks (Carnegie Hall, San Francisco Symphony, and New World Symphony); Vietgone (East
installations for the Petersen Auto Museum and co-designed a Chagall exhibit at LACMA with Yuval Sharon. pxtstudio.com
M AG G I E M AC D O N A L D
G E F F E N P L AY H O U S E 9
PRODUCTION BIOGRAPHIES coordinator, motion-capture ac-
Ann’s Warehouse, Playwrights’
of Fine Arts in Stage Manage-
tress, and stuntwoman. Her fight
Center in Minneapolis, Drama-
ment. Proud member of Actors’
direction was featured last season
tists’ Guild of America, HERE
Equity Association. Love to Mom,
at South Coast Repertory’s Poor
Arts Center, LAByrinth Theater
Tom, and Megan.
Yella Rednecks. Maggie’s film and
Company, and Baryshnikov Arts
television credits include: Season
Center. With Vampire Cowboys,
2 of The Tick, The Hunger Games
Abby produced The Inexplicable
Assistant Stage Manager
series, Furious 7, The Americans,
Redemption of Agent G, Alice
Lizzie Thompson is honored to
and season 7 of The Vampire
in Slasherland, Soul Samurai
be stage managing again at the
Diaries. Her stunt coordination
(GLAAD Media Award nominee),
Geffen Playhouse. She has pre-
will be featured in the film Back
Fight Girl Battle World, and many
viously worked at the Geffen on
to Lyla this year. Also this year,
more. In Vampire Cowboys’ Bat-
Key Largo, Skintight, Mysterious
Naughty Dogs’ The Last of Us II
tle Ranch studio, Abby created
Circumstances, Black Super Hero
will be released, their highly antic-
and produced The Saturday
Magic Mama, Charles Dickens’ A
ipated sequel that took over three
Night Saloon series, a monthly
Christmas Carol, Significant Oth-
years to make. She is the main
theater party that featured six
er and Ironbound, among others.
motion-capture stunt performer
new one act plays shown in
Originally from Pittsburgh, Penn-
for the lead character Ellie. She is
monthly serialized episodes. She
sylvania, she received her B.S.
blessed by her husband Chris and
served as Chair for the Honorary
from Allegheny College and her
newborn son Reeves.
Awards Committee for the NY
M.F.A. in Theater from Long Is-
Innovative Theater Awards and
land University. Lizzie would like
was a founding Board Member
to thank her mom and dad for
for the League of Independent
always believing in her, Charley
Theatre, New York.
for putting up with her (espe-
T I M B R OW N
Fight Director
As an actor, stuntman, and fight director, Tim has been fortunate enough to have worked on every-
LIZZIE THOMPSON
cially during tech week), and her R O S S JAC KS O N
Geffen family.
thing from Shakespeare to sketch
Production Stage Manager
comedy, from soap operas to
Ross is excited to continue his
zombie movies. A few highlights
work with the Geffen Playhouse!
Casting Director
of his fight direction include—
Proudly hailing from New Or-
Phyllis is an Artistic Associate
theater: Zastrozzi, multiple
leans, Louisiana, Ross is now
productions of Romeo & Juliet,
based in Los Angeles. Geffen
multiple productions of Macbeth;
credits: Key Largo, Skintight, The
LA Opera: Porgy & Bess, Othello;
Niceties, Lights Out: Nat “King”
film: Open House, Privateer; tele-
Cole, A Christmas Carol, The
vision: How I Met Your Mother,
Untranslatable Secrets of Nikki
Strange Angel, Warriors - Miya-
Corona, Skeleton Crew, Sell/Buy/
moto Musashi. Tim also teaches
Date, Ironbound, and A Funny
stage combat at the American
Thing Happened... Other credits:
Musical & Dramatic Academy -
Meredith Monk’s Atlas (LA Phil);
LA (where he has directed fights
Five Guys Named Moe (Ebony
for over 25 productions).
Repertory Theater); The Tempest and Deferred Action (Dallas The-
A B BY M A R C U S
Vampire Cowboys Producer
ater Center); The Crucible and A Lesson Before Dying (Clarence
Abby is Lead Producer for the
Brown Theatre); Aladdin and His
Obie Award winning “geek
Winter Wish and Sleeping Beauty
theater” company Vampire
and Her Winter Knight (Lythgoe
Cowboys. In addition, Abby is
Family Panto); Nickel Mines (New
the Managing Director for the
York Musical Theatre Festival)
Orchard Project and on Faculty
and several productions with the
at California Institute for the
University of California, Irvine,
Arts. Abby has worked with St.
from which he holds his Master
1 0 P L AY B I L L
P H Y L L I S S C H U R I N G A , C SA
and the Casting Director for the Geffen Playhouse. Recent casting includes 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
PRODUCTION BIOGRAPHIES the Lapin Agile (and subsequent
of Game of Thrones (DGA nom-
co-produced and co-directed the
productions including West-
ination), Mad Men, Fargo, The
critically acclaimed Life After
wood Playhouse and Briar Street
Good Wife and Succession. Shak-
Tomorrow, featuring Sarah Jes-
man recently helmed the pilot ep-
sica Parker, which premiered on
isode for Hulu’s The Great starring
Showtime. His other films include
Elle Fanning and Nicholas Hoult,
Deal (starring Burt Reynolds, Bret
airing in 2020. This season he
Harrison and Charles Durning)
will direct Macbeth for the Geffen,
and The Mesmerist (starring
starring Nikolaj Coster-Waldau.
Jessica Capshaw and Geffen Play-
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
house alumnus Neil Patrick Har-
member of the Casting Society
ris). Cates’ television directorial
of America.
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 I L CAT E S, J R .
Executive Director
M AT T S H A K M A N
Artistic Director
Matt Shakman is Artistic Director of Geffen Playhouse. In this role, he is responsible for identifying, 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
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
B E H N A Z ATA E E
with live theater of the highest
Chief Financial Officer
caliber. Prior to being named
Behnaz “Nazy” Ataee is Chief
Executive Director in 2015, Cates
Financial Officer of Geffen Play-
served as Geffen Playhouse Board
house. In this role, she has over-
Vice Chairman since 2012 and
sight responsibility for accounting
served as a producer and director
functions of the theater, including
in theater, film and television.
operating and capital budgets. In
His theater credits include the
addition, she supports all IT and
award-winning Names (Matrix
HR activities. Behnaz was named
Theatre Company) and Three
Chief Financial Officer in 2015
Sisters and David Mamet’s A Life
after serving as General Manag-
in the Theatre (both at Syracuse
er since 2002. She first joined
Stage). Cates’ film credits include
Geffen Playhouse in 1999. Previ-
The Surface (starring Sean Astin
ously, Ataee worked as a senior
and Geffen Playhouse alumnus
financial analyst for Ultratech Inc.,
Chris Mulkey), Jobs (starring
an international semiconductor
Ashton Kutcher, Josh Gad, Dermot
company based in San Jose. Prior
Mulroney, as well as Geffen
to Ultratech, she was an auditor
Playhouse alumni Matthew Mo-
for Van Sloten CPA, after holding
dine and Ron Eldard) and the
the position of Director of Ac-
2011 feature film Lucky (starring
counting at FABS Management,
Colin Hanks, Ari Graynor and
where she was responsible for
Ann-Margret). In addition, Cates
overseeing the finances of more G E F F E N P L AY H O U S E 1 1
PRODUCTION BIOGRAPHIES than 25 non-profit organizations.
and produces new works of
been lauded by the NY Innovative
As a financial professional with
genre-bending theater. We make
Theatre Awards and nominat-
more than 30 years’ experience in
shows that proudly dance between high-brow art and mass
ed for multiple GLAAD Media
for-profit and non-profit financial management and auditing, Ataee began her career in the Bay Area as a partner in a small tech startup. She holds a master’s degree from Pepperdine University. VA M P I R E C OW B OYS
media entertainment. Founded and led by Artistic Directors Qui Nguyen and Robert Ross Parker and Producer Abby Marcus, Vampire Cowboys are the originators of the “geek theater” genre. Our productions, which demonstrate that “experimental theater can
Awards. Hailed by The New York Times as “culturally savvy comedy,” Vampire Cowboys was awarded an Obie in 2010. Past productions include: Vampire Cowboy Trilogy, Living Dead in Denmark, Men of Steel, Alice in Slasherland, Fight Girl Battle
Vampire Cowboys is an
be innovative and entertaining
World, Soul Samurai, The Inexpli-
award-winning NYC downtown
instead of droning and preachy”
cable Redemption of Agent G, and
theater company that creates
(Show Business Weekly), have
Six Rounds of Vengeance.
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 2 P L AY B I L L
ACKNOWLEDGEMENTS
GEFFEN AT A GLANCE
PRODUCTION STAFF FOR REVENGE SONG
CONTACT
Associate Costume Designer Danica Martino
Front of House Audio Engineer Jake Delgado
Assistant Projection Designer Kaiwen Fa
A2 Aaron Centeno
Geffen Playhouse 10886 Le Conte Avenue Los Angeles, CA 90024
Wig & Hair Designer Janell Turley
Properties Artisans Joshua Shelden, Erin Walley
Wardrobe Supervisor Liz Rose
Production Assistant Sarah Nearhoff
Wardrobe Crew Hannah Boston
Junior Production Assistant Jenn Dupre
Puppet Costumes Kate Rusek
MUSICIANS
Automation Operator Alex Norkus
Guitar Mac Wagner
310.208.2028 Daily, 12:00pm – 6:00pm
Stage Crew Oliver Brink
Bass Carlos Rivera
Moving Light Programmer & Lighting Console Operator Brandon Paul
Drums Adam Alesi
Please visit geffenplayhouse.org for hours, parking and more information.
ACKNOWLEDGEMENTS Scenery Provided By F&D Scene Changed Ltd., Center Theater Group, Rose Brand Costumes Provided By Brent Bruins, Janell Mills, René Pistella Lighting Equipment Provided By Kinetic Lighting, Inc. Sound Equipment Provided By Jon Sound Inc., Launch LLC
Production Photographer Jeff Lorch Media Filming Ramon Garcia Design + Art Direction Base Design Photography Yann Rabanier & Jeff Lorch
Video Equipment Provided By PXT Studios
SPECIAL THANKS UCLA School of Theater, Film, and Television Scene, Prop, Sound, and Costume Shops; London Cleaners; Fordham University; Candice Cain
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.
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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 3
E G A T S K N E C F A F B E GE .2020 0 H 2 . T 4 0 AT HONORING
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DIANE KEATON
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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
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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
GETTING THE BAND BACK TOGETHER
Playwright Qui Nguyen and director Robert Ross Parker
PHOTO BY JEFF LORCH
AN INTERVIEW WITH DIRECTOR ROBERT ROSS PARKER
BY RACHEL WIEGARDT-EGEL, GEFFEN PLAYHOUSE MANAGER OF NEW PLAY DEVELOPMENT
As its subtitle suggests, Revenge Song is not only a play by Qui Nguyen, commissioned by and developed with the Geffen—it is a creation born out of the off-kilter, brilliant, theatrically innovative brain trust that is the Vampire Cowboys theater company. Vampire Cowboys established a reputation for consistently producing outstanding work in New York City in the early 2000s, but has been on hiatus in recent years. Now, the team is assembling once again for the company’s Los Angeles debut. Director Robert Ross Parker heads up Vampire Cowboys with Nguyen, and the co-artistic directors have been making work together for two decades. In the first week of rehearsals, I had the chance to chat with Robert about the collaboration that sparked the formation of Vampire Cowboys, the ways the company’s process has changed over the years, and the joys of reuniting for Revenge Song. 1 6 P L AY B I L L
R AC H E L W I E G A R DT- EG E L : What is the origin story of Vampire Cowboys? How did you get started in the first place? R O B E R T R O S S PA R K E R : Qui and I were in our first quarter grad school—almost exactly 20 years ago. We’d been assigned to work together. Qui had written this one act, and I was assigned to direct it—that was how we first met. It was a “serious play” that he’d written in a serious manner that I tried to direct very seriously. Then we ran into each other in a comic book shop in this tiny university town. Qui always says this was “before geek was chic.” So it was almost a little embarrassing to see each other in there, but we started talking about comic books and decided we should go for a beer. It was one of those beers that became many beers, and we had that conversation that you have when you’re young and full of it: “You know what the problem
BEHIND THE SCENES Q&A
with theater is...” We were really into a lot of popular story genre things that you see in comics and movies and TV. The ecosystem has changed a lot, with the Marvel Cinematic Universe, but back then, that stuff had a niche vibe to it. We wanted to tell those stories on stage. So we cowrote this thing called Vampire Cowboy Trilogy and put it on, to our advisors’ great displeasure. (They thought we should be doing more serious things.) It was the story of a paranormal film noir detective and some 1950s American superheroes fighting communism and—this is so dated—a teenage warrior princess Xena riff. There were celebrity guest ninjas in the show every night. We had a great time. The story of the name is that we wanted the title to be something that had nothing to do with the show. One of us said, “Well, there are no vampires in it.” And the other one said, “There are no cowboys in it.” So that was what we called it. We went on to do another show while we were in school— it was about a Catholic school girl on a murder spree backward through time to kill God— and we would just get in trouble. When we got to New York after school, we thought “No one’s going to do a developmental reading of our ninja plays. And we don’t really want them to, either.” So we started producing them ourselves, and that’s how Vampire Cowboys came about. RW: How does the process of directing a Vampire Cowboys show differ from other plays? How has process changed over the years? R R P : It’s changed a lot over the years. Orig-
inally, Qui and I would co-write the shows, and he would also choreograph all the fights. Then we moved to a more traditional director/playwright relationship. Even when we’re working in a more traditional way where Qui is writing drafts of a script and I’m staging them, I’ve been around while he’s writing and he’s been in the room while I’m staging. We would start in weird ways, like deciding first on the title or the genre. Often, the structure was that we would do a workshop of a show in the fall and then stage it in the spring. We were focused on putting on a show no matter
what. Sometimes we had an awesome idea, and sometimes—I don’t know what we had, but the show went on. That taught us a specific set of skills that are different from what you learn through the more traditional format of developing work. It’s varied greatly over the years. One thing that has always stayed the same is that we try to bring the work to the company. A choreographer could say, “I choreographed this awesome spin kick here.” And it’s like, “That’s a great choice, but can the actor do it? Is the actor amazing at it?” That’s something we do not just with fighting but with puppetry, with singing, with the play itself. Qui can write a great moment but if it’s not right for the actor we’ve cast, we will continue to tweak toward the company. That, I think, gives the shows a vibe of being devised, even if they’re not. RW: What are you most looking forward to
tackling in this rehearsal process? R R P : I always have a lot of fun in tech with
Vampire Cowboys shows, because we’re putting it all together. In the preview process too, because we do learn so much. Creatives always say, “We learn so much from the audience.” But on these, we really learn a lot from the audience, and we will sometimes make significant changes during previews. As a team, we’re committed to getting it right. There are all these pieces, and sometimes we’re shuffling the pieces around, but there’s also a kind of mercenary showperson-ship to the whole thing, where you’re like, “It’s gotta be a great show. The people have gotta love it.” Sometimes when I’m working on more traditional plays, it can get a little more precious and arty. There’s an old-timey entertainer vibe to the way we all think that I very much enjoy and think is unique. I’m looking forward to the people more than anything, especially as we get older and have gone our separate ways and had kids. To all be able to come together on the same project—to get the band back together, in a way—is really special. To read more about Revenge Song: A Vampire Cowboys Creation, visit blog.geffenplayhouse.org. G E F F E N P L AY H O U S E 1 7
LA VIE DE LA MAUPIN THE UNBELIEVABLE TRUE STORY OF JULIE D’AUBIGNY
Revenge Song: A Vampire Cowboys Creation is inspired by the life of Julie d’Aubigny, a remarkable woman who lived in 17th century France. If you’ve never heard of Julie d’Aubigny, also known as La Maupin, it’s not especially surprising. She and her story have largely been lost to history. Julie’s antics have long been the focus of speculation, and little about her life is known for sure. Based on that which is known, her story is so unbelievable that it’s difficult to imagine she existed at all—but exist she did. Julie was born around 1670 in or near Paris. Her father, Gaston d’Aubigny, was the secretary to Louis de Lorraine-Guise, a noble who was the Master of the Horse for King Louis XIV. Master of the Horse was an important office in the king’s court, and included the supervision of all of the royal stables. Gaston trained the court pages, and Julie (who dressed in traditionally male clothing from a young age) was trained alongside the boys in both academic subjects and fencing—unusual for a girl at the time. Louis de Lorraine-Guise took Julie as his mistress by the time she was 14, and later arranged for her to be married to Sieur de Maupin, a timid clerk. Louis then sent Sieur de Maupin away to the French provinces, and continued his relationship with Julie. Julie fled Louis’s household, and started a love affair with a young girl. When the girl’s parents found out, they were outraged and put her into a convent. Julie infiltrated the convent 1 8 P L AY B I L L
with a plan to free her lover—the results of which landed her with a death sentence from the French parliament. According to some sources, she was sentenced under her husband’s name because the judges did not believe that a woman could have done this deed. At some point, Julie met a young nobleman named Comte d’Albert, who challenged her to a duel. She wounded him and he almost died, but the two ended up forming a relationship— romantic by some accounts and purely platonic by others—that lasted the rest of her life. A superb singer (amongst her other talents), Julie joined the Paris Opera in 1690 after being pardoned by the king for her convent heist. She became a celebrated performer, known as La Maupin (her married name, per French custom). Julie’s audacious nature led her to adventure and scandal alike. She continued to duel, once beating three men at the same time. She continued to take lovers, both women and men. She continued to sing, defending chorus girls from lecherous singers and patrons. Most of the facts of Julie’s existence come from documents related to the opera, so even less is known about the interior life of this master swordswoman, renowned singer, and darling of the gossips. What were her motivations, her regrets, her deepest hopes? As we watch Revenge Song: A Vampire Cowboys Creation, we get to ponder all that makes this woman so recognizably human—even as we revel in all that made her impossibly badass.
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$1,500 – $2,999 Anonymous AnonyMoose Foundation Miriam Aguiar Olga S. Alderson Claudia Apelfeld Bonnie & Bill Apfelbaum Bonnie R. Arnold Aversa Foundation Shelley & Rick Bayer Patricia & Mark Benjamin Laurie Bernhard Artie Berrick & Ellie Malter
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ANNUAL DONORS Marcus Mancini Sarah Coade Mitchell & Peter Mandell Michael N. Marks Mr. & Mrs. Phillips H. Marshall Ana & James Miles Thomas Mitchell Sue & Monty Mohrman Ms. Janet Moore Charitable Trust Craig Morrison John Moschitta Ms. P. Moseley Bill Mullins Norma & Larry Meyers Robert & Anita Nitta Orlando Hotel Carol Parry & John Fox Naidu & Jane Permaul Karen Peter Astrid & Howard Preston Anne E. Rea & Kenneth A. Bigg Eden & Steven Romick Ronda & Fred Rose Allison & Bennett Rosenthal Charitable Foundation Cheryl Saltus Nancy & Steven Schneider Joel & Sonia Schneider Susan & Peter Schwab Janet & Michael Schwartz John H. Scott Dan Shalom Arthur F. & Carol Silbergeld Karen & Bill Skinner Chris Sorgi Donald B. Spradlin Arthur Stern Mr. & Mrs. David Tann Joyce & Josh Trabulus In Memory of Ginny Truesdale Janet Tsjihan Baron Vaughn Ira & Laurie Waldman Bruce & Marci Wiseman Delores Komar & Susan Wolford Christina Wren Jack S. Yeh Harriet Zaretsky
ASSOCIATE $250 – $499
Anonymous (11) Terry & Richard Abrams Norman & Toshka Abrams Barbara Adams
Ioe Adler Elaine & Michael Agran Mr. Arthur Alisi Helen Allan Charles & Annick Allen Sylvia Almstadt Robert C. Anderson Philip Angerhofer & Stephen A. Jones Jc & Jack Appelbaum Joseph D. Argilagos Barbara & Ethan Aronoff David Atkinson Marc & Elizabeth Axelrod Lynne Babbitt Mike & Kim Baginski Robert Baker Cecilia Ball Mr. & Mrs. Donald Balzano Elizabeth Bar-El Thomas Barad Irene Baron June Bartczak Judith & Thomas Beckmen Fay & Lester Bass Patricia Belcher Marsha C. Berkowitz Ellen & Jay Bienfeld Mark Blackham Deborah Blake Susan Bloch-Kay Pamela & Bill Bohnert Susan Boiko & Martin Schwartz Toby Bornstein Dr. Clarence Braddock Laurrie Brooke Mitchell Brown Joanne Busuttil Michelle Butler & Mark Blackham Steven Bushong Laura D. Campbell Marlene & David Capell Anthony Carbone Richard Cassese Ling Chan Thomas Chappell Martha Chase Doryann Chasen Mr. Chavoshan Diane Chernansky Lori Christopher Anselm Clinard Pam Coats Larry Conover Heidi Jo Corey Gail Cottingham Norman & Nancy Cravens Valerie & Donald Cravitz Diana Cusumano
Muriel Dance & Alvin Martin Hedva & Dr. Dudley Danoff Steven & Linda Darling Susan Dashe Jeffrey S. Davidson Elizabeth De Oliveira & Moacyr Da Silva Bert Deixler Hal & Roberta Delevie Dr. Udayakumar Devaskar Bernard & Deborah Diamond Chelsea Dinsdale Carol Jean Doehring Fred & Marilyn Dorer Dorfman Family Daryl & Paul F. Doucette Linda Dozier The Milton L. & Betty J. Dranow Family Foundation Jacki & Murray Drechsler Kay & Larry Driscoll Roger Duhl Lorraine Eastlake Jeff Eckerle Barry & Mona ShaferEdwards Arlyne Elliot Interiors Ronald Eng Lidia & Mauricio Epelbaum Rena & Peter Falk Dr. Francesco Federico & Lauren Wilson Mimi Alpert Feldman Wendy Warady & Anna Fiastro Abby & Malcolm Field Diane Fisher Lisa & William Finkelstein Lynn & Michael Flynn Sandra Francis Renee Fraser Fran Fredella Kenneth J. Friedman & Marilynn J. Friedman Family Foundation Elaine & Larry Friedman 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
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G E F F E N P L AY H O U S E 2 3
ANNUAL DONORS Morgan Kay
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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
Sara & Henry Michrowski Lois Miller Lee & Ron Miller Lee & Jeff Milman Teddie J. Milner Marvin & Jean Moore Dr. Brian Morrow Dennis Moss Bill Mullins Charlotte C. Myers
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Douglas Mcavoy, Jr.
Marianne Reynolds
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Amy Richards
Kathy & Jim McCaffrey
Linda & Erin Rice
Derrick McCray
Linda & Steve Richman
Christina Medigovich
William & Polly Ridgeway
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Dr. David B. Peterson
Peter Romwall Barry Rosen & Neil Bokal
Mr. Kayser Sume & Dr. Renee Sabshin Stanley Schneider Frances & Sy Strasberg Miriam & Gene Summ Ann & Paul Sunderland Robin & David Swartz
Donna Rosen
Lance & Maureen Tan
Mary Ann Rosenfeld & Sheldon Kaddish
Deborah Tavlin David Tepper
Adrienne Rosenthal
Cathy Thomas
Beverly & Mel Rosenthal
Cathy & Asher Thompson
Brad Ross
Natalie & Matthew Thompson
Lawrence Ross & Linda Nussbaum
Rebecca Thyret
Cathy Ross
Judy & Art Tompkins
Robert & Susan Rovner
Brigitta Troy
Dr. Diane & Michael Glazer
Dr. Gerald D. Turbow
In Honor of Eric Chown
Dr. Harold Urman
Sylvia Ruiz
Nancy & Anthony Vasek
Anne Sacks
Valerie Vetters
Jay & Linda Sandrich Susan & Kenneth Sarno
Barbara Vickery & Martin Shapiro
Maxine Savitz
The Vig Family
Linda & Cliff Schaffer
Bobette Vikan
Chris T. Schmidt
Carole Wagner-Vallianos & Peter Vallianos
Gary & Karen Schneider Myrna Schwam Dean Teri Schwartz Brandon Scott Marc Seltzer Lisa Shalet
William Wallace Louise Wannier Barry Ward Elisa Wayne Julie Waxman
Barbara Vickery & Martin Shapiro
Sherry Weinman & Michael Umansky
Melanie Sharp & Kevin Miller
Travis Webb Marsha & Steven Weiss
George Shohet
Pat West
Seymour & Dorothy Siegel
Karen White
Leah Sklar
Teresa & Bill White
Marlene Sklar & Joel Moscowitz
Janet Whitman
Diane Good & Frank Smith
Rae Jean Williams
Ronald Smith
Susan Williams
Karen Smits
Karen & Gary Winnick
Joan & Jerome Snyder
George & Diane Wolfberg
Chris Sorgi
Albert Wolsky
Melvin Spears
Kimberly & Andrew Zakanych
Debra Spector
Bruce Whizin
Alice Cortez & Richard Spitzer
Arnold & Tricia Zane
Irina & Alex Stavchanskiy
David Zimmerman
M Leslie Stearns
Laura Zucker & Alan Miller
Penny Strowger
Sandy Zwirn
Diane Zapack
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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
Jamie Mikelich Director of Individual Giving Mark San Filippo Director of Donor Stewardship Christine Drew Benjamin Development Manager Ava Bogle, Sam Peurach Development Assistants Austin Merrill Development Intern
EDUCATION
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
Celia Rivera Assistant Box Office Manager Clifton Adams, Kelsey Arlington, Vaneh Assadourian, Dashawn Barnes, Anthony Cloyd, Rebecca Connolly, Jamie Dawson, Alan Kistler, Lexy McAvinchey, Sam Peurach, Jonathan Ramos, Cameron Reck Box Office Staff Sue Fleishman Communications Consultant
FRONT OF HOUSE
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, Elza Hofeld, Lucy Houlihan, Fiona Leahy, Hunter Lowden, Olivia Lowe, Robert Mahaffie, Austin Merrill, Sidne Phillips, Brandon Root, Sam Sherry, Chuck Soo-Hoo, Charmee Taylor, Caragh Tiernan, Robin Vega, Emir Yonzon Ushers Rob Mersola Bar Manager & Mixologist Adam Carr Bar Captain Manuel Mayorga Weekend Bar Manager Skylar Adams, Brenda Davidson, Sarah Drescher, Lauren Hargrave, 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