GEFFEN PLAYHOUSE GIL CATES THEATER
PHOTO BY JEFF LORCH
It’s a pleasure to welcome Joshua Harmon back for our third collaboration. His shrewd, hilarious Bad Jews played at the Geffen in 2015. In 2018, we produced Significant Other, a moving (but also funny, of course) look at the loneliness of the romantically left behind. I’m honored to launch the 2019/2020 season with Skintight—Josh’s latest laugh-out-loud yet sneakily soul-searing look at the human condition. This piece delves deeply into generational and familial conflict and is ultimately a meditation on beauty: why we so desperately seek it and what happens when we think it’s gone. Like Bad Jews and Significant Other, Skintight takes place in a world of privilege and sophistication, where support and solutions should be within easy reach but are somehow impossibly distant. People who seemingly have their lives together are brought unexpectedly to their knees as Josh uses humor to probe the needs of the heart and the horrors of romantic life. 2 P L AY B I L L
Director Daniel Aukin, who has helmed the premieres of many of Josh’s plays in New York, comes to the Geffen for the first time with Skintight and beautifully demonstrates the incredible power of a playwright and director so completely in sync. Together they have assembled a cast that is nothing short of perfection, led by the impossibly talented Idina Menzel, making her Geffen debut. The Geffen is a home—for audiences and artists alike. Just as we welcome playwright Josh Harmon back to our stage, so too are we thrilled to welcome you back for this season of exciting world premieres and electrifying revivals. Enjoy the show! Matt Shakman Artistic Director
BOARD OF DIRECTORS Howard Tenenbaum
Patricia Kiernan Applegate
Frank G. Mancuso Chairman Emeritus
Dr. Gene D. Block
Bruce M. Ramer Founding Chairman
Gil Cates Jr. Executive Director
Victoria Mann Simms Andy Spahn
Mary Ann Cloyd
Dr. Brad Edgerton
Dr. Charles E. Young Chairman Emeritus
Mark Fleischer Sue Fleishman Patricia L. Glaser Adi Greenberg Vice Chair Arthur Greenberg Martha Henderson Chair Emeritus Loretta Everett Kaufman
IN MEMORIAM Gilbert Cates Founder Marcia Israel-Curley Audrey Skirball Kenis Charles Kenis Karl Malden Jerry Perenchio
Barry Meyer Danny Passman Holly Rice
LEGAL COUNSEL Peter Rosen
Pamela Robinson Chair Emeritus
Latham & Watkins LLP
Linda Bernstein Rubin Teri Schwartz
Matt Shakman Artistic Director
Miranda Tollman Chair
Cynthia P. Stafford
Ellyce R. Cooper
FOUNDING TRUSTEES Kirsten Combs Robert A. Daly David Geffen Herbert M. Gelfand Chairman Emeritus
PHOTO BY JEFF LORCH
Harold A. Brown
Kirsten Hansen Eric Heer Laura Kennedy Wendy Kurtzman Hannah Linkenhoker Tiffany Mayberry John McCrite
Welcome to the 2019/2020 season in the Gil Cates Theater! For those of you who are loyal patrons, thank you for joining us again for this season, which is sure to be a diverse year of hilarious comedies, tried-andtrue classics and brand new theatrical experiences. For those who are new to our theatrical gem in Westwood, we look forward to getting to know you! This season, we invite you to look beyond the curtain of the Geffen Playhouse by visiting our brand new website at geffenplayhouse.org and learning about, sharing, and supporting the incredible work we do in our community. As Chair of the Board, I am immensely proud that Geffen Playhouse serves more than 15,000 youths, students, seniors, veterans, and community members every year, providing the life-changing power of the arts to those who would otherwise have no access. I am also excited to share the continuation of the new Writersâ€™ Room program started by Matt Shakman last season that will continue to provide a home for playwrights to create incredible new works. We are deeply passionate about the work we do both on the stage and within the Los Angeles community, and are thrilled to have you be a part of the Geffen this season. Thank you for being here today to help us kick off our 2019/2020 season with Skintight. We hope you will be truly impacted by the art you see on stage today. Howard Tenenbaum Chair
G E F F E N P L AY H O U S E 3
GEFFEN PLAYHOUSE PRESENTS THE ROUNDABOUT THEATRE COMPANY PRODUCTION OF
SKINTIGHT WRITTEN BY
JOSHUA HARMON DIRECTED BY
DANIEL AUKIN SCENIC DESIGNER
PRODUCTION STAGE MANAGER
ASSISTANT STAGE MANAGER
LIZZIE THOMPSON CASTING DIRECTOR
PHYLLIS SCHURINGA, CSA
THURSDAY, SEPTEMBER 12, 2019
Skintight is presented by special arrangement with Samuel French, Inc., a Concord Theatricals Company Commissioned and Originally Produced by Roundabout Theatre Company, New York, NY
EXECUTIVE PRODUCERS CIRCLE MEMBERS
Laurie & Bill Benenson Martha Henderson Pamela Robinson Hollander & Robert Hollander Loretta Everett Kaufman & Victor Kaufman
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Linda Bernstein Rubin & Tony Rubin Kimberly Steward & Josh Godfrey Miranda & Brett Tollman
SKINTIGHT CAST OF CHARACTERS (IN ALPHABETICAL ORDER)
WILL BRITTAIN* * BENJAMIN CULLEN ���������������������������������������������������������������������������������������������������������������� ELI GELB * ELLIOT ISAAC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HARRY GROENER * ORSOLYA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KIMBERLY JÜRGEN * JODI ISAAC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IDINA MENZEL * JEFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JEFF SKOWRON TREY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
*Indicates member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
The home of Elliot Isaac, 2014.
There is no photography or filming of any kind allowed in the theater. Please turn off all electronic devices, including cell phones. Thank you!
2 hours and 15 minutes Including one 15 minute intermission.
OPENING NIGHT SPONSORS
G E F F E N P L AY H O U S E 5
W I L L B R I T TA I N
H A R RY G R O E N E R
K I M B E R LY J Ăœ R G E N
Will Brittain is thrilled to be making his Geffen Playhouse debut with Skintight. Films include: Kong: Skull Island, Everybody Wants Some!!, Savage Youth, Desolate, A Teacher. Television: Colony (Season 3). Upcoming Films: Let Him Go, Haunt, Blow the Man Down, William. Love and thanks to God, family, reps and the Biscuit. For you, Dad, the wild man.
Geffen Playhouse credits: Equivocation (Ovation Award), The Exorcist. Recent Los Angeles appearances: Indecent at Ahmanson Theatre; Three Days in the Country, Cat On A Hot Tin Roof (Ovation Awards) at Antaeus Company; Prospero in The Tempest at Shakespeare Orange County. Broadway: Crazy For You (Tony and Drama Desk nomination), Oklahoma! (Tony nomination and Theater World Award), Cats (Tony nomination), Harrigan and Hart (Drama Desk nomination), Oh Brother!, Is there Life After High School, Sleight of Hand, Sunday In The Park With George, Imaginary Friends, Spamalot. Off-Broadway: Twelve Dreams, Picasso at the Lapin Agile, If Love Were All. Regional: The March (Steppenwolf Theatre Company); title roles in The Madness of King George (Jeff Award), Cyrano De Bergerac (Chicago Shakespeare Theatre), King Lear (Antaeus Company). Film: About Schmidt, Road to Perdition, Amistad, Patch Adams, Brubaker, Cure For Wellness, A Futile And Stupid Gesture. Television: over 70 credits, including Buffy the Vampire Slayer, Dear John, Star Trek, How I Met Your Mother.
Kimberly JĂźrgen, a science nerd and graduate of Emory University, is making her Geffen Playhouse debut. She recently appeared on Modern Family and was covered in beetles on Bones. Stage highlights include: Search for Signs of Intelligent Life in the Universe at the Los Angeles LGBT Center, four productions of Hamlet, three Romeo and Juliets, two comedies by Shel Silverstein and Othello (playing Iago). She is an actor/writer and co-creator of the award-winning web series, Good Samaritans. She began volunteering as a young Girl Scout and now works with elementary students through Young Storytellers.
Theatre: Skintight (Roundabout Theatre Company); The Twenty-seventh Man (The Old Globe, directed by Barry Edelstein); Ruth (Alex Borinsky, EST/ Sloan Workshop); The North Pool (Rajiv Joseph, Cincinnati Playhouse in the Park); The Thickness of Skin (The Barrow Group). Film/television: The Squid and the Whale (Noah Baumbach); Holy Rollers (Sundance 2010); The Newsroom (Aaron Sorkin, HBO); Not Fade Away (David Chase); Indignation (James Schamus). Proud member of Ensemble Studio Theatre. 6 P L AY B I L L
Broadway: debut as Maureen in Rent (Tony Award nomination); Elphaba in Wicked (Tony Award winner), which she also brought to West End; Elizabeth in If/ Then (Tony Award nomination). Other New York stage work includes Skintight (Roundabout
PRODUCTION BIOGRAPHIES Theatre Company), See What I Wanna See (Public Theater), The Wild Party (MTC), Hair (Encores). Recipient of the Drama League Special Recognition Award for Achievement in Musical Theatre. Film: Elsa in Disney phenomenon Frozen and its upcoming sequel, Christopher Columbus’ film version of Rent, Enchanted and Ask the Dust. Upcoming: Safdie Brothers’ Uncut Gems. Television: recurring on Glee, Lifetime’s remake of Beaches and PBS special Barefoot at the Symphony with accompanying album. Additional solo albums include idina., I Stand, Here and Still I Can’t Be Still. Menzel’s performance of “Let It Go” won the Oscar for Best Original Song and the Grammy Award for Best Song Written for Visual Media. She was honored as Billboard’s Women in Music “Breakthrough Artist” in 2014.
J E F F S KOW R O N
Broadway: Enron (Trader), How the Grinch Stole Christmas (Grinch), The Lion King (Ed/ Timon/Zazu), Beauty and the Beast (LeFou), High Society (Stanley), The Boy from Oz (workshop, Chris Bell, opposite Hugh Jackman). Los Angeles credits include: A Gentleman’s Guide… (D’Ysquinth Family, West Coast premiere), Parade (Leo Frank, Ovation Award), South Pacific (Luther Billis, Ova-
tion Award), The Producers (Leo Bloom, Ovation Award nomination), Pride and Prejudice (Mr. Collins, Ovation Award nomination), Les Misérables (Thenardier, Ovation Award nomination), Into the Woods (Baker, LA Drama Critics Circle nomination). Jeff co-starred as Dorfman opposite Billy Bob Thornton in Bad Santa 2. Television: Teen Wolf, Kroll Show, NCIS, Law and Order SVU. Jeff won Best Actor in a Drama at the 2017 New York Television Festival as the title role in Max Riddle, a pilot he co-wrote/directed, currently in development. He also co-created and starred in Greg and Donny for IFC, directed by Troy Miller. J O S H UA H A R M O N
Joshua Harmon’s plays include Bad Jews (Roundabout Underground; Roundabout Theatre Company/Laura Pels; West End; Geffen Playhouse), Significant Other (Roundabout Theatre Company; Broadway/ Booth Theatre; Geffen Playhouse), Admissions (Lincoln Center Theater; West End) and Skintight (Roundabout Theatre Company). His plays have been produced across the United States at Studio Theatre, Geffen Playhouse, Speakeasy, Actor’s Express, The Magic and Theater Wit, among others, and internationally in Australia, Canada, Germany, Ireland, Israel, Poland, Russia, South Africa, Sweden, and throughout the U.K. He is a two-time MacDowell fellow, under commission at Manhattan Theatre Club, and an Associate Artist at Roundabout Theatre Company. Graduate of Juilliard.
DA N I E L AU K I N
Daniel is a New York-based director. Winner of three OBIE Awards, recent work includes the acclaimed Broadway revival of Sam Shepard’s Fool for Love with Sam Rockwell and Nina Arianda and Joshua Harmon’s Admissions (Lincoln Center Theater, London’s West End). World premieres include Joshua Harmon’s Bad Jews and Skintight; Abe Koogler’s Fulfillment Center; Dan LeFranc’s Rancho Viejo; Melissa James Gibson’s Placebo, What Rhymes with America, Suitcase and [Sic]; The Fortress of Solitude by Michael Friedman and Itamar Moses from the novel by Jonathan Lethem; Sam Shepard’s Heartless; Amy Herzog’s 4000 Miles; Marius von Mayenburg’s The Ugly One (U.S. premiere); Itamar Moses’ Back Back Back; Mark Schultz’s Everything Will Be Different; Mac Wellman’s Cat’s-Paw, Quincy Long’s The Year of the Baby and Maria Irene Fornes’ Molly’s Dream. Also, Arthur Miller’s A View from the Bridge (Arena Stage) and Elmer Rice’s The Adding Machine (La Jolla Playhouse). Formerly the Artistic Director of Soho Rep in New York (19982006), where he developed and produced world premieres by Richard Maxwell, Young Jean Lee, Thomas Bradshaw, Anne Washburn and Jordan Harrison, among many others. He has directed productions at Lincoln Center Theater, Soho Rep, Roundabout Theatre Company, Atlantic Theater, Manhattan Theatre Club, Playwrights Horizons, Dallas Theater Center, Arena Stage and Woolly Mammoth, and has participated in
G E F F E N P L AY H O U S E 7
PRODUCTION BIOGRAPHIES development programs at Sundance Theater Lab, the O’Neill Playwrights’ Conference and New York Stage and Film. L AU R E N H E L P E R N
Geffen Playhouse: Halley Feiffer’s A Funny Thing…. Select West Coast: The Canadians (upcoming) and Curve of Departure (South Coast Rep); Tiger Style!, Seize the King and At the Old Place (La Jolla Playhouse); Always…Patsy Cline (Coronet Theatre, also Las Vegas). Select NYC: Skintight and Bad Jews (Roundabout Theatre Company); 4000 Miles (Lincoln Center Theater, Lortel Award); BUG (Barrow Street, Obie Award); Disgraced (LCT3); The Model Apartment and Poor Behavior (Primary Stages); also Atlantic, Playwrights Horizons, Manhattan Theatre Club, Second Stage Theater, La Mama, TheatreworksUSA and on Broadway. Select regional: Fences (Ford’s Theatre); Miss Bennet: Christmas at Pemberley (Pioneer); An Act of God and Chapter Two (Arizona Theatre Company); Music City (Cape Fear); Blue Man Group/Live at Luxor (Eddy Award, also Boston and Chicago); and the national tour of American Girl Live! Lauren has also been a Production Designer, Art Director and Assistant Art Director (most recently for Sesame Street’s 50th Anniversary Special). CHINA LEE
China Lee designed Two By Friel (The Irish Repertory Theatre), The White Chip (Merrimack Repertory Theatre), A Little More Alive (Barrington Stage Company), New Girl 8 P L AY B I L L
in Town (The Irish Repertory Theatre), Winner Take All (The NY Fringe Festival), The Tenth Floor (NY Musical Festival), Sin (The Rose Nagelberg Theatre/ Baruch Performing Art Center), Breath Boom (Yale Repertory Theatre). Associate/Assistant design credits include Broadway productions: Ink, Angels in America, The Present, China Doll, Doctor Zhivago, Honeymoon in Vegas, The Curious Incident of the Dog in the NightTime, Mothers and Sons, No Man’s Land/Waiting For Godot, Orphans, Glengarry Glen Ross, Newsies, Merchant of Venice, Jersey Boys and Julius Caesar. PAT C O L L I N S
Pat Collins has designed the lighting for many productions at regional theater companies around the country, among which are Berkeley Rep, Arena Stage, Baltimore Center Stage, McCarter Theatre, Steppenwolf Theatre Company, Manhattan Theatre Company, Lincoln Center Company, The Old Globe, Alley Theatre (Houston), Goodman Theatre, Hartford Stage Company, Fords Theatre and others. On Broadway, she designed such shows as Orphans, Good People, How The Grinch Stole Christmas, Sight Unseen, Doubt, Proof, The Heidi Chronicals, The Sisters Rosensweig, I’m Not Rappaport, A Threepenny Opera, Ain’t Misbehavin’ and others. In the field of opera, Ms. Collins has designed for such companies as The Metropolitan Opera, The San Francisco Opera, Santa Fe Opera, The Royal Opera House, (Covent Garden), The Paris Opera, The Bayerisches Staatsopera (Munich) and others.
Broadway: High. Off-Broadway: The Water’s Edge, Omnium Gatherum and Fatal Attraction: A Greek Tragedy. Geffen Playhouse: Actually, Guards at the Taj, Barcelona, Miss Julie, Build and Extraordinary Chambers. Other Southern California work includes South Coast Repertory, Pasadena Playhouse, Rude Guerrilla, and Brimmer Street Productions. New York and regional: Actors Theatre of Louisville, Barrington Stage Company, Center Stage (Baltimore), Cincinnati Playhouse in the Park, The Juilliard School, Pittsburgh Public Theatre, Portland Center Stage, Public Theater (New York), Syracuse Stage, Theatre Novi Most (Minneapolis), Woolly Mammoth Theatre Company, Virginia Stage Company and Yale Repertory Theatre. Mr. Olivieri has created designs and music for world premiere productions by Roberto Aguirre-Sacasa, Rachel Bonds, Michael Golamco, Kirsten Greenidge, Lauren Gunderson, Howard Korder, Neil LaBute, Matthew Lombardo, Charles L. Mee, Kira Oblensky, Tira Palmquist, Adam Rapp, Theresa Rebeck, Sarah Treem and August Wilson. He was the Resident Sound Designer at Actors Theatre of Louisville, where he designed for the Humana Festival of New American Plays. International work includes productions in Romania, Italy, China, South Korea, and the Czech Republic. Mr. Olivieri is a graduate of the Yale School of Drama and serves on the faculty at University of California, Irvine.
PRODUCTION BIOGRAPHIES R O SS JAC KS O N
Production Stage Manager
Ross is excited to continue his work with the Geffen Playhouse! Proudly native of New Orleans, LA, Ross is now based in Los
ways believing in her, Charley for putting up with her (especially during tech week) and her Geffen family. P H Y L L I S S C H U R I N G A , C SA
Angeles. Recent Geffen credits:
The Niceties, Lights Out: Nat
Phyllis is an Artistic Associate
“King” Cole, A Christmas Carol,
and the Casting Director for
The Untranslatable Secrets of
the Geffen Playhouse. Recent
Nikki Corona, Skeleton Crew,
casting includes Mysterious
Sell/Buy/Date, Ironbound and A
Circumstances, Black Super
Funny Thing Happened... Other
Hero Magic Mama, Skeleton
credits: Meredith Monk’s Atlas
Crew, The Legend of Georgia
(LA Phil); Five Guys Named Moe
McBride, Guards at the Taj and
(Ebony Repertory Theater); The
American Buffalo at the Geffen,
Tempest and Deferred Action
and Put Your House in Order
(Dallas Theater Center); The
at La Jolla Playhouse. She has
Crucible and A Lesson Before
received 5 Artios nominations:
Dying (Clarence Brown Theatre);
Significant Other, Actually, Bar-
Aladdin and His Winter Wish
becue, Barcelona, The Country
and Sleeping Beauty and Her
House. Before joining the Gef-
Winter Knight (Lythgoe Family
fen, she was the Casting Di-
Panto); Nickel Mines (New York
rector for Steppenwolf Theater
Musical Theatre Festival) and
Company in Chicago where her
several productions with the
favorites include Frank Galati’s
University of California, Irvine,
adaptation of The Grapes of
from which he holds his Master
Wrath (also La Jolla Playhouse,
of Fine Arts in Stage Manage-
National Theatre in London and
ment. Proud member of Actors’
Broadway, where it received
Equity Association. Love to
the Tony Award for Best Play),
Mom, Tom and Megan.
the original production of Steve Martin’s Picasso at the Lapin
Assistant Stage Manager
Lizzie Thompson is honored to be stage managing again at the Geffen Playhouse. She has previously worked at the Geffen on Mysterious Circumstances, Black Super Hero Magic Mama, Charles Dickens’ A Christmas Carol, Significant Other and Ironbound, among others. Originally from Pittsburgh, Pennsylvania, she received her B.S. from Allegheny College and her M.F.A. in Theater from Long Island University. Lizzie would like to thank her mom and dad for al-
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
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 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 E F F E N P L AY H O U S E 9
G I L CAT ES, J R .
Gil Cates, Jr. is Executive Director of Geffen Playhouse. In this role, he is responsible for managing the Geffen’s day-today 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 produced and 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)
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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.
around Europe, Asia and the U.S. She also served as the Director of Partnerships for Big Brothers Big Sisters of Greater Los Angeles and the Inland Empire, where she led strategic planning and development while executing policies that advanced the organization’s visibility and growth. Miller is a published author and photographer with Tallfellow Press and Prometheus Books, and has taught and lectured at numerous schools in New York, Los Angeles and abroad. She attended North Carolina School of the Arts and the Business of Entertainment and Sports Executive Program at Harvard Business School.
Chief Development Officer
Regina Miller is Chief Development Officer of Geffen Playhouse. In this role, she is responsible for managing the theater’s comprehensive fundraising efforts, as well as overseeing its award-winning education and community engagement programs. Miller has been working with Geffen Playhouse since 2007. In addition to the Geffen, she has advised non-profit institutions, foundations and corporations on strategy, analysis and fundraising. She has consulted for Array Alliance, The Entertainment Industry Foundation, The National Center for Missing and Exploited Children, Charlize Theron’s Africa Outreach Project and Kershaw’s Challenge, among others. Prior to the Geffen, Miller worked for the Simon Wiesenthal Center/Museum of Tolerance, where she produced an innovative human rights exhibition that traveled to 14 international destinations
B E H N A Z ATA E E
Chief Financial Officer
Behnaz “Nazy” Ataee is Chief Financial Officer of Geffen Playhouse. In this role, she has oversight responsibility for accounting functions of the theater, including operating and capital budgets. In addition, she supports all IT and HR activities. Behnaz was named Chief Financial Officer in 2015 after serving as General Manager since 2002. She first joined Geffen Playhouse in 1999. Previously, Ataee worked as a senior financial analyst for Ultratech Inc., an international semiconductor company based in San Jose. Prior to Ultratech, she was an auditor for Van Sloten CPA, after holding
PRODUCTION BIOGRAPHIES R O U N DA B O U T T H E AT R E C O M PA N Y
new works of the present, and
where she was responsible for
Roundabout Theatre Company
Roundabout produces a mix of
overseeing the finances of more
(Todd Haimes, Artistic Direc-
revivals and world premieres on
than 25 non-profit organiza-
tor/CEO) commissioned and
and off Broadway, winning eight
tions. As a financial professional
produced the world premiere
Best Revival Tony Awards and
with more than 30 years’ experi-
of Joshua Harmon’s Skintight
debuting such new playwrights
ence in for-profit and non-profit
in 2018, after debuting his Bad
as Stephen Karam, Lindsey Fer-
financial management and au-
Jews (2012) and Significant Oth-
rentino, Steven Levenson, Ming
diting, Ataee began her career
er (2015). Founded in 1965, New
Peiffer, and Jireh Breon Holder.
in the Bay Area as a partner in
York’s not-for-profit Roundabout
Its educational initiatives impact
a small tech startup. She holds
Theatre Company celebrates the
15,000 students and over 1,000
a master’s degree from Pepper-
power of theater by spotlighting
classics from the past, cultivating
the position of Director of Accounting at FABS Management,
educating minds for the future.
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
QUI NGUYEN & VAMPIRE COWBOYS DAVID WIENER LAUREN YEE 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
JUAN JOSÉ ALFONSO
RUBY RAE SPIEGEL
For more information on this program, please visit geffenplayhouse.org/thewritersroom.
G E F F E N P L AY H O U S E 1 1
GEFFEN AT A GLANCE
PRODUCTION STAFF FOR SKINTIGHT
Assistant Costume Designer Marty Hall
Geffen Playhouse 10886 Le Conte Avenue Los Angeles, CA 90024
Associate Lighting Designer Max Doolittle Assistant Lighting Designer Rose Malone Pat Collins’s Studio Assistant Steve Sorenson Assistant Sound Designer Garrett Gagnon Wardrobe Supervisor Audrey Lastar
Properties Artisans Miriam Levenson, Joshua Sheldon, Cami Viand Light Board Operator Brandon Paul Sound Board Operator Jake Delgado Production Assistant Sam Sherry Stage Crew Alex Norkus
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 Set Provided By F&D Scene Changes Ltd.
Production Photographer Jeff Lorch
Lighting Equipment Provided By Kinetic Lighting, Inc.
Media Filming Ramon Garcia
Sound Equipment Provided By Jon Sound Inc., Brian Hsieh
Design + Art Direction Base Design Photography Yann Rabanier
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.
UCLA School of Theater, Film and Television Scene, Prop, Sound and Costume Shops; London Cleaners; Todd Haimes; Jill Rafson; Nicholas Caccavo; Brilliant Smart Home Control
Please note: the box office window is unable to process exchanges and future sales one hour prior to curtain time on any performance day.
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.
RECORDING NOTICE The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium, including the internet, is strictly prohibited, a violation of the author’s rights and actionable under united states copyright law. For more information, please visit: https://shop.samuelfrench.com/content/files/pdf/piracy-whitepaper.pdf
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.
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
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.
This theater operates under agreement between the League of Resident Theaters and Stage Directors and Choreographers Society, an independent national labor union.
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 scenic, costume, lighting and sound designers in LORT theaters are represented by United Scenic Artists Local USA-829, IATSE.
1 2 P L AY B I L L
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BEHIND THE SCENES Q&A
A FUNNY PLAY ABOUT SAD PEOPLE
PHOTO BY JOAN MARCUS
AN INTERVIEW WITH PLAYWRIGHT JOSHUA HARMON
Eli Gelb, Idina Menzel and Will Brittain in the Roundabout Theatre Company producion of Skintight.
BY AMY LEVINSON, GEFFEN PLAYHOUSE ASSOCIATE ARTISTIC DIRECTOR
Following audience favorites Bad Jews (2015) and Significant Other (2018), playwright Joshua Harmon returns to the Geffen with Skintight. After the first week of rehearsals, Associate Artistic Director Amy Levinson sat down with Harmon to chat about the inspiration behind this play, his collaboration with director Daniel Aukin, and the method behind his plays’ use of humor.
A M Y L E V I N S O N : What was the impetus to
write this play? J O S H UA H A R M O N : I wanted to write a play about youth while I was still technically young. Oftentimes, stories about youth get told through a nostalgic lens, where someone older is looking backwards. I realized this was the only opportunity I would ever have to write a play about youth from that vantage point.
When I started the play, I was still in my 20s, but I didn’t love those years—I sensed from an early age that I would be happier once I got through them, and I was right—so it baffled me that our culture exalted youth when I found that time of life so fraught. But that’s just theme. It wasn’t until I found my way to this family that I found the play. What excited me about the Isaacs was that questions of youth and beauty weren’t just thematic; they fuel the engine of the play. Elliot made his fortune by exploiting and in some cases inventing ideals of American beauty. Jodi is grappling with these issues in a very raw and personal way, and her pain propels her to seek answers. This particular family is far removed from my own experiences (sadly, I didn’t grow up the grandson of a billionaire), but at the end of the day, they’re still a family. Understanding those basic relationships helped me find my way in. And lastly, it gave me a chance G E F F E N P L AY H O U S E 1 3
BEHIND THE SCENES Q&A
to attempt my own version of the traditional American family drama—but to people it with characters who aren’t typical to the genre: a multigenerational queer Jewish family. That’s not something I’d seen before, and I wanted to, so, I wrote it.
A L : Let’s talk about the conversation of youth and beauty in this play. While I know this is completely topical in New York as well, in some ways I feel like this play was written for Los Angeles. How do you feel about bringing this play to an L.A. audience?
A L : You mention the family dynamic—in each of your plays, the families are incredibly difficult and the breakdown in communication is sometimes crippling. But there is always an intense current of love that runs underneath your characters. Is this an intended recurring dynamic for you?
J H : It’s funny—I haven’t spent much time out here, but I did come for a week after grad school. We had a showcase in Los Angeles, and the actors performed a showcase that I attended. I remember it being this crazy moment in their lives, when all of the girls had been dieting like crazy and all of the guys had
“IT GAVE ME A CHANCE TO ATTEMPT MY OWN VERSION OF THE TRADITIONAL AMERICAN FAMILY DRAMA—BUT TO PEOPLE IT WITH CHARACTERS WHO AREN’T TYPICAL TO THE GENRE: A MULTIGENERATIONAL QUEER JEWISH FAMILY. THAT’S NOT SOMETHING I’D SEEN BEFORE, AND I WANTED TO, SO, I WROTE IT.” – PLAYWRIGHT JOSHUA HARMON
J H : My sense is that most families—most re-
lationships—are not linear. It’s more like being in a washing machine, one second you’re up here, then you’re down on the bottom, bouncing around until forever. I think that happens because each of us carries within us not just our own personal history, but the history of generations. You are the way you are because your mother did x to you, but she only did that because her father treated her the same way but he did that because during his childhood— and on and on. So we carry all this baggage and yet we choose to stay in the room with difficult people. I do believe that choice comes from love. We can be strangely optimistic about family relationships, maybe because we’ve seen a glimmer of something we’re hoping to see again, or we’re momentarily reminded of the love we have for someone and just as we’re feeling hopeful, they break our hearts again. That seems true to me. 1 4 P L AY B I L L
been hitting the gym to get as bulked up as they had ever been. I’d spent the last two years with these actors and knew their talent, and I was sitting in the back behind all the agents and other people watching—someone would come out and if they were really beautiful, you would suddenly hear all of these pencils moving on paper. And if someone came out who wasn’t beautiful in the traditional sense, it would be totally quiet. It was just a meat market, and for all of these people who had been honing their craft for years, it was going to come down to a question of beauty. That experience really struck a chord inside me. The value we place on being beautiful—part of it feels bound up somehow on a very fundamental level with what it means to be human, but part of it feels like such a destructive impulse. A L : You and Daniel Aukin have done three plays together— J H : Three plays, but six productions—
BEHIND THE SCENES Q&A A L : What is it about the collaboration between the two of you that makes for such great work? J H : Daniel has a deep respect for the mystery of making a play. There’s no formula—if there were, it would have been patented by now—it really is mysterious. I think some directors, because they’re in a position of authority, feel they must have an answer to everything at all times, which stifles creativity. Daniel is not afraid to say, “I don’t know.” But by not assuming he must have all the answers, by not asking people to just hit the target of a preconceived idea, he leaves room for revelation, and discovery, which is thrilling to witness. And the result, I find, has a humanizing effect on the play, so you don’t feel like you’re in an audience watching actors, but a voyeur getting a window into the lives of real people. I feel very, very lucky to be sitting in a room with him. A L : Your plays are incredibly funny but always counter-balanced with some gut-punches. Is that inherent to your style of storytelling—is the humor your way in? J H : I’m never making a concerted effort to be funny. With Significant Other, I thought that was the saddest play I’d ever written, so it was shocking when people started laughing. But I guess a lot of it comes from the kind of writing I responded to early on. I know when I was reading Wendy Wasserstein, what thrilled me was that her plays were so funny and then also so deeply felt. It felt like it cost her something to write those plays, like she was working something out and making herself vulnerable. There’s a difference between something that’s funny and a comedy—comedies end at weddings, where everyone is happy. I don’t tend to write those plays. This is a funny play about sad people. Which feels like a very Jewish response to pain. When you’re struggling, you seek humor to find your way out of the situation you’re in. A L : I know that Idina Menzel has been with the play since the beginning. How did she come to be a part of it? J H : This was a commission for Roundabout and before our first workshop, they asked who I was interested in for the role of Jodi. I said, “Idina Menzel’s the dream, but who could we
Idina Menzel as Jodi Isaac in the Roundabout Theatre Company producion of Skintight. Photo by Joan Marcus.
find who’s like her.” They said, “She’s one of a kind. If you’re interested, we should approach her.” And I thought, yeah, sure, knock yourselves out. But she read it and responded to it, which was so exciting. We did two workshops starting in 2015, then the world premiere last summer. It has been one of the most joyous collaborations with an actor I’ve had. She has an innate understanding of the rhythm and music of the language. She makes it look effortless—of course it’s not—but she’s so keyed into the pain and humor and passion and hurt, in all the right places. It’s a genuine privilege to be in the room, watching her work. And the fact that she wanted to do it again, and that we’ve assembled this incredible cast... There’s a line in the play where someone says, “anything that’s very beautiful only lasts a very short time.” Making this play the first time around was a beautiful experience, but theater is ephemeral—so hard to make, then it vanishes into thin air—so it’s not lost on me what a rare gift it is to extend that beautiful experience just a little bit longer. To read more about Skintight, visit blog.geffenplayhouse.org. G E F F E N P L AY H O U S E 1 5
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ANNUAL DONORS Geffen Playhouse recognizes the following individuals and organizations for their generous support of our Annual Fund and Backstage at the Geffen. Donors are listed at the Associate level and higher for gifts made between July 15, 2018 and August 12, 2019. In appreciation, donors enjoy a host of special benefits including house seats, complimentary drinks, receptions and much more. For more information, please call Jamie Mikelich at 310.208.6500 ext. 128. ANGELS
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Anonymous (11) Terry & Richard Abrams Barbara Adams Ioe Adler Elaine & Michael Agran Geraldine & Harold Alden Mr. Arthur Alisi Helen Allan Charles & Annick Allen Sylvia Almstadt
Robert C. Anderson Val Andler Philip Angerhofer & Stephen A. Jones Eloise & Mark Appel Jc & Jack Appelbaum Joseph D. Argilagos Barbara & Ethan Aronoff David Atkinson Marc & Elizabeth Axelrod Lynne Babbitt Robert Baker Cecilia Ball Mr. and Mrs. Donald Balzano Thomas Barad Irene Baron June Bartczak Jonathan Baruch Judith & Thomas Beckmen Fay & Lester Bass Patricia Belcher Richard N. Berger Karen Berko-Gibson Marsha C. Berkowitz Joane Berlin Adam Bialow Ellen & Jay Bienfeld Susan Block-Kay Susan Boiko & Martin Schwartz Brian Borello Toby Bornstein Dr. Clarence Braddock Ms. Leah Lynn Broidy Laurrie Brooke Mitchell Brown Diana Buckhantz David & Kathy Burke Joanne Busuttil Michelle Butler & Mark Blackham Steven Bushong Laura D. Campbell Marlene & David Capell Anthony Carbone Richard Cassese Ling Chan Thomas Chappell Barry Charles Martha Chase Doryann Chasen Mr. Chavoshan Diane Chernansky Anselm Clinard Pam Coats Larry Conover Heidi Jo Corey Gail Cottingham Norman & Nancy Cravens Valerie & Donald Cravitz Shawn Cunningham Ingrid Curtiss, MD Diana Cusumano
Muriel Dance & Alvin Martin Hedva & Dr. Dudley Danoff Steven & Linda Darling Susan Dashe Jeffrey 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 The Milton L. & Betty J. Dranow Family Foundation Jacki & Murray Drechsler Roger Duhl Lorraine Eastlake Jeff Eckerle Chiedu Egbuniwe Barry & Mona Shafer-Edwards Arlyne Elliot Interiors Ronald Eng Kerry English Lidia & Mauricio Epelbaum Jim Esserman Rena & Peter Falk Judy & Mike Fantasia Dr. Francesco Federico & Lauren Wilson Mimi Alpert Feldman Abby & Malcolm Field Paul and Karen Finkel Diane Fisher Dr. Linda Maeder Lisa Finkelstein Steven Fleenor Lynn & Michael Flynn Sandra Francis Fran Fredella & Scott Rubin Dr. Renee Fraser Carolyn Fried Kenneth J. Friedman & Marilynn J. Friedman Family Foundation Judy Frith-Smith Catherine Froloff Laurelle Frome & Brady Frome Gina Furth Diane Futterman Dr. Lee Gardenswartz Corinne B. Garson Patricia Geffner Leslie & Mort Gerson Seth Gettleson Charles Gherardi Linda & Tom Givvin Jill Glasband
Charles Gherardi Amy Glickman Carol & Neil Goldberg Lorain Goldberg Francine Golden & Marvin Schlossman Les Goldman Dina Goldstein Jay Gordon & Meyera Robbins Roger Gordon Howard Gradet Liz Gottainer & David Sadkin Julie C. Graham, Olivia C. Zeiden, Liam D. Zeiden Shelley Hill Grant Madelyne Green Jana & Randall Greer Roslyn & David Grinberg Marcy & Edgar Gross Vera & Paul Guerin Eve Haberfield & David N. Johnson Beach Cities Child Development Center Kambiz & Sylvia Hakim Mary & Alan Halkett Carol & Fred Halperin Roberta & Marc Hamilton Padraic Hannon Brian & Karen Hatch Hanna Heiting Dr. Jacqueline Heller Dr. Felicia D. Henderson Jackson Henry Michael & Candie Herman Matthew Herrmann Winifred C. Hervey Diane Hight Gabrielle & David Hill Jan Hines Carla & Alan A. Herd Hella Hershon Robin & Edgar Hirst Cina Hodges Melvin Horowitz Marissa Horrigan Roger & Linda Howard Anne Ichuji & Todd Humphrey Kevin Huvane Robert & Gail Israel Terry & Mark Jacoby Jackie & Warren Jackson Barbara Jacobs Frederic A. & Nancy Jacobus Mary James Carla Janzen Jeanne Johnson Judith & Steaven Jones Martha Jones Yvonne & Damien Jordan Roz & Jerry Joseph G E F F E N P L AY H O U S E 2 3
ANNUAL DONORS Adriana Kahane 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 Shannon Kerson Grant & Annie Kim Cathy & Bill Kirkpatrick Cynthia King & John Graul Ann & Jonathan Kirsh Donna & Jeffrey Klein Joanna Klein Leana Kleinman & Jerald Johnson Dr. & Mrs. Klausner Charles Kolstad Carolyn & Charles Knobler Charles Kristenson Barbara Kroll & Ruth Spielman Kimberly Kruse Cheryl & Steve Laff Carol D. Lande Alyce LaViolette Joan Larkin Rhonda Lawrence Linda Lawson Learning Encounters Ann Leland Adam Lesh Don Lettiere Joan & Stuart Levin Maxine & Gary Levine Suzanne & Jimmy Levine Karen & Ron Levine Anita & Burton Levinson Harla Levitt Rick & Vivian Levy June Lewin Katia Benthale & Josh Lewensohn Victor & Madeline Lindenheim Joanne Lindsay Leslie & Adam Lobel Alex Loewenthal Renee Lonner Mr. Eric Lund Loris & Kory Lunsford Anne L. Lynch Barbara Marcus Dean S. Marks Michael N. Marks Annette Marmalefsky Gina Martino Phyllis & Bert Massing 24 P L AY B I L L
Linda May Douglas Mcavoy, Jr. Kathleen McCarthy Kathy & Jim McCaffrey Sheri and Jim McCashin Derrick McCray Christina Medigovich Marcie & Steven Medof Cynthia Melville Robert Mercer & Carol Chanel Mercer Eileen & Paul Meshekow Sara & Henry Michrowski Lois Miller Lee & Ron Miller Judith & Jeff Milman Teddie J. Milner Thomas Mitchell Marvin & Jean Moore Dr. Brian Morrow Dennis Moss Bill Mullins Charlotte C. Myers Robert M. Nelson Sarah & Clifford Nelson Sherri & Arnie Nelson Paulette & Ron Nessim Mark & Diane Neubauer Dennis Nollette Adrienne & Arthur Omansky Dr. Ronald & Iris Onkin Martin Ordman Janie Orenstein Patricia Oâ€™Toole Sharon Oxborough Ron Ozur Cynthia & Todd Palm Sylvia & Robert Paris Edward Parker Lawrence Parker InSight Consulting Partners 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 Naveena Ponnusamy Zazi Pope Cheryl & Mel Posner Susan Poulson Eric Powers Patricia Price Jose Quinonez Dr. Stephen & Lani Rabin Marvin Rapaport Michael & Gloria Rausch Fred & Denise Reimer
Marianne Reynolds Amy Richards Linda & Erin Rice Linda & Steve Richman William & Polly Ridgeway Linda Rodriguez Barbara & David Rognlien Peter Romwall Robert Rosania Barry Rosen & Neil Bokal Donna Rosen Mary Ann Rosenfeld & Sheldon Kaddish Adrienne Rosenthal Brad Ross Lawrence Ross & Linda Nussbaum Cathy Ross Terry Ross Robert & Susan Rovner Dr. Diane & Michael Glazer In Honor of Eric Chown Sylvia Ruiz Rand Rusher Terry Ryan Anne Sacks Noriko Salamon Jay & Linda Sandrich Susan & Kenneth Sarno Maxine Savitz Linda & Cliff Schaffer Chris T. Schmidt Gary & Karen Schneider Joel & Sonia Schneider Stanley Schneider Myrna Schwam Dean Teri Schwartz Brandon Scott Marc Seltzer Annette & Leonard Shapiro Barbara Vickery & Martin Shapiro Melanie Sharp & Kevin Miller George Shohet Steven & Annabelle Shulman Seymour & Dorothy Siegel Randi & Rand Singer Leah Sklar Diane Good & Frank Smith Marcia L. & Mark J. Smith Ronald Smith Karen Smits Joan & Jerry Snyder Christine Sorgi Stephanie Sourapas
Melvin Spears Debra Spector Lois Spector Irina & Alex Stavchanskiy M Leslie Stearns Holly Strom Penny Strowger Mr. Kayser Sume & Dr. Renee Sabshin Frances & Sy Strasberg Miriam & Gene Summ Ann & Paul Sunderland Robin & David Swartz Lance & Maureen Tan Deborah Tavlin David & Cathy Thomas Natalie & Matthew Thompson Ann Thorvik Judy & Art Tompkins Brigitta Troy Dr. Gerald D. Turbow Dr. Harold Urman Erich Van Lowe Nancy & Anthony Vasek Valerie Vetters The Vig Family Bobette Vikan Carole Wagner-Vallianos & Peter Vallianos William Wallace Louise Wannier Barry Ward Elisa Wayne Seth Freeman & Julie Waxman Sherry Weinman & Michael Umansky Travis Webb Marsha & Steven Weiss Karen White Teresa White Janet Whitman Bruce Whizin Rae Jean Williams Susan Williams Karen & Gary Winnick George & Diane Wolfberg Albert Wolsky Dr. Joseph Wu Lisa Yen & Thomas Bajoras Kimberly & Andrew Zakanych Arnold & Tricia Zane David Zimmerman Laura Zucker & Alan Miller Sandy Zwirn
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To report a misspelling or omission in these listings, please contact the Development department at 310.208.6500 ext. 128
Gil Cates, Jr.
Jessica Brusilow Rollins Director of Education Partnerships & Donor Relations
Daniel Ionazzi Producer
Jamie Mikelich Director of Individual Giving
Amy Levinson Associate Artistic Director
Phyllis Schuringa Artistic Associate / Casting Director Young Ji Associate Producer / Company Manager Rachel Wiegardt-Egel Manager of New Play Development Toni France Artistic Intern Natalie Epstein Literary Intern
Liz Brohm Hanrahan Production Manager Jill Barnes Production Office Manager Evan Friedman Technical Director Patrick Squibb Assistant Technical Director Alex Norkus Gil Cates Theater Stage Supervisor Tyler Brogla Audrey Skirball Kenis Theater Stage Supervisor Rich Gilles Properties Master
Mark San Filippo Director of Donor Stewardship Christine Drew Benjamin Development Manager Austin Merrill Development Intern
Mel Yonzon Front of House Manager
Brian Allman Manager of Theater Education Celia Rivera Community Engagement Coordinator Brian Majestic Veterans Project Coordinator Darien Battle, Ramy El-Etreby, David Guerra, Robert Paterno, Carissa Pinckney, Tara Ricasa, Celia Rivera, Jessica Winward Teaching Artists
MARKETING & COMMUNICATIONS Patrick Brown Director of Marketing
Karen Gutierrez Director of Advertising & Audience Development Brian Dunning Director of Content & Creative
Liz Rose Wardrobe Supervisor
Zack Hamra Associate Director of Audience Services & Ticketing
Kevin O’Brien Marketing Manager
Peter Banachowski Senior Accountant & Financial Analyst Nova George Staff Accountant & Payroll Specialist Clay Dzygun Office Coordinator Marguerite Harris Receptionist
Regina Miller Chief Development Officer Ellen Catania Senior Vice President of Development
Sue Fleishman Communications Consultant
Joannarae Ibañez Manager of School & Community Programs
Jake Delgado Associate House Sound Supervisor
Behnaz Ataee Chief Financial Officer
Clifton Adams, Kelsey Arlington, Vaneh Assadourian, Rebecca Connolly, Jamie Dawson, Sarah Handler, Lexy McAvinchey, Sam Peurach, Jonathan Ramos, Cameron Reck, Bryn Woznicki Box Office Staff
FRONT OF HOUSE
Zenon Dmytryk Director of Communications
Brandon Paul Production Electrician
Celia Rivera Assistant Box Office Manager
Jennifer Zakkai Director of Education & Community Engagement
James Grabowski House Sound Supervisor
Ramine Ameli Lighting & Projection Supervisor
Alyssa Tyson Box Office Manager
Georgia Arnold Social Media & Communications Associate
Jeni Pearsons Director of Special Events
Amy Farkas Lead Concierge Anya Pryjmak, Madison Shamoun House Managers Katherine Banos, Ryan Brophy, Jada Harris, Elza Hofeld, Lucy Houlihan, Otniel Henig, Fiona Leahy, Hunter Lowden, Olivia Lowe, Robert Mahaffie, Austin Merrill, Sidne Phillips, Brandon Root, Remy Soloman, 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, Ryan Turner Bartenders /Event Staff
Karim Bouzzit System Administrator
FACILITIES MANAGEMENT Miguel del Castillo Facility Manager
Ramon Garcia Video Producer
Mario Santillan-Perez Custodial
Wendell Pascual Production Artist
Juan Carlos Umaña Cleaning Custodial
Janice Bernal Box Office Manager
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
Playbill for the West Coast Premiere of Skintight at Geffen Playhouse