REAL ESTATE IN LA IS A FARCE
EAST (LA) MEETS WEST (LA) IN A WORLD PREMIERE PLAY THAT’S RIDICULOUSLY FUNNY
Building a play is like renovating your home. At first it’s all mood boards and optimism, and by week two you’re covered in metaphorical drywall dust, questioning your life choices, and discovering a “small issue” that somehow requires tearing everything down to the studs. Fortunately for us, we’re building Closing Costs from the ground up alongside IAMA Theatre Company, one of Los Angeles’ most vital incubators of new work. Known for developing bold, actor-driven stories and championing emerging voices, IAMA operates with a deep commitment to artistic risk-taking and community. Their productions often begin in intimate spaces, shaped by close collaboration between playwrights, directors, and performers; a process that makes them an ideal partner in bringing new plays to the stage.
Long-time collaborators, playwright Grace McLeod and director Hannah Wolf, began developing Closing Costs while
Grace was in IAMA Theater Company’s Emerging Playwrights Lab. The original draft was written in the Lab and upon its first staged reading, Hannah knew the Geffen was the right home for the future of this seismic new play.
“This play satirizes LA’s outrageous housing market, but it’s also my love letter to this city, and specifically to my neighborhood Atwater Village,” said McLeod. “As a born and bred New Yorker, I often get asked why I chose to live here. And between the cost of living, the natural disasters, and the state of the industry, it’s not an insane question to ask. But the honest answer is that I wouldn’t live anywhere else. My heart belongs to LA, and I can’t wait to bring Atwater to Westwood this season!”
The team at the Geffen fell for McLeod’s writing: its wit, its warmth, and its unmistakable sense of place. Artistic Director Tarell Alvin McCraney was particularly struck
by the play’s voice, calling it one of the most distinctly “LA” plays the theater had ever encountered—pretentiously unpretentious, hopeful, a little bit chaotic, and full of big dreams just waiting to be staged.
Soon, the question on the table wasn’t if this play should happen, but how. What if we built it together? The answer was a resounding, delighted yes.
Over the next six months, Closing Costs will enter an exciting period of development, with Geffen Playhouse and IAMA Theatre Company rolling up their sleeves to guide this hilarious new farce through readings, rewrites, and roomfuls of lively collaboration.
Like any good foundation, much of this work happens out of sight. But it’s what makes everything that follows not only possible, but solid, surprising, and worth well above asking price.
Showings for the the world premiere of Closing Costs begin March 31, 2027.
L-R: Director Hannah Wolf and Playwright Grace McLeod on Glendale Blvd. in the neighborhood that inspired Closing Costs. Photo by Isaak Berliner.
ANGRY, RAUCOUS, SHAMELESSLY GORGEOUS
LOS ANGELES PREMIERE
JUNE 10 – JULY 12, 2026
GIL CATES THEATER
Written by Pearl Cleage
Directed by LaTanya Richardson Jackson
Produced in Association with Black Rebirth Collective Featuring Denise Burse, Olivia Washington, Deborah Joy Winans & Charlayne Woodard
This production is made possible, in part, by support from Cast Iron Entertainment and the David Lee Foundation.
MEET PLAYWRIGHT PEARL CLEAGE
Playwright Pearl Cleage is a vital and enduring voice in American theater, celebrated for works that center Black women’s lives with honesty, humor, and unapologetic clarity. A writer of remarkable range, Cleage has built a career that spans plays, novels, essays, and journalism, all grounded in a deep commitment to storytelling that is both personal and political.
She is perhaps best known in theater for works such as Blues for an Alabama Sky and Flyin’ West, which have become staples
of the American stage. Her writing blends lyrical language with sharp social insight, exploring themes of love, resilience, activism, and community. Cleage’s characters are richly drawn and fiercely intelligent, inviting audiences to engage with complex histories and contemporary realities alike.
Cleage’s artistic voice is deeply rooted in activism and community engagement, reflecting her lifelong commitment to social justice. Her work often illuminates the intersections of race, gender, and politics, shaped in part by her experiences
Photo by Corey Olsen.
WASHINGTON as Precious “Pete” Watson
JOY WINANS as Kate Hughes
BIG ROLES , BIGGER LAUGHS , AND ZERO APOLOGIES
In Angry, Raucous, and Shamelessly Gorgeous, legendary (and gloriously opinionated) performance artist Anna Campbell storms back to the U.S. after decades in Europe, fully expecting a triumphant, spotlight-stealing return. Accompanied by her sharp-witted manager and best friend Betty, Anna arrives in Atlanta ready to once again bare it all—literally—in her infamous protest piece Naked Wilson, a bold feminist takedown of August Wilson. There’s just one small problem: she’s not actually performing.
Instead, Anna is being “honored” (her least favorite word), while a young, unapologetically modern artist named Pete has been cast to perform Naked Wilson in her place. What follows is a deliciously messy collision of egos, generations, and artistic philosophies. Anna spirals. Betty
within the Civil Rights and Black Arts movements. Through both her plays and prose, she challenges audiences to confront inequities while celebrating the strength and complexity of Black life, making her storytelling not only compelling but culturally essential.
Based in Atlanta, Cleage has long been an influential figure in both the arts and the broader cultural landscape. With a voice that is unmistakably her own, Pearl Cleage remains a defining force in contemporary American storytelling.
strategizes. Kate panics. And Pete? Pete is not intimidated in the slightest.
When Anna and Pete finally face off, sparks fly. Anna clings to the idea of artistic legacy and authority, while Pete gleefully pokes holes in it; questioning whether Anna’s groundbreaking piece actually centered women the way it intended. Their showdown is equal parts intellectual debate and verbal smackdown, with plenty of laughs (and a few existential crises) along the way.
As if things weren’t chaotic enough, Pete’s bold reinterpretation of the piece starts gaining buzz… fast. Suddenly, Anna isn’t just fighting for a performance; she’s fighting for relevance in a world that may have already moved on without her.
At Geffen Playhouse, that energy comes to life through an extraordinary ensemble cast. Denise Burse brings magnetic warmth,
commanding wit, and emotional depth to the production. Olivia Washington delivers a vibrant, contemporary spark, balancing humor with striking emotional intelligence. Deborah Joy Winans infuses the stage with soulful resonance and expressive depth, moving effortlessly between comedy and heartfelt vulnerability. And Charlayne Woodard brings her signature brilliance, humor, and lyrical clarity to every moment she inhabits.
Smart, biting, and full of heart, the play is a wildly entertaining exploration of aging, ambition, artistic ownership, and what happens when the next generation grabs the mic and refuses to give it back.
Angry, Raucous, and Shamelessly Gorgeous will make its Los Angeles premiere this June. Tickets available at geffenplayhouse.org.
KIMBERLY HÉBERT GREGORY
IN MEMORIAM
Black Rebirth Collective founder Kimberly Hébert Gregory was the visionary who first championed this play’s journey to Geffen Playhouse, recognizing in it a story that demanded to be heard in Los Angeles. Her passion, artistry, and unwavering commitment to uplifting bold Black voices were the driving force behind bringing this work into the Geffen’s orbit. Her untimely passing was a profound loss—one that is deeply felt by all who had the privilege of working alongside her and witnessing her brilliance.
In her absence, Black Rebirth Collective’s wonderfully talented members— Kelly Jenrette , Danielle Pinnock , and Karen Gutierrez —led by the incomparable Tamela Aldridge , have stepped forward to carry Kimberly’s vision forward. With grace, power and purpose, they have taken up the torch, ensuring that this play not only reaches Los Angeles audiences, but does so with the same fire and intention that Kimberly so fiercely believed in.
DENISE BURSE as Betty Samson
OLIVIA
DEBORAH
CHARLAYNE WOODARD as Anna Campbell
TONY AWARD–WINNING PURPOSE ARRIVES
IN LA THIS FALL
Following a knockout Broadway run, Purpose didn’t just make noise—it made history. The play took home the 2025 Pulitzer Prize for Drama, officially crowning Branden Jacobs-Jenkins as one of the boldest, most essential voices shaping American theater right now. And the accolades didn’t stop there: at the 2025 Tony Awards, Purpose walked away with Best Play and Best Featured Actress in a Play for the unstoppable Kara Young. Blending razor-sharp wit, layered family dynamics, and that kind of humor that knows exactly when to laugh and when to cut deep, Purpose is a play that feels as good as it stings (in the best way). It’s smart, it’s messy, and it’s unmistakably alive. Now, Los Angeles, it’s our turn. Purpose makes its debut this fall at the Geffen Playhouse, reuniting the original Broadway cast under the masterful direction of Phylicia Rashad. Performances begin November 11.
CALLING THE SHOTS
Four veteran NYC directors will shape Geffen Playhouse’s 2026/2027 Season, each bringing a distinct voice and dynamic perspective to our stages. Phylicia Rashad ( Purpose ) returns with her signature elegance and emotional depth. LaChanze ( Wine in the Wilderness ), celebrated for her powerhouse presence on stage and off, continues to champion bold, resonant storytelling. Whitney White ( Liberation , Tony Award nomination) brings her innovative, genre-blending approach to directing, pushing the boundaries of theatrical form. Awoye Timpo ( The Monsters ), known for her incisive and imaginative work, rounds out this remarkable group.
In addition to LA-based director Hannah Wolf (Closing Costs), these five artists represent the breadth, brilliance, and future-forward vision of American theater, guiding a season filled with creativity, curiosity, and unforgettable stories.
For more info on the 2026/2027 Season, visit geffenplayhouse.org
L-R: Whitney White, Phylicia Rashad, LaChanze, and Awoye Timpo. Photo by Corey Olsen.
L-R: Jon Michael Hill, Kara Young, and Harry Lennix in the Broadway production of Purpose. Photo by Marc J. Franklin.
by Corey Olsen.
L N LIB ONON
LIBERATION WINS PULITZER PRIZE & 5 TONY AWARD NOMINATIONS!
WEST COAST PREMIERE COMING TO LA
Fresh off its Broadway triumph, Liberation has been awarded the 2026 Pulitzer Prize for Drama and nominated for 5 Tony Awards, including Best Play (Bess Wohl), Best Performance by an Actress in a Leading Role (Susannah Flood), Best Performance by an Actress in a Featured Role (Betsy Aidem), Best Costume Design (Qween Jean), and Best Direction (Whitney White). This critically acclaimed new play has captivated audiences with its wit, heart, and striking originality, quickly becoming one of the most celebrated works of the season.
We extend our heartfelt congratulations to Roundabout Theatre Company, playwright Bess Wohl, director Whitney White, and the entire cast and creative team behind the Broadway production for this remarkable achievement.
Top Left–Clockwise: Audrey Corsa, Irene Sofia Lucio, Adina Verson, and Kristolyn Lloyd in the Broadway production of Liberation
Photo by Little Fang.
MEET PLAYWRIGHT BESS WOHL
Playwright Bess Wohl is one of today’s most compelling theatrical voices, known for her sharp wit, emotional insight, and inventive storytelling. A Tony Award nominee, she has captivated audiences with acclaimed works like Grand Horizons and Small Mouth Sounds, which explore human connection, ambition, and the complexities of modern life. Blending humor with surprising theatricality, Wohl creates stories that linger long after the curtain falls. We’re thrilled to welcome Bess back following the Geffen’s 2016 production of her play Barcelona. Liberation will make its West Coast premiere at Geffen Playhouse on January 27, 2027.
Photos
FROM BLUEPRINT TO BRAVO: MEET MELISSA HARTMAN
THOSE INCREDIBLE SETS? THANK OUR TECHNICAL DIRECTOR.
When audiences step into Geffen Playhouse and are transported into another world, they’re experiencing the extraordinary work of Technical Director Melissa Hartman . Her path to the stage began early—at just 15, in a high school technical theater class where she built and painted sets, learned to weld, and worked backstage on productions filled with scenic shifts and flying elements. That hands-on introduction sparked a lasting passion, one that continued through college and ultimately shaped her career in production.
Hartman has been a cornerstone of Geffen Playhouse productions since 2018, helping to shape the visual storytelling that defines each show. After studying Theatre Design at UC Santa Barbara and discovering a deep love for the physical craft of theater—particularly carpentry and rigging—she moved to Los Angeles and began working professionally, building and loading in shows across the city before finding a creative home at the Geffen.
In her role, she works closely with scenic designers to transform the unique dimensions of the Geffen Playhouse stage into stunning and immersive sets. Every production presents a new challenge: how to take a designer’s vision and make it structurally sound, functional for performance, and seamless within the theater’s space.
“It’s like solving a giant, threedimensional puzzle,” Hartman says. “You’re balancing creativity with physics, storytelling with logistics. The goal is always to support the story in a way that feels effortless to the audience, even though there’s a lot happening behind the scenes.”
A key part of Hartman’s process happens far beyond Los Angeles. She frequently travels to Calgary, Canada, where many of the Geffen’s sets are constructed. There, she works closely with build shops to ensure every detail meets the theater’s exacting standards and that each piece will fit perfectly once it arrives in Los Angeles. “By the time a set gets
here, there’s no guesswork,” she explains. “We’ve already walked through every inch of it. My job is to make sure it arrives ready to do what it needs to do.”
Once the set is delivered, Hartman oversees a crew of skilled technicians— often numbering more than a dozen— who assemble these highly customized environments in an impressively short timeframe. In just one week, a full set is installed, tested, and prepared for the beginning of the technical rehearsal process.
“It’s a fast turnaround with infinite possibilities for disaster,” Hartman says. “I hold my breath until that first scene change goes off without a hitch. But watching all the theatrical elements come together by the end of tech—scenery, lights, sound—is always a thrill and why I love this job.”
Through her leadership and craftsmanship, Melissa Hartman ensures that every Geffen Playhouse production begins with a strong foundation; one that quite literally builds the world audiences come to experience.
Melissa Hartman photo by Isaak Berliner. Above L-R: Angela Lewis, Kimberly Scott, Amber Chardae Robinson, and Brandee Evans in the 2024 production of Black Cypress Bayou. Scenic Design by Lawrence E. Moten III. Photo by Erik Carter.
THE MONSTERS NOMINATED FOR A DRAMA LEAGUE AWARD
Playwright and actor Ngozi Anyanwu has earned a new milestone with her powerful play The Monsters being nominated for a Drama League Award, presented by Two River Theater in conjunction with Manhattan Theatre Club this past winter.
Anyanwu is an acclaimed playwright, actor, and storyteller whose work often explores identity, family, memory, and the complexities of human connection. A graduate of the New York University Tisch School of the Arts, she has been widely celebrated for her ability to create intimate, poetic worlds that feel both deeply personal and universally resonant.
The Monsters continues that trajectory, weaving a haunting and heartfelt exploration of childhood, imagination, and the enduring impact of the past. With its lyrical structure and emotional intensity, the work invites audiences into a world where memory and myth collide.
WELCOME TO THE BOARD, DEAN SHIMIZU
Geffen Playhouse is proud to welcome Celine Parreñas Shimizu, Dean and Distinguished Professor of the UCLA School of Theater, Film & Television, to its Board of Directors. A leading scholar, artist, and advocate for inclusive storytelling, Shimizu brings a powerful vision shaped by her interdisciplinary work in performance studies, race and representation, and contemporary media.
Shimizu’s appointment further strengthens the longstanding relationship between Geffen Playhouse and UCLA School of Theater, Film and Television, one of the nation’s premier training grounds for theater artists, filmmakers, and scholars. That connection has long served as a bridge between academic inquiry and professional practice, with many UCLA students, alumni, and faculty contributing to Geffen’s productions both onstage and behind the scenes.
As Dean, Shimizu has championed innovation, equity, and collaboration across disciplines, values that closely align with Geffen Playhouse’s mission to develop and present bold, contemporary theater. We are thrilled to celebrate this new chapter in an already vibrant partnership between Geffen Playhouse and UCLA, and to welcome Dean Shimizu to the Board of Directors.
We extend our heartfelt congratulations to Ngozi Anyanwu on this well-deserved Drama League Award nomination for The Monsters, a testament to her extraordinary vision and artistry. The Monsters will make its Los Angeles premiere in the Audrey Skirball Kenis Theater on March 3, 2027.
Playwright & Actor Ngozi Anyanwu. Photo by Corey Olsen.
L-R: UCLA TFT Dean Celine Parreñas Shimizu with MacArthur Fellow and NYU professor Nicole R. Fleetwood at opening night of “Master Harold”...and the Boys . Photo by Jordan Strauss.
