The Hope Theory Program

WELCOME TO

ARTISTIC DIRECTOR

PHOTO BY JEFF LORCH

TARELL ALVIN MCCRANEY

Hello, I am Tarell Alvin McCraney, your Artistic Director. It is my honor to welcome you to the world premiere of magician Helder Guimarães’ The Hope Theory. This compelling sleight of hand immigration story is exactly the kind of intimate and unique storytelling I’ve come to cherish at the Geffen. And it is my honor to invite you to witness more.

Our 2024/2025 Season in the Gil Cates Theater begins with Dragon Lady (Part I of The Dragon Cycle) from a multi-hyphenate Broadway star Sara Porkalob. Next, we’ll reimagine classic works by inviting Judy Hegarty Lovett to direct Waiting for Godot starring Conor Lovett and Rainn Wilson; and by partnering with Steppenwolf Theater Company for a co-production of Michael Frayn’s Noises Off. In addition, we’ll introduce two powerful early-career artists to our audiences with a.k. payne’s Furlough’s Paradise, and, in association with Denver Center for the Performing Arts and Alliance Theatre, Jake Brasch’s The Reservoir.

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Here in the Audrey Skirball Kenis Theater, my play The Brothers Size will open the doors to our new works lab. The play—written 20 years ago—is based on West African/Caribbean folklore. The practice of taking classic stories and introducing them as live events is the primary focus of our new lab. And in partnership with our neighbors and colleagues at UCLA, we will be inviting trailblazing artists and risk-taking audiences into the Audrey with behind-the-scenes development and public programming all season long.

Special plans for our intimate space in the months to come, but for now please enjoy the magic of The Hope Theory.

Tarell Alvin McCraney Artistic Director

HERE FOR EVERY STAGE OF THE JOURNEY. City National® proudly supports

GEFFEN PLAYHOUSE.

Let’s connect at cnb.com City National Bank Member FDIC. City National Bank is a subsidiary of Royal Bank of Canada. ©2024 City National Bank. All Rights Reserved.

2178315-04

EXECUTIVE DIRECTOR / CEO

GIL CATES, JR.

BOARD OF DIRECTORS Adi Greenberg CHAIR

Dr. Gene D. Block

PHOTO BY JEFF LORCH

Gil Cates, Jr. Executive Director / CEO

In early 2020, Helder Guimarães came to us at the Geffen with an idea. He was seeking a way to bring

Merle Dandridge

David Geffen

Lauren Shuler Donner

Herbert M. Gelfand Chair Emeritus

Dr. Brad Edgerton

Quincy Jones

Bonnie E. Eskenazi

Jeffrey Katzenberg

Mark Fleischer

Glorya Kaufman

Susan Nahley Fleishman

and groundbreaking way: all online. His idea would

Patricia L. Glaser

launch the Geffen Stayhouse, an entire season of

Eric Heer

That spirit of trailblazing defines so much of what we do. As we continue to forge ahead in this forev-

Kirsten Combs Robert A. Daly

Brenda Garcia

before.

Harold A. Brown

Mary Ann Cloyd Vice Chair

people together to experience live theater in a new

live, virtual programming unlike anything we’d done

FOUNDING TRUSTEES

Carla Malden Brian Mann Tiffany Mayberry

Frank G. Mancuso Chair Emeritus Ron Meyer Bruce M. Ramer Founding Chair Victoria Mann Simms Andy Spahn Steven Spielberg

back home, in person, to the Audrey Skirball Kenis

Tarell Alvin McCraney Artistic Director

Theater, along with his incredible director Frank

Mary Osako

IN MEMORIAM

Danny Passman

Gilbert Cates Founder

er-changed time, it feels fitting to welcome Helder

Marshall. Together they continue redefining all that theater can be, including spearheading our first ever Spanish language performances, a project we have

Holly Rice

embraced with great excitement. The innovation

Linda Bernstein Rubin

employed both here and during Stayhouse feels befitting of Tarell’s inaugural season as he reimag-

Matt Shakman

ines the Audrey as a lab for exciting discovery and

Richard Sherman

experimentation.

All this and more is only possible thanks to our vibrant

Cynthia P. Stafford

Steve Tisch

Marcia Israel-Curley Audrey Skirball Kenis Charles Kenis Karl Malden Ginny Mancini

community of supporters. Whether this is your first

Howard Tenenbaum Chair Emeritus

or your five-hundredth visit to Geffen Playhouse, we

Miranda Tollman

Jerry Perenchio

JaHan Wang

Edie Wasserman

Marc Weinstock

Lew Wasserman

are so glad you are here. I invite you to explore all our theater has to offer, new and old, reinvigorated and reinvented. We have a lot to look forward to!

Thank you for joining us on this incredible ride.

Enjoy the show!

Gil Cates, Jr. Executive Director / CEO 4 P L AY B I L L

Jerry Moss

Dr. Charles E. Young

LEGAL COUNSEL Nikki Kerman Venable LLP

THE GEFFEN PLAYHOUSE PRODUCTION OF

THE HOPE THEORY WRITTEN & PERFORMED BY

HELDER GUIMARÃES DIRECTED BY

FRANK MARSHALL SCENIC DESIGNER

COSTUME DESIGN CONSULTANT

FRANÇOIS-PIERRE COUTURE LIGHTING DESIGNER

AUDREY LASTAR

SOUND DESIGNER

MARTHA CARTER

COMPOSER

JAMES GRABOWSKI

DRAMATURG

JEFF BEAL SPANISH TRANSLATOR

AMY LEVINSON

JOSE NATERAS

PRODUCTION STAGE MANAGER (THRU 6/30)

PRODUCTION STAGE MANAGER (AFTER 6/30) & STAGE MANAGER, SPANISH LANGUAGE PERFORMANCES

GABRIELLE J. BRUNO

ILIANA SOLORZANO

The Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

OPENING NIGHT

THURSDAY, MAY 2, 2024 PRODUCTION SPONSOR

OPENING NIGHT SPONSOR

RUNNING TIME

80 minutes. There will be no intermission.

PLEASE NOTE

There is no photography or filming of any kind allowed during the performance.

Please turn off all electronic devices, including cell phones. Thank you!

Major support for this world premiere production provided by the Edgerton Foundation New Play Production Fund.

G E F F E N P L AY H O U S E 5

ACKNOWLEDGEMENTS PRODUCTION STAFF FOR THE HOPE THEORY Assistant Scenic Designer Yi Lin Zhao

Sound Board Operator Guillermo Cervera

Dresser Stephanie Castro

Production Assistant Dani Jaramillo

Properties Artisans & Carpenters Sigourney Chin, Danny Dolan, Bryan Pognant

Stitcher Sarah Lindsley

Lead Scenic Carpenter Philip Rossi

Lighting Programmer Nicole Jaja

Carpenters Chris Bowe, Oliver Brink, Ezra Fisher, David Foubert, Mason Irwin, Shadow LaValley, Chris Martoccia, Greg Mueller, Syd Shoell, Eiden Weissblum

Light Board Operator Jesus Cambero Elias

Scenic Painters Vanessa Lara, Chandish Nester

Stage Supervisor Greg Mueller

Electricians Erica Ammerman, Shannon Barondeau, Ezra Fisher, Justin Kelley-Cahill, Ezra Muthiah, Christiana Saldibar, James Tatsch Sound Technician Guillermo Cervera

PRODUCTION ACKNOWLEDGEMENTS Scenery Built & Painted By Centerline Scenery

Spanish Translation Services R. Aleida Montejo

Design + Art Direction Base Design

Lighting Equipment Provided By Kinetic Lighting

Production Photographer Jeff Lorch

Photography Justin Bettman

Sound Equipment Provided By Jon Sound Inc., DnB Design, Launch

Media Filming Ramon Garcia

HELDER GUIMARÃES WOULD LIKE TO THANK: José Guimarães, Fátima Guimarães, Catarina Marques, Gabriel Marques Guimarães, Dan & Dave Buck, Bruce & Madeline Ramer

SPECIAL THANKS UCLA School of Theater, Film, and Television Scene, Prop, Sound, and Costume Shops; Diana Medina

This theater operates under agreement between the League of Resident Theaters and Actors Equity Association, the union of professional actors and stage managers in the United States.

The Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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This theater operates under agreement between the League of Resident Theaters and Stage Directors and Choreographers Society, an independent national labor union.

The Director is a Member of the Stage Directors and Choreographers Society, a national theatrical labor union.

The scenic, costume, lighting, and sound designers in LORT theaters are represented by United Scenic Artists Local USA-829, IATSE.

Geffen Playhouse is supported, in part, by the Los Angeles County Board of Supervisors through the 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.

PRODUCTION BIOGRAPHIES enment.” In 2020, during the

documentaries, including the

pandemic, Guimarães sold out

award-winning HBO docu-

a 250+ performance run of The

mentary, The Bee Gees: How

Present over six months as part

Can You Mend a Broken Heart.

of the Geffen Stayhouse banner.

An amateur magician since he

About it, The Washington Post

was ten, The Hope Theory is

said: “I’m committed now to

his fourth collaboration with

the belief that Guimarães is an

Helder Guimarães. His current

extraterrestrial landed among

projects include directing The

A Portuguese-born performer

us to share his superpower to

Beach Boys, a documentary for

recognized by The New York

boggle the human mind. And

Disney+, and producing the new

Times as “a master of illu-

because in an era of rampant

Broadway musical, Water for

sions,” Helder Guimarães is

transparency, a bit of theatrical

Elephants, and the upcoming

a World-Champion of Magic,

mystery restores one’s faith in

summer movie, Twisters.

Parlor Magician of the Year,

the essential art of exuberant

Allan Slaight Sharing Wonder

deception.” In 2022, he created

recipient, and Ascanio Prize

Back to Wonder, an immersive

FRANÇOIS-PIERRE C O U T U R E (he/him) Scenic Designer

winner. His unique approach

experience that ran for five sold-

Originally from Montreal,

to sleight-of-hand magic and

out months. Guimarães resides

François-Pierre Couture has had

storytelling was featured in

in Los Angeles.

the privilege of working in Los

HELDER GUIMARÃES (he/him) Playwright & Performer

his previous creations Nothing

Angeles and the United States

to Hide, Borrowed Time, and

for the last decade as a scenic,

Verso. Using his knowledge of

lighting, and projection designer

deception, Guimarães regularly

and is currently design faculty

consults for entities like NBC,

at East Los Angeles College.

Disney, and Warner. As an

His previous work at the Geffen

example, he personally trained

Playhouse includes A Picasso,

Sandra Bullock and Cate

Invisible Tango, The Present, and

Blanchett for Ocean’s 8. In 2019,

FRANK MARSHALL Director

Guimarães debuted Invisible

Frank Marshall is a director/

sional design credits also in-

Tango, directed by Frank Mar-

producer and has received

clude scenery for Sweeney Todd

shall, at the Geffen Playhouse.

an Emmy, Grammy, Oscar,

and Metamorphoses (A Noise

In their review of the produc-

and Tony (EGOT). With a film

Within); scenery and lighting

tion, the Los Angeles Times

producing career marked by

for Romeo & Juliet (LA Dance

said, “As a rule, Guimarães is in

five Academy Award nomi-

Project); scenery for Jackie Un-

no rush to clear up mysteries.

nations and classic series like

veiled (The Wallis); scenery for

He cultivates them the way a

Indiana Jones, Jason Bourne,

A Mexican Trilogy: An American

horticulturalist cultivates flow-

and Jurassic World, Marshall is

History (Los Angeles Theatre

ering vines. But he isn’t out to

also an accomplished director,

Center); scenery for Médée and

deceive. Or rather deception is

having helmed Arachnophobia,

Teseo (Chicago Opera Theatre).

put in the service of enlight-

Alive, Eight Below, and several

He has received multiple Ova-

The Future. Some of his profes-

G E F F E N P L AY H O U S E 7

PRODUCTION BIOGRAPHIES tion, LADCC, LA Weekly awards

University, Long Beach. She

as the educational High School

and nominations, and the Hilton

extends her creative reach na-

Partnership Program and Vet-

Worldwide Award for outstand-

tionally and internationally, with

eran’s Writing and Performance

ing Scenic Design at KCACTF

her portfolio spanning diverse

Workshop programs. James is

2014. For more information

performances—opera, dance,

proud to have been involved with

www.fpcouture.com.

theater, and live events—foster-

every concert and every stage

ing positive community impact

and Stayhouse production the

through collaborative ventures.

Geffen has mounted for the past

Notably, Martha assumes prin-

24 years. He is honored to have

cipal design roles with Re:borN

worked with world-class design-

Dance Interactive and Kairos

ers, directors, actors, stagehands,

Dance Company, alongside reg-

technicians, singers, musicians,

ular collaborations with the Long

and magicians—as well as the

Beach Ballet. Recent highlights

Geffen’s amazing staff. He is

include premieres at prestigious

appreciative for such a gratifying

venues like The Public Theatre’s

career, but is most thankful for

Under the Radar Festival and

you, our patrons, for supporting

the Edinburgh Festival Fringe.

this incredible theater.

AU D R E Y L AS TA R Costume Design Consultant

Audrey Lastar, a costume creative, hails from San Diego and is currently head of costumes at the Geffen Playhouse. She has been a member of the Geffen for six years and has worked on several shows including Mindplay, Mysterious Circumstances, and Skintight, to name a few. Previously she was head of wardrobe for national tours including Cabaret and Finding Neverland. Other credits around the country include time at Arizona Broadway Theater (AZ), Arizona Theatre Company (AZ), Atlas Performing Arts Center (DC), Adventure Theatre MTC (MD), Imagination Stage (MD), and many others. She is thrilled to be part of this team and is thankful for her crew and her dog Lady for all her love and support.

Other recent works include She Loves Me, Candide, and A Little Night Music at Madison Opera; Cindy & the Disco Ball at Garry Marshall Theatre; Voyager One at Perseverance Theatre; and Mamma Mia! at Teatro Anayansi in Panama City, Panama. www.marthacarterdesigns.com JA M E S G R A B OWS K I (he/him) Sound Designer

James Grabowski is thrilled to be Sound Designer for The Hope Theory. He joined the Geffen

M A R T H A CA R T E R (she/her) Lighting Designer

family in 1999 as the House

Martha, a Los Angeles-based

with the Geffen—not only for the

lighting designer, obtained her

Geffen’s artistic dedication to

M.F.A. in Design from the Uni-

creating and producing original

versity of California at Irvine and

works, but also for the many

is the Head of Design and Assis-

community outreach programs

tant Professor at California State

supported by the theater, such

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Sound Supervisor. He fell in love

JEFF BEAL Composer

Five-time Emmy–winner Jeff Beal’s improvisatory method, sense of timing, and sophistication have made him a favorite of directors including Ed Harris (Pollock and Appaloosa), David Fincher (House of Cards), and Oliver Stone (JFK Revisited: Through the Looking Glass, The Putin Interviews). He most recently collaborated with director Frank Marshall on the documentary Rather and dramatic scores for HBO’s Rome, Carnivàle, The Newsroom, USA’s Monk, Netflix’s House of Cards, Apple TV+’s Raymond & Ray have shown him to be one of the most distinctive and recognizable composers working today. In addition to his distinguished scoring career,

PRODUCTION BIOGRAPHIES Beal is a prolific composer of

Future. She holds an M.F.A. in

Geffen credits include Produc-

concert music. Recent com-

Dramaturgy from the University

tion Stage Manager for Black

missioned works include “The

of Massachusetts, Amherst.

Cypress Bayou, Assistant Stage Manager for Ava: The Secret

Paper Lined Shack” for Leonard Slatkin, the St. Louis Symphony Orchestra and soprano Hila Plitmann, “Sunrise” (a contemporary score for F.W. Munrau’s silent film) for the Los Angeles Master Chorale, and a new concerto composed for violinist Kelly Hall-Tompkins premiered by St. Louis Symphony conducted by Leonard Slatkin.

J O S E N AT E R AS (he/him) Spanish Translator

Jose Nateras is an LA based actor, writer, and filmmaker from Chicago. A graduate of Loyola University Chicago, Jose has his M.F.A. in Writing from the School of the Art Institute of Chicago (SAIC), and is currently a Ph.D. student in Theater and Performance Studies at UCLA.

A M Y L E V I N S O N (she/her) Dramaturg

A screenwriter, playwright, and

During her tenure at the

novel Testament was published

Geffen, Amy has spearheaded

by NineStar Press. One of his

numerous programs for com-

feature-length screenplays, Zero

missioning and developing new

Feet Away, was included on

plays and has shepherded more

2021’s BloodList and is in devel-

than 150 plays into production.

opment with Village Roadshow

Dramaturgy credits include

Pictures/Brillstein Entertain-

the commissions and world

ment Partners while another,

premieres of Donald Margulies’

Departing Seniors, made its

Time Stands Still and Coney

world premiere at Frightfest UK

Island Christmas, Jane Ander-

before premiering domestically

son’s The Quality of Life and The

at the Chicago International

Escort, Amanda Peet’s Our Very

Film Festival and is now avail-

Own Carlin McCullough, and

able via VOD. He can be found

Michael Mitnick’s Mysterious

on Instagram: @JLorca13

freelance journalist, Jose’s debut

Circumstances. Other world premieres include Black Cypress Bayou, Revenge Song, Actually, Invisible Tango, Extraordinary

G A B R I E L L E J. B R U N O (she/her) Production Stage Manager (Thru 6/30)

Chambers, Black Super Hero

Gabrielle J. Bruno is so very

Magic Mama, Build, Joan Rivers:

excited to be working with Hel-

A Work in Progress by a Life in

der and all the amazing artists

Progress, and Geffen Stayhouse

of The Hope Theory! A proud

virtual shows including Helder

graduate of California State

Guimarães’ The Present and The

University, Northridge. Previous

Conversations, and Production Assistant for Mindplay. Additional stage management credits: A Raisin in the Sun at South Coast Repertory; Rosencrantz and Guildenstern Are Dead, A Raisin in the Sun, Mrs. Warren’s Profession, A Christmas Carol, and Man of La Mancha at A Noise Within; Native Gardens at Coachella Valley Repertory; Seven Loves at the Getty Villa; the 2023 Cycle of Poverty reading series presented by Lower Depth Theatre. Additional theatre experience as the Production Manager of the Griffith Park Free Shakespeare Festival from 2021-2023 presented by Independent Shakespeare Co. When she is not stage managing, she is the Stage Supervisor of the Audrey Skirball Kenis Theater at the Geffen Playhouse.

ILIANA SOLORZANO (she/her) Production Stage Manager (After 6/30) & Stage Manager, Spanish Language Performances

Iliana is incredibly excited to work with the Geffen Playhouse for the first time. After graduating from California State University, Fullerton, she has stage managed for various theatres such as Latino Theatre Co., South Coast Repertory, and The Wayward Artist. Her current endeavors lie

G E F F E N P L AY H O U S E 9

PRODUCTION BIOGRAPHIES in theatre education, where she

Miami, a graduate of New World

include the award-winning

runs the middle school theatre

School of the Arts, The Theatre

Names (Matrix Theatre Compa-

program for her school district.

School at DePaul University,

ny) and Three Sisters and David

She is thrilled to be teaching

and the David Geffen School

Mamet’s A Life in the Theatre

and inspiring the next genera-

of Drama at Yale. He received

(both at Syracuse Stage). Cates’

tion of theatre artists while also

an honorary doctorate from the

film credits include The Surface

continuing to further her own

University of Warwick. He was

(starring Sean Astin and Geffen

personal professional growth.

recently Co-Chair of Playwriting

Playhouse alumnus Chris

at the David Geffen School of

Mulkey), Jobs (starring Ashton

Drama, where he remains on

Kutcher, Josh Gad, Dermot

faculty. He is an associate at the

Mulroney, as well as Geffen

Royal Shakespeare Company,

Playhouse alumni Matthew

London, and a member of the

Modine and Ron Eldard) and

Academy of Motion Picture Arts

the 2011 feature film Lucky

and Sciences (Writers Branch).

(starring Colin Hanks, Ari Graynor and Ann-Margret). In

TA R E L L A LV I N M c C R A N E Y (he/him) Artistic Director

addition, Cates co-produced and co-directed the critically

Tarell Alvin McCraney is Artistic

acclaimed Life After Tomorrow,

Director of Geffen Playhouse.

featuring Sarah Jessica Parker,

In this role, he is responsible

which premiered on Showtime.

for identifying, developing, and

His other films include Deal

programming new works and re-envisioned classics. He sets the strategic artistic course for the Geffen’s Gil Cates and Audrey Skirball Kenis Theaters.

McCraney is an award-winning writer, producer, and educator, best known for his acclaimed trilogy, The Brother/Sister Plays.

His script In Moonlight Black Boys Look Blue is the basis for the Oscar–winning film Moonlight directed by Barry Jenkins, for which McCraney and Jenkins also won a Best Adapted Screenplay Oscar. He is an ensemble member at Steppenwolf Theatre and a member of Teo Castellanos D-Projects in

1 0 P L AY B I L L

G I L CAT E S, J R .

Executive Director / CEO

Gil Cates, Jr. is Executive Director / CEO of Geffen Playhouse.

In this role, he is responsible for managing the Geffen’s dayto-day operations; developing new, ongoing theater partnerships and leading its mission to inform, entertain and inspire diverse audiences with live theater of the highest caliber.

Prior to being named Executive Director in 2015, Cates served as Geffen Playhouse Board Vice Chairman since 2012 and served as a producer and director in theater, film and television. His theater credits

(starring Burt Reynolds, Bret Harrison and Charles Durning) and The Mesmerist (starring Jessica Capshaw and Geffen Playhouse alumnus Neil Patrick Harris). Cates’ television directorial debut was an episode of the NBC comedy Joey, starring Emmy winner Matt LeBlanc. He recently directed Displaced, a documentary short chronicling the journey of one of the first refugee families to flee Ukraine and arrive in the U.S. after escaping the Russian invasion. He studied at the National Theatre Institute in Waterford, Connecticut, and holds a B.F.A. in Drama from Syracuse University.

GEFFEN AT A GLANCE CONTACT Geffen Playhouse 10886 Le Conte Avenue Los Angeles, CA 90024 ADMINISTRATIVE OFFICES

310.208.6500 Monday – Friday, 10:00am – 6:00pm AUDIENCE SERVICES

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.

310.208.2028 Tuesday – Sunday, 12:00pm – 6:00pm

The Geffen Playhouse’s New Play Development Program

Please visit geffenplayhouse.org for hours, parking and more information.

generosity of donations from: The Edgerton Foundation,

BOX OFFICE WINDOW Tuesday – Sunday, 12:00pm – 6:00pm, as well as on performance days up until 15 minutes after curtain.

is made possible, in large part, through the leadership and 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:

Please note: the box office window is unable to process exchanges or future sales one hour prior to curtain time on performance days.

LUIS ALFARO

STACY OSEI-KUFFOUR

JONATHAN CAREN

JIEHAE PARK

COLMAN DOMINGO

JOHN POLLONO

ACCESSIBILITY

MICHAEL GOLAMCO

ROBERT SCHENKKAN

Geffen Playhouse is fully committed to providing access to patrons with mobility, visual and hearing impairments. Parking spaces directly outside the theater are zoned for drop off and pick up, as well as disabled parking spots for patrons with appropriate placards and plates. For more information, visit geffenplayhouse.org/access or call Audience Services.

MEGHAN KENNEDY

JEN SILVERMAN

MATTHEW LÓPEZ

DAVID WIENER

MARTYNA MAJOK

CRAIG WRIGHT

QUI NGUYEN

LAUREN YEE

For more information on this program, please visit geffenplayhouse.org/newplays.

LATE SEATING Should you arrive late to the theater or vacate your seat during the performance, please expect to be held in the lobby until an appropriate pause in the action on stage. Some productions or circumstances may not allow for late or return seating. To minimize disturbances to other patrons, you may be seated in the first available location by the house staff even if it is different from your assigned seat.

NO PHOTOGRAPHY There is no photography or filming of any kind allowed during the performance.

Please turn off all electronic devices, including cell phones.

UCLA SCHOOL OF THEATER, FILM AND TELEVISION Geffen Playhouse is affiliated with the University of California at Los Angeles, specifically the UCLA School of Theater, Film and Television. Geffen Playhouse values its role as an important educational resource by providing students with master classes, workshops and internships. Students are also able to work and learn from distinguished visiting Geffen artists in areas of directing, playwriting, acting, design, dramaturgy, management and production.

Geffen Playhouse also draws upon the distinguished experts in the university to enhance the theater’s programs and research.

THE WRITERS’ ROOM A group for Los Angeles-based playwrights, The Writers’ Room is a product of the Geffen’s deep commitment to supporting new plays and specifically to fostering bold, relevant work by the vibrant artistic community of this city.

During this one-year residency, playwright members gather monthly at the Geffen to share their work and receive feedback from their peers and the Geffen’s artistic staff, culminating in a play reading series.

We are proud to have the following artists in the 2023/2024 Writers’ Room: ASHLEY AUGUST

CHRISTINA HAM

JENNIFER CHANG & INARA GEORGE

PALOMA NOZICKA

PARIS CRAYTON III

ALEXIS ROBLAN

The Writers’ Room is made possible through the generous support of the William Randolph Hearst Foundation and Jerry & Terri Kohl.

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

BEHIND THE SCENES Q&A

DO WHAT YOU LOVE, LOVE WHAT YOU DO

Frank Marshall & Helder Guimarães on the set of 2019’s Invisible Tango

PHOTO BY JEFF LORCH

AN INTERVIEW WITH HELDER GUIMARÃES & FRANK MARSHALL

BY AMY LEVINSON, ASSOCIATE ARTISTIC DIRECTOR & DRAMATURG FOR THE HOPE THEORY

A M Y L E V I N S O N : You have worked togeth-

H E L D E R G U I M A R Ã ES : I don’t think I

er on many shows, including Invisible Tango,

could pinpoint where I start a new project or a

The Present, and The Future. Can you speak a

new show. I think it’s an accumulation of dif-

bit about where your process begins?

ferent things in my life. These stories usually

F R A N K M A RS H A L L : My process begins when Helder tells me the story he wants to tell. I wait for him to put it into words and then help him shape it into a show. It’s a really interesting process, because I often don’t know what magic he is building in; it’s often built along with the story. It motivates me to think visually in terms of how we’re going to tell the story. We start with the words, which are often very poetic, one of the many things I love about his storytelling, and we craft the story.

He blends these two worlds: the world of magic that I’ve known and loved since around the

come from a personal place, so it’s often an episode or memory that I remember and want to write about. Sometimes that takes a week and sometimes much longer. But this doesn’t always lead to a complete show; sometimes it’s just a collection of memories and ideas.

When I understand there is a story to be told, things start to merge, and then the magic becomes part of the larger story.

F M : Helder will just come in with the right magic piece—and usually it’s something I haven’t ever seen, which is the amazing part. [The magic] is really integrated into the storytelling.

age of ten and the world I really live in, which

H G : With this show, I wanted to talk about

is storytelling. It’s so much more than just a

my experiences as an immigrant, but at that

magic show.

point I didn’t have a single piece of magic for

1 2 P L AY B I L L

BEHIND THE SCENES Q&A

the show. But I’m never thinking about what

I can say, Oh, okay, that’s working now. Or, no,

I need in terms of magic. I’m thinking about

that was a bad idea. Whereas in my day job, it’s

how I want to tell a good story and then how

maybe months before [you know] if something

I want to integrate really cool magic into that

works. And it’s a whole lot of other people.

story. I want the magic to enhance the story and be connected to it, as well. We recently realized the top of the show wasn’t quite right.

I had already built the magic moment for the beginning, but I’m always willing to change what I’ve built if it’s not working with the story.

A L : And what contributes to this being such a fruitful working relationship?

H G : I remember you telling me that when we first worked on Invisible Tango, like, this is so great because I can change things on the day of, and you can see it onstage that same night.

F M : And we do have a really good time doing this. If you hate it, what’s the point? I don’t understand creative processes that are awful.

Of course, there are always hurdles and prob-

H G : Frank is an amazing storyteller. He brings

lems to solve, but you learn to adapt. You can

his perspective to what I’ve written and sees

always scale back, or scale up, figure out what

things in the script that I haven’t seen yet. He

a project needs, and pivot. I don’t understand

always has an insight that is just spot on. He

treating this like it’s the end of the world.

taught me, and often reminds me, that we have to have clarity for someone who has never heard this story and doesn’t know where it’s going.

They will only have one opportunity to hear the story we’re telling. When you write it, you know what you want to say, but it’s very different than someone hearing it for the first time, right?

Also, Frank never tries to push the magic to a secondary place or alter the magic in any given place. I love the fact that he trusts me a hundred percent on that. When I put a magic piece in front of him, of course there are adjustments. We just work together on every part of it, rather than either one of us controlling the process. Magic is so sensitive. And especially for me, it’s such an expression of who I am, so

H G : I love what Frank is saying. You do something in one performance and learn that it doesn’t work, so you change it up and do it differently the next day. You ask questions like: How can I make that line work? And then for the next show, you change the intonation.

Theater really gives you the opportunity to do it and I love that.

F M : Exactly. I don’t understand all the suffering people do. Thinking about changes, sure.

Wanting to make it better, absolutely. There are so many people who have a terrible time making movies, and I just don’t get it. We work long hours, and sure we have creative conflicts, but it should be fun. Same is true for theater.

it’s hard when someone wants to change every-

H G : And we do have quite a bit of fun. It

thing. I’m really grateful for how Frank works. I

doesn’t mean it’s not serious work; it can be

feel so well-protected. He really helps me and

deeply personal and challenging. But that

guides the work, and I feel I still have a lot to

doesn’t mean it shouldn’t be fun. It makes

learn from him about storytelling.

the work and the hours so much easier when

A L : Frank, as you have worked on many giant films, what is different for you when you are in a setting as intimate as this one? Does it alter your approach?

F M : I don’t know if I have an approach. I mean, I am constantly learning. What I love about [working on plays and musicals] is it’s live, it’s

you are having a good time doing it. In fact, you want to put in more time and more effort when there’s joy in the work. And don’t get me wrong, it’s like Frank said, there are hurdles and creative conversations, but we often make our best discoveries when things go wrong. At the end of the day, we love what we do.

happening. I can have an impact on something

To read more about The Hope Theory, visit

right then and there and it can change. And then

geffenplayhouse.org/blog.

G E F F E N P L AY H O U S E 1 3

ON GEFFEN S A E S 2/ 5 THE BROTHERS SIZE

JOIN US FOR THE INAUGURAL SEASON FROM ARTISTIC DIRECTOR

TARELL ALVIN McCRANEY

08.14–09.08.2024

Audrey Skirball Kenis Theater

DRAGON LADY

PART I OF THE DRAGON CYCLE 09.04–10.06.2024 Gil Cates Theater

N O S A

GEFFEN PLAYHOU SE

24

S U B S C R I P T I O N S S T A R T A T J U S T $ 2 4 5!

WAITING FOR GODOT 11.06–12.15.2024 Gil Cates Theater

NOISES OFF

01.29–03.02.2025 Gil Cates Theater

FURLOUGH’S PARADISE 04.16–05.18.2025 Gil Cates Theater

THE RESERVOIR 06.18–07.20.2025

USE 24 / LAYHO 2 5 NP S E Gil Cates Theater

G E F F E N P L A Y H O U S E.O R G/S U B S C R I B E · 310.2 0 8.2 02 8

S U B S C R I P T I O N S S T A R T A T J U S T $ 2 4 5!

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E US HO

S 24/25 EASO N

ISTIC DIRECT O ART R

NP LAY

N I MCC V L A L RAN L E R E A T

PHOTO BY ERIK CARTER

F EF G G E F F E N P L A Y H O U S E.O R G/S U B S C R I B E · 310.2 0 8.2 02 8

EDUCATION & COMMUNITY

THEATER IN EDUCATION HAS THE POWER TO IGNITE CHANGE

We invite all Angelenos to come home here. When you support our education and community engagement programs, you create a world of greater understanding, increased expression, and deeper compassion while enjoying your home away from home at this historic playhouse.

LEARN MORE ABOUT OUR PROGRAMS GEFFENPLAYHOUSE.ORG/EDUCATION

PHOTO BY JEFF LORCH

Geffen Playhouse is deeply committed to creating powerful and impactful arts education and engagement experiences that amplify, inspire, and encompass our diverse Los Angeles community. Our programs provide unique, in-depth access to theater and the arts for determined and ambitious youth and adults coming from historically excluded communities.

ANNUAL DONORS Geffen Playhouse recognizes the following individuals and organizations for their generous support of our Annual Fund. Donors are listed at the Partner’s Circle level and higher for gifts made between February 1, 2023 and March 31, 2024. A full listing of our supporters can be found at geffenplayhouse.org/thankyou. † Geffen Playhouse Board of Directors

^ Geffen Playhouse Founding Trustees

In appreciation, Annual Fund donors enjoy a host of special benefits including house seats, complimentary drinks, receptions, and much more.

For more information, please call Tracy Reich at 310.208.6500 ext. 113.

PREMIERE CIRCLE

The Walt Disney Company

Soundis & Danny† Passman

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Thomas L. Safran

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The Harold and Mimi Steinberg Charitable Trust

California Arts Council

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Deborah Tavlin

City National Bank

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Edgerton Foundation

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Yolla Kairouz

$100,000+

Anonymous The Ahmanson Foundation

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CREATOR’S CIRCLE $5,000 – $9,999

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Shel & Cynthia Stone

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INNOVATOR CIRCLE

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Anonymous

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Waterman and Glicksteen Families

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PRODUCER’S CIRCLE

G E F F E N P L AY H O U S E 1 7

ANNUAL DONORS Kenneth J. Friedman & Marilynn J. Friedman Family Foundation

Jill Grey

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Benedicta & Geoffry Oblath Cheryl Petersen & Roger Lustberg Reed Wayne Pigman Jr. & Pamela Pigman Carolyn A. Poer & John M. Poer Judith Reichman M.D. Susan Rogers Nancy & Ted Sanborn Amy & Andy Schwartz Steve & Paula Mae Schwartz John Shustitzky & Christine Chakoian Leigh Silverton Jerome & Joan Snyder SPARK Theatrical Gerry Szeman & David Pavot Anne C. Taubman William & Karen Timberlake

DESIGNER’S CIRCLE

Catherine Froloff Charlotte Gold Lorain Goldberg Ellie Goodman Barry Gribble Jill Grigsby & Rett Bull

Beverlee Bickmore & James Kelly King Nutronics Corporation

$1,000 – $2,499

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Anonymous

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Jan & David Altemus Patti Amstutz Bonnie & Bill Apfelbaum Margaret Campbell Arvey Karen Bell & Robb Cox Westmount Asset Management Artie & Ellie Berrick John Bjorge & Mary McKelvey Susan Bloch-Kay & Stephen Kay Paula Brand Dr. Adrienne Brandriss

Dr. Leonard & Stella S. Kleinrock Trice Koopman & Mark Freund Lena & Mark Labowe Hillary & Lance Milken Carl Levinger Linwei Li Judith Locke The Malins Family Foundation Michael N. Marks David Israeli & Dr. Marie Mazzone Sheryl McDonald & Denny Howard

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DIRECTOR’S CIRCLE

Brock Dewey

$2,500 – $4,999

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Aversa Foundation

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Carl & Courtenay Enright

VJ Boyd

Lynne & Michael Feldman

Diana Buckhantz and the Vladimir and Araxia Buckhantz Foundation

Su Jin Feuer

Cindy Clark

Joan & Charles Fox

In Honor of Frank & Betty Fouce

Anita Dann Friedman & Harvey Friedman

Ruth Popkin

Joanne Cohen Linda & John Coleman 1 8 P L AY B I L L

Dr. & Mrs. William M. Duxler

Dr. Kimberly Finney

S. McQueen & D. Whalen Ali Meghdadi In Memory of Jane Hall Norma & Larry Meyers Hillary & Lance Milken Joan & Phil Miller Andrew & Laura Mintzer Thomas W. Mitchell Mark & Diane Neubauer Ornest Family Foundation Ralph Page Philip & Leslie Paton Patrick Summers Jacalyn & Paul Pepperman Phil & Agnes Peters

ANNUAL DONORS Clark & Kathryn Porter

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Johnson Thurston

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Ron Silverman & Soraya Ross Mitch & Sherry Stein

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Dr. Vito Imbasciani

Thank you to our year-round in-kind hospitality sponsors for their incredible generosity and support of the arts:

Audri & Stan Tendler

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STK | The ONE Group

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W Los Angeles — West Beverly Hills

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Wolfsglen

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Daniel & Shauna Valenzuela Marcia & Charles Wasserman Ph.D Deborah & Glenn Weinberg Cherie Wrigley Richard Yaffe Arnold & Tricia Zane Ellen & Arnold Zetcher

PARTNER’S CIRCLE $500 – $999

Anonymous (3) Toshka & Norman Abrams Carol Ahmanson

Cynthia A. King Dr. Phyllis H. Klein Leana Kleinman & Jerald Johnson Patricia Klous Delores Komar & Susan Wolford Deborah Lacusta & Daniel Castellaneta Christo & Jeanne Lavagnino Rhonda K. Lawrence Rena & Craig Leeds

HOSPITALITY SPONSORS

CHAIRMAN’S CIRCLE

The Chairman’s Circle acknowledges the historical contributions of the following individuals, whose support of Geffen Playhouse made the original vision of our founder, Gil Cates, Sr., possible: Anonymous Annenberg Foundation

Lydia & Chuck Levy

Mrs. Carol K. Block & Chancellor Gene D. Block†

Wendie Malick

City National Bank

Eric & Eva Plaza Mandel

Kirsten^ & Donald Combs

Mark Mandel Douglas McAvoy, Jr.

Maria Israel-Curley & Jim Curley

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Gang, Tyre, Ramer, Brown & Passman, Inc.

Erin McKenzie

The David Geffen Foundation

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In Memory of Janet Birnkrant Bonnie Nash

Rabbi Uri D. Herscher & Dr. Myrna Herscher

Lorna Osunsanmi

Audrey & Charles Kenis

Carol F. Phillips

Lincy Foundation

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Faye Ray Julie Rogers

Tina & Jerry^ Moss / The Moss Foundation

Pam Coats

Valerie & Bennett Roth

Perenchio Foundation

Muriel Dance & Alvin Martin

Maxine Savitz

The Shubert Foundation

Hedva & Dr. Dudley Danoff

Lorin Schiff

The Simms/Mann Family Foundation

Susan Dashe

Joel & Sonia Schneider

Skirball Foundation

Bert Deixler

Nancy & Steven Schneider

University of California, Los Angeles

Kristin Diehl

John H. Scott

Wasserman Foundation

Jan & Thea Drayer

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Judy & Chancellor Charles^ E. Young

Jeff Eckerle & Marilyn Osborn

Karen Smits

Elizabeth A. Evans

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Burt & Nanette Forester

Andrew Stearn

Carol & John Fox

Mr. & Mrs. David Tann

Elaine & Larry Friedman

The Tatasciore Family

Robert C. Anderson Greg Angstreich Eloise & Mark Appel John B. Balen Larry & Julie Blivas— In Honor of Phyllis Blivas Susan & Michael Bordy Howard Brightman Janet & Mark Brown Diane Burbie Mike Clements

If your name has been misspelled or omitted from the list in error, please contact Tracy Reich, Director of Individual Giving at 310.208.6500 ext. 113.

G E F F E N P L AY H O U S E 1 9

Tarell Alvin McCraney

Gil Cates, Jr.

ARTISTIC DIRECTOR

EXECUTIVE DIRECTOR / CEO

ARTISTIC Amy Levinson Associate Artistic Director Daniel Ionazzi Producer Phyllis Schuringa Artistic Associate / Casting Director Bella Luna Company Manager Olivia O’Connor Literary Manager & Dramaturg Lexy McAvinchey Artistic Coordinator Dionn Richardson Assistant to the Artistic Director

PRODUCTION Jill Barnes Artistic & Production Administrator Alyssa Escalante Production Coordinator / Resident Production Stage Manager Melissa Hartman Technical Director Patty Squibb Technical Director Alexandre Norkus Automation Supervisor Philip Rossi Lead Scenic Carpenter Rick Gilles Properties Master Daniel Lynn Associate Properties Supervisor Audrey Lastar Costume Supervisor Sarah Lindsley Costume Shop Supervisor Spencer Doughtie Lighting & Projection Supervisor Jesus Cambero-Elias Assistant Lighting Supervisor James Grabowski House Sound Supervisor Bob Gilmartin Resident A1 Chloe Shi Production Assistant

ADMINISTRATION Sarah Sturdivant Chief Financial Officer Erick R. López General Manager Berenice Campos Director of Human Resources

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Janice Gompers Payroll Manager & HR Admin

Rachel Jacoby, Anika Waco Donor Relations Ticketing Associates

Youra Kim Accounting Manager

Brianna Barrett, Tori Eriavez, Peyton Fleming Rachel Jacoby, Lauren Machain, Kayla Page, Anika Waco, Dennis Woullard Box Office Staff

Jake Jones Staff Accountant Clay Dzygun Office Coordinator Marguerite Harris Receptionist

DEVELOPMENT Sarah Weinberg Chief Development Officer Elizabeth Kegley Director of Institutional Giving Tracy Reich Director of Individual Giving

EDUCATION

Brian Allman Director of Education & Community Engagement Mark J. Chaitin Manager of Education & Community Engagement Paloma Nozicka Education Associate Sean Michael Boozer, Paris Clayton III, DeJuan Christopher Conner, Lyssa Deehan, Sidney Edwards, Ryan Hallahan, Aja Houston, Bethany Koulias, BJ Lange, Tiffany Oglesby, Tara Ricasa, Gerry Tonella, Maddy Wager Teaching Artists

MARKETING & COMMUNICATIONS Patrick Brown Director of Marketing Zenon Dmytryk Director of Communications Karen Gutierrez Director of Advertising & Audience Development Brian Dunning Director of Content & Creative Zack Hamra Director of Audience Services & Ticketing Isaak Berliner Social Media & Communications Manager Alyssa Tyson Audience Services Manager Jacob Feller Box Office Manager

Theater Direct Outbound Sales

OPERATIONS Jeni Pearsons Director of Operations Mel Yonzon Front of House Manager Amy Farkas Lead Concierge Rob Mersola Event Manager Sarah Chute, Anya Pryjmak, Emir Yonzon Part Time House Managers Marlon Campos, Savanna Chute, Elizabeth Fritsch, Alia Mahboob, Taylor McClain, Shannon Noel, Autumn Oyemade, Adam Simers Guest Services Brynn Allen, Blaire Battle, Claire Booker, Lauren Curet, Enzo De Cunto, Cecily Dowd, Camille Edwards, Kosi Eguchi, Blake Elder, L. Elleseg, Sydney Fleischman, Ryan Foreman, Diane Hernandez, Aja Hinds, Keo Lacebal, Dylan La Rocque, Cassidy LeClair, Austin Merrill, Chloe Miles, Elena Scaringe-Peene, Lanae Wilks Ushers

INFORMATION TECHNOLOGY Abdelkrim Bouzzit Cloud System Administrator Dream Warrior Group System Administrator

FACILITIES MANAGEMENT Art Guillen Facilities Manager Martin Ayala, Felipe Ayala Building Maintenance Mario Santillan-Perez Custodial Juan Carlos Umaña, Camerina Martinez Cleaning Custodial

A Í R O E T A L D E LA A Z N A R E P S E

BIENVENIDO A LA

DIRECTOR ARTÍSTICO

FOTO POR JEFF LORCH

TARELL ALVIN MCCRANEY

Hola, soy Tarell Alvin McCraney, su director artístico. Es un honor darle la bienvenida al estreno mundial de La teoría de la esperanza del mago Helder Guimarães. Esta cautivadora historia de inmigración y cartomagia es exactamente el tipo de narración íntima y única que yo he llegado a apreciar en la Geffen. Y tengo el honor de invitarle a ser testigo de más.

Nuestra temporada 2024/2025 en el Gil Cates Theater comienza con Dragon Lady (Part I of The Dragon Cycle) de Sara Porkalob, una estrella consumada de Broadway. Después, vamos a reinventar obras clásicas al invitar a Judy Hegarty Lovett a dirigir Waiting for Godot, protagonizada por Conor Lovett y Rainn Wilson; y al asociarnos con Steppenwolf Theatre Company para una coproducción de Noises Off de Michael Frayn. Además, le presentaremos a nuestra audiencia a dos impactantes artistas que recién inician su carrera con Furlough’s Paradise de a.k. payne y, en asociación con el Denver Center for the Performing Arts y Alliance Theatre, The Reservoir de Jake Brasch.

2 2 P L AY B I L L

Aquí en el Audrey Skirball Kenis Theater, mi obra de teatro The Brothers Size le abrirá las puertas a nuestro laboratorio de nuevas obras.

La obra, escrita hace 20 años, está basada en el folclor de África occidental y el Caribe. El enfoque principal de nuestro nuevo laboratorio es la práctica de tomar historias clásicas y presentarlas como eventos en vivo. Y en asociación con nuestros vecinos y colegas de UCLA, invitaremos al Audrey a artistas innovadores y a audiencias dispuestas a tomar riesgos para que presencien el desarrollo inicial tras bastidores y la programación pública durante toda la temporada.

En los meses que vienen se anunciarán planes especiales para éste, nuestro espacio íntimo, pero por el momento por favor disfrute de la magia de La teoría de la esperanza.

Tarell Alvin McCraney Director artístico

JUNTA DIRECTIVA Adi Greenberg

DIRECTOR EJECUTIVO / CEO

GIL CATES, JR.

PRESIDENTA

Gil Cates, Jr. Director ejecutivo / CEO

CONSEJEROS FUNDADORES Harold A. Brown Kirsten Combs

Mary Ann Cloyd Vicepresidenta

Robert A. Daly

Merle Dandridge

David Geffen

Lauren Shuler Donner

Herbert M. Gelfand Presidente emérito

Dr. Brad Edgerton

Quincy Jones

Bonnie E. Eskenazi

Jeffrey Katzenberg

Mark Fleischer

Glorya Kaufman

Susan Nahley Fleishman Brenda Garcia Patricia L. Glaser Eric Heer Carla Malden Brian Mann Tiffany Mayberry

Frank G. Mancuso Presidente emérito Ron Meyer Bruce M. Ramer Presidente fundador Victoria Mann Simms Andy Spahn

Tarell Alvin McCraney Director artístico

Steven Spielberg

Mary Osako

IN MEMORIAM

Danny Passman

Gilbert Cates Fundador

Holly Rice Linda Bernstein Rubin Matt Shakman Richard Sherman Cynthia P. Stafford Howard Tenenbaum Presidente emérito

Steve Tisch

Marcia Israel-Curley Audrey Skirball Kenis Charles Kenis Karl Malden Ginny Mancini Jerry Moss

Miranda Tollman

Jerry Perenchio

JaHan Wang

Edie Wasserman

Marc Weinstock

Lew Wasserman Dr. Charles E. Young

ASESORAMIENTO LEGAL Nikki Kerman Venable LLP

FOTO POR JEFF LORCH

Dr. Gene D. Block

A principios de 2020, Helder Guimarães nos visitó aquí en la Geffen con una idea. Buscaba cómo reunir a una audiencia para presenciar el teatro en vivo pero de manera innovadora: todo por medio del internet. Su idea lanzaría Geffen Stayhouse, una temporada completa de programación en vivo pero virtual, a diferencia de todo lo que habíamos hecho hasta ese entonces.

Ese espíritu pionero define gran parte de lo que hacemos. A medida que continuamos avanzando en estos tiempos cambiados por siempre, parece apropiado que Helder regrese a casa, en persona, y se le de la bienvenida en el Audrey Skirball Kenis Theater, junto con su increíble director Frank Marshall.

Juntos, ellos continúan a redefinir todo lo que puede ser el teatro, incluso encabezando nuestras primeras presentaciones en español, un proyecto que hemos acogido con gran entusiasmo. La innovación empleada tanto aquí como durante Stayhouse parece apropiada para la temporada inaugural de Tarell, mientras que reimagina el Audrey como un laboratorio para descubrimientos y experimentaciones apasionantes.

Todo esto y más es posible únicamente gracias a nuestra vibrante comunidad compuesta de todos aquellos que nos brindan apoyo. Ya sea esta su primera o su quingentésima visita a la Geffen Playhouse, estamos muy contentos de que esté aquí. Le invito a explorar todo lo que nuestro teatro ofrece, lo nuevo y lo viejo, lo revitalizado y lo reinventado. ¡Tenemos mucho que esperar con ansias!

Gracias por acompañarnos en este increíble viaje. ¡Que disfrute del espectáculo!

Gil Cates, Jr. Director ejecutivo / CEO G E F F E N P L AY H O U S E 2 3

LA PRODUCCIÓN DE LA GEFFEN PLAYHOUSE DE

LA TEORÍA DE LA ESPERANZA ESCRITO Y REPRESENTADO POR

HELDER GUIMARÃES DIRIGIDO POR

FRANK MARSHALL DISEÑADOR ESCÉNICO

FRANÇOIS-PIERRE COUTURE DISEÑADORA DE ILUMINACIÓN

CONSULTORA DE DISEÑO DE VESTUARIO

AUDREY LASTAR

DISEÑADOR DE SONIDO

MARTHA CARTER

COMPOSITOR

JAMES GRABOWSKI

JEFF BEAL

DRAMATURGA

TRADUCTOR DE ESPAÑOL

REGIDORA DE ESCENA DE LA PRODUCCIÓN

REGIDORA DE ESCENA, PRESENTACIONES EN ESPAÑOL

AMY LEVINSON

JOSE NATERAS

GABRIELLE J. BRUNO

ILIANA SOLORZANO

Las regidoras de escena de esta producción son miembras de Actors’ Equity Association, el sindicato de actores y regidores de escena profesionales de los Estados Unidos.

NOCHE DE ESTRENO

JUEVES 2 DE MAYO DE 2024 PATROCINADOR DE PRODUCCIÓN

PATROCINADOR DE LA NOCHE DE ESTRENO

DURACIÓN

80 minutos, sin intermedio.

ATENCIÓN

No se permite ninguna fotografía o grabación durante la presentación.

Por favor apague todos sus aparatos electrónicos, inclusive sus celulares. ¡Gracias!

Apoyo principal para esta producción de estreno mundial es proveído por la Edgerton Foundation New Play Production Fund.

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PREGUNTAS Y RESPUESTAS TRAS BASTIDORES

HAZ LO QUE AMAS, AMA LO QUE HACES

Frank Marshall y Helder Guimarães en el escenario de Invisible Tango de 2019

FOTO POR JEFF LORCH

UNA ENTREVISTA CON HELDER GUIMARÃES Y FRANK MARSHALL

POR AMY LEVINSON, DIRECTORA ARTÍSTICA ADJUNTA Y DRAMATURGA PARA LA TEORÍA DE LA ESPERANZA

A M Y L E V I N S O N : Los dos ustedes han trabajado juntos en muchos espectáculos, incluyendo Invisible Tango, The Present y The Future. ¿Pueden contarnos un poco sobre dónde comienza su proceso?

F R A N K M A RS H A L L : Mi proceso comienza cuando Helder me cuenta la historia que él quiere contar. Espero que la verbalice y luego lo ayudo a ahormarlo en un espectáculo. Es un proceso muy interesante, porque a menudo no sé qué magia está construyendo; a menudo la magia se construye junto con la historia. Me motiva a pensar visualmente en términos de cómo vamos a contar la historia. Empezamos con las palabras, que a menudo son muy poéticas, una de las muchas cosas que me encantan de su narración, y elaboramos la historia. Mezcla estos dos mundos: el mundo de la magia que conozco y amo desde los diez años y el mundo en el que realmente vivo, que es contar historias. Es mucho más que un espectáculo de magia.

H E L D E R G U I M A R Ã ES : No creo poder precisar dónde empiezo un nuevo proyecto o un nuevo espectáculo. Creo que es una acumulación de cosas diferentes en mi vida. Estas historias suelen provenir de un lugar personal, por lo que a menudo es un evento o un recuerdo del cual me acuerdo y sobre el cual quiero escribir. A veces eso lleva una semana y a veces mucho más. Pero esto no siempre resulta en un espectáculo completo; a veces es solo una colección de recuerdos e ideas. Cuando entiendo que existe una historia que contar, las piezas comienzan a fusionarse, y entonces la magia se convierte en parte de esa historia más grande.

F M : Helder simplemente llega con la pieza de magia apropriada—y por lo general es algo que nunca he visto, que es la parte increíble. [La magia] está realmente integrada en la narración.

H G : Con esta obra, quería hablar sobre mis experiencias como inmigrante, pero en ese momento no tenía una sola pieza de magia G E F F E N P L AY H O U S E 2 5

PREGUNTAS Y RESPUESTAS TRAS BASTIDORES

para el programa. Pero nunca pienso en lo que necesito en términos de magia. Pienso en cómo quiero contar una buena historia y luego cómo quiero integrar magia realmente genial en esa historia. Quiero que la magia mejore la historia y también esté conectada con ella.

Recientemente nos dimos cuenta de que el inicio del programa no estaba del todo bien.

Ya había construido el momento mágico para el principio, pero siempre estoy dispuesto a cambiar lo que he construido si no funciona con la historia.

impacto en algo en ese mismo instante y puede cambiar. Y entonces puedo decir, Oh, está bien, eso sí funciona. O, no, esa fue una mala idea.

Mientras que, en mi trabajo cotidiano, pueden pasar meses antes de [saber] si algo funciona. Y hay un montón de otras personas.

A L : ¿Y qué contribuye a que esta sea una relación de trabajo tan fructífera?

F M : Y sí nos la pasamos muy bien con esto.

Si lo odias, ¿qué sentido tiene? No entiendo los procesos creativos que son horribles. Por supuesto que siempre hay obstáculos y problemas que resolver, pero aprendes a adaptarte.

Siempre puedes reducir o ampliar, averiguar qué necesita un proyecto y girar. No entiendo tratar esto como si fuera el fin del mundo.

H G : Frank es un narrador increíble. Aporta su perspectiva a lo que he escrito y ve cosas en el guion que yo aún no he visto. Siempre tiene una percepción acertada. Me enseñó, y a menudo me lo recuerda, que tenemos que tener claridad para alguien que nunca ha escuchado esta historia y no sabe hacia dónde va. Solo tendrán una oportunidad de escuchar la historia que estamos contando. Cuando la escribes, sabes lo que quieres decir, pero es muy diferente a alguien que la escucha por primera vez, ¿verdad?

Además, Frank nunca trata de relegar la magia a un lugar secundario o de alterar la magia en ningún lugar determinado. Me encanta el hecho de que con eso él confía en mí al cien por cien. Cuando le presento una pieza de magia, por supuesto que hay ajustes.

Simplemente trabajamos juntos en cada parte del proceso, sin que ninguno de nosotros lo controle. La magia es muy sensible. Y especialmente para mí, es toda una expresión de quién soy, así que es difícil cuando alguien quiere cambiarlo todo. Estoy muy agradecido por la forma en que trabaja Frank. Me siento muy bien protegido. Realmente me ayuda y guía el trabajo y siento que todavía tengo mucho que aprender de él sobre cómo contar historias.

A L : Frank, dado que has trabajado en muchas películas gigantes, ¿qué es diferente para ti cuando estás en un entorno tan íntimo como este? ¿Altera tu método?

F M : No sé si tengo un método. Es decir, estoy aprendiendo constantemente. Lo que me encanta de [trabajar en obras de teatro y musicales] es que es en vivo, está sucediendo. Puedo tener un 2 6 P L AY B I L L

H G : Recuerdo que me dijiste justo eso cuando trabajamos por primera vez en Invisible Tango; que, esto es genial porque puedo cambiar algo el mismo día y se puede ver en el escenario esa misma noche.

H G : Me encanta lo que dice Frank. Haces algo en una presentación y te das cuenta de que no funciona, así que lo cambias y lo haces de manera diferente al día siguiente. Preguntas: ¿Cómo puedo hacer que funcione esa frase? Y luego, para el siguiente espectáculo, cambias la entonación. El teatro realmente te da la oportunidad de hacerlo y eso me encanta.

F M : Exactamente. No entiendo todo lo que sufre la gente. Pensar en cambios, claro.

Querer mejorarlo, absolutamente. Hay tanta gente que se lo pasa fatal haciendo películas y yo simplemente no lo entiendo. Trabajamos muchas horas y seguro que tenemos conflictos creativos, pero debería ser divertido. Lo mismo ocurre con el teatro.

H G : Y sí nos divertimos bastante. Esto no quiere decir que no sea un trabajo serio; puede ser profundamente personal y desafiante. Pero eso no significa que no debería ser divertido.

Cuando te diviertes, eso hace que el trabajo y las horas sean mucho más fáciles. De hecho, cuando hay alegría en el trabajo, quieres dedicar más tiempo y más esfuerzo. Y no me malinterpreten, es como dijo Frank, hay obstáculos y conversaciones creativas, pero a menudo hacemos nuestros mejores descubrimientos cuando las cosas no funcionan. Al fin y al cabo, amamos lo que hacemos.

BIOGRAFÍAS DEL EQUIPO DE PRODUCCIÓN

HELDER GUIMARÃES (él) Dramaturgo e intérprete

Un artista nacido en Portugal y reconocido por The New York Times como “un maestro de ilusiones,” Helder Guimarães es Campeón Mundial de Magia, Mago de Salón del Año, ganador del premio Allan Slaight Sharing Wonder, y ganador del Premio Ascanio. Su método único de cartomagia y narración ha sido el enfoque de sus previas creaciones Nothing to Hide (Nada que ocultar), Borrowed Time (Tiempo de descuento) y Verso. Utilizando su cono-

pandemia, Guimarães vendió

consumado y ha dirigido las

por completo más de 250

películas Arachnophobia, Alive,

presentaciones de su obra The

Eight Below así como varios doc-

Present (El presente) durante

umentales, incluido el galardo-

un periodo de seis meses como

nado documental para HBO The

parte de la serie Geffen Stay-

Bee Gees: How Can You Mend a

house. The Washington Post

Broken Heart. Mago aficionado

dijo acerca del espectáculo: “Me

desde que tenía diez años, La

comprometo ahora a la creencia

Teoría de la Esperanza es su

que Guimarães es un extrater-

cuarta colaboración con Helder

restre aterrizado entre nosotros

Guimarães. Sus proyectos

para compartir su superpoder

actuales incluyen la dirección de

de asombrar a la mente huma-

The Beach Boys, un documental

na. Y porque en esta época de

para Disney+, la producción de

transparencia desenfrenada,

un nuevo musical de Broadway,

un poco de misterio teatral

Water for Elephants y la próxima

restaura la fe en el arte esencial

película de verano, Twisters.

del engaño exuberante.” En 2022, creó Back to Wonder (De regreso a la maravilla), una experiencia inmersiva que se presentó por seis meses con entradas agotadas. Guimarães vive en Los Ángeles.

East Los Angeles College. Su

entrenó personalmente a San-

trabajo anterior en la Geffen

dra Bullock y Cate Blanchett

Playhouse incluye A Picasso, In-

para la película Ocean’s 8. En

de la producción, el Los Angeles Times dijo, “Por lo general, Guimarães no se apresura a aclarar misterios. Los cultiva tal como un horticulturista cultiva sus enredaderas. Pero no busca engañar. Más bien el engaño se pone al servicio de la iluminación.” En el 2020, durante la

Los Ángeles y Estados Unidos

mente es profesor de diseño en

Disney y Warner. Por ejemplo,

Geffen Playhouse. En su reseña

do el privilegio de trabajar en

nación y de proyección y actual-

compañías tales como NBC,

rigida por Frank Marshall, en la

François-Pierre Couture ha teni-

diseñador escénico, de ilumi-

con frecuencia consulta para

ible Tango (Tango invisible), di-

Originario de Montreal,

durante la última década como

cimiento del engaño, Guimarães

2019, Guimarães estrenó Invis-

FRANÇOIS-PIERRE C O U T U R E (él) Diseñador escénico

visible Tango, The Present y The FRANK MARSHALL Director

Frank Marshall es director/ productor y ha recibido los premios Emmy, Grammy, Oscar y Tony (EGOT). Con una carrera como productor cinematográfico donde se destacan cinco nominaciones para el Premio de la Academia y las series clásicas como Indiana Jones, Jason Bourne y Jurassic World, Marshall también es un director

Future. Algunos de sus créditos de diseño profesional también incluyen escenografía para Sweeney Todd y Metamorphoses (A Noise Within); escenografía e iluminación para Romeo y Julieta (LA Dance Project); escenografía para Jackie Unveiled (The Wallis); escenografía para A Mexican Trilogy: An American History (Los Angeles Theatre Center); escenografía para Médée y Teseo

G E F F E N P L AY H O U S E 2 7

BIOGRAFÍAS DEL EQUIPO DE PRODUCCIÓN (Chicago Opera Theatre). Ha

Long Beach. Amplía su alcance

educativo de asociación con

recibido múltiples premios y

creativo a nivel nacional e inter-

escuelas secundarias) y los pro-

nominaciones Ovation, LADCC,

nacional, con obras que abarcan

gramas Veteran’s Writing and

y LA Weekly y el Premio Hilton

diversas actuaciones—ópera,

Performance Workshop (taller

Worldwide por su destacado

danza, teatro y eventos en vi-

de escritura y actuación para

diseño escénico en KCACTF

vo—y que fomentan un impacto

veteranos). James está orgulloso

2014. Para más información,

comunitario positivo a través de

de haber estado involucrado en

visite www.fpcouture.com.

emprendimientos colaborativos.

cada concierto, cada producción

En particular, Martha asume

en escenario y de la serie Stay-

funciones principales de diseño

house que la Geffen ha montado

en Re:borN Dance Interactive

durante los últimos 24 años. Es

y Kairos Dance Company, así

un honor para él haber trabajado

como colaboraciones regulares

con diseñadores, directores,

con el Long Beach Ballet. Se

actores, tramoyistas, técnicos,

destacan los recientes estrenos

cantantes, músicos y magos de

en lugares prestigiosos como el

primera categoría, así como con

Under the Radar Festival de The

el increíble personal de la Gef-

Public Theatre y el Edinburgh

fen. Él agradece una carrera tan

Festival Fringe. Otras obras re-

gratificante, pero está especial-

cientes incluyen She Loves Me,

mente agradecido con ustedes,

Candide y A Little Night Music

nuestros patrocinadores, por

en Madison Opera; Cindy & the

apoyar este increíble teatro.

AU D R E Y L AS TA R Consultora de diseño de vestuario

Audrey Lastar, creativa de vestuario, es oriunda de San Diego y actualmente es jefa de vestuario en la Geffen Playhouse. Ha sido miembra de la Geffen durante seis años y ha trabajado en varios espectáculos, incluidos Mindplay, Mysterious Circumstances y Skintight, por nombrar algunos. Anteriormente fue jefa de vestuario para giras nacionales incluidos Cabaret y Finding Neverland. Otros créditos en varias partes del país incluyen su tiempo en Arizona Broadway Theatre (AZ), Arizona Theatre Company (AZ), Atlas Performing Arts Center (DC), Adventure Theatre MTC (MD), Imagination

Disco Ball en el Garry Marshall Theatre; Voyager One en el Perseverance Theatre; y Mamma Mia! en el Teatro Anayansi de la Ciudad de Panamá, Panamá. www.marthacarterdesigns.com

JEFF BEAL Compositor

El método de improvisación, el control de los tiempos y la sofisticación de Jeff Beal, cinco veces ganador del premio Emmy, lo han convertido en el favorito de

Stage (MD) y muchos otros.

JA M E S G R A B OWS K I (él) Diseñador de sonido

Está encantada de ser parte de

James Grabowski está encanta-

lock y Appaloosa), David Fincher

este equipo y agradece a sus

do de ser el diseñador de sonido

(House of Cards) y Oliver Stone

compañeros y a su perra Lady

de La teoría de la esperanza.

(JFK Revisited: Through the

por todo su amor y apoyo.

Se unió a la familia Geffen en

Looking Glass, The Putin Inter-

1999 como supervisor de sonido

views). Recientemente colaboró

de la casa. Se enamoró de la

con el director Frank Marshall

Geffen, no solo por la dedi-

en el documental Rather y las

cación artística de la Geffen a la

partituras dramáticas para las

creación y producción de obras

series de HBO Rome, Carnivàle y

originales, sino también por los

The Newsroom, la serie de USA

numerosos programas de alca-

Monk, la serie de Netflix House

nce comunitario apoyados por

of Cards y la serie de Apple TV+

el teatro, como el High School

Raymond & Ray han demostrado

Partnership Program (programa

que es uno de los compositores

M A R T H A CA R T E R (ella) Diseñadora de iluminación

Martha, una diseñadora de iluminación con sede en Los Ángeles, obtuvo su título M.F.A. en Diseño de la University of California en Irvine y es jefa de diseño y profesora auxiliar en la California State University,

2 8 P L AY B I L L

directores como Ed Harris (Pol-

BIOGRAFÍAS DEL EQUIPO DE PRODUCCIÓN más distintivos y reconocibles de

dos The Present y The Future de

State University, Northridge. Sus

hoy en día. Además de su distin-

Helder Guimarães. Amy obtuvo

créditos anteriores en la Geffen

guida carrera como compositor,

el título M.F.A. en Dramaturgia

incluyen regidora de escena de

Beal es un prolífico compositor

de la University of Massachu-

producción para Black Cypress

de música de concierto. Las más

setts, Amherst.

Bayou, regidora asistente de escena para Ava: The Secret

recientes obras encargadas incluyen “The Paper Lined Shack” para Leonard Slatkin, la St. Louis Symphony Orchestra y la soprano Hila Plitmann, “Sunrise” (una partitura contemporánea para la película muda de F.W. Munrau) para Los Angeles Master Chorale y un nuevo concierto compuesto para la violinista Kelly Hall-Tompkins estrenada por la St. Louis Symphony y dirigida por Leonard Slatkin.

J O S E N AT E R AS (él) Traductor de español

Jose Nateras es un actor, escritor y cineasta de Chicago que vive en Los Ángeles. Graduado de Loyola University Chicago, Jose tiene su título M.F.A. en Escritura de la School of the Art Institute of Chicago (SAIC) y actualmente está estudiando para obtener su doctorado en Estudios de Teatro y Presentación en UCLA. Guionista, dramaturgo y peri-

A M Y L E V I N S O N (ella) Dramaturga

odista independiente, la primera

Durante su permanencia en la

publicada por NineStar Press.

Geffen, Amy ha encabezado

Uno de sus guiones de largome-

numerosos programas para

traje, Zero Feet Away, se incluyó

encargar y desarrollar nuevas

en BloodList del 2021 y está en

obras y ha guiado a más de 150

desarrollo con Village Roadshow

obras hasta la producción. Sus

Pictures/Brillstein Entertain-

créditos en dramaturgia incluyen

ment Partners, mientras que

los encargos y estrenos mundia-

otro, Departing Seniors, tuvo

les de Time Stands Still y Coney

su estreno mundial en Fright-

Island Christmas de Donald Mar-

fest UK antes de estrenarse en

gulies, The Quality of Life y The

Estados Unidos en el Chicago

Escort de Jane Anderson, Our

International Film Festival y

Very Own Carlin McCullough

está disponible vía video bajo

de Amanda Peet y Mysterious

demanda. Se le puede encontrar

Circumstances de Michael Mit-

en Instagram: @JLorca13

novela de Jose, Testamento, fue

nick. Otros estrenos mundiales incluyen Black Cypress Bayou, Revenge Song, Actually, Invisible Tango, Extraordinary Chambers, Black Super Hero Magic Mama, Build, Joan Rivers: A Work in Progress by a Life in Progress y los espectáculos virtuales de la serie Geffen Stayhouse, inclui-

Conversations y asistente de producción para Mindplay. Créditos adicionales como regidora de escena: A Raisin in the Sun en South Coast Repertory; Rosencrantz and Guildenstern Are Dead, A Raisin in the Sun, Mrs. Warren’s Profession, A Christmas Carol y Man of La Mancha en A Noise Within; Native Gardens en Coachella Valley Repertory; Seven Loves en la Getty Villa; la serie de lecturas llamada 2023 Cycle of Poverty presentada por Lower Depth Theatre. Tiene experiencia teatral adicional como regidora de producción del Griffith Park Free Shakespeare Festival del 2021 al 2023 presentado por Independent Shakespeare Co. Cuando no está trabajando como regidora de escena, es supervisora de escena del Teatro Audrey Skirball Kenis en la Geffen Playhouse.

I L I A N A S O LO R Z A N O (ella) Regidora de escena, presentaciones en español

Iliana está increíblemente emocionada de trabajar por

G A B R I E L L E J. B R U N O (ella) Regidora de escena de la producción

primera vez con la Geffen Play-

¡Gabrielle J. Bruno está muy

de California State University,

emocionada de trabajar con

Fullerton, ha sido regidora

Helder y todos los increíbles

de escena para varios teatros

artistas de La teoría de la

como Latino Theatre Co., South

esperanza! Se siente orgullosa

Coast Repertory y The Wayward

de ser graduada de la California

Artist. Sus esfuerzos actuales se

house. Después de graduarse

G E F F E N P L AY H O U S E 2 9

BIOGRAFÍAS DEL EQUIPO DE PRODUCCIÓN encuentran en la educación te-

D-Projects en Miami, se graduó

Names (Matrix Theatre Compa-

atral, donde dirige, para todo su

de la New World School of the

ny) y Three Sisters y A Life in the

distrito escolar, el programa de

Arts, The Theatre School de

Theatre de David Mamet (ambas

teatro de las escuelas secund-

DePaul University y la David

en Syracuse Stage). Los crédi-

arias. Está encantada de poder

Geffen School of Drama de

tos cinematográficos de Cates

enseñar e inspirar a la próxima

Yale. Recibió un doctorado

incluyen The Surface (protago-

generación de artistas de teatro

honorario de la University of

nizada por Sean Astin y Chris

y al mismo tiempo seguir im-

Warwick. Recientemente fue

Mulkey, exalumno de la Geffen

pulsando su propio crecimiento

copresidente de dramaturgia

Playhouse), Jobs (protagonizada

profesional personal.

en la David Geffen School of

por Ashton Kutcher, Josh Gad,

Drama, donde permanece en la

Dermot Mulroney, así como los

facultad. Es asociado de la Royal

exalumnos de la Geffen Play-

Shakespeare Company, Londres

house Matthew Modine y Ron

y miembro de la Academy of

Eldard) y el largometraje de 2011

Motion Picture Arts and Scienc-

Lucky (protagonizado por Colin

es (División de Escritores).

Hanks, Ari Graynor y Ann-Margret). Además, Cates coprodujo y codirigió Life After Tomor-

TA R E L L A LV I N M c C R A N E Y (él) Director artístico

row, con Sarah Jessica Parker,

Tarell Alvin McCraney es direc-

por la crítica. Sus otras películas

documental que se estrenó en Showtime y fue muy aclamado

tor artístico de la Geffen Play-

incluyen Deal (protagonizada

house. Como tal, es responsable de identificar, desarrollar y programar nuevas obras y obras clásicas reinventadas. Él establece la dirección artística estratégica de los teatros Gil Cates y Audrey Skirball Kenis de la Geffen. McCraney es un escritor, productor y educador galardonado, mejor conocido por su aclamada trilogía, The Brother/Sister Plays. Su guión In Moonlight Black Boys Look Blue es la base de la película ganadora del premio Oscar Moonlight, dirigida por Barry Jenkins, por la cual McCraney y Jenkins también ganaron un premio Oscar por Mejor Guion Adaptado. Es miembro del conjunto del Steppenwolf Theatre y miembro de Teo Castellanos

3 0 P L AY B I L L

por Burt Reynolds, Bret HarriG I L CAT E S, J R .

Director ejecutivo / CEO

son y Charles Durning) y The

Gil Cates, Jr. es director ejecu-

Jessica Capshaw y el exalumno

tivo / CEO de la Geffen Play-

de la Geffen Playhouse, Neil Pat-

house. Como tal, es responsable

rick Harris). El debut de Cates

de gestionar las operaciones

como director de televisión fue

diarias de la Geffen; de desar-

un capítulo de la comedia de

rollar nuevas y constantes asoci-

NBC Joey, protagonizada por el

aciones teatrales y de dirigir su

ganador del premio Emmy Matt

misión de informar, entretener

LeBlanc. Recientemente dirigió

e inspirar a audiencias diversas

Displaced, un corto documen-

con teatro en vivo del más alto

tal que hace una crónica del

calibre. Antes de ser nombrado

viaje de una de las primeras

director ejecutivo en 2015, Cates

familias de refugiados que huyó

se desempeñó como vicepresi-

de Ucrania y llegó a Estados

dente de la junta directiva de la

Unidos después de escapar de

Geffen Playhouse desde el 2012

la invasión rusa. Estudió en el

y se desempeñó como productor

National Theatre Institute de

y director de teatro, cine y

Waterford, Connecticut, y tiene

televisión. Sus créditos teatrales

el título de B.F.A. en Drama de

incluyen las galardonadas

Syracuse University.

Mesmerist (protagonizada por