GEFFEN PLAYHOUSE AUDREY SKIRBALL KENIS THEATER
H WIT C
PHOTO BY JEFF LORCH
Welcome to the Geffen Playhouse 2019/2020 season! I am thrilled that Jen Silverman’s Witch launches this year of vibrant and varied productions. Deftly reimagining a Jacobean drama, her work is a far cry from a stodgy period piece. Filled with bold language, wit, and themes that deeply resonate with today, Witch shines a light on the tricky quagmire modern culture faces as we carve out our identity in a world that wants to apply an easy label to everything and everyone. Jen’s play is hugely ambitious, especially for the Audrey Skirball Kenis Theater. And yet, within this intimate space, Marti Lyons and her brilliant team of designers have rendered the striking production you will see tonight. And hats off to the excellent cast, who have found a way to navigate a time and setting that is neither period nor contemporary, but some fine line in between. Jen Silverman is one of my favorite contemporary playwrights and so in addition to producing 2 P L AY B I L L
Witch, the Geffen has commissioned her to write a new play. Jen has much to say about the world in which we are living and we are invested in helping her voice to be heard. And not only her voice—the Geffen dedicates itself to supporting new work through commissions like Jen’s, our Writers’ Room playwrights group (now in its second year), and through world premieres like this season’s adaptation of Key Largo by Jeffrey Hatcher and Andy Garcia, Qui Nguyen’s Revenge Song, and Marisela Treviño Orta’s terrifying Nightfall. I hope you enjoy this season of electric and entertaining new work by some of America’s most exciting playwrights side by side with contemporary classics like Bernhardt/Hamlet and Skintight, as well as Macbeth, the Geffen’s first Shakespeare production. 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 Audrey Skirball Kenis 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&#x20AC;&#x2122; 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 Witch. 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
THE GEFFEN PLAYHOUSE PRODUCTION OF
WITCH WRITTEN BY
JEN SILVERMAN DIRECTED BY
MARTI LYONS INSPIRED BY THE WITCH OF EDMONTON BY
ROWLEY, DEKKER & FORD SCENIC DESIGNER
DANAE IRIS MCQUEEN
KEITH PARHAM COMPOSER
CRICKET S. MYERS CHOREOGRAPHER
JESSICA LEE KELLER
PRODUCTION STAGE MANAGER
JULIE ANN RENFRO
PHYLLIS SCHURINGA, CSA
THURSDAY, AUGUST 29, 2019
Witch was commissioned by Writers Theatre through the Literary Development Initiative, with the generous support of David and Mary Winton Green, and the World Premiere was presented at Writers Theatre in Glencoe, IL; Michael Halberstam, Artistic Director, Kathryn M. Lipuma, Executive Director.
EXECUTIVE PRODUCERS CIRCLE MEMBERS
Laurie & Bill Benenson Martha Henderson Pamela Robinson Hollander & Robert Hollander Loretta Everett Kaufman & Victor Kaufman
4 P L AY B I L L
Linda Bernstein Rubin & Tony Rubin Kimberly Steward & Josh Godfrey Miranda & Brett Tollman
WITCH CAST OF CHARACTERS (IN ALPHABETICAL ORDER)
BRIAN GEORGE* * FRANK THORNEY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RUY ISKANDAR * SCRATCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EVAN JONIGKEIT * WINNIFRED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . VELLA LOVELL * ELIZABETH SAWYER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MAURA TIERNEY * CUDDY BANKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WILL VON VOGT SIR ARTHUR BANKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
*Indicates member of Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers in the United States.
The Village of Edmonton. Then-ish. But equally of our moment.
There is no photography or filming of any kind allowed in the theater. Please turn off all electronic devices, including cell phones. Thank you!
95 minutes There will be no intermission.
OPENING NIGHT SPONSORS
G E F F E N P L AY H O U S E 5
B R I A N G EO R G E
Sir Arthur Banks
Brian George is an alumnus of The Second City (Toronto). Witch is Mr. George’s second appearance at the Geffen; the first was 2013’s Yes, Prime Minister. Other local appearances have been at the Mark Taper Forum (David Hare’s Stuff Happens) and the Kirk Douglas Theatre (Charles Mee’s A Perfect Wedding and Jon Robin Baitz’s Vicuña—which also ran at the Mosaic Theater Company of DC). On television, he has had the honor to appear in many iconic productions, including Star Trek, Seinfeld, and The Big Bang Theory. Last year’s I Feel Bad on NBC would also have been an iconic show had it not been canceled after a measly 13 episodes. (But he wants you to know that he’s not bitter. Not at all. He’s happy, in fact. Happy that he has so much time to devote to his new love of composting.) He has also supplied voices for countless cartoons, from Animaniacs to SpongeBob SquarePants. (And he’s still not bitter.)
E VA N J O N I G K E I T
Evan Jonigkeit stars in the Plan B/Starz half-hour drama series 6 P L AY B I L L
Sweetbitter, now in its second season. He returns to the stage after last appearing in The Snow Geese, directed by Daniel Sullivan for Manhattan Theatre Club on Broadway, and Really Really, directed by David Cromer for MCC Theater. Evan was nominated for an Outer Critics Circle Award for Best Supporting Actor in Rob Ruggiero’s production of High opposite Kathleen Turner, his Broadway debut. Evan’s numerous film and television appearances include Broad City, Unbreakable Kimmy Schmidt, Frontier, Girls, Easy, Sweetbitter, X-Men: Days of Future Past, Whiskey Tango Foxtrot and Tallulah. He will be next seen in the feature film The Night House opposite Rebecca Hall.
R U Y I S K A N DA R
Film/television: Benders (IFC), Sneaky Pete (Amazon Studios), The Blacklist (ABC), Gotham (FOX), The Rookie (ABC). Broadway: Macbeth (Lincoln Center). Off-Broadway: The Tempest (LA Philharmonic); Dance and the Railroad (Signature Theatre); Measure for Measure (Public Theater); The Hunters (Cherry Lane Theater); Purim Play (Classic Stage Co.); You for Me for You (MaYi Theater); Hamlet, ‘Tis Pity She’s a Whore, The Storm, Hot l Baltimore (NYU). Regional: The World of Extreme Happiness (Goodman Theatre), American Night: Ballad of Juan José (Denver Center Theatre), Twelfth Night, King Lear (Pennsylvania Shakespeare).
V E L L A LOV E L L
Vella Lovell is best known for her starring role as sarcastic voice of reason, Heather Davis, on four seasons of the critically acclaimed series Crazy Ex-Girlfriend. In addition to the CW series, the actress currently lends her voice to the popular reboot of the 80’s cartoon series She-Ra and the Princesses of Power, streaming now on Netflix. Additional television credits include HBO’s Girls and TV Land’s Younger. Lovell can also be seen in the Academy Award-nominated film The Big Sick, The Christmas Chronicles and The Speed of Life. Theater: Significant Other at Geffen Playhouse, Amy Herzog’s Mary Jane at Yale Repertory Theatre, The Bacchae at The Delacorte Theater, Kaspar Hauser at The Flea Theater, Streetcar Named Desire at Williamstown Theatre Festival. Graduate of New York University’s Tisch School of the Arts and The Juilliard School.
M AU R A T I E R N E Y
Golden Globe Award winning actress Maura Tierney stars on the Golden Globe Award winning Showtime series The
PRODUCTION BIOGRAPHIES Affair. She is also known for her Emmy Award-nominated role on the NBC series ER. She made her Broadway debut in 2013 starring in Nora Ephron’s Lucky Guy, alongside Tom Hanks. Tierney recently starred in Beautiful Boy opposite Steve Carell and Timothée Chalamet, and has upcoming Scott Z. Burns’ Torture Report. In 2006, she starred in the Off-Broadway production of Neil LaBute’s Some Girl(s). Additionally, she appeared in Nicky Silver’s Three Changes and the Wooster Group’s North Atlantic. Most recently Tierney has been touring internationally with The Wooster Group’s production The Town Hall Affair.
W I L L VO N VO GT
Will Von Vogt is thrilled to be returning to the Geffen Playhouse after previously starring as Jordan Berman in Significant Other. Favorite credits include Prior in Angels in America, Shen Te/Shui Ta in Brecht’s Good Person of Szechwan, Rudy in Bent and NBC’s Chicago Fire. Thanks and appreciation to his team at Vanguard Management Group. To learn more, check out willvonvogt.com.
J E N S I LV E R M A N
M A R T I LYO N S
Jen Silverman is a New Yorkbased writer. Her work includes Witch (Writers Theatre, Geffen Playhouse); The Roommate (Actor’s Theatre of Louisville, Williamstown Theatre Festival, Steppenwolf Theatre Company); Collective Rage: A Play in Five Betties (Woolly Mammoth Theatre Company, Southwark Playhouse, MCC Theater); Dangerous House (InterAct Theatre, Williamstown Theatre Festival) and The Moors (Yale Repertory Theatre, The Playwrights Realm). Jen is a member of New Dramatists, and an affiliated artist with The Playwrights Center in Minneapolis and SPACE on Ryder Farm. She’s a two-time MacDowell Colony fellow, a recipient of a New York Foundation for the Arts grant, the Helen Merrill Award, an LMCC Fellowship, and the Yale Drama Series Award. She was the 2016-2017 Playwrights of New York (PoNY) Fellow at the Lark. Random House recently published Jen’s first book, The Island Dwellers, a collection of interlinked stories set in the US and Japan. Her first novel is forthcoming with Random House in 2021. Jen also writes for television and film, most recently on Netflix’s Tales of the City. Education: Brown, Iowa Playwrights Workshop, Juilliard. More info: jensilverman.com
Marti Lyons is thrilled to work with Jen Silverman continuing their many recent collaborations, including Witch at Writers Theatre in Chicago and Wondrous Strange together with Meg Miroshnik, Jiehae Park and Martyna Majok for the 2015 Humana Festival at Actors Theatre of Louisville. Marti most recently directed Cambodian Rock Band by Lauren Yee at Victory Gardens Theater. She directed How to Defend Yourself by Lily Padilla for the 2019 Humana Festival as part of a co-world premiere with Victory Gardens Theater in Chicago, where Marti will direct the play again in 2019. Marti has directed Botticelli in the Fire by Jordan Tannahill (Woolly Mammoth Theatre Company); The Wolves by Sarah DeLappe and Kings by Sarah Burgess (Studio Theater); Guess Who’s Coming to Dinner (Court Theatre); Short Shakes! Macbeth (Chicago Shakespeare Theater) and Title and Deed by Will Eno (Lookingglass Theatre Company). Next, Marti will remount Cambodian Rock Band at City Theatre in Pittsburgh. This season, Marti will direct The Niceties by Eleanor Burgess (Writers Theatre), Jen Silverman’s The Moors (A Red Orchid Theatre) and the world premiere of The Scarlet Letter by Kate Hamill (South Coast Repertory). Marti is a proud member of SDC. For more information: martilyons.com
G E F F E N P L AY H O U S E 7
PRODUCTION BIOGRAPHIES DA N E L A F F R E Y
Geffen: set and costumes for Charles Dickens’ A Christmas Carol and Sell/Buy/Date. Broadway: Once on This Island (2018 Tony for Best Revival of a Musical), Deaf West’s Spring Awakening, Sam Shepard’s Fool For Love. Recent Off-Broadway: Hercules (The Public Theater / Delacorte), Dying City (Second Stage Theater), Apologia (Roundabout), Collective Rage: A Play in Five Betties (MCC Theater), Summer and Smoke (Classic Stage), Rancho Viejo (Playwrights Horizons), The Harvest (Lincoln Center), David Greenspan’s Strange Interlude (Transport Group). Recent Los Angeles: Good Boys (Pasadena Playhouse), Quack (Kirk Douglas Theatre), Annie (Hollywood Bowl), Merrily We Roll Along and Spring Awakening (Wallis Annenberg Center), The Christians (Mark Taper Forum). Other Regional: The Old Globe, Huntington Theatre Company, Williamstown Theatre Festival, Arena Stage, many others. Dane has been nominated for a Tony Award, two Drama Desk Awards, seven American Theatre Wing Henry Hewes Awards, an Ovation Award, and won a 2017 OBIE for sustained excellence in set and costume design. DA N A E I R I S M C Q U E E N
Danae Iris McQueen is a costume designer and artisan based in Los Angeles. Geffen Playhouse debut. Selected designs include The Pride (Wallis Annenberg Center, Ovation Award nomination), Annie (Hollywood Bowl, co-designed with Dane Laffrey), Gidion’s Knot, and From Prague (Contemporary American Theater Festival, world premiere productions). Upcoming designs: Little Shop of Horrors with Pasadena Playhouse and The Curious Incident 8 P L AY B I L L
of the Dog in the Night-Time with Greenway Court Theatre. She also builds costumes for television and live events, including Carrie Underwood’s Cry Pretty tour and FOX’s Emmy nominated The Masked Singer. Education: M.F.A. in Costume Design from the University of California, San Diego. danaeirismcqueen.com K E I T H PA R H A M
Broadway: Therese Raquin (Roundabout Theatre Company). Off-Broadway: Man from Nebraska (Second Stage Theatre); The Purple Lights of Joppa Illinois, Between Riverside and Crazy (Atlantic Theater Company); Tribes, Red Light Winter (Barrow Street Theatre); Stop the Virgens (Karen O at St. Ann’s Warehouse/Sydney Opera House); Ivanov, Three Sisters (CSC); A Minister’s Wife (Lincoln Center); Adding Machine A Musical (Minetta Lane). Regional: Father Comes Home From the Wars, The Wolves, Uncle Vanya (Goodman Theatre); All My Sons, The Hard Problem, Blues for an Alabama Sky, Man in the Ring (Court Theatre); The Way the Mountain Moved (Oregon Shakespeare Festival); Wild Goose Dreams (La Jolla Playhouse); Carousel (Arena Stage); TUTA Company Member: The Edge of Our Bodies, Gentle, Music Hall, The Anyway Cabaret, The Jewels, The Silent Language. Awards: Obie, Lortel. CRICKET S. MYERS
On Broadway, Cricket earned a Tony Nomination and a Drama Desk Award for her design of Bengal Tiger at the Baghdad Zoo. She has also designed regionally at the Geffen Playhouse (The Untranslatable Secrets of Nikki Corona, Underneath the Lintel, Play Dead, Discord, Wrecks, Some Girl(s),
Emergency), Mark Taper Forum (Bent, Steward of Christendom, Joe Turner’s Come and Gone, Bengal Tiger at the Baghdad Zoo, Lieutenant of Inishmore, Subject was Roses), La Jolla Playhouse (The Squirrels, Guards at the Taj, Sideways, The Nightingale), South Coast Rep (Sweeny Todd, Kings, A Doll’s House, Part 2, The Fantasticks, Elemeno Pea), Kirk Douglas Theatre (Mutthouse, Endgame, Bengal Tiger at the Baghad Zoo), Pasadena Playhouse (Real Women, Stoneface, Above the Fold), Wallis Annenberg Center (Sisters in Law, Blues in the Night). Other selected L.A. theaters include Ghost Road Theater Company, Ricardo Montalban Theater (I Only Have Eyes for You), and Celebration Theater. Cricket has earned 22 Ovation Nominations, as well as winning The Ruth Morley Award from the League of Professional Theater Women, The Kinetic Award for Outstanding Achievement in Theatrical Design, an LADCC and a Garland Award in Los Angeles. cricketsmyers.com M I K H A I L F I KS E L
Mikhail Fiksel is a designer, composer, musician, and DJ based in New York and Chicago. Recent work includes Mojada and We’re Only Alive a Very Short Amount of Time (Public Theater), Dana H. (Center Theatre Group and Goodman Theatre) and Byhalia, Mississippi (The Kennedy Center) and other projects with Playwrights Horizons, Manhattan Theatre Club, Oregon Shakespeare Festival, Chicago Shakespeare, Steppenwolf Theater Company, La Jolla Playhouse, The Old Globe, Victory Gardens, Writers Theatre and Albany Park Theatre Project. Outside of theater stages, his work includes film scores for Glitch,
PRODUCTION BIOGRAPHIES The Wise Kids, In Memoriam and Alien Brides and producing original audio plays for Make Believe Association and WBEZ. He is a recipient of two Lucille Lortel Awards, multiple Joseph Jefferson Awards and the Michael Maggio Emerging Designer Award and he is a proud member of USA and TSDCA. mikhailfiksel.com J ESS I CA L E E K E L L E R
Jessica has dedicated her career to creating and performing for over 30 years. Jessica co-choreographed the top 20 routine on So You Think You Can Dance Season 12. Associate choreography credits include: Teen Beach Movie, Teen Beach 2, The Adjustment Bureau, Now You See Me 2, Jem & The Holograms; Christopher Scott’s Emmy nominated routines “The Gravel Road,” “Sand” and “Velocity;” “Titanium” and “Classic” with Derek Hough on Dancing With the Stars’s award winning routine “Architect of the Mind;” Gloria Estefan’s “Wepa,” “Hotel Nacional,” and performance of “Miss Little Havana” on the Rosie show. She also choreographed for Disney Channel’s Austin & Ally “Homework and Hidden Talents” with Maddie Ziglar and Paramore’s performance at the 2013 Teen Choice Awards. STEVE RANKIN
Most recently at the Geffen: Big Sky. Broadway: Ain’t Too Proud, All My Sons, Carousel (Drama Desk Outstanding Fight Choreography), Summer, Memphis, Jersey Boys, Henry IV, Twelfth Night, The Who’s Tommy, Anna Christie, The Real Inspector Hound, Macbeth, The Farnsworth Invention, Guys and Dolls, Dracula, Doctor Zhivago, Bonnie and Clyde, Getting Away With Murder, Two Shakespear-
ean Actors. Off-Broadway: Pig Farm, The Third Story, The Night Hank Williams Died, Below the Belt. Public Theater: Coriolanus. Shakespeare LA: Henry IV (with Tom Hanks). Stratford Shakespeare Festival: Romeo and Juliet, Caesar and Cleopatra, The Who’s Tommy, Macbeth, Henry V. Metropolitan Opera: Faust, Rodelinda, Boris Godunov, Iphigenia in Tauris. Regional: Kennedy Center, Mark Taper Forum, Ahmanson Theatre, The Old Globe (Associate Artist), La Jolla Playhouse, Berkeley Rep, Actors Theater of Louisville, Center Stage, Geva Theatre Center, Virginia Stage Company, Asolo, et al. Mr. Rankin also plays mandolin and guitar with The Susie Glaze New Folk Ensemble. JULIE ANN RENFRO
Production Stage Manager
Julie is happy to be back at the Geffen after having recently completed the successful world premiere run of Invisible Tango! Additional Geffen credits include The Untranslatable Secrets of Nikki Corona, Sell/Buy/ Date, Letters from a Nut and The Legend of Georgia McBride. Other theater credits include Pasadena Playhouse, L.A. Opera, South Coast Repertory, Ojai Playwrights Conference, Shakespeare Orange County, Laguna Playhouse, Sydney Independent Theatre Company and Long Beach Shakespeare Company. She also previously toured with A Night with Janis Joplin (2018 North American Tour). Julie is from Orange County, CA, where she received her B.A. in Theatre Arts from Vanguard University, and is a proud member of Actors’ Equity Association. LYBNC! P H Y L L I S S C H U R I N G A , C SA
Phyllis is an Artistic Associate and the Casting Director for the Geffen Playhouse. Recent
casting includes Mysterious Circumstances, Black Super Hero Magic Mama, Skeleton Crew, The Legend of Georgia McBride, Guards at the Taj and American Buffalo at the Geffen, and Put Your House in Order at La Jolla Playhouse. She has received 5 Artios nominations: Significant Other, Actually, Barbecue, Barcelona, The Country House. Before joining the Geffen, she was the Casting Director for Steppenwolf Theater Company in Chicago where her favorites include Frank Galati’s adaptation of The Grapes of Wrath (also La Jolla Playhouse, National Theatre in London and Broadway, where it received the Tony Award for Best Play), the original production of Steve Martin’s Picasso at the Lapin Agile (and subsequent productions including Westwood Playhouse and Briar Street Theater in Chicago), Austin Pendleton’s Orson’s Shadow and Charles L. Mee’s Time to Burn. Broadway transfers include One Flew Over the Cuckoo’s Nest (Tony Award for Best Revival) and The Song of Jacob Zulu. She is a member of the Casting Society of America.
M AT T S H A K M A N
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 G E F F E N P L AY H O U S E 9
PRODUCTION BIOGRAPHIES 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.
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) and The Mesmerist (starring Jessica Capshaw and Geffen Playhouse alumnus Neil Patrick Harris). Cates’ television directorial debut was an episode of the NBC comedy Joey, starring Emmy winner Matt LeBlanc. He studied at the National Theatre Institute in Waterford, Connecticut, and holds a B.F.A. in Drama from Syracuse University.
G 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-to-day operations; developing new, ongoing theater partnerships and leading its mission to inform, entertain and inspire diverse audiences with live theater of the highest caliber. Prior to being named Executive Director in 2015, 1 0 P L AY B I L L
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 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.
B E H N A Z ATA E E
Chief Financial Officer
Behnaz “Nazy” Ataee is Chief Financial Officer for 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 the position of Director of Accounting at FABS Management, where she was responsible for overseeing the finances of more than 25 non-profit organizations. As a financial professional with more than 30 years’ experience in for-profit and non-profit financial management and auditing, Ataee began her career in the Bay Area as a partner in a small tech startup. She holds a master’s degree from Pepperdine University.
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 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 CONTACT
PRODUCTION STAFF FOR WITCH
Geffen Playhouse 10886 Le Conte Avenue Los Angeles, CA 90024
Assistant Director Scarlett Kim
Assistant Properties Master Miriam Levenson
Associate Scenic Designer Matt Iacozza
Properties Artisans Cami Viand, Josh Sheldon
Assistant Scenic Designer Antonio Ferron
Automation Operator Tyler Brogla
BOX OFFICE PHONE LINE
Assistant Costume Designer Alexis Carrie
Sound Board Operator Jackson Campbell
Assistant Sound Designer Jesse Mandapat
Stage Crew Oliver Brink
Wardrobe Supervisor Liz Rose
Production Assistant Sarah Nearhoff
310.208.6500 Monday through Friday, 10:00am – 6:00pm 310.208.5454 Daily, 7:00am – 6:00pm
310.208.2028 Daily, 12:00pm – 6:00pm Please visit geffenplayhouse.org for hours, parking and more information.
ACKNOWLEDGEMENTS Set Provided By F&D Scene Changes Ltd.
Production Photographer Jeff Lorch
Lighting Equipment Provided By Kinetic Lighting, Inc.
Media Filming Ramon Garcia
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.
Sound Equipment Provided By Jon Sound Inc.
Design + Art Direction Base Design
Please note: the box office window is unable to process exchanges and future sales one hour prior to curtain time on any performance day.
ACCESSIBLE ACCOMMODATION Geffen Playhouse is fully committed to providing access to patrons with mobility, visual and hearing impairments. Parking spaces directly outside the theater are zoned for drop off and pick up, as well as disabled parking spots for patrons with appropriate placards and plates. For more information about our Accessibility services and programs, visit geffenplayhouse.org/ access or call our box office. Partial support for open captioning provided by Theatre Development Fund.
LATE SEATING Should you arrive late to the theater or vacate your seat during the performance, please expect to be held in the lobby until an appropriate pause in the action on stage. To minimize disturbance to other patrons, you may be seated in the first available location by the house staff even if it is different from your assigned seat. Be advised that some productions or circumstances may not allow for late or return seating.
NO PHOTOGRAPHY There is no photography or filming of any kind allowed in the theater. Please turn off all electronic devices, including cell phones.
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Photography Yann Rabanier
UCLA School of Theater, Film and Television Scene, Prop, Sound and Costume Shops; London Cleaners
UCLA SCHOOL OF THEATER, FILM AND TELEVISION Geffen Playhouse is affiliated with the University of California at Los Angeles, specifically the UCLA School of Theater, Film and Television. Geffen Playhouse values its role as an important educational resource by providing students with master classes, workshops and internships. Students are also able to work and learn from distinguished visiting Geffen artists such as Alan Ayckbourn, Jon Robin Baitz, Annette Bening, Ed Harris, David Ives, Neil LaBute, David Mamet, Donald Margulies, Terrence McNally, John Rando and Kathleen Turner in areas of directing, playwriting, acting, design, dramaturgy, management and production. Geffen Playhouse also draws upon the distinguished experts in the university to enhance the theater’s programs and research.
This theater operates under agreement between the League of Resident Theaters and Actors Equity Association, the union of professional actors and stage managers in the United States. The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States This theater operates under agreement between the League of Resident Theaters and Stage Directors and Choreographers Society, an independent national labor union. The scenic, costume, lighting and sound designers in LORT theaters are represented by United Scenic Artists Local USA-829, IATSE.
BEHIND THE SCENES Q&A
HOW THE DARKEST OF HUMOR CAN HELP US SEE THE LIGHT
PHOTO BY DANE LAFFREY
AN INTERVIEW WITH PLAYWRIGHT JEN SILVERMAN
BY AMY LEVINSON, GEFFEN PLAYHOUSE ASSOCIATE ARTISTIC DIRECTOR
A M Y L E V I N S O N : Was The Witch of Edmonton [the source material for Witch] something that has always been of interest to you? How did you come to be inspired by this piece? J E N S I LV E R M A N : I had been interested in the source material for a long time, but I only knew it as a written text. It’s thought to have been written by three different playwrights, which is part of why it was so unapologetically messy. Most of the plays I encountered from that time period that dealt with witches were essentially propaganda plays: they instructed people on what to do if they had a witch in their midst. The Witch of Edmonton is the only one I found that boldly announces to the audience that it is going to do this exact thing, and then does entirely the opposite. It says, “This is a play about how evil and awful witches are and how
the good folk are being led astray.” But then, in the first scene, you meet a woman who isn’t a witch at all—she only becomes one because she is so reviled. The devil shows up in the form of a dog and even he says, “It’s hard to be you—would you like to be a witch?” The original play is so disarming and subversive that I had always wanted to engage with it without knowing how I would go about doing that. I was talking about this to my agent, Rachel Viola—I always tell her about my weird obsessions. She happened to be having lunch with Bobby Kennedy, who heads up new play development at Writers Theatre in Chicago. Bobby and I connected, and Writers Theatre commissioned it. I still didn’t know how I wanted to engage with the original, and Bobby suggested I just start writing, without having to articulate G E F F E N P L AY H O U S E 1 3
BEHIND THE SCENES Q&A
to him too much about where I thought I was going—and that ended up being the key. Once I started, I discovered that with each subsequent draft, I was learning what the play wasn’t rather than landing on what it was. So I would throw away most of it, keep what seemed right, and just keep working. I’ve never had quite this experience before in writing a new play. I can’t tell you how many drafts I went through before I gave Writers a “first” draft. A L : Can you give me an example of what the play wasn’t? What was thrown out along the way? J S : It isn’t at all faithful to the original in the ways I’d thought it might be. The devil isn’t a dog, as it turns out. So many of the original play’s concerns about land and title and status are absent—or are subsumed by my concerns with the question of invisibility: the ways in
personal life, and I guess also in our collective political life. I like to shape-change in terms of how I explore structure or genre, how thin the lines are between one tone and another. So my plays end up looking like completely different creatures. I’ve had people say that they read The Roommate and then Collective Rage: A Play in Five Betties and didn’t realize at first they were by the same playwright. But I think I come back to the same obsessions again and again, from different lenses—the question of transformation, whether or not we are capable of change; how far people will go to feel visible, to be perceived the way they long to be perceived; intimacy as a radical or dangerous act; how we get trapped by systemic power dynamics; what it takes to break free. I can’t shake these questions so I just keep asking myself versions of them. And dark comedy is
“THE WITCH OF EDMONTON IS THE ONLY PLAY I ENCOUNTERED FROM THAT TIME THAT BOLDLY ANNOUNCES TO THE AUDIENCE THAT IT IS GOING TO DO THIS EXACT THING, AND THEN DOES ENTIRELY THE OPPOSITE.” – PLAYWRIGHT JEN SILVERMAN
which we are rendered invisible to each other, how that invisibility shapes and sometimes destroys us. My play revolves around the twin questions of despair and hope, which is also very different from the original. This was a late discovery for me—I wrote the witch/devil track so many times in so many ways. It took a number of drafts to realize that the radical, future-oriented act at the heart of the play is the act of falling in love. A L : You do a wonderful thing with the tone of this play—it truly is a dark comedy. Each of your plays is so tonally distinct. Is tone something you set out to create or is it borne of the situation and characters? J S : Dark comedy is the only way I know to mine grief. It’s how I metabolize despair in my 1 4 P L AY B I L L
also something I return to again and again, because it’s a vessel for so much that we couldn’t look at otherwise. A L : You also mine comedy in calling out societal norms and upending them. J S : Yeah…to be honest, whenever I start paying attention to how gendered so many day-to-day interactions are, I feel like my head is going to explode. Ways in which women are talked to or talked over, how women’s bodies become public property, immediate assumptions that are made about intellectual ability or authority based on what our voices sound like or how our bodies are shaped. I have to ignore so much of that in order to not live in a state of constant rage. But raging at people doesn’t shift behavior based in unconscious bias—asking individu-
BEHIND THE SCENES Q&A
als to examine and question their unconscious assumptions is what creates change. Those textures permeate the early scenes between Elizabeth and Scratch. Scratch comes from the position of ultimate power and unexamined assumption—he’s the devil! (Or a devil.) But as Elizabeth becomes real to him, and as his feelings take him into new territory, he starts asking himself new questions—and then having to work to uncover new answers. So many of the early iterations of those scenes taught me how contemporary this play needed to be. Nothing about this play is actually about England in 1621. To me, an adaptation is just choosing a different shaped window to look at what’s happening right now. A L : Your description of the time period of the play is “then-ish,” which I love. Can you talk a bit about how the past is woven into the fabric of the play and how it’s represented in the overall design? J S : This is the question that Marti [director Marti Lyons] and I have been asking ourselves since we started working on this production. In Chicago, our design gave the audience a more literal engagement with a period construct, the “then-ness.” In this second production, we’re exploring a different tactic, leaning more into the “ish” than the “then.” We’re working with scenic designer Dane Laffrey and costume designer Danae Iris McQueen to capture authentic textures that viscerally invoke the harsh conditions of Elizabeth’s world—mud, wood, burlap—while engaging in the same kind of contemporary cheekiness of the text itself. A L : Why do you think this is the play you were drawn to writing now? J S : To me, we are poised in the quintessential moment of asking ourselves if we can fix the system from within or if the only way forward is just to burn it all down. I am neither as optimistic nor as radical as many of my friends, and I do tend toward believing that I have to engage with the systems that are present. That the needle gets moved—painfully slowly—because you work with what you have, not because you throw it all out. And yet, in the last three years, I have really questioned whether we are leading ourselves to a point where the systems themselves can’t be salvaged. The question that the play is posing is closely aligned with questions that I am asking daily.
Title page from a 1658 printed edition of The Witch of Edmonton by Rowley, Dekker & Ford. Courtesy Houghton Library, Harvard University.
I wrote this play in this way because there’s no other way that I can process these huge questions. I think in a different moment in time it would have been a very different play. I wake up in the morning with the feeling that we are hurtling toward something inexorable, and I have heard people—with whom I have absolutely no political common ground—express the exact same feeling. It’s either very strange or very human that we can agree on nothing except our fear of impending doom. When we first did this play in Chicago, a woman came up to me and told me that she saw the play as an argument for hope. She and her husband had been discussing whether you can bring a child into a world like this, and she said they saw the play and decided to have a child. We had this conversation at a moment in which I did not, myself, feel any hope whatsoever, and I couldn’t see it in the play either. She completely reframed the play for me—she gave me an entirely different window through which I could see it. So while Witch examines what despair can lead to, maybe it also reminds us that hope has the same power. To read more about Witch, visit blog.geffenplayhouse.org. G E F F E N P L AY H O U S E 1 5
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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 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 Adriana Kahane Jessica Kaltman & Robert Reznick G E F F E N P L AY H O U S E 2 3
ANNUAL DONORS 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 Linda May Douglas Mcavoy, Jr. 24 P L AY B I L L
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&#x20AC;&#x2122;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.
ARTISTIC Amy Levinson Associate Artistic Director Daniel Ionazzi Producer Phyllis Schuringa Artistic Associate / Casting Director Young Ji Associate Producer / Company Manager Rachel Wiegardt-Egel Manager of New Play Development Toni France Artistic Intern Natalie Epstein Literary Intern
PRODUCTION 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 James Grabowski House Sound Supervisor Ramine Ameli Lighting & Projection Supervisor Brandon Paul Production Electrician Liz Rose Wardrobe Supervisor
ADMINISTRATION Behnaz Ataee Chief Financial Officer Peter Banachowski Senior Accountant & Financial Analyst Nova George Staff Accountant & Payroll Specialist Clay Dzygun Office Coordinator Marguerite Harris Receptionist
DEVELOPMENT Regina Miller Chief Development Officer Ellen Catania Senior Vice President of Development
Jessica Brusilow Rollins Director of Education Partnerships & Donor Relations Jamie Mikelich Director of Individual Giving Mark San Filippo Director of Donor Stewardship Christine Drew Benjamin Development Manager Austin Merrill Development Intern
Jennifer Zakkai Director of Education & Community Engagement Joannarae Ibañez Manager of School & Community Programs
Celia Rivera Assistant Box Office Manager 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 Sue Fleishman Communications Consultant
FRONT OF HOUSE Jeni Pearsons Director of Special Events Mel Yonzon Front of House Manager Amy Farkas Lead Concierge
Brian Allman Manager of Theater Education
Anya Pryjmak, Madison Shamoun House Managers
Celia Rivera Community Engagement Coordinator
Katherine Banos, Ryan Brophy, Jada Harris, Elza Hofeld, Lucy Houlihan, Otniel Henig, 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
Brian Majestic Veterans Project Coordinator Darien Battle, Ramy El-Etreby, David Guerra, Michael McClain, Robert Paterno, Carissa Pinckney, Tara Ricasa, Celia Rivera, Jessica Winward Teaching Artists
MARKETING & COMMUNICATIONS Patrick Brown Director of Marketing
Zenon Dmytryk Director of Communications Karen Gutierrez Director of Advertising & Audience Development Brian Dunning Director of Content & Creative Zack Hamra Associate Director of Audience Services & Ticketing Kevin O’Brien Marketing Manager
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
INFORMATION TECHNOLOGY Karim Bouzzit System Administrator
Ramon Garcia Video Producer
Miguel del Castillo Facility Manager
Wendell Pascual Production Artist
Mario Santillan-Perez Custodial
Janice Bernal Box Office Manager
Juan Carlos Umaña Cleaning Custodial
Alyssa Tyson 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