Performances Magazine: The Wallis, February 2018

The Wallis FEBRUARY

2018

Kneehigh’s The Flying Lovers of Vitebsk

PL US : The House is Black Stephen Schwart Media Project | G z & Friends | Be reat Expectations rlin Philharmon ic Wind Quintet Broadway @ The with Stephen Ho Wallis with Seth ugh Rudetsky | Jackie Unveiled

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A Touch of Heaven

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When was the last time you experienced something so beautiful, it changed how you saw the world?

moment so uplifting, you wished you could stop time. Savor it a little longer. Stunning beauty and positive energy are only two of Shen Yun’s hallmarks.

Powerful, purifying, heartwarming, a source of hope—these are the words viewers use to describe their experience.

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expressing something that’s both pure and good.”

of traditional talents.”

“ I have reviewed about 4,000 shows, none can compare to what I saw tonight... Go back and see it about six times! ” —Richard Connema, renowned Broadway critic

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⁄⁄⁄⁄ FEBRUARY 2018

CONTENTS 14 OPTING FOR ACTING Classical music and opera stars are applying their talents to acting roles in film and musical theater.

18 PUTTING IT TOGETHER

Company managers handle myriad details to keep arts groups running smoothly and performers happy.

P1 PROGRAM

Cast, who’s who, director’s notes, chairman’s letter and donors.

6 IN THE WINGS

Violinist Daniel Hope leads Zurich Chamber Orchestra at the Wallis; Gospel Music in Los Angeles at CAAM.

10 DATELINE

Wagner Ring cycle in San Francisco; boy-meets-girl musical Escape to Margaritaville on Broadway.

66

54 SHOPPING

Jewelry/leather goods designer Mara Carrizo Scalise hails from Buenos Aires but is no stranger to L.A.

54

58 HOME

66 TRAVEL

62 DINING

72 BACK PAGE

New York-based lighting designer Lindsey Adelman opens a studio/ showroom downtown.

Molecular gastronomy specialist and Top Chef champ Michael Voltaggio shutters ink. and opens ink.well.

Sonoma County offers film festivals in Sonoma, Sebastopol and Bodega Bay, above, in March.

Tongva Park, Santa Monica

2 PERFORMANCES MAGAZINE

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EVENTS ⁄⁄⁄⁄ EXHIBITS ⁄⁄⁄⁄ PERFORMANCES

INTHEWINGS

How did Los Angeles become a hub of 20th-century gospel music? Through artifacts, photographs, memorabilia and other ephemera, How Sweet the Sound: Gospel Music in Los Angeles explores this facet of the city’s religious history and highlights musicians such as James Cleveland, Andraé Crouch and Sallie Martin. The exhibition, opening Feb. 8 at the California African American Museum, is a collaboration with the University of Southern California (USC) Gospel Music Archive. Aspects include the Azusa Street revival in 1906, the migration to L.A. in the 1940s, innovators within black church congregations, the genre’s role in the Civil Rights era and its commercial success. Each contributed to a phenomenon that shifted popular culture and politics and uplifted the country for generations. Exposition Park, 600 State Drive, downtown, 213.744.7432, caamuseum.org

COURTESY IN OUR OWN IMAGE

A choir sings for civil rights on the steps of Los Angeles City Hall in the 1960s.

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HOPE, HARALD HOFFMANN. GETTY, J. PAUL GETTY MUSEUM

British violinist MUSIC Daniel Hope is the first instrumentalist to be named music director of the Zurich Chamber Orchestra. March 22, in the Bram Goldsmith Theater at the Wallis Annenberg Center for the Performing Arts, Hope and the acclaimed orchestra present Vivaldi’s The Four Seasons followed by Max Richter’s Recomposed, a minimalist recomposition of the Baroque masterpiece.

Scenes From the Martyrdom of Robert of Bury (ca. 1480-90)

The British Observer wrote of Hope, “The violinist, now among the best in the world as well as the most thoughtful, is as brilliant at Bach as Birtwistle,” referring to British composer Harrison Birtwistle.

The ensemble, also known as Zürcher Kammerorchester, was founded more than 70 years ago; Hope took over from Sir Roger Norrington in 2016. 9390 N. Santa Monica Blvd., Beverly Hills, 310.746.4000, thewallis.org

British violinist Daniel Hope

Medieval manuscripts preserve stories of MUSEUM faith, romance, and knowledge. But, as seen in the exhibition Outcasts: Prejudice and Persecution in the Medieval World, through April 8 at the Getty Center, their luxurious illuminations can reveal disturbing narratives as well. Often created for the privileged classes, such books nevertheless provide glimpses of the marginalized and powerless. Attitudes toward women, Jews and Muslims, the poor, those perceived as socially divergent, and foreign peoples beyond European borders can be discerned through caricature and polemical imagery as well as marks of erasure and censorship.

Such illuminations can be viewed on the plaza level of the center’s North Pavilion. 1200 Getty Center Drive, L.A., 310.440.7300, getty.edu PERFORMANCES MAGAZINE 7

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⁄⁄⁄⁄ SHOWS ELSEWHERE

DATELINE

Love is in the air at Lincoln Center’s David H. Koch Theater, where New York City Ballet’s Romeo + Juliet returns for Valentine’s Day. Shakespeare’s NEW YORK star-crossed lovers swoon to Sergei Prokofiev’s sweeping score; audiences lose their hearts Feb. 13-23. Far less tragic is Escape to Margaritaville, Broadway’s latest boy-meets-girl musical. He’s a laid-back bartender who needs to party less; she’s an environmentalist who needs to party more. With a tropical island setting and a jukebox full of Jimmy Buffett songs, the ending is never in doubt at the Marquis Theatre; previews begin Feb. 16. Marrying traditional African movement and contemporary choreography at the Joyce Theater, Feb. 6-11, dance company Ronald K. Brown/EVIDENCE proves that, when opposites attract, theatrical fireworks ensue.

AYODELE CASEL

Annique Roberts and Ronald K. Brown in Torch

8 PERFORMANCES MAGAZINE

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⁄⁄⁄⁄ SHOWS ELSEWHERE

The Inheritance, a new work by American playwright Matthew Lopez, is shown in LONDON two parts March 2-May 5 at the Young Vic. It raises the question: What is life like for a gay man in New York a generation after the AIDS crisis?

What has changed? The production, both comedic and serious, is directed by Stephen Daldry. Set amid the intensity of summer heat and indecision, Tennessee Williams’ Summer and Smoke, Feb. 24-April 7 at the Almeida Theatre, chronicles the destructive quasiromance of unmarried Alma Winemiller and one Dr. John Buchanan Jr. Families will be whistling “I’ve Got No Strings” after seeing Pinocchio, the new musical through April 10 at the National Theatre. The production, by the team behind Harry Potter and the Cursed Child, dazzles.

Charting an epic course from the birth of nature to the fall of the gods and the dawn of a new age, arguably the most monumental work of art ever created returns to San Francisco Opera. Wagner’s four-opera Der Ring des Nibelungen, the Ring cycle, unfolds at the War Memorial Opera House as Wagner intended: in its entirety, experienced over the course of a single week, June 12-17, June 19-24 and June 26-July 1. Donald Runnicles conducts the revival of director Francesca Zambello’s acclaimed production, first introduced during the company’s 2011 Ring Festival. Three international Wagnerians make their San Francisco Opera debuts: German soprano Evelyn Herlitzius, American tenor Daniel Brenna and German bassbaritone Falk Struckmann.

Photograph © Holger Hage / Deutsche Grammophon

THE WEST

THE WEST, CORY WEAVER/SAN FRANCISCO OPERA

Götterdämmerung, final opera in Wagner’s Ring cycle

The Inheritance at the Young Vic

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“One of the tiny elite of truly great singers active in the world today.” -The Telegraph

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Photograph © Holger Hage / Deutsche Grammophon

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OPTING FOR ACTING

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CLASSICAL MUSIC AND OPERA STARS ARE APPLYING THEIR TALENTS TO ACTING ROLES IN FILM AND MUSICAL THEATER. BY LIBBY SLATE Nettie in a 1994 revival. Opera star Paulo Szot won a Tony Award in 2008 as Emile de Becque in a South Pacific revival—opera’s Rodney Gilfry played the role in the national tour stop at Ahmanson Theatre in 2010 —and classical/pop crossover singer Josh Groban was nominated for a Tony last year for the musical Natasha, Pierre & the Great Comet of 1812. Both Szot and Groban were making their Broadway musical theater debuts.

Fleming has always acted in her operatic roles, of course, but, she says, “in opera, there’s no spoken dialogue. Everything is sung, though you get the recitatives,” narrative passages sung in the rhythm Lynn Harrell, one of the world’s great cellists, plays a cellist battling nerve disorder ALS in the short film Cello. Samantha Desman plays his granddaughter.

COURTESY HANNOAH ENTERTAINMENT

LYNN HARRELL IS A WORLD-RENOWNED CELLIST and Grammy Award winner. Now, he’s also collecting Best Actor trophies from film festivals, thanks to his role as a cellist battling ALS in the short film Cello.

Opera star Renée Fleming is also known worldwide. She returns to LA Opera on Feb. 6 for a solo recital at the Dorothy Chandler Pavilion downtown and in April makes her Broadway musical theater debut in a revival of Rodgers & Hammerstein’s Carousel, playing warm and wise Nettie Fowler.

Harrell and Fleming are two of the most recent classical music stars to turn to acting. The phenomenon isn’t new. Metropolitan Opera’s Christine Johnson originated the role of Nettie on Broadway in 1945 and opera singer Shirley Verrett portrayed

F

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S I L L A W E H T @ TER

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Flying Lovers of Vitebsk

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“I’ve been fascinated with this awakening of subjectivity and connection to drama,” he says.

“I think it’s been very much a part of my musical personality for years. [My] being involved with the film has manifested itself in ways other than the cello—to communicate a dramatic situation using my face, my voice, my timing.

Playing cello, “you have to play the notes pretty much exactly when and where they’re notated by the composer. In acting, you have a completely open space of when to speak.”

Acting has “opened up aspects of my music making that I’ve been able to highlight more. I’m more aware than ever of the drama within confrontation [between instruments]—it’s so important to bring the drama of the relationships out.”

The cellist was glad to leave behind one aspect of the cinematic drama. “I was so delighted when the final day of shooting was over,” Harrell says with a smile. The movie had taken 13 months to film because of various scheduling conOpera star flicts. “I realized I’d been living for Renée Fleming makes her over a year in the shadow of being Broadway terminally ill. And suddenly it was, musical theater debut playing ‘I don’t have to die!’ Fabulous.”

Nettie Fowler in a revival of Rodgers & Hammerstein’s Carousel.

DECCA/TIMOTHY WHITE

of speech. “Musicals are amplified—that’s quite different for me. We’re never amplified. We always have to think about being heard....You have to make sure that the sound you’re making is heard in the back of the hall. That requires a focus that you don’t need with amplification.”

Then of course, there’s the matter of language.

“I’ve rarely gotten to perform an opera in English,” Fleming says. Her being able to sing in English is “more immediate. It’s my native tongue. It takes away a barrier.” She has talked to friends about pacing herself and maintaining her stamina through eight shows a week, week after week.

“I’ve been singing for a long time, so hopefully my technique will support me.”

There is a lot more focus on text in musicals. “The words are the primary source,” she says, “whereas in opera, it tends to be the music—a thought, an emotional situation is extended [musically].”

Fleming provided vocals for the recent movies Three Billboards Outside of Ebbing, Missouri and The Shape of Water and serves as the voice of Julianne Moore as a Fleming-like opera star in the upcoming Bel Canto. “Julianne was sitting 5 feet from me, to try and absorb how we look when we’re singing, how we physicalize as an opera singer,” she says.

“That was an interesting sharing of two worlds.”

For Harrell, acting onscreen was definitely a first. In Cello, a fictional story written and directed

by Chinese filmmaker Angie Su, Harrell portrays famed cellist Ansel Evans, who is battling the degenerative nerve disorder ALS and grappling with ending life on his own terms. The 20-minute film features Harrell performing an abridged version of Edward Elgar’s poignant Cello Concerto, scenes of top local musicians in concert and a score

by Randy Kerber, an Oscar-nominated composer, arranger and keyboardist.

Never having acted professionally before—his wife, violinist Helen Nightengale, had seen Su’s casting notice for a master cellist—Harrell discovered that he was a natural.

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PUTTING IT TOGETHER

COMPANY MANAGERS HANDLE A MYRIAD OF DETAILS TO KEEP PERFORMERS HAPPY AND ARTS COMPANIES RUNNING SMOOTHLY. BY LIBBY SLATE performing arts organization.

Baldwin’s LinkedIn profile lists more than 20 duties, among them managing the company calendar, e.g., photo shoots and days off; helping negotiate collective bargaining agreements; generating box office reports; managing workers’ compensation claims; and even licensing music.

“I asked to do that,” Baldwin says of the latter.

“I have a long background in music, and I was familiar with the composers.” And when there’s a live orchestra playing for Chicago performances, she makes sure musicians’ music is delivered.

The Joffrey performs in two engagements here: its Romeo & Juliet March 9-17 and a co-production with LA Opera and others, Orpheus and Eurydice March 10-25. For the dancers, keeping their bodies in optimum shape is key away and at home.

Jeraldine Mendoza in the Chicago-based Joffrey Ballet’s production of Romeo & Juliet, set in 20th century Italy, at the Dorothy Chandler Pavilion in March.

CHERYL MANN

WHEN THE JOFFREY BALLET PERFORMS AT THE Dorothy Chandler Pavilion in March, it will be company manager Blair Baldwin’s responsibility to make sure that the dancers’ dressing rooms maintain the temperature range required by the Joffrey’s collective bargaining agreement, 72 to 85 degrees Fahrenheit.

The Chicago-based company stays in corporate housing here, but if it had to stay in hotels, Baldwin would book rooms only at properties that have an ice machine on every floor, so that the dancers can ice away their aches and pains.

And if lodging is beyond a certain distance from the theater, it’s up to Baldwin to secure transportation to and from rehearsals and performances.

Logistical details of touring are not the only elements comprising a company manager’s job.

Foremost is serving as liaison between resident and guest artists and the various departments of a 16 PERFORMANCES MAGAZINE

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M

HAL BANFIELD

“We’re very involved in the meddays. Artists’ contracts run from ical aspects,” Baldwin says, such the first rehearsal through the as establishing a contract with a final performance. medical group in Chicago for treatAt Center Theatre Group (CTG), ment, and coordinating physical also at the Music Center, Megan therapy and chiropractic services.

Alvord divides her time as com“We’re focusing more and more pany manager for its Mark Taper on mental wellness,” she says.

Forum and Kirk Douglas Theatre “There’s a lot of stress in being a between their locations downdancer. A lot of them are young town and in Culver City, respec[and] in the U.S. for the first time. tively. She wants to be available Stress affects performances, and as much as possible for the actors Megan Alvord of Center Theatre learning the performance. We’re in rehearsal and performance.

Group divides her time as company manager for its Mark Taper working really hard to get resourcAlvord sometimes handles a Forum and Kirk Douglas Theatre. es. I’m the first point of contact for production at each theater—CTG the dancers, to figure out the proper person to see.” presents two plays of a trilogy by Quiara Alegría Opera singers’ top priority is protecting the voice Hudes, Water by the Spoonful, through March 11 at and throat. “The artists like to have humidifiers,” the Taper, and Elliot, a Soldier’s Fugue through says LA Opera company manager Nicki Harper.

Feb. 25 at the Douglas—and another in rehearsal.

“There are certain things you keep out of their That’s triple the payroll to process and triple the dressing rooms, that will cause phlegm to build up, schedules to plan. such as spicy foods and ice cream.” Other than that, Alvord makes travel and housing arrangements she says, “opera singers are very self-sufficient.” if there are out-of-town artists. And when underLike Baldwin, Harper makes travel arrangements studies go on, she makes sure that their names are for artists and obtains visas if needed. “The most displayed in the lobby and that they are paid. complex thing is getting them here,” she says.

Pilot season—when pilots for potential new “Each artist comes with their own set of details television series are cast and produced, generally that need to be worked out with their agents. They January through April—can be disruptive. like to fly on this airline, at this time of day.

“The actors are going to choose [those offers] “Some arrive late, after rehearsals have started, over the play,” Alvord says. “We had one actress in because of their previous engagement. “Will they Zoot Suit [last year at the Taper] who had to leave do a costume fitting the same day? How do you us due to getting a pilot. We were happy for her— make sure [music director] Maestro [James] Conlon and then we had to get a new performer.” has what he needs, the costume shop has what it Superior organizational skills are a must-have for needs? It’s knowing where everything fits in.” a company manager. So, too, is compassion, Alvord Harper also sets the rehearsal schedule. Once says. That’s needed for supporting a television a season has been announced, she has a general hopeful, comforting an actress whose son suddenidea of what’s needed and adjusts according to ly becomes ill or listening to performers needing to each opera’s complexity. She usually starts bookexpress the emotions evoked by their plays. ing travel a month before rehearsals begin; for A sense of humor is helpful, Baldwin says.

Candide, playing at the Pavilion Jan. 27-Feb. 18, she Whatever the situation, Harper says, “We make made travel arrangements earlier due to the holisure [performers] are happy, healthy and ready.”

Mor offer

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Board of Directors 2017-2018

“Never be limited by other people’s limited imaginations.”

-Dr. Mae Jemison, first African-American female astronaut

Dear Friends,

Michael Nemeroff BOARD CHAIRMAN

David C. Bohnett

CHAIRMAN OF THE EXECUTIVE COMMITTEE

Lauren Leichtman EXECUTIVE VICE CHAIR

Vicki Reynolds VICE CHAIR

Arnold Rosenstein

VICE CHAIR & ASSISTANT TREASURER

Richard Rosenzweig VICE CHAIR

Jonathan Victor TREASURER

Ronald D. Rosen SECRETARY

Susan Strauss

ASSISTANT SECRETARY

Arnon Adar Debbie Allen Wallis Annenberg Jacqueline Avant John Bendheim Steve Cochran Sharon Davis Steve Ghysels MeraLee Goldman Bruce Goldsmith Carol Goldsmith Halle Hammond Cinny Kennard Kris Levine Gail Lopes Nigel Lythgoe OBE Mark Louchheim Linda May Daphna Nazarian Kenneth Salkin Bruce Schulman Marc Selwyn Ron Simms Stephanie Vahn Regina Weingarten Luanne Wells FOUNDING CHAIRMAN

Bram Goldsmith*

On behalf of everyone at The Wallis, thank you for joining us this month. February offers a robust slate of programming that traverses a rich and diverse landscape of limitless imagination.

While February at The Wallis celebrates African-American History Month, The Wallis is always committed to African-American artists. Earlier this season we hosted the hit production of Turn Me Loose starring Joe Morton as comic and activist Dick Gregory, which we followed with a panel discussion on Social Activism & The Arts on December 11. Last month, we presented Los Angeles’ own Lula Washington Dance Theatre in three separate programs over the Martin Luther King, Jr. weekend. We’ll also be producing a much-anticipated revival of Sheldon Epps’ Tony and Olivier-nominated musical Blues in the Night in the intimate Lovelace Studio Theater beginning in April.

I am also delighted to announce that our Spring Celebration on May 7, 2018 will honor the lives and work of two pioneering African-American artists: Debbie Allen and Phylicia Rashad.

The two honorees—and sisters—have inspired millions with their talent, energy, creativity and passion. We hope you will join us to celebrate their many pioneering accomplishments, ongoing creative achievements and mentorship activities, as well as raise critical funds for The Wallis’ artistic and educational programs.

This month we’re also incredibly proud to produce the world premiere of Tom Dugan’s Jackie Unveiled, an intimate and provocative look at Jacqueline Kennedy Onassis starring Saffron Burrows from “Mozart in the Jungle.” Iranian-American artist Sussan Deyhim’s The House is Black Media Project is a stunning—and timely—celebration of the work of Iranian feminist icon Forough Farrokhzad.

Our ongoing partnership with The ASCAP Foundation yields our third annual Musical Theatre Workshop, as well as an evening with Wicked composer Stephen Schwartz hosting up-andcoming musical theater writers. Showtune aficionados will also want to catch Broadway @ The Wallis with Patti LuPone and Seth Rudetsky. We are thrilled to present the Berlin Philharmonic Wind Quintet with MacArthur “Genius” pianist Stephen Hough in a very special concert of Mozart, Barber and more - including an original work by Hough.

The UK’s Kneehigh Theatre returns to The Wallis for their third engagement (after Brief Encounter in ‘14 and 946: The Amazing Story of Adolphus Tips in ‘17) with The Flying Lovers of Vitebsk, about the romance between Russian-French artist Marc Chagall and his wife Bella.

Last, but certainly not least, Kneehigh founder David Mynne brings his family-friendly adaptation of the Charles Dickens classic Great Expectations - in which he plays all of the characters!

Thanks again for joining us at The Wallis for a month of limitless imagination.

FOUNDING PRESIDENT

Paul Selwyn

All the best,

CHAIRMAN EMERITUS

Jerry Magnin

PRESIDENT EMERITUS

Richard Rosenzweig LIFETIME TRUSTEE

Les Bider Max Salter

* in memoriam

Michael Nemeroff Board Chairman

Paul Crewes Artistic Director

Rachel Fine Managing Director

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Paul Crewes Artistic Director

Rachel Fine Managing Director

present

THE HOUSE IS BLACK MEDIA PROJECT CONCEIVED, PRODUCED AND PERFORMED BY

Sussan Deyhim

CO-DIRECTED BY Robert Egan and Sussan Deyhim

CO-COMPOSED BY Richard Horowitz and Sussan Deyhim

EXECUTIVE PRODUCER Nina Ansary

DRAMATURGE Robert Egan

LIGHTING DESIGN Anne Militello

PROJECTION DESIGN Jason H. Thompson

ASSISTANT DIRECTOR AND MOVEMENT ADVISOR Madeleine Dahm

COSTUMES Kitty Youngs

MUSIC PERFORMERS Richard Horowitz (Ney) Hagai Izraeli (Flumpet)

MEN Max Oken (#1) Dorian Ovalle (#2)

CINEMATOGRAPHY Jefferson Miller, Snehal Patel and Siamak Nasiri Ziba

TECHNICAL COORDINATOR Erika Sellin

LIVE SOUND Flash Feruccio

PROJECTION ENGINEER Sean Fluster

PROGRAMMING AND TECHNICAL ASSISTANCE Andrew Silagy

TRANSLATORS Amin Banani, Ahmad Karimi Hakkak and Farzaneh Milani

FILM AND VISUAL DESIGN AND DIRECTION Sussan Deyhim

GRAPHIC DESIGN (SUPPORT MATERIAL)

Kourosh Beigpour

PLUS EXCERPTS FROM Forough Farrokhzad’s award-winning Documentary Kheneh Siah Ast (The House is Black) Produced by Ebrahim Golestan; and Nasser Saffarian’s documentary on Farrokhzad’s life (The Mirror of the Soul).

FEBRUARY 1-3, 2018 Bram Goldsmith Theater

Running time: 1 hour and 50 minutes, including a 15-minute intermission

This project is sponsored by the prominent Iranian cultural foundation The Farhang Foundation. This program was created as part of CAP UCLA’s Artists-in-Residence Program. Additional funding was provided by The Andrew W. Mellon Foundation and Susan and Leonard Nimoy in support of CAP UCLA’s Artists Fellowship Program. And through a fellowship residency at The Robert Rauschenberg Foundation/Rauschenberg Residency.

This program is dedicated to the memory of Anousheh Razi.

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About the Program

Artist Statement For me, the most inspiring aspect of this project is the opportunity to introduce the great work and sensibility of an Iranian female icon to the international community.

The House is Black is Sussan Deyhim’s media-film-performance project, inspired by the works of Forough Farrokhzad, one of Iran’s most influential feminist poets and filmmakers of the 20th Century. This project seeks to shed light on the importance of progressive Iranian contemporary arts through the vision of two of Iran’s most avant-garde female artists, Forough Farrokhzad and Sussan Deyhim.

Deyhim has created a series of nonlinear poetic tableaux inspired by the poems of Forough Farrokhzad. The audience travels through a visual, sonic and theatrical journey into the heart of Forough ‘s prophetic vision where her most intimate, soulful and provocative moments leap off the page and onto the stage.

Her message is as poetically and politically relevant today for the women of Iran and the world as it was fifty years ago when she died tragically at the age of 32.

An original score composed by Deyhim and Golden Globe-winning composer Richard Horowitz, creates a cinematic musical landscape, including influences rooted in Persian and Western contemporary classical music, jazz and electronic music with an elaborate vocal soundscape and intricate sound design component. Archival images and scenes from Forough’s documentary The House is Black and Bernardo Bertolucci’s 1965 interview with Forough, along with Deyhim’s original film and visual projections, will create the backdrop and provide a window into the life of Iran’s most controversial poet and filmmaker.

Many Iranian intellectuals consider Forough a cultural godmother of modernist literature in Iran, but she died so young (at the age of 32) that I also think of her as our cultural daughter. A rebel with a cause. Forough spoke with awe-inspiring rawness and maturity. She was an existentialist, feminist provocateur. She was Iran’s Simone de Beauvoir, Frida Kahlo, Maya Deren and Patti Smith all rolled into one. Her work has given me the inspiration to continue my own artistic journey during my 30 years in exile from Iran. Her poetry is the narrative for this project and through it I am able to express some of my deepest feelings and visions about Iran both metaphorically and literally. Across the piece’s abstract conceptual landscape, I will lead the audience through each tableau in a series of unique interpretations of the various characters from Forough’s poems, transporting them on an evocative journey to Iran of the 1950’s and back into the present where we need to embrace the universality and humanity of her message more than ever. The score and the sound design are inspired by the poetic and emotional content of each poem to create a moving song cycle within an ambient atmosphere. With the enormous pressure currently placed on Iranian artists and intellectuals –especially women— Forough ’s fight for freedom of artistic and ideological expression remains the central issue of our time 50 years after her death.

I am delighted The House is Black Media Project is presented by this great institution, the Wallis Annenberg Center for the Performing Arts, followed by a presentation at The Metropolitan Museum of Art in March. This is especially meaningful considering the current political atmosphere where the arts are more than ever our way to illuminating and educating each other.

— Sussan Deyhim

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About the Artists

FOROUGH FARROKHZAD was no doubt the godmother of Iranian modern poetry and film and a radical feminist whose horizon truly transcended feminism to reach a universal humanistic outcry, which is relevant to this day both inside and outside of Iran. Her nuanced polyphonic poetry takes us through a shockingly wide spectrum of ideas and visions. She is Iran’s Sylvia Plath; she attended school until the ninth grade, then was taught painting and sewing at a girl’s school for the manual arts. At age 16 she was married to Parviz Shapour, an acclaimed satirist. Farrokhzad continued her education and moved with her husband to Ahvaz. A year later, she bore her only child, a son named Kamyar. Within two years, in 1954, Farrokhzad and her husband divorced; Parviz won custody of the child. She moved back to Tehran to write poetry and published her first volume, entitled The Captive, in 1955. Farrokhzad, a female divorcée writing controversial poetry with a strong feminine voice, became the focus of much negative attention and open disapproval. In 1958 she spent nine months in Europe. After returning to Iran, in search of a job she met filmmaker and writer Ebrahim Golestan, who reinforced her own inclinations to express herself and live independently. She published two more volumes, The Wall and The Rebellion before traveling to Tabriz to make a film about Iranians affected by leprosy. This 1962 documentary film titled The House is Black won several international awards. During the 12 days of shooting, she became attached to Hossein Mansouri, the child of two lepers. She adopted the boy and brought him to live at her mother’s house. In 1964 she published Another Birth. Her poetry was now mature and sophisticated, and a profound change from previous modern Iranian poetic conventions. At 4:30PM on February 13, 1967, Farrokhzad died in a car accident at age 32. In order to avoid hitting a school bus, she reportedly swerved her Jeep, which hit a stone wall; she died before reaching the hospital. Her poem, Let us believe in the beginning of the cold season, was published posthumously, and is considered by some to be one of the beststructured modern poems in Persian. Farrokhzad’s poetry was banned for more than a decade after the Islamic Revolution.

SUSSAN DEYHIM is an Iranian American composer, vocalist, performance artist and activist.

She is internationally known for creating a unique sonic and vocal language imbued with a sense of ritual and the unknown. She was part of the national ballet company in Iran from the age of 13 and traveled all across Iran studying with master folk musicians and dancers. In 1976 she joined The Bejart Ballet in Europe after receiving a scholarship to attend Bejarts’ performance art school Mudra, where she was trained in many of the great world, dance,

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music and theater traditions as well as in classical ballet. Her music remains true to the spirit of her ancient heritage while pointing to the future with a very personal and poetic dramatic sensibility. In 1980, she moved to New York, embarking on a multifaceted career encompassing music, theatre, dance, media and film. She created/starred in groundbreaking media operas at La Mama in the ‘80s including Azax/ Attra and The Ghost of Ibn Sabah. Sussan’s wide-ranging collaborations with leading artists from across the spectrum of contemporary art include Ornette Coleman, Bobby McFerrin, Peter Gabriel, Bill Laswell, Richard Horowitz, Rufus Wainwright, Marius De Vries, Micky Hart, Jerry Garcia,The Blue Man Group and with prominent female visual artists Shirin Neshat, Sophie Calle and Lita Albuquerque. Her composition Windfall/Beshno Az Ney was used by U2 throughout the U.S. and Europe. “U2s360 tour” in one of the largest-scale rock tours to this day. Sussan has performed with international orchestras such as the Polish Radio Orchestra and the Krakow Philharmonic, and has received commissions as a composer from international ensembles such as Bang On A Can. She has performed her music at Lincoln Center Summer Festival, Carnegie Recital Hall, Albert Hall, The Old Vic, Queen Elizabeth Hall, Royce Hall and most recently at The Agha Khan Museum in Toronto. Deyhim can be heard on the soundtracks of numerous films including: Argo — music by Alexandre Desplat (Golden Globe and Oscar nomination for best score 2012); The Last Temptation of Christ — music by Peter Gabriel; The Kite Runner — music by Alberto Iglesias; Any Given Sunday — music by Richard Horowitz. Tubruk with Richard Horowitz (Winner of Czech Lion Award in 2009); The Stoning of Soraya — music by John Debney; Unfaithful — music by Jan Kaczmarek; The Rise of the Argonauts — music by Tyler Bates and God of Egypt — music by Marco Beltrami. Her solo recordings include: Madman of God: Divine Love Songs of the Persian Sufi Masters, Shy Angels (with Bill Laswell) for the visionary label Crammed Discs.

Her recordings with Richard Horowitz include: Majoun (for Sony Classical), Desert Equations, A Gift of Love (for Deepak Chopra), with composer and director Heiner Goebbels, Deyhim recorded Shadows (for ECM), based on writings of Edgar Allan Poe and Heiner Mueller. Her label Venus Rising Records has released five new albums of her works on film, multimedia and recent collaborations.

Sussan has been a frequent participant at Iranian events and benefits, including a performance at the gathering of the spiritual leaders of the world at the UN General Assembly in 2001; the first Gathering of Female Spiritual Leaders in Geneva at the United Nations; the Royal Hope Gala at Royal Albert Hall, London and many others, for medical aid to Iraqi

children. In 2009 she performed in a sold-out concert at the UN General Assembly organized by Pakistan’s biggest rock musician and activist, Salman Ahmad to raise funds for displaced children in Pakistan with other participants such as Jeff Skol, Bobby Sager and Gavin Rossdale. Deyhim’s Photo and video installation “Dawn of the Cold Season” is currently showing at The Wallis. Her upcoming projects include: an album of the soundtrack for The House is Black Media Project in collaboration with Richard Horowitz. And La Belle et La Bete an album of international cover songs in collaboration with her legendary jazz trio, Mitch Forman, John Leftwich and Steve Hass.

COLLABORATORS ROBERT EGAN (Co-Director) has been an awardwinning producer, director and dramaturge in the American theatre for over 25 years. He has developed and directed hundreds of new plays in the United States and Europe with writers such as Jon Robin Baitz, David Hare, Anthony Minghella, Stephen Adly Guirgis, Charlayne Woodard, Luis Alfaro, Bill Cain, Len Jenkin and Sam Hunter. He is the Artistic Director/ Producer of the acclaimed Ojai Playwrights Conference, which develops new plays that speak to the challenging social, political and moral issues of our day.

RICHARD HOROWITZ (Composer) Awards include: Golden Globe for The Sheltering Sky directed

by Bernardo Bertolucci, BMI award for Any Given Sunday directed by Oliver Stone, Three Seasons starring Harvey Keitel -winner of the audience and jury awards at Sundance. Lakota Woman directed by Frank Pierson produced by Jane Fonda. Recently he scored Collision directed by David Marconi produced

by Luc Besson. Richard was mentored by Paul Bowles while he was a draft resistor living in between Paris and Morocco from 1968 to 1980. In 1982 Bowles nominated him to The American Academy of Arts and Letters for the Goddard Liberson Award. He has collaborated with Sussan Deyhim since 1981. Their albums and media projects include: Majoun (Sony Classical); Azax Attra Desert Equations at La Mama , City of Leaves and Gift of Love for Deepak Chopra.

Logic of the Birds a high-tech media work in collaboration with with Shirin Neshat, produced by Lincoln Center. Richard has collaborated with Jon Hassell, Bill Laswell, David Byrne, Reggie Workman, Jarin Lanier, Mickey Heart, Joseph Campbell, Ryuichi Sakamoto. and Dan Lanois. In 1998 Richard co-founded and music directed the now twenty year old Gnaoua Festival in Essaouira Morocco attracting 500,000 fans a year. In 2006 he directed and co-produced a documentary Spiritual India: River of Compassion about the old masters of Indian music for The Annenberg Foundation. richardhorowitz.com

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About the Artists

NINA ANSARY (Executive Producer) is a bestselling author, historian, and leading authority on women's rights in Iran. Her book Jewels of Allah: The Untold Story of Women in Iran received international attention and has garnered multiple awards — including the 2016 International Book Award in ''Women’s Issues''. Marie Claire has profiled Dr. Ansary as one of 14 privileged women to change the world and she has been honored as one of ''The 21 Leaders of the 21st Century'' by Women’s ENews.

AHMAD KARIMI KAKKAK (Literary Advisor and Translator) is professor of Persian language, literature and Cultures at the University of Maryland’s School of Languages, Literatures, and Cultures. He has studied in Iran and the United States, receiving his Ph.D. in Comparative Literature from Rutgers University in 1979. Karimi-Hakkak has authored, edited or translated more than 20 books and nearly 150 research articles.

HAGAI IZRAELI (Flumpet) is a Flumpet soloist, multi-instrumentalist, composer and educator.

Hagai is a co-founder of the band MAETAR (May-Tar), a member of the Los Angeles Jewish Symphony and an artist in residence in Wildwood school in Los Angeles. Hagai played, toured and recorded with renown and diverse musicians from around the world such as James Gadson, Jackson Browne, Roger Waters (Pink Floyd), Susanna Hoff (Bangles), Tony Allen (Fella Kuti), Omar Faruk Tekbilek, Sussan Dayhim, Jacquelin Govaert to name a few. Hagai’s unique sound on brass, shells, duduk, ethnic flutes and ram horns can be heard on movie soundtracks and various recordings.

ANNE MILITELLO (Lighting Designer) Anne Militello has collaborated with Sussan Deyhim since they were young artists in New York City at La Mama ETC. Her long and eclectic stage lighting design history includes productions for Broadway theater, international opera, dance and rock concert tours.

Most notable collaborators include Sam Shepard, Maria Irene Fornes, Tom Waits, Richard Forman, David Lynch, Leonard Cohen and Lou Reed, among others.

Her work has been seen on countless stages around the world including Lincoln Center, Radio City Music Hall, Royal Albert Hall, Carnegie Hall, and Madison Square Garden. Work in Los Angeles includes the Mark Taper Forum, the Geffen Playhouse, Redcat, Royce Hall, South Coast Rep, Ace Hotel Theater and the Broad Theater. She received an OBIE Award for Sustained Excellence, and several Joseph Jefferson Awards in Chicago. Her work as a lighting installation artist includes a 10-story light sculpture commissioned for New York’s World Financial Center which received Critics Pick from Time Out New York, the groundbreaking kinetic light façade of the New

42nd Street Studio Building in Times Square which received the Waterbury Award of Distinction from the International Association of Illuminating Engineering Society, and her solo show “Radiate, Not Fade Away” at the Modern Culture Gallery in New York which received a pick from Art News London. A Walt Disney Imagineer, she founded Vortex Lighting, an architectural lighting practice specializing in dramatic space for projects in the US and abroad. She is a frequent collaborator with designer Kelly Wearstler and recently completed the Proper Hotel in San Francisco. She is a renown lecturer on the subject of light and design and is currently Head of Lighting Programs at California Institute of the Arts.

JASON H. THOMPSON (Projection Designer) has worked as projection designer on more than 50 Productions around the world. Select credits include The Great Immensity and This Beautiful City for the Civilians; The Broadway musical Baby It’s You!; Venice at the Public Theatre; Remember Me, an international touring show with Parsons Dance Company; Cage Songbooks, a 45-minute selection of Cage Compositions performed at Carnegie Hall, SF Symphony, and New World Symphony in Miami; Crescent City Opera, a new experimental opera directed by Yuval Sharon; Bad Apples, a new musical about Abu Ghraib; and Val Kilmer’s one-man show Citizen Twain. Jasonhthompsondesign.com MADELEINE DAHM (Assistant Director and Movement Advisor) is an award winning theatre director, choreographer, and arts activist. Dahm's work has been presented across the UK, Europe and the U.S. Recent credits include: Co Director and Choreographer of Salt, for Italian theatre company Bamsemble; Director and Choreographer of a new musical comedy by Emmy winning composer Harold Faltermeyer (Top Gun) and Disney writer Philip LaZebnik; Rehearsal Supervisor for Panorama with The Martha Graham Dance Company. She is currently working on the direction of the staged play Isn’t it Rich from the feminist novella by Victoria Looseleaf.

FLASH FERUCCIO (Recording Engineer, Mixing and Live Sound) is a diverse audio engineer with 10 years of professional experience. He works mostly with live sound but does quite a bit of remote and studio recording as well. Credits: Bruno Mars, Patti Smith, Sly Stone, George Clinton, Curtis Blow, The English Beat, Cheryl Lynn, Ray Parker Jr., Sinbad, Phil Upchurch, George Benson and many more. He has worked with companies such as Scion, CherryTree Records and Morrow Sound. For more information please visit flashferuccio.com

ERIKA H. SELLIN (Technical Coordinator) Credits include: Signature Theatre Company, Classic Stage Company, New York Stage & Film, Mark Taper Forum, Pantages Theatre, La Jolla Playhouse, South Coast Repertory, Mixed Blood Theatre, The Actors’ Gang, Ojai Playwrights Conference. Other credits include: National Breast Cancer Coalition, Human Rights Watch, United States Artists, Office of the Americas, Samsung, Children’s Cancer Research Fund, Lustgarten Foundation, The Miracle Project, Planned Parenthood. Member: Casting Society of America, Actors’ Equity Association, the Stage Managers’ Association. MFA/University of California, San Diego.

LITERARY TEAM AND TRANSLATORS AMIN BANANI (1926 – 2013) was born in Tehran on September 23, 1926. He received his elementary education at the Zoroastrian School. In the midst of the Second World War he came to the United States on board a U.S. troopship, arriving in February 1944. In September 1944 he was admitted to Stanford University and he graduated in 1947 with a major in history. He obtained his M.A. from Columbia University in 1949 and returned to Stanford for his Ph.D. FARZANEH MILANI is Raymond J. Nelson Professor and Chair of the Department of Middle Eastern and South Asian Languages and Cultures and former Director of Studies in Women and Gender at the University of Virginia. She is the author of Veils and Words: The Emerging Voices of Iranian Women Writers (Syracuse University Press, 1991); A Cup of Sin: Selected Poems of Simin Behbahani, with Kaveh Safa (Syracuse University Press, 1996), winner of Lois Roth Literary Award in Translation; and Words, not Swords: Iranian Women Writers and the Freedom of Movement (Syracuse University Press, 2011) co-winner of Latifeh Yarshater Book Award.

RESEARCH TEAM MORRASSA MOHTADI (Archival Historical Research) As a former dancer with Pars National Ballet in Iran and Los Angeles, Morassaa has always had a deep appreciation for performing arts. Born in Sanaa, Yemen and raised in Tehran Iran, her current passion lies in her work in human rights as a researcher at the Abdorrahman Boroumand Foundation.

HOSSEIN MANSOURI (Reliable Sources) Born in the leper ghetto of Mashad in 1956. In 1962 he the young poetess Forough Farrokhzad adopted the boy during the shooting of her first film, The House

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About the Artists

is Black. After Farrokhzad’s early death in 1967, Hossein Mansouri grew up in her mother’s house in Tehran. After a few years of studies in London he moved to Germany and studied sociology. Today he lives in Munich as a writer and translator of poetry.

He dedicated a large part of his work to his “new mother” Forough Farrokhzad. In 2018, he unveiled his incredible journey of life in Claus Strigel’s documentary Moon Sun Flower Game: A True Fairytale.

NASSER SAFFARIAN Born in Tehran on July 9, 1975, Saffarian is a graduate of English Literature, writing on cinema since 1991 and has collaborated with a number of film periodicals and newspapers including Forough Farrokhzad`s Trilogy (The mirror of the soul, Summit of the wave, The Green Cold).

GUEST MUSICIANS: JOHN LEFTWICH: Bass, Programing (OBJ) JOHN BEASLEY: Piano MEHDI BAGHERY: Kamanche GREG ELLIS: Percussion

ACKNOWLEDGMENTS Sussan Deyhim would like to acknowledge the original team, Co-producer Simon Edery and Co-director Jon Kellam.

COSTUME DONATIONS: Rick Owens: Black Tuxedo Veronica Toub: Shimmering Blue Kaftan

SPECIAL THANKS Anoushe and Ali Razi, The Farhang Foundation, Kristy Edmunds and CAPUCLA, Anne Brady and Robert Rauschenberg Residency, Robert Rauschenberg Foundation, Ebrahim Golestan,Hossein Mansouri, Eve Ensler and VDay, Mark Amin, Farhad Mohit, Ahmad Gramian, Mohammad Abed, Vida Deyhim, Alan Schwartz, Shulamit Nazarian, Kulapat Yantrasast, Homa Sarshar, AlirezaArdekani, Tannaz Guivi, Abbas,Afsoon, SeifollahSamadian, Laurie Frank, Shari Rezai, Juliette Menager, Manije Mirdamad, Afsaneh Bassirpour, Steve Weisberg, Kourosh Beigpour, Nazazin Ansari, Fred Parvaneh, Jefferson Miller and Snehal Patel.

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Paul Crewes Artistic Director

Rachel Fine Managing Director

GREAT EXPECTATIONS PRESENTS

BY

Charles Dickens ADAPTED BY Andrew McPherson

CO-WRITTEN BY Simon Harvey and David Mynne

PERFORMED BY

David Mynne DIRECTED BY

Simon Harvey FEBRUARY 8 - 11, 2018 Lovelace Studio Theater

Running time: 90 minutes, including a 15-minute intermission

Theater @ The Wallis Series is sponsored by Montage Beverly Hills and Mercedes-Benz of Beverly Hills.

Initial funding for Great Expectations was provided by FEAST Cornwall.

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About the Artists

Artist Statement The shows are small in scale, but big in ambition. Classic works brought up to date, with a 'cast of thousands' performed by one actor. My aim is to tell wonderful stories in an irreverent, exciting and accessible way. Working with the minimum of staging and props I want to take the audience on an intimate journey, simply using my voice and their imagination.

DAVID MYNNE (Performer / Co-adapter) is an actor and designer based in Penzance, Cornwall.

He is a founder member of Kneehigh and has worked with the company - as a performer, maker and graphic designer - on and off for the last 35 years, appearing in many of their productions. In 2013 David created Charles Dickens' Great Expectations, his first solo show.

He worked with director Simon Harvey to develop an original style of storytelling that is exciting, accessible and easy to tour. Since then David has toured three further one-man shows Bram Stoker's Dracula!, Homer's The Odyssey (Greek stuff!) and Charles Dickens' A Christmas Carol - all with Simon as director and co-writer. In 2018 he will be working with Kneehigh again, reprising his role as Jake Santee in FUP.

— David Mynne

SIMON HARVEY (Director / Co-adapter) is a freelance director based in Truro, Cornwall. He is the Artistic Director of o-region for whom he

directed Laughing Gas (Darke, Grose), One Dark Night and The Dead Monkey (Nick Darke) and Stay Brave Brian Gravy (Carl Grose). o-region is currently developing STORM by Callum Mitchel which will tour in 2019. Simon is an Associate Director of Kneehigh. His work as Associate includes Steptoe and Son, The Red Shoes, Brief Encounter and 946: The Amazing Story of Adolphus Tips. His work as Director includes Noyes Fludde (in collaboration with Orchestival) and FUP (which he also adapted). Great Expectations was Simon’s first collaboration with David Mynne; they have gone on to produce and tour Dracula!, The Odyssey (Greek Stuff!) and A Christmas Carol.

ADDITIONAL STAFF WALLIS STAGE MANAGER

Pat Loeb

The American stage manager engaged for this production appears courtesy of

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2016 WORKSHOP PANELISTS (L to R: Stephen Schwartz, Michael Weiner, Alan Zachary, David Zippel)

ASCAP FOUNDATION

MUSICAL THEATRE WORKSHOP IN PARTNERSHIP WITH &

WEDNESDAY, FEBRUARY 7

THURSDAY, FEBRUARY 8

The Bully Problem

Tenn

BOOK, MUSIC, AND LYRICS BY

BOOK, MUSIC, AND LYRICS BY

Michael Gordon Shapiro

Julian Hornik

Fourteen-year-old math whiz Kevin Djikstra just wants to study calculus and avoid people, but is drawn into a struggle between the smart kids and bullies at his new junior high. A story about about nerds, thugs, and a well-intentioned but buggy android.

A new musical based on the early life of Tennessee Williams, from his years trapped in St. Louis with a family in collapse, to his formative months living in the Old French Quarter of New Orleans, and the careless summer in California that followed. These were the seemingly aimless days of his youth, when a young nobody named Tom Williams discovered who he was and wasn’t, and in his wandering found Tennessee.

FEBRUARY 7 & 8 AT 7:30PM Bram Goldsmith Theater

Running time: Approximately 2 hours, including a 15-minute intermission

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Paul Crewes Artistic Director

Rachel Fine Managing Director

AND THE ASCAP FOUNDATION PRESENT

AN EVENING WITH STEPHEN SCHWARTZ: A WRITERS CIRCLE with

MARCY HEISLER and ZINA GOLDRICH CINCO PAUL and special guest MEGAN HILTY STEPHEN SCHWARTZ wrote the music and lyrics for the current Broadway hit Wicked, and has also contributed music and/or lyrics to Godspell, Pippin, The Magic Show, The Baker’s Wife, Working (which he also adapted and directed), Rags and Children of Eden. His most recent musical, Schikaneder, premiered in 2016 in Vienna. He wrote the title song for the play and movie Butterflies Are Free, and for young audiences he has written songs for two musicals, Captain Louie and My Son Pinocchio. He has also worked in film, collaborating with Alan Menken on the songs for Disney’s Enchanted as well as the animated features Pocahontas and The Hunchback of Notre Dame, and writing the songs for the DreamWorks animated feature The Prince of Egypt. In the classical music field, he collaborated with Leonard Bernstein on the English texts for Bernstein’s Mass, and his first opera Seance on a Wet Afternoon was produced at Opera Santa Barbara and New York City Opera. A book about his career, “Defying Gravity,” has been released by Applause Books. Mr. Schwartz has been inducted into the Theatre Hall of Fame and the Songwriters Hall of Fame, and has been given a star on the Hollywood Walk of Fame . Awards include a Tony Award, three Academy Awards, four Grammy Awards, and a tiny handful of tennis trophies. stephenschwartz.com.

CINCO PAUL grew up in Phoenix, Arizona dreaming of becoming a famous pop musician.

He graduated summa cum laude from Yale University, abandoned his dreams of pop stardom, got an M.F.A. in screenwriting from USC and became a screenwriter instead. Life’s funny that way.

With Ken Daurio he has written the movies Despicable Me, Despicable Me 2, Despicable Me 3, Dr. Seuss’ Horton

Hears a Who, Dr. Seuss’ The Lorax, The Secret Life of Pets, The Santa Clause 2 and Bubble Boy. He also wrote the lyrics for the six songs in The Lorax, and is the recipient of the ASCAP Sammy Cahn Award for lyric writing and the Harold Arlen Award for the score of Bubble Boy The Musical, the original cast recording of which was just released on Sh-K-Boom Records. He currently lives in southern California with his wife Amy in a house that feels really empty now that his three children have grown up and left home.

Rose Red (and Fred). They have provided original songs for ABC’s “The Middle”, The Disney Channel, Disney Interactive and Feature Animation projects, Disney Theatricals, PBS, Nickelodeon, and others. As performers, they have toured domestically and internationally with The Marcy and Zina Show. November 2009 marked the release of Marcy and Zina: The Album on Yellow Sound Label. They are both active members of The Dramatist Guild, and have served as contributing writers to Dramatist magazine. marcyandzina.com

MARCY HEISLER AND ZINA GOLDRICH have been collaborating together since 1993.They were the first women ever honored with the Fred Ebb Award for Musical Theatre Songwriting, and Heisler was honored with the 2012 Kleban Prize for Outstanding Lyrics.

Current projects include Ever After, (previously at PaperMill Playhouse/NJ), Hollywood Romance, written with Emmy Award winners Gabrielle Allan and Jen Crittenden, and a musical adaptation of a Universal Studios romantic classic (Universal Stage Productions).

In 2012, Goodspeed Opera House premiered The Great American Mousical, based on the bestselling book by author/director Julie Andrews. In 2016, Goldrich and Heisler continued their collaboration with Andrews, contributing songs to her Netflix series “Julie’s Green Room”. They earned 2009 Drama Desk nominations for Outstanding Lyrics and Music for their musical Dear Edwina, a Lucille Lortel Award nomination for Theatreworks USA’s Junie B. Jones (based on the popular children’s book) and a Helen Hayes Award nomination for their Kennedy Center production of Snow White,

MEGAN HILTY is most recognizable for her portrayal of seasoned triple-threat Ivy Lynn in NBC’s musical drama “Smash.”

She followed up the series with a starring role on the comedy “Sean Saves the World.” Last spring, Hilty received critical acclaim for her role of Brooke Ashton in the Roundabout Theater Company’s revival of Noises Off. She earned nominations for a Tony Award, Drama Desk Award and Drama League Award and won a Broadway.com Audience Award for Favorite Featured Actress in a Play. Her television credits include gueststarring roles in “Melissa & Joey,” “Bones,” “The Closer,” “Desperate Housewives,” “CSI,” “Shark,” “Ugly Betty,” “Eli Stone” and “The Suite Life of Zach & Cody.” Hilty regularly performs with orchestras and symphonies across the country and her solo show—including her sold-out Carnegie Hall debut—has received critical acclaim. She recently released live album comprising of songs from her recent concert tour, entitled “Megan Hilty Live at the Café Carlyle” and a Christmas album entitled “A Merry Little Christmas with Megan Hilty.” A native of Seattle, Hilty moved to New York City after graduating from the prestigious Carnegie Mellon University, and quickly made her Broadway debut as Glinda in Wicked. She went on to perform the role in both the national tour and in Los Angeles.

FEBRUARY 9, 2018 AT 7:30PM Bram Goldsmith Theater

Running time: 90 minutes with no intermission

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Paul Crewes Artistic Director

Rachel Fine Managing Director

PRESENTS

BERLIN PHILHARMONIC WIND QUINTET MICHAEL HASEL, FLUTE ANDREAS WITTMANN, OBOE WALTER SEYFARTH, CLARINET

FERGUS MCWILLIAM, HORN MARION REINHARD, BASSOON

WITH STEPHEN HOUGH, PIANO

Program STEPHEN HOUGH (B.1961) Was mit den Tränen geschieht; Trio for flute, bassoon and piano (2008) I. Lento giusto II. Allegro brilliante III. Andante

WOLFGANG AMADEUS MOZART (1756-1791) Quintet in E flat major for Piano and Winds, K. 452 I. Largo. Allegro moderato II. Larghetto III. Allegretto

15-minute intermission JACQUES IBERT (1890-1962) Trois pièces brèves (1930) I. Allegro II. Andante III. Assez lent – Allegro scherzando

SAMUEL BARBER (1910-1981) Summer music op.31 (1956) FRANCIS POULENC (1899-1963) Sextet for Piano and Wind Quintet I. Allegro vivace II. Divertissement III. Finale

FEBRUARY 10, 2018 Bram Goldsmith Theater

Running time: 1 hour and 40 minutes, including a 15-minute intermission The Berlin Philharmonic Wind Quintet appears by arrangement with David Rowe Artists (davidroweartists.com) The Berlin Philharmonic Wind Quintet (windquintet.com) records exclusively for BIS Records (bis.se) Mr. Hough is a Steinway Artist.

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About the Artists

at the Freiburg Musikhochschule. He completed his conducting studies with Prof. Michael Gielen.

Michael Hasel's first orchestral appointment as flutist was from 1982 to 1984 with the Frankfurt Radio Symphony Orchestra, after which he became a member of the Berlin Philharmonic under Herbert von Karajan. For several years he performed as principal flute with the Bayreuth Festival Orchestra under conductors such as Daniel Barenboim, Pièrre Boulez and James Levine. In 1994 he was appointed Professor of Wind Ensemble and Chamber Music at the Heidelberg-Mannheim Musikhochschule.

Both as conductor and soloist Michael Hasel has appeared in Europe, Japan and South America with renowned ensembles such as Ensemble Modern, the Junge Deutsche Philharmonie, the Gustav Mahler Chamber Orchester, Orchestra Simon Bolivar and the Berliner Philharmoniker.

ABOUT THE BERLIN PHILHARMONIC WIND QUINTET The Berlin Philharmonic Wind Quintet (Philharmonisches Bläserquintett Berlin) was founded in 1988, during the era of Herbert von Karajan, the first permanently established wind quintet in the famous orchestra's rich tradition of chamber music.

With four original members since inception (Marion Reinhard succeeded founding bassoonist Henning Trog in 2009), they are living musical witnesses to the hugely productive and influential musical partnerships of the Berlin Philharmonic not only with Karajan, but also with its two most recent Musical Directors: Claudio Abbado and Sir Simon Rattle. Naturally, as members of the Berlin Philharmonic, they have also enjoyed important collaborations with every other major conductor of their times, whether Leonard Bernstein, Carlos Kleiber, Sir John Barbirolli, Günter Wand, Carlo Maria Giulini, Bernard Haitink, Riccardo Muti, James Levine or Daniel Barenboim, to name only a few.

The Berlin Philharmonic Wind Quintet continues to astonish audiences worldwide with their range of expression, their tonal spectrum and their conceptual unity. Indeed many listeners and critics agree that the ensemble has succeeded in virtually redefining the sound of the classic wind quintet.

Their repertoire covers not only the entire spectrum of the wind quintet literature but also includes works for enlarged ensemble, i.e. the Sextets of Janáček and Reinicke or the Septets of Hindemith and Koechlin. In addition, collaboration with pianists such as Lars Vogt, Stephen Hough, Jon Nakamatsu

and Lilya Zilberstein have intensified in recent years.

The ensemble's commitment to the wind quintet repertoire is passionate and in 1991 they found the perfect partner for their recording plans, the Swedish company BIS Records, already well known in its own right for its uncompromising standards.

The results of this long and exclusive collaboration have received critical accolades worldwide - indeed many of these recordings are already widely held to be "definitive" or "reference" performances.

In addition to their concert appearances throughout Europe, North and South America, Israel, Australia and the Far East, the Berlin Philharmonic Wind Quintet are also popular guests at international festivals such as the Berliner Festwochen, the Edinburgh Festival, the London Proms, the Quintette-Biennale Marseille, the Rheingau Festival and the Salzburg Festival. Their television productions and radio broadcasts are seen and heard throughout Europe, Asia and North America.

In recent years the members of the Berlin Philharmonic Wind Quintet have intensified their teaching and coaching roles with youth; they give chamber music workshops and instrumental instruction in many countries, with a particular commitment, for example, to the youth orchestra program of Venezuela.

MICHAEL HASEL (flute) Michael Hasel was born in Hofheim near Frankfurt and began conducting, piano and organ studies, intending to graduate as a church musician. His first flute teachers were Herbert Grimm and Willy Schmidt and he went on to study piano and conducting with Prof. Francis Travis and flute with Aurèle Nicolet

ANDREAS WITTMANN (oboe), Andreas Wittmann, was born in Munich. He studied oboe at the Hochschule für Musik in Munich with Prof.

Manfred Clement and later at the Hochschule der Künste in Berlin with Hansjörg Schellenberger.

In Munich he studied conducting with Prof.

Hermann Michael and participated in conducting masterclasses with Sergiu Celibidache. Wittmann spent only one year as a scholarship student at the Berlin Philharmonic Orchestra Academy before being appointed to the Berlin Philharmonic itself in 1986. He is an internationally active soloist, chamber musician and teacher, whose career has also included performing as Principal Oboe with the Bayreuth Festival Orchestra and the Berlin Philharmonic. He taught at the Berlin Philharmonic Orchestra Academy for several years before becoming its General Manager in 2013.

Wittmann is currently Permanent Guest Conductor of Brazil's Orquesta Sinfónica Salvador de Bahia.

He regularly conducts the Sinfonie-Orchester Berlin, as well as the Sibelius-Orchester of Berlin.

WALTER SEYFARTH (Clarinet) is a native of Düsseldorf and was a first prize winner at the age of sixteen in the Deutscher Tonkünstlerverband competition. Following his studies at the Freiburg Musikhochschule with Peter Rieckhoff and with Karl Leister at the Berlin Philharmonic Orchestra Academy, he was appointed to the Saarbrücken Radio Symphony Orchestra. In 1985, he joined the Berlin Philharmonic as Solo Eb-Clarinettist.

It was Seyfarth who was the driving force behind the founding of the Berlin Philharmonic Wind Quintet in 1988. He is also a member of the larger ensemble "The Winds of the Berlin Philharmonic".

Among his teaching and mentoring responsibilities are the Berlin Philharmonic Orchestra Academy, the Jeunesses Musicales World Orchestra and the Venezuelan Youth Orchestras Programme, El Sistema.

PERFORMANCES MAGAZINE P13

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About the Artists

FERGUS MCWILLIAM (horn) was born on the shores of Scotland's Loch Ness and studied initially in Canada (John Simonelli, Frederick Rizner, and at the University of Toronto with Eugene Rittich), having made his début as a soloist with the Toronto Symphony under Seiji Ozawa at the age of fifteen.

Further studies were undertaken in Amsterdam (Adriaan van Woudenberg) and Stockholm (Wilhelm Lanzky-Otto). From 1972 through 1979 McWilliam was a member of several Canadian orchestras and chamber music ensembles before joining the Detroit Symphony Orchestra. From 1982 to 1985 he was a member of the Bavarian Radio Symphony and in 1985 he was appointed to the Berlin Philharmonic under Herbert von Karajan. He is not only active internationally as a soloist and chamber musician but teaches at a number of internationally renowned music schools, including the Berlin Philharmonic Orchestra Academy. He has worked with the Venezuelan youth music programme El Sistema for a decade and now is a Board Director of Sistema Scotland. McWilliam served on Berliner Philharmoniker committees for 23 years and is the author of the acclaimed book "Blow Your OWN Horn".

MARION REINHARD (bassoon) was born in Nuremberg (Nürnberg) and from 1991 to 1995 studied at the Meistersinger Conservatory with Walter Urbach and Karsten Nagel. While still only a student, she began performing with the Nuremberg Philharmonic Orchestra as Contra Bassoonist. In 1995 she won a scholarship to study at the Berlin Philharmonic Orchestra Academy with Stefan Schweigert and Daniele Damiano. Further studies with Georg Kluetsch in Weimar rounded out her musical training and in 1999 Marion Reinhard was appointed to the Berlin Philharmonic where she became a direct colleague of Henning Trog. From 1996 until her appointment to the Berlin Philharmonic Wind Quintet, she was a founding member of the Orsolino Wind Quintet, an ensemble which was mentored by Michael Hasel. They won many international prizes, including the Munich A.R.D. Competition and also made numerous recordings.

STEPHEN HOUGH (piano) Stephen Hough is regarded as a renaissance man of his time.

Over the course of his career he has distinguished himself as a true polymath, not only securing a reputation as a uniquely insightful concert pianist, but also as a writer and composer. Mr. Hough is commended for his mastery of the instrument along with an individual and inquisitive mind which has earned him a multitude of prestigious awards and a long-standing international following.

In 2001, Mr. Hough was the first classical performing artist to win a MacArthur Foundation Fellowship.

He was awarded Northwestern University’s 2008 Jean Gimbel Lane Prize in Piano, won the Royal Philharmonic Society Instrumentalist Award in 2010, and in January 2014 was made a Commander of the Order of the British Empire (CBE).

Stephen Hough has appeared with most of the major American and European orchestras and plays recitals regularly in major halls and concert series around the world. He has given recitals in such cities as Beijing, Berlin, Chicago, Dublin, Hong Kong, London, Milan, Montreal, New York, Paris, San Francisco, Stockholm, Sydney, and Tokyo. He has also appeared with the BBC, Czech, London, Los Angeles, Netherlands, New York, and Royal Philharmonics; the Atlanta, Baltimore, BBC, Boston, Chicago, Houston, Montreal, National, NHK, Pittsburgh, San Francisco, St. Louis, and Toronto symphonies; and the Budapest Festival, Cleveland, Minnesota, Philadelphia, Russian National, and Tonhalle Zürich orchestras, among others. He is a regular guest at such festivals as Aldeburgh, Aspen, Blossom, Edinburgh, Hollywood Bowl, Mostly Mozart, Musica Viva, Ravinia, Salzburg, Tanglewood, Verbier, and the BBC Proms, where he has made more than 20 concerto appearances, including performing Tchaikovsky’s complete works for piano and orchestra over the summer of 2009—a series he later repeated with the Chicago Symphony Orchestra.

Highlights of Mr. Hough’s 17/18 season include re-engagements with the Detroit, Dallas, Vancouver, Baltimore, New Jersey and Utah symphonies and the National Arts Centre Orchestra in Ottawa; a four city tour on the West Coast with the Berlin Philharmonic Wind Quintet; and a fourth recital at Carnegie Hall’s Stern Auditorium, with additional recitals in Los Angeles, San Francisco, Toronto, Miami, at Duke University and four recitals throughout the state of Hawaii. Internationally, he appears with the Seoul Philharmonic and the Singapore Symphony in Asia; makes his annual appearance at the BBC Proms; plays a Beethoven cycle with the Royal Liverpool Philharmonic Orchestra; and returns in recital to London’s Royal Festival Hall with additional recitals in Paris at the Louvre and in Milan and Naples.

Many of Mr. Hough’s catalog of over 50 albums have garnered international prizes including the Deutscher Schallplattenpreis, Diapason d’Or, Monde de la Musique, several Grammy nominations, and eight Gramophone Magazine Awards including the 1996 and 2003 “Record of the Year” Awards and the 2008 “Gold Disc” Award, which named his complete Saint-Saëns piano concertos the best recording of the past 30 years. His 2005 live recording of

the Rachmaninoff piano concertos was the fastest selling recording in Hyperion’s history, while his 1987 recording of the Hummel concertos remains Chandos’ best-selling disc to date. Recent releases on the Hyperion label include a solo recording pairing works by Scriabin and Janáček and a recording of Grieg’s Lyric Pieces. His latest album features the Dvořák and Schumann piano concertos with the City of Birmingham Symphony Orchestra conducted by Andris Nelsons. Mr. Hough is also the featured artist in an iPad and Apple TV app about the Liszt Sonata in B Minor, which includes a fully filmed performance and commentary, released by TouchPress.

Published by Josef Weinberger, Mr. Hough has composed over 40 works for orchestra, choir, chamber ensemble and solo piano. His “Mass of Innocence and Experience” and “Missa Mirabilis” were respectively commissioned by and performed at London’s Westminster Abbey and Westminster Cathedral. In 2012, the Indianapolis Symphony commissioned and performed Mr. Hough’s own orchestration of “Missa Mirabilis,” which was subsequently performed by the BBC Symphony as part of Mr. Hough’s residency with the orchestra and recorded for Hyperion with the Colorado Symphony.

Mr. Hough has also been commissioned by the musicians of the Berlin Philharmonic, London’s National Gallery, Wigmore Hall, Le Musée de Louvre and Musica Viva Australia among others and he has performed his two piano sonatas, “Sonata No. 1 (broken branches)” and “Sonata No. 2 (notturno luminoso)” on recital programs in London, New York, St. Paul and Chicago.

A noted writer, Mr. Hough regularly contributes articles for The Guardian, The Times, The Tablet, Gramophone and BBC Music Magazine and wrote a blog for The Telegraph for seven years (2008 – 2016), which became one of the most popular and influential forums for cultural discussion and for which he wrote over 600 articles. His book, The Bible as Prayer, was published by Continuum and Paulist Press in 2007. Also an avid painter, Mr. Hough gave his first exhibition in London at the Notting Hill–based Broadbent Gallery in 2012. Entitled “Appassionato,” this solo show displayed nearly twenty abstract acrylic paintings dating from 2007.

Mr. Hough resides in London where he is a visiting professor at the Royal Academy of Music and holds the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. He is also a member of the faculty at The Juilliard School. To find out more about Mr. Hough, please visit his websitestephenhough.com

P14 PERFORMANCES MAGAZINE

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Paul Crewes Artistic Director

Rachel Fine Managing Director

and Marc Cortale

PRESENT

BROADWAY @ THE WALLIS

PATTI LUPONE WITH SIRIUS XM RADIO STAR

SETH RUDETSKY

AS MUSIC DIRECTOR & HOST FEBRUARY 14, 2018 AT 7:30PM AND 9:30PM Bram Goldsmith Theater

Running time: 75 minutes with no intermission

Tonight’s concerts are made possible by generous support from Ken and Wendy Ruby

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About the Artists

PATTI LUPONE most recently starred on Broadway as cosmetics pioneer Helena Rubinstein in the Scott Frankel-Michael Korie-Douglas WrightMichael Grief musical War Paint (Tony, Drama Desk and Outer Critics Circle Award nominations for Best Actress in a Musical). Next fall she will return to London’s West End stage in Marianne Elliot’s new production of the Stephen Sondheim-George Furth musical Company. Her other recent NY stage appearances include Douglas Carter Beane’s new play Shows For Days, directed by Jerry Zaks at Lincoln Center Theater, her debut with the New York City Ballet as Anna 1 in their new production of The Seven Deadly Sins, Joanne in the New York Philharmonic’s production of Company, David Mamet’s The Anarchist, and Lincoln Center Theater’s production of the musical Women on the Verge of a Nervous Breakdown, for which she was nominated for Tony, Drama Desk and Outer Critics Circle Awards. Winner of the Tony, Drama Desk and Outer Critics Circle Awards for Best Actress in a Musical and the Drama League Award for Outstanding Performance of the Season for her performance as Madame Rose in the most recent Broadway production of Gypsy, her other stage credits include appearances with the Los Angeles Opera in their new production of John Corigliano’s The Ghosts of Versailles and WeillBrecht’s Mahagonny (debut), the world premiere of Jake Heggie’s opera To Hell and Back with San Francisco’s Baroque Philharmonia Orchestra, Mrs. Lovett in John Doyle’s production of Sweeney Todd (Tony, Drama Desk, Outer Critics Circle nominations; Drama League Award for Outstanding Contribution to Musical Theatre), the title role in Marc Blitzstein’s Regina, a musical version of Lillian Hellman’s The Little Foxes at the Kennedy Center, Fosca in a concert version of Passion, which was also broadcast on PBS’ Live From Lincoln Center, a multi-city tour of her theatrical concert Matters of the Heart, the City Center Encores! productions of Can-Can and Pal Joey, the NY Philharmonic’s productions of Candide and Sweeney Todd (NY Phil debut) and performances on Broadway in Michael Frayn’s Noises Off, David Mamet’s The Old Neighborhood, Terrence McNally's Master Class and in her own concert Patti LuPone On Broadway. Since 2000 she’s appeared regularly at the Ravinia Festival.

First in its Sondheim series when she starred as Mrs. Lovett in Sweeney Todd, Desiree in A Little Night Music, Fosca in Passion, Cora Hooper in Anyone Can Whistle, Madame Rose in Gypsy and in two different roles in Sunday in the Park with George. Her subsequent appearances there include a reprise of her performance in Heggie’s To Hell and Back, a concert performance of Weill’s The Seven Deadly Sins and starring in the title role in a concert production of Annie Get Your Gun.

A graduate of the first class of the Drama Division of New York’s Juilliard School and a founding member of John Houseman's The Acting Company in which she toured the country for four years, her subsequent New York credits include Dario Fo's Accidental Death of An Anarchist, David Mamet's The Water Engine, Edmond and The Woods and Israel Horovitz' Stage Directions and performances in the musicals Pal Joey for City Center Encores!, Anything Goes (Tony Award nomination, Drama Desk Award), The Cradle Will Rock, Oliver!, Evita (Tony and Drama Desk Awards- Best Actress in a Musical), Working and The Robber Bridegroom. In London, she won the Olivier Award for her performances as Fantine in the original production of Les Misérables and in the Acting Company production of The Cradle Will Rock.

She also created the role of Norma Desmond in Sunset Boulevard, for which she was nominated for an Olivier Award, and recreated her Broadway performance of Maria Callas in Master Class.

Film: Cliffs of Freedom (upcoming), The Comedian, Union Square, Parker, City by the Sea, David Mamet’s Heist, State and Main; Just Looking, Summer of Sam, The 24 Hour Woman, Family Prayers, Driving Miss Daisy, Witness.

Television: “Crazy Ex-Girlfriend”, “Penny Dreadful” (Critics Choice nomination), “Girls”, “American Horror Story: Coven”, “Law & Order: SVU”, “Glee”, “30 Rock”, “PBS Great Performances The Rise and Fall of the City of Mahagonny” (Grammy Award for the broadcast’s recording), “Ugly Betty”, “Will & Grace” (as herself), “PBS Great Performances’ Candide”, “Oz” , the TNT film “Monday Night Mayhem”, “PBS’ Evening At The Pops with John Williams and Yo Yo Ma”, “Falcone”, “Bonanno: A Godfather’s Story” (Showtime); “Frasier” (1998 Emmy nomination); “Law & Order”, “An Evening with Patti LuPone” (PBS), the NBC movie “Her Last Chance”, Showtime's ACE Award and Emmy nominated “The Song Spinner” (Daytime Emmy nomination, Best Actress), “The Water Engine”, “L.B.J.”, AMC's “Remember WENN” and ABC's “Life Goes On”. Recordings include: Far Away Places, Patti LuPone at Les Mouches, The Lady with the Torch, and many original cast recordings including, most recently: War Paint, Women on the Verge of a Nervous Breakdown, Gypsy, and Sweeney Todd (both the 2006 Broadway revival cast recording and 2000 live performance recording on NY Philharmonic’s Special Editions Label). She is the author of the New York Times bestseller Patti LuPone: A Memoir. pattilupone.net.

SETH RUDETSKY is the afternoon host on Sirius/XM Satellite Radio's On Broadway as well as the host of Seth Speaks on Sirius/XM Stars. As an author, he penned My Awesome/Awful Popularity Plan and the sequel The Rise And Fall Of A Theater Geek" (Random House) as well as three volumes of Seth's Broadway Diary featuring inside scoop and hilarious stories from all of the stars he's worked with. He co-wrote and co-starred in Disaster! (NY TIMES critics pick) last season on Broadway. Disaster! also premiered to rave reviews in London's West End in November. In June 2016, he and his husband, James Wesley, co-produced a recording of What The World Needs Now with stars like Idina Menzel, Lin-Manuel Miranda, Carole King, Audra McDonald which went to number one on iTunes and raised $100,000 for the Orlando shooting victims (and is still raising money. Buy it!). On Inauguration Day 2017, he and James started Concert For America, a monthly series around the country (including S.F.!) helping 5 non-profits being hurt by the current administration. Stars such as Kelli O'Hara, Barry Manilow, Stephanie Mills, Vanessa Williams, Andy Cohen and more have performed and you can watch the next one streamed live on ConcertsForAmerica.com.

For more information visit www.sethrudetsky.com.

ABOUT MARK CORTALE PRODUCTIONS Mark Cortale produced Deconstructing Patti on Broadway this past September at the Nederlander Theatre with Broadway Cares/Equity Fights AIDS starring Patti LuPone and Seth Rudetsky which raised over $280,000 in one evening. He launched the Broadway @ concert series in 2011 at The Art House in Provincetown where he serves as Producing Artistic Director. The series, featuring creative partner Seth Rudetsky as music director and host, had its seventh season this past summer and guest artists included Sutton Foster, Jessie Mueller, Megan Hilty, Faith Prince, Beth Malone, Melissa Errico and Michael Cerveris. The Broadway @ series also premiered in 2013 in New Orleans, in Australia (Sydney & Melbourne) with Megan Mullally and in London’s West End with Patti LuPone at the Leicester Square Theater. The series has since travelled to cities that include in addition to Los Angeles, Chicago @ The Steppenwolf, Fort Lauderdale @ The Parker Playhouse, Scottsdale @ Scottsdale Center for the Performing Arts and San Francisco @ The Herbst Theatre. Other artists who have participated include Audra McDonald, Chita Rivera, Neil Patrick Harris, Sarah Jessica Parker, Matthew Broderick, Rosie O'Donnell, Vanessa Williams and Gavin Creel. Mark also produced the feature film Varla Jean and the Mushroomheads and the web television series “Seth's Reality”. He also produces and manages the singing string quartet Well-Strung which he co-founded.

PERFORMANCES MAGAZINE P17

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Paul Crewes Artistic Director

Rachel Fine Managing Director

presents the World Premiere of

BY

Tom Dugan STARRING

Saffron Burrows SCENIC DESIGN Francois-Pierre Couture HAIR DESIGN Frances Mathias

COSTUME DESIGN Marcy Froehlich

CASTING DIRECTOR Phyllis Schuringa, CSA

LIGHTING DESIGN Jared A. Sayeg DIALECT COACH Elizabeth Himelstein

SOUND DESIGN Randall Robert Tico PRODUCTION STAGE MANAGER Katherine Barrett

DIRECTED BY

Jenny Sullivan FEBRUARY 22 - MARCH 11, 2018 Lovelace Studio Theater

Running time: 1 hour and 40 minutes, including a 15-minute intermission

WARNING: CONTAINS ADULT CONTENT This production is made possible by generous support from David C. Bohnett.

Theater @ The Wallis Series is sponsored by Montage Beverly Hills and Mercedes-Benz of Beverly Hills.

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About the Production

A Note from the Playwright Growing up in the 1960s I had an affinity for that pretty lady my mom admired so much on the TV who had so many troubles but still managed to appear strong.

Jacqueline Kennedy Onassis made everything she did look so easy, but what if it wasn’t? What if that pretty lady on my TV had the same fears, insecurities, and faults, as the rest of us? I began the journey of writing Jackie Unveiled with the suspicion that perhaps my black and white Quasar wasn’t telling me the whole story. During my five years of research for Jackie Unveiled I interviewed several of Jackie’s friends and acquaintances, combed over recently released CIA and Secret Service records, read dozens of biographies, and watched countless hours of film footage, but in the end no one can really know what happened in the privacy of her home. This character of “Jackie” that I’ve created is all grounded in fact, but it is my job as the playwright to connect the dots as logically as possible and that is what I’ve tried to do.

— Tom Dugan

A Note from the Director I was thrilled when Tom Dugan told me he was writing a play about Jackie and then he asked me to join him on the journey.

How could I say no? I was introduced to politics as my dad actively campaigned for JFK. In the early 60’s, I literally (quite by accident) sat behind the President at the Good Shepherd Church just a few blocks from The Wallis. When I had the great fortune to vote for the first time in my life, I cast my ballot for RFK. Working on this play has definitely brought back the emotions of tumultuous times and a chance to revisit it all from a new perspective. This is a rich history and the person who had the front row seat was Jackie. I think we all speculate on the nature of this woman, her strength, her life after Jack and her place in history. Jackie Unveiled takes us on that extraordinary journey of discovering her humanity. Thank you Tom Dugan for your beautiful play and thank you to The Wallis for giving us our first production.

JACKIE KENNEDY ONASSIS TIMELINE 1929 Jacqueline Bouvier is born in

Southampton, New York 1949 Studies at Sorbonne in Paris through

Smith College 1951 Meets John Fitzgerald Kennedy (JFK) at a

party; begins working as a reporter-

photographer at the Washington Times-Herald 1952 Meets the Kennedy Family 1953 Accepts proposal from JFK while covering

Elizabeth ll coronation in London;

marries JFK 1954: JFK back surgery 1955 Suffers a miscarriage; JFK and Jackie meet

Aristotle Onassis on yacht “The Christina” 1956 Delivers a child, stillborn 1957 Gives birth to Caroline Bouvier Kennedy 1960 Gives birth to JFK, Jr., JFK beats

Richard Nixon in Presidential election 1961 Moves into the White House; JFK and Jackie meet Maurice Templesman, Martin Luther

King, Jr. & Pope John XXlll 1962 Jackie’s Whitehouse restoration tour

broadcast on CBS,NBC, ABC 1963 Gives birth to Patrick Kennedy who lives only

39 hours; suffers assassination of JFK,

moves to Georgetown 1965 Moves to NYC 1968 Suffers Robert Kennedy assassination;

marries Aristotle Onassis and moves

to Greece 1971 Attends private unveiling of Kennedy

portraits at White House 1975 Aristotle Onassis dies; Jackie moves back to

NYC, where she helps preserve and restore

Grand Central Station and works as an editor

at Viking Press 1978 Assumes role as senior editor at

Doubleday Publishing 1980 Begins relationship with Maurice Templesman 1988 Welcomes Maurice Templesman to live

in her NYC apartment 1993 Meets Hillary Clinton; Jackie diagnosed

with Non-Hodgkin's Lymphoma 1994 Dies and is buried next to JFK in Arlington

National Cemetery

— Jenny Sullivan

PERFORMANCES MAGAZINE P19

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About the Artists

SAFFRON BURROWS (Jackie) is known for her work in critically acclaimed films, stars in the Golden Globe-winning Amazon series “Mozart in the Jungle.” The fourth season of the half hour comedic drama will return to Amazon on February 16, 2018. The show is a critical darling and has received a number of award nominations and wins including multiple Golden Globe nominations, winning Best Comedy and Best Lead Actor, as well as various Emmy nominations and wins. Burrows’ theater work includes; The World Premiere of Neil LaBute’s Some Girls(s) on the West End stage.

She played Janey Morris in Peter Whelan’s The Earthly Paradise for the Almeida Theatre, London and Jeanette Winterson’s The PowerBook for the Royal National Theatre, London, directed by Deborah Warner which toured the Theatre National de Chaillot, Paris, and Teatro Argentina, Rome. In Los Angeles, Burrows starred in Melissa James Gibson’s This for the Kirk Douglas Theater. Burrows’ theater debut was for the Bush Theatre, London in the play Two Lips Indifferent Red directed by Vicky Featherstone. Burrows’ film credits include Henry Mason’s Love Lies Bleeding, Noah Pritzker’s Quitters; Bill Guttentag’s Knife Fight; Jonas Akerlund’s Small Apartments; Jonas Pate’s Shrink; Roger Donaldson’s The Bank Job; Amy Redford’s The Guitar; Peter Howitt’s Dangerous Parking; Hal Hartley’s Fay Grim; Mike Binder’s Reign Over Me; Wolfgang Petersen’s Troy; Raoul Ruiz’s Klimt; Gerardo Herero’s El Misterio Galindez; Paul McGuigan’s Gangster No. 1; Michael Apted’s Enigma; Mike Figgis’ Timecode, and his film adaptation of the classic play, Miss Julie, in the lead role; Pat O’Connor’s Circle of Friends; Jim Sheridan’s In the Name of the Father and Burrows’ screen debut in Ngozi Onwurah’s Welcome II the Terrordome. On the small screen, Burrows recurred on the ABC drama “Marvel’s Agents of S.H.I.E.L.D” as ‘Agent Victoria Hand.’ She has also appeared on the CBS comedy “The Crazy Ones” opposite Robin Williams. She starred in the NBC drama series “My Own Worst Enemy” opposite Christian Slater, as well as the award-winning series “Boston Legal” with James Spader, earning her two cast SAG nominations. For the BBC, she starred in Ngozi Onwurah’s “Crucial Tales: I Bring you Frankincense” and opposite Albert Finney and Julie Christie in the acclaimed production of Dennis Potter’s “Karaoke.” A native of Great Britain, Burrows also speaks French, Italian and Spanish.

TOM DUGAN (Playwright) was honored for the Off-Broadway production of Wiesenthal with nominations for the New York Drama Desk Award, New York Outer Critics Circle Award, Los Angeles Ovation Award, and winning the Los Angeles Drama Critics Circle Award, as well as being featured on PBS’s “Theatre Close-Up.” Wiesenthal continues to inspire audiences with productions in Israel, Australia, India, as well as the U.S. Dugan is currently working on the film adaptation of that celebrated play. Having kicked off the national tour of Wiesenthal at The Wallis in 2015, Dugan is extremely pleased to return with the world premiere of his newest play Jackie Unveiled.

His other critically acclaimed plays include: The Trial of Robert E. Lee and Oscar to Oscar. Tom is currently developing two more solo pieces—A Magnificent Enthusiasm (about famed abolitionist Frederick Douglass) and The Ghosts of Mary Lincoln. Follow @TomDuganPlays on Facebook.

JENNY SULLIVAN (Director) reunites with playwright Tom Dugan for Jackie Unveiled.

Their last collaboration, Wiesenthal, enjoyed a successful Off-Broadway run, followed by the tour beginning at The Wallis and then moving to the Royal Manitoba Theatre Centre. Previous L.A. work by Sullivan includes directing the Geffen Playhouse production of Nora and Delia Ephron’s Love, Loss and What I Wore and the long running Los Angeles production of The Vagina Monologues. Some favorite theaters where she has directed include: Laguna Playhouse, Pasadena Playhouse, Long Wharf Theatre, ETC of Santa Barbara, Rubicon in Ventura, Williamstown Theatre Festival and the Falcon Theater. Film credits include: Access All Areas and The Next Best Thing (in which she had the good fortune to direct her father Barry). Sullivan is most proud of the world premiere of her play J for J with the late great John Ritter.

FRANCOIS-PIERRE COUTURE (Scenic Design) is originally from Montreal, but has had the privilege of working in Los Angeles and the United States for the last decade as a scenic, lighting and projection designer.

Some of his designs include: Bars and Measures and Everything you Touch, Boston Court Theatre; Destiny of Desire, Arena Stage Theatre, SCR and the Goodman Theatre; James and the Giant Peach, Pinocchio and The Light Princess, South Coast Repertory; The Mexican Trilogy, an American History, Los Angeles Theatre Center; Metamorphoses

and Woyzeck, Ensemble Theatre Company; Médée and Teseo, Chicago Opera Theatre; A Picasso, Geffen Playhouse. fpcouture.com MARCY FROEHLICH (Costume Design) has received seven Ovation nominations, including a current one for Gulf View Drive. For stage: The Rubicon Theatre, Opera Francais, Long Beach Opera, Reprise, Central City Opera, national tour of Camelot. Twelve seasons at Sacramento Music Circus including Disney’s The Hunchback of Notre Dame. Associate Costume Designer on touring productions of Broadway’s The Phantom of the Opera, and internationally for Robert Wilson’s multi-national opera The Civil Wars. Film and TV: Unbowed, Brake, the Unknown Cyclist, We Shall Remain (PBS documentary), and the “Miss America Pageant”. Assistant Designer on American Beauty, The Master, The Road to Perdition, For Your Consideration, and Geppetto, (Emmy nomination).

Marcy has exhibited her artwork in LA at the Dorothy Chandler Pavilion. She has served on th Board of Directors, and Board of Trustees of the Costume Designers Guild. Co-author of Shopping LA: The Insiders’ Sourcebook for Film & Fashion. MFA University of Michigan. Assistant Professor at UC Irvine. marcyfroehlich.com JARED A. SAYEG (Lighting Design) is a fourtime Ovation Award Nominee and winner of the Ovation, StageRaw & Garland Award as well as a recipient of the LADDC Kinetic Lighting Award.

His designs have been seen throughout the U.S., Broadway, Off-Broadway, West-End, Canada, Spain, Edinburgh & Las Vegas. National Tours include Blithe Spirit starring Angela Lansbury, The Who’s Tommy with Alice Ripley, Queen of Spades starring Placido Domingo (Madrid) and Rolling with Laughter at Her Majesty’s Theatre (West-End).

Broadway: The Illusionists (Neil Simon & National Tour) Bravo Bernstein, Gotham Glory (Carnegie Hall) and was on the design teams for: PRIMO, Andrew Lloyd Webber’s The Woman in White and the Radio City Christmas Spectacular. Regional: Center Theatre Group, Pasadena Playhouse, South Coast Repertory, Sacramento Music Circus, International City Theatre, Reprise, Ensemble Theatre Company, Cabrillo Music Theatre, Laguna Playhouse, Virginia Stage Company, The Colony, Shakespeare Theatre of New Jersey & CLO of South Bay. Jared is Principal Designer for the USA International Ballet Competitions held every four years. Jared became the youngest member of the United Scenic Artists-Local 829 and serves as a trustee to the executive board. jaslighting.com

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About the Artists

RANDALL ROBERT TICO (Sound Design) Founding member of Critical Mass Performance Group as composer/sound designer with director Nancy Keystone: Ameryka (Ovation nomination), Apollo (Garland Award and an Ovation Award nomination) Alcestis, Suzan-Lori Parks’ The America Play, Antigone (Drammy Award), The Ahkmatova Project, Dr. Faustus, The Rover and Measure for Measure. Works as composer with Chris Coleman (Portland Center Stage) are Astoria, Othello, Anna Karenina, Shakespeare’s Amazing Cymbeline, The Imaginary Invalid and Snow Falling on Cedars. Other recent credits include the music score and sound design for Macbeth @ the NewVic directed by Jonathan Fox and Baby Doll with director Jenny Sullivan.

Further works include Hamlet, The Winter's Tale, the vocal score for David Hare’s version of Mother Courage, and music and sound design for The Glass Menagerie, all directed by Jessica Kubzansky. For the last three years he has been resident composer/sound designer for the Launch Pad program @ UCSB with director Risa Brainin.

PHYLLIS SCHURINGA (Casting Director) is an Artistic Associate and the Casting Director for the Geffen Playhouse. Recent casting includes Constellations, The Legend of Georgia McBride, Guards at the Taj Mahal, Outside Mullingar, Bad Jews, The Night Alive, Switzerland and American Buffalo at the Geffen. She has received 4 Artios nominations: Actually, Barbecue, Barcelona, The Country House. Before joining the Geffen, she was the Casting Director for Steppenwolf Theatre 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, 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 and the Ovation Rules Committee ELIZABETH HIMELSTEIN (Dialect Coach) is delighted to be working at the Wallis Annenberg Center for the Performing Arts.

Broadway credits include: Serious Money by Caryl Churchill, Finding Neverland with Matthew Morrison, Death of a Salesman with Andrew Garfield. Joseph Papp Public Theater: Othello, Twelfth Night, Ice-cream and Hot Fudge. Films include the Coen Brothers’ Fargo and The Big Lebowski; I, Tonya; Three Billboards Outside Ebbing, Missouri; Battle of the Sexes; The Killing

of the Sacred Deer; Spiderman; Hacksaw Ridge; Beauty and the Beast; Tinker, Tailor, Soldier, Spy; Eyes Wide Shut. Television includes “Mozart in the Jungle” with Saffron Burrows, “Big Little Lies”, “Ray Donovan”, “The Assassination of Gianni Versace”, “My Dinner with Herve”.

KATHERINE BARRETT (Production Stage Manager) has stage managed on 3 continents and performed all manner of stagecraft wizardry across the United States.

She is excited to be on the team presenting the premier of Jackie Unveiled as she has toured internationally with all of Tom Dugan’s plays: Lee at Appomattox, Frederick Douglass in the Shadow of Slavery, The Ghosts of Mary Lincoln and Wiesenthal. Off Broadway: Wiesenthal; Regional: The Fantasticks, Barrymore, A Man of No Importance, The Crucible, The Bluest Eye, Measure for Measure, The Rainmaker, Man of La Mancha, A Touch of the Poet, Arms and the Man. Katherine’s other theatrical creations include orchestrations for more than 40 musicals for young people; and lighting designs for You’re a Good Man Charlie Brown, Seussical the Musical, The Tempest, and The Nutcracker.

THE PLAYWRIGHT & DIRECTOR WISH TO THANK Daryl Roth Adam Hess Elyse Mirto Bo Foxworth Shelby Sykes Lou Liberatore Dan Sykes Mark Slavkin Debra Pasquerette Sherry Richert Belul Tina Schumann Jeffrey Schmidt and Theatre3 Dallas David Cohen Katy Lemieux Jolene Mason Joseph Rosswog Ilana Olken Joel Silver Deedie and David Runkel Pauline Levin Marc Worosilo Tom Negran Kate Barrett

ADDITIONAL STAFF COSTUME & WARDROBE SUPERVISOR

Deborah Hartwell

PROPERTIES SUPERVISOR

Warren Casey

ASSISTANT STAGE MANAGER

Erich Schroeder WIGMAKER

Bob Kretschmer HAIR & MAKEUP SUPERVISOR

Donna Levy

PRODUCTION ASSISTANT

Will Rives

SCENIC CONSTRUCTION

Sets To Go

*The actors in this production appear courtesy of Actors Equity Association.

The Designers at this Theatre are Represented by

United Scenic Artists • Local USA 829 of the International Alliance of Theatrical Stage Employees

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Paul Crewes Artistic Director

Rachel Fine Managing Director

presents the U.S. PREMIERE of the Kneehigh and Bristol Old Vic production of

WRITTEN BY Daniel Jamieson DIRECTED BY Emma Rice STARRING Marc Antolin, James Gow, Daisy Maywood, Ian Ross COMPOSER & MUSIC DIRECTOR Ian Ross SCENIC & COSTUME DESIGNER Sophia Clist

LIGHTING DESIGNER Malcolm Rippeth

SOUND DESIGNER Simon Baker

ASSISTANT DIRECTOR Keziah Serreau

CHOREOGRAPHERS Emma Rice and Etta Murfitt

CASTING DIRECTORS Georgia Simpson, CDG and Lucy Taylor

PRODUCTION MANAGER Aled William Thomas

COMPANY STAGE MANAGER Steph Curtis

FEBRUARY 23 - MARCH 11, 2018 Bram Goldsmith Theater

Running time: 90 minutes with no intermission This production is made possible in part by the generous support of Camille and Arnon Adar.

Theater @ The Wallis Series is sponsored by Montage Beverly Hills and Mercedes-Benz of Beverly Hills.

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CAST OF CHARACTERS MARC ANTOLIN....................................................................................................................................................MARC CHAGALL DAISY MAYWOOD.................................................................................................................................................BELLA CHAGALL JAMES GOW....................................................................................................................................................................MUSICIAN IAN ROSS.........................................................................................................................................................................MUSICIAN

Directors Note Before his wedding to Bella, Marc says of the guests: “Look at them... If only they knew. This isn’t the crisp white start they think it is. My knowing you has already seeped backwards as well as forwards in time so my whole life is pervaded with the colour of loving you.”

I feel that I could say the same of my relationship with The Flying Lovers of Vitebsk. It reaches into the future whilst holding onto the past; reigniting parts of my own history that might perhaps have stayed dimmed if this precious show hadn’t brought them back into the light.

Written over 25 years ago, I was the original Bella. Marc was played by the author, Daniel Jamieson. We were a couple, soon to be married and, in those days, the play was called Birthday. Made by two people very much in love about two people very much in love, I remember vividly the passion we felt for the piece. It was the 1990s and we were fascinated

by Eastern Europe. We had both visited Poland and trained with the Gardzienice Theatre Association. We had heard first hand stories of communism and Martial Law, and had had the privilege of witnessing a fearless and ferocious kind of theatre-making that made British theatre look feeble by comparison. We resolved to change the world and set about becoming Master and Mistress of our own fate. On a visit to Paris we saw Marc Chagall’s Double Portrait with a Glass of Wine in the Pompidou Centre. It loomed over us with a mysterious joy, toasting the possibilities of life. Dan wrote me a poem.

‘She looks like you’ it read, and with those words it all began. It felt as if, through time and form, one couple looked another in the eye. Marc and Bella challenged us to be artists and, looking back, I believe they provoked our creative ‘birthday’. We slipped our happy young feet into the shoes of these incredible people and started to imagine a life far more complex and threatened than our own.

Returning to this show in 2016, many things had changed. Married no more, Dan and I were able to revisit Marc and Bella older, kinder and wiser. This time we slipped our middle-aged feet into shoes more delicate and perhaps a little more uncomfortable. Now the couple from the painting in Paris challenged us to look round corners and dig more deeply into the politics of their lives: personal and historical. They demanded we showed a life not only filled with hope, love and invention, but also one filled with fear, homelessness and personal compromise. I feel I have grown up with Marc and Bella. The Flying Lovers of Vitebsk swirls around my life like fragments of a beautiful broken mirror, moving through space and time.

Perhaps the fragments are not quite in the same place or order as they once were, or where I thought they would end up, but they are beautiful and precious nonetheless. I carry it in my heart.

— Emma Rice

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About the Production

Writers Note The Flying Lovers of Vitebsk is first and foremost a love story. From the moment they fell for each other in Vitebsk, Belarus in 1909, Marc Chagall and his wife, Bella, seemed to share a particular way of seeing the world.

Bella was a talented writer and her description of their first encounter is like a Chagall painting in words: “The door opened wider…I felt hot with apprehension…as if something were scorching me. Light spread over the walls, and against them appeared the face of a boy…his eyes, they were as blue as if they’d fallen straight out of the sky.”

Famously, Marc often painted himself and Bella flying together, as if their shared joy had such force it defied the law of gravity itself. In his painting Birthday, they appear surprised by their flight, rising towards the ceiling like two astonished bubbles of ecstasy. In Over the Town, they drift high over Vitebsk as you only fly in dreams, but magically sharing the same floating reverie. There can be few more vivid evocations in art of how it feels to be in love.

The Chagalls’ story is also remarkable because it is so interwoven with 20th-century history.

Marc was in Paris before the First World War, when Modernism was at its height and Cubism was just taking off. He briefly returned to Russia to marry Bella and got trapped there by the war, narrowly avoiding conscription into the Tsar’s army. They were then swept up in the Russian Revolution and when they did finally make it back to Western Europe, they got caught up in the beginnings of the Holocaust. They just escaped from France to

America by the skin of their teeth in 1941. But there is a contemporary resonance to The Flying Lovers of Vitebsk as well because it deals with the trauma of the refugee experience. In exile, Marc and Bella watched in horror as the Jewish homeland of their youth was systematically destroyed and the Nazis set about murdering the entire Jewish population of Europe. There is a strong sense of their homesickness for a home that no longer exists.

This must surely echo the experience of those who’ve fled from Mosul or Homs or Rakhine State today. If and when these people can return, will there be anything left of the home they left behind? The theme of exile also gives the show an international flavor, which carries through into the language — many of the songs are in Yiddish, Russian or French. There is a celebration of the texture of different languages, their beauty beyond meaning. In this way the show invites an enjoyment of moving between cultures as if laying down rugs between houses for a party. Perhaps we don’t always need to understand each other’s every word to enjoy each other’s company.

The Flying Lovers of Vitebsk is quite unusual for Kneehigh in that it only has two characters — just Marc and Bella — but it has the chutzpah of Kneehigh’s grander work on a chamber scale. This intimacy suits what remains, after all, at its heart, the story of two people in love.

— Daniel Jamieson

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About the Artists

MARC ANTOLIN (Marc Chagall) Theatre: Romantics Anonymous (Sam Wanamaker Playhouse); Twelfth Night (Shakespeare’s Globe); Peter Pan (National Theatre); The Trial (Young Vic); Taken at Midnight (Theatre Royal Haymarket/Chichester Minerva); Amadeus, Singin’ in the Rain, The Music Man (Chichester Festival Theatre); From Here to Eternity (Shaftesbury Theatre); Matilda (RSC Courtyard Theatre/Cambridge Theatre); Into the Woods, Hello, Dolly! (Regents Park Open Air Theatre); Billy Liar (UK Tour) and Imagine This (New London Theatre). Film: London Road, Coconut Shy and Love Actually. Television: “More Than Love”.

DAISY MAYWOOD (Bella Chagall) Theatre credits include: Fran Kubelik in Promises Promises (Southwark Playhouse); Humpty in wonder. land (National Theatre); Medea (National Theatre); Bebe in A Chorus Line (London Palladium); Maria in West Side Story (RSC/Sage Gateshead); Dainty June in Gypsy and Peggy Sawyer in 42nd Street (Leicester Curve); Meg in The Phantom Of The Opera - 25th Anniversary (Royal Albert Hall); Ensemble in Les Miserables - 25th Anniversary (O2/Queens Theatre).

TV: April Compton in “Doctors”, BBC. Film: London Road, CUBA pictures.

IAN ROSS (Musician, Composer & Music Director) is a multi-instrumentalist, associate artist of Kneehigh and composer. He leads the band Eleven Magpies. As a performer Ian has toured extensively with Kneehigh over the last 10 years in shows including: The Red Shoes; Don John; The Wild Bride and Tristan & Yseult. As composer: Twelfth Night (Shakespeare’s Globe) and The Very Old Man with Enormous Wings (Kneehigh). Ian is very excited to be joining Emma Rice on her new adventure, Wise Children, in 2018.

JAMES GOW (Musician) is a multi-instrumentalist and composer with a BA in Music from the School of Oriental and African Studies, University of London. Outside of the theatre he plays with or alongside several bands including: Still Blue Life; Cocos Lovers; Molly’s Lips; Eleven Magpies and Three Cane Whale. James has also appeared in Dead Dog in a Suitcase (and other love songs), Tristan & Yseult and Brief Encounter for Kneehigh.

DANIEL JAMIESON (Writer) for the last 27 years has worked for Exeter-based Theatre Alibi as an actor, joint artistic director (1995-2000) and writer. In 2015 he won an ACA award for his writing for children with the company. His plays for Alibi include: Falling; Hammer and Tongs; Goucher’s War; Cobbo; Caught; One in a Million; The Freeze; Shelf Life; Little White Lies; The Swell; Sea of Faces and Birthday. He has also adapted novels by Charles Dickens, Graham Greene, Michael Morpurgo and Dick King-Smith for the company.

Other theatre work includes: A Box of Photographs and We’re Going on a Bear Hunt, (Polka Theatre); Where’s the Bear, Wish Wash, Knitwits and Flathampton (Northampton Theatres). For BBC R4 Daniel has written Lodsell Cod, Grooming, Jim and Tonic, Building Happiness and Charity. In 2013, Daniel was Leverhulme artist-in-residence at the University of Exeter’s Mood Disorders Centre. He is currently writing a screenplay of The Flying Lovers of Vitebsk and he is excited to be developing a new show with Kneehigh about Marie Curie for 2019.

EMMA RICE (Director & Co-Choreographer) is Artistic Director for Shakespeare’s Globe and for them has directed Romantics Anonymous, Twelfth Night, The Little Matchgirl and A Midsummer Night’s Dream. For the last 24 years she has worked for Kneehigh as an actor, director and Artistic Director. Her productions for Kneehigh include: 946: The Amazing Story of Adolphus Tips; Tristan & Yseult; The Red Shoes; The Wooden Frock; The Bacchae; Cymbeline (in association with RSC); A Matter of Life and Death (in association with National Theatre); Rapunzel (in association with Battersea Arts Centre); Brief Encounter (in association with David Pugh and Dafydd Rogers Production); Don John (in association with the RSC and Bristol Old Vic); The Wild Bride; Wah! Wah! Girls (in association with Sadler’s Wells and Theatre Royal Stratford East for World Stages) and Steptoe and Son. Other work includes: the West End production of The Umbrellas of Cherbourg, The Empress (RSC) and An Audience with Meow Meow (Berkeley Repertory Theatre). She was made an Honorary Fellow of Falmouth University last year for her outstanding contribution to the dramatic arts and Brief Encounter is returning to the West End. Her new company, Wise Children, will premiere its first production in autumn 2018 and is the next big adventure of her career!

SOPHIA CLIST (Scenic & Costume Designer) works from a background of sculpture making participatory and interactive work. Recent projects include: Journey to the Impossible (Little Soldier, The Bike Shed Theatre); Get Happy (Told by An Idiot, Beijing Comedy Festival, Théâtres de la Ville de Luxembourg); Parallelist (Clay Gold & Laura Moody, Aldeburgh Festival); Stretch (Sophia

Clist with Nick Burge, Exeter Cathedral); And The Horse You Rode In On (Told by An Idiot, Barbican, Brighton Festival, Drum Theatre Plymouth); 16 Singers (Katherine Morley, Dance Umbrella, The Egg); Life Forces (Jane Mason with Phil Smith); Grandmothers (Encounters Arts); Phenomenal People (Fuel); In This Place (Pentabus Theatre).

Associate Artist of Theatre-Rites 1997-2007, Sophia co-created the company’s award-winning dance theatre production Mischief with Arthur Pita Sadler’s Wells. Sophia is currently working with Improbable on The Paper Man - Norfolk and Norwich festival, La Strada, Graz.

MALCOLM RIPPETH (Lighting Designer) is an Associate Artist of Kneehigh, productions include: The Tin Drum; 946: The Amazing Story of Adolphus Tips; The Wild Bride; The Umbrellas of Cherbourg and Tristan & Yseult. He is the recipient of a WhatsOnStage Award and a Village Voice OBIE for his work on Kneehigh’s Brief Encounter (West End and Broadway), and has recently been nominated for Los Angeles Drama Critics Circle and New York Drama Desk Awards for his work with the company. His other work includes: Twelfth Night, The Little Matchgirl and Romantics Anonymous (Shakespeare’s Globe); Titus Andronicus and The Empress (RSC); Decade and Six Characters in Search of an Author (Headlong); The Boy in the Striped Pyjamas (Chichester Festival Theatre); Calendar Girls (West End/Australia/Canada); The Dead (Abbey Dublin); The Birthday Party (Manchester Royal Exchange); Spur of the Moment (Royal Court); Wallflower (Quarantine); Pleasure (Opera North); Idomeneo (Garsington Opera); In Parenthesis (WNO); Le Premier Meurtre (Opéra de Lille) and Alcina (Santa Fe Opera).

SIMON BAKER (Sound Designer) is an associate artist at the Old Vic (London), Kneehigh and part of Emma Rice’s new company, Wise Children. He is recipient of several awards including an Olivier for Matilda. Most recent work includes: Pinocchio (National Theatre); Girl From The North Country (West End); Groundhog Day (Broadway); A Christmas Carol, The Caretaker, Master Builder and Future Conditional (Old Vic); Grinning Man (West End and Bristol Old Vic), Romantics Anonymous, Twelfth Night and A Midsummer’s Night’s Dream (Shakespeare’s Globe); Matilda (Worldwide); 946: The Amazing Story of Adolphus Tips, Rebecca, The Wild Bride, The Umbrellas Of Cherbourg, Brief Encounter (Olivier & Tony Nominations) and Steptoe and Son (Kneehigh); The Light Princess (Olivier Nomination) and The Amen Corner (National Theatre).

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About the Artists

KEZIAH SERREAU (Assistant Director) is a director whose work includes: Strike! (Roundhouse CircusFest); Tourettes Hero’s grand finale for the BBC’s “Live from Television Centre” (BBC & BAC), Turfed as part of the London International Festival of Theatre (LIFT); Hamlet Project in Israel/Palestine (ATC); The Dark Side of Love at the Roundhouse for the World Shakespeare Festival (LIFT, RSC, Roundhouse) and Narcissus with the Roundhouse circus company. Keziah has worked as assistant/ associate to Emma Rice and Kneehigh for many years. As staff director at Shakespeare’s Globe shows include: Midsummer Night’s Dream; Macbeth; 946: The Amazing Story of Adolphus Tips; Little Match Girl; The White Devil and Twelfth Night.

As an assistant/associate to Emma Rice and Kneehigh, she has worked on: The Umbrellas of Cherbourg; Wah! Wah! Girls and Rebecca. She has also worked as assistant/associate to Lyndsey Turner (Royal Court Theatre), Mohamed EL Khatib (Birmingham Rep), Annie Ryan and Iqbal Khan (Shakespeare’s Globe).

KNEEHIGH STAFF

ADDITIONAL STAFF

ARTISTIC DIRECTOR

COMPANY STAGE MANAGER

EXECUTIVE PRODUCER

DEPUTY STAGE MANAGER

GENERAL MANAGER/DIRECTOR OF RAMBLES

WALLIS STAGE MANAGER

PRODUCER

SOUND OPERATOR

COMPANY MANAGER

COSTUME SUPERVISOR

ASSOCIATE DIRECTOR

COSTUME MAKERS

ETTA MURFITT (Co-Choreographer) is an Associate Artist of Kneehigh company and has choreographed The Umbrellas of Cherbourg, Midnight’s Pumpkin, The Wild Bride, Steptoe and Son, 946: The Amazing Story of Adolphus Tips, Dead Dog in a Suitcase (and other love songs) and The Tin Drum. Etta has recently become an Associate of Shakespeare’s Globe. She is also the Associate Artistic Director of Matthew Bourne’s New Adventures and Re: Bourne (their education arm). She has created, performed in and collaborated on many productions with New Adventures including Nutcracker!, Swan Lake, Cinderella, The Car Man, Edward Scissorhands, Sleeping Beauty and The Red Shoes.

RAMBLES LEAD ARTIST

ABOUT KNEEHIGH (Co-Producer) For 35 years Kneehigh have created vigorous, popular and challenging theatre, with joyful anarchy. We have performed everywhere from village halls to castles, disused quarries to conventional stages all over the world. From our breath-taking barns in Cornwall we create theatre of humanity on an epic and tiny scale.

Led by Mike Shepherd, we work with an everchanging bunch of talented and likeminded performers, artists, makers and musicians and are passionate about the creative process. We’re often asked how we make our shows and we’ve created an exclusive website to give you a glimpse behind the scenes. The Cookbook is crammed full of videos, documents, pictures and plans, providing you with some of the magic ingredients that go into our shows. Sign up for free today at kneehighcookbook. co.uk. Kneehigh.co.ukWeAreKneehigh [Facebook/ Instagram/Twitter icons]For Kneehigh

Mike Shepherd Ali Robertson

Charlotte Bond Liz King

Steph Curtis

Keziah Serreau

DEVELOPMENT MANAGER

Bethany Lyne

Steph Curtis

Helen Comerford David Lober

Charlie Simpson Bryony Clayden

Mandy Haslam, Clare Ramsell, Will Skeet & Sally Spratley PROP MAKERS

Teri Laing

Liz Vass, Lulu Butcher, Sophia Clist, Chris Pirie, Tim Sykes

FINANCE OFFICER

SET BUILDERS

MARKETING & COMMUNICATIONS MANAGER

Fiona Buxton

ADMINISTRATOR

Taryn Harris

PRODUCTION ASSISTANT

Chloe Kitching

Anna Maria Murphy PRESS & PR

Clióna Roberts, CRPR PHOTOGRAPHER

Steve Tanner FILM MAKER

Brett Harvey ILLUSTRATOR

Daryl Waller

ABOUT BRISTOL OLD VIC (Co-Producer) is the oldest continuously-working theatre in the United Kingdom. Our mission is to create pioneering twenty-first century theatre in partnership with the people of Bristol; inspired by the history and magical design of the most beautiful playhouse in the country. We are led by artists who see the world with distinctive clarity and whose ability to articulate what they see allows us to understand and engage with our world afresh. The company’s programme includes original production, artist development and outreach; its work connecting on a local, national and international level. In 2016, Bristol Old Vic marked its 250th birthday, celebrating with a season of work from the theatre’s history as well as its future. Work also began on the final phase of the building’s capital development, which will deliver a new foyer and studio theatre in 2018 designed by Stirling Prize winning architects Haworth Tompkins.

Wild Creations

NOTES

The original version of The Flying Lovers of Vitebsk was performed as Birthday by Theatre Alibi in 1992.

Writer, Daniel Jamieson; Director, Nikki Sved; Designer, Dominic Hooper; Lighting Designer, Paul Tyler, Original Cast: Daniel Jamieson and Emma Rice.

Permission to perform the English translation of Rachel Korn’s poem No One Knows It granted by the rights holder and originally appeared in Generations: Selected Poems Mosaic Press, 1982.

Thanks to Ciaran Clarke and Russell Clarke; Sasha Tyuftey and David Schneider from the London Yiddish Group; Peter and Irina Scorer; Nick Ferguson and Lin Potter at Wrightsure; Ed Parry, David Miller and Matt Harrison.

The American stage manager engaged for this production appears courtesy of Actors Equity.

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we are proud to support the

Wallis Annenberg Center for the Performing Arts and the 2017 - 2018 season GEORGI E

|

S PA M O N TAG E

|

£10

|

T H E ROOF TOP G R I L L

|

225 North Canon Drive, Beverly Hills, CA 90210 (310) 860 - 7800 fax (310) 860 - 7801

THE GARDEN BAR

PERFORMANCES MAGAZINE P27

M O N TAG E H O T E L S. C O M

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A gift of Gregory Annenberg Weingarten and Family and the Annenberg Foundation

A SPACE FOR ARTS EDUCATION

The Wallis is proud to host K-12 schools throughout our season to experience the very best in the performing arts.

Our student matinees help connect young people to a world of new possibilities. To deepen the impact of these shows, we’ve arranged for several artists to visit some of our school partners before their performances on our campus. This helps students learn more about the context of the performance they will see and increase their knowledge of the art form.

Artists from Lula Washington Dance Theater visited Carlos Santana Arts Academy in the San Fernando Valley to help prepare students for their January 12 matinee.

Story Pirates visited Equitas Charter Academy in the PicoUnion district and helped the third grade students craft “hero stories.” Some of these stories were performed when the scholars came to The Wallis for a student matinee January 11.

Playwright Tom Dugan is working with students at Alliance Patti and Peter Neuwirth Leadership Academy in South Los Angeles to prepare them to see his new play Jackie Unveiled about Jackie Kennedy Onassis. We hope the memories of these special experiences will stay with the students for years to come.

Dancers from Lula Washington Dance Theatre lead students in a warm-up activity at Carlos Santana Arts Academy. INSET: Teaching Artists from Story Pirates help students create original stories.

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Support

ANNUAL DONORS

The Wallis Annenberg Center for the Performing Arts gratefully acknowledges your generous support and investment in our cultural community. The following list recognizes donors who made contributions to The Wallis’ Annual Fund between December 1, 2017 and January 1, 2018. For any questions regarding your donations or if you would like to join The Wallis’ Annual Fund, please call 310.246.3800 ext. 715.

PLATINUM CIRCLE ($50,000+)

Annenberg Foundation Lynn and Les Bider Family Foundation David C. Bohnett Delta Air Lines Honorable Donna Ellman Garber The Seattle Foundation/Katharyn A. Gerlich Marcy Gross The Harold and Mimi Steinberg Charitable Trust Lois Harwin* Betty Hayman Lauren B. Leichtman and Arthur E. Levine Family Foundation Los Angeles County Arts Commission Mercedes-Benz of Beverly Hills Meridith Baer Home Montage Beverly Hills Meeghan and Michael Nemeroff The Simms/Mann Family Foundation Arline and Buddy Pepp Marc Selwyn Fine Arts Vanity Fair GRoW @ Annenberg Foundation/Gregory Annenberg Weingarten & Family Luanne Wells

GOLD CIRCLE ($25,000 – $49,999)

Camille and Arnon Adar Jacqueline and Clarence Avant Leon Lowenstein Foundation/John M. Bendheim The Rosalinde and Arthur Gilbert Foundation Hon. MeraLee Goldman Carol Goldsmith Matt Construction Hedy Orden Lynda and Stewart Resnick Vicki Reynolds and Murray Pepper Mr. and Mrs. Arnold Rosenstein Judy Henning and Richard S. Rosenzweig Ruby Family Foundation/Wendy and Ken Ruby Susan and Peter Strauss Marc Selywn Tobey Cotsen-Victor and Jonathan A. Victor Wells Fargo

SILVER CIRCLE ($10,000 – $24,999)

Debbie Allen The ASCAP Foundation Irvng Caesar Fund Leslie Birnbaum Linda and Maynard Brittan California Arts Council City of Beverly Hills Dan Clivner and Steve Cochran Colburn Foundation Eunice David Sharon and Gov. Gray Davis Louise and Brad Edgerton Steve Ghysels Julie and Bruce Goldsmith In memory of Morris A. Hazan Jewish Community Foundation John W. Carson Foundation

Cinny Kennard Laurie and Lyn Konheim Kris Levine Elisabeth and Jeffrey Lipsman Cathy and Mark Louchheim Jamie McCourt National Endowment for the Arts Daphna Nazarian New England Foundation for the Arts Gloria and Richard Pink Ronald D. Rosen Michal Amir Salkin and Kenneth H. Salkin Bruce Schulman Steinway & Sons Beverly Hills Eva and Marc Stern Linda May and Jack Suzar Leon and Stephanie Vahn Marilyn Ziering

DIRECTORS CIRCLE ($5,000 – $9,999)

Barbara Belzberg Martha and Berry Berkett Beverly Hills Rotary Community Foundation Marcy Carsey Sandra Krause and William Fitzgerald Kiki and David Gindler Lisa and Josh Greer Vera and Paul Guerin Debra Holstein Tamara and David Lachoff The Loewenstern Fund at Community Foundation Santa Cruz County Anahita and Jim Lovelace Ann Mulally Palm Restaurant Felicia and Henry Present Stephanie and Howard Sherwood Ron Watson

ARTISTS CIRCLE ($2,500 – $4,999)

360 Group International, Inc Laura and Harvey Alpert Judy Carroll Dr. Fanya Carter Crateful Catering Mrs. Howard Deshong Jr. Diane and Scott Eblin Bonnie and Ronald Fein Judy and Jerrold Felsenthal Ronald Frazier Trust Anita Friedman Amy Jo and John D. Gottfurcht/SSI Investment Management Bucky Hazan & Eva Aaronson Ada and Jim Horwich Freya and Mark Ivener Sally Karbelnig Stuart Klabin Renee Kumetz Lawry's The Prime Rib Lyn and Normal Lear * IN MEMORIAM

WALLIS ANNENBERG_PROG_0218.indd 29

Jacqueline and Hoyt B. Leisure/ Leisure Family Foundation Pearle Rae & Mark Levey Anita Lorber Manatt Phelps & Phillips LLP Cookie Miller Jade Mills Estates The Estate of Leah and William Molle NERANO Resataurant Pasadena Showcase for the Arts Sandra Karole Peters Porta Via Restaurant Jackie Applebaum and Stephen Sheanin In memory of Gail Silver C & O Restaurants Melissa Rosenberg and Lev Spiro Elaine and Ronald Stein Stock Cross Financial Services Elgart Aster and Paul Swerdlove Sue Tsao David and Sylvia Weisz Family Foundation

ENTHUSIAST ($1,000 – $2,499)

Gay and Harry Abrams Professor Ben Carrington Billy Jack Carter and Christopher Fenn Rhea Coskey Pat and Sandy Gage Lesley and Dr. Kenneth Geiger Beverly and Herb Gelfand Howard Gleicher Lessing and Sandy Gold Susan Howard J. Michael Jung Ronald Kahn Sharon Kane and Nancy Yaffe Ann and Michael Kibler Charlene and Dr. S. Sanford Kornblum Joanne C. Kozberg Eyvinne and Kay Lee Gayle Leventhal Ginny Mancini Mindy and Robert Mann Katherine Molloy Mahnaz and David Newamn Phylis Nicolayevsky Gelila and Wolfgang Puck Rabbi Steven and Didi Carr Reuben Courtenay Valenti and Patrick Roberts In memory of Lily Rosman Gene Shutler Anne Smith Towbes Lisa Weinberg Spector Danielle and Elliot Stahler Karen Sulzberger and Eric Lax Elizabeth Topkis Janice and Daniel Wallace Cathy Siegel and Ken Weiss Sally and David Weil Patricia and Richard Wilson

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Support

CAPITAL CAMPAIGN FOUNDING DONORS Turning a dream into reality on the scale of the Wallis Annenberg Center for the Performing Arts requires imagination, vision and enduring leadership. Our Founding Donors exemplifed all that and more with their extraordinary generosity to help build The Wallis.

ENDOWMENT

The Wallis is indebted to these Founding Endowment Donors whose generosity and foresight will help sustain and enrich future programming and operations.

Burton E. Green Fund (L to R): The late Lee Kapelovitz with friend and former Wallis Board Member Donna Garber.

IN MEMORIAM The Wallis remembers

Lee Kapelovitz

a devoted subscriber and founding donor who gifted our Administrative Elevator, who passed away on January 3, 2018.

We will miss Lee’s infectious smile and great passion for the performing arts.

To make a gift to The Wallis in Lee’s memory, please contact the Wallis Development Office at 310-246-3800 or DonorRelations@TheWallis.org

Special Thanks to Salvatore Ferragamo

Janet and Maxwell Hillary Salter

$5,000,000 AND ABOVE Wallis Annenberg / Annenberg Foundation City of Beverly Hills Elaine and Bram Goldsmith Family Foundation Paula Kent Meehan Gregory and Regina Annenberg Weingarten $1,000,000 – $4,999,999 The Ahmanson Foundation David Bohnett Foundation Burton Green Fund Betty and Fred J. Hayman Lauren B. Leichtman & Arthur E. Levine Family Foundation Jonathan Bell Lovelace Family Janine and Peter Lowy / Westfield Zoltan E. Pali and Judit Meda Fekete-Pali Jim and Eleanor Randall Family Foundation Eva and Marc Stern Jamie and Steve Tisch and Family Lew and Edie Wasserman The Wasserman Foundation Luanne C. Wells $500,000 – $999,999 Judy and Bernard Briskin Louchheim and Marks Families Hon. Vicki Reynolds and Murray Pepper Arnold and Anita Rosenstein Family Foundation Mark Siegel Family Foundation $100,000 – $499,999 Brenda and Alan Abramson Elgart Aster and Paul Swerdlove John, Cathi and Alexandra Bendheim Lynn and Les Bider Family Foundation Joyce and Stanley Black Family Foundation Hon. Lili and Jon Bosse and Family Joyce Klein and Gerald Breslauer Maynard and Linda Brittan and Family Dottie and Marvin Chanin and Family Steven Cochran and Dan Clivner Cotton Incorporated Krishna and Robert Daly, Jr. Eunice and Hal David

Robert Day Dorskind Family The Suzanne M. Dorskind Trust Phyllis and Donald Epstein Ervin Cohen & Jessup LLP The Feintech Family Esther M. Baird and Stanley R. Fimberg Beth and Rodney Freeman Friars Charitable Foundation Helene V. Galen Hon. Donna Ellman Garber Gearys Beverly Hills Katharyn Alvord Gerlich The Getty Foundation MeraLee Goldman Steven C. Gordon Family Foundation Grosvenor Family In Memory of Dixon R. Harwin Ambassador and Mrs. Glen Holden Joan and John F. Hotchkis Lee and Harold Kapelovitz Donanne and Ali Kasikci W.M. Keck Foundation Barbara and Fred Kort Foundation Renee and Aaron Kumetz Leon Lowenstein Family Foundation / John Bendheim Family Virginia and Francis Maas Lois and Jerry Magnin E. Mahie and Daryoush Mahboubi-Fardi B.N. Maltz Foundation Emilia Pirro and Dr. Mark Mandel Montage Beverly Hills Neiman Marcus Jane and Marc Nathanson Pouran and Parviz Nazarian Joan and Fred Nicholas Patricia and John Nickoll Arline and Buddy Pepp Sumner M. Redstone Charitable Foundation Ronald D. Rosen and Judith Lawenda Jaclyn Barde Rosenberg Judy Henning and Richard Rosenzweig Ruby Family Foundation / Wendy and Ken Ruby Tawny and Jerry Sanders

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Support

CAPITAL CAMPAIGN FOUNDING DONORS CONTINUED $100,000 – $499,999 CON'T Corrine and Lenny Sands Family Foundation Debbie and Sunny Sassoon Lynne and Barry Scholer Selwyn Family Jane and Terry Semel Richard Shapiro Stephanie and Howard Sherwood Anita and Robert Silverstein The Simms / Mann Family Foundation Susan and Peter Strauss Linda May and Jack Suzar Stephanie, Leon and Jason Vahn Van Cleef & Arpels Kerry and Simone Vickar Family Foundation Tobey and Jonathan Victor Sylvia Weisz Wells Fargo Los Angeles County Supervisor Zev Yaroslavsky Pourandokht O. Zarnegin and Family Sigi and Marilyn Ziering and Family Zilber Family Anonymous (2) $50,000 – $99,999 Capital Research and Management The Carroll Family / Judy, Lexy and John Carol Sheinkopf Goldsmith Hawthorn, PNC Foundation Lee Iacocca The Iacocca Family Foundation Debra Schoenfeld Kasirer and Robert Kasirer Lynn and Norman Lear Steven, Bertram and Camilla Marcus The Stephen Philibosian Foundation Sandra and Lawrence Post The Fran and Ray Stark Foundation Sue Tsao $25,000 – $49,999 Laura and Harvey Alpert Ambassador Frank and Kathy Baxter Allison and Larry Berg James Edward Blakeley III Marsha and Martin Brander In Memory of Jack Colker The Sirpuhe and John Conte Foundation Drs. Joanne and Edward Dauer

Governor Gray Davis and Sharon Davis Anne and Kirk Douglas Honorable David Dreier Joseph Drown Foundation Entertainment Industry Foundation Mimi Alpert Feldman Hon. Frank and Judie Fenton Susan and David Finkelman Gemini G.E.L. Gloria Lushing and Arnold L. Gilberg, M.D., Ph.D. Rochelle and Dr. Eli Ginsburg Sharon and Herb Glaser Sandra and Lessing Gold Janice and Robert Goldman Steve Gordon Marcy and Edgar F. Gross Lonnie Levi Israel Linda and Jerry Janger Laurie and Lyn Konheim Sandra Krause / The Maurice L. Strauss Foundation Anita and Burton Levinson Karen and Walter Loewenstern Joan and William Lopatin Nancy and Howard Marks Matt Construction Mercedes-Benz of Beverly Hills Rio and Frank Morse Ilene and Jeff Nathan Cindy and Ken Norian Sandy and Barry D. Pressman, M.D. Wolfgang Puck Joelle and Jack Rimokh Annette, Marc and Anton Saleh Michal and Ken Salkin Renee and Bob Schnell Cheryl and Michael Schwab The Segel Family Larraine and Clive Segil Annette and Leonard Shapiro Jacqueline Applebaum Sheanin and Stephen Sheanin Marcia and Mark J. Smith Roger and Angelle Grace Wacker Vicki and Raul Walters Karen and Rick Wolfen May and Richard Ziman

The Wallis is thankful to receive support from the following:

2017/2018 Resturant Partners The Garden Bar Montage Beverly Hills 310.860.7800 | montagehotels.com Georgie Montage Beverly Hills 310.860.7800 | montagehotels.com Lawry's The Prime Rib 310.652.2827 | LawrysOnline.com Palm Restaurant 310.550.8811 | thepalm.com Porta Via Beverly Hills 310.274.6534 | portaviabh.com Avec Nous Viceroy L'Ermitage Beverly Hills 310.860.8660 | avecnous.com

With Gratitude To Our Season Sponsors OFFICIAL AIRLINE SPONSOR

PREFERRED HOTEL

OFFICIAL DECOR SPONSOR

OFFICIAL AUTOMOTIVE SPONSOR

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Staff The Wallis at a Glance ADMINISTRATIVE OFFICES

Paul Crewes

Rachel Fine

SENIOR LEADERSHIP TEAM Debra Bronow

Julien Elstob

Monday – Friday 10am – 6pm 310.246.3800 9390 N. Santa Monica Boulevard Beverly Hills, CA 90210 www.TheWallis.org

Daniel Hartman

PRODUCTION COORDINATOR

TICKET SERVICES

James D'Asaro Joel Hile

AUDIO/VIDEO SUPERVISOR

ARTISTIC DIRECTOR

DIRECTOR OF ADVANCEMENT DIRECTOR OF PRODUCTION

DIRECTOR OF MARKETING & COMMUNICATIONS

Linda Ross

CFO / DIRECTOR OF FINANCE & ADMINISTRATION

Mark Slavkin

DIRECTOR OF EDUCATION

David Truly

DIRECTOR OF SPECIAL PROJECTS

Patricia Wolff

DIRECTOR OF PROGRAMMING

ARTISTIC Coy Middlebrook

ASSOCIATE ARTISTIC DIRECTOR

Brenda Slaughter-Reynolds PRODUCTION ADMINISTRATOR

Blake Silver

INTERIM COMPANY MANAGER

Camille Jenkins ARTISTIC ASSISTANT

DEVELOPMENT Heather Shuemaker

DIRECTOR OF CORPORATE RELATIONS

Lilian Miller

DEVELOPMENT OPERATIONS MANAGER

Christine Bernardi INSTITUTIONAL GIVING

Jenna Spear

DEVELOPMENT ASSOCIATE

James Sharp

DONOR AND VISITOR RELATIONS ASSOCIATE

EDUCATION Debra Pasquerette

MANAGER OF COMMUNITY ENGAGEMENT

Heather Cooney

EDUCATION ASSOCIATE/REGISTRAR

MANAGING DIRECTOR

LIGHTING SUPERVISOR

Shane Jackman Eric Branson

LIGHTING COORDINATOR

Gary Markowitz

AUDIO/VIDEO COORDINATOR

Shawna Voragen

PRODUCTION ASSISTANT

FINANCE & ADMINISTRATION Tawny Favela

Sam Ambler

LATE SEATING

BUSINESS MANAGER

Rick Nicholson

FACILITIES MANAGER HUMAN RESOURCES MANAGER FINANCE ASSOCIATE

Chandra Jackson EXECUTIVE ASSISTANT

TICKET SERVICES Michelle Wiesel TICKET SERVICES MANAGER

Carla Quzts

ASSISTANT TICKET SERVICES MANAGER

Shea Bahnsen

TICKET SERVICES COORDINATOR

TICKET SERVICES ASSOCIATES Lauren Hayes, Eric Latham, Jennifer Martinez, Levi Austin Morris, Lauren Moss, Kevin Pass HOUSE MANAGEMENT Rich Schade

TELECOIL INDUCTION SYSTEM FOR HEARING ASSISTANCE

HOUSE MANAGER

BAR SERVICES CONSULTANT

PRODUCTION Tom Jones

PRODUCTION SUPERVISOR

Matthew Waldron TECHNICAL DIRECTOR

The Front of House Staff is happy to provide programs with larger print to patrons upon request.

Nick Ruth

Feisser Stone

PUBLIC RELATIONS CONSULTANT

LARGE PRINT PROGRAMS

In The Bram Goldsmith Theater

Sarah Jarvis

Gary W. Murphy

Should you arrive late for any performance or need to leave your seat during the performance, please expect to be held in the lobby until an appropriate moment or pause. To minimize any disturbance to other patrons, you may be seated in the first available locations by our staff even if different than your assigned seat locations. Please also be advised that some performances or circumstances may not allow for late seating or return seating.

PATRON SERVICES MANAGER

ASSOCIATE DIRECTOR OF COMMUNICATIONS

DIGITAL MARKETING MANAGER

ACCESS

Alyssa Cohen

Lee Lawlor

Pia Shekerjian

Josh Levine

During performance dates, Ticket Services will be open two hours before performance time and a half hour after the performance begins. Please note that Ticket Services is unable to process exchanges and future sales one hour prior to curtain time on performance dates.

The Wallis is committed to accommodating and ensuring a pleasant experience for all of our patrons with special needs or disabilities. Please contact Ticket Services, our House Manager or an usher to discuss your needs.

OPERATIONS MANAGER

MARKETING William Nedved

COMMUNICATIONS MANAGER

Monday – Friday 10am – 6pm Saturday 12pm – 6pm 310.746.4000

ASSISTANT HOUSE MANAGER

USHERS Miles Barbee, Caleb Clark, Liz Clark, Jacqui Creekmore, Sean Donahue, Sara Fahmy, Nina Figueroa, Anthony Flores, Kerrion Franklin, Adam Henry, Judith Halle, Brandy Hodge, Matt Jennings, Lane Keast, Bethany Koulias, Negar Modgeddi, Nema Modgeddi, Brandon Moua, Nathaniel Nunez, Natasha Rajaratnam, JP Ritcherson, Gilbert Taylor II, Niles Wells Daniels, Omari Williams, Siera Williams

WARNING: The photographic or sound recording of any performance or the possession of any device for such photographic or sound recording inside the theater, without the written permission of the management, is prohibited by law. Violators may be punishable by ejection and violations may render the offender liable for money damages.

A state of the art “hearing loop”—a thin copper wire—has been installed beneath the floor of the orchestra seating in the Bram Goldsmith Theater.

For guests wearing a hearing aid with a copper telecoil wire or who have a cochlear implant, the system captures electromagnetic waves and broadcasts signals directly to your hearing aid device. For assistance, please inquire with Patron Services.

Gifted by Virginia and Frank Maas.

QUIET ROOM

The Lynn and Les Bider Family Foundation Quiet Room is available during the performance for patrons who wish or need to step away for a moment. You can still see and hear the performance in progress, but we can’t hear you.

The City of Beverly Hills collects both waste refuse and recyclables in the same container.

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A cuff ($345) for the wrist or arm has one smooth and one raw edge, the equivalent of a live edge in furniture design.

The ends of a gold-plated brass snake cuff ($295) suggest serpent heads. A triplecoiled-snake ring, in 14-karat gold-plated brass or sterling silver ($1,870/$145), features black diamond eyes.

Another of her compelling pieces is a rose-gold triple cuff ($605); a raw brass spiral ring ($175) has a chunkier quality, a Scalise signature.

Many of the designer’s pieces, however, are elegantly delicate, such as a handsome boxchain bracelet in gold or silver ($245/$190) or matching choker ($560/$485), and a petite gold star pendant hanging from a waxed cord ($295).

“I love delicate pieces. I love big statement pieces as well.

I always create for myself and design pieces that I would wear,” Scalise says, adding that her work reflects feminine and masculine sides of her personality. She particularly 56 PERFORMANCES MAGAZINE

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Scalise also has created a small collection of leather goods with an Argentine influence. A black Italian cowhide wallet with crocodile print ($220) is made in the States. A black downtown bag ($695) with pointed gold-plated studs emphasizes versatility; the zippered tote with one exterior and two interior pockets features handles and an optional shoulder strap. The studs reappear in a polo belt ($245) in chocolate or black.

“My leather is inspired by strength, and features both feminine and masculine elements with a refined beauty,” says the designer.

It’s easy to see why Scalise has developed a loyal following. Because her pieces are edgy yet sophisticated, they appeal to women of all ages and styles and work well for a variety of occasions. Her customers, Scalise says, “tend to be badass women who have a sense of self-confidence and strength but are also soft, refined and kind.” —Joseph LeMoyne

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instance—are far more seductive than those of a static sofa or table, she says.

Even people unfamiliar with Adelman are aware of the aesthetic she has popularized: Knockoffs of her products are featured on HGTV, and chains from Restoration Hardware to Pottery Barn have brought Adelman-inspired chandeliers to suburbia. Her original designs, however, are considered serious art, viewed in prestigious galleries and New York’s Cooper Hewitt Museum.

Adelman’s L.A. venue opened last year in an old garment factory in the Arts District. The

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spare studio features her work as well as that of in-studio artists Mary Wallis and Karl Zahn.

After working as an editorial assistant at the Smithsonian Institution, Adelman enrolled in the Rhode Island School of Design and established her Lower East Side studio in 2006. As her reputation grew, Adelman expanded her staff to include artisans, metalworkers and architects.

Inspired by contemporary architects Santiago Calatrava and Shigeru Ban, the softspoken designer favors structural, cantilevered pieces that often support considerable weight and use rich materials such as bronze or porcelain.

“Industrial-chic” is sometimes applied to Adelman’s groundbreaking expressions, but that label is far too limiting. The artist has described her work as a combination of the practical and sensual.

Adelman’s first product was a smaller version of her signature Burst (from about $21,000), a breakout piece inspired by vintage French jewelry and Medieval flails. Boom Boom Burst (about $110,000) is a massive edition of that design.

“Lindsey’s special gift is her ability to translate her love of nature’s forms and materials into lighting designs of timeless elegance,” says Stefan

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American women have been suffering!

Lindsey Adelman 421 Colyton St., downtown 310.504.5200 lindseyadelman.com By appointment only.

Twentieth 7470 Beverly Blvd., L.A., 323.904.1200, twentieth.net

BAD FIT

GOOD FIT

Lawrence, founder/director of Twentieth on Beverly Boulevard, which also sells works by Adelman.

Her Cherry Bomb series features translucent gold leafembellished globes hanging as pendants from a chandelier or sconces that crawl across a wall. The sconces, with fringes consisting of hundreds of sparkling brass chains, suggest icicles hanging from cherry tree branches.

Most of her work is contemporary; many of the forms are organic, irregular hand-blown globes rather than perfectly engineered spheres. “Since one of Lindsey’s biggest influences is the natural world, her designs easily soften the clean-lined modernist residence but also translate to more traditional architecture quite nicely,” Lawrence says.

Adelman agrees. “It fits seamlessly with modern architecture,” she says, “but I love it in vintage, Old World settings where it pops against polished wood and gilt frames.”

Welcome to L.A., Lindsey Adelman. —Roger Grody

Lacking the fi ne corsetry tradition and chic lingerie culture of our European sisters, we have been sold a bill of cheaply made goods. While dispiriting for ladies in the A–C cup range, this is a full-blown disaster for fuller busted gals.

A [Fig. A ] The woman on the left is

wearing a properly fitted, cut and sew, underwire bra made in Europe.

The wire rests comfortably under the breast and against the body, encasing all of the breast tissue. She can barely feel it. The band fits snug and level, taking most of the weight off the shoulders. Her breasts are centered and lifted, lengthening the waist, and creating a lean and shapely silhouette.

B [Fig. B] The woman on the right

has gone to a department store to be fitted. They don’t carry her size (32G), so they gave her what they called a “sister size”: 38DD. The band is far too loose and the cup is allowing her breasts to push out at the sides and bottom. The loose band has ridden up to her shoulder blades and all the weight is on her shoulders.

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MICHAEL VOLTAGGIO— molecular gastronomy specialist, José Andrés protégé and Bravo Top Chef champion —is among the most gifted culinary talents in Los Angeles.

Yet his credentials were not enough to garner unqualified adoration of his first venture, ink. Recently, Voltaggio shuttered ink. and moved his culinary laboratory to a more versatile space: ink.well.

The iteration on La Cienega Boulevard is more inviting than the original Melrose restaurant, with reclaimed wood walls, neo-rustic bird’s nest chandeliers and a hand-

some wraparound bar sunken steps from the entrance. Plain wood tables pair with black banquettes and booths in the main room; another has a prominent fireplace, modern chandeliers and vintage rugs for a different vibe. ink.well is an attitude-free environment with high concept culinary creations.

A dish Voltaggio brought over from ink. is the smoked mozzarella, a globe of cheese sheathed in a crimson gel of pomodoro sauce—visually, it doubles as a tomato. It's plated with basil leaves for a reinterpretation of a Caprese salad.

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A frisee salad that Voltaggio presents as a riff on salade lyonnaise is arguably the best offering. A big cylinder of the curly greens is topped by a chaos of crispy strands of pig’s ear, a stand-in for lardons.

Representing the poached egg is a velvety egg-yolk “pudding” whose richness is cut by an acidic sherry vinaigrette.

Lamb’s belly, indulgently fatty and succulent, is covered in pine nuts long-stewed like the beans of a cassoulet for which this dish is named. The soft, oversized kernels retain their flavor and complement the lamb, which is accompanied by cool yogurt curds.

A plate of salt-and-charcoal potatoes, which at first glance could be mistaken for charcoal briquettes, arrives with a vial of Chinese black vinegar and a dropper. Several drops enliven the potatoes but it's the housemade sour cream that elevates the spuds. More satisfying is a petite bowl of starchless egg yolk gnocchi in a brown butter sauce with hen-of-the-woods 9:09 AM mushrooms.

Three perfect filets of branzino, with delicately crispy skin, are presented in a shallow pool of butternut barbecue sauce.

Layered over the fish are stalks of barbecued salsify topped by deep-fried crispy shavings of the same root vegetable.

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A relatively unpretentious burger finds dry-aged beef layered with beef belly bacon, fermented cucumbers and a dollop of foamy whipped cheese.

The wine list is short but of Los Angeles interesting, e.g., a Grüner Veltliner from Habit in Santa Ynez Valley, a George & Co. “Sonoma Coma” Pinot Noir The best known and most prestigious from the Russian River Valley. peer learning program in metro For dessert, consider pot de Los Angeles. Curious minds learning crème-like Mexican dark chocfrom each other in a collegial setting. olate with horchata “snow,” crowned with quenelles of If you have an inquisitive mind, check us out at white chocolate ganache www.platola.org drizzled in hibiscus syrup.

Some of Voltaggio’s dishes amaze; others are overthought PlatoSocietyAd-2015-Dec.indd 1 yet memorable exercises in innovation, perhaps an inevitable result for any chef not content to follow the pack.

However, one senses greater moderation and maturity at this restaurant than at ink.

The chef, who has keen classical instincts and unassailable skills, is at his best when he tweaks and teases, rather than completely transforms.

Somewhere at ink.well is that elusive balance between traditionalism and transformation that every great chef seeks. —Roger Grody

the

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ink.well 826 N. La Cienega Blvd., L.A., 310.358.9058, mvink.com PERFORMANCES MAGAZINE 65

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FILM FESTS AND, AFTER THE FIRES, GREEN GRASS SONOMA COUNTY MAY BE known for its wineries, rugged Pacific coastline and redwood forests, but in March, film buffs have four more reasons to visit.

Sonoma International Film Festival offers features, documentaries and shorts March 21-25 within walking distance of Sonoma’s historic plaza.

Sebastopol Documentary Film Festival unfolds March 22-25 and Sebastopol’s Israeli Film Festival takes place Tuesdays in March.

The Hitchcock Film Festival screens several Alfred Hitchcock classics March 17 in Bodega Bay.

These events, and visitor activities in general, continue despite one of the biggest fires in California history last fall.

“Affected areas tended to be residential,” says Sonoma County Tourism CEO Tim Zahner. “Visitors would not see effects of the fire unless they go looking for it. Even in fire areas, it’s all green grass again.”

Bodega Bay is actually a destination for Hitchcock fans year-round. The scenes of actress Tippi Hedron driving her Aston Martin into Bodega Bay in The Birds were filmed on Bay Hill Road. The 150-yearold Potter Schoolhouse, where

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CLASSICAL AND CONTEMPORARY

Garrick Ohlsson

Calder Quartet

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CELEBRATING 10 YEARS

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The Calder Quartet residency at The Broad Stage made possible in part by a generous grant from the Colburn Foundation.

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birds roosted on the playground before attacking the kids in the movie, is in the nearby town of Bodega.

(Hedron was actually injured by the birds while filming another scene.) Pick up a guide about the filming of The Birds at Sonoma Coast Visitors Center; peruse its pages at modest patio-only Birds Café.

As for accommodations, localtimber-and-stone Bodega Bay Lodge offers panoramic ocean views; most guest rooms have balconies or verandas and a wood-burning fireplace. Drakes Sonoma Coast Kitchen celebrates coastal bounty, notably eight local cheeses. Activities include horseback-riding on the beach, complimentary use of Electra cruiser bicycles, golf at the Links at Bodega Harbour— and, of course, bird-watching!

In Sonoma, luxury resort Fairmont Sonoma Mission Inn features Willow Stream Spa and four geothermal swim-

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Vine Alley, opposite Sonoma’s historic plaza

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OSKA 9693 Wilshire Boulevard Beverly Hills, CA 90212 310 271 2806 OSKA 13 Douglas Alley Pasadena, CA 91103 626 432 1729 Shop online beverlyhills.oska.com

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ming pools; many suites have wood-burning fireplaces and sunken Jacuzzi tubs. Sonoma Golf Club and highly rated restaurants are nearby.

Gourmet magazine once deemed the food at onsite Santé “the best of the new Wine Country style.”

Sonoma County has 425 wineries: Two Russian River Valley wineries of note are less than an hour away from Distinctive Residential Settings | Chef-Prepared Dining and Bistro Premier Health and Wellness Programs | Award-Winning Memory Care Sonoma or Bodega Bay, 20 Professionally Supervised Therapy and Rehabilitation Services minutes from Sebastopol and 10 minutes from each other.

The Community Built for Life.® Elegant Benovia Winery belmontvillage.com • Six Los Angeles area locations specializes in small-lot, singleRCFE Lic 197608468, 197608466, 197608467, 198601646, 565802433, 197608291 © 2018 Belmont Village, L.P. vineyard pinot noir and chardonnay and has just HW_Performances_2018_couples.indd 1 1/9/18 5:58 AM introduced a Blanc de Blancs John Ford sparkling wine. Seated and Samuel Fuller generous tastings take place by George Stevens appointment in a ranch house nestled in one of its vineyards.

Joseph Swan Vineyards, from Hollywood which recently marked its 50th to Nuremberg anniversary, is known for pinot noir, chardonnay and other varietals. Open weekends, and by appointment Friday and On exhibit at Los Angeles Museum of the Monday, the tiny tasting room, Holocaust through April 30, 2018 which is also the barrel room, An exhibit exploring the work of three Hollywood filmmakers who documented exudes rustic atmosphere. the liberation of concentration camps for the U.S. Armed Forces in 1945, creating footage that was used as evidence at the Nuremberg Trials.

More film festivals will occur in the fall, among them the The exhibition, curated by historian and film director Christian Delage, was designed, created, and distributed by the Mémorial de la Shoah (Paris, France), countywide Wine Country and made possible through the generous support of SNCF. Film Festival. Its motto: In kino 100 The Grove Drive veritas, a cinematic spin on the Los Angeles, CA 90036 (323) 651-3704 | www.lamoth.org Latin In vino veritas—“in wine, truth.” —Benjamin Epstein Photo: George Stevens and his crew, France, 1944 © Courtesy of the Margaret Herrick Library, Academy of Motion Picture Arts and Sciences, Beverly Hills, CA

filming the camps

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WE’RE SAVING A SEAT FOR YOU!

Experience theater’s most compelling contemporary voices and exclusive Subscriber benefits with a 3-Play Geffen Playhouse ticket package.

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BACK PAGE ⁄⁄⁄⁄ TONGVA PARK, SANTA MONICA ⁄⁄⁄⁄ PHOTO BY EDWIN SANTIAGO

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LIVE WITH A SMILE LAUGH OFTEN LOVE A LOT. . .

ENJOY THE ARTS

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