Performances Magazine | Mark Taper Forum, October 2025
I am thrilled to welcome you to the Mark Taper Forum for Jaja’s African Hair Braiding, one of the most moving plays of recent memory. It is unapologetically joyful in its celebration of family, community, and the dreams that we have for ourselves and our children. This year our season is focused on dreaming big and Jaja’s is hilarious and heartwarming but also a deeply human story that stayed with me long after the final bow and I hope it will for you as well.
As we settle into the fall season, I wanted to say a quick thank you to everyone who joined us over the summer. At the Ahmanson, we welcomed thousands of audience members to experience the pure joy that is & Juliet. Talk about a perfect show for summer and a great way to kick off our 2025/26 Season! At the Kirk Douglas Theatre, we partnered with Brian Henson to bring Puppet Up! to Culver City, along with a bunch of funny, foul-mouthed puppets. This is just the start of a new partnership with the Hensons, and we are excited to work with them again on some equally fun projects soon.
WELCOME ABOUT CTG
CTG’s mission is to serve the diverse audiences of Los Angeles by producing and presenting theatre of the highest caliber, by nurturing new artists, by attracting new audiences, and by developing youth outreach and arts education programs. This mission is based on a belief that the art of theatre is a cultural force with the capacity to transform the lives of individuals and society at large.
Speaking of partnerships, we also welcomed MUSE/IQUE back to the Taper for their latest show, all about the music of Spanish Harlem—and they brought the house down once again! The Taper is truly becoming their second home— and we can’t wait to welcome them back once again in the coming months.
I envision the Mark Taper Forum to be a place where world class theatre and community come together as one. Tonight’s show is a perfect example of just that. Jaja’s African Hair Braiding is all about community and finding a place to call home away from home.
So with that, we welcome you home to the Taper and Center Theatre Group—as always, it is good to be in community with you.
Warmly,
Snehal Desai Brindell & Milton Gottlieb Artistic Director
SNEHAL DESAI
Brindell & Milton Gottlieb Artistic Director
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BOARD OF DIRECTORS 2025-2026
honorary chairman
Lew R. Wasserman† (1913-2002)
president
Amy R. Forbes
chairperson William H. Ahmanson
executive vice president / treasurer
William R. Lindsay
vice presidents Miles Benickes
Jana Bezdek
Cecilia Estolano
Matthew Walden
secretary
Shana C. Waterman
†Deceased
board of directors
Harry Abrams
Jonathan Axel
Gail Berman-Masters
Betsy Borns
Diana Buckhantz
Dannielle
Campos Ramirez
Wendy Chang
Stephen Cheung
Jill Chozen
Sarah Clossey
Christine Cronin-Hurst
Nancy Dennis
Snehal Desai
Noah Francis
Gary Frischling
Ron Gillyard
Patricia Glaser
Manuela Cerri Goren
Robert Greenblatt
Jason Grode
Aliza Karney Guren
Stanley Iezman
Paul James
Jennifer Lewis
Justin Mikita
Rick Miramontez
Louise Moriarty
Kari Nakama
Jeanne Newman
Jamie Patricof
Meghan Pressman
Kristine
Louis Reynal
Edward Ring
Laura Rosenwald
Scott Sandler
Elliott Sernel
Glenn A. Sonnenberg
Jay P. Srinivasan
Sandra Stern
Marsha
Tauber Sallai
Bonnie Vitti
Kim McLane Wardlaw
Richard Weitz
Hattie Winston
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Judith Beckmen
Ava Fries†
Brindell Roberts
Gottlieb†
Susan Grode
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Stephen F. Hinchliffe, Jr.
Richard Kagan
O. Kit Lokey†
Walter Mirisch†
Diane Morton
Edward B. Nahmias
Bruce L. Ross
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Lew R. Wasserman†
Marshall Berges†
Armand S. Deutsch†
Walter Mirisch†
Henry C. Rogers†
Richard E. Sherwood†
J. David Haft†
Lawrence J. Ramer†
Stephen F. Hinchliffe, Jr.
Phyllis Hennigan
Richard Kagan
Martin Massman†
William H. Ahmanson
Kiki Ramos Gindler
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SNEHAL JOCELYN BIOH
CTG’S BRINDELL & MILTON GOTTLIEB ARTISTIC DIRECTOR SNEHAL DESAI SAT DOWN WITH JAJA’S AFRICAN HAIR BRAIDING PLAYWRIGHT JOCELYN BIOH TO TALK ABOUT HOW SHE STARTED HER CAREER AS A WRITER, HER FORMER FLY GIRL DREAMS, AND HOW JAJA’S IS A LOVE LETTER TO A PART OF HER LIFE.
This conversation has been edited for length and clarity.
SD: Hello, how are you?
JB: Good, how are you?
SD: I’m doing okay, Where are you these days?
JB: I’m at home in Harlem, you know, taking in the New York summer.
SD: How has that been?
JB: Very hot and then on other days, normal. It’s been a lovely summer, actually. Probably one of the most relaxing summers I’ve had in the last, I don’t know...ten years. Which is saying a lot considering I have a two-year-old. But it’s been good.
SD: Well, I’m going to dive in. [I’d] love to hear a little bit about what inspired you to write Jaja’s African Hair Braiding and why do you think now is the right time to bring this story to the stage?
JB: A big inspiration for Jaja’s African Hair Braiding has just been my own experience. I essentially have been getting my hair braided since I was four or five years old. This play’s a love letter to this giant part of my life and my experience. These immigrant women were some of the first people I ever saw who were entrepreneurs and then employed other African women and I thought that was a really powerful thing to see considering I was first generation Ghanaian American. When I wrote the play, it was 2019, we were in a really unique inflection point in America. How that administration, an administration that has now made a return,
were discussing immigrants and immigration, there was almost no humanizing of the people behind these policies. I thought setting this play in a hair braiding shop would be a fun, cheeky way to bring people in. That’s the sugar. And then I think discussing the reality of these women’s lives was the medicine.
SD: The interesting thing is this country was founded as a country of immigrants, right? You and I both [are] the [children] of immigrants. When we talk about this country as a melting pot, when we talk about what the American Dream is, somehow that has become politicized. These founding visions of the country have been turned on their head.
JB: We now find ourselves in a strange place again, probably even more terrifying with respect to how immigration is being discussed. This is a conversation that has been happening since the beginning of this country, there was always...a group of people trying to dominate or take power and claim ownership over lands seemingly open to anybody who was willing to come and help this country be better. And with the exception, of course, of those who were brought here unwillingly. And that is a huge part of our history that I think we never want to address in a real way. Ultimately, I would like for people to have an understanding that the American story has a lot of nuance, and...if we don’t acknowledge and respect each other, we will be left with a thing we do not recognize. I’m hopeful and in deep prayer that this particular moment we’re in is sobering enough that people will revert back to a better ideology of what America can be.
SD: The other thing that I loved about this play, for those of us who had never had hair longer than, like, two-and-a-half inches, was learning about the hair salon world. What are other things folks should be looking out for or may learn?
JB: Those who are like me, who are in and out of a hair braiding shop once every few weeks immediately feel this sense of familiarity, camaraderie, community. And I think you find that in any place where a service is being provided. And I wanted to highlight the universality,
even if the service that is being done is not one that every single person in the audience would be familiar with.
SD: It sometimes takes four to six hours, you’re in there for a day sometimes, right?
JB: There’s also a lot of labor involved in getting your hair braided. The braiders, they’re usually standing for hours and hours on end, they’re braiding hair for hours and hours on end. Just how taxing that is on your body, on your hands, on your back, on your feet, and that is your only sense of financial security. Ultimately, it’s a lot of hard labor-intensive work.
SD: What drew you to theatre and writing plays?
JB: The dream really began in the 90s when I was a dancer and my end game was to be a Fly Girl on In Living Color. Dance led to musical theatre and musical theatre led me to doing plays. Ohio State University at the time had a very particular program and it was tailored to everybody being cast to type. I had always gone to very diverse schools and with everyone playing any role. But I learned very quickly that “to type” meant only when it said roles be cast with people of color. So that really limited the roles that I could play in my program, and so I took a playwriting course to compensate for those credits. And my professor was like, look, I think you have a really good ear for dialogue and I would encourage you to apply to some [graduate] schools as a writer. Had she not said those words to me, I truly do not know where I’d be right now. Flash forward 20-some odd years, I’m now known as a Broadway and Off-Broadway playwright.
SD: I want to, at some point, view the parallel universe where you did become a Fly Girl. I was very similar in that I also wanted to be an actor and then was told they’re casting to type so opportunities are limited and then I had a professor who said, hey, I think you should take a directing course, maybe you should try something different,
continued from page 7
something else. You get to envision the world as you see it. That’s what playwrights get to do, that’s what directors get to do in different ways. What was it like to have Jaja’s open on Broadway and to welcome new communities to Broadway?
JB: It’s very rare for a play to open and premiere cold on Broadway. It invited so many audiences to the theatre just out of curiosity for a play that had seemed very specific, like it’s such a New York thing. Audiences want to come and experience something that feels different and fresh and unique. We did our job in expanding who the Broadway audiences are because we expanded the boundaries of what a Broadway play is. Even though I grew up in New York City, my family did not have enough money to see Broadway shows. The first time I ever got to see one was on a school trip to see Jelly’s Last Jam, which was my first Broadway show.
SD: I love that you said Jelly’s Last Jam, when you’re here in LA, I have some of the posters from the iconic world premiere we did at CTG.
JB: Oh wonderful! I didn’t know that.
SD: That’s what I love about being at CTG and the legacy of work. It’s there for generations and can hit us at different moments in our life. Speaking of, this is not your first time in LA or at Center Theatre Group. We did School Girls; Or, the African Mean Girls Play at the Kirk Douglas Theatre. What excites you about being back in Los Angeles?
JB: Well, I had the most welcome reception when we did School Girls in...what was that, 2018? That, I think, was my first time ever doing a production regionally. I think the conversation about the diaspora has also shifted in that time. [Jaja’s] is a play that’s set in present day. School Girls...there was a sense of nostalgia about it because it was set in the 80s, it was in Ghana, it was just these very particular fun pop culture references. But Jaja’s is very much today, even though it’s set in 2019, it’s a not-so-distant past.
SD: Well, we’re so glad to have you back. There’s been an amazing company constellation of actors from Broadway to the different productions regionally who have found community through the show. Can you also talk about some of your amazing collaborators on this show?
JB: It definitely all started with [Director] Whitney [White]. She really understood the world of this play, the women in this play, and how it should be executed. And together, we pulled together a creative team of people who could bring that vision to life. In this case, I had to involve our Tony Award-winning [Hair and Wig Designer] Nikiya Mathis into the process early because I was trying to figure out how we could actually execute some of the things I was asking the play to do. It takes place over the course of one day, so how do we show a progressing of braids being done to ultimately show 12 hours of work in 100 minutes? Thankfully, Nikiya is a genius and also assembled her own hair-braiding Avengers to figure that out. But I also brought on somebody who I have worked with on every single show, [Costume Designer] Dede Ayite. I’ve been working with Dede since, oh my gosh, at least 2010. That’s what makes this even more special, that people at CTG are gonna be experiencing essentially the Broadway production.
SD: And nothing is ever known, but this will probably be the
swan song version of this production.
JB: Yeah, this is the final hurrah, you know? This particular cast is also really special. It’s kind of an amalgam of some folks from our Broadway company, some folks who have been on our tour. Everyone has been on tour and working on this for a little over a year and for the tour to culminate in such a special city that, especially after this last year, understands the power of community and coming together, that doesn’t feel like an accident.
“The American story has a lot of nuance, and...if we don’t acknowledge and respect each other, we will be left with a thing we do not recognize.”
BLACK HAIR STORY
Black hair has never quite taken center stage the way it does in Jaja’s African Hair Braiding. But before the play brought us into its titular Harlem salon, Black hair on Broadway went through a century’s worth of changes! Let’s take a look back and see how these tresses have changed with the times.
1920s–1930s
In 1909, Garrett Morgan, famous for inventing the three-way traffic light, accidentally concocted a chemical mixture that was found to straighten curly hair. This “chemical relaxer” became popular in the Black community because it enabled Black people to style their tightly-coiled hair into the flatter, softlycurled trends of the time. These styles were seen throughout the 20s and 30s in Black Broadway hits like Shuffle Along and Porgy and Bess
1940s–1950s
As pinup styles with large, exaggerated curls “pinned up” into updos became more popular, those styles showed up onstage as well, even in period pieces like St. Louis Woman, a lesser-known 1946 Broadway musical that took place in the late 19th century. But as the Civil Rights Movement gained popularity, shows like Lorraine Hansberry’s hit 1959 play A Raisin in the Sun used hair as a symbol of character growth. In the play, Beneatha Younger becomes enlightened on Black empowerment while away at college and comes home sporting an Afro.
Pearl Bailey in St. Louis Woman Original Broadway Cast, 1946
Shuffle Along Original Broadway Cast, 1921
LOOKING BACK AT BLACK HAIR ON BROADWAY By Keeley Bell
1960s–1970s
With the “Black is Beautiful” movement of the 1960s, many Black people went the way of Beneatha Younger and embraced their natural curl patterns. The 1968 political Broadway musical Hair showcased this on the Black actors within its colorful ensemble which featured hair of all lengths, styles, and textures! And while Hair made a reallife political statement with the looks it portrayed, more fantastical musicals got to embrace experimental styles. When The Wiz took the stage in 1975, Glinda the Good Witch donned a wig featuring gravity-defying braids that stood up to resemble a crown.
1990s
The 90s brought down the volume of the hair and turned up the volume of the music with the revue, Bring in 'da Noise, Bring in 'da Funk, which walked audiences through Black history through dance. Performers got to wear their natural 90s contemporary hairstyles, which included locs (commonly referred to as “dreadlocks,” but many have switched to using the more positive term) of all lengths, worn by the show’s primarily-male cast members.
1980s
And the hair only gets bigger from here. This decade is notorious for its voluminous hair trends, which also made their way to Broadway. Even 1981’s hit musical Dreamgirls, which took place largely in the 1960s and 70s, added fluffy, feathered curls to already-voluminous retro styles, giving them a distinctly 80s look.
Hair Original Broadway Cast, 1968
Image left: Costume Piece from the Original Broadway Production of The Wiz, 1975
Dreamgirls Original Broadway Cast, 1981
Bring in ’da Noise, Bring in ’da Funk Original Broadway Cast, 1995
2000s–2010s
Keeping up with the 90s letting Black men’s natural hair shine, actor Don Cheadle brought cornrows to the stage in the Suzan Lori-Parks’ 2001 play Topdog/Underdog. And as “color blind casting” (casting actors regardless of race) became popularized over the next decade, more opportunities opened up for Black actors to take on roles previously played by white actors.
2020s
Topdog/Underdog Original Broadway Cast, 2001
Keke Palmer replaced Carly Rae Jepsen in the role of Ella in Rodgers and Hammerstein’s Cinderella two years after it was revived on Broadway in 2012, making history as the first Black woman to play Cinderella on the Great White Way. But, with this new perspective on casting, wig designers were challenged to style all types of actors into wigs meant to represent the same character. This resulted in Palmer being adorned in an auburn-colored wig that was largely the same as the ones worn by her white predecessors in the role, save for a few tightly-curled tendrils added. And, while beautiful, this wasn’t exactly representative of Palmer’s natural texture.
Jaja’s African Hair Braiding paved the way for Black hair to be shown in all its glory when it opened on Broadway in 2023. With its array of intricately-braided styles represented onstage, audiences were exposed to some of the many ways in which Black women express themselves through hair. It can’t be a coincidence that, two years after this accomplishment, Wicked swapped out a tried-and-true Elphaba wig for one that better represented Lencia Kebede, the first Black full-time Elphaba on Broadway. Her Act 2 wig was given cornrows, an homage to the fact that Kebede often wears her real hair in braids!
Whether it be braids, curls, Afros, or locs, Black hair has always been present onstage. But Jaja’s revolutionized Broadway, using hair not only as a showstopping costume piece, but as a storytelling device that allowed many Black people to see themselves, their loved ones, and their community represented honestly onstage. And with the right people behind the chairs, Black hair will only get more intentional (and at times, more creative! More braids that look like crowns, please?) with time.
Keke Palmer in Rodgers and Hammerstein’s Cinderella on Broadway, 2014
Lencia Kebede in Wicked on Broadway, 2025
THEATRICAL INSPIRATIONS
IN THE HEIGHTS
“I grew up in Washington Heights, so I’d never seen my community on a Broadway stage before. And it just kind of unlocked for me, ‘Oh. I can write about who I am and where I’m from. And I have permission to do that in a really authentic way.’”
PASSING STRANGE
“I just never saw unique and interesting and left-of-center Black people singing rock music in a theatrical piece before. Even though it was European and arty…it was still really universal and authentic and inherently Black in a way that kind of blew my mind.”
RUINED
“I think Lynn Nottage is one of the most incredible playwrights in the history of the world. And Ruined is a play I come back to often. I think it's a perfect play, tip to tail, and when I am talking to young writers…I tell them to read that play.”
IN THE CONTINUUM
“If I’m not mistaken…it was the first time that I had actually heard someone speaking in an African dialect on a stage ever. And those kind of moments, you know, live with you…Those kinds of things are so powerful, and why I understand…what it means when people say representation matters. What if I had never heard that dialect on stage? I maybe would have thought it doesn't belong there.”
STORIES
Center Theatre Group’s Storytelling Residency is a year-long program that engages high school students in the practice of devised theatre to tell stories that matter to them. Local high school educators who partner with Center Theatre Group teaching artists will embark on 20 sessions to learn about the many facets of theatre and devise a production of their own.
Devised theatre is an ensemble-based approach to theatremaking, where the script is often written after the group develops a story through improvisational activities. The program is tied to other Education & Community Partnerships programs as well as an “anchor work,” or show from CTG’s current season, to help guide and inform the work participants learn from in the classroom. Traci Kwon, Arts Education Initiatives Director, explains that the “anchor work” serves as a model for students when devising their own piece of theatre later in the program. “Students can look at a story, understand who is telling it and how they’re telling it to then serve as an inspiration for how they want to tell their own story,” she said.
This year’s cohort will use Jaja’s African Hair Braiding as an anchor work, exploring the themes of the show and attending a student matinee performance at the Mark Taper Forum. Jaja’s follows a community in Harlem through a day at a hair braiding salon, exploring themes of belonging, community, connection, and immigration.
CTG’S IN-SCHOOL PROGRAMMING PROVIDES YEAR-LONG SUPPORT TO EMPOWER STUDENTS TO TELL THEIR OWN STORIES.
By Jessica Doherty
“I would say a lot of the themes of Jaja’s are, unfortunately, incredibly relevant to our young folks here in Los Angeles, specifically when we’re talking about what we have seen in our communities with regards to immigration enforcement and ICE activity in LA and LA County,” said CTG Teaching Artist Carene Mekertichyan.
Mekertichyan finds Jaja’s to be an incredibly rich anchor work for students. “Being a first-generation young person...how do you honor the sacrifices and journey that they made for you so you can have a better life here?” she mused. “Speaking also specifically as a Black woman, there’s a lot for me to personally tap into with regards to the culture and our hair culture and sisterhood and womanhood and how we show up for each other—I'm excited to see a piece that’s uplifting and written by and for Black women and femmes, but also has so many universal themes that I think everyone will be able to tap into.”
Throughout the program, Teaching Artists engage in theatrical games and activities related to the show’s themes. While this helps in the theatrical devising process, it also serves as an essential testing ground for how certain educational plans and tools work in practice as opposed to theory. “This really allows our team to practice what we preach. We...take the activities into the classroom and sometimes they land and sometimes they don’t,” Kwon said. “That’s the real testing ground, right? You can create activities in a vacuum and think that they’ll be awesome, and then you take it into the real world and see how it goes.”
“I think that our department really tries to offer a chooseyour-own adventure to students of all kinds of interest levels, whether they just want to see a show and do an activity or they want to create something themselves, or pursue a career in the arts. I think we’ve got all bases covered.”
WRITE THIS WAY:
By Alexandra Cardona
SHEFFER
Erika Sheffer traces her love of theatre to Brooklyn, where she grew up going to Broadway and Off-Broadway shows. After training as an actor, she eventually transitioned into writing, finding her breakthrough with Russian Transport at the New Group in 2012. “It just felt like, to me, playwriting feels like home,” she said. “There’s something really visceral and personal and intimate about the relationship you have with an audience as a playwright.”
Sheffer is now developing a dark comedy about a multigenerational family rooted in her own experience. “I’m a sucker for a big, juicy family drama that involves a lot of primal relationships,” she explained.
For Sheffer, the workshop process is not just about shaping her next play but about cultivating a playwriting community. “I mostly want a community of Los Angeles playwrights,” she said. “To be in community and vested in everybody’s work and process just makes the work better but also makes the entire profession better.” After moving west in 2019, shortly before the pandemic, she is eager to root herself in LA’s theatre scene. “It’s really exciting for me to just do something that feels really local and about meeting other LA playwrights and making theatre here.”
CUBRÍA
Bernardo Cubría’s artistic journey from Mexico City to Los Angeles shaped his identity through both heritage and theatre. “My parents didn’t ask us to assimilate…we spoke Spanish at home; we rooted for the Mexican national team, I carry that close to my heart,” he said. After training as an actor and studying clowning in Italy, he turned to writing out of frustration because of the limited roles for Latino performers in New York. “One of my friends said, if you want to have control over what you get to say to the world, you have to be a writer…writing provides me much more control over what I get to say than acting did.”
Cubría’s plays reject cliché portrayals in favor of layered, authentic characters. His work blends this commitment to representation with the mischievous spirit he honed through clowning. “Clowning is about returning to a sense of play and not planning your art… it’s basically Buddhism, but with a funnier name.”
For his latest project, Cubría is exploring a provocative juxtaposition of privilege and oppression. “I’m very curious about Lauren Sánchez as a figure…her wedding timed up with ICE raids breaking out in Los Angeles,” he said. “There’s something to satirize and to explore.” Like much of his work, the play aims to tackle power structures through satire while keeping the focus on the humanity of his characters.
Now in its twentieth year, the LA Writers’ Workshop is a year-long playwright development program that supports a new generation of writers, providing six emerging playwrights with the resources, mentorship, and community to bring their works to life. Get to know this year’s cohort and discover the exciting projects they are creating!
PUMARIEGA GREEN
Keiko Green was frustrated by the limits placed on her as an Asian American actor. “When I was an Asian American gal… I just didn’t know if I was ever gonna get to do the kind of work that I wanted to be doing,” she recalled. Now a playwright, Green’s upcoming work explores the intersection of real estate, culture, and the supernatural when American tourists visit a haunted house in Japan. “I’ve been following this Instagram account… Americans are able to buy giant houses in Japan for pennies,” she explained. “I think it might be taking a quick turn into more of a horrifying territory.” For Green, horror and genre storytelling are not distractions from serious ideas, but tools for uncovering them. “I never want to write a play where people are just snapping along…I’m hoping that by talking about one thing, we can get at the secret, actual topic and theme we’re addressing.”
The collaborative spirit of the Writers’ Workshop excites her as much as the play itself. “Sometimes writing is so solitary—suddenly you’re just getting all these questions and perspectives that usually you wouldn’t get until months down the line,” she said. For Green, the program offers the rare chance to sharpen her work among peers she admires, while pushing herself to bring her best pages to the table.
Green also emphasizes the importance of community, particularly in LA’s resourceful theatre scene. “What’s cool about the community in LA is that there is a kind of guerrilla quality, everyone is hustling to make this happen…the best version of a safe space is just people being able to make really, really bold mistakes.” For Green, those mistakes are not failures but vital steps toward bold, boundarypushing theatre.
Christina Pumariega’s playwriting began with the realization that representation mattered—not just for audiences, but for artists themselves. “I didn’t know there were Latina playwrights when I was growing up…it wasn’t until college that I realized there were people who looked like me writing plays,” she recalled. A Cuban American who first worked in journalism before turning to theater, Pumariega has since forged a career that spans acting, writing, and developing new work for both stage and television.
Her plays focus on breaking stereotypes. “I write about Latinas because I want to see us onstage in all of our complexities… we’re not just one thing,” she explained. “For me, it’s about the joy and humor and absurdity as much as the pain…I want to write characters who get to be messy and complicated.” Her current project—a dark comedy inspired in part by her research at the Reagan ranch—reflects that ethos, blending political history with biting humor and intimate family dynamics.
For Pumariega, development spaces like Center Theatre Group’s development workshops are vital. “It’s so important to have a space where you can take risks and fail and try again…that’s what keeps you growing as an artist,” she said. She sees theatre as both an act of visibility and disruption. “Theatre can make people feel seen, but it can also make people uncomfortable—and that’s part of its power,” she said.
DOUGLAS PENNINGTON
Kevin Douglas playwriting roots come from sketch comedy. “I started as an actor in Chicago, and after graduating, I went to Second City,” he said. “I did improv and sketch, and a lot of my early writing came from that world…Sketch comedy really helps you tighten up the story. You start asking, ‘Do I need this? Why is this here? How do I get to the funny faster?’”
Douglas’ latest work, The Shameful Untrue Story of Herbie Gregory Morgan. “It’s about a Black man who skips the Montgomery bus boycotts because he wanted to keep his job,” Douglas said. Though the character is fictional, Douglas said “I want it to be historically accurate, with the only untrue thing being the character who secretly skips the boycotts.” By blending comedy with history, he seeks to highlight the moral complexities of collective action and individual survival.
The in-between of humor and darkness is the core of his work. “I love writing things where people kind of hate the character but also need them,” Douglas explained. “My plays usually start hilarious and end in a place that’s quite different, sometimes dark.” His influences are writers and stories that “take risks, who surprise me. Anyone who can break the mold and take us somewhere unexpected—that’s what I’m drawn to.”
For Douglas, the LA Writers’ Workshop is an opportunity to deepen his craft. “I’m looking forward to time to write, feedback from brilliant writers, and just being a sponge in the room,” he said. “When I write, what I’m learning is that I want the world—I want people—to just be better, including myself.”
A hallmark of a Maddox Pennington play “is that everybody is doing their best—and it’s still a f**king mess.” Pennington is a native and nonbinary playwright and citizen of the Cherokee nation, who centers those perspectives in their work.
Pennington is working on the third play in their Muldrow trilogy—a “semi-autobiographical but heavily fictionalized” cycle of plays about a nonbinary 30-something-year-old named Jay. In the first two plays, Jay travels out to Los Angeles in pursuit of their great grandparents who moved there prior to the Dust Bowl and to Tulsa, Oklahoma, where they live with their more conservative and native family members. In the third play, Jay is embroiled in a custody battle that falls under the jurisdiction of the Cherokee Nation, the state of Oklahoma, and the federal Indian Child Welfare Act. The play cycle is named after a town in southeast Oklahoma that Pennington’s mother’s family helped establish generations ago when they sold a plot of their land from the Dawes Allotment Act of 1887 to a railroad company.
“I’ve really appreciated that the Cherokee Nation has been explicitly LGBTQ+ supportive in recent years, especially because most of the Cherokee Nation’s in Oklahoma and that’s a really powerful thing,” they said.
Pennington also has a background in and love for TV and comedy but finds theatre as a medium alluring. “The immediacy of theatre is where my heart is,” they said. “Something I’m growing into as a playwright is constantly reminding myself—what can you only do in a theatrical space? What kind of magical or illogical or just dramatic thing can you only do with that suspension of disbelief that you get in theatre?”
KEEP ON BEING THE INSPIRATION
Our history is rich with firsts. Like being the first to identify the AIDS virus and performing the world’s first human bladder transplant. Every step forward is more than a milestone. It’s proof that when we rise, we lift others too.
The Storytelling Residency is CTG’s only in-school program this season and plays an important role in the overall suite of offerings of CTG’s Education & Community Partnerships work. Through Student Matinees, CTG Teaching Artist Zachary Bones feels students get a taste of theatre through the performance itself and surrounding activities. The Storytelling Residency takes that learning one step further. “It’s a long time with students where you can get a lot done,” he said. “It really targets the creativity aspect of education and connection where we’re delving into theme and students get an opportunity to design or write.” For students who leave the Storytelling Residency inspired to continue their theatrical education, the Student Ambassador program serves as an opportunity to develop their leadership skills while exploring community engagement, while programs like Apprenticeships, Observerships, and Internships give students hands-on experience and knowledge in their specific interests.
“I think that our department really tries to offer a choose-your-own adventure to students of all kinds of interest levels, whether they just want to see a show and do an activity or they want to create something themselves, or pursue a career in the arts,” Bones said. “I think we’ve got all bases covered.”
Alison Garfinkel, a teacher from Marshall Fundamental Secondary School, was excited for her students to go beyond their introductory devising module and write their own work when they participated in last year’s cohort. Many of her students were displaced by the Eaton Fire, so the program was a welcome respite for students. “Students looked forward to every day they came,” she said. “The Teaching Artists we had were so lovely and so supportive of them and it was such a nice vibe in class.”
Both Garfinkel and Cliff Campbell, a fellow teacher and Storytelling Residency participant from Ánimo South Los Angeles Charter, agreed that students were thrilled by the opportunity to connect with other schools and share out their stories with each other.
The connection to the Michele of many, many years ago is still very important. The innocence, the joy, the freedom, the laughter, all of those things still resonate with me as an adult. I came here with some stuff, and I left without the baggage. I find myself at peace, centered in my life, and ready to take on the world.
See Michele’s story and others at
Michele, age 57 Strategic Joy Executive
The Iconic Retreat
“Seeing other students respond to their work just meant the world to them,” Garfinkel said. She added that many students were exchanging contact information and social media handles with other schools to stay in touch.
Campbell felt that the program was extremely student-centric, as opposed to the didactic approach some educators can have. “It gave students a sense of leadership and ownership,” he said. “I loved how each group was empowered to put their own voice and their own vision into their chosen discipline.”
For Campbell, this sentiment rings true beyond the Storytelling Residency and to the importance of theatre education at large. “We got to see a professional production, which gave students an attainable, tangible idea of what professional theatre is,” he said. “On a more like human level, the program was important, less about theatre and more about like the soft skills that the program worked on, such as empathy, collaboration, brainstorming, creativity—it just works out a lot of soft skills that kids will use regardless of what career they choose.” continued from
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FORUM TAPER 2025/26SEASON MARK
JAJA'S AFRICAN HAIR BRAIDING
By Jocelyn Bioh
Directed by Whitney White
OCTOBER 1 –NOVEMBER 9, 2025
HERE LIES LOVE
Concept, Music, & Lyrics by David Byrne
Music by Fatboy Slim
Directed by Snehal Desai
FEBRUARY 11 –MARCH 22, 2026
PRIMARY TRUST
By Eboni Booth
Directed by Knud Adams
MAY 20 –JUNE 28, 2026
HELP US CREATE
THEATRE FOR ALL!
This production was made possible in part by the generosity of our community of supporters, and you can join them by making a tax-deductible gift today.
As a not-for-profit organization, Center Theatre Group relies on the generous support of theatre lovers like you. There are many ways to make an impact. You can become a member and receive benefits like access to our VIP Ticket Desk and invitations to Opening Nights, or you can make a philanthropic gift to directly support the productions you see on our stages or our lifechanging education programs for the next generation.
THERE IS NO GIFT TOO LARGE OR SMALL.
Just scan the QR code or visit CTGLA.org/SUPPORT to make a gift or learn more about how you can support.
SNEHAL DESAI The Brindell & Milton Gottlieb Artistic Director | MEGHAN PRESSMAN Managing Director/CEO | DOUGLAS C. BAKER Producing Director
GORDON DAVIDSON Founding Artistic Director
Center Theatre Group In a co-production with Arena Stage, Berkeley Repertory Theatre, Chicago Shakespeare Theater and La Jolla Playhouse In Association with Madison Wells Live and LaChanze presents
BY JOCELYN
BIOH
MELANIE BREZILL LEOVINA CHARLES VICTOIRE CHARLES MIA ELLIS TIFFANY RENEE JOHNSON CLAUDIA LOGAN MICHAEL OLOYEDE ABIGAIL C. ONWUNALI
SCENIC DESIGN DAVID ZINN
WIG, HAIR AND MAKE-UP DESIGN NIKIYA MATHIS
ASSOCIATE ARTISTIC DIRECTOR LINDSAY ALLBAUGH
JORDAN RICE BISSERAT TSEGGAI
ADDITIONAL DIRECTION BY MANNA-SYMONE MIDDLEBROOKS
COSTUME DESIGN DEDE AYITE
LIGHTING DESIGN JIYOUN CHANG
VIDEO DESIGN STEFANIA BULBARELLA
PRODUCTION STAGE MANAGER BRILLIAN QI-BELL
WITH DIRECTED BY WHITNEY WHITE
ORIGINAL MUSIC AND SOUND DESIGN JUSTIN ELLINGTON
VOICE AND DIALECT JACQUELINE SPRINGFIELD
CASTING ERICA A. HART, CSA; KELLY GILLESPIE, CSA; DAVID CAPARELLIOTIS, CSA
World premiere of Jaja’s African Hair Braiding was produced by Manhattan Theatre Club (Lynne Meadow, Artistic Director; Chris Jennings, Executive Director) and Madison Wells with LaChanze & Taraji P. Henson at the Samuel J. Friedman Theatre on September 12, 2023.
Commissioned by Williamstown Theatre Festival (Mandy Greenfield, Artistic Director), Williamstown, MA.
Jaja’s African Hair Braiding is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service imprint. (www.dramatists.com)
CAST
Any video and/or audio recording of this production is strictly prohibited. Please turn off all electronic devices such as cellular phones and watch alarms. The use of any recording device, either audio or video, and the taking of photographs, with or without flash, is strictly prohibited.
MIA ELLIS
VICTOIRE CHARLES
LEOVINA CHARLES
MELANIE BREZILL
TIFFANY RENEE JOHNSON
CLAUDIA LOGANMICHAEL OLOYEDE ABIGAIL C. ONWUNALI
DEBORA CRABBEVANDOUS STRIPLING II
JORDAN RICEBISSERAT TSEGGAI
SADÉ AYODELE
DONAE SWANSON
Setting:
A hair braiding shop in Harlem off of 125th Street Time:
A very hot day in July of 2019 CAST (IN ALPHABETICAL ORDER)
Michelle/Chrissy/LaNiece Melanie Brezill Vanessa/Sheila/Radia ............................................................................................... Leovina Charles Jaja Victoire Charles
Jennifer ............................................................................................................................ Mia Ellis Aminata Tiffany Renee Johnson Bea Claudia Logan
James/Franklin/Olu/Eric ........................................................................................... Michael Oloyede
Latecomers will be seated at the discretion of management. Patrons with disabilities: wheelchair seating is available in a variety of theatre locations. When ordering tickets, please indicate any special needs. For our hearing-impaired guests, the theatre is equipped with listening devices; please contact an usher for assistance.
JAJA'S
HAIR
WHO’S WHO
MELANIE BREZILL (Michelle, Chrissy, LaNiece). Broadway/National Tour: Harry Potter and the Cursed Child (SF), The Book of Mormon, Jaja’s African Hair Braiding. Select Regional: Stokely: The Unfinished Revolution; for colored girls who have considered suicide / when the rainbow is enuf; Man in the Ring; Caroline, or Change (Court Theatre); The Comedy of Errors at Shepperton (Chicago Shakespeare Theatre); Little Shop of Horrors (Drury Lane Oakbrook Theatre) TV: Empire . Film: Reporting for Christmas Melanie is the creator of The Grandmother Project and Pearls & Pocketbooks on YouTube. @shinegirlshine; @thegrandmotherproject
LEOVINA CHARLES (Vanessa, Radia, Sheila; she/her) is a multi-hyphenate Haitian-American artist born and raised in Brooklyn, NY. Broadway: Young Nala in The Lion King. Select Regional: Jaja’s African Hair Braiding (Berkeley Rep, Chicago Shakes, La Jolla Playhouse); Lempicka (La Jolla Playhouse); I Am Antigone (Theatre for a New City); The Waterfall (Thrown Stone); In the Red and Brown Water (UC San Diego). Film: Soñadora (Amazon Prime, Hulu); Never Alone; Mumma. MFA: UC San Diego; BFA: Howard University. @itsleovina Leovinacharles.com
VICTOIRE CHARLES (Jaja, she/her) .Theatre: Jaja's African Hair Braiding (Broadway); Golden Age (MTC); Ruined (MTC, Intiman Theatre, Geffen Playhouse); Moby Dick Rehearsed, The Tempest (The Acting Company, Group 35); Intimate Apparel (Portland Stage Company); The Comedy of Errors (Shakespeare Theatre Company). TV: New Amsterdam (NBC); FBI (CBS); Pretty Little Liars: Original Sin, Pretty Little Liars: Summer School (HBO Max); Law & Order: Special Victims Unit (NBC). She holds a BA in Theatre from Fordham University: College at Lincoln Center and a MFA from NYU Graduate Acting Program. @victoryc
MIA ELLIS (Jennifer, u/s Chrissy, u/s Michelle, u/s LaNiece; she/her). Theatre (selected): The Amen Corner (Shakespeare Theatre Company);
Fairview, The Mountaintop, Intimate Apparel, Ragtime (Trinity Rep); A Midsummer Night’s Dream (Alabama Shakespeare Festival); A Raisin in the Sun (Seattle Rep); Hamlet (Santa Cruz Shakespeare). TV/Film: The Good Fight, Elementary, Person of Interest, Welcome to the Blumhouse Live, The Surrender (SXSW 2025), Lavender Men, Woke (HollyShorts 2025), Louder Than Words. MFA: Brown University. Mia sends a special thanks to Linda, Semoune, and L.B. Instagram: @ellismia09 miaellis.com.
TIFFANY RENEE JOHNSON (Aminata, she/her). Regional: Jaja's African Hair Braiding (Arena Stage, Berkeley Rep, Chicago Shakespeare, La Jolla); Blues for an Alabama Sky (Remy Bumppo–Core Ensemble); Chlorine Sky (Steppenwolf): School Girls; Or, The African Mean Girls Play (Goodman); Red Velvet (Chicago Shakes); The Garbologists (Northlight); Ma Rainey’s Black Bottom ; A Doll's House (Writers Theatre). Television/Film: Shameless, The Chi (Showtime), Chicago P.D., Chicago Med (NBC), Soundtrack (Hulu), Range Runners (Amazon Prime). BFA (Howard University). Rep: Gray Talent Group @tiffanyreneej_
CLAUDIA LOGAN (Bea, she/her) is so grateful and blessed to hit the CTG stage! She thanks Father God for her gifts, talents, purpose, and favor. Off-Broadway: Six Characters (Lincoln Center Theater), Exception to the Rule (Roundabout), Push Party (The HEARTH). National Tours: Jaja’s African Hair Braiding (La Jolla Playhouse) TV: Diarra from Detroit, Harlem, The Equalizer, Blue Bloods, Hightown, Pause with Sam Jay, That Damn Michael Che, New Amsterdam, Tales of the City, Random Acts of Flyness.
MICHAEL OLOYEDE (James, Franklin, Olu, Eric; he/him) is thrilled to make his Center Theatre Group debut. He made his Broadway debut in Jaja’s African Hair Braiding originating the roles of James/Franklin/Olu/Eric. Off-Broadway: Scraps , Inanimate (The Flea Theater), Eco Village (Theater at St. Clements). Film/TV: Both
Eyes Open (STARZ), Maniac (Netflix), Lemonade Blessing (Tribeca). Michael is also the founder of Scene & Heard, a creative community supporting artists through space, opportunity, and storytelling. @michaeloloyede
ABIGAIL C. ONWUNALI (Ndidi, she/her). Broadway: Jaja’s African Hair Braiding (Manhattan Theatre Club). Off-Broadway: The Half-God of Rainfall (NYTW); Bloodwork (National Black Theatre); The Grove, Sojourners (The Huntington). Education: The David Geffen School of Drama at Yale; Hillman Grad Fellow. Awards: 2022 Princess Grace Award; 2x Elliot Norton nominee, winning for The Grove A multifaceted Nigerian-American artist, her plays have been developed by NYTW, EST, Faultline, New Harmony, Liberation Theatre Company, and Yale Cabaret. @abbyy_onw
JORDAN RICE (Marie, she/her) is thrilled to make her CTG Debut in Jaja's African Hair Braiding! Jordan can be seen as a recurring guest star on Swagger (Apple TV+), and in the film One True Loves starring Simu Liu and Phillipa Soo. She has received a 2025 Helen Hayes Award nomination for Outstanding Supporting Performer, a 2024 Southeast Emmy Nomination for Talent Performance, and is a 2020 National YoungArts Winner. Follow her on Instagram: @actressjordanrice #ThatGirlBeActing
BISSERAT TSEGGAI (Miriam, she/her ) is an Eritrean-American artist, grateful to be making her National Tour debut in Jaja’s African Hair Braiding . Regional: The Jungle (St. Ann’s Warehouse, Curran Theatre); For All the Women Who Thought They Were Mad (Soho Rep). Television: The Accidental Wolf, Seven Seconds, Succession, Law & Order: SVU, Orange Is the New Black, Billions, Luke Cage. @bisserat Thank you, Mommy and Daddy, for everything, always; and thank you, Bisrat—we did it :)
DEBORA CRABBE (Assistant Director, u/s Miriam, u/s Aminata, u/s Ndidi; she/her) is thrilled to be making her CTG debut. She has been with the production since DC and is excited to be back. Selected previous production credits include Gloria: A Life (Theatre J), Don’t Let the Pigeon
Drive the Bus! The Musical! (Kennedy Center National Tour), School Girls; Or, The African Mean Girls Play (Round House Theatre), Iphigenia (We Happy Few). She is also a dialect coach. Thank God and family. Enjoy the show!
VANDOUS STRIPLING II (u/s James, Olu, Franklin, Eric, he/him ). CTG debut. Regional credits include: Henry 6, Parts 1 & 2; Twelfth Night; The Merry Wives of Windsor (The Old Globe); Trouble in Mind (Pittsburgh Public Theater); Pass Over (Second Thought Theatre); What to Send Up When It Goes Down (Stage West); Berta Berta (Jubilee Theatre); Jaja’s African Hair Braiding (u/s, La Jolla Playhouse). Education: MFA, The Old Globe / University of San Diego Shiley Graduate Theatre Program.
DONAE SWANSON (u/s Marie, u/s Vanessa, u/s Shela, u/s Radia; she/her) was born and raised in Dallas, Texas. She holds a BA in Theatre Arts from San Diego State University. Past credits include: Jaja's African Hair Braiding (La Jolla Playhouse), As You Like It (Prague Shakespeare Company), Twelfth Night (Loud Fridge Theatre Group), A Midsummer Night's Dream (Coronado Playhouse). Instagram: @d.onae. Website: donaeswanson.com Select Broadway: Othello, Buena Vista Social Club , Jaja’s African Hair Braiding (Tony Award), Hell’s Kitchen, Topdog/ Underdog, Slave Play.
SADÉ AYODELE (u/s Jaja, u/s Bea; she/her) is an actor, singer, and narrator making her CTG debut. Tours: Dot Dot Dot (TheaterWorksUSA); Regional: Sound of Music (5 Star Theatricals), Junk, A Christmas Carol, Two Trains Running (Milwaukee Repertory Theater). TV: Fallout (Amazon Prime). Education: BA UC Riverside. Instagram: @sayheysade.
MORGAN SCOTT (Nollywood Dreams Actor, she/her ) Morgan recently starred in the Tony-nominated Broadway play, John Proctor Is The Villain written by Kimberly Belflower and directed by Danya Taymor. She made her Broadway debut with Jaja’s African Hair Braiding, written by Jocelyn Bioh and directed by Whitey White. Scott earned a BFA from The Juilliard School in 2022 and trained at the British American Dramatic Academy.
ONYE EME-AKWARI (Nollywood Dreams Actor, he/ him) is an actor, musician, producer, and educator. Recent theatre credits include Jaja’s African Hair Braiding (OBC, National Tour). Recent onscreen credits include guest-star and recurring appearances on networks such as CBS (FBI: Most Wanted, Bob Hearts Abishola), ABC (The Good Doctor, Will Trent), Netflix (Outer Banks), HBO (Random Acts of Flyness), and more. Onye teaches at the Terry Knickerbocker Studio (NY) and Robert Mello Studio (GA), inspiring actors to bring authenticity to every role. @onye.emeakwari
JOCELYN BIOH (Playwright ) is an awardwinning, Tony Award-nominated GhanaianAmerican writer/performer from New York City. Her written works for theatre include Jaja’s African Hair Braiding (MTC), which premiered on Broadway in 2023 and nominated for five Tony Awards including Best Play; Merry Wives (Public Theater’s Shakespeare in the Park, PBS Great Performances); Nollywood Dreams (MCC Theater); and the multi-award-winning School Girls; Or, The African Mean Girls Play, produced at MCC Theater in 2017/2018 and has gone on to have over 70 regional productions and premiered in the UK in 2023. TV credits: Russian Doll, Spike Lee’s She’s Gotta Have It (Netflix), Tiny Beautiful Things (Hulu), The Acolyte (Disney+), and is writing the live-action film adaptation of the hit Broadway musical Once On This Island for Disney.
WHITNEY WHITE (Director, she/her). Obie and Lily Award winner, Tony Award nominee. Broadway: The Last Five Years, Jaja’s African Hair Braiding, Liberation. London: The Secret Life of Bees (The Almeida). Off-Broadway: Jordans (The Public), Walden (2nd Stage), Soft (MCC), On Sugarland (NYTW), What to Send Up When It Goes Down (The Public, Playwrights Horizons, The Movement Theatre Company), Our Dear Dead Drug Lord (Second Stage, WP). Regional: The Amen Corner (Shakespeare Theatre), A Human Being of a Sort (Williamstown,The Spectacularly Lamentable Trial of Miz Martha Washington (Steppenwolf Theatre). MFA Brown University Trinity Rep. BA Northwestern.
MANNA-SYMONE MIDDLEBROOKS (Additional Direction, she/her). Broadway: Jaja's African Hair Braiding. Regional: The Tempest, sandblasted, Precious Little, and The Revenger's Tragedy at The Wirtz Center. Associate Directing: The Most Spectacularly Lamentable Trial of Miz Martha Washington (Steppenwolf), The Amen Corner (Shakespeare Theatre Company), All's Well That Ends Well (Chicago Shakespeare Theatre), Indecent and Turn Me Loose (Arena Stage); Henry IV, Part I and Amadeus (Folger Theatre);The Wolves ; Skeleton Crew; and Translations (Studio Theatre), BLKS (Woolly Mammoth). IG:@mannasymone. Website: mannasymone.com
DAVID ZINN (Set Designer, he/him ) Work on Broadway includes The Last Five Years, Stereophonic, Jaja’s African Hair Braiding, The Notebook, Kimberly Akimbo, Funny Girl, The Humans, The SpongeBob SquarePants Musical, and Fun Home. Off-Broadway: Prince Fagg*t, Liberation, The Gospel at Colonus, and Here We Are. London: West End, National Theatre, Young Vic. At CTG: Amelie, Bengal Tiger at the Baghdad Zoo, and The Cider House Rules. He’s received Tony, Drama Desk, Outer Critics Circle, and Obie Awards for his work.
DEDE AYITE (Costume Designer ) Select Broadway: Othello, Buena Vista Social Club, Our Town, Jaja’s African Hair Braiding (Tony Award), Hell’s Kitchen, Appropriate, Topdog/ Underdog, Slave Play. Select Off-Broadway: Merry Wives (Public), Days of Wine and Roses (Atlantic). Opera: X: The Life and Times of Malcolm X (MET). Select Regional: Oregon Shakespeare Festival, Arena Stage, and Steppenwolf. Television: Netflix, Comedy Central. Awards: TDF/Kitty Leech Young Master Award, Obie, Drama Desk, Henry Hewes, Lucille Lortel, Helen Hayes, Theatre Bay Area, Audelco, Jeff Awards.
JIYOUN CHANG (Lighting Designer, she/her) is grateful to return to CTG, where she previously designed Slave Play. She is a lighting designer who enjoys working across theatre and opera. Her Broadway credits include Stereophonic , Jaja’s African Hair Braiding, and Slave Play. In opera, she recently designed Factotum at Lyric
Opera of Chicago and Il Trovatore at Houston Grand Opera. Jiyoun approaches each project with emotional clarity and shared ownership, always in service of the story.
JUSTIN ELLINGTON (Sound Designer and Original Music, he/him). Justin Ellington is an awardwinning composer and sound designer whose work spans Broadway, Off-Broadway, film, and radio. He is the recipient of an Obie Award, an Audelco Award, the Henry Hewes Design Award, and multiple Tony Award nominations. Broadway credits include Pass Over; Other Desert Cities; Othello; Our Town; McNeal; Topdog/Underdog; Clyde’s; for colored girls who have considered suicide / when the rainbow is enuf; and Jaja’s African Hair Braiding. His work has appeared in leading theatre nationally and internationally.
NIKIYA MATHIS (Wig, Hair and Make-Up Design, she/her) is a multi-hyphenate actress and awardwinning hair/wig designer with an MFA from NYU Tisch. She made Broadway history as the first wig designer to receive a Special Tony Award for Jaja’s African Hair Braiding. Her Broadway credits include Purpose, Liberation, and Once Upon a One More Time. She’s a Drama Desk, Obie, Henry Hewes, and Black Women on Broadway Award winner. @our_black_tresses @nikiyamathis.
STEFANIA BULBARELLA (Video Designer, she/her) is an Argentinian projection designer based in New York. Broadway: Jeff Ross: Take a Banana for the Ride (Nederlander) Jaja’s African Hair Braiding (MTC). Off-Broadway: Space Dogs , Travels , A Bright New Boise , The Watering Hole , Semblance , and more. She’s a 2024 Tony nominee for Jaja’s African Hair Braiding, received a Drama Desk and Outer Critics Circle nominations for Space Dogs, and an HOLA Award for Vámonos! stefaniabullbarella.com
JACQUELINE SPRINGFIELD (Voice and Dialect Coach). Center Theatre Group: Debut. Off-Broadway: Ensemble Studio Theatre. Regional: South Coast Repertory, Goodman Theatre, Alliance Theatre, True Colors Theatre, Actors Theatre of Louisville, American Players Theatre. Education: M.F.A. from UNC Greensboro, Certified Instructor of Fitzmaurice Voicework.® jacquelinespringfield.com
BRILLIAN QI-BELL (Production Stage Manager, she/her). Advocacy/ Educational Programs: Cody Renard Richard Scholarship, Beyond the Stage Door [Baseline Theatricals]. PSM: Amerikin [Primary Stages], BREATHE [New Professional Theater], BLKS [UIowa] ASM: Jaja’s African Hair Braiding [Berkeley Repertory Theater, Chicago Shakespeare Theater, La Jolla Playhouse], A Thousand Maids [Two River Theater], Bees & Honey [MCC Theater], Marathon of One-Act Plays [Ensemble Studio Theater], PA: Hell’s Kitchen [Public Theater], & Juliet Tour [RCI Theatricals], SUFFS- Development [101 Productions], Jagged Little Pill- Tour [RCI Theatricals]
JIHEE JENNY PARK (Stage Manager, she/her) Jihee (Jenny) Park is a Korean American Stage Manager and excited to be back at the Mark Taper Forum. Select credits: Cambodian Rock Band (East West Players); Hamlet (CTG); American Idiot (CTG/Deaf West); Independent Shakespeare Company’s Griffith Park Free Shakespeare Festival; Dog Man: The Musical (National Tour); Twilight: Los Angeles, 1992 (CTG); How It’s Gon’ Be (Echo); King Lear (Wallis); Revenge Porn: Story of a Body and The Giant Void in My Soul (Ammo).
ERICA A. HART, CSA (Casting Director, she/her). Broadway: Chicken & Biscuits, Pass Over, Death Of A Salesman, Jaja's African Hair Braiding. OffBroadway: How To Defend Yourself, Saturday Church, Scarlett Dreams, Chiaroscuro. Television: Black Mirror, A Black Lady Sketch Show, That Damn Michael Che, Bust Down, The Girls On The Bus, The Equalizer, Last Week Tonight With John Oliver, Survival Of The Thickest. Film: We Strangers , Veo Veo A Family , The Surrogate , Fucktoys. Always for Mom + Dad and Nanie + Alison. hartcasting.com
KELLY GILLESPIE, CSA (Casting). Casting Director at Manhattan Theatre Club, where some favorite projects include the world premiere of Jaja’s African Hair Braiding, Mary Jane, Prayer for the French Republic, The Best We Could, Skeleton Crew, Ink, Choir Boy, and The Explorers Club. She has also cast productions for Arena Stage, Arizona Theatre Company, WP Theater, Berkshire Theatre Group, The Old Globe, Actors Theatre of Louisville,
Marin Theater Company, City Theatre, Merrimack Rep, 13P, EST, T.A.C.T., and Keen Company.
DAVID CAPARELLIOTIS, CSA ( Casting ).
CAPARELLIOTIS CASTING: Select Broadway: Good Night and Good Luck, Eureka Day, Mary Jane, Jaja's African Hair Braiding, Cost of Living, Macbeth, SkeletonCrew, The Minutes, The Boys in the Band, Jitney. Off-Broadway: MTC, Signature (NYC), Atlantic, Ars Nova. Select Regional: The Old Globe, Arena Stage, Berkeley Rep, Donmar Warehouse (consulting US casting director). TV/ Film: New Amsterdam (NBC, series casting), Boys in the Band (Netflix, Original Casting).
LACHANZE (Co-Producer ). Broadway: Celie in The Color Purple (Tony Award), Ti Moune in Once on This Island (Tony Award nomination), Trouble in Mind (Tony Award nomination), Summer: The Donna Summer Musical (Tony Award nomination), A Christmas Carol, If/Then, The Wiz, Company, Ragtime, and Dreamgirls Off-Broadway: The Secret Life of Bees , The Bubbly Black Girl Sheds Her Chameleon Skin, The Vagina Monologues, and Cabin in the Sky at New York City Center Encores!. TV: Handel’s Messiah Rocks: A Joyful Noise (Emmy Award), East New York, The Blacklist, HBO’s The Night Of, Law & Order: SVU, The Good Fight, Sex and the City. Film: The Help, Melinda, and Disney’s Hercules among other titles. As Director: Alice Childress’ Wine in the Wilderness at Classic Stage Company next season. As Producer: The Outsiders, adapted from S.E. Hinton’s classic novel (Tony Award), Jaja’s African Hair Braiding by Jocelyn Bioh (Tony Award nomination), Here Lies Love by David Byrne and Fatboy Slim along with the 20th Anniversary revival of Suzan-Lori Parks’ acclaimed Pulitzer Prize-winning play, Topdog/Underdog (Tony Award) and Jeanine Tesori and David Lindsay-Abaire’s new musical, Kimberly Akimbo (Tony Award), both co-produced with David Stone. President of Black Theatre United, a community dedicated to awareness, accountability, and advocacy. Proud mother to Celia Rose and Zay LaChanze. She resides in Westchester, New York with her three cats and gardening hats.
MADISON WELLS LIVE (Co-Producer ) is the live entertainment arm of Madison Wells, Gigi Pritzker’s award-winning, independent production company with a strong bias towards stories for, by, and about badass women and people who push boundaries. Led by Executive Producer Jamie Forshaw, Madison Wells Live focuses on producing purpose-driven projects through collaboration with partners who are aligned in the belief that great storytelling can provoke, inspire, and move audiences around the world. Broadway: Good Night, and Good Luck; Swept Away; Water for Elephants; Jaja’s African Hair Braiding; Shucked; Company; The Old Man and The Pool; Pass Over; Hadestown; The Inheritance; Million Dollar Quartet. West End: Stereophonic, Hadestown; The Motive and the Cue; and The Ocean at the End of the Lane. Off-Broadway: Mindplay; We Live in Cairo; and Seven Deadly Sins . Upcoming: The Thing About Jellyfish. madisonwellsmedia.com
ARENA STAGE (Co-Producer). The first racially integrated theatre in our nation’s capital and a pioneer of the regional theatre movement, Arena Stage was founded in 1950 in Washington, D.C. Today, under the leadership of Artistic Director Hana S. Sharif and Executive Producer Edgar Dobie, Arena Stage at the Mead Center for American Theater is a national center dedicated to American voices and artists. We produce plays of all that is passionate, profound, deep, and dangerous in the American spirit, and present diverse and groundbreaking work from some of the best artists around the country. Consistently contributing to the American theatrical lexicon by commissioning and developing new plays, Arena Stage impacts the lives of over 10,000 students annually through its work in community engagement and serves a diverse annual audience of more than 300,000. arenastage.org
BERKELEY REPERTORY THEATRE (Co-Producer) has grown from a storefront stage to an international leader in innovative theatre and has provided a welcoming home for emerging and established artists since 1968. Berkeley Rep’s shows have gone on to win eight Tony Awards,
nine Obie Awards, eleven Drama Desk Awards, one Grammy Award, one Pulitzer Prize, and many other honors. Berkeley Rep received the Tony Award for Outstanding Regional Theatre in 1997. The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work was launched in 2012. Berkeley Rep’s School of Theatre helps build the audiences of tomorrow with its nationally recognized programs. Learn more at berkeleyrep.org
CHICAGO SHAKESPEARE
THEATER (Co-Producer)
The nation’s largest year-round theatre dedicated to the works of Shakespeare. Led by Artistic Director Edward Hall and Executive Director Kimberly Motes, the Regional Tony Award recipient is committed to creating vivid, entertaining theatrical experiences that invigorate and engage people of all ages and identities by illuminating the complexity, ambiguity, and wonder of our world. With Shakespeare at the heart of the artistic work, CST also produces compelling, contemporary stories through North American and world premieres. CST annually welcomes more than 20,000 students and teachers to performances and programs, serving more than any theater in the city. Free programs like Shakes in the City bring performances to parks and community spaces across Chicago’s 77 neighborhoods. Shared humanity and unforgettable stories—now THIS is Chicago Shakespeare. chicagoshakes.com
LA JOLLA PLAYHOUSE (Co-Producer) is a place where artists and audiences come together to create what’s new and next in the American theatre, from Tony Award-winning productions, to imaginative programs for young audiences, to interactive experiences outside its theatre walls. Founded in 1947 by Gregory Peck, Dorothy McGuire and Mel Ferrer, the Playhouse is currently led by Tony-winning Artistic Director Christopher Ashley and Managing Director Debby Buchholz. Internationally renowned for the development of new plays and musicals, the Playhouse has mounted 120 world premieres, commissioned more than 70 works, and sent 37 productions to Broadway–among them the hit
musicals Come From Away and The Outsiders – garnering a total of 42 Tony Awards, as well as the 1993 Tony Award for Outstanding Regional Theatre.
CENTER THEATRE GROUP
SNEHAL DESAI (Brindell & Milton Gottlieb Artistic Director, he/him) was appointed Center Theatre Group’s third artistic director in 2023. As an artistic leader, Snehal has sought to raise awareness on social issues that affect Angelenos through impactful and empowering storytelling. Previously, he was the Producing Artistic Director of East West Players. A Soros Fellow and the recipient of a Tanne Award, Snehal was the Inaugural Recipient of the Drama League’s Classical Directing Fellowship. He has served on the boards of the Consortium of Asian American Theaters and Artists (Caata), Theatre Communications Group (TCG), and currently serves on the board of the National Alliance for Musical Theatre (NAMT). Snehal was on the faculty of USC’s graduate program in Arts Leadership and is a graduate of the Yale School of Drama.
MEGHAN PRESSMAN (Managing Director/CEO, she/her) joined Center Theatre Group in 2019. Previously, she served as Managing Director of Woolly Mammoth Theatre Company (D.C.), Director of Development for Signature Theatre (N.Y.), and Associate Managing Director of Berkeley Rep. She is a graduate of Yale School of Drama/Yale School of Management and serves as a mentor in the Theater Management program. Meghan has served as the Vice-Chair for the Theatre Communications Group Board of Directors and is a member of the Broadway League.
GORDON DAVIDSON (Founding Artistic Director) led the Taper throughout its first 38 seasons, guiding over 300 productions to its stage and winning countless awards for himself and the theatre—including the Tony Award for theatrical excellence, Margo Jones Award, The Governor’s Award for the Arts, and a Guggenheim fellowship. The Kentucky Cycle and Angels in America (Part
One) won the Pulitzer in consecutive years and, in 1994, three of the four plays nominated for the Tony Award for Best Play were from the Taper (Angels in America won). In 1989, Gordon took over the Ahmanson and, in 2004, he produced the inaugural season in the Kirk Douglas Theatre.
DOUGLAS C. BAKER (Producing Director, he/him) joined Center Theatre Group in 1990. Doug is an active member of the Broadway League, the Independent Presenters Network (IPN), and is a proud member of the Association of Theatrical Press Agents and Managers (ATPAM). In 2013, Doug received the Broadway League’s prestigious Outstanding Achievement in Presenter Management Award.
NAUSICA STERGIOU (General Manager ) has worked supporting artists in theatres of all shapes, sizes, and locales including Center Theatre Group as General Manager and, previously, as Audience Development Director. She oversees productions at the Taper and Douglas, as well as new play commissions and developmental productions. Nausica has taught Marketing and Management at USC’s School of Dramatic Arts and works with local nonprofits including Hollywood Orchard. BA, Cornell University. MFA, Yale School of Drama.
LINDSAY ALLBAUGH (Associate Artistic Director, she/her). Associate Artistic Director for Center Theatre Group and award-winning Los Angelesbased director and producer. Recent productions: Cry It Out by Molly Smith Metzler (Best Production: Ovation Award, LADCC Award, Stage Raw Award) at the Echo Theatre Company as well as Collective Rage: A Play in Five Betties by Jen Silverman at the Boston Court Theatre. Lindsay was Co-Artistic Director of the Elephant Theatre Company from 2004–2014, where she directed and produced many productions including 100 Saints You Should Know by Kate Fodor, Revelation by Samuel Brett Williams, and Never Tell by James Christy. Selected CTG producing credits include—Mark Taper Forum: Slave Play, Archduke, Bent, Waiting for Godot; Kirk Douglas Theatre: Creative Producer behind Block Party, Tambo & Bones, Good Grief, Throw Me On the Burnpile and Light Me Up,
Endgame, Women Laughing Alone With Salad, Chavez Ravine, different words for the same thing, The Nether
CENTER THEATRE GROUP, one of the nation’s preeminent arts and cultural organizations, is Los Angeles’ leading not-for-profit theatre company, which, under the leadership of Artistic Director Snehal Desai, Managing Director / CEO Meghan Pressman, and Producing Director Douglas C. Baker, programs seasons at the 736-seat Mark Taper Forum and 1,600 to 2,100-seat Ahmanson Theatre at The Music Center in Downtown Los Angeles, and the 317-seat Kirk Douglas Theatre in Culver City. In addition to presenting and producing the broadest range of theatrical entertainment in the country, Center Theatre Group is one of the country’s leading producers of ambitious new works through commissions and world premiere productions and a leader in interactive community engagement and education programs that reach across generations, demographics, and circumstances to serve Los Angeles. Founded in 1967, Center Theatre Group was led by Founding Artistic Director Gordon Davidson until 2005 when Michael Ritchie was the artistic director until his retirement in 2021; Snehal Desai was appointed the organization’s next artistic director in 2023. Center Theatre Group has produced more than 700 productions across its three stages, including such iconic shows as Zoot Suit; Angels in America; The Kentucky Cycle; Biloxi Blues; Twilight: Los Angeles, 1992; Children of a Lesser God; Curtains; The Drowsy Chaperone; 9 to 5: The Musical; and Bengal Tiger at the Baghdad Zoo. CenterTheatreGroup.org
Assistant Director
ADDITIONAL STAFF
Debora Crabbe
Associate Scenic Designer Teresa Williams
Associate Lighting Designer
Associate Costume Designer
Associate Wig Designer
Jacob Zedek
Cierra Coan
Tinika Sadiku
Assistant Sound Designer DJ Potts
Intimacy Consultant
Sasha Smith
Production Assistant Talya Camras, Athena Saxon
Hair and Make-up Artist.....................................................................April Tillies
Production Observers John Venegas Juarez, Alicia V. Wilson, Khari Wyatt, Kayla Njeri, Iesha M. Daniels
Loctician Mary Gordy
Braiders Aissatou Camara, Lauren Kinermon-Jones
Beautician Joy Paulk
Barbers DuVell’s Studio, Doc the Barber
The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers of the United States.
The Director and Choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.
The following employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Machine Operators, Artists and Allied Crafts of the United States, its Territories and Canada, AFL-CIO, CLC: Stage Crew Local 33; Treasurers and Ticket Sellers Local 857; Wardrobe Crew Local 768; Make-up Artists and Hair Stylists Local 706
United Scenic Artists represents designers and scenic artists for the American Theatre.
Center Theatre Group is a member of the League of Resident Theatres (LORT), the American Arts Alliance, the Broadway League, Independent Producers’ Network (IPN), and the Theatre Communications Group (TCG).
WRITTEN AND PERFORMED BY Manuel Oliver
CO-WRITTEN BY james clements
DIRECTED BY michael cotey
PRODUCED
SNEHAL DESAI The Brindell & Milton Gottlieb Artistic Director | MEGHAN PRESSMAN Managing Director/CEO | DOUGLAS C. BAKER Producing Director
GORDON DAVIDSON Founding Artistic Director
Center Theatre Group would like to thank its exceptional staff for their ongoing commitment, dedication, and extraordinary efforts.
ARTISTIC
LINDSAY ALLBAUGH♦ Associate Artistic Director
SONIA DESAI Director of Literary and Dramaturgy
PAIGE VEHLEWALD Artistic Programs Manager
BRANDON IVIE Artistic Producer
TIFFANY SLAGLE° Artistic & Literary Associate
RANDOLPH MEREDYTH-DRAKE Executive Assistant to the Artistic Director
EXECUTIVE
NAIMA OROZCO-VALDIVIA° Executive Programs Manager
MADISON QUIROZ Executive Office Liaison
MANAGEMENT
NAUSICA STERGIOU♦ General Manager
ERIC SIMS♦ General Manager, Presentations
KATIE SOFF ♦ Associate General Manager
JEFFREY UPAH♦ General Management Associate
KIARA BRYANT Company Manager
TAYLOR ANNE CULLEN Assistant Company Manager
EDUCATION AND COMMUNITY PARTNERSHIPS
CAROLINA SAN JUAN Interim Director of Arts Education
JESUS REYES♦ Director of Learning and Community Partnerships
TRACI KWON♦ Arts Education Initiatives Director
AURORA ILOG Creative Workforce Initiatives Director
MEIGHAN LA ROCCA Program Manager
COURTNEY CLARK° Digital Learning Manager
NATALIA QUINTERO-RIESTRA Programs Associate
JORDAN GELOTTE Education & Community Partnerships Coordinator
ZACHARY BONES, REBECCA GRAUL, ELIJAH GREEN,° AJA HOUSTON, JOHNATHON L. JACKSON, CARENE ROSE MEKERTICHYAN, MARA PALMA, ROBERT PATERNO, MADDOX PENNINGTON, MARTA PORTILLO,TARA RICASA,
JULIO A. CUELLAR,♦ OSCAR DOMINGUEZ, MADIE GILLETTE Facilities Assistants
JASMINE BRAFF Operations Manager
SIMON MARTIN Operations Assistant
NATALIE MARCEAU, HERVIN HERNANDEZ, REGINA NILES, ANTONIO DIXON Drivers
VANESSA BRADCHULIS, OLIVIA CHOATE, PRESSLY COKER, MONICA GREENE, PAT LOEB, TWON POPE, SAM UDERO Stage Door Attendants
FINANCE, INFORMATION TECHNOLOGY, AND HUMAN RESOURCES
CHERYL SHEPHERD Chief Financial Officer
PETER BANACHOWSKI............................................................Controller
DENICE BEHDAD Assistant Controller
ANAHITA ASHRAFIPOUR Senior Accountant
XOCHITL ORTEGA Accounts Payable Supervisor
KERRY BETH KAUFFMAN° Accounting Assistant
JESSICA HERNANDEZ Payroll Manager
MYLAH BARRETO, TIFFANY GARDE Payroll Specialist
TOM MEGALE IT Director
JANELLE CABRERA TORRES Tessitura & Web Administration Director
JOEY LAMBERT-SOLANO Digital Product Manager
CRIS SPACCA♦ Information Technology Manager
JODY HORWITZ♦ Director of Human Resources
JERMAINE CARTER HR Generalist
MOSS ADAMS Auditor
MICHAEL C. DONALDSON, LISA A. CALLIF Legal Counsel
GIBSON, DUNN & CRUTCHER Legal Counsel
INSTITUTIONAL ADVANCEMENT
SARAH SULLIVAN Director of Institutional Advancement
RICKY CARTER Director of Development
CRYSTAL DIAZ Director of Special Events
KATASHA ACOSTA-ROWE Director of Advancement Operations
PAULA MATALLANA Director of Institutional Grants
ANASTASIA RUTKOWSKI Corporate Relations Officer
GRACE PIPER Assistant Director, Prospect Research and Strategy
CORALEE YOUNG Assistant Director of Individual Giving
NICOLE SCIPIONE♦ Senior Individual Giving Officer
ZAIN PATEL Individual Giving Officer
CLAIRE PEARSON Institutional Giving Manager
NICKI BONURA Advancement Associate
RACHEL BONDS Senior Analyst, Gift Accounting and Reporting
ALICE PELAYO Donor Liason & Institutional Advancement Assistant
IRENE CHO Executive Assistant to the Director of Institutional Advancement
MEDIA AND CONTENT
BRETT WEBSTER Director of Media and Content
JESSICA DOHERTY° Associate Content Director
BOBBY MARTINEZ Content Associate
KEELEY BELL Media and Content Coordinator
DAVIDSON & CHOY PUBLICITY:
TIM CHOY, PETER GOLDMAN, VICTORIA WESTBROOK Publicity Consultants
DEANNA McCLURE♦ Design Director
JAVIER VASQUEZ♦ Digital Content Producer
LILA WAKILI Senior Graphic Designer
CHEYNE GALLARDE Senior Graphic Designer
CINDY ANDRADE Graphic Designer
MARKETING AND SALES
GARRETT COLLINS Director of Marketing and Sales
PAMELA KUHR Director of Membership
BRENNIE TELLU Ticketing & Customer Experience Director
CANDICE WALTERS♦ Marketing Campaigns & Operations Director
SKYPP CABANAS♦ Senior Manager, Ticket Operations
DEVANY HARDEN° Senior Manager, Audience Loyalty
KATHARINE MEANS° Senior Manager, Advertising
MIKE RATTERMAN° Senior Manager, Membership Engagement
ANDRESSA ROYER Senior Manager, Audience Development & Marketing Events
NINA PERRY Account Sales Manager
CHASE ANDERSON-SHAW Kirk Douglas Theatre Manager
ROMAN DICESARE Email Marketing Associate
MARC GOODMAN Senior Analyst, Sales Strategy & Data
TINTIN NGUYEN Ticket Operations Coordinator
PETER SULLIVAN Marketing Coordinator
AARON HIGAREDA Membership Engagement Supervisor
MICHAEL AGUILO, LA'RAE CARMICHAEL, JOE CASPER, BRAD GRIFFITH, DAVID HUNTER, NATALIE KEEZER, KATHLEEN LITTLEFIELD, JOSEPHINE NUNEZ°, IAN PRICE, DONALD RIZZO, BENJAMIN SCHWARTZ°,
DIANE WARD° Membership Engagement Representatives
CAROLINE THOMPSON/IMPACT 123 Media Planning
SANDY CZUBIAK♦ Audience & Subscriber Services Director
JOSHUA BADILLO, CLAY BUNKER, FRANK ENSENBERGER, DANIEL GARCIA, HARPAL KHOSLA, MICHAEL MUNOZ, SAMUEL ROQUE, DAVID SALAZAR, ASHLEY SANDOVAL, CHRISTINA WRIGHT Audience Services Representatives
As part of our commitment to supporting new plays and playwrights, we foster and develop a broad range of theatrical work from diverse artists locally, nationally, and abroad.
Artists creating new work commissioned by Center Theatre Group this season:
LISA D’AMOUR
JENNIFER HALEY
ALESHEA HARRIS
LISA KRON
KIMBER LEE
YOUNG JEAN LEE
MATTHEW LOPEZ
QUI NGUYEN
LYNN NOTTAGE
MARCO RAMIREZ
SARAH RUHL
ELIANA PIPES
LUIS VALDEZ
SEAYOUNG YIM
KAREN ZACARÍAS
LA WRITERS’ WORKSHOP
Since 2005, we have invited local playwrights to spend a year researching and writing a new work with the feedback of their fellow writers and artistic staff as part of our L.A. Writers’ Workshop. Learn more at CTGLA.org/ARTISTS
2025/26 COHORT:
BERNARDO CUBRÍA
KEVIN DOUGLAS
KEIKO GREEN
CHRISTINA PUMARIEGA
MADDOX PENNINGTON
ERIKA SHEFFER
LA ARTIST RESIDENCIES
DIANA BURBANO
MICHAEL FEINSTEIN
MICHAEL JOHN GARCÉS
DANIEL ALEXANDER JONES
MADELINE SAYET
KRISTINA WONG
CRITICAL MASS PERFORMANCE GROUP
ENSEMBLE STUDIO THEATRE LA IN PARTNERSHIP WITH CHALK REP NATIVE VOICES AT THE AUTRY
MOCA Focus: Takako Yamaguchi
Takako Yamaguchi, Stitch (detail), 2023. Courtesy of the artist; Ortuzar, New York; and as-is.la, Los Angeles. Photo: Gene Ogami.
THANK YOU
Center Theatre Group is deeply grateful to our generous donors and patrons for their vital and generous support over the last year. for your generous
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Celebrating our Past, Present, and Future: 20 Years of Los Angeles Ballet
Rubies
Frank Bridge Variations
World Premiere by Melissa Barak
January 29-31, 2026
The Wallis
2025/2026 Season
Giselle April 30-May 3, 2026
Ahmanson Theatre
The Nutcracker December 12-28, 2025
Royce Hall at UCLA
Dolby Theatre
Learn more losangelesballet.org
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$5,000+
In Memory of Mille Kern
The Honorable
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Matthew Dubeck
Dr. William Duxler
Ms. Anita H. Dymant & Mr. Richard Drooyan
Empress Jacquie
Alan & Barbara Faiola
Valerie Field
Pat Fleming
Judith R. Forman & Richard N. Weiner
The Franke Family Trust
Michael Galindo & Mary Quon Jung^
Jay & Donna Gallagher
Scott Gaudineer
Lesley & Dr. Kenneth H. Geiger
Fariba Ghaffari
Bethany Goldberg
Roslyn & Abner Goldstine
James D. & Margaret A. Gray
Claudia & Tom Grzywacz
Roberta L. Haft and Howard Rosoff
Mr. Jeffrey L. Hall & Mr. Kevin A. Yoder
Tanna Handley Havlick
Michael Hanel and Steve
Linder
Steve & Toya Harrison
Gail & Murray Heltzer
Zvia Hempling^
Alicia Hirsch & Jesse Russo
Karen Hirshan/Hirshan Family
Foundation
Ofer B. Ho
Rand Hoffman & Charlotte Robinson
Amy Hogan
Erika Honda
Gary Kading
Linda R. Kaplan
Cari & Marty Kavinoky
Ken & Stefanie Kay
Claudia E. Kazachinsky & Richard A. Sherer
Albert Kelly & Marjorie Stevens Kelly
Sharon Kerson
Genni Klein
Michael & Deborah Klein^
Karen & Bob Knapp
Joanne C. Kozberg
Mr. & Mrs. Stan Krasnoff
Jale Kutay
Lynn Kwock
Anne & Michael Landsburg
David & Janet Lazier
Ron & Pat Lebel
Dinny & David Lesser
Katherine M. Lindsay and Robin Cloud
Dr. Dianne N. Long
Mr. & Mrs. Mark S. Louchheim
M. Michele Martin
Gerard McCallum
Alan & Jodi Melcher
Carla Meyer & Chuck Arnold
Donna Millan
Mr. & Mrs. Larry Miller
Joanne & Joel Mogy
Patrick Moran
Toni Morgan
Lon Morse and Toni Hollander-Morse
Loula Moschonas & James Edgerton^
Michele Mulrooney
Jerri & Dr. Steven Nagelberg
Bob & Renee Nunn^
Mr. Richard Nupoll
Susan Oka
Michael R. Oppenheim^
Janie & Allan Orenstein
Yvonne Orji
Michael Parks &
Judith Hayward
Elsie & Peter Paterno
Ezra Perlman
Maggi Phillips & Mario Gerla
Dr. Ralph & Cathy Quijano
Rollin A. Ransom & Chris Lacroix
Paula F. Reach
Resnik Family Foundation
Kristine Reynal
Kirk & Cathy Reynolds
Rick & Judy Richman
Michael Robin
Lois Rosen
Ellen & Mike Rosenberg
Karen P. Rosenthal & Clark Linstone
Stephen and Kate Sachs
Marsha & Imre Sallai^
Betsy Katz Sandler & Scott Sandler
June Sanders Sattler
Leonard Sharzer
Linda M. Sherman
Jacque & Herb Spivak
Merrilee B. St. John^
Jill Stein
Clumeck Stern Schenkelberg & Getzoff
Laura Stevenson Maslon
Susan R. Stockel
Jeff Sung
Robin & David Swartz
Fran Sweeney
Marcy Szarama
Eileen T’Kaye & David Bischoff
Laney Techentin
Russell Todd
Lynn Tolkan Franklin
Sue Tsao
Sandra Tufts
Geoffrey Tully and Madison Tully in memory of Genise Reiter
Michael Valocchi
VoiceWorks Productions, Inc.
Rob Wade
Norman & Barbara Weiler
Susan & William Weintraub
Nita Whitaker
John R. White and Kimberly Stirling
Denise J. Winner^
Mary J. Witt
Wolfen Family Foundation
Virginia & Greg Young
Arnold H. & Tricia L. Zane
Richard Zbur
$2,500+
Anonymous (9)
In memory of Robert A. Fisher
Dr. Keith Terasaki*
Michael and Susan Abeles
Paula A. Adams
Craig J. and Kathryn K. Anderson
Laura Armour
Sandra Aronberg, M.D. & Charles Aronberg, M.D.
Margaret Arvey
Linda Ayers
Corinne Baldassano
John Ballinger & Rod Davis
David Baltimore & Alice Huang
Lois Barth & Michael Schubach
Chris & Rose Bauss^
Dr. Martine Bauwens
Minoo Behboody
Mr. & Mrs. John Bettfreund
Christopher Bissonnette
Susan Bloch & Stephen Kay
Rachel Bloom
Annette Blum
Betsy Borns
Irene Boyd
Nancy Brandel
Lynn and Robert Brandt
Leah Broidy
Jaron Brooks
Todd & Cory Buchner
Kelly Campbell
Marlene Canter
Steven Cantrell
Melinda Carmichael
Thomas J. Carmichael
Sandra L. Carter
continues on page 30
Beatrice (Tina) Castillo & Gail Sandford
Arthur & Katheryn Chinski
Caroline Choi
Joanne R. Cohen
Victor Cole & Patricia Green
Father Vince Connor
Hon. Candace Cooper (Ret.)
Corbell Family
Ted Cordes
William Dandridge
Steve & Linda Darling^
Kenneth Davis
Larry Davis
Mr. Nicholas Davis
Heidy & Saul De La Rosa
Tom De Simone & Jason Wright
Erica B. Deutsch
Dody Dorn
Chiedu Egbuniwe
Brent Enright
Ellen Eubanks
Thomas Farrell
Mrs. Barbara J. Feiga
Robert Finkel & Adelle Gross
Lauren Firestone & Chris Cookson
Jon Fisher
Darcy Fleck
Ruth Fleming-Stephens
Laura E. Fox, M.D. &
John D. Hofbauer, M.D.
Tony and Elisabeth Freinberg
Kenneth J. Friedman
Rosalie Friis-Ross
Howard J. Fulfrost
Kerry Garvis Wright
Dr. Robert Gasway & Kristen Wong
Freddi & Marvin Gelfand
Jeanne K. Gerson
Jeri & Keith Gertzman
Patrick & Frank GibsonMcMinn
Celine L. Gillibrand
Kelly Lynn Gitter
Bruce & Madelyn Glickfeld
Bob Gold
Ms. Gail Goldberg Stoter
Andrew and Colleen Goldberg
Dr. Irene Goldenberg
Nan & Allan Goodman
Edith Gould
Mr. & Mrs. Francisco Govea
Dr. Stuart & Adrienne Green
Nancy Greenberg
Sally Greenfield
Ms. Ann Greer
Craig Greiwe
Debra Grieb & John Mickus
Cynthia Griffin
Pam Grissom
Lorrie & Richard Gurewitz
Ms. Elizabeth Haaker
Scott Hall & Rhonda Church
Ms. Kamala Hamilton &
Mr. Lucky Weir
Marc Hankin
Gina Harpur
Harris Family Foundation
Sam Harris
Trish Harrison-Runnette & John Runnette
Johnny Ruth Harrison, M.D.^
Catherine & Mark Helm
Phyllis & J. Michael Hennigan
Barbara Herman
R. Christine Hershey
Ellen & Tom Hoberman
Fritz Hoelscher
Joan Hotchkis
Heidi Hu
Elizabeth Irvine Bray
The James Irvine Foundation
Dr. & Mrs. Robert Itami
Irwin & Meredith Jacobson
In Memory of Wayne Jervis, Jr.
Sean Johnson & Alex Ocampo
Carol & Bruce Johnston
Rosalind Joseph
Janet & Steve Kahane
Judith & Russell Kantor^
Regina & Richard G. Kaplan
Elyse & Stanley Katz
Laurence & Linda Kaufman
Ravi Kavasery
Jennifer Keller
John and Karen Keller
Sarah E. Kiefer
Kerry Korf, Geoffrey Korf, William Korf, & Hannah Haas
Lindsey Kozberg
Dr. Peter A. Krikes
Dr. Micheal and Mrs. Mindy Kuhn
Katherine L'Amour
Lynn Lalonde Allen
Michael Lanning
Sharon Lapid
Joan & Chris Larkin^
Ned Leiba
Gordon Lemke & Brian Rodgers
Charles Letzgus & Michael McDonald
Jeff S. Levine/ The J2 Foundation
Marla E. Levine
Carl L. Levinger^
Carrie & Mark Levinson & Emily, Lauren & Max
Nancy & Jonathan Littman
In Honor of My Mother, Consuelo Lopez
Mary Anne Lucero
Michael Lurey &
Laurie Hasencamp
Roger MacFarlane
Marge & Bill MacLaughlin
Hon. Nora M. Manella
Darlene Manus
Deborah Marshall
Emily & Phillips Marshall
Amy & Harold Masor
Marie Mazzone & David Israeli
Meg McComb
McKinney Fund
Robert L. Mendow^
Lorraine & Craig Meyer
Nick & Vaughan Meyer
Carole Miller
Joan & Philip Miller
Gretchen & Marshall Milligan
Julien Minard
Lawrence A. Mirisch
Arline M. Nakanishi
Robert & Sally Neely
Marianne & Michael Newman
Patty & John Nickoll
Marsha Niles
Russell Noel
Cindy & Ken Norian
Nancy Norris
Dr. David Oh
Mary Rose & Edward Ortega
Thomas Payne
Carole Pelton
Carol Phillips & Bob Shapiro
Frank and Cheryl Pine
Carolyn & John Poer
Pauline & Drew Pomerance
Clark and Kathryn Porter
Family Foundation
Irv & Gina Posalski
Michael Powell & Dr. Sheila Phillips
Shelley Powsner &
Stephen Skrovan
Mr. & Mrs. Albert Praw
Patricia Price
Jeffrey C. Quinn
Gail & Gary Rachelefsky
Nan Rae
Lee Ramer
Van Ramich
Tracy L. Ramont
Courtney Rangen
Lary Rappaport & Ellen Isaacs
Kathleen Reiss
Andrea and Mark Richard
David A. & Karen Richards
Sachs
Peter Richards
Ms. Carol Risher
Lindsay Ritter
Murphy & Ed Romano
Bingo Roncelli
Robert Roosth
Jeffrey A. Rosen
Nathalie & Jim Rosen
Lynne Rosenberg
Oren Rosenthal
Richard M. Ross
Rabbi & Mrs. Moshe Rothblum
Jeanne Sakata
Dana Saladen & Linda Walters
Jay & Linda Sandrich
Linda & Clifford Schaffer
Barbara Schnell &
Gordon Johnson
Scolamieri/Colwell Family
Trust
Rob & Cathy Sevell^
Patrick & Patricia Sheldon
Beth Shevin
Ms. Shannon Shih
Jacqueline & Harvey Shulman
Karen & Gordon Silverstein
Alan and Esther Siman
In Memory of Ruth & Leon Sirkin
Kurt & Keli Skarin
Stephen & Judith Slagle
Leslie Smith
Roberta Smith^
Bruce Spector
Kathy Speer & Terry Grossman
David A. Steinberg
Bobbie Stern
Jack & Marlene Susser
Mr. & Mrs. Mitchell Sussman
I.H. Sutnick
Stephen & Karen Sweeney
Ellen Tam
William L. Tan &
Shelly M. Ushio
Will Tanous
Judith N. Taylor
Mary & Peter Tennyson
Ms. Allison Thomas
Marla Thornton
Susan & William Tinkley
Judy Tishkoff & Keith Crasnick
Gina Torres
Paulette Toumazos & Michael Lorenz
Trude Tsujimoto
United Talent Agency
Carol Vernon & Robert Turbin
Dr. & Mrs. Daniel Wallace
Jason Wanderer
Rita Warren
Charles W. Weeks
Janice & Larry Weiner
Bonnie Weis
John & Martha Wengert
Kim White Peterson
Sara Widzer
Lori Williams &
Stephen Schulte
Eric Winston & Jacqueline
McIntyre-Winston
Edward Wolkowitz Family
In Honor of Laura Woolls
Wayne Zahner
Laurie Zaks & Jeff Horn
Matt J. Zaslow
Ruth Zommick
The above list reflects total annual giving from either the FY25 fiscal year (July 1, 2024-June 30, 2025) or the previous fiscal year FY24 (July 1, 2023 - June 30, 2024), whichever is greater. This list is updated as of June 30, 2025. Please contact our Advancement team at 213.972.7564 or Give@CTGLA.org with any corrections to this list. Thank you! ^Acknowledges a loyal supporter who has pledged a multi-year commitment to Center Theatre Group, including next year. *Deceased
Join us for fearless and transformative theater, dance and music that unites and inspires.
Featuring:
> Arturo O’Farrill and the Afro Latin Jazz Ensemble
> Joy Guidry > David Roussève/REALITY > Jlin
> Tiago Rodrigues > Wild Up > d. Sabela grimes
> Third Coast Percussion and Salar Nader > Lucìa
Don’t just watch— come and complete the experience.
TIAGO RODRIGUES
Photo by Christophe Raynaud de Lage
OUR SUPPORTERS: ENDOWNMENT + PLANNED GIFTS
THANK YOU
We are honored to recognize contributors who have provided support that extends well beyond the current season and safeguards the future of Center Theatre Group. We thank all of our endowment and Ovation Circle donors for making a commitment that sustains the finest theatre artistry.
ENDOWMENT GIFTS
$500,000+
The Ahmanson Foundation
Gordon Davidson Tribute Fund
Doris Duke Charitable Foundation
Ann & Stephen F. Hinchliffe, Jr.
The Norman and Sadie Lee Foundation
Renee & Meyer Luskin
Martin Massman
John S. Surabian, Jr. and in memory of Faith and Sharon Ann Surabian
$250,000+
S. Brower Trust
The Michael Shaw Jacobs Fund
Patricia Glaser & Sam Mudie
Mr. & Mrs. Jack Simon
$100,000+
Betsy & Harold Applebaum
Judith & Thomas Beckmen
The Sheri and Les Biller Family Foundation
Maynard & Linda Brittan—
Traub-Brittan Family Trust
Center Theatre Group
Affiliates
Kenneth Corday
Regina Fadiman
Barbara & Peter Fodor
Ava & Charles Fries
Brindell & Milton Gottlieb
The Hearst Foundation, Inc. Vicki King
OUR SUPPORTERS: THE AFFILIATES
Gloria Lothrop
Richard G. &
Virginia L. Martin
The Estate of Frank J. Sherwood
Louise Taper
$50,000+
Moira Byrne Foster Foundation
Margaret Sheehy Collins
Deborah M. Hyde
Ellen & Michael S. Korney
Dorothy & Richard Sherwood
$25,000+
Abbott Brown
Linda Brown
Greve Foundation
Dr. Tom Hickey
Renata Landres and Family Levine Foundation
Diane & Leon Morton
The Estate of Anita Mae Hirsh
$10,000+
A and J Davidson Skipper Award Fund
George A. V. Dunning
Carolyn & Kit Lokey
Betty & Sanford Sigoloff
PLANNED GIFTS
Shirley & Irving Ashkenas
W. Lee Bailey, M.D.
Angela Bardowell
Chris & Rose Bauss
Dr. Adrienne Brandriss
Tim Curtis and Shandon Youngclaus
Pamela & Dennis Beck
Judith & Thomas Beckmen
The Bennetts
Linda Brown
Allan & Joan Burns
Richard & Norma Camp
Bill Cohn & Dan Miller
Earl & Christine Cory
Zoe Cosgrove Estate
Susan D. Clines & Charles Dillingham
Anne M. Dougherty & David Dobrikin
Kirk & Anne Douglas
Elisabeth Katte Harris Trust
Amy Forbes & Andrew Murr
Kiki and David Gindler
Mr. & Mrs. Walter E. Grauman continues on page 40
We gratefully recognize the long-term dedication of The Affiliates, who have supported Center Theatre Group through active fundraising, volunteering, and outreach since 1971. for being part of our history.
PRESIDENT
Marsha Tauber Sallai
EXECUTIVE BOARD
Stephanie Germeraad
Roberta Haft*
Christine Harte
Marianne Tobé Karns
Melinda J. Kelly
Thea F. Koss
Joan Krause
Marianne Mandel
Jerri Nagelberg
Lisa Nichols
Sharon Reisz
June Sanders Sattler*
Dr. Carmen Estrada Schaye*
Mary Kay Schumacher
Donna Sussman*
Janice Weiner
Beth White
MEMBERS
Dana Ostroff Abelson
Jamila Abu-Omar
Jacqui Assadi
Vi Ballard
Janet Barnet*
Sue Bass
Judith Beckmen*
Marjorie Bender
Lestrita Boardman
Elnora Guerraro Campos
Eileen Cohen
Judy Colich
Judi Davidson
Ilene Eisenberg◆
Lynda Wolfson Fadel
Dina Goldstein
Debra C. Gordon
Meg Greenwood
Kristina Greiner
Gina Harpur
Kim-Chi Hoang
Barbara Krasnoff
Cheryl Lacsina
Rita Lee ◆
Diane Lesser
Shirley Lipstone
Helen Gordon Lowy
Dr. Elizabeth Lu
Gladys Lyons
Phyllis Massing
Diane Morton
Deena Nahmias
Anita Naiman
Randy Jill Nalin
Olivia Neece
Diane Neubauer*
Sheila Poncher*◆
Gina Russ Posalski*
Nan Rae
Courtney Rangen◆
Linda Rendleman
Corina Rinaldi
Harriett Chatter Rose ◆
Lois Rosen
Marla Rubin
Gaile Gray Ryan
Carole Schiffer ◆
Angela Shah
Suzanne M. Shapiro
Maggy Simon
Christine Smith
Verra Smith-Terrell
Carole Solomon◆
Robbie J. Solomon
Marilyn Stambler*◆
Roslyn Holt Swartz
Louise Taper
Katherine L. Todd*
Sue Tsao ◆
Elinor Turner
Susan Tyssee
Barbara Van Orden
Donna Marie Venick*
Barbara Weber
Kim White Peterson*
Rosaline Zane*◆
Janice Brock Wallace* * Past President ◆ Board Member at Large
Carolyn H. Fried
“THE
“THE
IMPACT OF A DONOR’S GIFT IS AMPLIFIED BY ITS ABILITY TO CHANGE THE CITY”
IMPACT OF A DONOR’S GIFT IS AMPLIFIED BY ITS ABILITY TO CHANGE THE CITY”
The Music Center Foundation was established in 1973 by Dorothy Bu um Chandler to provide endowment support to The Music Center, its educational activities, dance programs, and its four Resident Company campus partners: Center Theatre Group, LA Master Chorale, LA Opera, and LA Philharmonic.
The Music Center Foundation was established in 1973 by Dorothy Bu um Chandler to provide endowment support to The Music Center, its educational activities, dance programs, and its four Resident Company campus partners: Center Theatre Group, LA Master Chorale, LA Opera, and LA Philharmonic.
Lifting up the performing arts in Los Angeles is a unique opportunity that we can take on together. By making a gift through the Foundation, you can be a part of supporting inspirational new work that threads our community together through a vibrant, emotional connection to the performing arts.
Lifting up the performing arts in Los Angeles is a unique opportunity that we can take on together. By making a gift through the Foundation, you can be a part of supporting inspirational new work that threads our community together through a vibrant, emotional connection to the performing arts.
In the spirit of Mrs. Chandler, the impact of a donor’s gift is amplified by its ability to change Los Angeles.
In the spirit of Mrs. Chandler, the impact of a donor’s gift is amplified by its ability to change Los Angeles.
To learn more about how to leave a lasting legacy with the Music Center Foundation, contact Joanna Calabrese: 213-972-8047, jcalabrese@musiccenterfoundation.org
To learn more about how to leave a lasting legacy with the Music Center Foundation, contact Joanna Calabrese: 213-972-8047, jcalabrese@musiccenterfoundation.org
For more information on the Music Center Foundation musiccenterfoundation.org
For more information on the Music Center Foundation musiccenterfoundation.org
THANK YOU
We deeply appreciate the corporate members, grant-making institutions, and government agencies that partner with Center Theatre Group to sustain and expand our engagement with the Los Angeles community through the art of theatre.
$1,000,000+
The Ahmanson Foundation
Anonymous
Edgerton Foundation
Mellon Foundation
Perenchio Foundation
S. Mark Taper Foundation
$200,000+ Bank of America
The Norman and Sadie Lee Foundation
The Shubert Foundation, Inc.
$100,000+
David Lee Foundation
The Louis & Harold Price Foundation
Ralph M. Parsons Foundation
Snap Foundation
$75,000+
PNC Bank
$50,000+
The Capital Group Companies
Charitable Foundation
The David William Upham Foundation
Dwight Stuart Youth Fund
L.L. Foundation For Youth
Los Angeles County Department of Arts and Culture
US Bank
$25,000+
Anonymous (3) Amazon
Angelo Family Charitable Foundation
Babcock Power, Inc./ Dale S. Miller
The Baldwin Group
Center Theatre Group Affiliates
City of Los Angeles Department of Cultural Affairs
Dove/CROWN Coalition
The Edward A. and Ai O. Shay Family Foundation
JP Morgan Chase & Co.
Mitchell Silberberg & Knupp LLP
The Rosalinde and Arthur Gilbert Foundation
Rosenthal Family Foundation
Tiger Baron Foundation
Weston Milliken at Tides Foundation
$15,000+
California Arts Council
Culver City Unified School District
Eastside Arts initiative
Edison International
The Friars Charitable Foundation
The Kenneth T. & Eileen L. Norris Foundation
The Otis Booth Foundation
Pasadena Showcase House for the Arts
Sascha Brastoff Foundation
Warner Bros. Discovery
$10,000+
The City of Culver City Cultural Affairs Commission
The Harold and Mimi Steinberg Charitable Trust
Jones Day
Lawrence P. Frank Foundation
Payden & Rygel
The Fran and Ray Stark Foundation
$7,500+
Sony Pictures Entertainment
USI Insurance Services
WHH Foundation
$5,000+
Chubb
The Brookside Fund
The Ella Fitzgerald Charitable Foundation
Find Your Light Foundation
SoCalGas
$1,000+
The Caplin Foundation
The Sheri and Les Biller Family Foundation
Sidney Stern Memorial Trust
SEASON SPONSOR
Nove mber
8PM THU
PMariza
ortugal’s foremost cultural ambassador, Mariza brings the soulful magic of fado—Portugal’s traditional music—to life with her captivating voice. With over 30 platinum recordings and worldwide acclaim, she transports audiences to Lisbon’s late-night cafés with every performance, inviting you to immerse yourself in its rich, emotional spirit. 6 NOV
Ballet BC BOLERO X
Ravel’s Bolero nears its 100th year, still pulsing with the familiar energy heard from parades to commercials. Israeli choreographer Shahar Binyamini brings a bold new vision to Ballet BC, tripling the company’s size by teaming with dancers from USC’s Glorya Kaufman School. Hailed as “breathtaking” and “a triumph,” this sweeping, vibrant work radiates pure joy and ushers in an exciting new chapter for a timeless classic.
MOMIX Alice
MOMIX founder Moses Pendleton reimagines Alice in Wonderland in a dazzling adventure for all ages. Eight “dancer illusionists” morph into familiar characters with surreal costumes, colorful projections, and mind-bending feats—set to a wildly eclectic soundtrack from Bollywood to Danny Elfman to Jefferson Airplane. A visual feast and a sensory thrill for the whole family!
A new work by Sofia Nappi SWAY by Medhi Walerski BOLERO X by Shahar Binyamini
Passion Meets Purpose
La Sings!
What a Beautiful City
A mega sing-along that transforms the audience into one big choir at Walt Disney Concert Hall. Come celebrate the tapestry of voices that makes our treasured city so beautiful.
GRANT GERSHON & RACHAEL WORBY CONDUCTORS
40 singers, soloists, musicians from MUSE/IQUE
NOV 9, 2025 | 7PM
before and after nature is composer David Lang’s meditation on the natural world, both before human existence and after humans are gone. Lang addresses ways we defi ne and understand nature now that it has been forever changed by our behavior. With video projections and Bang on a Can All-Stars, the result is an immersive spectacle of sound and vision.
GRANT GERSHON CONDUCTOR 20 singers, Bang on a Can All-Stars, Video by TAL ROSNER
NOV 16, 2025 | 7:30PM
Photo by Brandon Patoc
TICKETS ON SALE NOW!
OUR SUPPORTERS: ENDOWMENT + PLANNED GIFTS continued
Susan A. Grode
Virginia Hayes
Sharon L. Henderson
Mr. Kim L. Hunter
Deborah M. Hyde
The Doug Jones and John Sanger
Theater Ticket Fund
MARTÍN + HAMELIN + BRAHMS
Oct 25 | 7:30 | ZIPPER HALL
Oct 26 | 4
| THE WALLIS
Jaime Martín Music Director
Marc-André Hamelin Piano
L. Farrenc, Symphony No. 2 in D major
J. Brahms, Piano Concerto No. 1 in D minor
Richard & Julie Kagan
Arlene M. Kageyama-Chikami
Sarah & Andy Kane
Debra L. Karrenbrock
Dr. & Mrs. Jack Kavanaugh
The Paul Kowal Charitable Foundation
Darell L. Krasnoff Sandra Krause & William Fitzgerald
Joyce & Kent Kresa
Marla E. Levine
Steven Llanusa & Glenn Miya, M.D.
Carol & Douglas Mancino
George Manet
Meg McComb
A BRAHMSIAN AFFAIR
Nov 22 | 7:30 | ZIPPER HALL
Nov 23 | 4 | THE WALLIS
Margaret Batjer
Director of Chamber Music
J. Brahms, String Sextet No. 2 in G major
Julia Moss, WORLD PREMIERE
J. Brahms, String Sextet No. 1 in B-flat major
Betty McMicken in honor of Jeanette Shammas
Diane & Leon Morton
Merle & Peter Mullin
Isabel F. Newman
Bob & Renee Nunn
Doug Palmer
Linda S. Peterson
Sally & Frank Raab
Edward L. Rada
Nan Rae
Stuart & Laurie Rice In Loving
Memory of Adam Rice
Rocco-Davies Foundation
Penelope C. Roeder, Ph.D.
Bruce & Randy Ellen Ross
RICHARD
GOODE PLAYS MOZART
Dec 14 | 4 | THE WALLIS
Dec 16 | 7:30 | ZIPPER HALL
Margaret Batjer
Director of Chamber Music
Richard Goode Piano
R. Schumann, Violin Sonata No. 1 in A minor
W. Mozart, Piano Quartet in E-flat major
L. Beethoven, Septet in E-flat major
TICKETS AVAILABLE AT LACO.ORG
Allyson S. Rubin
Eileen B. Salmas
Wes Schaefer &
Cathy King-Schaefer
Elliott Sernel
Margaret Sheehy Collins
Sue & Steve Soldoff
I.H. Sutnick
William Tierney and Barry Weismarys
Karen & William Timberlake
Paulette Toumazos & Michael Lorenz
Sue Tsao
Carol Vernon & Robert Turbin
Peter & Susan Van Haften
Magda & Frederick R. Waingrow
Dr. & Mrs. Daniel Wallace
Pat Warford
Susan & William Weintraub
Lauri N. Weiss
James Blair White
Margaret H. White
Mary J. Witt
SYMPHONIE FANTASTIQUE!
SEASON 25 26 6
NOVEMBER 8, 2025
ORION WEISS, piano
JIM SELF Tour de Force
RAVEL Piano Concerto in G Major BERLIOZ Symphonie Fantastique
MENDELSSOHN & MEYER
JANUARY 24, 2026
TCHAIKOVSKY PATHÉTIQUE
FEBRUARY 21, 2026
MICHELLE CANN, piano
JEFFREY NYTCH Beacon
MOZART Piano Concerto No. 23
TCHAIKOVSKY Symphony No. 6 “Pathétique”
TESSA LARK, violin
BEETHOVEN EROICA
APRIL 25, 2026
JULIAN SCHWARZ, cello
QUINN MASON Heroic Overture
JENNIFER HIGDON Cello Concerto †
BEETHOVEN Symphony No. 3, “Eroica”
MENDELSSOHN The Hebrides Overture
EDGAR MEYER Violin Concerto
MENDELSSOHN Symphony No. 3, “Scottish”
ANGELENOS
FROM THE NEW WORLD
MARCH 21, 2026
JUAN PABLO CONTRERAS, composer & special guest
CONTRERAS Symphony No. 1*
BERNSTEIN Three Variations from Fancy Free
DVOR ÁK Symphony No. 9, “From the New World”
AMERICA @ 250
MAY 30, 2026
JOYCE YANG, piano
JOHN WILLIAMS Selections from American Journey
JONATHAN LESHNOFF Rhapsody on “America” * †
COPLAND Appalachian Spring Suite
COPLAND Lincoln Portrait
Concert and Home Rentals
Blüthner Pianos (since 1853)
Neupert Harpsichords (since 1868)
Schiedmayer Celesta (since 1890)
Welcome to The Music Center!
Thank you for joining us.
The Music Center is your place to experience the joy, solace and transformative power of the arts. Here you can express yourself, connect with others and enjoy incredible live performances and events in our four beautiful theatres, at Jerry Moss Plaza and in Gloria Molina Grand Park.
We promise to provide you with the best experience possible on our campus. Please do your part to help us create a safe, welcoming and inclusive environment by reviewing The Music Center Guest Agreement at musiccenter.org/guestagreement
Visit musiccenter.org to learn about upcoming events and performances.
Enjoy the show!
#BeAPartOfIt
@musiccenterla
General Information (213) 972-7211 | musiccenter.org
Support The Music Center (213) 972-3333 | musiccenter.org/support
TAKE A TOUR OF THE MUSIC CENTER
Free 90-minute docent-led tours take you through the Dorothy Chandler Pavilion, Ahmanson Theatre, Mark Taper Forum and Walt Disney Concert Hall, along with Jerry Moss Plaza. You’ll learn about the history and architecture of the theatres along with The Music Center’s beautiful outdoor spaces as well as the incredible selection of artwork located throughout the campus.
Tours are offered daily. Check the schedule to plan a fun-filled day in Downtown L.A.!
Visit musiccenter.org for additional information.
OFFICERS
Robert J. Abernethy
Chair
Cary J. Lefton
Darrell D. Miller
Vice Chairs
Rachel S. Moore
President & CEO
Susan M. Wegleitner
Treasurer
William Taylor
Assistant Treasurer and Chief Financial Officer
MEMBERS AT LARGE
Charlene Achki Repko
Charles F. Adams
William H. Ahmanson
Romesh Anketell
Jill C. Baldauf
Phoebe Beasley
Kristin Burr
Dannielle Campos
Alberto M. Carvalho
Elizabeth Khuri Chandler
Riley Etheridge, Jr.
Amy R. Forbes
Greg T. Geyer
Joan E. Herman
Jeffrey M. Hill
Jonathan B. Hodge
Mary Ann Hunt-Jacobsen
Ronald D. Kaplan
Richard B. Kendall
Lily Lee
Keith R. Leonard, Jr.
Kelsey N. Martin
Elizabeth Michelson
Cindy Miscikowski
Teresita Notkin
Michael J. Pagano
Karen Kay Platt
Susan Erburu Reardon
Joseph J. Rice
Beverly P. Ryder
Thomas L. Safran
Maria S. Salinas
Corinne Jessie
Sanchez
Mimi Song
Johnese Spisso
Michael Stockton
Jason Subotky
Timothy S. Wahl
Jennifer M. Walske
GENERAL COUNSEL
Rollin A. Ransom
DIRECTORS
EMERITI
Peter K. Barker
Judith Beckmen
Darrell R. Brown
Ronald W. Burkle
John B. Emerson **
Richard M. Ferry
Bernard A. Greenberg
Stephen F. Hinchliffe, Jr.
Kent Kresa
Mattie McFaddenLawson
Fredric M. Roberts
Richard K. Roeder
Claire L. Rothman
Joni J. Smith
Lisa Specht **
Cynthia A. Telles
James A. Thomas
Andrea L. Van de Kamp **
Thomas R. Weinberger
Alyce de Roulet
Williamson
** Chair Emeritus
Current as of 8/25/2025
John McCoy for The Music Center.
Alvin Ailey American Dance Theater's James Gilmer and Samantha Figgins. Photo by Andrew Eccles.
BOARD OF SUPERVISORS
COUNTY OF LOS ANGELES
Support from the Los Angeles County Board of Supervisors plays an invaluable role in the successful operation of The Music Center.
Janice Hahn Supervisor, Fourth District
Lindsey P. Horvath Supervisor, Third District
Kathryn Barger Chair, Fifth District
Holly J. Mitchell Supervisor, Second District
Hilda L. Solis
Chair Pro Tem, First District
(From left to right)
LAND ACKNOWLEDGMENT
As a steward of The Music Center of Los Angeles County, we recognize that we occupy land originally and still inhabited and cared for by the Tongva, Tataviam, Serrano, Kizh and Chumash Peoples. We honor and pay respect to their elders and descendants — past, present and emerging — as they continue their stewardship of these lands and waters. We acknowledge that settler colonization resulted in land seizure, disease, subjugation, slavery, relocation, broken promises, genocide and multigenerational trauma. This acknowledgment demonstrates our responsibility and commitment to truth, healing and reconciliation and to elevating the stories, culture and community of the original inhabitants of Los Angeles County.
We are grateful to have the opportunity to live and work on these ancestral lands. We are dedicated to growing and sustaining relationships with Native peoples and local tribal governments, including (in no particular order) the:
• Fernandeño Tataviam Band of Mission Indians
• Gabrielino Tongva Indians of California Tribal Council
• Gabrieleno/Tongva San Gabriel Band of Mission Indians
• Gabrieleño Band of Mission Indians-Kizh Nation
• San Manuel Band of Mission Indians
• San Fernando Band of Mission Indians
To learn more about the First Peoples of Los Angeles County, please visit the Los Angeles City/County Native American Indian Commission website at lanaic.lacounty.go
Photo Credit: David Franco, Los Angeles County Board of Supervisors Photographer.
Happening at The Music Center
WED 1 OCT / 7:30 p.m.
Jaja's African Hair Braiding CENTER THEATRE GROUP
@ Mark Taper Forum Thru 11/9/2025
THU 2 OCT / 8:00 p.m.
The Rite of Spring with Dudamel
LA PHIL
@ Walt Disney Concert Hall Thru 10/5/2025
FRI 3 OCT / 8:00 p.m.
Ledisi "for Dinah"
LA PHIL
@ Walt Disney Concert Hall
SAT 4 OCT / 7:30 p.m.
West Side Story
LA OPERA
@ Dorothy Chandler Pavilion
Thru 10/12/2025
SUN 5 OCT / 7:00 p.m.
Two Titans | The Music of Beethoven and Verdi
LOS ANGELES
MASTER CHORALE
@ Walt Disney Concert Hall
TUE 7 OCT / 8:00 p.m.
Strauss, Pärt & Glass
LA PHIL
@ Walt Disney Concert Hall
THU 9 OCT / 8:00 p.m.
Dudamel Conducts Mahler's "Resurrection"
LA PHIL
@ Walt Disney Concert Hall Thru 10/12/2025
SUN 12 OCT / 7:30 p.m.
Paul Jacobs
LA PHIL
@ Walt Disney Concert Hall
TUE 14 OCT / 7:00 p.m.
LA Phil Gala: Gustavo's Fiesta
LA PHIL
@ Walt Disney Concert Hall
THU 16 OCT / 8:00 p.m.
Yunchan Lim
LA PHIL
@ Walt Disney Concert Hall
FRI 17 OCT / 8:00 p.m.
Ivan Lins
LA PHIL
@ Walt Disney Concert Hall
SAT 18 OCT / 8:00 p.m.
Los Fabulosos Cadillacs
LA PHIL
@ Walt Disney Concert Hall Thru 10/19/2025
OCTOBER 2025
FRI 24 OCT / 7:30 p.m.
Complexions Contemporary Ballet
THE MUSIC CENTER
@ Dorothy Chandler Pavilion Thru 10/26/2025
SAT 25 OCT / 8:00 p.m.
Boz Scaggs
LA PHIL
@ Walt Disney Concert Hall
TUE 28 OCT / 8:00 p.m.
An Evening with Itzhak Perlman
LA PHIL
@ Walt Disney Concert Hall
WED 29 OCT / 8:00 p.m.
Jacob Collier: The Djesse
Solo Show
LA PHIL
@ Walt Disney Concert Hall
THU 30 OCT / 8:00 p.m.
Nicole Scherzinger
LA PHIL
@ Walt Disney Concert Hall
FRI 31 OCT / 8:00 p.m.
The Hunchback of Notre Dame
LA PHIL
@ Walt Disney Concert Hall
Visit musiccenter.org for additional information on all upcoming events. @musiccenterla
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Photo by John McCoy for The Music Center.
Photo credits: Top left by John McCoy for The Music Center; bottom left by Hanako Doerr for The Music Center; right image by Michelle Shiers for The Music Center.
NOW FEATURING
CHEF LUCIO BEDON
NORTHERN ITALIAN CUISINE
With decades of cooking in Southern California, Chef Bedon celebrates his familial roots from Italy’s Veneto region with elegantly prepared dishes that showcase his passion for impeccably sourced ingredients.
Some of these dishes have lived with me for generations, while others are a reflection of experimentation and the way we enjoy eating now in Los Angeles. “ “
