Performances Magazine San Diego | La Jolla Playhouse, September 2023

SUMO

Begins September 26 INNOVATION NIGHT October 2

BABBITT

Begins November 7

contents

P1 Program

Cast, performances, who’s who, director’s notes, donors and more.

6 In the Wings

Broadway musicals Evita, Cabaret, The Book of Mormon and Les Miserables; Sara Porkalob’s play Dragon Mama; and The Unauthorized Hunter S. Thompson Musical

10 Feature: Local Opera Spotlight

Bodhi Tree Concerts presents the world premiere of composer Ricky Ian Gordon’s chamber opera, Autumn Valentine—based on poems by Dorothy Parker—at UC San Diego Park & Market.

13 Dining

Our roundup of restaurant picks for fall is an ode to comfort cuisine—stacked birria enchiladas, lasagna with slow-braised Bolognese and bechamel, and more.

24 Parting Shot

The striking architecture of La Jolla’s Salk Institute for Biological Studies, designed by Louis Kahn

SEPT 6 – OCT 1

Capturing the sheer joy, sophistication, and wit of 1940s screwball comedies, playwright Paul Slade Smith (The Outsider; Unnecessary Farce) has brilliantly adapted Ferenc Molnár’s classic farce, Play at the Castle. Join an unforgettable cast of characters as they navigate romance, misunderstandings, and comical situations, setting the stage for a riotous disaster. Brace yourself for a perfect storm of comedic chaos, swept away by irresistible charm and rapid-fire banter. This delightful evening promises a non-stop rollercoaster of mirth, leaving you breathless with laughter.

DIRECTED BY DAVID ELLENSTEIN

— SAN FRANCISCO CHRONICLE

OCT 18 – NOV 12

A new and shocking version of a classic tale of depravity, lust, love, and horror. Jefrey Hatcher’s suspenseful drama looks at the evil that lurks in the hearts of men, as two sides battle each other in a deadly game of cat-and-mouse to determine who shall achieve dominance. The show is wicked, witty, and terrifying!

DIRECTED BY SHANA WRIDE

“Smart, tense”

“and suspenseful”

PUBLISHER

Jeff Levy

EDITOR

Sarah Daoust

ART DIRE CTOR

Carol Wakano

PRODUCTION MANAGER

Glenda Mendez

PRODUCTION ARTIST

Diana Gonzalez

CONTRIBUTING WRITER

Stephanie Saad Thompson

ADVERTISING DIRECTOR

Kerry Baggett

ACCOUNT DIRE CTORS

Walter Lewis, Jean Greene, Tina Marie Smith

CIRCULATION MANAGER

Christine Noriega-Roessler

BUSINESS MANAGER

Leanne Killian Riggar

MARKETING/ PRODUCTION MANAGER

Dawn Kiko Cheng

DIGITAL PROGRAM MANAGER

Audrey Duncan Welch

DIGITAL MANAGER

Lorenzo Dela Rama

Contact Us

ADVERTISING

Kerry.Baggett@ CaliforniaMediaGroup.com

WEBSITE

Lorenzo.DelaRama@ CaliforniaMediaGroup.com

CIRCULATION

Christine.Roessler@ CaliforniaMediaGroup.com

HONORARY PRESIDENT

Ted Levy

For information about advertising and rates contact California Media Group 3679 Motor Ave., Suite 300 Los Angeles, CA 90034

Phone: 310.280.2880

Fax: 310.280.2890

Visit Performances Magazine online at socalpulse.com

VISITING BROADWAY SMASH HITS

THE OUTRAGEOUS MUSICAL comedy The Book of Mormon—the brainchild of South Park creators Trey Parker and Matt Stone—returns to the Civic Theatre, Sept. 19-24. The religious satire follows two young Mormon missionaries who travel to a remote village in northern Uganda, where a brutal warlord reigns. The locals—who are more concerned about poverty, famine, AIDS and war than religion—are less than receptive to the missionaries, who prove to be naïve yet optimistic in their quest to share scriptures. Politically incorrect hilarity and misadventures ensue. Back in town Oct. 3-15, Les Miserables is Alain Boublil and ClaudeMichel Schönberg’s Tony Award-winning musical phenomenon. The epic story follows Jean Valjean, who, after 19 years as a prisoner, is freed by Javert, the officer in charge of the prison workforce. Javert vows to bring Valjean back to prison after Valjean breaks parole. 1100 Third Ave., downtown, broadwaysd.com

BROADWAY

From far left: Berlande and Sam Nackman in The Book of Mormon; Les Miserables on tour.

Renegade Writer

JOURNALIST AND author Hunter

S. Thompson

(1937-2005) is remembered for having founded the gonzo journalism movement and for his book Hell’s Angels (for which he spent a year living with the outlaw motorcycle club). But who was he really?

La Jolla Playhouse explores the life of this counterculture icon in its world premiere, The Untitled Unauthorized Hunter S. Thompson Musical, playing Aug. 29-Oct. 8. Based on the book by Joe Iconis and Gregory S. Moss— with choreography by Jon Rua and music and lyrics by Iconis— the musical takes us through Thompson’s career, from the 1940s to his death—accompanied by a rock-n-roll-infused score that promises a thrill ride. Christopher Ashley directs. lajollaplayhouse.org

THEATER

Must-See September Shows

ANDREW LLOYD WEBBER’S Broadway triumph, Evita, centers on the rise of the controversial first lady of Argentina, Eva Perón. Featuring lyrics by Tim Rice, Cygnet Theatre’s staging of it runs through Oct. 1; directed by Sean Murray; with music direction by Patrick Marion; and choreography by Carlos Mendoza. cygnettheatre.com Catch Asolo Repertory Theatre’s production of Cabaret at The Old Globe, Sept. 1-Oct. 8. It’s 1931 in Berlin—where an American writer meets a nightclub singer who performs at the Kit Kat

Klub—as the city’s hedonistic nightlife scene amid the twilight of the Jazz Age begins to change amid Nazi occupation. The musical features an epic score by John Kander and Fred Ebb. theoldglobe.org At Diversionary Theatre, Sara Porkalob stars in her own one-women adventure, Dragon Mama, Sept. 14-Oct. 8. The play spans 25 years in the life of Maria— who lives in rural Washington and is restless. When an opportunity to make a fast fortune in Alaska presents itself, she has some tough decisions to make. diversionary.org

FROM TOP: CLIFF ROLES; STEPHANIE WESSELS

WORLD PREMIERE

The cast of Asolo Repertory Theatre’s Cabaret; playwright, composer and lyricist Joe Iconis.

AUTUMN VALENTINE

BODHI TREE CONCERTS PRESENTS A WORLD-PREMIERE OPERA BASED ON POEMS BY DOROTHY PARKER by STEPHANIE

THE ICONIC AMERICAN WRITER AND POET DOROTHY PARKER, OF Algonquin Round Table fame, may be best known today for her seemingly endless supply of quotable quips. “Beauty is only skin deep, but ugly goes clean to the bone.” “Living well is the best revenge.” “I’d rather have a bottle in front of me than a frontal lobotomy.”

But there was a lot more to Parker’s writing than just great zingers. And now Bodhi Tree Concerts—the San Diego performing arts organization that presents eclectic musical performances hiring local artists and donates the profits to partnering nonprofits—will be presenting the world premiere of a fully realized Autumn Valentine, a chamber opera by

SAAD THOMPSON

Composer Ricky Ian Gordon; Dorothy Parker

the American composer Ricky Ian Gordon, set to words by Dorothy Parker. The sole performance will be on Sept. 23 at UC San Diego Park & Market downtown.

Starring San Diegobased artists soprano Angelina Réaux and baritone Michael Sokol— who originated the roles when the piece was first workshopped at Opera Omaha in 1994—Autumn Valentine will be directed by longtime San Diego theater favorite Rosina Reynolds; and performed with chamber orchestral accompaniment under the music direction of Ines Irawati. The composer, who is based in New York, will travel to San Diego for the performance.

Bodhi Tree Concerts cofounder and director, Diana DuMelle, first met Ricky Ian Gordon when she was stage-managing the world premiere of his opera, The Garden of the Finzi-Continis, with New York City Opera last year. “It was a real honor to be a part of the production working with a living composer who was often in the room, guiding the production and artists,” DuMelle says. “It really was a dream come true, and I will treasure that experience. Ricky is so smart, friendly, extremely

/CONTINUED ON PAGE 18

BUY TICKETS

heart

Mario went to the hospital with a stomachache. He ended up needing a new heart. After just two days on the donor waitlist and four months of recovery, this eighth grader is back on track to being a kid.

learn about Mario's story

The Artistic Directors Circle Season Sponsors

Roberta C. Baade Charitable Fund

Theodor S. and Audrey S. Geisel Fund

Hanna and Mark Gleiberman

Jeanne Herberger

Joan and Irwin Jacobs

Sheri L. Jamieson

La Atalaya Fund

Rebecca Moores Foundation

Jordan Ressler Charitable Fund of the Jewish Community Foundation

Ted and Paula Adams

PRODUCTION SPONSORS

Weston Anson

Sheri L. Jamieson

Recipient of an Edgerton Foundation New Play Award

Weston Anson - In Loving Memory of Susan Bailey Anson, Michael Bartell and Melissa Garfeld Bartell, Denise and Lon Bevers, Gail and Ralph Bryan, Brian and Silvija Devine, The Estate of Pauline Foster, Laurie Gore and Julie Osman - Mission Valley Community Foundation, Lynn Gorguze and Scott Peters, Kay and Bill Gurtin, Debby and Hal Jacobs, Perlmeter Family Foundation, Karen and Jeff Silberman, Molli Wagner, Mandell Weiss Charitable Trust

A MESSAGE FROM THE ARTISTIC DIRECTOR

Dear Friends,

For the second time this season, we revisit the 1960s and ‘70s, an era whose chaos and instability mirrors our own. But whereas Love All focused on the ways in which the struggle for equality and justice inspired Billie Jean King to become a trailblazer, our newest world-premiere musical turns the spotlight on one of those decades’ most compelling and complicated fgures in popular culture: Hunter S. Thompson.

Spurning the long-standing ideal that journalism was the domain of objective facts, Dr. Thompson pioneered a new form of journalism, “Gonzo,” which placed himself at the subjective heart of all of his stories. (As evidence of Hunter’s loose relationship with facts, look no further than the fact that the “Doctor” title was entirely self-applied.)

And yet, Hunter’s prose was in service of what he saw as a deeper truth: the truth of how he experienced the events and subjects he covered. The America he searched for and wrote about was vastly different from that of mainstream journalists; he celebrated the misfts, the freaks, the outsiders –the people who didn’t ft neatly into society’s rigid defnitions of what it meant to belong.

The legacy of Gonzo journalism is not without its problems; witness the glut of contemporary news channels dedicated to a partisan outlook at the expense of facts. But Hunter’s story is also particularly urgent now, when legislatures across the country seek to criminalize any identities or behaviors they deem immoral. Just as Hunter fought to bring attention to those who lived on the margins, a new generation is striving to create a country that embraces difference.

Thanks to Joe Iconis’s riveting, endlessly-catchy score, alongside Joe and Gregory Moss’s rambunctiously funny book, The Untitled Unauthorized Hunter S. Thompson Musical is an experience every bit as anarchic, audacious and unruly as its subject.

CHRISTOPHER ASHLEY

LAND ACKNOWLEDGEMENT

La Jolla Playhouse acknowledges the land on which our theatres sit as the unceded territory of the KUMEYAAY NATION. Today, the Kumeyaay people continue to maintain their political sovereignty and cultural traditions as vital members of the San Diego community. Their contributions to our region are tremendous and we thank them for their stewardship.

THE RICH FAMILY ARTISTIC DIRECTOR OF LA JOLLA PLAYHOUSE

LA JOLLA PLAYHOUSE PRESENTS

MUSIC AND LYRICS BY

JOE ICONIS

BOOK BY RICK EDINGER

JOE ICONIS AND GREGORY S. MOSS

CHOREOGRAPHED BY

DIRECTED BY ON RUA

MUSIC SUPERVISION BY CHRISTOPHER ASHLEY

FEATURING

GEORGE ABUD*, JOSH ALVAREZ, JEANNETTE BAYARDELLE*, SUMMER BROYHILL*, JOSIAH CAJUDO ‡ , GIOVANNY DIAZ DE LEON, GABRIEL EBERT*, MARCY HARRIELL*, LORINDA LISITZA*, LAUREN MARCUS*, KÜRT NORBY*, NIO RUSSELL, GEORGE SALAZAR*, RYAN VONA*, JASON SWEETTOOTH WILLIAMS*

SCENIC DESIGN COSTUME DESIGN

LIGHTING DESIGN

SOUND DESIGN

WIG AND HAIR DESIGN

PUPPET DESIGN

ORCHESTRATIONS

VOCAL ARRANGEMENTS

DRAMATURG

SENSITIVITY SPECIALIST

DIALECT COACH

NEW YORK CASTING

IN-HOUSE CASTING

STAGE MANAGER

ASSISTANT STAGE MANAGERS

PRODUCTION MANAGER

GENERAL MANAGER

EXECUTIVE PRODUCER

WILSON CHIN

TONI-LESLIE JAMES

AMANDA ZIEVE

JUSTIN STASIW

ALBERTO "ALBEE" ALVARADO

ANIMAL CRACKER CONSPIRACY

CHARLIE ROSEN

RICK EDINGER, IAN EISENDRATH

SHIRLEY FISHMAN

ANN JAMES

EVA BARNES

THE TELSEY OFFICE, RACHEL HOFFMAN, CSA

JACOLE KITCHEN

JESS SLOCUM*

TOPAZ COOKS*, NICHOLAS LAMBROS SMITH*

BECCA DUHAIME

RYAN MEISHEID

ERIC KEEN-LOUIE

Christopher Ashley

The Rich Family Artistic Director of La Jolla Playhouse

Debby Buchholz Managing Director of La Jolla Playhouse

Nixon George Abud*

Jann Jeannette Bayardelle*

Puppeteer Josiah Cajudo‡

The Kid Giovanny Diaz de Leon

Hunter Gabriel Ebert*

Sandy Marcy Harriell*

Virginia Lorinda Lisitza*

Flower Child Lauren Marcus*

Oscar George Salazar*

Juan Ryan Vona*

Steadman Jason SweetTooth Williams*

UNDERSTUDIES

Oscar, Juan, Puppeteer Josh Alvarez

Flower Child, Virginia Summer Broyhill*

The Kid Josiah Cajudo‡

Sandy Lauren Marcus*

Nixon, Steadman Kürt Norby*

Jann, Sandy, Flower Child Nio Russell

Hunter Ryan Vona*

Understudies are never substituted for listed roles unless a specifc announcement is made at the time of the performance.

ADDITIONAL STAFF

Associate Director Kat Yen

Assistant Choreographer Brianna Mercado

Associate Music Director Lyndon Pugeda

Associate Scenic Designer Jimmy Stubbs

Assistant Scenic Designer Bridget Lindsay

Scenic Design Resident Raphael Mishler‡

Costume Design Resident Elise Wesley‡

Associate Lighting Designer Brandon H. Rosen

Assistant Lighting Designer Amara NcNeil

Assistant Sound Designer Salvador Zamora

Assistant Dramaturg Mia Van Deloo

Fight Captain Jason SweetTooth Williams*

Dance Captain George Salazar*

Script Supervisor Katie Grant

Script Assistant Erica Kahn

Production Assistant Katherine McLeod

People and Culture Consultants Cornerstone Consulting HR

ACKNOWLEDGEMENTS

Howell Binkley Fellowship Program • Rogue Van Company

Thank you to every human being whose life and work was a source of inspiration for this musical. Thank you to Hunter S. Thompson for being a true rebel, a galvanizing writer, a boundary-exploding truth-teller, a ferce defender of freedom, and an uncynical believer in the transformative power of art. Thank you to everyone out there making a space for the outcasts, the weirdos, the freaks. – Joe Iconis

The Untitled Unauthorized Hunter S. Thompson Musical will be performed with a 15-minute intermission.

ACT ONE

Prologue TICK TICK...

“The Opening Number Is Indulgent And Perverse”

Part One A WRITER, BORN FROM DUST

“Rich Kids”/”Driving Through America”

“The Typewriter Song”

Part Two THE GREAT GREEN LIGHT HUNT

“Hell’s Angels Theme Song”

Part Three HEY SANDY

“Paul Getting Beer”

“I Will Go to Puerto Rico”

Part Four THE BIRTH OF GONZO

“Steadman’s Song”

“The Derby”

Interlude A (STOLEN) MOMENT WITH RICHARD NIXON (THE SWINE)

“I Love America”

Part Five THE FERTILE GROUND OF SAN FRANCISCO

“Jann Wenner”

“Freedom Song”

“Song of the Brown Buffalo”

Part Six THE VEGAS TRIP

“Wavesong”

ACT TWO

Entr’acte ANOTHER (STOLEN) MOMENT WITH RICHARD NIXON (THE SWINE)

“Richard Nixon’s Big Number”

Part Seven THE CAMPAIGN TRIP

PT. 1: LOVE AT FIRST PEE

“I’m in Love with a Man Named George McGovern”

PT. 2: HOT TUB PARTY

PT. 3: CONVENTIONS

Part Eight REVENGE OF THE HALLOWEEN MASK

“Halloween Mask”

“Adore”

Interlude DRINKING WITH GHOSTS

Part Nine FEBRUARY 20, 2005

“Hey Dad”

“The Note”

Epilogue ...KABOOM

“Kaboom”

MUSIC TEAM

Conductor/Spinet/Wurlitzer Rick Edinger

Hammond B3 Organ/Rhodes/Harmonium/Mellotron Rob Whitlock

Guitar Nikko Nobleza

Bass/Contractor Michael Pearce

Drums Joel Alpers

Score Supervisor Danielle Gimbal

Copyist Anixter Rice Music Services/Danielle Gimbal and Russ Anixter

This production contains staged domestic violence, alcohol and drug abuse, and themes of suicide. If you or someone you know needs support now, please connect with the following lines of assistance:

• Suicide & Crisis Lifeline - call or text 988 or chat 988lifeline.org

• SAMHSA (Substance Abuse & Mental Health Services Administration) – call 1-800-662-HELP (4357) or visit samhsa.gov

• National Domestic Violence Hotline – call 1-800-799-SAFE (7233), text “START” to 88788, or chat TheHotline.org

Lorin Getline retired as La Jolla Playhouse’s Music Contractor after more than 30 years. We

are grateful

for his impact on the music community at the Playhouse and at theaters throughout San Diego.

GEORGE ABUD*, Nixon

is a proud Arab-American actor. La Jolla Playhouse: Marinetti in Lempicka (dir. Rachel Chavkin; Craig Noel nom.). Broadway: The Band’s Visit starring Katrina Lenk and Tony Shalhoub (Daytime Emmy Award, OBC Recording); The Visit starring Chita Rivera and Roger Rees (OBC Recording). OffBroadway: The Beautiful Lady directed by Anne Bogart (La MaMa); Cornelia Street opposite Norbert Leo Butz (Atlantic Theater Company); Nerd Face in Emojiland (Drama Desk nom., OOBC Recording; The Duke on 42nd); The Resistible Rise of Arturo Ui alongside Raúl Esparza, Nathan the Wise opposite F. Murray Abraham, Peer Gynt opposite Gabriel Ebert, Allegro directed by John Doyle (Classic Stage Company); Lolita, My Love opposite Robert Sella (York Theatre Company).

JOSH ALVAREZ, (he/him) Understudy: Oscar, Juan, Puppeteer

La Jolla Playhouse: Debut. National Tours: Cirque Du Soleil 2021, 2022. Regional: Damn Yankees and 9 to 5 (Musical Theatre West); Tarzan (Moonlight Amphitheater); The King and I (Alaska Center for the Performing Arts); Footloose (Taylor Performing Arts Center); Pippin (Regional Theatre of Palouse); Saturday Night Fever (Candlelight Pavilion); West Side Story (Gem Theatre). TV/Film: Disney+ and Babylon. Social Media: @officialjoshalvarez.

JEANNETTE BAYARDELLE*, Jann

La Jolla Playhouse: Freaky Friday. Broadway: Girl from the North Country (Mrs. Neilsen/Tony nomination), Hair (Dionne), The Color Purple (Celie). Off Broadway: The Harder They Come and Girl from the North Country (The Public Theater), Rock of Ages (New World Stages), SHIDA (Ars Nova). National Tours/Regional: SHIDA (London), The Color Purple, Deaf West’s Big River, Rent. Film: Disney’s Little Mermaid: Ariel’s Beginning

SUMMER BROYHILL*, (she/her) Understudy: Flower Child, Virginia La Jolla Playhouse: Love All. Broadway: Hairspray. National Tours: Rodgers + Hammerstein’s Cinderella, Hairspray. Off-Broadway: Killer Therapy (Players Theatre), The Independents (Soho Playhouse), The Day Before Spring (York). Regional: The Last Five Years (Virginia Stage, Weathervane), Tarzan (Tuacahn), Kiss Me, Kate opposite Davis Gaines (concert) and Romeo and Juliet, As You Like It, How the Grinch Stole Christmas!, Twelfth Night and Julius Caesar, all at The Old Globe. Education: M.F.A. from Old Globe/ USD, B.M. from FSU. She is also a playwright. summerbroyhill.com, @summerbroyhill on Instagram.

JOSIAH CAJUDO‡ , Puppeteer/Understudy: The Kid

La Jolla Playhouse: Debut. Regional: The Little Mermaid (Performance Riverside). UC San Diego: 900 Years, The Winter's Tale, Bach at Leipzig, Hells Canyon, Everybody. UC Riverside: Little Shop of Horrors, Birthmark, Love's Labour's Lost. Other: The Two Kids That Blow Shit Up (Endless Summer Productions), The Sound of Music (La Sierra University). Education: B.A. from UC Riverside, current M.F.A. candidate at UC San Diego.

GIOVANNY DIAZ DE LEON*, (he/him) The Kid La Jolla Playhouse: Debut. Regional: Witnesses (CCAE Theatricals); The Ferryman (New Village Arts); Lost in Yonkers (Scripps Ranch Theatre). Featured actor in Hershey Felder’s The Assembly Education: Graduate from the San Diego School of Creative and Performing Arts majoring in Musical Theatre.

GABRIEL EBERT*, Hunter

La Jolla Playhouse Debut. Broadway: Matilda The Musical (Tony Award winner - Best Featured Actor), Pass Over (Lortel Award winner), Casa Valentina, Brief Encounter, Time and the Conways, Therese Raquin, Red. Off-Broadway: 4,000 Miles (OBIE Award winner), Preludes, Gently Down The Stream, Local Hero, Peer Gynt, Prometheus Bound, Suicide Incorporated, The Heart of Robin Hood. Film/TV: News of the World, Dickinson, I Am a Seagull, Mr. Mercedes, Sinking Spring, The Mandalorian, Hello Tomorrow!, Ricki and the Flash, The Immortal Life of Henrietta Lacks, The Interestings, Compliance. As a singer, he has performed at Carnegie Hall, The Royal Albert Hall and with the New York Philharmonic.

MARCY HARRIELL*, Sandy

La Jolla Playhouse: Debut. Music was mandatory as air for the daughter of a truck-driving trumpeter and a gardening fine artist; drilling coloratura runs while rock legends played full blast was the norm. That musical playground extended onto the stage, jumping from Broadway’s Rent, to City Center’s operatic Kismet, the Latin-infused In the Heights, to Lennon’s primal scream. As lead vocalist for MMDG’s newest work The Look of Love, The Washington Post praised her jazz renderings of a dozen Bacharach hits: "Hariell's voice ranges masterfully from hushed intimacy to a desperate, raging plea, making you feel the destruction of a soul." Offstage, she creates couture garments for everyday life, using technicolor armor to inspire an audience alongside her partner-in-everything, Rob, in the YouTube series @TheHandmadeHarriells. Find her on your social of choice @marcyharriell.

LORINDA LISITZA*, Virginia is from Porcupine Plain, Saskatchewan.

La Jolla Playhouse: Debut. New York: Mother Courage and The Threepenny Opera with the Jean Cocteau Repertory. Lorinda is a long-time member of the Joe Iconis Family as well as the Theater 20/20 Family. Her cabaret work has garnered three MAC Awards, a Bistro Award, a Nightlife Award and the Patrick Lee Independent Theater Blogger Award. She also appears with symphonies all over North America alongside her Spot-On Entertainment family. She loves poker, The Price Is Right and pierogies. Thank you to Chris & Joe for this opportunity!

LAUREN MARCUS*, Flower Child

La Jolla Playhouse: Debut. Broadway: Be More Chill (original cast). Select credits: White Girl in Danger (Second Stage/The Vineyard); Sarah Silverman’s The Bedwetter (The Atlantic); Fiddler on the Roof (Lyric Opera of Chicago); Little Shop of Horrors (Pittsburgh Public); The Humans (St. Louis Rep); Company (Barrington Stage). Film: tick, tick…BOOM! As a writer, Lauren developed her original television pilot at New York Stage and Film. Her new musical, Lauren and The Case of The Missing Hair (book/music/lyrics), is a 2022 Relentless Award Finalist. Lauren is currently in the process of recording her first fulllength album, to be released this winter.

KÜRT NORBY*, (he/him) Understudy: Nixon, Steadman

La Jolla Playhouse: Miss You Like Hell, Limelight: The Story of Charlie Chaplin, Zhivago. World Premieres: Allegiance (Old Globe), Everbody's Talkin': The Music of Harry Nilsson starring alongside Alice Ripley and Gregory Jbara (San Diego Rep). Regional: Dr. Seuss’ How the Grinch Stole Christmas! (Old Globe); Company, Assassins, Man of La Mancha, Sweeney Todd (Cygnet Theatre); Mixtape, Leaving Iowa (Lamb’s Players Theatre); Cats (SDMT). www.kurtnorby.com

NIO RUSSELL, (they/them) Understudy: Jann, Sandy, Flower Child

La Jolla Playhouse: Debut. Muir Musical UC San Diego: The Rocky Horror Show. Zorina Productions: Heathers. Nio is incredibly appreciative of this opportunity to work with a talented creative team and cast in bringing the life of Hunter S. Thompson to the stage in an innovative way. They are looking forward to future endeavors into other exciting new shows and continuing to fulfill their passion to perform.

GEORGE SALAZAR*, (he/him) Oscar

La Jolla Playhouse: Debut. Broadway: Be More Chill (Drama Desk/Outer Critics Circle nominations); Godspell. National Tour: Spring Awakening. OffBroadway: Be More Chill (Lucille Lortel Award); The Lightning Thief (Drama Desk nomination); tick, tick… BOOM!; Here Lies Love. Regional: Little Shop of Horrors (Pasadena Playhouse); The Bottoming Process (IAMA); Head Over Heels (Pasadena Playhouse); Broadway Bounty Hunter (Barrington Stage). TV: Superstore; American Crime Story: Impeachment. Albums: Be More Chill; Two-Player Game (with Joe Iconis); The Jonathan Larson Project; The Lightning Thief. Endlessly grateful for Joe Iconis. For Oscar and Sam.

RYAN VONA*, Juan

La Jolla Playhouse: Debut. Broadway: Parade, Once, Beautiful, Cirque du Soleil’s Paramour. Off Broadway/Regional: Love in Hate Nation (Two River); Streets of New York (Irish Rep); Jesus Christ Superstar (Connecticut Rep); You I Like (Pasadena Playhouse, 92Y); Little Shop of Horrors (Sharon Playhouse). Symphony: Grand Teton & Lakes Area Music Festivals, Detroit, Baltimore, Sioux Falls Symphony Orchestras. Original music streaming everywhere. Thanks to Artists & Rep and Ann Kelly. For Papa & Coxy. www.RyanVona.com; @ryanvona

JASON SWEETTOOTH WILLIAMS*, (he/him)

Steadman

La Jolla Playhouse: Freaky Friday. Broadway: Be More Chill. Off-Broadway: Be More Chill, Bloodsong of Love, ReWrite, Crossing Brooklyn, Once Upon a Mattress (opposite Jackie Hoffman). Regional: Benny and Joon (The Old Globe), Trouble with Doug (TheatreWorks Silicon Valley), Disney's Freaky Friday (Signature Theater, Alley Theater, Cleveland Play House). Recordings: Be More Chill (Original Broadway Cast Recording), Disney's Freaky Friday, MonsterSongs. Film/TV: WeCrashed (opposite Jared Leto), FBI, BULL, Zoo, Marvelous Mrs. Maisel, American Horror Stories. Writer: Broadway Bounty Hunter (Book), In the Holiday Trenches (Book). Education: B.F.A. from Emerson College. Family: Amazing, beautiful wife and two brilliant, adorable daughters!

JOE ICONIS, Music and Lyrics/Book

is a musical theatre writer and performer. He has been nominated for a Tony Award, four Drama Desk Awards, two Lucille Lortel Awards, two Outer Critics Circle Awards, and is the recipient of an Ed Kleban Award, a Jonathan Larson Award and a Richard Rodgers Award. His musical Be More Chill (with Joe Tracz) has played Broadway, London and Tokyo. Joe is the author of Love in Hate Nation (directed by John Simpkins; Two River), Broadway Bounty Hunter (with Lance Rubin and Jason SweetTooth Williams; Barrington Stage Company and Greenwich House Theater Off-Broadway), Bloodsong of Love (Ars Nova, NAMT), Punk Rock Girl! (for Lively McCabe), The Black Suits (with Robert Maddock; Center Theatre Group, Barrington Stage Company), ReWrite (Urban Stages, Goodspeed), Things to Ruin (Second Stage Theater, The Zipper Factory) and Theaterworks USA’s The Plant That Ate Dirty Socks and We the People. His music appeared on season two of NBC’s Smash and he frequently performs at 54 Below and the Laurie Beechman Theater. Albums: Album (Joe Iconis & Family), Be More Chill (OCR and OBCR, which have been streamed over 500 million times); Broadway Bounty Hunter (OCR); Things to Ruin (OCR); Two-Player Game (with George Salazar) and The Joe Iconis Rock & Roll Jamboree, all available on Sh-K-Boom/Ghostlight Records. Joe is hugely inspired by Robert Altman, Dolly Parton, The Muppets, and the Family of artists he frequently surrounds himself with.

GREGORY S. MOSS, Book

is a MacDowell Fellow and the recipient of a Jerome Fellowship and a McKnight Fellowship. He is the recipient of the Reva Shiner Comedy Prize and an Edgerton Foundation New Play Award. He’s an Affiliated Artist with Clubbed Thumb, and he has served as a mentor for Clubbed Thumb’s early career playwrights’ group, Columbia University’s MFA in Playwriting Program, and through the Playwrights’ Center. His work is published by Overlook Press, Dramatists Play Service, Dramatic Publishing Company, Playscripts and in the journals Play: A Journal of Plays and n+1. He is the Head of Theatre at the University of New Mexico and Director of the MFA Dramatic Writing Program. Recent productions include the world premiere of Indian Summer at Playwrights Horizons, NYC (Critics’ Pick, Time Out New York; The 2016 Edgerton Foundation New Play Award); the UK Premiere of punkplay at The Southwark Theatre; House of Gold at La Comédie Française, Paris (Winner, Prix du Public), and at EST-LA, Los Angeles (LA Times and LA Weekly Critics’ Pick) and at Square Product Theater, Boulder CO.; “I Promised Myself to Live Faster”: A Queer Space Opera in the Decadent Style, with Pig Iron Theater Company, Humana Festival of New American Plays, Actors Theatre of Louisville; Reunion at South Coast Rep, Costa Mesa, CA (Best New Play of 2014, OC Weekly and StageSourceLA); La Brea, Clubbed Thumb, NYC. Current projects include Feral, Minnesota, a live serialized comedy written and produced with his partner Rhiannon Frazier, and Ok Now Hear Me Out: a drama with ventriloquism. He is currently at work on his first novel.

CHRISTOPHER ASHLEY, Director

See full bio on page 11.

JON RUA, Choreographer

The recipient of the 2022 SDCF Breakout Award, Jon Rua is recognized as a “rising star” creative director and choreographer for his innovative work on stage. He has helmed Phish’s sold-out “Send in the Clones” performance at the Madison Square Garden, co-choreographed individual production numbers for Broadway’s The Cher Show, SpongeBob SquarePants, SpongeBob Musical Live on Nick, the rom-com Isn’t It Romantic, and regional productions such as Rent (OSF), West Side Story (Milwaukee Rep), Godspell (PCLO), The Hombres (Two River), Jesus Christ Superstar & Aida (Muny). Crossing all mediums, Jon has conceived music videos, commercials, and performed live for Coheed and Cambria (“Old Flames”), Lawrence (“More”), and the New York Lotto, to name a few. Later this year, Jon is the associate choreographer for BOOP! The Musical set to world premiere in Chicago. As a performer, Jon has originated roles in the Tony and Grammy Award-winning hit musical Hamilton, SpongeBob Squarepants, Hands on a Hardbody and In The Heights. On screen, he has guest-starred on Blacklist, Blue Bloods, Law & Order, and worked in the films Fall to Rise, First Reformed and Isn’t It Romantic. Jon's short film Unknown, was selected for the 2022 New York Latino Film Festival. And First Gen, his new play with movement and music, aims for a 2025 world premiere. As a Director/Choreographer, Jon's associate, Brianna Mercado, has been integral to the success of each project. This one of a kind musical is no different. Brianna Mercado is a Dance Artist & Choreographer whose work is featured on TEDx. She was the Associate Choreographer for Godspell (PCLO) and First Gen, the associate choreographer and cast member for West Side Story (Milwaukee Rep), PHISH NYE 2020, Isn’t It Romantic, Jesus Christ Superstar & Aida (Muny). @bripositive.

RICK EDINGER, (he/they) Music Supervisor/Arranger/Conductor

La Jolla Playhouse: Debut. Recent Music Supervisor/Conductor credits include (in development): Trading Places (Alliance Theater; Kenny Leon, director), In the Mood (CM Stage Productions; Kenny Leon, director), The Amazing Mister X (Michael Cassel Group; Jenny Koons, director). Recent Music Director credits include: The Visitor (The Public Theater; Daniel Sullivan, director), Joy: A New Musical (George Street Playhouse; Casey Hushion, director), Songs for a New World (New City Music Theater; Miles Sternfeld, director), Godspell, Natasha, Pierre, and the Great Comet of 1812 (Carnegie Mellon University; Tomé Cousin, director), et al. Faculty: Associate Professor of Musical Theatre and Chair of Acting & Music Theater at Carnegie Mellon University School of Drama. Website: www. rickedinger.com. Instagram: @rickedingernyc.

WILSON CHIN, Scenic Designer

La Jolla Playhouse: Wild Goose Dreams, Kill Local, Hollywood. Broadway: Cost of Living, Pass Over (Drama Desk and Lortel Award nominations), Next Fall. Off-Broadway: A Bright New Boise (Signature), The Thanksgiving Play (Playwrights Horizons), Space Dogs (MCC; Lortel Award nomination), Teenage Dick (Ma-Yi/Public), This Land Was Made (Vineyard). Opera: Turandot (Washington National Opera), Lucia di Lammermoor (Lyric Opera of Chicago), Eine Florentinische Tragödie/Gianni Schicchi (Canadian Opera; Dora Award winner). Film/television: Pass Over (dir. Spike Lee), “Game Theory with Bomani Jones” (HBO). Eastern Region Board member of Local USA 829. Instagram: @wilsonchindesign

TONI-LESLIE JAMES, Costume Designer

La Jolla Playhouse: Come From Away, Glengarry Glen Ross, Milk Like Sugar. Broadway: Birthday Candles, Paradise Square, Thoughts of a Colored Man, Bernhardt/Hamlet, Come From Away, Jitney, Amazing Grace, Lucky Guy, The Scottsboro Boys, Finian’s Rainbow, Chita Rivera: The Dancer’s Life, Ma Rainey’s Black Bottom, King Hedley II, One Mo’ Time, The Wild Party, Marie Christine, Footloose, The Tempest, Twilight: Los Angeles, 1992, Angels in America, Chronicle of a Death Foretold, Jelly’s Last Jam and The Old Man and the Pool. Awards: four Tony nominations, Drama Desk Award, Lucille Lortel Award and two Hewes Design Awards.

AMANDA ZIEVE, Lighting Designer

is thrilled to be back at La Jolla Playhouse after designing Put Your House in Order. Her Playhouse Associate credits include: Fly, Escape to Margaritaville, Hollywood, Hunchback of Notre Dame, Midsummer's Night's Dream and Chasing the Song. Other recent designs include: Tommy (Goodman); Cabaret (Goodspeed); American Jade (Buck’s County Playhouse); I Hate Hamlet (Maltz Jupiter); Into the Woods, Billy Elliot, Titanic (Signature Theatre); Sweeney Todd and Roof of the World (KC Rep); Approval Junkie (Off Broadway, Alliance Theatre). Other San Diego credits include: Crime and Punishment, A Comedy, Dial M for Murder, Hair, Ebenezer Scrooge’s Big San Diego Christmas Show, Tiny Beautiful Things, Barefoot in the Park, Native Gardens, The Wonderers and Rich Girl (The Old Globe); Evita, Cabaret, Rock of Ages (Cygnet). She received her B.A. in Theatre from California State University Northridge. amandazieve.com.

JUSTIN STASIW, Sound Designer

is an NYC-based sound designer and engineer. La Jolla Playhouse: Lempicka. Broadway (as associate): Moulin Rouge!, Beetlejuice, Frozen, Something Rotten!, Side Show, It’s Only a Play. Off-Broadway: The View Upstairs, Songbird. Regional: A Christmas Story, Jasper in Deadland, How to Succeed… (5th Avenue Theatre); Paint Your Wagon (5th Avenue, Ordway); The Secret Garden (STC, 5th Avenue); Josephine, Beatsville (Asolo Rep). International: Sweeney Todd (Manila, Singapore), Jersey Boys (Manila), Ghost (Manila). Justin is a proud member of IATSE and of USA/829.

ALBERTO "ALBEE" ALVARADO, (he/him) Wig and Hair Designer

La Jolla Playhouse design credits: Bhangin’ It, to the yellow house, The Last Tiger in Haiti (makeup design) and SUMO (upcoming). Favorite LJP Supervisor credits: Lempicka, Fly, Cambodian Rock Band and Side Show. Albee’s additional regional design credits include work for San Diego Opera, San Diego Junior Theatre and, most recently, Transparent (makeup design, Mark Taper Forum). When he is not in the theatre, Albee enjoys creative activities, spending time with his hubby Daniel, Gigi (pup) and “framily.” “I’m here to amplify underrepresented voices because representation matters…YOU matter.”

ANIMAL CRACKER CONSPIRACY, Puppet Designer

San Diego-based artists Bridget Rountree and Iain Gunn are Animal Cracker Conspiracy, a contemporary hybrid puppet company whose ongoing practice is based on a shared interest and exploration of where fine art, puppetry, performance art, physical theatre, film and mixed media intersect. Credits include: La Jolla Playhouse’s Without Walls (WOW) productions of TransMythical, The Society of Wonder, Gnomesense and Paper Cities. Touring Productions: The Collector, Paper Cities, TransMythical. Regional: SD Opera's Hansel & Gretel (Civic Center Theater), Breakfast with Beuys (Mingei International Museum), SD Ballet Carnival of the Animals (Balboa Theater), Circus Hilarious (Carlsbad Village Theater), The Myth Project (Centro Cultural De La Raza). Education: B.A. from UC Santa Barbara (Bridget) and B.F.A. from University of British Columbia (Iain).

CHARLIE ROSEN, Orchestrations

is a two-time Tony and Grammy Award-winning composer and orchestrator. Some recent credits include for Miss You Like Hell at La Jolla Playhouse; Broadway: Some Like It Hot, A Strange Loop, Be More Chill (Music Sup/Orchestrations), Moulin Rouge! (Tony Award), Prince of Broadway, American Psycho (Assoc MD/ Keys), The Visit (Guitar/Zither), Honeymoon in Vegas, Cyrano de Bergerac (Composer), One Man, Two Guv’nors (Music Director, Bass), 13 The Musical (Guitars, Bass, Keys), Bloody Bloody Andrew Jackson (Assoc. MD, Bass, additional orchestrations). Off Broadway/Regional: Guys and Dolls at The Bridge Theatre London, Love in Hate Nation at Two River Theater, Broadway Bounty Hunter at Greenwich House Theater, A Legendary Romance (MD/Orchestrations) at Williamstown Theater Festival, The Public Theater. In addition to his theatre credits, Charlie is the bandleader for the Grammy Award-winning Video Game Music Jazz orchestra “The 8-Bit Big Band”

SHIRLEY FISHMAN, Dramaturg

during her twenty-one seasons at La Jolla Playhouse as Associate Artistic Director, Director of New Play Development and Dramaturg, has worked with many playwrights and directors on productions of new plays and musicals, including Tony Awardwinning shows Come from Away and Indecent, the Playhouse’s annual POP Tour that brings new plays to elementary schools in San Diego County, as well as workshops and readings of projects in development for the DNA New Work Series and beyond. At New York’s Public Theatre as Literary Manager and Dramaturg, she worked on new plays, classics, musicals, projects in development and as co-curator of the New Work Now! new play reading series. Other Affiliations: Huntington Theatre Company, Denver Center Theatre, San Diego Rep, Magic Theatre, New Village Arts, New York Stage and Film, Sundance Theatre Lab, Native Voices at the Autry, USC Theatre Dept., Chapman University, UC San Diego Dept. of Theatre and Dance, among others. M.F.A.: Columbia University.

ANN JAMES, Sensitivity Specialist

made her debut as the first Black Intimacy Coordinator of Broadway in 2021 for Antoinette Nwandu’s Pass Over. James serves as an intimacy and sensitivity consultant for Hamilton (USA) and Hamilton (UK), and served as an Intimacy/Cultural consultant in New York City for Parade, Sweeney Todd, White Girl in Danger, How to Defend Yourself, Amani and La Jolla Playhouse’s The Outsiders. Ann has served as Intimacy Director and Sensitivity Specialist® for the provocative Off-Broadway productions of Moisés Kaufman’s Seven Deadly Sins and Here There Are Blueberries by Tectonic Theatre Project, Seize the King, produced by Classical Theatre of Harlem, Twilight: Los Angeles,1992 and Dominique Morisseau's compelling play Confederates at Signature Theater. Her company, Intimacy Coordinators of Color, has partnerships with Adelphi University, New York University, Columbia University, American Conservatory Theater, Brown University, Trinity Repertory Theater, A.R.T./New York, and The American Repertory Theater at Harvard.

THE

TELSEY OFFICE, Casting

With offices in both New York and Los Angeles, The Telsey Office casts for theatre, film, television and commercials. The Telsey Office is dedicated to creating safe, equitable and antiracist spaces through collaboration, artistry, heart, accountability and advocacy.

JESS SLOCUM*, Stage Manager

La Jolla Playhouse: Kristina Wong, Sweatshop Overlord, Indecent, Side Show, Ruined, The Third Story, Memphis, Most Wanted.

Regional: Dr. Seuss’s How the Grinch Stole Christmas!, Under a Baseball Sky, Twelfth Night, Dial M for Murder, El Borracho, Hurricane Diane, Noura, They Promised Her the Moon, Familiar, The Imaginary Invalid, Picasso at the Lapin Agile, Love’s Labour’s Lost, tokyo fish story, In Your Arms, Bright Star, Othello, Water by the Spoonful, Pygmalion, A Room with a View, Robin and the 7 Hoods, dozens more (The Old Globe); Noura (Shakespeare Theatre Company). Education: Vanderbilt University.

TOPAZ COOKS*, (she/her) Assistant Stage Manager

La Jolla Playhouse: to the yellow house; Kristina Wong, Sweatshop Overlord, Love All. Regional: Cymbeline, Intimate Apparel (Utah Shakespeare Festival); Akeelah and the Bee (Children's Theatre Company); Romeo and Juliet, How The Grinch Stole Christmas! (The Old Globe); The Curious Incident of the Dog in the Night-Time, Trouble in Mind (Clarence Brown Theater); Miracle on 34th Street, Memphis, Something Rotten! (Moonlight Stage Productions). B.F.A. from U of MN, Duluth. M.F.A. from UC San Diego.

NICHOLAS LAMBROS SMITH*, (he/they) Assistant Stage Manager

La Jolla Playhouse: Put Your House in Order. Circus: O, Mystère (Cirque du Soleil); Absinthe (Spiegelworld), Return to the Elements (IGNITE). Touring: Menopause the Musical (GFour Productions). Regional: A Kind of Weather (Diversionary Theater); Tenderly, the Rosemary Clooney Musical (North Coast Rep); Stand Down (The Old Globe). Education: UC San Diego (M.F.A.).

AUDIENCE ENGAGEMENT EVENTS

THE UNTITLED UNAUTHORIZED HUNTER S. THOMPSON MUSICAL

Talkback Tuesdays

Participate in a lively discussion with performers and Playhouse staff members immediately following these performances.

Tuesday, September 5 and September 12 after the 7:30 pm performances

Access Performance

On select performances, La Jolla Playhouse provides American Sign Language interpretation for audience members who are d/Deaf or hard-of-hearing and audio description for patrons who are blind or have low vision.

Saturday, September 16 at 2:00 pm

Discovery Sunday

Join special guest speakers post-performance as they engage audience members in a moderated discussion exploring the themes in the play.

Sunday, September 24 after the 2:00 pm performance

Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association.

The Director and Choreographer are members of the Stage Directors and Choreographers Society, a national theatrical labor union.

This theatre operates under an agreement between the La Jolla Playhouse and United Scenic Artists, Local USA-829 of the IATSE.

All musicians are represented by the American Federation of Musicians Local 325 San Diego.

This theatre operates under an agreement between La Jolla Playhouse and the International Alliance of Theatrical Stage Employees Local 122.

La Jolla Playhouse is a member of the League of Resident Theatres (LORT) and a constituent of Theatre Communications Group (TCG), the national service organization for the nonproft professional theatre.

UC San Diego M.F.A. Candidates in residence at La Jolla Playhouse.

CHRISTOPHER ASHLEY, (he/him) The Rich Family Director of La Jolla Playhouse has served as La Jolla Playhouse’s Artistic Director since 2007. During his tenure, he directed the world premieres of Come From Away, Diana: The Musical, Memphis, Escape to Margaritaville, The Squirrels, A Dram of Drummhicit, Restoration and Chasing the Song, as As You Like It, His Girl Friday, Glengarry Glen Ross, A Midsummer Night’s Dream, Freaky Friday and Xanadu. He also spearheaded the Playhouse’s Without Walls (WOW) initiative, the DNA New Work Series and the Resident Theatre program. Mr. Ashley recently directed Come From Away for AppleTV+ Diana: The Musical for Netflix. Other screen credits include Jeffrey and Lucky Stiff, and the American Playhouse production of Blown Sideways Through Life for PBS. Mr. Ashley’s Broadway credits include Come From Away (Tony and Outer Critics Circle Awards), Diana: The Musical, Escape to Margaritaville, Memphis (Tony Award nomination), Xanadu, Leap of Faith (Drama Desk Award nomination), All Shook Up and The Rocky Horror Show (Tony, Drama Desk, Outer Critics Circle Award nominations). He also helmed productions of Come From Away in London (Olivier Award nomination), Toronto, Australia and on national tour. Other national tours include Escape to Margaritaville, Memphis, Xanadu, All Shook Up and Seussical: The Musical. Additional New York stage credits include Blown Sideways Through Life, Jeffrey (Lucille Lortel and Obie Awards), The Most Fabulous Story Ever Told, Valhalla (Lucille Lortel Award nomination), Regrets Only, Wonder of the World, Communicating Doors, Bunny Bunny, The Night Hank Williams Died and Fires in the Mirror (Lucille Lortel Award), among others. Mr. Ashley is the recipient of the Princess Grace Award, the Drama League Director Fellowship and an NEA/TCG Director Fellowship.

DES McANUFF, (he/him) Director Emeritus served as La Jolla Playhouse’s Artistic Director from 1983 through 1994, and from 2001 through April 2007. Under his leadership, the Playhouse garnered more than 300 awards, including the Tony Award for Outstanding Regional Theatre. His Playhouse to Broadway credits include: SUMMER: The Donna Summer Musical; Doctor Zhivago; Jesus Christ Superstar; Jersey Boys (four Tony Awards); Billy Crystal’s 700 Sundays (Tony Award); How to Succeed in Business Without Really Trying (five Tony nominations); director and co-author with Pete Townshend on The Who’s Tommy (Tony and Olivier Awards for Best Director) and Big River (seven Tony Awards), among others. He also directed the premieres of Aaron Sorkin’s The Farnsworth Invention and Yoshimi Battles the Pink Robots, which he co-wrote. Opera credits: Faust (The Met, ENO). Film credits: Cousin Bette (director), Iron Giant (producer, BAFTA Award) and Quills (executive producer). Recipient of the Drama League’s 2006 Julia Hansen Award, Mr. McAnuff served as Artistic Director at Canada’s Stratford Festival from 2007 through 2012. In 2012, he was awarded Canada’s esteemed Governor General’s National Arts Center Award and the Order of Canada.

DEBBY BUCHHOLZ, (she/her) Managing Director of La Jolla Playhouse joined the Playhouse in 2002, serving first as General Manager before becoming Managing Director. She is a Vice President of the League of Resident Theaters (LORT) and a member of its Executive Committee. She is a recipient of a San Diego Women Who Mean Business Award from The San Diego Business Journal. Prior to joining La Jolla Playhouse, she served as Counsel to The John F. Kennedy Center for the Performing Arts and the National Symphony Orchestra in Washington, D.C. She was a faculty member of the Smithsonian Institution’s program on Legal Problems of Museum Administration. Prior to The Kennedy Center, she served as a corporate attorney in New York City and Washington, D.C. She is a graduate of UC San Diego and Harvard Law School. Ms. Buchholz and her husband, noted author and White House economic policy advisor Todd Buchholz, live in Solana Beach and are the proud parents of Victoria, Katherine and Alexia.

ERIC KEEN-LOUIE, (he/him) Executive Producer joined the Playhouse in 2018 as Producing Director, before becoming Executive Producer in 2021. He previously worked at The Old Globe (Associate Producer and Associate Artistic Director) and The Public Theater (Assistant to the Associate Producer and Director of Special Projects). He assisted Broadway producer Margo Lion on Hairspray and Caroline, or Change. He is a graduate of Columbia University where he received his M.F.A. in Theatre Management & Producing as a Dean’s Fellow and New York University where he earned a B.A. in Dramatic Literature. He serves as Secretary on the National Alliance of Musical Theatre’s Board of Directors. He is a proud third-generation Chinese-American and is married to Anthony Keen-Louie, a local mediator and Associate Ombuds at UC Santa Cruz.

LA JOLLA PLAYHOUSE

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 our theatre walls. Founded in 1947 by Gregory Peck, Dorothy McGuire and Mel Ferrer, the Playhouse is currently led by Tony Award winner Christopher Ashley, the Rich Family Artistic Director of La Jolla Playhouse, and Managing Director Debby Buchholz. The Playhouse is internationally renowned for the development of new works, including mounting 110 world premieres, commissioning more than 60 new works, and sending 33 productions to Broadway – among them the hit musical Come From Away – garnering a total of 38 Tony Awards, as well as the 1993 Tony Award for Outstanding Regional Theatre.

SF: You’ve written a number of musicals, including Love in Hate Nation and Be More Chill, for which you received a Tony nomination for Best Musical Score in 2019. How did you get into musical theatre?

JI: For my sixth birthday, my father took me to see my frst musical – Little Shop of Horrors. I was immediately hooked on musical theatre, the idea of being in a room with other people watching the story unfold, and music being part of that story. At the end of the of the show, these giant vines fell from the top of stage onto the audience; I’ve always felt that those vines zapped the love of theatre into me.

SF: How did your passion for musicals grow from there?

JI: For every birthday or holiday, my gift was always to see a show. My grandparents had a piano in their house, but no one ever played it. When my family moved to Long Island, they gave us the piano. I was about eight years old when my parents said, “We have this piano, Joseph should take piano lessons.”

I took lessons — but I really didn't like them. As I was attempting to play, I was also seeing shows. I’d come home and start picking out tunes on the piano by ear. The deeper I got into musicals the more I found myself playing songs, without fully understanding what I was doing or how. By the time I was

JOE ICONIS: TAKING THE RIDE

Composer, lyricist and book writer Joe Iconis talks to dramaturg Shirley Fishman about his fascination with musical theatre and the subject of his new musical, Gonzo journalist Hunter S. Thompson

ten or eleven, I was getting really good, just from improvising. I'd go to the library and take out whatever books they had about musicals, and I began to realize there were people who wrote musicals. I thought, “That’s what I want to do. I want to write musicals.”

SF: You were so young, how did you go about doing that?

JI: I had done some acting in summer programs and camp stuff. At that age, the only way you could really participate in theatre was to be in it. I wasn't good at it, and I knew it. I had terrible stage fright, but I loved being part of it. That’s when it sank in that I might be a person who makes shows, rather than being in them. Throughout high school, I musical directed shows and participated in that way.

After I graduated, I went to New York University as a music composition major. The program was very classically geared, mostly instrumental music and some flm scoring. All the while I was thinking, “I want to learn how to write musical theatre.”

I worked with a composition teacher at NYU named Dr. Steven Rosenhaus, who taught me the nuts and bolts of songwriting. But I was still only

writing music. Dr. Rosenhaus said, “If you're writing theater, you need words. You have two choices — either try to write the words yourself or fnd a collaborator.” At the time, I was very introverted. So, out of necessity, I started writing my own lyrics. By the time I graduated, the lyrics had become just as important to me as the music, and I started fnding my voice.

SF: When did you frst encounter Hunter Thompson?

JI: I was a flm buff and excited to see Fear and Loathing in Las Vegas, starring Johnny Depp, directed by Terry Gilliam, one of my favorite directors. I knew who Hunter Thompson was, had read little bits of his writing, but had never fully read a book of his.

SF: What struck you about the flm?

JI: The movie is different from the book for sure, but I wasn't used to experiencing a flm, book, TV show or a play so artfully conceptual. The movie felt like a wash of ideas,

tone and symbols, as opposed to a narrative driven by the wants and desires of one character. I thought it was poetic in a way that I wasn't used to, especially since the content felt so “sex, drugs and rock-and-roll.”

SF: Was that when you started reading Thompson’s books?

JI: I remember reading his Kentucky Derby article. Then I read Las Vegas and Fear and Loathing on the Campaign Trail ‘72. I knew about the formation of Gonzo, but I never really turned into a Hunter S. Thompson obsessive.

SF: You say you weren’t obsessed, but recently I heard you say that you found him fascinating.

JI: I loved watching him be interviewed on late night TV. I was intrigued by him as a character.

SF: He was complex — a lover of drugs and guns with an outlaw persona that he created, but there was a another side to Hunter Thompson — a serious writer with a moral compass like no other.

JI: Yes, and the more I read about him, the more enthralled I became. He was so mysterious; he seemed impossible to pin down.

SF: How did you go about doing that?

JI: I was excited to try to put this person at the center of a musical and use the form, not necessarily to get to the bottom of Hunter Thompson, but to explore what he meant to the people in his life, the larger world and to himself.

SF: Did you say to yourself, “I'm going to write a song as alive, present and in the moment as Hunter Thompson wrote?”

JI: Yes, a hundred percent. His writing was like music to me. I wanted to try to capture the active experience of creating the Kentucky Derby through music, lyrics and theatre.

SF: The 60s and 70s, when Thompson was at his writing peak, were politically, socially and culturally so fraught and turbulent. How did you decide which moments to capture for the show?

JI: Hunter intersected the culture at exactly the right moment. The collision of politics, counterculture and rock-and-roll made him. His writing style, what he wrote about, and how it affected the culture felt like a piece of live performance to me.

The pieces of writing he’s most known for happen to be the pieces many consider his greatest accomplishments. I wanted to investigate his persona, the moments that led to his artistic breakthroughs, how they affected his personal and professional relationships, and the aftermath. They became my guideposts for the story of this musical.

SF: How did Chris Ashley get involved?

JI: I had been a fan of his, specifcally because of his Rocky Horror revival. I loved it so much, I saw it many times. I was completely enamored with him as a director. In 2007, I was doing a series of concerts with my gang at the West Bank Cafe in New York City. I invited Chris to come see one of them. The next day we went to breakfast, and he told me he had become Artistic Director of La Jolla Playhouse. He asked if I had any musicals I was thinking about writing. I told him that Hunter Thompson had been on my mind a lot, and I thought he'd be a really interesting central character for a musical. In 2008, I got a call from the Playhouse saying they wanted to commission me to write it.

SF: When did you have a complete draft ready for a workshop?

JI: It took a while. The frst proper reading was in September, 2015. I spent the frst half of the pandemic rewriting the script and having Zoom sessions with Chris. We didn’t have another reading with actors and the creative team in a room together until August, 2022.

SF: How far away are you now, from your initial ideas and impulses about the show?

JI: I'm close to some and far away from others – but in a great way. I love how many of my initial impulses are present on stage. I think that at opening night the show will be one I could never have written in 2007.

SF: In what way?

JI: I’d like to think that I've grown as a writer. Being older has given me a perspective I didn't have when I frst conceived the show. Living as an artist has really changed me and made me understand Hunter as a man on a much deeper level. And the world has changed so much.

SF: In the weeks to come during rehearsals and in previews with audiences, what do you hope to learn?

JI: I'm someone who passionately loves actors. There's nothing I love more than wrapping a role around an actor. I so appreciate that Chris shares the same passion, and the Playhouse fosters the kind of environment I love creating in. Even though it's about Hunter Thompson, the show is so ensemble-driven that it's about all of the human beings on stage. That sense of community is something that you can't fake. I've spent so much time writing by myself, there's no substitute for being in a room with 10 to 20 people who are all offering their energy and ideas. Every time we’ve been able to be in a room together the show has grown. As for rehearsals, I just want to keep being open and keep allowing this show to become more and more itself. So, to answer your question, I just want to keep working on it.

MISSION STATEMENT

La Jolla Playhouse

advances theatre as an art form, telling stories that inspire empathy and create a dialogue toward a more just future. With our intrepid spirit and eclectic, artist-driven approach we will continue to cultivate a local, national and global following with an insatiable appetite for audacious work.

We provide unfettered creative opportunities for a community of artists of all backgrounds and abilities. We are committed to being a permanent safe harbor for unsafe and surprising work, offering a glimpse of the new and the next in American theatre.

VALUES STATEMENT

Welcome to La Jolla Playhouse, where we believe that stories enhance the human experience, instill empathy and help us see the world in new ways. We respect all races, ethnicities, cultures, physical/cognitive abilities, ages, genders and identities, and endeavor to be an anti-racist and accessible organization that removes barriers to engagement. As a community of life-long learners who celebrate the spirit of play, we innovate and collaborate to bring theatre to life.

We practice empathy by listening, challenging our assumptions and staying open to all perspectives.

We respect and recognize the complexities of all lived experiences, identities and cultural backgrounds. We honor the Kumeyaay Nation, the original caretakers of the land on which our theaters sit. We will fght against anti-blackness, the many forms of racism directed at BIPOC (Black, Indigenous, People of Color) and all types of discrimination and harassment, to be a more inclusive space where everyone feels welcome onstage and off.

We work with our community to identify, understand and address ways to make our theatre more equitable and accessible.

We infuse the spirit of play into everything we do, sparking creativity, fun and life-long learning.

We innovate and take risks to propel theatre as an art form and as a pathway toward fostering belonging and enhancing human connection.

We collaborate by prioritizing inclusive practices from which diverse voices, talents and ideas can strengthen engagement and creative thinking.

We vow to grow and embrace these values. When we falter, we will hold ourselves accountable through transparent communication, measurable outcomes, self-refection and humility. With great joy and a strong sense of responsibility, we commit to these values in every aspect of our work.

BOARD

SPOTLIGHT

WHY I SUPPORT THE PLAYHOUSE

Since Gail and I frst started attending La Jolla Playhouse over twenty-fve years ago, it has been a privilege to be a part of the Playhouse’s creative family. We are passionate theatre-goers, and inspired by the Playhouse’s entrepreneurial spirit that creates a permanent safe harbor for unsafe and surprising work. We’ve been honored to witness the birth of over 100 world premieres that have had a huge impact on our San Diego community, on Broadway and other non-proft theatres all around the world. Live theatre is one of the last places where we can go to remove distractions from the outside world and focus on storytelling. It’s vital.

I frst joined the La Jolla Playhouse Board in 2001, and even after all these years, I get a thrill to see what’s new and next. Whether it’s attending a world premiere, our community-based Without Walls presentations, or a new performance for students, we’re lucky to have La Jolla Playhouse as one of the anchors of San Diego's Arts and Culture scene. This is why the Playhouse has been one of our top philanthropic priorities. Gail and I can’t wait to see what's coming in the years ahead!

RALPH BRYAN

LA JOLLA PLAYHOUSE TRUSTEE

BOARD OF TRUSTEES

SHERI L. JAMIESON Chair

DENISE BEVERS

First Vice-Chair

MICHAEL FLASTER

Second Vice-Chair

ANNIE ELLIS Secretary

SCOTT M. STANTON, Mintz Treasurer

TRUSTEES

Christopher Ashley**

Michael Bartell

Ralph Bryan*

Debby Buchholz**

Randy Camp

Robert Caplan

Seltzer Caplan McMahon Vitek

Ann Cathcart Chaplin

Qualcomm

Randall Clark*

Mary Coleman**

Stephen Coleman

PNC Bank

Doug Dawson

Edward A. Dennis, Ph.D.

Brian Dovey

Susan Dubé

Hal Dunning

Emily Einhorn

Ray Flores

Judy Garrett

Susan Gembrowski**

Justin Gleiberman

Lynn E. Gorguze

Luke Gulley, Show Imaging, Inc.

Kay Gurtin

Clark Guy

Bank of America Private Bank

Dean Haas

Dwight Hare

Osborn Hurston, US Bank

Debby Jacobs

Joan Jacobs

Pradeep K. Khosla, Ph.D.**

Chancellor, UC San Diego

Veronica Leff

Bena Leslie**

Lynelle Lynch*

Margret McBride*

Lorne Polger

Karen A. Quiñones

David I. Reynoso**

Becky Robbins

Shane Shelley, Morrison Foerster

Karen Silberman

Delicia Turner Sonnenberg**

Suzi Sterner**, UC San Diego

Andy Thomas, Evans Hotels

Erin Trenda, Cooley, LLP

Mary Walshok, Ph.D.

UC San Diego

HONORARY TRUSTEES

Peter Cowhey, Ph.D. UC San Diego

Ivan Gayler

John Goodman

Jeanne Jones

Julie Potiker

Steven M. Strauss*

Geri Ann Warnke*

Gary Wollberg*

Robert Wright, Esq. Wright, L’Estrange & Ergastolo

EMERITUS TRUSTEES

Rita Bronowski (1917-2010)

David Copley (1952-2012)

Ted Cranston (1940-2012)

Milton Fredman (1920-2005)

Ewart W. Goodwin, Jr.* (1938- 2019)

Joel Holliday* (1939-2022)

Jeffrey Ressler* (1943-2022)

Marian Jones Longstreth (1906-1997)

Hughes Potiker (1925-2005)

Sheila Potiker (1930-2011)

Ellen Revelle (1910-2009)

Roger Revelle (1909-1991)

Willard P. VanderLaan, M.D.* (1917-2012)

Arthur Wagner, Ph.D. (1923-2015)

Mandell Weiss (1891-1993)

1947 FOUNDERS

Mel Ferrer

Dorothy McGuire

Gregory Peck

*Past Chair of the Board **Ex-Offcio

List as of July 24, 2023

Top row: Alex, Ann and Aaron Chaplin; Mary Coleman and friend; Bottom row: Lynn Gorguze and Debby Jacobs; Learning and Engagement committee (Judy Garrett, Robin Rusinko, Jacole Kitchen, Bridget Cavaiola Stone, Karen Quinones, Leslye Lyons, Suzi Sterner, Madison Hofman, Hannah Reinert and Sam Dedal)

HUNTER S. THOMPSON MUSICAL PRODUCTION SPONSORS

As long-time admirers of La Jolla Playhouse, we’re pleased to be able to sponsor this exciting new musical based on one of Ted’s favorite writers. We love the Playhouse’s mission of creating audacious work and this show is a great example of Chris’s inspiring leadership. Where else in America could you see a show about the originator of Gonzo journalism? As Hunter said: “…who is the happier man, he who has braved the storm of life and lived or he who has stayed securely on shore and merely existed?”

Weston Anson

I’m honored. Tonight is unique: a unique new production — about the unique Hunter S. Thompson. I’m a fan of both Joe Iconis and Christopher Ashley and their work, which is invariably unique. I’m always thrilled to see the birth of a new American musical at La Jolla Playhouse, a safe harbor for unique work. Again uniquely, I had the pleasure of actually knowing, drinking and arguing with Hunter S. Thompson at the Woody Creek Tavern in Aspen during his lifetime. So it is with great reverence and a sense of preserving history that I anticipate this new musical.

Sheri L. Jamieson

It is always my pleasure to support the work of Christopher Ashley and certainly, this production is no exception. Fasten your seatbelts for a fast-paced, hilarious, and raucous rock 'n' roll journey into the life of Hunter S. Thompson! Whether or not you are familiar with his life and work, the insight and hilarity that Chris, Joe, Greg, and the entire team bring to this story will inspire all of us to learn more about this unique, one-of-a-kind character who changed the feld of journalism and shined a light on what makes this country so special.

This play is a recipient of an Edgerton Foundation New Play Award which gives world premieres extra funds for an extended rehearsal time. The program rewards excellent scripts in the hope that with a more polished performance, they will join the American canon of frequently produced plays.

LA JOLLA PLAYHOUSE FOUNDATION & GOVERNMENT SUPPORT

$100,000 +

$50,000 - $99,999

$5,000 - $9,999

City of Carlsbad’s Cultural Arts Offce

National Alliance for Musical Theatre

John and Marcia Price Family Foundation

$1,000 - $4,999

City of Encinitas Community Grant Program

Samuel I. & John Henry Fox Foundation

Arthur and Jeanette Pratt Memorial Fund

Mandell Weiss Charitable Trust

$25,000 - $49,999

Sheri and Les Biller Family Foundation

County of San Diego

Laurents / Hatcher Foundation

National Endowment for the Arts

$10,000 - $24,999

David C. Copley Foundation

Peggy and Robert Matthews Foundation

Price Philanthropies Foundation

San Diego Scottish Rite Community Foundation

Ellen Browning Scripps Foundation

San Diego County Employees’ Charitable Organization

Sutherland Foundation

$250 - $999

Actors' Equity Foundation

In-Kind

Gary Sinise Foundation

List as of June 30, 2023

Ted and Paula Adams

LA JOLLA PLAYHOUSE: ANNUAL SUPPORT FROM INDIVIDUALS

Dea and Osborn Hurston

Hilary and Selwyn Isakow

Amy and Adam Jacobs

Conner Jacobs

Debby* and Hal Jacobs

Annie and Jeff Jacobs

Jess Jacobs

Joan and Irwin Jacobs

Lindsey Jacobs

Geneviève and Paul Jacobs

Stacy Jacobs

Sheri Jamieson

Jay Jeffcoat

Jewish Community Foundation

Rise Johnson

Jeanne Jones

Samantha Keil

Kali and Paul Kim

Doug Kimmelman

Amy and Bill Koman

Evelyn and Bill Lamden

Joy and Eric Laws

Veronica and Miguel Leff

Karen and Mark Leibowitz

Lisa and Gary Levine

Diana and Eliezer Lombrozo

Lynelle and Bill Lynch

Leilani Macedo

Catherina and Michael Madani

David Marchesani

Patsy and David Marino

Margret and Nevins McBride

Lisa and Richard Merage

Silvana and Alberto Michan

Glenn Miller

Alice Mitchell

Christy and Alan Molasky

Emily Cole and Amanda

Montgomery

Alison Moore

Becky Moores

Marci and Ronnie Morgan

Cheryl and Bill Naumann

Margo and James Nederlander

Nordstrom

Diane and Randy Orley

Pathfnder Partners

Lisa and Chris Pedersen

Monica and Ron Perlman

PNC Bank

Lorne Polger

Teresa and Byron Pollitt

Lee and Stuart Posnock

Julie and Lowell Potiker

Qualcomm

Jeannie and Gerry Ranglas

Clare Redlinger

Vanessa and Gary Ressler

Vivien Ressler

Sharon and Christopher Rhodes

Becky Robbins

Tammy and Cameron Rooke

Marilyn and Michael Rosen

Marti and Adam Rosenberg

Stacy and Don Rosenberg

Michael Rosenberg

Laleh Roudi

Colette and Ivor Royston

Robin and Larry Rusinko

Lynn Schenk

Alex Seaver

Christy and Ron Seaver

Seltzer Caplan McMahon Vitek

Sempra Energy

Marsha and Mickey Shahon

Jeffrey and Karen Silberman

Elizabeth Simmons and Sekhar

Chivukula

Leslie Simon

Robert Singer

Miriam and David Smotrich

Spielman Family Foundation

Scott Stanton

Bob Steck

Amanda and Rob Stewart

Iris and Matt Strauss

Lise Wilson and Steve Strauss

Carol and Mark Tager

Karen and Stuart Tanz

Rachel and Doug Timmons

Erin Trenda and Nick Ennis

Debbie Turner

UC San Diego

UC San Diego Health

Van Cleef & Arpels

Carrie and Victor Vilaplana

Pamela Wagner and Hans

Tegebo

Mary Walshok

Nolan Weinberg

IN LOVING MEMORY Jordan Ressler, 1981-2004

Pattie and Jed Weinberg

Wells Fargo

Sheryl and Harvey White

Margarita and Philip Wilkinson

Jill and Bruno Wolfenzon

Meryl and George Young

Debbie Zeligson

*Gala Co-Chair

Refects giving to annual fund from 4/1/22 – 7/31/23.

We apologize for any errors or accidental omissions. Please contact the Individual Giving Offce at (858) 550-1070 x134 if you would like to change your listing.

A Film and Theatre graduate from Cornell University, Jordan was an adventurer with a passion for the arts. Here at La Jolla Playhouse, he served as an assistant to Des McAnuff on Billy Crystal’s 700 Sundays and was the script supervisor for Jersey Boys

The Jordan Ressler Charitable Fund of the Jewish Community Foundation was established by his parents, Vivien and Jeffrey Ressler, to honor their son and his love of theatre and flm.

LA JOLLA PLAYHOUSE STUDENT MATINEES

La Jolla Playhouse offers special student matinees for selected mainstage productions throughout the school year. Thousands of students from across San Diego county have the opportunity to see world-class productions like The Outsiders at the Playhouse, as well as participate in post-performance workshops and post-show talkbacks with actors and creative team members to enhance their experience. Staff development workshops are also offered to teachers prior to their school’s participation in the student matinee. For more information on the Playhouse’s student matinee program, visit lajollaplayhouse.org.

LEARNING & ENGAGEMENT PROGRAMS

The Playhouse partners with members of local affnity groups to create productions for, by, with and in the communities we serve. In addition, we provide creative opportunities for artistic development and growth for various community groups.

Community Programs

Performance Outreach Program (POP) Tour

Each year, the Playhouse commissions a new play that addresses real concerns of today’s youth and brings a professional production to schools and community centers across San Diego County.

Residencies and Partnerships

Student Matinees Special student matinees of selected mainstage productions are offered throughout the school year. An online engagement guide, pre- or post-show workshops, and a post-show talkback provides a deeper understanding on how a new play is uniquely developed with Playhouse staff.

In-School Programs

The Playhouse partners with school districts across San Diego County to place professional teaching artists in schools for intensive artist residencies aimed at providing young people with meaningful opportunities to learn about theatre. Through the Kennedy Center’s Partner in Education program, the San Diego County Offce of Education and LJP team up to provide professional development for educators on how to enhance their existing lessons with theatre strategies.

• UCSD MFA Residencies: 3rd-year UCSD MFA students participate in a residency within the Playhouse’s 6-show season.

• Resident Theatre Company: The Playhouse annually provides an artistic home and resources to a local theatre without a permanent space of their own.

Young Performers’ Conservatory (YPC)

A 5-week intensive that prepares actors for serious college theatre programs; and Tech Theatre, which introduces young people to the various aspects of technical theatre. Supported by the Sidney E. Frank Foundation, the Jordan Ressler Endowment Fund, David C. Copley Foundation and the Roberto Quiñones, Jr. Scholarship Fund.

JumpStart Theatre

This three-year program provides curriculum and mentorship for a team of middle school teachers to produce musicals in their schools for the frst time. After three years, the school receives continued support to maintain a viable theatre program.

• Good Neighbor Partnerships: The Playhouse offers opportunities to artists, theatre companies and collectives to use our spaces and resources for special projects that may not be possible without outside support.

Spotlight On Playhouse teaching artists lead classes for adults on Improv, Musical Theatre, Acting and Technical Theatre.

Lead Supporters: The William Hall Tippett and Ruth Rathell Tippett Foundation | Qualcomm Foundation | San Diego Foundation

UP NEXT

Photo of Scott Keiji Takeda by Rich Soublet II.

ACCESSIBILITY

CONCESSIONS AND DINING

PARKING AND SHUTTLES

For the latest parking and shuttle information, please go to lajollaplayhouse.org/parking

Designated wheelchair-accessible seating is available and accessible parking is provided by UC San Diego in the South Parking Structure (formerly known as Osler). Wheelchair seat locations are available for wheelchair users and a companion. Additionally, a golf cart is available to assist patrons with accessibility needs to and from the drop-off location. You may pull into the Passenger/Ride Share DropOff area and a greeter will assist you. The Playhouse offers assisted listening devices

Booth for any patron who would like amplifed sound (subject to availability). Please provide a credit card or ID for temporary deposit.

Start your night off right with bar and concessions service from James' Place: serving beer, wine, sodas and individually-wrapped snacks. Additionally, James’ Place provides dining service starting at 5:00pm before evening performances.

COVID-19 SAFETY

The Playhouse continues to follow guidelines and strategies provided by San Diego County, California Department of Public Health, and Centers for Disease Control and Prevention for all in-person activities. Please go to lajollaplayhouse.org/ healthandsafety for our latest policy updates.

LATE SEATING

PATRON SERVICES is located in the lobby or courtyard of each theatre. A volunteer is available to distribute assisted listening devices and answer questions.

PHOTOGRAPHY/RECORDING DEVICES

Photography and video or audio recording of performances is strictly prohibited.

PLEASE SILENCE or turn off all electronic devices, including cell phones and watches, before the performance.

SAFETY IN THE THEATRE DISTRICT

under the age of 6 are not permitted in the theatre during performances unless otherwise posted. Unaccompanied minors ages 12 and under are not permitted in the theatre. Out of respect for fellow audience members and the performers, babes in arms are not permitted in the theatre during performances.

Should you arrive late for any performance or need to leave your seat during the performance, you may be asked to wait in the lobby until an appropriate moment. To minimize any disturbance to actors or other patrons, you may stand or be seated in the frst available location by House Management even if not your assigned location. Please be advised that some performances may not allow for late seating or return to your assigned seat.

La Jolla Playhouse is constantly working with UC San Diego Police Department and Transportation and Parking Services to maintain a safe and secure environment in the parking lots. Patrons are welcome to use the UC San Diego escort service by contacting UC San Diego Community Service Offcers (CSOs) at (858) 534-9255 (WALK). Further questions regarding security, please contact UC San Diego Police at (858) 534-4357 (HELP).

THE PLAYHOUSE LEADERSHIP COUNCIL

WELCOMING NEW AUDIENCES

The Playhouse Leadership Council (PLC) is a passionate and engaged group of civic leaders, advocates and professionals whose mission is to create a welcoming environment for new audiences. PLC members work throughout San Diego to introduce new audiences to every production and ensure that their first experience at the Playhouse is a memorable one. PLC connects a more diverse group of people to the Playhouse and aspires to enrich and enhance the lives of all San Diegians through theatre.

GET INVOLVED! If you live, work or interact with a community you think should experience the Playhouse, contact Leadership Council at community@ljp.org

LA JOLLA PLAYHOUSE Christopher Ashley*

STAFF

ARTISTIC

Executive Producer Eric Keen-Louie

Director of Artistic Development Gabriel Greene*

Director of Experiences and Activations Mia Fiorella*

Associate Producer Amy Ashton

Executive Assistant to Christopher Ashley Rick

VanNoy*

Director Emeritus Des McAnuf

Directing Fellow Kat Yen

Commissioned Artists Todd Almond, Jef Augustin, Keith Bunin, Sam Chanse, Fernanda Coppel, Kristofer Diaz, Ava Geyer, Idris Goodwin, Mike

Lew, Rehana Lew Mirza, Martyna Majok, Mona

Mansour, Jess McLeod, MILCK, Lisa Peterson, Theresa Rebeck, Harrison David Rivers, Claudia

Shear, Christopher Shinn, Octavio Solis, Benjamin

Velez, Keith Wallace, Cheryl L. West, Lauren Yee

Artist-in-Residence Maria Patrice Amon

Theater-in-Residence Common Ground Theatre

LEARNING AND ENGAGEMENT

Director of Learning Bridget Cavaiola Stone

Director of Arts Engagement and In-House Casting

Jacole Kitchen

Learning and Engagement Manager Hannah Reinert

Learning and Engagement Coordinator Danniel

Ureña

Teaching Artists Julie Benitez, Lex Bezdeka, Desireé

Clarke, Leticia De Anda, Farah Dinga, Shairi Engle, Kristen Fogle, Shawn Foote, Melissa Glasgow, Kirsten Giard, Jefrey Ingman, Justin Lang, Grace

Lehman, Wilfred Paloma, Vanessa Reibel, Kimberly

Ross, Lorena Santana, Mike Sears, Gill Sotu, Emily

Stamets, Marjorie Treger, Katie Turner, Bex Walker

ASL Interpreters Lynn Ann Garrett, Anelia Glebocki, Candace Gordon, Billieanne McLellan, Geovanny

Peña

ASL Volunteer Esther Shen

Audio Describers Mernie Aste, Brian Berlau, Tina

Dyer, Shari Lyon, Deborah Sanborn, Sylvia

Southerland, Michele Dixon, Lisa Illiana, Laurielynn Barnett

ADMINISTRATION

General Manager Ryan Meisheid

Assistant General Manager Erica Martin

Corporate/Legal Counsel Robert C. Wright, Wright & L’Estrange

Theatre/Legal Counsel F. Richard Pappas, Esq.

COMPANY MANAGEMENT

Company Manager Rosalee Barrientos

Assistant Company Manager Mia Apalategui

Company Management Assistants Grace Lehman, Austin Mahn

FINANCE

Chief Financial Ofcer Laura Killmer

Controller Jared Jackson

Accounts Payable Manager Sharon Ratelle*

Human Resources Manager Jennifer Boaz

Payroll Matthew Zapata

The Rich Family Artistic Director of La Jolla Playhouse

COMMUNICATIONS

Director of Public Relations Becky Biegelsen*

Director of Sales & Marketing Stephanie Zappala

Associate Director of Sales & Marketing Sonia Diaz

Interim Associate Director of Sales & Marketing

Amanda Cantlin

Communications Manager Grace Madamba*

Senior Multimedia Designer Nancy Showers*

Multimedia Designer Phyllis Sa

Marketing Manager Kevin Taylor

Marketing Database Analyst Dani Meister

Marketing Assistant Mia Van Deloo

Patron Services Sales Specialist Paul Preston*

Sales Concierge William Guiney

PATRON SERVICES

Associate Director of Ticketing Services Pearl Hang*

Senior Patron Services Manager Travis Guss*

Patron Services Assistant Manager/Group Sales Specialist Bill Washington

Lead Patron Services Representatives Rachel Lasker, Claire Michael

Patron Services Representatives Kita Barrientos, Devon Gonzales, Atalaya Gonzalez

OPERATIONS

Director of Operations Ned Collins*

Operations Manager John Craft*

Network Systems Specialist Daryl “Scooter” Davis

Ofce Administrator Amanda Casachahua

FRONT OF HOUSE

House Manager Braulio Fernandez-Flores

Assistant House Managers Alex Bezdeka, Simonne Darbonne, Hannah Johnson, Amy Marquez, Gemina Soriano

Audience Concierges Sara Delgado, Chris Ferreria, Sashank Kanchustambam, Angela Park, Teya Searles, Avery Simonian, Nare Terzyan, Maria Torpey, Mia Van Deloo, Alex Walker

PHILANTHROPY

Director of Philanthropy Julia B. Foster

Associate Director of Philanthropy Keely Daximillion

Assistant Director of Philanthropy, Institutional Giving Rebecca Pierce Goodman

Philanthropy Operations Manager Tony Dixon

Individual Giving Manager Madeleine McManus

Special Events Manager Nil Noyan

Corporate Relations Manager James Skeet

Institutional Giving Coordinator Lyla Iannaccone

Stewardship Coordinator Dominique Kaestner

Special Events Coordinator Katie Wallace-Coppo

Philanthropy Assistant Samantha Dedal

Debby Buchholz*

Managing Director of La Jolla Playhouse

PRODUCTION

Senior Production Manager Benjamin Seibert

Production Manager Becca Duhaime

Assistant Production Manager Dacia Samilo

Production Ofce Manager Caren Heintzelman

SCENE SHOP

Scenery Supervisor Jonathan Gilmer

Scenery Specialist David Weiner*

Shop Foreman Christopher Chauvet

Lead Shop Carpenter Sheila Whitsett

Lead Stage Carpenter Molly Whittaker

Production Carpenter Nicholas Savage

Carpenters Ryan Gordon, Keegan Graham, Nicholas Jackson, Tanner Sohnleitner, Alex Torretti, Wally Wallace

Charge Artist Jennifer Imbler

Scenic Painters Caroline Kvaas, Marie Mateo, Melissa Nalbach, Courtney Ware

PROPERTIES SHOP

Prop Supervisor Deb Hatch*

Prop Design Associate Zlatko Mitev

Prop Lead Artisan Rai Feltmann

Prop Artisan McKenzie Kiser

COSTUME SHOP

Costume Supervisor Jennifer Ables

Resident Costume Design Assistant

Desiree Hatfeld-Buckley*

Costume Ofce Assistant Rebecca Rankin

Costume Ofce Assistant Claire Peterson

Draper Sara Lindsey

First Hand Keira McGee

Lead Crafts Artisan Tess Mattraw

Stitchers Stephanie Gift, Sonya Levin

Wardrobe Supervisor Junior Bergman

Hair/Make Up Supervisor Alberto “Albee” Alvarado

ELECTRICS

Production Electrician Kristyn Kennedy*

Electricians Michelle Aguilar, Joel Britt, Alex Cluf, Xavier Luevano, Michelle Luongo, Sandra Navarro, Jenner Price, Laura Zingle

SOUND/VIDEO

Sound/Video Supervisor Timothy Riggs

Head of Sound Department Daniel Silva

Sound Technicians Camille Houze, Mae Le, Alfredo Madrigal

Video Tom Martinez

HUNTER S. THOMPSON CREW

Production Carpenter Nicholas Savage

Production Carpenter (Swing) Michael Brodsky

Prop Supervisor Kevyn Fernandez

Prop Runner Isabella Horie

Wardrobe Supervisor Jan Mah

Wig Supervisor Kim Parker

Dressers Anna Campbell

Dresser/Puppet Maintenance Miranda Seiber

Swing Dresser Kate Morton

* Ten years or more with La Jolla Playhouse

Moving Light Programmer & Lightboard Operator

Joel Britt

Followspot & Electrics Department Head Michelle

Aguilar

Electrics Department Head/Swing Delaney McCowen

Sound Engineer Callan Hughes

A2 Mae Le

TREAT YOURSELF!

Indulge in Delectable Comfort Cuisine at Our Favorite Dining Destinations for Fall

ONE OF MY FAVORITE THINGS ABOUT BEING A food lover living in San Diego: For every carb and calorie splurge, there’s a scenic hiking path or fun fitness activity to work off the evidence, all year round. Our top dining picks for fall comprise mostly new restaurants—inviting you to treat yourself to comforting pasta dishes, stacked birria enchiladas, loaded lobster rolls, honey-butter lattes and more. Consider this guide your pass to indulge a little. (And save room for a banana-pudding doughnut.)

Pasta Perfection

TRANSLATING TO “The Pasta Lady,” La Pastaia—owned

by SARAH DAOUST

and operated by Sicilian natives Priscilla Scardina and Maria Lo Cascio—is Bay Park’s newest dining destination. The Venetian-style trattoria lives up to its name, with a menu centered on house-made-daily pastas. Think: pappardelle with short-rib ragu; gnocchi ripieni with Asiago cheese and creamy walnuts; spaghetti with Manila clams; and spinach ravioli with artichoke hearts, mascarpone and Parmesan sauce. The eatery also offers entrees, pizzas, salads, antipasti, Italian cocktails, wine, desserts and a brunch menu. 3055 Clairemont Drive, Bay Park, 619.272.0157, lapastaiasd.com

In Lemon Grove, a quaint new Italian outpost invites

Menu offerings at AnniVenti La Trattoria

you to dine: AnniVenti La Trattoria. Owned and operated by the Gagliano brothers, the restaurant draws its name from the family’s original trattoria near Palermo, Italy. The menu features authentic dishes with contemporary twists, including antipasti, salads, pizzas, pastas, calzones, entrees, wine and cocktails. Try the signature Lasagna AnniVenti with bechamel, mozzarella, Parmesan and slow-braised beef Bolognese; the Mortazza pizza with burrata, imported mortadella (Italian cured pork) and crema di pistachio; and ask about the arancina, which changes daily. 8099 Broadway, Lemon Grove, 619.303.0415, anniventitrattoria.com

For the Lobster Lovers

HAILED CHEF Quinnton Austin (aka “Chef Q”)—the man behind New Orleans-inspired restaurant Louisiana Purchase in North Park—ventures north with a new eatery at Park 101, The Trap Shack. Choose from a handful of Maine lobster rolls with different flavors and ingredients, such as the Buffalo Blue roll, Truffle roll and

NoLa BBQ roll; along with a zesty five-shrimp boil with fried rice, an egg, corn on the cob, sausage and drawn butter; plus tater tots, fried chicken wings and more. For dessert: flavored “Sno-Balls.” 3040 Carlsbad Blvd., Carlsbad, 619.453.1442, park101carlsbad.com

Refned French Fare

BILLED AS an “American diner meets elegant French bistro,” Saint James French Diner has opened at the new Palihotel San Diego. Housed in a 1912 building, the restaurant offers classic French-inspired fare—from Niçoise salad to poutine to mussels to filet de boeuf; plus a selection of burgers; entrees like roasted chicken and a bouillabaisse boil; and French wines and cocktails. Return for brunch and delight in the Croque Madame, honey-butter latte and chocolate croissants. 828 Sixth Ave., Gaslamp Quarter, 619.678.1007, saintjamesfrenchdiner.com

Divine Doughnuts

SOMETIMES, TO truly satiate that sweet tooth, only

Morning treats at Dodo Bird Donuts. Opposite: decor, cocktails and the Niçoise salad at Saint James French Diner.

a doughnut (or two) will do. Enter: Dodo Bird Donuts Nestled next to Paradisaea restaurant, the daytime cafe serves scratch-made doughnuts daily; as well as a fun craft coffee menu (try the sea-salt mocha), loose-leaf teas, savory sandwiches and avocado toast. As for the doughnuts, the flavors change monthly, but expect selections like maple-bacon crunch, blueberry cake, passionfruit, chocolate glazed and banana pudding. 369 Bird Rock Ave., La Jolla, 858.321.6340, dodobirddonuts.com

Vegan Comfort Food

COMFORT FOOD isn’t just for carnivores. Celebrating the best of each season in culinary form, The Plot restaurant—known for its entirely plant-based menu and zero-waste practices—has debuted some hearty menu additions. New offerings include the Beet Reuben Sando with pastrami beets, house-made kraut and tarragon-creme potato salad on the side; takoyaki, a spin on gluten-free hush puppies made with celery-root pulp; and a polenta and wild-rice chorizo dish with charred broccolini and chili oil. And come for weekend brunch, featuring hearty breakfast burritos, "chicken" & waffles, chilaquiles and “sausage” & biscuits. 1733 S. Coast Hwy., Oceanside, 442.266.8200, theplotrestaurant.com

Diner-Style Decadence

ONE OF FIVE new venues at the recently renovated

Lafayette Hotel, Beginner's Diner is a 1940s-style, retro-cool hangout. Indulge in boozy milkshakes, fountain sodas, deluxe sandwiches, patty melts, wagyu meatloaf, chicken-fried steak, matzo ball soup and classic apple pie; plus a full breakfast menu, boasting a massive cinnamon roll with thick cream-cheese frosting. For the ultimate carb fix, order the chicken schnitzel sandwich with a sunny-side-up egg on a brioche bun, with a side of curly fries. The best part? The diner is open 24 hours, perfect for those late-night comfort food cravings. 2223 El Cajon Blvd., North Park, 619.296.2101, lafayettehotelsd.com

Fried Chicken Feast

THE LATEST collaboration by “Sam the Cooking Guy” (aka Sam Zien) and Grain & Grit Collective, CooCoo’s Nest is Little Italy Food Hall’s newest eatery—serving up fried chicken with a ‘70s flair. This means a menu devoted to crispy chicken, from tenders to salads to hefty sandwiches—such as The Mac Daddy with mac ‘n’ cheese, Korean Fried Chicken, Hot Southern Sweetie and The Breakfast Bird. Add on sides like house-made buttermilk biscuits and fresh-baked chocolate chip cookies. 550 W. Date St., Little Italy, 619.269.6725, littleitalyfoodhall.com

Rise and Dine

ENJOY THE day's most important meal at Mission Valley Breakfast Company—a new destination by Rise & Shine Restaurant Group (the minds behind popular local chain Breakfast Republic). The stylish, 3,200-square-foot coffee shop serves classic brunch fare with creative twists. Menu stars include the fried-rice Benedict, chicken confit 'n' grits, shrimp enmoladas, savory mashed-potato waffles

“Salmön Lox Lángos” with carrot salmon and smoked herb cream at The Plot. Below: platos de casa at South of Nicks.

with spicy sausage and cheese sauce, and churro

French toast. To drink, choose from a selection of bloody marys, mimosas, cocktails, coffee drinks and fresh-squeezed orange juice. Save room for a piece of cinnamon coffeecake on the side. 8590 Rio San Diego Drive, Mission Valley, 619.819.2092, breakfast-company.com

Mouthwatering

Mexican

TAKE YOUR tastebuds

south of the border at One Paseo, where the former International Smoke space has been transformed into South of Nick’s—new sister to the popular Nick’s Del Mar. The Mexican kitchen and bar offers shareable plates, steaks, seafood, soups, salads, tacos, burritos and more. Menu highlights include chipotle-dusted Chilean seabass, chile relleno, the El Jefe burrito, filet mignon ranchero, and pork carnitas. And then there’s the ultimate indulgent dish: the stacked birria enchiladas with slow-braised beef and a fried egg on top. Wash it all down with an extensive selection of tequila and mezcal libations, tequila flights and classic cocktails. 3387 Del Mar Heights Road, Del Mar, 858.465.7145, nicksrestaurants.com

Who was Hunter S. Thompson? He changed journalism. He defined counterculture. Equal parts philosopher, clown and genius, he was armed and dangerous with a typewriter as his preferred weapon.

Blast into the life of one of America’s most influential and destructive icons with this world-premiere musical featuring a rock ‘n’ roll score. Get your tickets today!

FEATURE

CONT’D. FROM PAGE 11

hardworking and approachable; and every single one of us wanted to serve his work to the best of our abilities.”

Autumn Valentine was first workshopped in collaboration with the premiering artists and director Keith Warner, who all pored over the short stories and poems of Dorothy Parker. In the end, Gordon composed a cycle of 11 songs and duets, which tell the tale of a failed marriage. For this San Diego premiere, Gordon has written three new songs for this iteration of the show: “Ours,” “Far Away” and “Symptom Recital.”

“As soon as I was old enough to realize I was not a pianist but a composer, the first thing I started doing was setting texts that were important to me; and Dorothy Parker was a given,” says Ricky Ian Gordon. “Parker’s ‘Threnody’ was the very

Director Rosina Reynolds

first poem I ever set to music. I didn’t know yet what it meant to be wry and bitter. I was so young; all that I could feel was the heartbreak. As I got older, I started to under stand all of it, not just the heartbreak.”

Director Rosina Reynolds says Réaux and Sokol approached her about directing Autumn Valentine last year, but she already knew of Bodhi Tree Concerts: “They have a wonderful reputa tion in San Diego for doing exciting, eclectic musical presentations.”

“We are so excited to present the premiere of Autumn Valentine,” DuMelle says. “Exploring Ricky’s music has become a revelation, and we are always interested in bringing new works to San Diego audiences.” She adds that Gordon has agreed to give pre-show talks. “We couldn’t be more pleased to learn from this prolific, hardworking artist, whose shows have become classics, as well as huge successes.”

Gordon’s series of wellreceived and critically acclaimed operas include adaptations of Orfeo ed Euridice, The Grapes of Wrath, The Tibetan Book of the Dead, and Only Heaven—set to the poems of Langston Hughes. As a leading writer of vocal music that spans art,

EVITA EVITA EVITA

August 9 - October 1, 2023

Tickets: 619.337.1525 www.cygnettheatre.org

song, opera and musical theater, his songs have been performed and/ or recorded by such internationally renowned singers as Renée Fleming, Dawn Upshaw, Nathan Gunn, Judy Collins, Kelli O’Hara, Audra McDonald, Kristin Chenoweth, Nicole Cabell, the late Lorraine Hunt Lieberson, Frederica von Stade, Nadine Sierra, Andrea Marcovicci, Harolyn Blackwell and Betty Buckley, among many others.

Autumn Valentine was originally described as “A Suite of Songs and Duets for Soprano and Baritone,” but Reynolds says a story emerges from the Dorothy Parker poems. “The material tells the story of a marriage that fails—from the first burgeoning throes of romance, marriage and misunderstanding; to the disappointment and unreasonable expecta-

Music by Andrew Lloyd Webber

Lyrics by Tim Rice

First Lady. Actress. Icon.

Scan for Tickets and Information

tions of the following years; to the resignation and acceptance of separation. We will be showing this journey with both song and prose, all drawn from Parker’s work.”

“I created Autumn Valentine because it gave me the opportunity to revisit works from when I was terribly young,” says Gordon. “To come to Parker’s work where I was then and even after we workshopped Autumn Valentine in 1994. I came back to New York and worked further on the piece. When we performed it at Opera Omaha, we incorporated songs by Gershwin, and I felt strongly that the score had to be entirely mine. I wanted it to feel integrated. So, what is premiering here in San Diego is this version—basically a world premiere. The Opera Omaha performance was a workshop,

Bodhi Tree Concerts

SEPTEMBER 13 - 30

Featuring the timeless hits of the Bee Gees, classic disco tracks, and new original songs, this reimagined version of “Saturday Night Fever” transports you back to the era of disco balls, platform boots, and white suits.

MOONLIGHTSTAGE.COM

and I took from that what the piece needed. And what the piece needs is that it is all my music, and it is orchestrated. It is the world premiere of a particular hybrid piece of music theater with its inclusion of the spoken word and the truly operatic vocal lines. And I cannot think of two people other than Angelina and Michael who could do this. I am really looking forward to it.”

“Dorothy Parker is even more relevant now than when she first published,” Reynolds adds. “We now accept such a woman’s perspective and embrace it.”

Reynolds and DuMelle both expect the passage of time to add new colors and meaning to Réaux’s and Sokol’s performances.

“Angelina and Michael originated the roles of a young married couple whose relationship is in trouble. Coming back to these roles as older and wiser artists will be both moving and powerful,” DuMelle says.

“Dorothy Parker had a deep irony and cynicism about life, laced with sharp brittle humor, with a strong undercurrent of humanity. Angelina and Michael performing the piece 30 years later gives us the opportunity to view the journey

through the perspective of time—allowing them to look back at the journey their relationship took with a perspective the characters didn’t have when they first took the journey. It allows them to throw themselves into the memories with abandonment,” Reynolds adds.

Autumn Valentine will be the first show presented by Bodhi Tree Concerts at a new location: UC San Diego’s Park & Market, a new arts hub in downtown San Diego.

The second part of Bodhi Tree Concerts’ mission is to partner with local nonprofits to share the proceeds of each concert. In this case, the choice of partner—the San Diego chapter of the NAACP—was easy. “Throughout her life, Dorothy Parker grew to be a vocal advocate of civil liberties and civil rights,” DuMelle points out. “She bequeathed her entire estate to the Rev. Dr. Martin Luther King, Jr., and provided that upon his death, the estate would pass to the NAACP. The NAACP continues to benefit from her gift by licensing the use of her works. It honors us to honor her continuing legacy.”

Catch Autumn Valentine at Park & Market (1100 Market St.) on Sept. 23.

For tickets and more info: bodhitreeconcerts.org

The stark, striking architecture of the Salk Institute for Biological Studies, designed by Louis Kahn.