Performances Magazine San Diego | La Jolla Playhouse, February 2023

PLAYHOUSE GALA

March 18

WOW FESTIVAL

April 27 – 30

POP TOUR 2023: JIN VS THE BEACH

April 29 – 30

FEBRUARY

contents

P1 Program

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

4 In

the

Wings

The Ferryman at New Village Arts; The Outsiders worldpremiere musical at La Jolla Playhouse; The Puccini Duo: Suor Angelica & Gianni Schicchi, presented by San Diego Opera; and more.

8 Feature: Spotlight on the new Esptein Family Amphitheater

Writer Stephanie Thompson interviews Colleen Kollar Smith for details on the vision and plans for UC San Diego’s brand-new Epstein Family Amphitheater.

14 Dining

Eight reasons to dine out in February—including the new Lounge at The Marine Room, the remodeled Mister A’s, Temaki Bar and more.

24 Parting Shot

An artsy favorite: Pleasure Point, 2006, by artist Nancy Rubins, at the flagship MCASD campus in La Jolla.

PUBLISHER

Jeff Levy

EDITOR

Sarah Daoust

ART DIRE CTOR

Carol Wakano

PRODUCTION MANAGER

Glenda Mendez

PRODUCTION ARTIST

Diana Gonzalez

CONTRIBUTING WRITER

Stephanie 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

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Ted Levy

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NOW–FEB 12

Conceived and Originally Directed by Sheldon Epps

Conceived and Originally Directed by Sheldon Epps

According to the legendary Billie Holiday, “Blues is to jazz what yeast is to bread.” With 26 glorious, hot, torchy songs fueling this revue, a powerful cast of four singers plumb the innermost reaches of their hearts, sharing the heartbreak and humor of life and the indomitable will to do more than survive during the jazz era. You’ll hear such favorites as “Stompin’ at the Savoy,” “Nobody Knows You When You’re Down and Out,” and “Wasted Life Blues.” Whether you’re a novice or die-hard jazz fan, prepare yourself for a thrilling evening you won’t soon forget.

ORIGINAL VOCAL ARRANGEMENTS AND MUSICAL DIRECTION BY CHAPMAN ROBERTS

ORCHESTRATIONS AND ADDITIONAL VOCAL ARRANGEMENTS BY SY JOHNSON

DIRECTED BY YVETTE FREEMAN HARTLEY

Chekhov’s timeless comic masterpiece

MARCH 1 –26

Anton Chekhov’s beloved masterwork is a rich tapestry of the human condition woven into a humorous and haunting tale. With universal themes of societal upheaval, love, loss, grief, envy, and ambition, THE CHERRY ORCHARD remains as relevant and powerful today as it was when it fi rst premiered in 1903. Serious theatre-lovers will not want to miss this classic tale of heightened human drama.

DIRECTED BY DAVID ELLENSTEIN

decadently rich musical experience

Drama & Intrigue

WHEN IT PREMIERED in London in 2017, The Ferryman was the fastest-selling play in Royal Court Theatre’s history. A Broadway stint won it several Tony Awards

in 2019, including “Best Play” and a “Best Direction of a Play” nod to director Sam Mendes. Now, you can catch Jez Butterworth’s riveting thriller at New Village Arts in

Carlsbad, Feb. 4-March 5. Directed by Kristianne Kurner, the story centers on the family of a former IRA activist living in rural Northern Ireland during The Troubles conflict, circa 1981. When a “visitor” appears, the plot thickens. On the Shiley Stage at The Old Globe,

The

A STORM, WEDDING, & WORLD PREMIERE

A MONSTER HURRICANE is aimed at Miami in El Huracán, which receives its West Coast premiere at Cygnet Theatre, through Feb. 19. Written by Charise Castro Smith and directed by Daniel Jáquez, the lyrical drama captures four generations of Latina women while zooming in on a mother and daughter as they brace for the storm. Diversionary Theatre brings us the American premiere of The High Table, Feb. 9-March 5. Directed by Niyi Coker Jr., British playwright Temi Wilkey’s story spotlights Tara and Leah—whose planned “perfect wedding” goes awry when Tara’s Nigerian parents

refuse to attend. When the heavens intervene, we meet three of Tara’s ancestors, who contemplate whether they should bless her wedding or not. Based on the 1983 film by Francis Ford Coppola and 1967 novel by S.E. Hinton, the worldpremiere musical The Outsiders opens at La Jolla Playhouse on Feb. 19. The coming-of-age drama takes us back to Tulsa, Oklahoma, 1967—reintroducing audiences to Johnny Cade, Ponyboy Curtis and their “outsiders” family. Danya Taymor directs; with music/lyrics by Jamestown Revival and Justin Levine; and choreography by Rick Kuperman and Jeff Kuperman.

The Notebooks of Leonardo da Vinci runs through Feb. 26.

Adapted and directed by Tony Award winner Mary Zimmerman, this enthralling play takes us inside the genius mind of Renaissance artist Leonardo da Vinci, based entirely on his own notebooks.

Notebooks of Leonardo da Vinci at Goodman Theatre, 2022; Zach Chance and Jonathan Clay of Jamestown Revival.

Opera, Jazz & Motown

TWO ONE-ACT OPERAS by Puccini come to life in The Puccini Duo: Suor Angelica & Gianni Schicchi, presented by San Diego Opera at the Civic Theatre Feb. 11, 14, 17 and 19. Soprano Marina Costa-Jackson sings the title role in the tragic Suor Angelica; and Lauretta in the comic-opera Gianni Schicchi. Mezzosoprano Stephanie Blythe sings the role of Principessa in Suor Angelica;

and the title role of Gianni Schicchi (traditionally sung by a baritone). Yves Abel conducts. Enjoy live performances by 18 world-class jazz musicians at San Diego Jazz Party, Feb. 24-26 at Hilton San Diego/Del Mar. Lamb’s Players Theatre shows us some R-E-S-P-E-C-T, a celebration of the music of female artists from the ‘60s (from The Supremes to Janis Joplin)‚ through March 12.

The Supremes in 1968; San Diego Opera conductor Yves Abel.

Beautifully Staged

UC San Diego’s New Epstein Family Amphitheater Welcomes an Eclectic Slate of Arts Events by

STEPHANIE THOMPSON

IIT MAY BE one of the country’s leading research institutions and a jewel of the California public university system, but UC San Diego has also been on the cutting edge of performing arts for decades. However, until now it has lacked a larger performance venue for concerts and festivals. That all changed at the end of 2022—when the university previewed the brandnew, $68 million Epstein Family

Amphitheater with an eclectic series of concerts that joyfully set the tone for what’s to come.

Overseeing programming for the Epstein Family Amphitheater as part of the Student Life team at UCSD is Colleen Kollar Smith, newly named executive director of the Campus Performances and Events Office. Kollar Smith, who has also served as a lecturer in the Department of Theatre and Dance at UCSD, has a long career in the performing

arts and was most recently executive producer at Moonlight Stage Productions in Vista. She sees the 2,650-seat, open-air amphitheater as the latest in a series of exciting new venues opening around San Diego, as the city’s performing arts community continues to mature and expand.

The Epstein Family Amphitheater joins a collection of venues on the UCSD campus, including the Conrad Prebys Music Center, LionTree Arena, Mandell Weiss Center for

the Performing Arts, University Art Galleries, the Stuart Collection of public art, and the nationally renowned La Jolla Playhouse.

Located at 9500 Gilman Drive in the Pepper Canyon neighborhood of UCSD, the amphitheater is part of the university’s plan to create a more welcoming entrance to the campus; and is accessible via the new Blue Line Central Campus trolley station. It is named for La Jolla philanthropists Daniel and Phyllis Epstein, who

committed a $10 million gift to UCSD to help build the amphitheater.

“Our office is part of a larger commitment and strategy to amplify the trailblazing work in the arts already happening on campus, and establish UC San Diego as the region’s newest arts and culture destination,” says Kollar Smith. “I was thrilled to join an institution with a history of providing exceptional access to arts and culture via live performances and arts shows annually. The Epstein Family

Amphitheater will help us expand those offerings to wider audiences. In addition to the amphitheater, our office oversees ArtPower, Campus Events (Sun God Festival, Triton Fest) and The Loft. As construction nears completion on the amphitheater, we have been busy connecting with campus and community partners to determine ways to fill programming needs that will allow us to invite members of our community who may not have previously

Epstein Family Amphitheater

2022 / 2023 SEASON TICKETS START AT $25!

engaged with the arts.”

“Located at the gateway to campus, the Epstein Family Amphitheater was designed to serve as a town square and gathering space. In addition to largescale concerts, classical quartets, dance and theater offerings, we will host cultural events that reflect and celebrate the diversity of our San Diego and campus communities.”

Although the Epstein Family Amphitheater’s primary focus is the UCSD campus—with many of its events free and aimed at students—Kollar Smith says it is intended to be used by the wider community as well. “In addition to programming from our office, student organizations and other campus departments, there are a number of nonprofit arts organizations looking for affordable rental venues, and we look forward to hosting them and their audiences. When not in formal use, the amphitheater will be open as a park and can serve as a classroom or rehearsal space for student organizations at no cost.”

The “soft opening” in October 2022 gave a taste of what’s to come: a wide range of events to appeal to audiences of all types and all ages. “The amphitheater is designed

/CONTINUED ON PAGE 20

Puccini one-acts: explore the depths of tragedy with the Company premiere of Suor Angelica and the humor of human folly with the return of Gianni Schicchi after a 50-year absence. Featuring a stellar cast of mezzo-soprano Stephanie Blythe (singing the baritone role of Gianni Schicchi, an opera first!), soprano Marina Costa-Jackson, tenor Piotr Buszewski and mezzo-soprano Guadalupe Paz.

Stephanie Blythe Marina Costa-Jackson Piotr Buszewski Guadalupe Paz

The Artistic Director’s Circle Season Sponsors

Denise & Lon Bevers

Theodor S. & Audrey S. Geisel Fund

Jeanne Herberger

Joan & Irwin Jacobs

Sheri L. Jamieson

La Atalaya Fund

Rebecca Moores Foundation

Jordan Ressler Charitable Fund of the Jewish Community Foundation

FEBRUARY 19 – APRIL 2, 2023

PRODUCTION SPONSORS

Weston Anson - In Loving Memory of Susan Bailey Anson, Michael Bartell & Melissa Garfield Bartell, Gail & Ralph Bryan, Brian & Silvija Devine, Edgerton Foundation, The Estate of Pauline Foster, Lynn Gorguze & The Honorable Scott Peters, Kay & Bill Gurtin, Debby & Hal Jacobs, Lynelle & William Lynch, Perlmeter Family Foundation, Karen & Jeff Silberman, Steven Strauss & Lise Wilson, Molli Wagner, Mandell Weiss Charitable Trust

Kay and Bill Gurtin

A MESSAGE FROM THE ARTISTIC DIRECTOR

Dear Friends,

How did she do it? Susie Hinton was 16 years old when she wrote The Outsiders. It boggles the mind. When I think of myself at age 16, it is purely impossible to imagine myself having the discipline or the vision to imagine this kind of startling, complicated and indelible story of the Greasers and Socs. And yet, maybe this novel’s seismic impact across several generations of readers is exactly because Susie wrote it at sixteen, when the fears, aspirations and alienation of her characters were inextricably linked to her own immediate life experience. Those same things were front and center in my own life when I first read the book in seventh grade English.

But re-approaching this story at this stage of my adulthood, I also know that the core themes of The Outsiders never stop being relevant. For almost all of us, there is no time in our lives where we don’t feel different or excluded in some form, even as we still hunger for connection and community. Human beings are so instinctively and depressingly good at dividing ourselves up from each other, and how we define our “us” against their “them” often leads to unnecessary violence.

The creative team charged with re-creating this story for our moment is a perfect match for the material. There’s the poetic muscularity of Adam Rapp’s book; the music – from Jonathan Clay, Zach Chance and Justin Levine – that feels completely contemporary while still evoking the sweat, dust, dirt and blood of 1967 Tulsa; the Kuperman brothers’ choreography, which fluidly melds the tender and the terrifying. And at the helm, the dynamic, compassionate vision of director Danya Taymor.

That The Outsiders still grabs us so tightly more than half a century after its publication is a testament to this story, its characters, Susie Hinton, and our enduring human need to belong.

CHRISTOPHER ASHLEY

DIRECTOR

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

OF LA JOLLA PLAYHOUSE

BASED ON THE NOVEL BY S.E. HINTON AND FRANCIS FORD COPPOLA’S MOTION PICTURE

BOOK BY RICK

ADAM RAPP

MUSIC AND LYRICS BY

MUSIC SUPERVISION, ARRANGEMENTS AND ORCHESTRATIONS BY JAMESTOWN REVIVAL (JONATHAN CLAY & ZACH CHANCE) AND JUSTIN LEVINE

JUSTIN LEVINE

KUPERMAN &

JEFF

DIRECTED BY

CHOREOGRAPHY BY DANYA TAYMOR

KUPERMAN

FEATURING

ANNELISE BAKER*, JORDAN CHIN*, MILENA J. COMEAU*, BRENT COMER*, BARTON COWPERTHWAITE*, TILLY EVANS-KRUEGER*, BRODY GRANT*, SPENCER MCCABE HUNSICKER‡, SEAN HARRISON JONES*, L’OGAN J’ONES*, SKY LAKOTA-LYNCH*, KIKI LEMIEUX*, RENNI MAGEE*, DANIEL MARCONI*, TREVOR MCGHIE*, TRISTAN MCINTYRE*, DA’VON T. MOODY,* JUNIOR NYONG’O‡, PIPER PATTERSON*, KEVIN WILLIAM PAUL*, MELODY ROSE*, JASON SCHMIDT*, DARYL TOFA*, RYAN VASQUEZ*, TREVOR WAYNE

SCENIC DESIGN

COSTUME DESIGN

LIGHTING DESIGN

SOUND DESIGN

PROJECTION DESIGN

SPECIAL EFFECTS DESIGN

WIG DESIGN

MAKE-UP DESIGN

MUSIC DIRECTOR

MUSIC PRODUCER

SENSITIVITY SPECIALIST

CASTING

PRODUCTION STAGE MANAGER

STAGE MANAGER

ASSISTANT STAGE MANAGERS

SENIOR PRODUCTION MANAGER

GENERAL MANAGER

EXECUTIVE PRODUCER

AMP FEATURING TATIANA KAHVEGIAN

SARAFINA BUSH

ISABELLA BYRD

JUSTIN ELLINGTON

TAL YARDEN

JEREMY CHERNICK

NICHOLAS C. PARRISH

TISHONNA FERGUSON

MATT HINKLEY

MATT STINE

ANN JAMES

TARA RUBIN CASTING/XAVIER RUBIANO, CSA; JACOLE KITCHEN

JIMMIE LEE SMITH*

KRISTIN NEWHOUSE*

JENN ELYSE JACOBS*; EMILY SEARLES*

BENJAMIN SEIBERT

RYAN MEISHEID

ERIC KEEN-LOUIE

Christopher Ashley The Rich Family Artistic Director of La Jolla Playhouse

Debby Buchholz Managing Director of La Jolla Playhouse

THE CAST

Ponyboy Brody Grant*

Johnny Sky Lakota-Lynch*

Bob Kevin William Paul*

Randy................................................................................................................................................... Daniel Marconi*

Paul Brent Comer*

Darrel Ryan Vasquez*

Dallas Da’Von T. Moody*

Sodapop Jason Schmidt*

Two-Bit Trevor McGhie*

Cherry Piper Patterson*

Marcia ...................................................................................................................................................... Kiki Lemieux*

Ensemble Annelise Baker*, Barton Cowperthwaite*, Tilly Evans-Krueger*, L’ogan J’ones*, Sean Harrison Jones*, Renni Magee*, Melody Rose*, Daryl Tofa*

Swings Jordan Chin*, Milena J. Comeau*, Tristan McIntyre*

The Outsiders will be performed with one 15-minute intermission.

UNDERSTUDIES

Ponyboy Daniel Marconi*, Trevor Wayne

Johnny Daryl Tofa*

Randy Spencer McCabe Hunsicker‡, Tristan McIntyre*

Bob/Paul Barton Cowperthwaite*, Sean Harrison Jones*

Darrel Brent Comer*

Dallas Renni Magee*, Junior Nyong’o‡

Sodapop L’ogan J’ones*

Two-Bit Jordan Chin*, Renni Magee*, Daryl Tofa*

Cherry Annelise Baker*, Kiki Lemieux*

Marcia Annelise Baker*, Melody Rose*

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

ADDITIONAL STAFF

Associate Director Miranda Cornell

Associate Choreographers Kristen Carcone; Tilly Evans-Krueger

Associate Music Director Mark G. Meadows

Associate Costume Designer Martín Lara

Associate Lighting Designers Aaron Tacy; Victoria Bain

Associate Sound Designer DJ Potts

Associate Projection Designer Taylor Edelle Stuart

Special Effects Coordinator Katia Carmichael

Co-Dance Captains Milena J. Comeau*, Tilly Evans-Krueger*

Fight Captain Barton Cowperthwaite*

Voice & Text Coach Gigi Buffington

Vocal Supervisor Liz Caplan

Anthropologist Dr. Michael Ralph

Lighting Design Resident Brian Ealey‡

Stage Management Swings Kelly A. Martindale* Dean Remington*

Production Assistant Matthew Bantock

Script Coordinator Belén Cahill

People and Culture Consultants K+K Reset, LLC

Kiah Jones, Karen Robinson

ORCHESTRA

Conductor/Keyboard 2/Guitar 3 Matt Hinkley

Keyboard 1 Mark G. Meadows

Concertmaster Violin/Fiddle Healy Henderson

Cello Erica Erenyi

Reeds Greg Armstrong

Guitar 1 Vince Cooper

Guitar 2 PJ Bovee

Acoustic, Electric Basses Ken Dow Drums/Percussion Ed Benrock

Orchestra Contractor Lorin Getline

MUSICAL STAFF

Rehearsal Piano Matt Hinkley; Mark G. Meadows

Rehearsal Drums Ed Benrock

Music Programmer. Enrico de Trizio

Music Preparation Jane Cardona

Music Assistant Jerrica Ignacio

For additional information about The Outsiders, please visit outsidersmusical.com

For additional information about The Outsiders, please visit outsidersmusical.com

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 League of Resident Theatres 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 the League of Resident Theatres 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 nonprofit professional theatre.

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

ANNELISE BAKER*, Ensemble/Cherry and Marcia Understudy

La Jolla Playhouse: Debut! Broadway: Jagged Little Pill (OBC). Regional: Cabaret (Asolo Rep); Speakeasy (Bond45); Best Little Whorehouse in Texas (The REV); Chicago (Riverside); Nice Work If You Can Get It (Theatre at the Center); Oklahoma (The Paramount). Opera: The Merry Widow (Metropolitan Opera); The Merry Widow (Lyric Opera). Education: B.A. from Northwestern University. A big thanks to Clear Talent Group, mom, dad, and fam. www.annelisebaker.com. IG - @birdsofbaker

JORDAN CHIN*, Swing

La Jolla Playhouse: Debut. International: A Chorus Line (Shanghai). Regional: In the Heights (John W. Engeman); Saturday Night Fever (Fireside Theatre); Flashdance (The Gateway Playhouse).

Television: Marvel’s Hawkeye, The Tony Awards, Macy’s Thanksgiving Day Parade, Tonight Show w/ Jimmy Fallon. Film: Mon Héroïne. Commercials: TD Bank, Gilead, Google Chrome. Education: The Ailey School and B.A. from University of Florida.

MILENA J. COMEAU*, Swing

La Jolla Playhouse: Lempicka (Tamara Double/ Ensemble). National Tours: Bandstand, Jesus Christ Superstar. Off-Broadway/with the Kupermans: Alice by Heart (Dance Supervisor); The Light Princess, Peter Pan’s Neverland, Phish at Madison Square Garden (Assoc. choreographer).

TV: The Marvelous Mrs. Maisel. Harvard grad. So very delighted to be back at beautiful La Jolla in this dreamy, curious, catalytic Playhouse! Thank you Danya, KBs, LDC, and Araca for your deep and generous humanity. @milenajcomeau

BRENT COMER*, Paul

La Jolla Playhouse: Debut. Post-pandemic debut! Previously on the National Tour of Les Misérables Regional: Titus Andronicus (Shakespeare Theatre of NJ). Education: Musical Theater B.A. from JMU, The Link Program, The Shakespeare Theatre of New Jersey. Love to my agents at Hudson Artists Agency, the wonderful creative team, producers, and to Tara Rubin Casting. Enjoy the show and thank you, sincerely, for supporting the arts and for supporting new work here in La Jolla. Instagram: @bcombs96

BARTON COWPERTHWAITE*, Ensemble

La Jolla Playhouse: Debut! Theatre: An American in Paris (First National Tour); The Golden Apple, I Married an Angel (NY City Center Encores!). TV: Tiny Pretty Things (Netflix), Girls 5 Eva (Peacock), Fosse/Verdon (FX), Center Stage: On Pointe (Lifetime). Dance: La Traviata (Principal Dancer, The Metropolitan Opera), Shaping Sound’s After the Curtain (International Tour), Lar Lubovitch Dance Company, Bad Boys of Dance’s Romeo and Juliet (International Tour). @Bartonc

TILLY

EVANS-KRUEGER*

, Ensemble

La Jolla Playhouse: Debut. Tilly is one of the Associate choreographers of the show. Broadway: Moulin Rouge! Off Broadway: The Wrong Man, The Lucky Ones. Encores: Working! A Musical. Tv/Film: Better Nate Than Ever, In the Heights, Rent Live. Off Broadway Choreography: Evanston Salt Costs Climbing. TV/ Film Choreography: Mover, BoyHoarder, Guarantee (Joshua Henry), Stay on the Line (Kat Cunning).

BRODY GRANT*, Ponyboy

La Jolla Playhouse: Debut. Off-Broadway: Parade (New York City Center). Regional: Footloose (Rev Theater Co). Collegiate: Bonnie & Clyde (Shenandoah Conservatory), Something Rotten! (Shenandoah Conservatory - Collegiate Premiere). Huge thank you to Family, Chosen Family, God, Tara Rubin, CESD, the cast, creative team and crew of The Outsiders, and S.E. Hinton. New music on all streaming platforms. @brody_grant

SPENCER MCCABE HUNSICKER‡, Randy

Understudy

La Jolla Playhouse: Debut. Regional: Mary Stuart (Pioneer Theatre Company); Sweeney Todd: The Demon Barber of Fleet Street (Noorda Center); UC San Diego: Hells Canyon, The Elaborate Entrance of Chad Deity. Spencer is an M.F.A. Candidate at UC San Diego.

L’OGAN J’ONES*, Ensemble

is a silly goose whose artistic expression exists in many forms, both collaboratively and individually. An alum of The University of Michigan, B.F.A. in Musical Theater with a minor in Global Theater and Ethnic Studies, L’ogan has been a part of new theatrical works such as SpongeBob SquarePants on Broadway and the off-Broadway premier of Clueless the Musical L’ogan can be seen on TV and streaming in Law & Order: SVU, Doctor Death, as well as a few not-yet-announced upcoming projects. Additionally, L’ogan is a songwriter, director, dance educator and much more. Love to my family and thank you to CGF. Protect black trans youth.

SEAN HARRISON JONES*, Ensemble

is thrilled to be making theatre in San Diego. The Outsiders has been his first development project and it means the world to be telling this story right now. Credits: Samuel Seabury in Hamilton (Broadway), Action in Spielberg’s West Side Story (Film), Dancer in Spirited (Film). Huge thank you to his chosen family’s support and his family’s endless Love. Mom, Howard, Austin, Zach, and angel above, Felicia. Instagram: @Seany_Swagger

SKY LAKOTA-LYNCH*, Johnny

La Jolla Playhouse: Debut! Broadway: Dear Evan Hansen. Off-Broadway/Workshops include works at The Public, Roundabout and New York City Center. TV/Film: Iron Fist (Disney Plus/Marvel), the final season of New Amsterdam (NBC), FBI: Most Wanted (CBS), ABC Discovers: Talent Showcase (Disney/ABC), Half Life (Amazon), PARTS, Boyhoarder. Education: The Neighborhood Playhouse.

KIKI LEMIEUX*, Marcia is thrilled to be making her La Jolla Playhouse debut! Education: B.F.A. in Musical Theatre from Shenandoah Conservatory (Class of ‘21). Represented by Innovative Artists. Biggest hugs to Mom, Dad, Ava, Cullen and Gwyneth, and endless thanks to Ben, Christin and Chris. @kaylilemieux

DANIEL MARCONI*, Randy

La Jolla Playhouse: Debut! Off-Broadway: The Butcher Boy, Made by God (Irish Repertory); The Mountains Look Different (The Mint); Baldwin v. Buckley (American Vicarious). Regional: Henry VI, Parts 1-3 (STNJ); A Wonderful Life (Paper Mill Playhouse). TV/Film: Bull (ABC), The Blacklist (NBC), Boardwalk Empire (HBO), Daniel Isn’t Real (Spectrevision). Graduate of Wagner College Theatre. Endless gratitude to the tireless team at HCKR and infinite love to the family and friends who continue to put up with him.

RENNI MAGEE*, Ensemble is beyond blessed making his La Jolla Playhouse debut. Broadway: MJ The Musical. Movie: The Beauty of Love. Regional: Guys & Dolls (Guthrie Theatre). Henry Award, Outstanding supporting actor in a musical: Oklahoma! (DCPA). Porgy & Bess (Metropolitan Opera). Chloe Flowers, Carol of the Bells Music Video. @renni_anthony

TREVOR MCGHIE*, Two-Bit

La Jolla Playhouse: Debut. Off-Broadway: As You Like It (The Public/Shakespeare in the Park). Regional: Fly (Capital Repertory Theatre); Gypsy (Harbor Lights). Training: NYU Tisch - The Meisner Studio, Stonestreet Studios, RADA (Royal Academy of Dramatic Art). Owner of McGhie Productions, a film production company. McGhie Productions' recent films Lineage and Until It's You have screened in prestigious festivals across the country.

TRISTAN MCINTYRE*, Swing

La Jolla Playhouse: Debut. National Tours: The SpongeBob Musical (Plankton). Regional: Footloose (The Rev). Education: B.A. in Acting and Minor in Computer Programming from the University of Southern California. Thank you to the creative team for this dream come true. @tristanmcintyre.

DA’VON T. MOODY*, Dallas

La Jolla Playhouse: Debut! Off-Broadway: A Man of No Importance. DC regional credits include: RENT (Benny) at Signature Theatre, Gun & Powder

- world premiere, Grand Hotel, Ain’t Misbehavin’

Olney Theatre: A.D. 16 - world premiere (Simeon); Ford’s Theatre: The Wiz, A Christmas Carol, Amazing Grace (Mr. Tyler); Constellation Theatre: Aida! (Mereb); ArtsCentric: Hair (Berger) and Dreamgirls (C.C. White). Film: Once Again for the First Time. You can find him on IG @d_moo_d to see more.

JUNIOR NYONG’O‡, Dallas Understudy

La Jolla Playhouse: Debut. Regional: Hamlet in Hamlet, Gertrude and Claudius, Twelfth Night (Orlando Shakes); Valor (Guthrie Theater). UC San Diego: Bach at Leipzig, Promithes, Promithes, In The Red and Brown Water, A Midsummer’s Night’s Dream. Education: M.F.A. candidate at UC San Diego class of ’23.

PIPER PATTERSON*, Cherry

This is Piper’s La Jolla Playhouse debut! A recent grad of the Juilliard School of Drama, her credits include Evil (CBS), Still Life (Ancram Opera House/ Playhouse Creatures), Talent Show (The Civilians) and directing the premiere of Troglobytes (Studio New York). Special thanks to Paul Wilson and Chaga for getting her to California in one piece!

KEVIN WILLIAM PAUL*, Bob

attained his B.F.A. from the Drama School at Carnegie Mellon University and soon after could be seen on TV shows like Evil, The Goldbergs, Good Trouble, Liza on Demand, Why Women Kill and the film Bottom of the 9th. While currently working in NYC on two Broadway workshops, Kevin is thrilled to make his La Jolla Playhouse debut, back in the California sunshine. @kevinwilliampaul

MELODY ROSE*, Ensemble

Melody is thrilled to be making her La Jolla Playhouse debut! National Tours: Cats (Tantomile, u/s Victoria, u/s Sillabub), Finding Neverland (Peter Pan). Film: Tick, Tick… BOOM!. Education: B.F.A. in Dance from The Juilliard School. Represented by CESD. Special thanks and love to Mom, Dad, Aunt Cheryl, Megan, Sofia, Rebecca and Ashley Canterna-Hardy. @melodyrose

JASON SCHMIDT*, Sodapop

is grateful to be making his La Jolla Playhouse debut with this timeless story. TV: FBI: Most Wanted, The Chair; upcoming: Grease: Rise of the Pink Ladies on Paramount+. Jason is a singer/ songwriter who releases music on all platforms. He studied at Carnegie Mellon. He would like to thank his constantly supportive family, friends, Link, and his killer team at DGRW and Authentic. @Jason.s.schmidt

DARYL TOFA*, Ensemble

is excited to be making his La Jolla Playhouse debut with The Outsiders. Broadway/National Tour: Mean Girls. Regional: The Music Man (Kennedy Center); Newsies (The Muny). TV/Film: Jimmy Fallon, Saturday Night Live, Blue Light, Better Nate Than Ever. Daryl is grateful for the opportunity to perform on the west coast where his family is. Special thanks to Sean Jones, this entire production team, my incredible cast mates, and all my family and friends. Grandma and Leo, this is for you.

RYAN VASQUEZ*, Darrel

La Jolla Playhouse: Debut. Broadway: Hamilton (Alexander Hamilton), Waitress (Original Broadway Cast), Wicked. Off-Broadway: The Wrong Man (Drama Desk nomination). Regional: The Notebook (Chicago Shakespeare Theatre). TV/ Film: Tick, Tick… BOOM! (Netflix), Curb Your Enthusiasm (HBO), Vivo! (Netflix), In the Heights (Warner Bros.), The Good Fight (CBS), The Code (CBS). University of Michigan graduate.

TREVOR WAYNE, Understudy: Ponyboy

This will be Trevi’s La Jolla Playhouse debut!

He’d like to first and foremost thank his good Lord above for all the amazing people and opportunities he’s been gifted. Regional credits in Florida include: The Music Man (Wick Theatre); Shrek the Musical and Groundhog Day (Broward Center for the Performing Arts). He is incredibly blessed to be here and thanks The Outsiders' creative team for everything. Trevi has a sensitive side, yet many describe him as a sigma male. @Trevifountain

ADAM RAPP, Book

is the author of numerous plays, which include Nocturne (New York Theatre Workshop), Finer Noble Gases (26th Humana Festival), The Metal Children (The Vineyard) and Red Light Winter (Barrow Street Theatre), for which he won Chicago’s Jeff Award for Best New Work, an OBIE, and was named a finalist for the 2006 Pulitzer Prize. The Sound Inside received its world premiere at the 2018 Williamstown Theatre Festival and was named one of The New York Times' best plays of 2018. It premiered on Broadway at Studio 54 in the fall of 2019 and went on to be nominated for six Tony Awards, including Best Play. His playwriting honors include Boston’s Elliot Norton Award, The Helen Merrill Prize, The 2006 Princess Grace Statue, a Lucille Lortel Playwright’s Fellowship, The Benjamin H. Danks Award, the PEN/Laura Pels International Foundation Award, and a 2021 Arts and Letters Award from the American Academy of Arts and Letters.

JAMESTOWN REVIVAL (JONATHAN CLAY & ZACH CHANCE), Music and Lyrics

is an internationally recognized Americana/Roots Rock band from Austin, TX who describe their music as "Southern & Garfunkel." Jamestown Revival’s latest release, Young Man, is the band’s first album without electric guitars and their first to be recorded in a studio. With themes like coming of age and settling into an identity, Young Man was produced by Robert Ellis and Josh Block (Leon Bridges, Caamp). The band has performed at iconic music festivals such as Farm Aid, Coachella, Stagecoach and Lollapalooza, and has performed with the likes of the Zac Brown Band, Nathaniel Rateliff, Ryan Bingham and Willie Nelson. Jamestown Revival has released three critically acclaimed albums (Utah, The Education of a Wandering Man and San Isabel) and two equally praised EPs (A Field Guide to Loneliness, an intimate collection of songs reflecting recent times where human contact was limited more than ever, and Fireside with Louis L’Amour, featuring songs inspired by stories from author Louis L’Amour).

JUSTIN LEVINE, Music and Lyrics, Music Supervisor, Arrangements, Orchestrations

Recent projects include Moulin Rouge! The Musical (music supervisor, arranger, orchestrator; Tony Award), Shakespeare in the Park’s A Midsummer Night’s Dream (original music; Delacorte Theater; Drama Desk nom), VEVO X LORDE: Melodrama (vocal arranger/supervisor, conceived by Lorde, Electric Lady Studios), Contemporary Color (music supervisor, conceived by David Byrne, Barclay’s Center and Air Canada Center), Bonfire Night (book, music and lyrics, NAMT), The Weight of Smoke (original music with Matt Stine, choreographed by Doug Elkins for Paul Taylor American Modern Dance, Lincoln Center), Pepper and Sam (co-conceived with Salty Brine, Ars Nova, Joe’s Pub). Bloody Bloody Andrew Jackson (music director, co-orchestrator, cast, Public Theater and Broadway), Here Lies Love (music director, Public Theater, National Theater, Seattle Rep, MassMoca), Love’s Labour’s Lost (music director, co-orchestrator, cast, Delacorte), Robber Bridegroom (music director, co-orchestrator with Martin Lowe, Roundabout Theater), Murder Ballad (music director, orchestrator, Manhattan Theater Club and Union Square Theater).

DANYA TAYMOR, Director

is an Obie Award-winning New York-based director. She re-opened Broadway with Antoinette Chinonye Nwandu’s Pass Over, the first play back after 18 months of darkness on Broadway. Other recent work includes: Will Arbery’s Pulitzer Prize finalist Heroes of the Fourth Turning (Playwrights Horizons, Callaway Award for Outstanding Direction), Evanston Salt Costs Climbing (New Group) and Plano (Juilliard), Samuel Beckett's Endgame (Gate Theater, Dublin), Jeremy O. Harris’ “Daddy" (Almeida, London + New Group/Signature), korde arrington tuttle’s graveyard shift (Goodman), Martyna Majok’s queens (Lincoln Center), Danai Gurira’s Familiar (Steppenwolf) and Brian Watkins’ My Daughter Keeps Our Hammer and Wyoming (The Flea + Lesser America). Her world-premiere production of Pass Over (Steppenwolf 2017) was filmed in collaboration with Spike Lee, premiered at the Sundance Film Festival and is streaming on Amazon Prime. Recipient of the Cullman Award for Extraordinary Creativity from Lincoln Center. B.A. from Duke University.

RICK KUPERMAN & JEFF KUPERMAN, Choreography

Upcoming credits: co-directing and choreographing an immersive show with the producers of Sleep No More. Recent choreo: Alice by Heart (MCC; Lortel, Chita Rivera and Callaway Awards), Cyrano (Goodspeed/The New Group), Phish at Madison Square Garden, The Count of Monte Cristo (St. Petersburg, Russia), Peter Pan (Beijing, China), The Light Princess (ART/New Victory, NY Times Critics’ Pick). Other works with Williamstown, New Ohio, Pipeline. Film: Verona, F*cking Identical Twins (A24), Silent Retreat (Miramax). TV: “Living with Yourself” (Netflix). As directors: Roll! (Ars Nova), Dispossessed (HERE), Smile (FringeNYC), The 39 Steps (PST), and many shorts & music videos. Education: B.A.s, Harvard & Princeton.

www.kupermanbrothers.com

AMP FEATURING TATIANA KAHVEGIAN, Scenic Design

AMP is a collective founded by Brett J. Banakis and Christine Jones to amplify emerging and underrepresented designers by engaging in equitable collaborations. For this production of The Outsiders, they are thrilled to be designing alongside Tatiana Kahvegian: Tatiana designs sets/environments for performance. She is originally from São Paulo, Brazil, and is of Armenian descent. Before moving to New York in 2018, Tatiana studied architecture and worked in the art department of films and TV series. She received her M.F.A. at NYU Tisch School of the Arts. Recent credits include Parade, a kinetic installation in collaboration with Mimi Lien (The Bentway) and A Christmas Carol (Trinity Rep). Jones and Banakis have co-created multiple shows together, including The Devil Wears Prada, The Cher Show, What's It All About and Harry Potter and the Cursed Child.

SARAFINA BUSH, Costume Design

Broadway: For Colored Girls… (Tony Award nominee), Pass Over. Off-Broadway: Evanston Salt Costs Climbing (The New Group), To My Girls (Second Stage), Heroes of the Fourth Turning (Obie Award; Playwrights Horizons), Broadway Bounty Hunter (Greenwich House), Plot Points, Pass Over (LCT3). Regional: How to Dance in Ohio (Syracuse Stage); Life After (Goodman Theatre); Afterwords (5th Avenue); Nina Simone: Four Women (Berkshire Theatre Group); Slow Food (Geva Theatre); Cry It Out and The Royale (Kitchen Theatre Company). Education: B.A., Adelphi University.

ISABELLA BYRD, Lighting Design

Cabaret (West End, Olivier nomination). With Danya Taymor: Heroes of the Fourth Turning, "Daddy": A Melodrama and Evanston Salt Costs Climbing. Off-Broadway: Sanctuary City, Epiphany, Corsicana, Plano, As You Like It (Delacorte), Light Shining in Buckinghamshire. International: Endgame (Gate, Dublin), FOOD and Nova (Edinburgh Festival). Regional: Tale of Despereaux (The Old Globe), Denver Center, Alley Theater, ACT, Hartford Stage. Select Awards: Obie, Lortels, Henry Hewes, Critics Circle. Nominations: Olivier, Drama Desk. Upcoming: new plays by Annie Baker, Eboni Booth and Talene Monahon. Proud union member (USA829) and pay equity advocate. www.isabellabyrd.design

JUSTIN ELLINGTON, Sound Design

La Jolla Playhouse: to the yellow house, The Seven. Additional credits include: Ohio State Murders, Topdog/Underdog, For Colored Girls…, Clyde’s, Pass Over, Other Desert Cities (Broadway); The Watering Hole (Signature Theatre Company); Until the Flood (Center Theatre Group); Bars and Measures (Urban Stages); Heroes of the Fourth Turning (Playwrights Horizons); Floyd's (The Guthrie Theater); The Rolling Stone (LCT3); Mrs. Murray's Menagerie (Ars Nova/The Mad Ones); The American Clock (Old Vic Theatre Company); How to Catch Creation (Goodman Theatre); Gem of the Ocean (Round House Theater); Fireflies (Atlantic Theater Company); Kill Move Paradise (The Wilma Theater); The House That Will Not Stand, Fetch Clay Make Man (New York Theater Workshop).

TAL YARDEN, Projection Design

La Jolla Playhouse: Indecent. Broadway: Network, The Waverly Gallery, Indecent, Sunday in the Park with George, The Crucible. Off-Broadway: Becky Nurse of Salem, Hamlet, Enemy of the People, Antigone, The Damned, Kings of War, The Fountainhead, Roman Tragedies, King Lear, Distracted, Lazarus, Liberty City, The Misanthrope. Regional: A Walk on the Moon (George Street Playhouse), Ocean Filibuster (ART), Passing Strange (Wilma), Frost/Nixon (Bay Street Theater). London: Get Up, Stand Up, Anna X, My Brilliant Friend. Opera: Exterminating Angel, Between Worlds, Mahagonny, Salome, Brokeback Mountain, Macbeth. Awards: Molière, Lucille Lortel; Nominations: Tony, Drama Desk, Hewes, Outer Critic.

JEREMY CHERNICK, Special Effects Design

has worked on over 50 Broadway productions. Current & recent projects include Sweeney Todd, Hercules (Paper Mill Playhouse); Misty (The Shed); Beetlejuice, Hadestown. Jeremy has worked with the Disney Theatrical Group creating effects for Frozen, Aladdin, Hunchback of Notre Dame and Tarzan. In London’s West End, Jeremy designed Harry Potter and the Cursed Child and Let the Right One In (National Theater of Scotland). His work has been featured in prominent performing and visual arts institutions across the United States and the globe. In 2018, Jeremy was an Emmy Award honoree for his work on NBC’s Jesus Christ Superstar Live Jeremy serves as head designer for J&M Special Effects in Brooklyn. www.jmfx.net / www.jeremychernickdesigns.com

NICHOLAS C. PARRISH, Wig Design

is originally from Fort Lauderdale, Florida. Nicholas studied theatre at Alabama State University, and cultivated his design experience through productions such as Tony Award-winning MJ The Musical and Beetlejuice the Musical. La Jolla Playhouse: Debut. Broadway: MJ The Musical, Beetlejuice. National Tours: Beetlejuice. Regional: Holiday (Arena Stage).

TISHONNA FERGUSON, Makeup Design

Tishonna comes to La Jolla Playhouse for her makeup design debut after being Associate Designer on the Beetlejuice National Tour under Joe Dulude II. Broadway: Beetlejuice, The Lion King. National Tours: Beetlejuice. Off-Broadway: Hairspray. Television: The Lion King 25th Anniversary, Raising Kanan, The Rundown with Robin Thede. Film: The Drop. www.tishferguson.com IG: tish_ferguson

MATT HINKLEY, Music Director

La Jolla Playhouse: Debut! Broadway: SpongeBob, Bandstand, Finding Neverland, Violet, First Date, Godspell. Regional and other NYC credits include: Clint Black’s Looking for Christmas (Old Globe), Camelot (Bay Street Theatre, incl. orchestrations), ROOMS (New World Stages), Mrs. Miller Does Her Thing (Signature Theatre, Helen Hayes nomination for music direction), The Circus in Winter (Goodspeed Opera House, incl. orchestrations), 35MM (original NYC productions), Chess (Kennedy Center), Bloodsong of Love (Ars Nova); original member of the Joe Iconis Rock ‘n’ Roll Jamboree. Longtime music director for Caissie Levy; other concert work includes Jessica Vosk, Jason Gotay, Sutton Foster. Upcoming: Water for Elephants (Alliance Theatre).

THE COMPANY

MATT STINE, Music Producer

is a Tony Award-winning Orchestrator, two-time Grammynominated Music Producer and a Drama Desk, Lucille Lortel and Outer Critics Circle-nominated Sound Designer. Credits include: KPOP (Broadway), Here Lies Love (Broadway), Once Upon a One More Time (Broadway), Moulin Rouge! (Broadway), Beetlejuice (Broadway), Assassins (Classic Stage Company), Sweeney Todd (Barrow Street Theatre). www.27sound.com

ANN JAMES, Sensitivity Specialist is thrilled to be working on her third La Jolla Playhouse production, having served as Sensitivity Specialist on Lempicka and Here There Are Blueberries. James made her debut as the first Black Intimacy Coordinator of Broadway for Antoinette Nwandu’s Pass Over. James currently serves as an intimacy and sensitivity consultant for Hamilton (USA) and Hamilton (AUS), and will serve as an EDI/Cultural consultant for the Broadway-bound production of Parade. James has served as Intimacy Director and Sensitivity Specialist® for the Off-Broadway productions of Moisés Kaufman’s Seven Deadly Sins, Seize the King at Classical Theatre of Harlem, F*cking A at Fordham University, Twilight: Los Angeles,1992 and Dominique Morisseau's Confederates at Signature Theater. Her intimacy work has featured James as an expert voice for TCG, HowlRound, SDC and Lincoln Center’s Director’s Lab West. Her company, Intimacy Coordinators of Color, has partnerships with Adelphi University, NYU, Columbia University, American Conservatory Theater, Brown University, Trinity Repertory Theater, A.R.T./New York and ART at Harvard.

TARA RUBIN CASTING/XAVIER RUBIANO, CSA, Casting

Selected Broadway and National Tours: Back to the Future, Here Lies Love, Bad Cinderella, Bob Fosse’s Dancin’, KPOP, Mr. Saturday Night, SIX, Ain’t Too Proud, King Kong, The Band’s Visit, Prince of Broadway, Sunset Boulevard, Miss Saigon, Dear Evan Hansen, Cats, Falsettos, School of Rock, Bullets Over Broadway, Aladdin, Big Fish, Billy Elliot, Shrek, Spamalot, …Spelling Bee, The Producers, Mamma Mia!, Jersey Boys, The Phantom of the Opera. Selected Off-Broadway: Sing Street, Trevor, Between the Lines, Clueless, Gloria: A Life, Smokey Joe’s Café, Here Lies Love. Regional: George Street Playhouse, Asolo Rep, La Jolla Playhouse, The Old Globe. Film: Here Today.

JIMMIE LEE SMITH*, Production Stage Manager

comes directly from Disney’s The Lion King on Broadway. Select Broadway credits: Aladdin The Musical, Mary Poppins and Kenny Leon’s The Mountaintop with Samuel L. Jackson and Angela Bassett. Select National Tours include Saturday Night Fever, Jekyll & Hyde, Evita and Jesus Christ Superstar. He has also managed political & corporate events for Presidents Barack Obama and Bill Clinton and for the MLK Memorial, to name a few.

KRISTIN NEWHOUSE*, Stage Manager

La Jolla Playhouse: Debut. Broadway: The Lion King, Grease! National Tours: The Lion King, Kinky Boots, The Curious Incident of the Dog in the Night-time, RENT, Mary Poppins, How to Succeed…. International Tours: The Lion King. TV: SYTYCD, Dancing with the Stars, Good Day LA, Kids Choice Awards, MTV Awards. Opera: Madame Butterfly (LA Opera); Candide (LA Philharmonic at the Hollywood Bowl); Fallujah (Long Beach Opera). Special Events & Corporate Clients include: Sony, Morgan Stanley, TD Bank, NBC, PlayStation, Stungun Productions, Broadway Cares & Disney Theatrical.

JENN ELYSE JACOBS*, Assistant Stage Manager

La Jolla Playhouse: Debut. Broadway: Moulin Rouge!, Six, The Lion King, The Prom, School of Rock. National Tours: The Book of Mormon, Ain’t Too Proud, Lincoln Center Theatre’s The King & I, The Color Purple. Off-Broadway: Second Stage Theater, Manhattan Theatre Club, Keen Company. The Old Man and The Old Moon (PigPen Theatre Company/The New Victory Theatre). Regional: Williamstown Theatre Festival. B.F.A. from the University of Michigan.

EMILY SEARLES*, Assistant Stage Manager

La Jolla Playhouse: The Agency, Manny & the Wise Queens (DNA Festival 2022); Lempicka, Bhangin' It. Regional: Murder on the Orient Express (Clarence Brown Theatre); On Your Feet (Moonlight Stage); Anything Goes, My Fair Lady (Muhlenberg Summer Music Theatre). Other select credits: peerless, Prepared, Uncle Vanya, Letters from Cuba (UC San Diego). M.F.A.: UC San Diego, B.A.: Muhlenberg College.

CHRISTOPHER ASHLEY, The Rich Family Artistic 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, 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, 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, Executive Producer

(he/him) 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 shares his commute to La Jolla with his husband Anthony Keen-Louie, an administrator in student affairs at UC San Diego. He is a proud third-generation Chinese-American.

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 Awardwinning 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 Christopher Ashley, the Rich Family Artistic Director of La Jolla Playhouse, and Managing Director Debby Buchholz. Internationally-renowned for the development of new plays and musicals, the Playhouse has mounted 108 world premieres, commissioned 60 new works, and sent 33 productions to Broadway – including the hit musical Come From Away – garnering a total of 38 Tony Awards, as well as the 1993 Tony Award for Outstanding Regional Theatre.

THE REALITY OF FORCE

GG: What first attracted you all to this project?

DT: Adam Rapp saw a play I directed called Pass Over, which is also about young men, and all the ways society causes them to bottle things up and war against each other. After Adam saw the show, he asked me if I would be interested in doing a musical adaptation of The Outsiders. I’d never read the book, so my first engagement with the story was through the script [for the musical], and then I devoured the novel in one sitting and cried my eyes out. I listened to the entire score and the songs hit me deep in my soul. I was drawn to the fact that this is a world about boys seen through the eyes of a teenage girl; a 16-year-old Susie Hinton who saw these boys around her and saw the way society affected them, and wanted to expose those things to a larger audience. Susie’s gaze is so compassionate and honest. That’s what really pulled me in: the opportunity to tell a powerfully honest story about masculinity through a feminine gaze.

RK: Like Danya, I had never read the book growing up. My first experience with the project was reading Adam’s script and listening to Jonathan, Zach and Justin’s music. I had studied some of Adam’s plays in school, and was

really struck by his visceral writing. And in terms of the themes of the show, brotherhood is obviously something that’s very important to me – the idea that we can accomplish much more together than we can alone.

JK: I read it in school; I guess I was the only one of us [laughter]. And because it’s such a meaningful story to so many people, it was exciting to dive in and see what we could bring to it. Beyond the emotional impact, it’s such an adventurous story, there’s so much plot, so much action, that it was exciting for us to scratch our heads and say, “how are we going to physicalize this? How are we going to make it as exciting and visceral as it is in the book and the movie? And how do we use the tools specific to theatre to do that?”

GG: And so what will the physical vocabulary of the piece look like?

DT: When this project came to me, [Rick and Jeff] immediately came into my mind because I knew they had a fight background in addition to being virtuosic choreographers. The movement vocabularies they create are extremely sensual. I want people who create worlds where all the senses are activated – desire, fear, anxiety, hope – and their work definitely brings all that to the forefront. There was an immediate

sense of kinship between us. Our desire is to unite everything so it feels like one creative voice, so that it’s impossible to differentiate where my work ends and theirs begins, so it all feels like Ponyboy’s voice.

JK: Growing up, Rick and I studied different disciplines: theatre, dance and martial arts. And we fought for a while as well – kickboxing. When all of those disciplines started to meld together in our minds, one principle in particular stuck, which was: we don’t like to fake force. We like to re-direct force and momentum, so it’s not dangerous –so that it’s collaborative, practiced and controlled – but it’s real. There’s always an interest in the reality of force and how to shape that, whether that be for sensuality or conflict or joy.

RK: These are physical bodies on stage that are telling the story. We want to help the company tap into those physical impulses, and ultimately make it feel like the choreography isn’t choreography. We can collectively achieve this by focusing on technique and drilling to keep it safe. At the end of the day, practice makes permanent – not necessarily perfect, but it makes it permanent. And like in any discipline, if you know that the foundation and repetition are there, then you can fly.

A conversation between The Outsiders’ director Danya Taymor, choreographers Rick Kuperman and Jeff Kuperman, and Director of Artistic Development Gabriel Greene.

GG: As anyone familiar with The Outsiders knows, a centerpiece of the story is the rumble between the Greasers and the Socs. How are you approaching that iconic scene in a way that feels made for this medium?

DT: I’m reluctant to say anything because I think that it’s best experienced. But the rumble scene is a centerpiece of the story for Ponyboy. We’ve been exploring how you make something that feels really real – that doesn’t feel like stage combat, so you tune out –but not so real that you get numb to it.

RK: The way in which most of us experience violence – if we’re lucky, and it’s not a real presence in our lives – is through cinema or television. And the tools that are available to filmmakers – foley, camera placement – are not part of stage musicals. We’re doing this fight head-to-toe, with a bunch of different angles from which the audience can experience it, with a lot of performers all onstage simultaneously. We need a different way into it, so we’ve been leaning into what is unique on stage. That includes stylizing part of the violence and using a more theatrical idiom. Evolving the fight past naturalism into something more heightened.

DT: Heightened, yes, but the word that always comes into my head is “expressive.” What we’re creating is a vessel for all the expansive and complicated feelings that explode in the fight. On the first day of rehearsal, Susie told us that a core theme of the story is “growth is betrayal,” and that has been reverberating in my mind since she said it. What a complicated and gnarly truth. The rumble in many ways is a fulcrum of that growth, that betrayal. After the rumble, nothing can ever be the same.

GG: You three have formed a very tight collaborative unit, but I’m curious about how the Kuperman brothers work together as choreographers. How does that process work to create a unified vision?

RK: It actually works similarly with us as a trio, as it does with me and Jeff as a duet. You have to take your ego out of it and build an environment where the best idea wins. And oftentimes, you can reach consensus pretty organically. Sometimes we have differences, but then time will almost always sort that out. So if you can cultivate an environment – and Danya does this brilliantly – where you can feel absolutely free to take a big swing, then it either works or, if it doesn’t, you have partners who are there to come up with the next idea. It just changes how you think about generating and editing, because those are two different parts of the mind.

JK: My collaboration with Rick has evolved as we’ve grown older. It’s always been respectful and generous, but we are brothers. But we’re no longer having what some might call “animated disagreements” in front of our collaborators [laughter]. Something we’ve developed over the years is making sure that that we achieve as much internal consensus as possible so that our collaborators aren’t getting conflicting notes or ideas. Like Rick said, we’re usually aligned in terms of our artistic impulses, but when we’re not, we know those are the most important moments of the show to excavate, because through that conflict of ideas comes a synthesis that is better than any single idea.

DT: Part of what draws me to work with Rick and Jeff is that they are dauntless in the face of tension or disagreement. It’s healthy and it elevates the storytelling and the

collaborative experience. We also give each other an opportunity to build something before tearing it down. What they’re saying about ego is so true, and allowing dissent to come into the room means we can find the collective strongest impulse. And because I trust them both so much, if something doesn’t feel right for the story, it’s going to mean so much to me to hear that.

GG: How has Susie Hinton participated in the process? Given how impactful her novel and the movie have been, does that cast a shadow over you as you create this musical?

DT: I wouldn’t call it a shadow [that she casts], it’s like a light. The three of us went to Tulsa last summer, and we had an amazing lunch with Susie where we just got to talk and get to know her. She loves artists, actors, storytellers. The thing I took away most from meeting her, is she said, “Don’t be afraid, don’t try to please people. Have a vision. Make your version.” That felt like such a gift to me. She spoke to the whole company on the first day of rehearsal [via Zoom], and she gave the same gift to our actors. She told them, “Don’t try to play [the film’s stars]. Don’t try to be Matt Dillon; he already did that. Do your version. And most importantly: have fun.” It’s a really genuine and generous thing, and we’re all grateful. 

TEEN-AGERS ARE FOR REAL

By Susan Hinton

The trouble is, grownups write about teen-agers from their own memories, or else write about teen-agers from a stand-off, I'm-a-little-scared-to-get-closethey're-hairy view. Teen-agers today want to read about teen-agers today. The world is changing, yet the authors of books for teen-agers are still 15 years behind the times.

In the fiction they write, romance is still the most popular theme, with a-horse-and-the-girl-who-lovedit coming in a close second. Nowhere is the drive-in social jungle mentioned, the behind-the-scenes politicking that goes on in big schools, the cruel social system in which, if you can afford to snub every fourth person you meet, you're popular. In short, where is reality? On the other side of the coin, there are the hair-raising accounts of gangs, motorcycles and otherwise; gangs hold a fatal fascination for adults. Adults who try to write realistically seem to mix up the real with the dirty.

And speaking of realism, nothing makes a teen-ager blush more than a grown-up writer trying to use “gear,” “fab,” “camp,” “groovy” in dialogue. The rule is: If you don’t say it yourself, don’t say it. It comes out fake. And one of the more redeeming qualities of teen-agers is their loathing for anything fake.

The teen-age years are a bad time. You’re idealistic. You can see what should be. Unfortunately, you see what is, too You’re disillusioned, but only a few take it as a personal attack. These few make the headlines as “hippies.”

Recently a friend of mine had an adult lean over and leer at her: “I hear you teen-agers experiment a lot with sex.”

“Oh yes,” she said brightly. “Drugs and booze, too.” Later she told me, “Always tell people what they want to hear,” and she shrugged. There was no communication. Sex and drugs and alcohol are teenage problems. They’re adult problems, too. Why not some honest talk instead of nudging and sly prying on one side and bitterness and suspicion on the other?

Teen-agers yell, “Listen to me!” and grownups say, “Cut your hair, we’ll talk then.” To the adults’ “You can’t do that,” the usual reply is, “Watch me.”

And through all this mess, we still get books on Mary Jane’s big date with the football hero. Why not write it realistically? (I said real, not dirty). Most kids nowadays date for status. There are cliques and classes and you date so you can say you had a date with so-and-so, the president of the student council. You may loathe him, but personal likes and dislikes don’t matter anymore. And the higher up the social ladder you go, the cooler it gets. You say what everyone else says. You wear what everyone else wears. And you are so cool, so scared someone is going to think you’re not “In,” that you don’t have time to think about another person. Your date is there to enhance your status. It's a role you're playing for a very cruel audience, and you don't make slips.

That, friends, would make a realistic romance. Because in spite of everything, you may still make slips.

Now let's take the business of cars. Teen-agers spend half their waking hours in cars, and yet they are scarcely mentioned in teen-age literature. If they're mentioned at all, it's the story of how Tommy fixed up his jalopy and won the local drags, or lost them and enriched his character: either ending is satisfactory. Yet Tommy is more likely out dragging his SS397 up and down the local strip, impressing girls and risking his life and other people's lives, and if the cops chase him to give him a ticket he (1) stops because he lives on the very "right" side of town and his parents or friends can fix the ticket; (2) stops because it's the local cop, who probably just wants to say, "Why don't you take it out to the expressway tonight. I'll match you against my cousin's Vet"; or (3) runs.

That would make a realistic story about cars.

All we hear is how teen-agers are rebelling against authority, against lack of authority, against country, against parents. This is partly true. It is more true that all we are doing most of the time is asking, "Why?" and getting as an answer, "Because it's always been done this way." If there were more stopping and explaining why it's always been done this way, there'd be more understanding. Understanding breeds communication. There we are back at the root of the matter.

Books for teen-agers portray us as a carefree group, when all we hear is, "The future is in your hands!" Our parents didn't have to worry through their childhood about whose hands the future was in. And when responsibilities did come, they were ready for them. Now, from 13 on, you worry about the future. No wonder, then, by 17, some say, "You made the world, you fix it," and retreat into a hazy drug world where there are no responsibilities.

People are always asking for teen-agers' opinions on things, and writing about them. You've heard of people reading the symptoms of a disease, and then suddenly developing the disease? Well, you can’t pick up a magazine or a newspaper that doesn’t declare that teen-agers are rebellious, over-worked, overpampered, under-privileged, over-privileged, smart, stupid and sex-crazed. No wonder some develop the symptoms.

Adults who let small children watch hours of violence, unfunny comedy, abnormal behavior and suggestive actions on TV, scream their heads off when a book written for children contains a fist fight. But violence too is a part of teen-agers’ lives. If it’s not on television or in the movies, it’s a beating-up at a local drive-in. Things like this are going to take place as long as there are kids. Only when violence is for a sensational effect should it be objected to in books for teen-agers. Such books should not be blood and gore, but not a fairyland of proms and double-dates, either. Sometimes I wonder which extreme does the most harm.

Teen-agers should not be written down to; anyone can tell when his intelligence is being underestimated. Those who are not ready for adult novels can easily have their love of reading killed by the inane junk lining the teen-age shelf in the library. Parents complain of their children’s lack of enthusiasm for reading, but if they had to read a “Jeri Doe, Girl Reporter” series, they’d turn off, too.

Teen-agers know a lot today. Not just things out of a textbook, but about living. They know their parents aren’t superhuman, they know that justice doesn’t always win out, and that sometimes the bad guys win. They know that persons in high places aren’t safe from corruption, that some men have their price, and that some people sell out. Writers needn’t be afraid that they will shock their teen-age audience. But give them something to hang on to. Show that some people don’t sell out, and that everyone can’t be bought. Do it realistically. Earn respect by giving it. 

Copyright © 1967 by S.E. Hinton.

Reprinted by permission of Curtis Brown, Ltd.

All rights reserved.

AUDIENCE ENGAGEMENT EVENTS:

THE OUTSIDERS

The Green Room

Join us before the show on the first Friday of the run to hear directly from writers, directors and designers about their process from the page to opening night.

Friday, February 24 at 7:00 pm

ACCESS Performance

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

Saturday, March 11 at 2:00 pm

Talkback Tuesdays

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

Tuesday, February 28 and Tuesday, March 7 after the 7:30pm performances

Discovery Sunday

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

Sunday, March 19 after the 2:00 pm performance

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 fight 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-reflection and humility. With great joy and a strong sense of responsibility, we commit to these values in every aspect of our work.

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.

BOARD SPOTLIGHT WHY I SUPPORT THE PLAYHOUSE

Throughout my life, I have found literature, art and stories to be immensely valuable to my experience as a human. They help me to find meaning and to engage with the complexities, nuances and ambiguity that arise daily. It wasn’t until later in life that I came to appreciate the power of live theatre to provide that same value, and it was La Jolla Playhouse’s work that brought that power to my awareness. The performances bring narratives and characters into focus with an immediacy that is unachievable in other media. The writers, directors, artists and technicians consistently deliver impressive worlds to immerse the audience and bring their vision to life and offer the opportunity for fresh insights. At every show the Playhouse presents, I am struck not only by the engaging storylines and characters, but also by the incredible individuals on stage who have the energy and courage to act, sing and dance in front of a live audience.

As a member of the Board of Trustees, I have been privileged to work with a team of professionals who have dedicated their professional and personal lives to create and sustain one of the premier regional theatres in the country. I am grateful for the opportunity to make a small contribution to such an important institution.

SCOTT M. STANTON TREASURER, BOARD OF TRUSTEES

LA JOLLA PLAYHOUSE BOARD OF TRUSTEES

RANDALL L. CLARK, Sempra Chair

SHERI L. JAMIESON

First Vice-Chair

MICHAEL FLASTER Second Vice-Chair

DENISE BEVERS Secretary

SCOTT M. STANTON, Mintz Treasurer

TRUSTEES

Christopher Ashley**

Michael Bartell

Ralph Bryan*

Debby Buchholz**

Randy Camp

Robert Caplan

Seltzer Caplan McMahon Vitek

Mary Coleman**

Doug Dawson

Edward A. Dennis, Ph.D.

Brian Dovey

Susan Dubé

Hal Dunning

Emily Einhorn

Annie Ellis

Teri Evons

Judy Garrett

Susan Gembrowski**

Hanna Gleiberman

Lynn E. Gorguze

Luke Gulley, Show Imaging, Inc.

Kay Gurtin

Clark Guy Bank of America Private Bank

Dwight Hare

Osborn Hurston, US Bank

Debby Jacobs

Joan Jacobs

Pradeep K. Khosla, Ph.D.**

Chancellor, UC San Diego

Bena Leslie**

Lynelle Lynch*

Margret McBride*

Lorne Polger

Karen A. Quiñones

David I. Reynoso**

Becky Robbins

Tim Scott

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)

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-Officio

List as of December 2022

Top row: Lorne Polger and Lori Weiner; Randy Clark, Andy Thomas, Kay and Bill Gurtin; Bottom row: Jeanne Herberger, Debra Turner, Jeanne Jones and Megan Pogue; Jack McGrory, Una Davis, Pradeep K. Khosla, Ph.D, Martha and Ed Dennis and Debby Buchholz

As true theatre enthusiasts and active supporters of La Jolla Playhouse for over a decade, we are thrilled to sponsor The Outsiders. The Playhouse breaks the mold when it comes to theatre as they continually bring topical, exciting new work to the stage every season. The Outsiders is no exception — this highly-anticipated musical with a seasoned Broadway team will reimagine the timeless story that we have all experienced through the novel or iconic film. We are proud to support a production which aligns perfectly with our values and with the Playhouse's mission of creating opportunities for artists of all backgrounds and telling stories that inspire empathy for a more just future. As Ponyboy admirably concludes: "Stay Gold!"

Bank of America believes in the power of the arts to help educate and enrich societies, bring communities together and create greater cultural understanding. The arts - and institutions like the La Jolla Playhouse - also contribute to local economic growth. Bank of America is proud to continue as a financial supporter and longtime patron of La Jolla Playhouse, one of the most celebrated regional playhouses in the nation.

Mintz is proud to partner with La Jolla Playhouse, and we applaud their commitment to developing new plays and musicals and to serving the community with award-winning education and outreach programs. Founded in Boston in 1933, our 500 attorneys span eight offices, including Boston, Los Angeles, New York, San Francisco, Stamford, Washington, D.C., London, U.K. and San Diego. Throughout them all, we are united with the same commitment to the highest quality legal services for clients large and small on their most important matters. From all of us at Mintz, thanks for supporting La Jolla Playhouse and enjoy the show!

Show Imaging is a proud supporter of La Jolla Playhouse. We have a mutual mission to push the boundaries of storytelling through the power of technology.

LA JOLLA PLAYHOUSE FOUNDATION & GOVERNMENT SUPPORT

$100,000 +

$50,000 - $99,999

$5,000 - $9,999

John and Marcia Price Family Foundation

Betty Scalice Foundation (Coastal Community Foundation)

Edgerton Foundation

Mandell Weiss Charitable Trust

$25,000 - $49,999

The Sheri and Les Biller Family Foundation

Laurents / Hatcher Foundation

$10,000 - $24,999

David C. Copley Foundation

Peggy and Robert Matthews Foundation

National Endowment for the Arts

Price Philanthropies Foundation

San Diego Scottish Rite Community Foundation

Ellen Browning Scripps Foundation

$1,000 - $4,999

The City of Encinitas Community Grant Program

The Samuel I. & John Henry Fox Foundation

National Alliance for Musical Theatre

The Arthur and Jeanette Pratt Memorial Fund

The Sutherland Foundation

In-Kind

Gary Sinise Foundation

List as of January 24, 2023

Kay and Bill Gurtin

Samara and Paul Larson

Frank and Jessica Lazarus

Fund

Michael Lee and Katharine

Cline

Arthur and Sandy Levinson

Sally and Luis Maizel

Edna and Daniel Maneval

Jasna Markovac and Gary Miller

Lisa Martinez and Jeff Harasha

Valorie McClelland

Bill and Mim McKenzie

Rob McManus

Judith B. Morgan

Ann L. Mound

Stephen Cary Nagler

Lyn Nelson

Dr. Walter Olsen and Dr.

Zdenka Fronek

F. Richard Pappas

Drs. Kim Kerr and Paul

Pearigen

Lori and Kenneth Polin

Family Fund of the Jewish Community Foundation

Adele Rabin

Dr. William and Marisa

Rastetter

Edward Richard, in memory of Warren P KendrickRichard

Laura and RJ Romero

Bingo and Gino Roncelli

David A. Roth and Toni D. Wolinsky

Joy Rottenstein

Kristine and Denis Salmon

Beverly Sanborn, in memory of Warren Sanborn

Jay and Julie Sarno

Herb Schnall, In Memory of Ann Schnall

Neil R. Senturia and Barbara

Bry

Teresa Shaffer

Mitchell and Elizabeth Siegler

Judith Harris and Robert

Singer

Susan and Gerald Slavet

Stacey Slichta

Leslie Branman-Smith

Rod and Dolores Smith

Nancy & Alan Spector

Dale and Mark Steele

Stephanie and Alan

Tarkington

Marie Tartar and Steve

Eilenberg

Place D. Tegland

Tom Templeton and Mary Ena

Erlenborn

Jo and Howard Weiner

Graydon and Dorothy Wetzler

Wayne Wilson

Dr. Joseph Witztum and Ms.

Mary Elinger Witztum

Elaine Wolfe

Howard and Christy Zatkin

CENTER STAGE CLUB$500+

Anonymous (5)

Robin Allgren, MD PhD

Philip Anderson and Verónica

Valdés

Robert Baizer and Diane

Jacobs Baizer

Ginger and Ken Baldwin

Mary and Jim Berglund, in memory of Joel Holliday

Dusty and Lynn Bernard

Carolyn and Giovanni

Bertussi

Helen and Darrell Brookstein, Brookstein Family

Philanthropic Fund

Anita Busquets and William Ladd

Kyle Chan and Cathy Swindlehurst

Alexandra Cherwin

Kristen L. Churchill

Sue Lasbury and John C. Cochran

Annette Cross

Don and Julie DeMent

Beth and Stephen Doyne

Bob Duffield

James and Marti Eisenberg

Ruth Elder

Pamela Fair and Glen Sullivan

Debroah and J Faulkner

Paula Fitzgerald and Chris Nielsen

Catherine R. Friedman

Joan Frost

Anne and Mark Smith

Tom and Carolina Gildred

Russell H Ginns

Judi Gottschalk

Stephen and Karen Gray

Ed Greulich

Victoria Hamilton and Paul

Hobson

Pat and Rick Harmetz

Dana Harrel and Daniel

Roemer

Thomas Harvey and Bonnie

Drolet

Dr. Peter and Mrs. Megan Hoagland

SUPPORT

Kenneth Hunt

Joyce Joseph

Oskar and Judy Kirsten

Jerry and Martha Krasne

Karen Sage and Charles Laughlin

Mick and Sherrie Laver

Dixon and Pat Lee

Rebecca Le Vasseur

Zita Liebermensch

Scott Markus and Luci Lander

Carol Mazzetti

Maggi McKerrow, in memory of Judie McDonald

Ann Marie Miller

Esther R. Nahama

Ann Nathan

Robert Nelson and Suzanne Foucault

Greg Park

Dr. William and Beth Penny

Patrick and Evelyn Phillips

William Pitts and Mary

Sophos

Sheila and Ken Poggenburg

Marc Poland and Ellie

Werner

Margaret Riel and Hugh Mehan

Patrick Ritto

Dr. Stephen and Cheryl Rockwood

Jodyne Roseman

Oliver Ryder

Scott Sandel and James Marich

John and Patricia Seiber

Richard Shapiro and Marsha

Janger

Barbara and Guy Shaw

Debbie and Dr. Darren Sigal

Beverly and Howard Silldorf

Leslie Simon

Norman and Judith Solomon

John and Lynn Spafford

Gary and Susan Spoto

Charles Stephens and Eric

Meijer

Nancy and Charles Stewart

Michael and Pamela Swartout

John and Gail Tauscher

Kanani Titchen and Louis

Seitchik

Teresa Trucchi and Ray Lee

Twardowski Family

Chris and Rebecca Twomey

Family Foundation

Jennifer and Chris Wahl

Peggy Wallace

Ted Scott and Joan Weber

Jean M Wilkinson

Philip and Claire Wise

Curry Wolfe

Susan and Jock Wright

Brendan and Kaye Wynne

Barry and Barb Zemel

OVATION CLUB - $250+

Anonymous (8)

Heather R. Adams

Ladan Daneshmand

Janet Ambrozek and Bruce

Kimmich

Rich and Mary Lou Amen

Barbara and Charles Arledge

Judith Bambace and Brian

Trotier

John Baril

Beverly L. Bartlett

The BenMichel Family Fund of the Jewish Community Foundation

Arnold Berlin

Gerlinde and Greg Beuerlein

Nicholas and Samantha

Binkley

Eleanor and Harry Bluestein

Gregg Brandalise

Cherisse Brantz

Mary E. Brewer

David Ingram Bruner

Ruth Bunn

Burger Construction, Jack and Sue Burger

Vickie Burke

Dr. and Mrs. Edgar D. Canada

Rachel Caparelli

Judith Collier Bowers Jewelers

Ambrose and Lucy Conroy

Mary and Deni Cook

Mary Corson

Denis M. Crane, in memory of Rilla Crane

Bob Cunningham

Ronald L Diepenbrock

Kim and A.T. Ditty

Eric and Kristine Doan

Virginia Dobias

Anne and Chris Duhaime, in honor of Rebecca Duhaime

Dr. and Mrs. Ronald Edelson

Diane L. Edge DDS

Robert and Celeste

Edmonston

David and Dorothy Engel

Dieter Fischer's Mercedes Service, Inc.

Lynsey Fitzpatrick

Pamela and L. Michael Foley

Linda and Reginald Frank

Pat Freeman

Ellen Fujikawa

Aruna and Sabodh Garg

Roben and Fred Gerson

Michael and Brenda Goldbaum

Becky and Alex Goodman

Lloyd and Dinia Green

Harry Griswold and Stephanie Webber

Pat and Pepper Guevara

Rick and Tory Gulley

Elsa and Keith Hall

Diana and Dan Halvorson

Prof Marc and Mr James Harden

Blake Harper and Janice

Deaton

Nancy Hartley

Margo Hebald

Jerry and Linda Hirshberg

Claudia Baranowski and Tom Horvath

Hughes Family Foundation, in memory of Shannon Lisk

Jenny Price and Tony Hunter

Eric and Gay Hybertsen

Randy and Carrol Jackson

Dr Craig M and Mrs Beth Jackson

Mark Jacobs

Eric Juline

George and Susan Kaplan, in memory of Jeffrey Ressler

Michael and Linda Karin

Cecil Keener and Cristie

McGuire

Rick and Beth Kent

Bryna Kranzler

Mike Krupp

Anne M and Richard C Kruse

Robert and Elena Kucinski

Alexis Lasheras

Albert Lee

Dr. and Mrs. Steven Leshaw

Bena Leslie

Pamela Hamilton Lester

B. Leonard Levy

Marshall and Judy Lewis

Fund of the Jewish Community Foundation

John Lomac and Jill Schmidt

Eric and Lori Longstreet

Barbara and Mathew Loonin

Johnny Mah

Russell Mangerie

Ann Manring

Andrea and Michael Markopoulos

Edith Matsushita

Madonna Maxwell

Wallace McCloskey and Lynn Dolby

LA JOLLA PLAYHOUSE: ANNUAL SUPPORT FROM INDIVIDUALS

Professor Marianne

McDonald

David and Patricia Meyers

Eric and Laura Michelsen

Norma and Scott Miller

Pamela Miller

Kelly and Mike Moore

Greg and Andrea Moser

Susan Muha

Daniel Normandin, in memory of Brad Normandin

Tanya and Thomas O'Donnell

Beatrice E. Pardo

Carol Parker

Drs. Genevieve and Kelly Parsons

Pamela Partlow and Bruce

Maigatter

John and Paula Peeling

Alan Pitcairn Family Fund at the National Philanthropic Trust

Kathleen Rae

Sanjiv Nanda and Urmi Ray

Richard and Paula Renkin

David and Melissa Rewolinski

Mark and Lia Robinson

Joan Rothenberg

Richard Roy and Celsa Spina

George and Karen Sachs

Frankie and Howard

Schiffman

Elizabeth Segil

Amy Selich

Mr. and Mrs. Jeff Selzer

Dr. Morton and Marjorie

Hansen Shaevitz

Drs. Ron and Marilyn Simon

Annie So

Ray Stainback

Sylvia Steding and Roger Thieme

Lisa Noelle Stone and Matthew A. Lab

Alison Thomas

Andrea Migdal and Mike Tierney

Cynthia Walk

Diane Watson

Sharon Weremiuk

Peter and Donna Worcester

FRIEND - $150+

Anonymous (9)

Dr. Randolph and Leslie

Alexander

Sharon and Terry Allen

Betty Anderson

Cyla Andrus and Darrell Mead

Dianne E Arnold

Maureen Arrigo

Katherine Ashton

Mark Ashton

Kenneth X. Baca

Gil and Annabelle Balaoing

Edward and Susan Ball

Christine Barra

Laura Barry

Rustin Berlow MD

Alice Bloom

Joyce and Bob Blumberg

Charles and Marilyn Bohle

Cynthia Bolker and Joan

Mankwitz

David and Ginger Boss

Janis Brams

Robert and Maxine Braude

George* and Johanna Brody

Renee Brubaker

Patricia Buczaczer

Marlene Campbell

Tonya Carlos

Cindy Casselman

Beth Cates

Mark Chapman and Heather

Raymon

Cyrus Choobineh

Lorraine Chuman and Stephen

Mikolajczyk

Betty Clarquist

Arthur and Alice Clawson

Laurel Costello

Lynn and Richard Cusac

Marcus and Ann De Barros

Keith DeConde

Cathy and Dwain Deets

Dwight Detter

Leslie DiBona and Steven

McGivern

Capt. Robert and Elaine

Donnelly

Marie Durie

Tina Dyer

James and Nancy Eastman

Anne Elliott

Mr. Russ Emmons

Mica Estrada and Tom Hollenbeck

Jim and Diane Ewing

Jean Feinstein

Norman Finkelstein

Drs. Linda and Gary Firestein

Judy Fogel and George Diehr

Charlotte Fortier

Barbara Freeman

Joseph and Beverley Fremont

Judith and William Friedel

Deanne Gage

Gary Gallagher

Roy and Mary Garrett

Lynn Bell George

Gwen and Robert Gerrity

Wayne and Martha Gerth

Diana and Murphy Glimm

Gary Gohring

Robin and Linda Grensted

Terry Gulden and Renée Comeau

Paul and Marilynn Gushard

James Hantske

James and Toni Harker

Alan Hay

Georgia Ann Hayashi

Jan and Mike Hegstad

Strait Hicklin

Hon. Herbert Hoffman Ret.

Dr. and Mrs. Michael Holland

Donna M Hsu

Robert and Pat Hughes

Robert Hussa

Selwyn and Hilary Isakow

Tim Jenkins

Sonya Jinich

Galen Johnson

Dan Kaufman

Paul and Nita Keith

Nora Khatib

Ron Koren

Loretta Kramer

Drs. Janice and Matt Kurth

Anneli Kyner

Vic and Mary Landa

Jeff and Judy Lash

Marty Lawson

Richard Leib and Sharon

Rosen Leib Family Fund of JCF

Drs. John and Mary

Sanfelippo Lilley

IN LOVING MEMORY Jordan

Dr. Stuart and Lisa Lipton, in memory of Linda Chester

Michelle Longtin

MDS Property Management

Kathleen and Ken Lundgren

William Mack

Michael and Catherina

Madani

Tom Maddox and Randy Clark, in memory of Joel Holliday

Jeanne Maltese

Michael and Nancy Manchee

Tom and Ina Masten

Marcia A. Mattson

Thomas Hilton Miller

Ron Mix

Tracie and Daniel Monk

Andra Moran

Akiko Charlene Morimoto

Laura Morkan

Timothy and Sharon Nagy

Ruth Newmark

Geri Nicolson

Takuya Ninomiya

Teresa Ann Norton

Insu Nuzzi

Kyomi O'Connor

Jamie and Amy Ogle

Susan Oka

Max and Fredda Opalsky

Eric and Benedicte Otterson

Kim Owens-Cree

Bonnie Packert

Ms. Virgina S. Patch

Penny Perryman

Colin and Andrea Phan

William Pitts

Ruthe Ponturo, in honor of Robin and Larry Rusinko

Jennifer Pye

Alexis and Kathleen Quiroz

Carla and Rudolph Rehm

The Rich Family Foundation

Stephen and Sherry Saltzman

Barbara Schoenberger

Kathy Schultz

Charlene Seidle Fund at Rancho Santa Fe Foundation

Richard and Eleanor Shorter

Nanci and Ron Slayen

Clark and Kathryn Smith

Joanie Smith

Mark and Elaine Smith

Elisabeth Spiegelberg

Nancy Stimson

James and Kathleen Stiven

Patti and Robb Street

Karen Strouse

Tom and Patricia Stuart

Robert and Janet Stuelpner

Steve and Patty Sullivan

Joseph and Ann Tebo

Edward L. Threat, In Memory of Karin U. Threat

William Tong and Marilyn Newhoff

Delicia Turner Sonnenberg

John Venekamp and Clifford Schireson

Joseph Viery

Jeff and Kim Wallace

Dr. Ruth S. Waterman

Maxine Weseley

Bill Peters and Bev Willey

Sam Williams

Mark and Lori Williamson

Kitty & Keene Wolcott

Sandy Woodhouse

Jan Elizabeth Woolsey

Bennett Wright

Yata Family

Larry Zeiger

Dr. Gabriel Zimmerer and Yunuen Zimmerer

Steven and Cindy Zisser

Reflects giving to annual fund from 4/1/22 – 1/23/23.

We apologize for any errors or accidental omissions. Please contact the Individual Giving Office at (858) 5501070 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 film.

Ressler, 1981-2004

JEFFREY RESSLER

Jeffrey Ressler was one of La Jolla Playhouse’s most dedicated and passionate supporters. A member of the Board of Trustees for more than two decades – two of which he served as Board Chair –Jeffrey fervently championed new work. Jeffrey and his wife Vivien established the Jordan Ressler Endowment Fund in 2006 to support the development of new plays and musicals at the Playhouse.

Jeffrey's love of theatre was matched only by his efforts to make the Playhouse a nurturing and supportive haven for artists.

Jeffrey and Vivien have contributed greatly to the fabric of the greater San Diego community through their generous philanthropic efforts at such organizations as the San Diego Jewish Community Foundation and the San Diego Center for Jewish Culture. Vivien continues that legacy of support in the community.

Jeffrey was a rare gem whose quick wit, warm smile and unwavering support of new work on our stages will be deeply missed by everyone at the Playhouse.

SPECIAL THANKS TO THE COMMUNITY LEARNING CIRCLE!

We are deeply grateful to all who have joined the new Community Learning Circle. They are a passionate group committed to strengthening the vitality of communities through arts learning opportunities and celebrating diverse voices throughout San Diego.

Perlmeter Family Foundation

Lynn Gorguze and Scott Peters

Julie and Lowell Potiker

Robin and Larry Rusinko

Karen and Jeff Silberman

Elizabeth Taft

Listing as of January 20, 2023

CELEBRATING YOUR SUPPORT AT LA JOLLA PLAYHOUSE

We invite you to celebrate with the cast, creative team and La Jolla Playhouse Board, Managing and Artistic Directors on the VIP Celebration Night of every main stage production during the 2023/24 season. Celebration Circle donors are eligible to purchase Celebration Night season subscription tickets and be invited to join the pre-and-post show curated events.

With a tax-deductible gift of $5,000 or more annually, you become a Celebration Circle donor.

LOVE ALL IS IT THURSDAY YET?

To make your gift at any level and secure your subscription tickets, contact Keely Daximillion, Associate Director of Philanthropy at (858) 228-3084 or kdaximillion@ljp.org.

We look forward to hearing from you! LaJollaPlayhouse.org/support

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 affinity 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.

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 Office of Education and LJP team up to provide professional development for educators on how to enhance their existing lessons with theatre strategies.

In-School Programs

• 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 first 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

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.

Training the next generation of Artists and Scholars to shape and reimagine the way we interpret our world through the Performing Arts.

The top-ranking Department of Theatre & Dance at UC San Diego offers undergraduate and graduate degree programs right here in the Jacobs Theatre District.

Through our partnership with Tony Award-honored La Jolla Playhouse, current students and alumni receive internships and professional residencies on La Jolla Playhouse productions.

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

Men on Boats, 2021

Photo by Manny Rotenberg

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 Drop-Off area and a greeter will assist you. The Playhouse offers assisted listening devices free of charge at the Patron Information Booth for any patron who would like amplified sound (subject to availability). Please provide a credit card or ID for temporary deposit.

CONCESSIONS AND DINING

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/ plan-your-visit/covid-safety for our latest policy updates.

LATE SEATING

CHILDREN 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 first 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.

PARKING AND SHUTTLES

For the latest parking and shuttle information, please go to LaJollaPlayhouse. org/plan-your-visit/parking

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

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 Officers (CSOs) at (858) 534-9255 (WALK). Further questions regarding security, please contact UC San Diego Police at (858) 534-4357 (HELP).

SPECIAL THANKS TO THE PLAYHOUSE PARTNERS

For three decades the Playhouse Partners have donated their time, service and skills to support and promote La Jolla Playhouse. This dedicated group provides many ways to become involved, such as staffing the Patron Services desk, organizing breakfasts for the cast and crew and providing administrative support. In return, Partners receive many exciting benefits and special events, all while representing one of the foremost producing theatres in the country. La Jolla Playhouse is deeply grateful for the Partners’ efforts over the last 30 years, and for so many years to come.

For more information on joining the Partners, please visit LaJollaPlayhouse.org

Left: Veronika Hauer, Tommy Hauer, Victoria Bykova (co-chair of Tech Night Dinner committee), Shirley Siewert (chair of Special Events committee, Cathy Glaser (co-chair of Tech Night Dinner committee); Right: Tina Dyer

LA JOLLA PLAYHOUSE Christopher

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 McAnuff

Directing Fellow Kat Yen

Artistic Intern Amy Greensmith

Commissioned Artists Todd Almond, Jeff Augustin, Keith Bunin, Guillermo Calderón, Sam Chanse, Fernanda Coppel, Kristoffer Diaz, Ava Geyer, Idris Goodwin, Hansol Jung, 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 Kenny Ramos

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 Assistant Luis Martinez

Learning and Engagement Intern Sabrina Webster

Teaching Artists Frankie Alicea-Ford, Julie Benitez, Lisa Berger, Lex Bezdeka, Desireé Clarke, Farah Dinga, Shairi Engle, Kristen Fogle, Melissa Glasgow, Kirsten Giard, Katie Grant, Bex Hurt, Jeffrey Ingman, Levi Kaplan, Justin Lang, Grace Lehman, Wilfred Paloma, Vanessa Rebeil, Kimberly Ross, Lorena Santana, Mike Sears, Gill Sotu, Katie Turner, Marjorie Treger, Sofia Zaragoza

ASL Interpreters Lynn Ann Garrett, Anelia Glebocki, Billieanne McLellan, Alycen Haynesworth

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

Company Management Intern Frank. K Saragosa

FINANCE

Chief Financial Officer Laura Killmer

Controller Jared Jackson

Accounts Payable Manager Sharon Ratelle*

Human Resources Manager Jennifer Boaz

Payroll Matthew Zapata

Ashley*

The Rich Family Artistic Director of La Jolla Playhouse

COMMUNICATIONS

Director of Public Relations Becky Biegelsen*

Director or Sales & Marketing Stephanie Zappala

Associate Director of Sales & Marketing Sonia Diaz

Communications Manager Grace Madamba

Senior Multimedia Designer Nancy Showers

Multimedia Designer Phyllis Sa

Integrated Digital Marketing & Partnerships Manager Jacey Aldredge

Marketing Database Analyst Dani Meister

Marketing Coordinator Phillip Magin

Marketing/Communications Intern 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 Representative Rachel Lasker

Patron Services Representatives Emmy Farese, Jayne Friscia, Devon Gonzales

OPERATIONS

Director of Operations Ned Collins*

Operations Manager John Craft*

Network Systems Specialist Daryl “Scooter” Davis

Office Administrator Amanda Casachahua

FRONT OF HOUSE

Assistant House Managers Alex Bezdeka, Braulio Fernandez-Flores, Hannah Johnson

Audience Concierges Simonne Darbonne, Sara Delgado, Chris Ferreria, Emily Klemmetsen, Ryan Ritterby, Teya Searles, Avery Simonian, Gemina Soriano, Maria Torpey, Mia Van Deloo

Janitorial Professional Maintenance Systems: Yajaira Fierro, Faviola Marshburn, Juan Mena, Mayra Ramos, Montserrat Reyes, Tony Villafuerte

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

Philanthropy Coordinator Melvina Bridges

Institutional Giving Coordinator Lyla Iannaccone

Stewardship Coordintor Dominique Kaestner

Special Events Coordinator Katie Wallace-Coppo

Philanthropy Coordinator Clara Bird

Special Events Assistant Olga Khitarishvili

Debby Buchholz*

Managing Director of La Jolla Playhouse

PRODUCTION

Senior Production Manager Benjamin Seibert

Production Manager Becca Duhaime

Assistant Production Manager Dacia Samilo

Production Office Manager Caren Heintzelman

Production Office Intern Wren Leesonne

SCENE SHOP

Scenery Supervisor Jonathan Gilmer

Shop Foreman David Weiner*

Assistant Production Foreman Christopher Chauvet

Lead Shop Carpenter Matthew Clark

Production Carpenter Eszter Julian

Carpenters Michael Brodsky, James Fogarty, Ryan Gordon, Nicholas Jackson, Ty Meservy, Ava Roethe, Nicholas Savage, Chad Stanner, Alex Torretti, Wally Wallace, Sheila Whitsett, Molly Whittaker

Charge Artist Jennifer Imbler

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

Draftsperson Ben Clark

PROPERTIES SHOP

Prop Supervisor Deb Hatch*

Props Design Associate Zlatko Mitev

Props Lead Artisan Rai Feltmann

Prop Artisan McKenzie Kiser, Ryan Lewis

COSTUME SHOP

Costume Supervisor Jennifer Ables

Resident Costume Design Assistant

Desiree Hatfield-Buckley*

Costume Office Assistant Rebecca Rankin

Draper Faye Richards

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*

Light Board Programmer Alex Cluff

Electricians Michelle Aguilar, Jasmyne Birdsong, Jessica Dean, Delaney McCowen, Amber Montoya, Jenner Price

SOUND/VIDEO

Sound/Video Supervisor Timothy Riggs

Head of Sound Department Daniel Silva

Sound Technicians Camille Houze, Mae Le, Alfredo Madrigal

Video Tom Martinez

THE OUTSIDERS CREW

Stage Carpenter James Fogarty

Deck Crew Michael Brodsky, Val Philyaw, Nicholas Savage, Sheila Whitsett

Lead Prop Runner Kevyn Fernandez

Prop Runner Anthony “Ginger” Garcia

Wardrobe Supervisor Junior Bergman

Wig Department Supervisor Alberto “Albee” Alvarado

Wig Run Supervisor Kim Parker

Dressers Anna Campbell, Melissa Nalbach, Sue Noll, Caroline Kvaas, Marie Mateo, Kate Morton

Lightboard Operator Alex Cluff

Follow Spot Operators Michelle Aguilar, Jasmyne Birdsong

Sound Engineer Becca Stohl

A2 Mae Le

Projection Operator Tom Martinez

Moving Light Programmer Paul Toben

Moving Light Programmer (sub) Topher Stumreiter

Special Effects Technician Bohdan Bushell

* Ten years or more with La Jolla Playhouse

Video Programmer Jared McCammon

I threw away the rulebook a long time ago.

We each have our own unique story. And we’re ready to embrace new adventures. Wherever you’re coming from, whatever you’d like to explore next, there’s a Front Porch community to call home. A place where you can be exactly who you are.

WINTER WONDERS

Eight Delicious Reasons to Dine Out This Month

by SARAH DAOUST

the sky returns. Offering those famous bird’s-eye views of the city, bay and airport from 12 floors up, iconic restaurant Mister A’s has undergone a substantial face-lift—marking a new era for new owner Ryan Thorsen. Designed by Mauricio Couturier, the remodel honors Mister A’s 57-year history— combining nostalgic glam with modern updates. Think: sparkling crystal chandeliers; seating wrapped in rich, sapphire-blue upholstery; renovated dining rooms that channel an upscale brasserie; an opulent private dining room; an all-new, 90-seat rooftop bar and lounge; and revamped dinner and cocktail menus. Expect the same level of exceptional French-infused cuisine by seasoned executive chef Stephane Voitzwinkler, such as the Maple Leaf Farms duck breast; but with new additions, like the shareable hiramasa crudo with serranoes and blood-orange fresca; plus an exceptional wine list. 2550 Fifth Ave., Bankers Hill, 619.239.1377

Refined dining in

Champagne, caviar and iconic views? The Marine Room—the landmark beachfront restaurant known for the ocean waves that splash against its massive windows at high tide—has undergone a remodel, debuting its brand-new Lounge Guests can take in those epic La Jolla Shores panoramas in a slightly more relaxed setting; while ordering from an exclusive Lounge menu of bubbly, craft cocktails, caviar

and seafood-focused small plates by executive chef Mike Minor. Menu highlights include the Spanish octopus, salmon belly cones, and the “surf & turf” with scallops and Kurobuta pork belly. (A heads-up, the Lounge experience is limited to two hours maximum per party, and a $100 minimum food and beverage purchase is required for each guest.)

2000 Spindrift Drive, La Jolla, 858.459.7222

Interested in breakfast all day? Restaurateur Tracy Borkum of Urban Kitchen Group and chef-partner

Tim Kolanko bring us Gold Finch. Paying homage to Jewish immigrant culture and cuisine—specifically Ashkenazi and Sephardicstyle cooking—the indoor/ outdoor venue is both a modern delicatessen and full-service restaurant, offering all-day breakfast and lunch Monday through Friday, 8:30 a.m. to 3 p.m. (A weekend brunch service is coming soon). Feast on shashuka, torn challah French toast, matzo-ball soup, chicken schnitzel, smoked fish, loaded sandwiches such as pastrami and hand-carved corned beef, house-made bagels, arborio rice pudding, banana fritters and much

Season

February 17th - March 5th

September 22nd – October 8th

December 1st - December 30th

February 3–5

Incoming aircraft at the remodeled Mister A's; caviar at the new Lounge at The Marine Room.

THE MUSICAL

THE MUSIC THAT CHANGED AMERICA

more. 3040 Science Park Road, Torrey Pines/La Jolla, 858.866.9965

Carlsbad welcomes the new Polo Steakhouse (formerly West Steak and Seafood). Expect a refined menu of superiorquality seafood and steaks overseen by executive chef Judd Canepari; and an impressive wine collection of more than 1,000 bottles—curated by seasoned sommelier Feliciano Perez, general manager and fellow sommelier Michael Pickering, and owner Mayur Pavagadhi. Must-try dishes include the escargot appetizer with bone-marrow-herb butter; the prime Angus tartare; and, of course, any of the steak cuts, which range from filet mignon to American wagyu. 4980 Avenida Encinas, Carlsbad, 760.930.9100

New in Encinitas, Temaki Bar (“temaki” translates to “hand roll”)

by Clique Hospitality and chef Jojo Ruiz lives up to its name—serving up made-to-order hand rolls loaded with salmon, yellowtail, blue crab and other fresh catches. Order rolls individually or in sets of up to five; plus starters like the Spicy Tuna Crispy Rice; sashimi and nigiri; cut rolls such as the Lobsta Queen; and beer, wine and sake straight from the barrel. The casual-cool hangout boasts a wraparound bar and artwork by artist Todd DiCiurcio and Rob Machado. 575 S. Coast Hwy. 101, Encinitas, 760.704.8888

South Park is beckoning all barbecue lovers. Chef Hanis Cavin (founder of Carnitas’ Snack Shack) is helming the kitchen of Carbon BBQ—a Texasstyle barbecue smokehouse in the heart of the ‘hood. The casual eatery offers choose-your-own meat platters—including

By Charise Castro Smith • Directed by Daniel Jáquez

WEST COAST PREMIERE

A MYSTICAL DRAMA BY THE ACADEMY AWARD-WINNING CO-WRITER AND CO-DIRECTOR OF ENCANTO.

Escargot with bonemarrow-herb butter at Polo Steakhouse

smoked brisket, prime roast beef, baby-back ribs, pulled pork and jalapeñocheddar sausage. Or choose from handcrafted sandwiches, such as the pork-belly-smash burger; along with sides like bacon mac ‘n’ cheese, baked beans, onion rings and jalapeño-cornbread muffins. To drink: local beers, wine and bubbly. 2318 30th St., South Park, 619.450.5554

Chef Jason Neroni (chef/owner of The Rose in Venice Beach) is the man behind the menu at The Desmond. Located downtown at the new Kimpton Alma luxury hotel, the supper-club-style restaurant emanates a chic 1960s vibe, sans pretention—featuring warm wood flooring and seating, hanging plants and an open kitchen. The menu offers chilled seafood; a variety of pastas; seasonal dishes using local produce;

mains such as roasted chicken and crispy ocean trout; and refined barbecue plates like the BBQ Quail with black truffles.

1047 Fifth Ave., Gaslamp Quarter, 619.515.3000

And finally, welcome to the jungle—the Amazon rainforest to be exact … except you’re in the Gaslamp Quarter, and there’s a sushi lounge and live DJ music. Zama is an ambitious restaurant and lounge concept to be sure—serving Latin American and Japanese cuisine amid extravagant, jungle-inspired decor.

(Think: warms woods, lush greenery and exotic artwork.) On the menu: aguachile, scallops with coconut-cream risotto, wagyu tartare, yellowtail crudo, and maki and sushi rolls; plus themed cocktails with fun names like the Junglerita and Zama-Tini.

467 Fifth Ave., Gaslamp Quarter, 619.915.5789

THE STORY THAT DEFINED A GENERATION. AN UNMISSABLE WORLD PREMIERE.

In Tulsa, Oklahoma, 1967, the hardened hearts and aching souls of Ponyboy Curtis, Johnny Cade and their chosen family of ‘outsiders’ are in a fight for survival and a quest for purpose in a world that may never accept them. A story of the bonds that brothers share and the hopes we all hold on to, this gripping new musical reinvigorates the timeless tale of ‘haves and have nots’, of protecting what’s yours and fighting for what could be.

PRODUCTION SPONSORS

Ceviche Trio at Zama

to be student-centered, faculty- and staff-focused, and community-oriented,” says Kollar Smith. “Our programming will reflect and balance these three priorities. Our debut events gave us a chance to provide a sneak peek at the venue before construction was complete in October. We produced seven different events in 10 days across multiple disciplines.”

Those events included concerts by Death Cab for Cutie and Indonesian singer and songwriter Niki; a celebration with the full San Diego Symphony; a Día de los Muertos performance presented by ArtPower; a drag show produced in partnership with UCSD colleges and the LGBT+ Center featuring favorites from RuPaul’s Drag Race alongside local drag queens; a free Community Day in partnership with La Jolla Playhouse, Animal Cracker Conspiracy and the Young

CONT’D. FROM PAGE 10

Lions Jazz

and Blacktronika, a free music festival featuring innovators of color in the electronic music industry.

“The debut events were a great snapshot of what’s to come, and we can’t wait to share what’s next,” Kollar Smith adds. “Having two weeks of events prior to construction completion taught us lessons that are helping us refine our operational model. We received great feedback from our guests and look forward to creating an exceptional experience for everyone who joins us at the amphitheater.”

Kollar Smith sees the Epstein Family Amphitheater as a key addition to the changing arts landscape in San Diego, with the opening of new venues like The Rady Shell and The Conrad in La Jolla. “As a native San Diegan, I am proud to have been raised in and be a product of one of the most vibrant and collaborative arts and

Ensemble;

Catch Dream House Quartet April 26 at the amphitheater.

culture communities in the world,” she says. “The addition of each of these beautiful new venues, as well as the Joan and Irwin Jacobs Performing Arts Center at NTC, provides us as leaders with greater opportunities to innovate and diversify the arts offerings of our region. As part of a university with a history of seeing beyond and breaking boundaries, we can’t wait to build unexpected partnerships on and off campus. We will be intentional about identifying barriers to individuals engaging with the arts; so that we can lead the way in removing those barriers and create a space for the next generation of art makers, administrators and supporters.”

In keeping with a more casual atmosphere, there will be food vendors just outside the amphitheater, and water stations inside. And although lawn chairs aren’t permitted, personal seat cushions, blankets, or flat seating are. Some

upcoming events have already been announced, such as the Atamira Dance Company’s “Te Wheke” on April 5; and the Dream House Quartet, featuring superstars Katia and Marielle Labèque on pianos and composerinstrumentalists David Chalmin and Bryce Dessner, on April 26. Both are part of UCSD’s respected ArtPower season. In June, the amphitheater will host Mainly Mozart’s prestigious All-Star Orchestra Festival.

“We look forward to announcing a spring and summer season followed by our first full season of programming at the Epstein Family Amphitheater,” Kollar Smith says. “It will include headliners, community partnerships, cultural and community events, dance performances, theater, family offerings, film nights and more.”

For more information about the venue and tickets, visit amphitheater.ucsd.edu

directed by Kathy Brombacher co-production with Oceanside Theatre Company

“Something funny’s going on!”

Atamira Dance Company performs at the venue on April 5.

A favorite: Pleasure Point by Nancy Rubins, 2006, at MCASD La Jolla; made of nautical vessels, stainless steel and stainless-steel wire.

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