An Iliad Program

PErFOrMANCEs MAGAZINE P1

The 2012/2013 Season is made possible by Joan & Irwin Jacobs, City of San Diego Commission for Arts and Culture, DLA Piper, The Shubert Foundation, Dr. Seuss Fund at the San Diego Foundation, Qualcomm Incorporated, Becky Moores, Faiya Fredman, Sheri L. & Stuart W. Jamieson, Gail & Ralph Bryan, Tamara & Kevin Kinsella, Vivien & Jeffrey Ressler, Rich Family Foundation, Colette & Ivor Royston, Steven Strauss & Lise Wilson and Mandell Weiss Charitable Trust.

MISSION:

La Jolla Playhouse advances theatre as

an art form and as a vital social, moral

and political platform by providing

unfettered creative opportunities

for the leading artists of today and

tomorrow. With our youthful spirit

and eclectic, artist-driven approach,

we will continue to cultivate a local

and national following with an

insatiable appetite for audacious

and diverse work. In the future, San

Diego’s La Jolla Playhouse will be

considered singularly indispensable to

the worldwide theatre landscape, as

we become a permanent safe harbor

for the unsafe and surprising. The day

will come when it will be essential to

enter the La Jolla Playhouse village

in order to get a glimpse of what is

about to happen in American theatre.

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La Jolla Playhouse has received the highest rating from Charity Navigator, the nation’s premier charity evaluator.

La Jolla Playhouse has received the highest rating from Charity Navigator, the nation’s premier charity evaluator.

OuR MISSION

A MESSAGE FROM THE arTIsTIc DIrecTor

“The rush of battle is a potent and often lethal addiction, for war is a drug,“ wrote Pulitzer P rize-winning journalist Christopher Lynn Hedges. Lisa Peterson and Denis O’Hare’s An Iliad, adapted from Homer’s epic poem about the Trojan War, brings to the forefront our complicated relationship to war and the dilemma facing our world today: is it possible for us to break the cycle of war?

In San Diego, with a major military presence in our midst, An Iliad has a particular resonance. While the Trojan War took place centuries ago, its origins began in a battle for territory and ideology, much as the wars that have come after it. But, under the veneer of bravery and heroism lies the brutality that war engenders and the human sacrifi ce that accompanies it, on the battlefi eld and the homefront.

In An Iliad, the power of myth and oral storytelling remains as alive today as it was in ancient times. A solo storyteller, a Poet, is accompanied by his muse — a musician — who underscores the fever of unfolding events as well as the Poet’s questioning journey. The theatrical space comes alive as the Poet relives the gripping, harrowing and sometimes funny story. As he scales the heights of Homer’s poetry and channels the mythic characters’ fi erce passions, he always returns to a contemporary consciousness that seeks to fi nd the moment when the seemingly inevitable can change direction.

The brilliance of An Iliad lies in its faithfulness to Homer and its desire to overcome humanity’s warlike nature with storytelling, poetry and art.

We would like to extend a warm welcome to the new uC San Diego chancellor, Pradeep K. Khosla. As a partner institution with the university, we are excited to work with Dr. Khosla as he assumes this new and vital leadership position. La Jolla Playhouse and uCSD’s Department of Theatre and Dance have worked closely together closely for decades to create an integrated environment between one of the country’s most renowned theatres and one of its top-ranked theatre training programs.

The unique collaboration between the Playhouse and uCSD has always been one of symbiosis, with the theatre bringing extraordinary artists and provocative, eclectic and innovative new works to the university community, while the university provides energetic and talented students guided by a world-class faculty. We not only share the use of the theatre district’s facilities and a core group of technical staff, we share a passion for the development of artists and new work that make the theatre district the place to look for what’s next in American theatre.

We look forward to building on our relationship with uCSD and Chancellor Khosla to reach even greater artistic heights for our joint institutions in the decades to come.

A MESSAGE FROM THE manaGInG DIrecTor



LA JOLLA PLAYHOUSE PrESEntS

Featuring Henry Woronicz*

Based on Homer’s The IlIad, translated By

roBerT FAGLeS

directed By

LiSA PeTerSon

DeniS o’HAre and LiSA PeTerSonBy

Christopher Ashley artistic director

Michael S. rosenbergManaging director

scenic designercostume designerligHting designer

original music/sound designerProduction dramaturgy

stage managercasting

associate ProducerProduction manager

rAcHeL HAuckMArinA DrAGHiciScoTT zieLinSkiMArk BenneTTSHirLey FiSHMAnMArcy VicToriA reeD*TeLSey + coMPAnyDAnA i. HArreLLinDA S. cooPer

an Iliad was developed in part with the assistance of the Sundance Institute theatre Program.

an Iliad was originally produced by Seattle repertory theatre Jerry Manning, Producing Artistic Director, Benjamin Moore, Managing Director.

It was subsequently produced by McCarter theatre Center, Princeton, nJ Emily Mann, Artistic Director, timothy J. Shields, Managing Director, Mara Isaacs, Producing Director.

an Iliad was originally developed as part of the new York theatre Workshop Usual Suspects Program. Off-Broadway premiere produced by new York theatre Workshop, Jim nicola, Artistic Director, William russo, Managing Director in 2012.

A Co-Production with Berkeley Repertory Theatre


tHE COMPAnY

Poet ................................................................................................................................ Henry Woronicz

Musician........................................................................................................................... Brian Ellingsen

associate lighting designer ................................................Bradley King

assistant lighting designer..............................................Wen-Ling Liao

directing assistant ................................................Estevan Montemayor

associate Sound designer .......................................... Chris Luessmann

Sound design assistant .....................................Emily Jankowski Pezic‡

Production assistant .........................................................Megan Alvord

ACKNOWLEDGEMENTS Anthony J. Edwards, Ph.D., Classical Language Consultant

Sharp Business Systems Larry Miller, Milltone Drum

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.

This Theatre operates under an agreement between the league of Resident Theatres and United Scenic artists, local USa-829 of the IaTSe.

This Theatre operates under an agreement between the league of Resident Theatres and the Stage directors and Choreographers Society, an independent national labor union.

* Members of actors’ equity association, the Union of Professional actors and Stage Managers in the United States. This theatre operates under an agreement between the league of Resident Theatres and actors’ equity association.‡

UC San diego M.F.a. Candidates in residence at la Jolla Playhouse

An Iliad is performed without an intermission

UP NEXT

an Iliad was developed in part with the assistance of the Sundance Institute theatre Program.

an Iliad was originally produced by Seattle repertory theatre Jerry Manning, Producing Artistic Director, Benjamin Moore, Managing Director.

It was subsequently produced by McCarter theatre Center, Princeton, nJ Emily Mann, Artistic Director, timothy J. Shields, Managing Director, Mara Isaacs, Producing Director.

an Iliad was originally developed as part of the new York theatre Workshop Usual Suspects Program. Off-Broadway premiere produced by new York theatre Workshop, Jim nicola, Artistic Director, William russo, Managing Director in 2012.

***


THE COMPANY

HeNrY WOrONiCz, PoetRegional acting and directing: American Conservatory Theatre, Berkeley Repertory Theatre, American Players Theatre, Indiana Repertory Theatre, Actors Theatre of Louisville, Delaware Theatre Company, The Shakespeare Theatre, Centerstage, Syracuse Stage, Arden Theatre Company, Hong Kong Repertory

Theatre, Meadow Brook Theatre, Boston Shakespeare Company and Utah, Pennsylvania, Illinois, New Jersey and Alabama Shakespeare Festivals. Broadway: Julius Caesar (with Denzel Washington). Television: Seinfeld, Ally McBeal, Cheers, Picket Fences, Third Rock from the Sun, Star Trek and Law & Order. Oregon Shakespeare Festival: resident actor/director, 1984 - 1991; Artistic Director, 1991-1995. Lake Tahoe Shakespeare Festival: Executive Producer, 2008-2009. Illinois State University: Head of MFA Acting, 2009-2012.

BriAN elliNgseN, MusicianDouble Bassist Brian Ellingsen’s playing has been hailed as “shocking and evocative” by The Philadelphia Enquirer, and The New York Times has described him as “coaxing an amazing variety of sounds from his instrument.” As a soloist he has been featured at the Spoleto Festival USA and New Music Hartford. As a chamber musician, Mr. Ellingsen is a standing member of Le Train Bleu and the Heavy Hands bass quartet. As an orchestral musician he has performed as principal of the Lucerne Festival Academy Orchestra, under the direction of Pierre Boulez, as well as principal of Gotham Chamber Opera and the Spoleto Festival Orchestra. In 2011, he performed with the Lucerne Festival Academy/Ensemble Intercontemporain tour, showcasing Pli Selon Pli, a masterwork of Pierre Boulez. As an advocate for multimedia and experimental music, Mr. Ellingsen has collaborated with visual artists, dancers and actors to bring their work to life through music and his own improvisations. He holds a Bachelors degree from the Hartt School and a Masters degree from Yale.

DeNis O’HAre, Co-Adaptorwon the Tony, Outer Critics Circle and Drama Desk Awards for his performance as “Mason Marzac” in the hit Broadway play Take Me Out. Other Broadway productions include Assassins (Tony nomination), Sweet Charity and Inherit the Wind, among others. An Iliad is his first collaboration and his debut as a writer for theatre. He has written two screenplays, as well as short stories and poetry. While at Northwestern University pursuing an acting degree, he followed the poetry writing program for two years and studied poetry under Alan Shapiro, Mary Kinzie and Reginald Gibbons. He has appeared on Broadway and Off-Broadway numerous times, as well as in many regional theatres. He has appeared in many films, including Milk, Michael Clayton, Charlie Wilson’s War, A Mighty Heart, Duplicity, An Englishman in New York, 21 Grams, Garden State and Eagle. His television work includes roles on Brothers and Sisters, CSI Miami, all of the Law & Order franchises and on the hit series True Blood, as the Vampire King “Russell Edgington.”

lisA PetersON, Co-Adaptor/Directorhas directed ten productions at La Jolla Playhouse, including the world premieres of Surf Report and Be Aggressive, both written by Annie Weisman, as well as Mother Courage and Her Children, The Country, Wonderland, Valley Song, The Triumph of Love, The Good Person of Setzuan, Arms and the Man and The Swan. Her New York credits include: An Iliad (NYTW; Lortel and Obie Awards); Shipwrecked, The Model Apartment (Primary Stages); End Days (EST); The Poor Itch, Tongue of a Bird, The Square (Public Theater); The Fourth Sister, The Batting Cage (Vineyard); Birdy, Chemistry of Change (WPP/Playwrights Horizons); Collected Stories (MTC); Tight Embrace (Intar); Sueňo (MCC); Bexley Oh, Slavs!, Traps, Light Shining in Buckinghamshire (Obie Award), The Waves (NYTW; Obie Award); and The Scarlet Letter (CSC). Her regional work includes productions at the Mark Taper Forum (Resident Director, 1995-2005), Seattle Rep, Berkeley Rep, Intiman, South Coast Rep,

CalShakes, Oregon Shakespeare Festival, Guthrie Theatre, Dallas Theater Center, Arena Stage, McCarter, Centerstage, Yale Rep, Hartford Stage, Long Wharf, The Huntington, Actors Theatre of Louisville, Philadelphia Theater Co., Sundance Theater Lab, O’Neill Playwrights Conference, Midwest Playlabs and NY Stage & Film. She graduated from Yale College and serves on the Executive Board of SDC.

rACHel HAuCk, Scenic DesignerPreviously for La Jolla Playhouse: Surf Report, Mother Courage, Be Aggressive, The Country, Wonderland. Recent NY: Slowgirl (LCT3); An Iliad (NYTW, McCarter, Seattle Rep); Regrets (MTC); Bluebird (Atlantic); Go Back to Where You Are (Playwrights Horizons); This Wide Night (Naked Angels, Lortel nomination); Picked, Boy and His Soul (Vineyard); Orange, Hat and Grace (Soho Rep, Drama Desk nomination); Ethel:TruckStop (BAM Next Wave). Recent Regional: Cat on a Hot Tin Roof (Guthrie); Phaedra Backwards (McCarter); Medea/Macbeth/Cinderella (OSF); as well as work for the Mark Taper Forum, Shakespeare Theater, Arena Stage and Hartford Stage, among others. Recipient of the Princess Grace Award for Theater and the Lilly Award. NEA/TCG fellow. Resident designer for the O’Neill since 2005.

MAriNA DrAgHiCi, Costume DesignerAward-winning costume designer and celebrity stylist has been designing costumes for theatre, opera, film and television companies in the United States and abroad. Broadway: Fela! (Tony Award). Off-Broadway & Regional: An Iliad (NYTW & McCarter Theatre), Mad Forest (NYTW); Cymbeline, Mother Courage (Delacorte Theater); The Skriker, Hamlet, Woyzeck (Public Theater).International: Les Indes Galantes, L’Italiana in Algeri (Paris Opera); La Traviata (Bordeaux Opera); 24 Images Secondes (Lyon Opera). Film & TV: Precious, Rage, Heights, Twelve and Holding, The Grey Zone, Homeland, Elementary, Dexter, Blue Bloods. She holds a Master of Fine Arts degree from Yale School of Drama.

sCOtt zieliNski, Lighting DesignerNY credits include Topdog/Underdog (Broadway), Atlantic Theater Company, Classic Stage Company, Lincoln Center Festival, Manhattan Theater Club, New York Theater Workshop, Playwrights Horizons, Joseph Papp Public Theater, Signature Theater, Theater for a New Audience, among others. Regionally he has designed at numerous theaters throughout the U.S. Internationally he has designed in Adelaide, Amsterdam, Avignon, Berlin, Bregenz, Edinburgh, Fukuoka, Gennevilliers, Goteborg, Hamburg, Hong Kong, Istanbul, Linz, London, Luang Prabang, Lyon, Melbourne, Orleans, Oslo, Ottawa, Paris, Reykjavik, Rotterdam, Rouen, St. Gallen, Singapore, Stockholm, Stuttgart, Tokyo, Toronto, Vienna, Vilnius and Zurich. scottzielinski.com.

MArk BeNNett, Original Music/Sound Designercontinues a career-long association with La Jolla Playhouse, including serving as composer for A Midsummer Night’s Dream (Craig Noel Award, Outstanding Score) and as composer/sound designer for Dogeaters, Wonderland, The Country and Cloud Tectonics. His musical Most Wanted (written in collaboration with Jessica Hagedorn) was commissioned by the Playhouse as part of their 2008 EDGE series. Additional credits include composing and sound designing for the American premieres of plays by Tom Stoppard, Edward Albee, Arthur Miller, Athol Fugard, Tony Kushner and Caryl Churchill, among others. Recent Broadway projects: A Steady Rain, The Coast of Utopia (Drama Desk Award), Henry IV, Golda’s Balcony and Who’s Afraid of Virginia Woolf?. For the past three years he has been composer for Sam Mendes’ BRIDGE PROJECT, scoring The Cherry Orchard, The Winter’s Tale, As You Like It, The Tempest and Richard III (with Kevin Spacey) at BAM, The Old Vic (London) and international tours. Off-Broadway: Christopher Durang’s Why Torture Is Wrong…, Paul Rudnick’s The New Century, The Seagull directed by Mike Nichols and nine Shakespeare productions at the Public Theater. Awards: 1998 OBIE for Sustained Excellence in Sound Design, New


THE COMPANY

York Dance and Performance Award (BESSIE) for composition, Ovation, Robbie and Garland Awards, as well as twelve Drama Desk and three Lucille Lortel Award nominations. The Score/Sound Design for An Iliad was nominated for Drama Desk and Lortel Awards and was honored with a 2012 OBIE Award.

sHirleY FisHMAN, Resident DramaturgNow in her 11th season at the Playhouse, Ms. Fishman recently served as dramaturg on Hands on a Hardbody and American Night. Other projects include: Surf Report, A Midsummer Night’s Dream, Bonnie & Clyde, Creditors, Herringbone, Unusual Acts of Devotion, the Playhouse’s production of Xanadu and UC San Diego’s The Revenger’s Tragedy directed by Christopher Ashley. At the Joseph Papp Public Theatre she dramaturged such projects as Jessica Hagedorn’s Dogeaters, Two Sisters and a Piano by Nilo Cruz and Tina Landau’s Space, among others. She serves as a Playwright’s Dramaturg for UC San Diego’s Baldwin New Play Festival and was Co-Curator of the New Work Now! annual festival. She has been a Creative Advisor/Dramaturg at the Sundance Theatre Lab. She is an M.F.A. graduate of Columbia University’s Theatre Theory/Criticism/Dramaturgy program.

MArCY ViCtOriA reeD, Stage Manageris pleased to return to La Jolla Playhouse after previously working on Sleeping Beauty Wakes last season. This will be her third production of An Iliad, having previously worked on the production at both McCarter Theatre and New York Theatre Workshop. Other regional credits include: Are You There, McPhee?, The Convert and The How and the Why (McCarter Theatre). Based in NYC, she is a proud member of AEA and is very involved in the Broadway Cares/Equity Fights Aids organization.

telseY + COMPANY, CastingBroadway/Tours: Bring It On, A Streetcar Named Desire, Evita, The Best Man, Newsies, Porgy and Bess, Godspell, SPIDER-MAN Turn Off the Dark, Sister Act, Priscilla Queen of the Desert, Memphis, Rock of Ages, Wicked, The Normal Heart, The Addams Family. Off-Broadway: Rent, Million Dollar Quartet (and Tour, Chicago), Atlantic, MCC, Signature. Film: The Odd Life of Timothy Green, Friends with Kids, Joyful Noise, Margin Call, Sex and the City 1 & 2, I Love You Phillip Morris, Rachel Getting Married, Dan in Real Life, Across the Universe. TV: “Smash,” “A Gifted Man,” “The Big C.” www.telseyandco.com

BerkeleY rePertOrY tHeAtreBerkeley Repertory Theatre has grown from a storefront stage to an international leader in innovative theatre. Known for its core values of imagination and excellence, as well as its educated and adventurous audience, the nonprofit has provided a welcoming home for emerging and established artists since 1968. In four decades, four million people have enjoyed more than 300 shows at Berkeley Rep. These shows have gone on to win five Tony Awards, seven Obie Awards, nine Drama Desk Awards, one Grammy Award, and many other honors. In recognition of its place on the national stage, Berkeley Rep received the Tony Award for Outstanding Regional Theatre in 1997. Its bustling facilities – the 600-seat Roda Theatre, the 400-seat Thrust Stage, the Berkeley Rep School of Theatre, the Osher Studio, and a spacious new campus in West Berkeley – are helping revitalize a renowned city. See tomorrow’s plays today at Berkeley Rep.

CHristOPHer AsHleY, Artistic Directorhas served as La Jolla Playhouse’s Artistic Director since October, 2007. During his tenure, he has helmed the Playhouse’s productions of A Dram of Drummhicit, A Midsummer Night’s Dream, Restoration and the acclaimed musicals Xanadu and Memphis, which won four 2010 Tony Awards including Best Musical. Prior to joining the Playhouse, he

directed the Broadway productions of Xanadu (Drama Desk nomination), All Shook Up and The Rocky Horror Show (Tony, Drama Desk and Outer Critics Circle Award nominations), as well as the Kennedy Center Sondheim Celebration productions of Sweeney Todd and Merrily We Roll Along. Other New York credits include: Blown Sideways Through Life, Jeffrey (Lucille Lortel and Obie Awards), The Most Fabulous Story Ever Told, Valhalla, Regrets Only, Wonder of the World, Communicating Doors, Bunny Bunny, The Night Hank Williams Died, Fires in the Mirror (Lucille Lortel Award), among others. Mr. Ashley also directed the feature film Jeffrey and the American Playhouse production of Blown Sideways Through Life for PBS. Mr. Ashley is the recipient of the Princess Grace Award, the Drama League Director Fellowship and an NEA/TCG Director Fellowship.

MiCHAel s. rOseNBerg, Managing Directorwas appointed Managing Director of La Jolla Playhouse in April, 2009. During his first three years, he has worked in partnership with Artistic Director Christopher Ashley to produce ten world premieres and six Playhouse commissions. He was also instrumental in bringing the Page To Stage workshop of John Lequizamo’s Diary of a Madman to

the Playhouse, which transferred to Broadway. Additionally, he fostered the growth of the Playhouse’s award-winning Performance Outreach Program (POP) tour, achieving the most performances at local schools in Playhouse history. Previously, Rosenberg was Co-Founder and Executive Director of Drama Dept., a New York non-profit theatre company, where he produced new works by the likes of Douglas Carter Beane, Warren Leight, Isaac Mizrahi, Paul Rudnick and David and Amy Sedaris. He has been a part of the producing teams for the Broadway productions of Grey Gardens and American Buffalo and the national tour of Little House on the Prairie. He serves on the boards of La Jolla Country Day School and the Theatre Communications Group.

DeBBY BuCHHOlz, General Managerhas served as general manager of La Jolla Playhouse since 2002. She is a member of the Executive Committee and of the League of Resident Theaters (LORT). In 2009, she received a San Diego Women Who Mean Business Award from The San Diego Business Journal. Previously 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, DC. 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.

Des McANuFF, Director Emeritusserved 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. Playhouse to Broadway credits: 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. Film credits: Quills, The Adventures of Rocky and Bullwinkle, The Iron Giant (9 Animation Society awards) and Cousin Bette. Recipient of the Drama League’s 2006 Julia Hansen Award, Mr. McAnuff currently serves as Artistic Director at Canada’s Stratford Festival.


JEFFREY RESSLER ChairLYNELLE LYNCH First Vice-Chair TIM SCOTT Second Vice-ChairMICHaEL baRTELL Treasurer MaRgRET MCbRIdE Secretary

TRUSTEES Gayle Allen Weston AnsonDave Bialis Paula Marie Black Barbara Bloom Ralph Bryan* Robert Caplan Linda L. Chester Flossie Cohen Doug Dawson Edward A. Dennis, Ph.D. Susan E. Dubé Victor M. Felix Suzanne FigiMarye Anne Fox, Ph.D. Gregory FrostWendy Gillespie Hanna Gleiberman Kay Gurtin Hanaa Hensersky Debby Jacobs Joan Jacobs Sal Janmohamed Jeanne Jones Gail Knox Lucille Neeley Reenie O'Dea

Julie Potiker Steve Relyea Donald Rosenberg Ivor Royston Camille SaltmanSusan Polis Schutz Judith C. SmithDavid SmotrichAmy Spielman Steven M. Strauss* Arthur Wagner, Ph.D. Michael Yeatts Mark ZebrowskiBarbara ZoBell

HONORaRY TRUSTEES David Copley John Goodman Geri Ann Warnke* Robert Wright, Esq.

EMERITUS TRUSTEES Richard Atkinson, Ph.D. Rita Bronowski (1917-2010)Milton Fredman (1920-2005) Ewart W. Goodwin, Jr.* Marian Jones Longstreth (1906-1997)Hughes Potiker (1925-2005) Ellen Revelle (1910-2009)Roger Revelle (1909-1991)Willard P. VanderLaan, M.D.* (1917 - 2012) Mandell Weiss (1891-1993)

1947 FOUNdERS Mel Ferrer Dorothy McGuire Gregory Peck

*Past Chair of the Board

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LOCATION: Martini’s Above Fourth | ALL TICKETS: $35 | TICKETS ON SALE NOW


1947 Gregory Peck, Dorothy McGuire and Mel Ferrer found La Jolla Playhouse. For 18 summers, Hollywood luminaries such as Ginger Rogers, Groucho Marx, Vivian Vance and Dennis Hopper explore their craft in La Jolla.

2001 The Playhouse introduces the Page To Stage Program with Doug Wright’s I Am My Own Wife. The subsequent Broadway production is awarded the 2004 Pulitzer Prize for Drama; photo by Joan Marcus.

1983 After 19 years of tireless fundraising by dedicated supporters, the Playhouse re-opens under the direction of Des McAnuff .

1992 Des McAnuff directs The Who’s Tommy which later earns fi ve Tony Awards; photo by Ken Howard .

1993 The Playhouse receives the Tony Award for Outstanding Regional Theatre.

2004 The world premiere musical Jersey Boys plays for 15 weeks. It later earns four Tony Awards, including Best Musical; photo by Scott Humbert.

2010 Following a successful run at the Playhouse in 2008, Christopher Ashley’s production Memphis wins the 2010 Tony Award for Best Musical; photo by Kevin Berne.2007 Christopher Ashley is named Artistic Director; photo by Carol Rosegg.

lA JOllA PlAYHOuseTHROuGH THE YEARS

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According to popular myth, the seeds of the Trojan War were planted when Eris, the goddess of discord and conflict, was not invited to the wedding of Peleus and Thetis. Angry at this omission, Eris threw a golden apple inscribed “For the Fairest” among the goddesses who were invited to the wedding. It rolled to where three goddesses were sitting: Hera, Athena and Aphrodite. Each goddess claimed the apple and begged Zeus to choose the fairest. He refused to choose among the three and enlisted the messenger Hermes to pass the task of judgment on to Paris, son of Hecuba and Priam, King of Troy, and younger brother of Hector.

All the goddesses offered Paris gifts. Hera said she would make him ruler over Europe and Asia Minor, Athena said she would make him the greatest warrior, and Aphrodite promised him the most beautiful woman in the world for his wife.

Paris chose Aphrodite. The most beautiful woman in the world happened to be Helen of Sparta, wife of the Greek king Menelaus and brother of Agamemnon. Menelaus and Helen invited Paris to their home as a guest. Aphrodite, being the goddess of love, turned to her arts; she made Helen fall in love with Paris and arranged Helen’s abduction. Paris brought Helen to Troy as his wife. Menelaus sent a thousand ships to bring Helen back to Greece.

Thus began the Trojan War.

“I learned early on that war forms its own culture. The rush of battle is a potent and often lethal addiction, for war is a drug…. The enduring attraction of war is that: Even with its destruction and carnage it can give us what we long for in life. It can give us purpose, meaning, a reason for living. And war is an enticing elixir. It gives us resolve, a cause, it allows us to be noble.” – Chris Lloyd Hedges, from War Is a Force That Gives Us Meaning.

The name Homer looms large in classical mythology. With The Iliad and The Odyssey, he is regarded as the greatest poet of the ancient world and, moreover, one of the most influential artists in the history of Western literature. But did Homer actually exist? Was he a living, breathing person, or was he a character created by other poets? With little evidence to support his existence, scholars and historians have debated this question for centuries.

No one knows with certainty where or when Homer was born. Some historians believe he may have been born around 750 B.C.E.; others believe he lived closer to the time of the Trojan War. No less than seven cities claim to be his birthplace: Argos, Athens, Chios, Colophon, Rhodes, Salamis and Smyrna, but historians have not settled on an exact location.

Few citizens of ancient Greece could read, but all knew the myths and legends that had been passed down from their ancestors. They were religious fables, ancient histories, myths and morality tales that entertained, but also reminded audiences of the values of their society. Homer’s epic poems each contained approximately 12,000 lines; a performance of either The Iliad or The Odyssey in their entirety took several evenings. Homer, a blind bard and professional storyteller, would have traveled from city to city, performing in public places and in royal courts. Each storyteller would modify his performance to suit his audience, expanding the parts that held them rapt, shortening those that didn’t. Over the centuries the stories were kept alive with the telling passed from one storyteller to the next. They evolved in terms of style, detail and characterization — all dependent on the versatility of the solo storyteller.

Several theories assert that Homer wasn’t the single author of all the works attributed to him. One theory posits that several different people composed these poems, and were later attributed to Homer. Other theories suggest that Homer composed the first part of The Odyssey and that one or more other bards concluded the poem. Others hold that his name referred to poets in general, a catch-all term for all authors who composed heroic verse. Another theory is that Homer was the name of the scribe who first wrote down these works. By signing his name to the written texts, he got credit for creating them. In the early twentieth century, one scholar theorized that The Odyssey had been written by a woman.

Scholars have compared The Iliad, The Odyssey and other poems attributed to Homer and found significant differences. Some believe that the subjects and themes of Homer’s works are too broad to be the products of a single mind, while others find strong stylistic similarities between the poems.

Whether he a single author or several, “Homer” created the foundation for classical mythology. The stories of the Trojan War and its aftermath have become timeless subjects of art and life. They depict a defining moment in Greek history and have become an integral part of the country’s culture. They influenced centuries of artists, writers, politicians and philosophers who impact how we look at the world. The issues that emerge from Homer’s stories reverberate with our complicated relationship to war and resonate for our own moment in time.

the judgment of paris

“Homer makes us Hearers,….” – Alexander Pope

The Storyteller Behind the Myths

“It’s as if Homer were a ventriloquist, projecting his voice into the voices of dozens of people living within his poems.” – Robert Fagles

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According to popular myth, the seeds of the Trojan War were planted when Eris, the goddess of discord and conflict, was not invited to the wedding of Peleus and Thetis. Angry at this omission, Eris threw a golden apple inscribed “For the Fairest” among the goddesses who were invited to the wedding. It rolled to where three goddesses were sitting: Hera, Athena and Aphrodite. Each goddess claimed the apple and begged Zeus to choose the fairest. He refused to choose among the three and enlisted the messenger Hermes to pass the task of judgment on to Paris, son of Hecuba and Priam, King of Troy, and younger brother of Hector.

All the goddesses offered Paris gifts. Hera said she would make him ruler over Europe and Asia Minor, Athena said she would make him the greatest warrior, and Aphrodite promised him the most beautiful woman in the world for his wife.

Paris chose Aphrodite. The most beautiful woman in the world happened to be Helen of Sparta, wife of the Greek king Menelaus and brother of Agamemnon. Menelaus and Helen invited Paris to their home as a guest. Aphrodite, being the goddess of love, turned to her arts; she made Helen fall in love with Paris and arranged Helen’s abduction. Paris brought Helen to Troy as his wife. Menelaus sent a thousand ships to bring Helen back to Greece.

Thus began the Trojan War.

“I learned early on that war forms its own culture. The rush of battle is a potent and often lethal addiction, for war is a drug…. The enduring attraction of war is that: Even with its destruction and carnage it can give us what we long for in life. It can give us purpose, meaning, a reason for living. And war is an enticing elixir. It gives us resolve, a cause, it allows us to be noble.” – Chris Lloyd Hedges, from War Is a Force That Gives Us Meaning.

The name Homer looms large in classical mythology. With The Iliad and The Odyssey, he is regarded as the greatest poet of the ancient world and, moreover, one of the most influential artists in the history of Western literature. But did Homer actually exist? Was he a living, breathing person, or was he a character created by other poets? With little evidence to support his existence, scholars and historians have debated this question for centuries.

No one knows with certainty where or when Homer was born. Some historians believe he may have been born around 750 B.C.E.; others believe he lived closer to the time of the Trojan War. No less than seven cities claim to be his birthplace: Argos, Athens, Chios, Colophon, Rhodes, Salamis and Smyrna, but historians have not settled on an exact location.

Few citizens of ancient Greece could read, but all knew the myths and legends that had been passed down from their ancestors. They were religious fables, ancient histories, myths and morality tales that entertained, but also reminded audiences of the values of their society. Homer’s epic poems each contained approximately 12,000 lines; a performance of either The Iliad or The Odyssey in their entirety took several evenings. Homer, a blind bard and professional storyteller, would have traveled from city to city, performing in public places and in royal courts. Each storyteller would modify his performance to suit his audience, expanding the parts that held them rapt, shortening those that didn’t. Over the centuries the stories were kept alive with the telling passed from one storyteller to the next. They evolved in terms of style, detail and characterization — all dependent on the versatility of the solo storyteller.

Several theories assert that Homer wasn’t the single author of all the works attributed to him. One theory posits that several different people composed these poems, and were later attributed to Homer. Other theories suggest that Homer composed the first part of The Odyssey and that one or more other bards concluded the poem. Others hold that his name referred to poets in general, a catch-all term for all authors who composed heroic verse. Another theory is that Homer was the name of the scribe who first wrote down these works. By signing his name to the written texts, he got credit for creating them. In the early twentieth century, one scholar theorized that The Odyssey had been written by a woman.

Scholars have compared The Iliad, The Odyssey and other poems attributed to Homer and found significant differences. Some believe that the subjects and themes of Homer’s works are too broad to be the products of a single mind, while others find strong stylistic similarities between the poems.

Whether he a single author or several, “Homer” created the foundation for classical mythology. The stories of the Trojan War and its aftermath have become timeless subjects of art and life. They depict a defining moment in Greek history and have become an integral part of the country’s culture. They influenced centuries of artists, writers, politicians and philosophers who impact how we look at the world. The issues that emerge from Homer’s stories reverberate with our complicated relationship to war and resonate for our own moment in time.

the judgment of paris

“Homer makes us Hearers,….” – Alexander Pope

The Storyteller Behind the Myths

“It’s as if Homer were a ventriloquist, projecting his voice into the voices of dozens of people living within his poems.” – Robert Fagles


Bill Buschell: Lisa, I understand that the idea that became An Iliad began in 2005 with you wanting to address your concerns about the war in Iraq. A friend and dramaturg, Morgan Jenness, suggested that you take a look at The Iliad. What happened then?

Lisa Peterson: At that time, I felt that we needed to focus on the subject of war. Morgan talked about The Iliad, but I didn’t associate Homer with dramatic literature. I decided to take a look at it and see in what way it could be a play. I started to study a bit about epic and oral traditions and who Homer was. I found that experts have argued forever about whether he was a specific person who created The Iliad and The Odyssey, or if he was a role played by many people over centuries. I was intrigued by the idea that possibly — probably — he wasn’t one person.

Homer was a storyteller and over hundreds of years, as it was passed from teller to teller, the story of the Trojan War coalesced. At some point, of course, someone started writing it down. The idea that there was not one Homer — but rather a collective Homer — really stayed with me. It made me think that if you had the interest and ability to learn the poems, you could become Homer yourself — and wouldn’t it be fun to be in his presence? I really wanted to work with someone who could be a storyteller/actor with whom the writing and the telling of the story would be all one thing.

BB: Denis, what was your reaction when Lisa came up to you and said, “How about The Iliad?”

Denis O’Hare: I hadn’t really thought about The Iliad much since high school, but I thought it was a great opportunity to focus on one of the world’s great pieces of

literature. I don’t think either of us really knew where we would end up. We just figured we would just do it!

BB: What happened between that initial meeting and the first workshop?

LP: For the first year or so, it was fairly casual. Denis and I got together every other month or so, often with Morgan. We would pass The Iliad around, read one or two parts out loud, and talk about what we read. Then New York Theatre Workshop invited us to Dartmouth College campus during the summer to read and think. So I went up there twice and started to read, collate and edit the story. Denis and I had looked at a bunch of different translations, and we agreed that the Robert Fagles translation was the most fun.

DO: Fagles is all-around good in every aspect — poetic, clear and dynamic. The writing is so muscular and moving. And it’s really actable.

LP: I’d done some adapting in the past, but neither of us are writers. We’d meet and Denis would bring his video camera, and we’d film each other riffing on the text. Later we had interns transcribe those conversations.

We put the improvisation transcripts together with Fagles’ translation and assign each other projects. I would say, “Tonight I will work on Hector and Andromache. I think it would be good if that scene sounded modern. Denis, why don’t you take a pass on the description of Achilles’ shield? I don’t think we want to do that in verse.” Then we’d come together and read what we had out loud. We applied to Sundance Theatre Lab and were accepted.

During our three weeks there, we developed the idea of a character called “The Poet” — who may or may not be Homer — who existed at the time and witnessed the Trojan War. His job on Earth is to tell the story of the war, and he’s been doing it for 2800 years. It’s not just that it’s difficult; it’s that he has never managed to effect the kind of change he hopes for. He has to keep telling the story dynamically, perfectly, so that listeners can see how human nature can change, how all our warlike impulses toward rage can disappear.

DO: Each night, he has to go into the battlefield and put himself into the experience of shoving a piece of metal through somebody else’s chest. The combination of the horror of it and the bloodlust…I think it sickens him. Our guy is being punished.

BB: You’ve been produced in a number of places after the workshops. What were those experiences like?

DO: After Sundance, we had our world premiere production at Seattle Repertory Theatre in the fall of 2009, which Lisa directed. It was so far from our expectation that other theatres would want to produce it. Then Portland Center Stage presented it the following fall, but we weren’t directly involved with it. The McCarter Theatre also presented that fall, followed by The Court Theatre in Chicago. Seeing the show in different incarnations with different actors, we realized that the idea of the collective Homer, played by a solo actor, had taken hold.*

BB: Would you say An Iliad is an anti-war play?

LP: I think it’s possible to read The Iliad as a celebration of warriors, of heroic action and the warrior’s heart. It also contains horror at the cruelty of war, expressed with such bounding imagination that you get caught up in it. I don’t think our play is anti-war, rather I think it is an examination of war.

DO: The Iliad is too great a work of art to impose an agenda on. As an artist, it’s always best to create an honest work and simply present a picture of humanity and the human experience. When audiences hear the list of wars recited by the poet in our play, they will come to their own conclusions.

*An Iliad was also presented by New York Theatre Workshop in early spring 2012. Denis O’Hare and Stephen Spinella alternated the role of the Poet. Awards: 2012 Lucille Lortel Award for Outstanding Solo Show, Outstanding Solo Performance; OBIE Special Citation; Outer Critics Circle Award for Solo Performance.

LISA PETERSON

DENIS O’HARE

An Iliad performer Henry Woronicz working with director Lisa Peterson in La Jolla Playhouse rehearsals. Photo by Dana Holliday

Discovering A

Excerpted from an interview with Bill Buschell, host of Graffiti on Hellenic Public Radio

“Triumphant Achilles” by Franz von Matsch

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Bill Buschell: Lisa, I understand that the idea that became An Iliad began in 2005 with you wanting to address your concerns about the war in Iraq. A friend and dramaturg, Morgan Jenness, suggested that you take a look at The Iliad. What happened then?

Lisa Peterson: At that time, I felt that we needed to focus on the subject of war. Morgan talked about The Iliad, but I didn’t associate Homer with dramatic literature. I decided to take a look at it and see in what way it could be a play. I started to study a bit about epic and oral traditions and who Homer was. I found that experts have argued forever about whether he was a specific person who created The Iliad and The Odyssey, or if he was a role played by many people over centuries. I was intrigued by the idea that possibly — probably — he wasn’t one person.

Homer was a storyteller and over hundreds of years, as it was passed from teller to teller, the story of the Trojan War coalesced. At some point, of course, someone started writing it down. The idea that there was not one Homer — but rather a collective Homer — really stayed with me. It made me think that if you had the interest and ability to learn the poems, you could become Homer yourself — and wouldn’t it be fun to be in his presence? I really wanted to work with someone who could be a storyteller/actor with whom the writing and the telling of the story would be all one thing.

BB: Denis, what was your reaction when Lisa came up to you and said, “How about The Iliad?”

Denis O’Hare: I hadn’t really thought about The Iliad much since high school, but I thought it was a great opportunity to focus on one of the world’s great pieces of

literature. I don’t think either of us really knew where we would end up. We just figured we would just do it!

BB: What happened between that initial meeting and the first workshop?

LP: For the first year or so, it was fairly casual. Denis and I got together every other month or so, often with Morgan. We would pass The Iliad around, read one or two parts out loud, and talk about what we read. Then New York Theatre Workshop invited us to Dartmouth College campus during the summer to read and think. So I went up there twice and started to read, collate and edit the story. Denis and I had looked at a bunch of different translations, and we agreed that the Robert Fagles translation was the most fun.

DO: Fagles is all-around good in every aspect — poetic, clear and dynamic. The writing is so muscular and moving. And it’s really actable.

LP: I’d done some adapting in the past, but neither of us are writers. We’d meet and Denis would bring his video camera, and we’d film each other riffing on the text. Later we had interns transcribe those conversations.

We put the improvisation transcripts together with Fagles’ translation and assign each other projects. I would say, “Tonight I will work on Hector and Andromache. I think it would be good if that scene sounded modern. Denis, why don’t you take a pass on the description of Achilles’ shield? I don’t think we want to do that in verse.” Then we’d come together and read what we had out loud. We applied to Sundance Theatre Lab and were accepted.

During our three weeks there, we developed the idea of a character called “The Poet” — who may or may not be Homer — who existed at the time and witnessed the Trojan War. His job on Earth is to tell the story of the war, and he’s been doing it for 2800 years. It’s not just that it’s difficult; it’s that he has never managed to effect the kind of change he hopes for. He has to keep telling the story dynamically, perfectly, so that listeners can see how human nature can change, how all our warlike impulses toward rage can disappear.

DO: Each night, he has to go into the battlefield and put himself into the experience of shoving a piece of metal through somebody else’s chest. The combination of the horror of it and the bloodlust…I think it sickens him. Our guy is being punished.

BB: You’ve been produced in a number of places after the workshops. What were those experiences like?

DO: After Sundance, we had our world premiere production at Seattle Repertory Theatre in the fall of 2009, which Lisa directed. It was so far from our expectation that other theatres would want to produce it. Then Portland Center Stage presented it the following fall, but we weren’t directly involved with it. The McCarter Theatre also presented that fall, followed by The Court Theatre in Chicago. Seeing the show in different incarnations with different actors, we realized that the idea of the collective Homer, played by a solo actor, had taken hold.*

BB: Would you say An Iliad is an anti-war play?

LP: I think it’s possible to read The Iliad as a celebration of warriors, of heroic action and the warrior’s heart. It also contains horror at the cruelty of war, expressed with such bounding imagination that you get caught up in it. I don’t think our play is anti-war, rather I think it is an examination of war.

DO: The Iliad is too great a work of art to impose an agenda on. As an artist, it’s always best to create an honest work and simply present a picture of humanity and the human experience. When audiences hear the list of wars recited by the poet in our play, they will come to their own conclusions.

*An Iliad was also presented by New York Theatre Workshop in early spring 2012. Denis O’Hare and Stephen Spinella alternated the role of the Poet. Awards: 2012 Lucille Lortel Award for Outstanding Solo Show, Outstanding Solo Performance; OBIE Special Citation; Outer Critics Circle Award for Solo Performance.

LISA PETERSON

DENIS O’HARE

An Iliad performer Henry Woronicz working with director Lisa Peterson in La Jolla Playhouse rehearsals. Photo by Dana Holliday

Discovering A

Excerpted from an interview with Bill Buschell, host of Graffiti on Hellenic Public Radio

“Triumphant Achilles” by Franz von Matsch


An Iliad is ostensibly a “one-man show,” but there is another character on stage that adds a uniquely theatrical and integral dimension to the piece — the Musician. Nationally-renowned double bassist Brian Ellingsen is the Musician whose playing brings a vibrancy to the ancient story, adding colors, shadows and a deep resonance to Mark Bennett’s score for this gripping play, which was adapted from Homer’s epic tale of the Trojan War by Lisa Peterson and Denis O’Hare.

When Bennett began working with Peterson (also director of the show), their conversations about the music centered on questions of how a live musician could exist in a world defined by the character of the Poet, the sole storyteller. Bennett said, “We knew that the musician couldn’t just be the poet’s ‘sidekick.’ Their pairing would need to be grounded in a deeper, more mysterious connection.

Bennett says, “I immediately thought of using a double bass because of the instrument’s versatility and evocative, epic sound. It has a huge range, and in the hands of a skilled musician, it can be extremely lyrical, embodying the ethereal harmonics of the gods, as well as the rumblings of mother earth.” In certain sections of the play, Ellingsen creates standard double-bass melodies and accompaniments; the musical palette becomes more distinct and unexpected in others. The score for the frontlines of the war resound with a spare, hollow bone-like evocation. While rage is a quiet intense motif that grows and mutates with crescendos and climaxes, and winds up shaking the foundation of the theatre. Ellingsen noted, “Parts of the story are so dark and heavy, and the bass can have a big, dramatic sound. But a lot of the story is beautiful, heartfelt and touching. The double-bass can also translate that text in a lyrical way, reflecting the emotional journey of the play.”

The score also encompasses the use of a Milltone Drum, a unique percussion instrument with a bell-like tonality that is heard in the section describing Achilles’ shield. Bennett called it “a magical instrument that offers another unusual and unexpected sound for the piece.” In addition, Bennett wanted to incorporate technology into the piece, using high-tech sound processing. “We embraced the acoustic sound of the instrument, but also played around with that sound by digitally processing certain sections to be repeated, creating multiple layers. In performance, Brian plays on top of the sound, creating yet another layer.”

In An Iliad, the Poet calls upon the Muses to help him tell the story. Bennett and Peterson saw the Musician as a Muse, fueling the Poet with the inspiration and energy to tell the story. The collaboration has resulted in an ongoing relationship between the actor and his musical partner — essentially an on-stage duet. The Musician responds to the blueprint of the score, but also to how the actor delivers his performance in each moment in the show. He is keenly attuned to the tempo, feel and pace of the actor. The actor, in turn, responds to the voice of the Musician, which Ellingsen describes it as a unique “pas de deux.”

An IlIAd’S MusiCAl

Duet

Brian Ellingsen in the New York Theatre Workshop production of An Iliad; photo by Joan Marcus.

Joan & IrwIn Jacobs From two world-premiere musicals to a Pulitizer Prize-winning play and from a re-imagined classic to a Page To Stage workshop, we truly can stamp this season “Made in La Jolla!” Congratulations to Chris, Mike and the entire Playhouse team.

GaIl & ralph bryanWe are proud to support the Playhouse this season, including An Iliad. This eye-opening re-telling of one of the oldest stories in Western civilization transports us onto the front lines of every major war in history, reliving a futile struggle that has replayed itself over thousands of years.

Dr. seuss FunD aT The san DIeGo FounDaTIon Seuss celebrates another fantastic season with La Jolla Playhouse!

FaIya FreDman anD The FreDman FamIlySupporting La Jolla Playhouse has been a tradition in our family for many years. It is thrilling to see the Playhouse still bringing the best scenic, lighting and costume designers from around the world together with the greatest playwrights, directors and actors. We also love how the Playhouse’s award-winning Education & Outreach programs take the theatre experience to the children of San Diego, to expand their minds and means of expression.

sherI l. & sTuarT w. JamIeson Christopher Ashley and his team proudly carry on the tradition of the Playhouse as a safe harbor for unsafe work. Cheers to another great year!

becky mooresMy family and I are tremendous fans of La Jolla Playhouse. I am delighted to help bring this incredible season to San Diego for all to enjoy.

VIVIen & JeFFrey ressler The Playhouse is an artistic home to our family. We are honored to support this glorious new season as we reflect on the joy the Playhouse has given us for so many years.

rIch FamIly FounDaTIon We are pleased to lend our support to La Jolla Playhouse to promote the hard work, dedication and atmosphere that creates and launches new productions. coleTTe & IVor roysTon We’re so thrilled to see the outstanding work coming out of La Jolla Playhouse over the past 26 years of our involvement. Congratulations to the Playhouse for their creativity and stellar leadership.

manDell weIss charITable TrusT La Jolla Playhouse is an important and vital part of the San Diego arts community. We look forward each season to a wide variety of engaging plays, intriguing stories and original theatre. We are proud to support the Playhouse.

sTeVen sTrauss & lIse wIlsonWhat a season ahead of us! It seems like old times witnessing the incomparable collaboration between Des McAnuff and La Jolla Playhouse in creating yet another stunning world premiere musical - Yoshimi Battles the Pink Robots!

The Playhouse would also like to thank Tamara & Kevin Kinsella for their support.

SEASON SPONSORS:

LA JOLLA PLAYHOuSE sPONsOrs


ADDITIONAL INSTITUTIONAL SUPPORT PROVIDED BY:


Opportunities for corporations to partner with La Jolla Playhouse are numerous and varied, each providing exclusive benefits and recognition. For information, please contact Jill McIntyre at (858) 550-1070 x137.

IN-KIND CIRCLE

CORPORATE MATCHING COMPANIES

Bank of America • Caterpillar • Google • Goodrich • Hewlett-Packard • H&R Block • IBM International • Intuit • Pfizer • Qualcomm Incorporated

Sempra Energy • U.S. Bank • Union Bank • Wells Fargo

Daniel Norwood Photography • Floral FX • St. Petersburg Vodka •Stone Brewing Co.

Wright & L'EstrangE

$100,000 +

$25,000 +

$20,000 +

$15,000 +

$10,000 +

$5,000 +

MEDIA SPONSORS

LA JOLLA PLAYHOuSE: COrPOrAte CirCle

Allianz Global Investors Capital • Avalon Ventures • The Baldwin Financial Group at UBS • California Bank & Trust

Forward Ventures / Carson Royston Group LLC • Holland America Line • Macy’s Foundation • Merck & Co, Inc. • Mission Partners • Nordstrom

ResMed Inc. • SD Scientific, Inc. • Torrey Pines Bank • US Trust

SAN DIEGO

Bank of America • Caterpillar • Google • Goodrich • Hewlett-Packard • H&R Block • IBM International • Intuit • Pfizer • Qualcomm Incorporated

Sempra Energy • U.S. Bank • Union Bank • Wells Fargo

LA JOLLA PLAYHOuSE: FOuNDAtiON & gOVerNMeNt suPPOrt


ELLEN aNd ROgER REvELLEhelped revive La Jolla Playhouse in the early 1980s. For more than 20 years, they helped sustain live theatre through volunteer leadership and charitable giving. Now they are helping endow the Playhouse for future generations through a bequest in their estate.

The Revelle Society is dedicated to telling the story of Ellen and Roger Revelle’s visionary philanthropic legacy.

La Jolla Playhouse hopes you will be inspired by the Revelles to review your financial and estate plans and consider

how philanthropic legacy planning could benefit you and help build the Playhouse endowment. Regardless of the size of your estate or the size of your gift, we would be honored to be counted among your philanthropic priorities.

Create a lasting legacy through The Revelle Society. Learn more about philanthropic legacy planning for gifts that: • Cost you nothing during your lifetime • Generate income for you during your lifetime • Preserve wealth for your family

Please contact Deborah Trimble, Director of Development, at (858) 550-1070 x140 or [email protected] for a confidential consultation.

THESE gENEROUS SUppORTERS HavE bEEN SO INSpIREd aNd, IN TURN, aRE INSpIRINg OTHERS:Christopher AshleyScott AylwardCynthia BolkerRalphº and Gail BryanLeslie J. Cohen*Ted Cranston*ºArmando de Peralta, Sr.*Grace Margaret Duhamel*Sherrilyn and Ewart W. Goodwin, Jr.ºBob Jacobs

Joan and Irwin JacobsCharmaine*º and Maury* KaplanAdele Nugent*John O'DeaMargaret F. Peninger*Jeffrey and Vivien ResslerEllen* and Roger* Revelle Michael S. RosenbergRuth Shepherd*Mickey Stern

Steve Straussº and Lise WilsonKathryn SturchWillard P. VanderLaan*ºArthur and Molli WagnerGeri Ann Warnkeº and Joseph F. Kennedy, M.D.*Mandell Weiss*Gary L. WollbergºAnonymous (1)

*denotes deceasedºdenotes past Board Chair

list as of July 15, 2012

Wish you could print tickets at home? So do we. La Jolla Playhouse would like to thank The Parker Foundation for granting a generous lead gift to our technology fund, which will bring new features to our patrons’ experience, such as Print at Home ticketing and online photo previews of the view from the seats. Please donate today at www.LaJollaPlayhouse.org/technology to match the foundation’s grant and help us reach our goal. Every dollar helps!

County of San Diego

$100,000 +City of San Diego Commission for Arts and CultureThe James Irvine FoundationThe Shubert Foundation, Inc.the William Hall tippett and ruth rathell tippett Foundation

$50,000 - $99,999the County of San DiegoMandell Weiss Charitable trust

$25,000 - $49,999the national Endowment for the ArtsEdgerton FoundationLas PatronasThe Parker Foundation; Gerald T. & Inez Grant ParkerSidney E. Frank Foundation

$10,000 - $24,999The Ariel W. Coggeshall Fund; the Creative Catalyst Fund; and the Colonel Frank C. Wood Memorial Fund of The San Diego Foundation, in Partnership with the James Irvine FoundationEllen Browning Scripps FoundationSan Diego Scottish Rite Community FoundationThe Seth Sprague Educational and Charitable Foundation

$5,000 - $9,999Price Family Charitable FundJohn and Marcia Price Family Foundation

$1,000 - $4,999The City of Encinitas & Mizel Family Foundation Community Grant Programnational Alliance for Musical theatre

The Thomas D. Lookabaugh Foundation The Sutherland FoundationThe Samuel I. & John Henry Fox FoundationCity of Chula Vista, Performing and Visual Arts GrantThe Arthur and Jeanette Pratt Memorial FundThe Samuel Goldwyn FoundationThe Creative Capacity Fund’s NextGen Arts ProgramLa Jolla Kiwanis Foundation

$250 - $999Rising Arts Leaders, San Diego’s Emerging Leaders of Arts and Culture, and The San Diego Foundation in partnership with the James Irvine Foundation The Philanthropy Club Foundation, Coastal Community Foundation, and the 3rd Grade Class of Solana Vista Elementary School

La Jolla Playhouse would like to thank Las Patronas and the County of San Diego for making the 2011/2012 Mandell Weiss Theatre Lighting Retrofit possible.


Directors’ circle - $100,000+Joan and Irwin JacobsDr. Seuss Fund at The San Diego FoundationRao and Padma MakineniBecky Moores

Directors’ circle - $50,000+Gail and Ralph BryanFaiya FredmanSheri L. and Stuart W. JamiesonTamara and Kevin KinsellaVivien and Jeffrey Ressler Family Fund of the Jewish Community FoundationRich Family FoundationColette and Ivor RoystonSteven Strauss and Lise Wilson

Directors’ circle - $25,000+AnonymousChristopher AshleyMichael Bartell and Melissa Garfield BartellDenise and Lon BeversPaula Marie BlackBarbara BloomLinda Chester and Dr. Kenneth RindFlorence CohenSuzanne FigiDebby and Hal Jacobs Family Fund of the Jewish Community FoundationWilliam W. Karatz Jennifer MooresRonald and Lucille NeeleyJulie and Lowell PotikerMolli and Arthur Wagner Ph.D.

Directors’ circle - $15,000+Anonymous (2)Kenny and Marleen Alhadeff, In Honor of Christopher AshleyWeston Anson and Susan Bailey In Honor of Adelaide BaileyJoseph M. CassinEllen Sarver Dolgen and David P. DolgenSusan E. DubéValerie and Gregory FrostGurtin Fixed IncomeJeanne Jones and Don BreitenbergGeorge and Gail KnoxWilliam and Lynelle LynchMargret and Nevins McBrideDon and Stacy Rosenberg Camille and David SaltmanTim and Emily ScottThe Crawford Smith FoundationDr. and Mrs. David SmotrichAmy and Charles Spielman

Directors’ circle - $10,000+Tony and Margaret AcamporaDrs. Edward and Martha DennisSilvija and Brian DevineEric and Marsi GardinerWendy GillespieGleiberman Family Fund of the

Jewish Community FoundationFrank and Betsy GrassoSheila Lipin Des McAnuffDr. Howard and Barbara MilsteinJudy and Alan RobbinsGad and Suzan ShaananKarl and Barbara ZoBell

inner circle - $5,000+Lisa and Steven AltmanKimberly L. Beane and Michael S. RosenbergArthur Brody and Phyllis CohnLeslie and Thomas CollChrista Burke and Walt DittmerLeonard and Susan ComdenDorothy and Anthony DainAndrea GilbertMiles GrantJeanne and Gary HerbergerEileen and Leonard HermanJoel and Rosanne HollidayJennifer and Doug HouserMary Beth Jernigan, In memory of Richard H. JerniganPaul and Samara LarsonCarol and George LattimerBarbara LeeSheila and Jeffrey Lipinsky and FamilyBarbara and Carl MaggioProf. Marianne McDonaldLaurie Dale Munday and Marcia GreenPaula and Brian PowersRita Bronowski TrustBecky RobbinsMurray and Janet RosenthalAlex and Laleh RoudiMarvin and Tina SimnerIris and Matthew StraussSusan and Richard UlevitchPamela J. WagnerMary Lindenstein Walshok, Ph.D.Sheryl and Harvey WhiteKarin E. Winner

inner circle - $2,500+Anonymous (2)Mrs. Jane BastienRobert Brunst Fund of the Jewish Community Foundation Doug Carlson and Annie FinchNina and Bob DoedeKaren and William DowHomer and Nina EatonRon and Devora Eisenberg– Great News!Danah FaymanJoan R. FisherBill and Judy GarrettRoss and Mary-K GilbertTammy and Larry HershfieldJeffrey and Carolyn LevinJohn and Angie LongeneckerBetsy ManchesterShearn and Linda Platt Fund of the Jewish Community FoundationPeter and Peggy PreussLarry and Robin Rusinko Laura Spielman

Geri Ann WarnkeGary L. Wollberg and Dr. Yumi Miyamoto

inner circle - $1,000+Anonymous (4)Katherine AdamsAhern Insurance Brokerage/ Brian AhernEdward L. Anderson and Joan E. ParsonsJeremy AsherChristine AshworthRobert Baizer and Diane Jacobs BaizerGinger and Ken BaldwinJoan and Jeremy BergCharles Bergan and Lisa KanetakeSondra and Robert Berk Fund of the Jewish Community FoundationDale and Marshall BlockLoyce R. BruceTodd and Debby BuchholzDaniel and Deborah, Michael and David CarnickMarsha and William ChandlerJack and Carol ClarkPamela CokerStephanie Cooper and John ClarkeCorinna Cotsen and Lee RosenbaumStacy Cromidas and Ruth GilbertMarty and Sheldon DillerDr. Ralph B. DilleyBarbara and Dick EnbergDrs. Marianne and Robert EngleDaniel and Phyllis EpsteinJennifer and Kurt Eve Myrna and Bob FarkasInge Feinswog Fund of the Jewish Community FoundationSusan FinkelsteinNancy Fisher and Mike SaltSusanna and Michael FlasterEllen FujikawaDr. Irma GigliAllen and Kathleen GlickLee and Frank GoldbergKimberly and Jeffrey GoldmanDrs. Tom and Cindy Goodman, In Honor of Whitney GoodmanArthur and Marlene GreenbergPat and Rick HarmetzLeonard and Elaine HirschGerald and Ingrid Hoffmeister Fund at The San Diego FoundationGeorge and Maryka HooverRichard and Janet HunterRuth and Paul JacobowitzPat JaCobyAnthony and Joyce JosephLewis and Patricia JuddJim and Jennifer KellyBill and Linda KolbRosalie Kostanzer and Mike KeefeJoan and Robert KrollDr. K.B. Lim and Linda Lee LimEstelle and Hamilton LoebJain Malkin Inc.

Stewart and Robin MannJasna Markovac and Gary MillerLinda and Dan MastersJames and Anne McCammonValorie McClellandHolly McGrath and David BruceDr. Ken Melville and Dr. Sabina WallachChristy and Alan MolaskyDawn Moore and Lawrence AlldredgeGregg MotsenbockerEsther NahamaCheryl and Bill NaumannLyn NelsonDr. Mark NiblackCarla and Trey NolanSally and Howard OxleyF. Richard PappasDr. Paul Pearigen and Dr. Kim KerrMaryanne and Irwin PfisterLori and Kenneth PolinLaurel and Paddy RainwaterClaire ReissKathy Roeder and Stan MorrisRichard and Laura RomeroMr. and Mrs. Mason RosenthalSara Rosenthal, M.D. and Julie Prazich, M.D.San Diego Branch English Speaking UnionWarren and Beverly SanbornRobert and Lora SandroniJudge and Mrs. H. Lee SarokinHerb Schnall, In memory of Ann SchnallMorton and Marjorie Hansen ShaevitzSigesmund FamilyDr. Edward and Evelyn SingerRobert Singer and Judith HarrisKevin G. SnoverJennifer and David StickneyStone Family Foundation of the Jewish Community FoundationPlace D. TeglandEloise Fletcher ThomasJ. Marie TuthillBill VanderLaanJim and Kathy WaringJo and Howard WeinerShari and Lee WeinstenCarrie and Wayne WilsonJennifer Winward and Anthony RoumelJill and Bruno WolfenzonHoward and Christy ZatkinJack and Sandy ZemerEmma and Leo Zuckerman

ovation club - $500+Kathleen and Gary AcostaBarbarella RestaurantDr. and Mrs. Jorge BarreraDr. Kim E. BarrettMona Baumgartel and John DeBeerBill and Sharon Beamer Arnold and Esther BelinskyJoni and Miles BenickesAmnon and Lee Ben-YehudaKay Chandler and Chris Bertics

Lisa Betyar and Karl WalterDave BialisThe Bodenstab FamilyJoan and Lou ChesnerDaniel Collins and Nancy ShimamotoGigi CramerMark and Jenny DowlingAna DrobniesJacqueline and Stanley DroschBob Duffield Esther and Robert FeierDrs. Bessie and Ron FloydDr. Charles FreebernFriends of EncantoMr. and Mrs. James R. FurbySusan and Steven GarfinKathryn GoetzDr. Carol A. Harter and Mr. William D. SmithSuzanne and Lawrence HessDr. Peter and Mrs. Megan HoaglandSharon and Robert HubbardOsborn and Deal HurstonSalim and Alice JanmohamedDr. David S. JohnsonWendy S. JohnsonRob and Kathy JonesNatasha JosefowitzJo Ann KiltyJerry and Martha KrasneRichard and Sherry LevinCarole and Henry ManfredoMary Lou MatthewsHon. James A. and Victoria M. McIntyreTe and Anabel MintzDr. and Mrs. Charles MittmanHelga and James MooreDr. Katherine L. Morse and Mr. David L. DrakeDr. Rodney and Barbara OrthSusan C. ParkerJulius J. Pearl Fund at The San Diego FoundationScott Peters and Lynn GorguzeBrigit and Alan PitcairnMichael and Marilyn RosenSan Diego Concierge AssociationScarano Family Foundation at The San Diego FoundationBeverly and Howard SilldorfAlan and Esther SimanHerbert J. and Elene Solomon Fund of the Jewish Community FoundationMichek SternPhoebe and Gene TelserCharles and Rita TesarDavid and Tina ThomasDoris A. Trauner M.D. and Richard StanfordDeborah Ann and Thomas TrimbleCynthia WalkGraydon and Dorothy WetzlerMarilyn and Michael Yeatts

ovation club - $250+Anonymous (3)Mary Beth AdderleyRich and Mary Lou Amen

LA JOLLA PLAYHOuSE: iNDiViDuAl DONOrs


Barbara and Charles ArledgeOmmid AsbaghiDr. Judith BardwickBeverly L. Bartlett and Barbara SailorsDr. Aviva BerlinGerlinde and Greg BeuerleinHelen and Douglas BoydenMichael and Wendy CareyGlenn and Lynne CarlsonLarry CarterSteven and Adina ChinowskyJune ChochelesJ. Clark & M. ThorstensenPeter B. ClarkL. Owen and Ruth ClintonEd and Melissa CookAlicia CovillAnnette CrossDr. Pedro and Carol CuatrecasasBetsy DamBruce and Joanne DaneMarcus and Ann De BarrosWayne and Liz DernetzWally and Linda DieckmannDavid DonovanDeirdre Elliott, M.D.Maria FerryBarbara M. FinnDieter Fischer’s Mercedes Service, Inc.Ms. Pauline FormanSusan Forsburg and Lisa ChurchillDrs. Jan and Helane FronekMr. and Mrs. Robert GansJoyce M. GattasDrs. Charles and Nancy GirvinGary and Kristin GistMichael and Brenda GoldbaumCarolyn and Jimmie GreenslateJames and Carrie GreensteinDr. Jeffrey Hall and Fern PlattBlake Harper and Janice DeatonThomas Harvey and Bonnie DroletTracy Hatfield, In Memory of Cheryl L. SarnoMarie HeaveyJamie Henson and Robert HouskeeperBlue Herron CottagesRichard and Veronique HoBill and Nancy HomeyerFonda HopkinsEd and Linda JanonJay and Kendra JeffcoatNeil and Vivien JoebchenBarbara and Casey JohnsonIn Memory of James & Adrienne Jones and Edward & Betty ThomasRoy and Bobbie JosephoJennifer KagnoffMarcia and Martin KagnoffRobert Kaplan and Marina BaroffElizabeth LasleyMick and Sherrie LaverDixon and Pat LeeMarvin and Reinette LevineLeonard LevyKaren and Mark LiebowitzVivian Lim and Joseph WongGerald and Ann Lipschitz Fund

of the Jewish Community FoundationMathew and Barbara LooninKaren and Charles MacbethRussell MangerieHeidi and Peter MaretzLance and Jan MasonEdward and Barbara MayersChrista McReynoldsLaura and Eric MichelsenDr. and Mrs. Paul E. MichelsonStory and Richard MorenoMarci and Ronnie MorganMarilyn MoriartyAlan M. Nahum and Victoria J. DanzigRobert OttoBeatrice E. PardoDr. William and Beth PennyDon and Nola PichtDr. Kevin Rapeport and Dr. Angeli HillRavet Family Fund of the Jewish Community FoundationJodyne RosemanPaula and Manuel RotenbergCarole SachsMark and Theresa SadoffParag SanghviDr. and Mrs. Simon SayreMario and Anna ScipioneJeff and Jean SelzerSandy and Stella ShvilDrs. Ron and Marilyn SimonClark and Kathryn SmithCarol and Stuart SmithNorman and Judith SolomonGary and Susan SpotoFrancy StarrCynthia Stauffer and Melinda ArnoldDr. Jennifer Stewart and Mr. Scot HarrisonHarriet and John TaylorReed and Solange ThompsonKelly and Elisa ThomsonIn Memory of Lorrie TindelAldad and Ommid VakiliScott VandenbergKatharine Sheehan and Frederick WalkerMarybeth WardGary and Debbie WassermanMel and Isabelle WassermanFrankie and Allen WhiteMr. Stephen WorlandBrendan and Kaye WynneHoward and Judy Ziment

ovation club - $150+Anonymous (6)Ben and Debra AbateRaul Arthur and Lisa AlbanezTimothy W. AlexanderSharon and Terry AllenDr. Philip O. Anderson and Dr. Veronica ValdesPolly BallGene and Ed BarthBillie BeardenPatricia BehrendPhylaine Bemel-Schermerhorn

Eve Benton and Malcolm BundJan and Robert BitmeadLeslie and Dorothy BlairBob and Joyce BlumbergSue Boiko and Martin SchwartzJames B. Bond, CLSBDrs. Jeffrey and Jennifer BraswellMary E. BrewerJerre and Aylin BridgesLaVerne and Blaine BriggsRay and Bonnie BrooksHal and Linda BrownJeffrey BrownDr. and Mrs. Simon C. BrumbaughMargot Burger and Jerry DameJulia CarsonAlberto and Marta ChaviraMr. Neal P. ChazinMichael and Ellise CoitMary CoryDanny and Beth DabbyMr. and Mrs. Gary DavidKaren DaviesTed and Deanna DeFrankKevin DeguiseBethany DerroughDershem FamilyBob and Chris DilworthThe Ditty FamilyCapt. Robert and Elaine DonnellyBeth and Stephen DoyneThe Drummond FamilySteven DueJinx EckeVirginia EddyDr. and Mrs. Ronald EdelsonAmy Corton and Carl EiblSteven and Amy EpnerHelen Trahan FarschonMuriel FilmanMr. and Mrs. Ross FisherMr. and Mrs. Standish FlemingSusan FoersterAnne Q. FomonDavid Fox and Lydia ThompsonIn Honor of Faiya FredmanElizabeth Austin and David E. FreedheimDavid GarciaSteve and Janet GaspariDr. and Mrs. Arnold GassArline and Daniel GenisRoberta and James GeorgeWayne and Martha GerthAlan and Marleigh GleicherMr. and Mrs. Christopher GlennGloria and Neal GobarDrs. Daniel and Ulrika GreenDinia GreenWilliam and Candy GriffithHarry Griswold and Stephanie WebberTheodore GrygaPat and Pepper GuevaraSam and Carolyn GusmanSandra HaleMr. and Mrs. Jerry HallMary HardwickShirley A. HarperBarbara HenchDiana and Mike HillHon. Herbert Hoffman Ret.

Dr. and Mrs. Michael HollandIsabella Furth and Everett HoweKent and Candace HumberRandy and Carrol JacksonDr. Arthur and Beatriz JacobsonNora and Alan JaffeJeff and JoelDavid and Betty JohnsonMr. and Mrs. Myron JosephMichael and Nancy KaehrMaurine KellmanJulie and Kern KenyonCynthia and John KlinedinstGladys KohnKaren KrupinskyRobert and Elena KucinskiHelen KupkaJuan and Alexis LasherasDr. and Mrs. Elliott LasserVeronica and Miguel Leff, Esq.Marshall and Judy Lewis Fund of the Jewish Community FoundationDavid MacCormackBonnie MacritchieSue and Peter MadsenBarbara MalkJanet MaloneDavid MandellMr. Joseph Marron and Dr. Deborah HoflerGary and Barbara MarsellaHarold and Beverly MartynTom and Ina MastenPeggy MatthewsWallace McCloskeyDennis A. McConnellIn Honor of Thos. L. Crist & George A. LaPointeDr. and Mrs. Robert MeredithDr. and Mrs. Eli MishuckIsaac and Nancy MizrahiCarrie MorrowSusan MotenkoMartha MutschlerAnn NathanJoani NelsonDr. and Mrs. Steven OrnishMichelle ParkerRobert and Maureen ParsonMr. and Mrs. Michael PaurazasSusan PeinadoErnie and Mary PennellDr. and Mrs. John PersonDon and Robyn PhillipsMarina PiccioniMr. and Mrs. Kenneth PoggenburgHowdy and Sharon PrattVirginia PuichKevin Quinn

Cynthia and Gilbert RaffBill and Jacqui ReaveyMr. and Mrs. Christopher ReichDavid and Melissa RewolinskiDeborah ReynoldsKathy RhodesJoy and Lawrence RogersKim RudenbergGeorge and Karen SachsRaymond and Marcia SachsBarbara J. SaltmanJocelyn and Peter SchultzJ & J SlobodnyDr. Robert and Mrs. Jacquelyn SlotkinWilliam and Gloria SnyderSteven and Phyllis SpiererRay and Lauren StainbackSusanne Stanford and Tom MatthewsKarla and Edward StocktonDr. Michael Sutherland and Linda GreenbergScott T. SwazeyMary and Tim SwiftPaula Tallal and Colleen OsburnStephanie and Alan TarkingtonJohn and Gail TauscherMichael ThorsnesEdward and Karin ThreatMichael Tierney and Andrea MigdalBill and Lee TollefsonDavid Valentine Jr.Hal WalbaMichael and Beth WapnerZ.J. WaxenbergSusan Chortek Weisman and Eric WeismanJane WheelerCaryl Lees WitteNorah and William WolffPeter and Donna WorcesterPaul and Kathryn Zucker

list as of July 15, 2012.

We apologize for any errors or accidental omissions. Please contact the Individual Giving Office at (858) 550-1050 x141 if you would like to change your listing.

LA JOLLA PLAYHOuSE: iNDiViDuAl DONOrs

iN grAtituDe:

The La Jolla Playhouse Board of Trustees and

staff wish to express their deepest appreciation

and gratitude to Vivien and Jeffrey Ressler for

establishing the Jordan Ressler Endowment

Fund. With the creation of this endowment, the Playhouse will

receive much-needed annual support for the express purpose

of developing new work and sustaining key artistic projects

throughout the creative process.


get iNVOlVeD…Take part in this special group of vibrant donors and enjoy exclusive behind-the-scenes access to the Playhouse through 8 annual receptions with Artistic Director Christopher Ashley and featured artists from our productions, including:

•Artisticconversationswithaward-winningplaywrights,directors,performersanddesigners;

•In-depthpresentationsaboutoureducationprograms;

•Insightintoournewplaydevelopmentinitiatives,includingcommissions,readings,workshopsandthe Playhouse’s signature Page To Stage program.

… AND giVe BACk!Memberships start at $1,000 and are fully tax-deductible. All the while, you’ll provide our not-for-profit institution with invaluable resources, helping to support new theatrical work and bring arts education to 18,000 San Diego children. Subscriptions and single tickets account for only 30 percent of the Playhouse’s budget, and all of our programming requires underwriting.

Be tHe First tO see WHAt’s NeXt AND NeW!To join or for more information, please contact Antonello Di Benedetto, Associate Director of Development, Individual Giving, at (858) 550-1070 x141 or visit LaJollaPlayhouse.org.

AND BECOME A TRuE INSIDER!

Photos (Clockwise from top left): Playhouse Trustee Judy Smith with Directors’ Circle donor Martha Dennis and Inner Circle donors Mary-K Gilbert and Eileen Herman; Playhouse Literary Director Gabriel Greene (center) leading an artistic chat with David Leddy, creator of the Without Walls production Susurrus, and Cherise Booth, actress in Milk like Sugar, at a luncheon at the San Diego Botanic Garden; Directors’ Circle donors Denise and Lon Bevers with Trey Anastasio (center), co-composer of Hands on a Hardbody at the Opening Night pre-show reception; little Miss Sunshine Opening Night; Playhouse Trustee Joan Jacobs with husband Irwin and Tony nominated actor Josh Young (center) at the Opening Night of Jesus Christ Superstar; Directors’ Circle donor David Dolgen (left) with Inner Circle donors Marjorie and Mort Shaevitz and Cindy Goodman at the 2011 Season Kickoff Celebration; photos by Daniel Norwood Photography.

JOiN Our iNNer CirCle—


IN lOViNg MeMOrY

PERFORMANCE OUTREACH PROGRAM (POP) TOUREvery 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 in diverse communities across San Diego county. School performances are integrated into the classroom curriculum through pre-performance visits by Playhouse teaching Artists.

CONSERVATORYSix-week summer intensive training in acting, voice, movement and text for grades 10-12. By audition only.Supported in part by Sidney E. Frank Foundation.

YOUNG PERFORMERS’ WORKSHOPCreative exploration of theatre arts in a summer program for students entering into grades 2-12.

STUDENT MATINEESSpecial student matinees of selected mainstage productions offered throughout the school year. Study guides, pre-performance workshops and post-show talkbacks are available to prepare students for these productions. Staff development workshops are offered to teachers prior to their school’s participation in the student matinee.

IN-SCHOOL RESIDENCIESIn partnership with San Diego County and City Visual and Performing Arts Departments, Playhouse teaching Artists teach theatre skills in classrooms across the county, ensuring theatre becomes an integral part of the education of all San Diego children while fostering a relationship with the Playhouse that will continue as they grow into adulthood.

Collaborative Arts Resources for Education (CARE) program is a school-based collaboration between La Jolla Playhouse, Museum of Photographic Arts, Mingei International Museum and timken Museum of Art, providing an innovative, sequential arts program across four grade levels through artist residencies, teacher professional development and an online resource center.

Arts Academy pairs a classroom teacher with a La Jolla Playhouse teaching artist. through collaboration, the classroom teacher and the teaching artist work to incorporate advanced theater activities and exercises into existing curriculum.

InterACTion allows Playhouse teaching artists to work in partnership with City of San Diego Police Department’s Star PAL Program to create interactive lessons that teach adolescents the importance of self-respect, community and the law.

ILLUMINATING AUDIENCE EVENTSthe Playhouse offers unique opportunities for audience members to delve deeper into the play with these special performance series options:Insider: Meet with a Playhouse staff member 1 hour prior to the performance for an insider’s discussion.

• Sat., August 25 at 1:00 pm

• Wed., September 8 at 6:30 pm

Talkback Tuesday: Join cast and crew for a discussion following the performance.

• Tue., August 21 following 7:30 pm performance• Tue., August 28 following 7:30 pm performance

-Sponsored in Part by

Discovery Events: Join special guest speakers after the performance as they explore the themes of the production.

• Sun., September 9 following 2:00 pm performance -Sponsored in Part by

For more information on Education & Outreach programs at La Jolla Playhouse, please contact Stephen McCormick at (858) 550-1070 x102.

EDUCATION & OUTREACH PROGRAMS

Mary Beth Jernigan began her affi liation with the Playhouse back in the Gregory Peck days when she was a student at La Jolla High School. She became an usherette for the Playhouse when it performed in the school’s auditorium. The late Dorothy Johnston, a former Playhouse trustee, was a dear friend of Ms. Jernigan’s and invited her to return to the Playhouse when it reopened in 1983. Ms. Jernigan became an Opening Night subscriber and Inner Circle donor and has been attending the theatre ever since. Ms. Jernigan was a patron of the arts and a world traveler, yet she always referred to the Playhouse as “her theatre.”

After moving to La Jolla in the late 1990s to live with her daughter, Playhouse trustee Jeanne Jones, and son-in-law, Don Breitenberg, Kathryn Castendyck Fishback became well-known here for her tireless support of worthy causes and her love of dancing, travel, opera and theatre. The Playhouse was the fortunate recipient of her generosity throughout the years. The fi rst show Ms. Fishback sponsored at the Playhouse was its 50th Anniversary production of light Up The Sky in 1998. After attending a Playhouse event and noticing paper napkins, Mrs. Fishback went out and bough linen napkins for the theatre and, upon the building of the Jacobs Center for the Performing Arts and Jai Restaurant, she, with her daughter Jeanne, named the hospitality center in honor of her husband Ross Castendyck.

Board Chair: 1985; 1987-88; 1992-93Even at the age of 95, Dr. Willard P. VanderLaan started each day with 100 push ups before venturing into his lab. Beloved by the Playhouse, he served as Board Chair three times and chaired the search committee to hire Des McAnuff as Artistic Director, whose artistic vision rocketed the Playhouse to national prominence. Dr. VanderLaan graduated from Harvard Medical School in 1942. A prominent endocrinologist at the Lutcher Brown Center for Diabetes and Endocrinology, Dr. VanderLaan also worked at Scripps Clinic and Research Foundation, the American Thyroid Association and the Whittier Institute for Diabetes and Endocrinology. In 1993 he was awarded The Endocrine Society’s Robert H. Williams Distinguished Leadership Award.

WILLaRd p. vaNdERLaaN, M.d.

KaTHRYN CaSTENdYCK FISHbaCK

MaRY bETH JERNIgaN

AND BECOME A TRuE INSIDER!


The National Endowment for the Arts

The Collaborative Arts Resources for Education (CARE) program is a unique collaboration between La Jolla Playhouse and Museum of Photographic Arts, Mingei International Museum and Timken Museum of Art. The program is designed to provide San Diego educators and students with exciting arts-based lessons and to inspire a resurgence of arts education in our schools. Since 2004, CARE has provided more than 4,000 elementary-level students in low-income areas and 170 teachers with art experiences that relate to the collections, exhibitions and performances of each CARE partner institution. The CARE program features three main components: artist residencies, professional teacher development and an online resource center. Each artist residency program spans seven weeks and provides in-depth, hands-on experiences that develop students’ creative problem-solving skills while modeling arts integration teaching techniques for the classroom teacher. Residencies meet weekly at the school sites and each classroom either visits a partner institution for an exhibition or attends a performance of the Playhouse’s POP Tour at their school during the program. The CARE program also offers professional development opportunities for teachers through a summer institute where participants are given the tools they need in order to incorporate arts education into their units of study. The CARE online resource center (www.carearts.org) hosts art lesson plans that are easy to incorporate into existing curriculum, featuring printable images from the four arts partners’ collections and samples of student work, among other resources. Additionally the website features interactive pages for kids and families with fun art activities to do at home. The Playhouse participates through a series of in-school residencies geared toward students and teachers in third grade. After experiencing a performance of the POP Tour at their school, the students delve into the visual elements of theatre, including scenic design, prop-making and costume design. using the context of the theatrical work they see during the residency, these students consider challenges in the practical and aesthetic realms of theatre with activities exploring the intersection of functionality and beauty.

Together, the Playhouse and the CARE partners are making significant investments into five Title I schools per year by providing exciting, common core standards-aligned programming that enhance students’ critical thinking skills and creative confidence through the arts.

COLLABORATION IN Arts eDuCAtiON

CARE is made possible through the generous support of

CARE partners include the Museum of Photographic Arts, Mingei International Museum, Timken Museum of Art, la Jolla Playhouse, San diego Unified School district and San diego County Office of Education. More at www.carearts.org.


Partners Carmen Mannarino and Lois Bradbury prepare Company Breakfast.

The Playhouse Partners donate their time, service and skills to support and promote La Jolla Playhouse. This active, friendly group provides many ways to become involved, such as leading backstage tours, organizing special events for the cast and crew, and staffing the gift shop and information desk. In return, Partners receive many exciting benefits, from attending special events to learning more about the backstage world of the theatre, all while representing one of the foremost regional theatres in the country. La Jolla Playhouse is deeply grateful for the Partners’ efforts on behalf of the theatre.

A full listing of the Playhouse Partners is available online at LaJollaPlayhouse.org. For more information about the Playhouse Partners, please visit LaJollaPlayhouse.org, or contact the Development Office (858) 550-1070 x142.

SpECIaL THaNKS TO THE PlAYHOuse PArtNers

L-R: Lois Bradbury, JoAnne O’Dea, Reenie O’Dea and Teresa O’DeaPartners Carmen Mannarino and Lois Bradbury prepare Company Breakfast.

PATRON SERVICES is located in the lobby area of each theatre. A representative is available to answer questions and hand out assisted listening devices, restaurant guides, performance schedules and subscription information.

BARS AND CONCESSIONS are open one hour prior to curtain and during intermissions. to avoid the rush, intermission beverages can be ordered before the show. Concessions by:

CAMERAS AND RECORDING DEVICES are strictly prohibited in the theatre. Please check these items with the House Manager and turn off your camera phone.

PARKING is free for subscribers; $2 for the general public on weekdays (free on weekends). Upon arrival to campus, please enter your parking space number and pay the automated paystations located by the information kiosk. Spaces that are not paid for are subject to ticketing by UC San Diego Campus Police.

DOCTORS AND PARENTS expecting calls during the performance should leave their names and seat numbers with the House Manager before the show. Leave the following number with your service: (858) 550-1030.

ACCESSIBILITY

La Jolla Playhouse provides wheelchair-accessible seating and parking. Wheelchair seat locations are available for wheelchair users and a companion at all performances; be sure to advise the reservationist that you require a wheelchair location. Additionally, a golf cart is available to assist patrons with accessibility needs to and from the parking lot. Please notify the Box Office prior to your performance if you are in need of this service; additionally, you may pull into the five minute parking in front of the theatre, and a friendly La Jolla Playhouse greeter will assist you.the Playhouse also provides assisted listening devices for patrons who are hard of hearing. Devices are available, free of charge, at the Patron Services Center prior to performances (subject to availability).

ACCESS One performance of each production is designated as an ACCESS performance. these performances feature American Sign Language interpretations for the deaf and hard of hearing and live audio description for blind/low-vision audience members. Pre-show sensory tours provide design information to enhance the production experience for blind/low-vision patrons as well. ACCESS for The Nightinale takes place on Saturday, August 18, 2:00 pm performance.

LATECOMERS OR PATRONS WHO LEAVE THEIR SEAT DURING THE PERFORMANCE will be admitted to the standing room section of the theatre at the discretion of the House Manager. they may take their assigned seats at intermission. La Jolla Playhouse accepts no responsibility for inconvenience to latecomers. SAFETY IN THE THEATRE DISTRICT La Jolla Playhouse is constantly working with the UCSD Police Department and UCSD transportation and Parking Services, which operates the parking lot and security system, to maintain and improve security conditions for patrons and staff members. Additionally, patrons and staff are welcome to use UCSD Community Service Officers (CSOs) for an escort to their cars by calling (858) 534-WALK (9255). Further questions regarding security may be addressed to UCSD Police at (858) 534-HELP (4357).

BABES IN ARMS Out of respect for fellow audience members and the performers, babes in arms are not permitted in the theatre during performances.

PLEASE SILENCE all electronic devices including cellular phones, watches and pagers before the performance.

THEATRE TOURS tour the stages and production shops of the Playhouse facilities, and learn more about the history of La Jolla Playhouse and the role that it plays in the community. tours are available to groups for a nominal fee.

Listening Devices Provided in Part by

PATRON SERVICES


ArtistiCAssociate Producer Dana I. Harrel Resident Dramaturg Shirley FishmanLiterary Director Gabriel GreeneDirector Emeritus Des McAnuffExecutive Assistant to Christopher Ashley Rick VanNoy Artistic Assistant/Local Casting Director Marike Fitzgerald Commissioned Artists Mark Bennett, Keith Bunin, Kirsten Greenidge, Joe Iconis, Naomi Iizuka, Gregory S. Moss, Ernie Nolan, Basil Twist, Alfred Uhry, Doug Wright

PrODuCtiONProduction Manager Linda S. CooperAssistant Production Manager Cate O. BargerSCENE SHOPTechnical Director Chris BorresonAssistant Technical Director Mike SchwentScene Shop Foreman David WeinerMaster Carpenter Mike CurtisStaff Carpenters Bill George, Tom Lucenti, Ty MeservyStaff Show Carpenters Kyle Ahlquist, Preston SpenceShop Carpenters Mihai Antonescu, William Bender, Jacob Bruce, Stephan Lutz, Stephen Kromka, Carmen WakefieldApprentice Draftsperson Monique Goeders Shop Helper Doug CollindPAINT SHOPCharge Scenic Artist Joan NewhouseAssistant Charge Artist JR BruceScenic Artists Dwaine Best, Vicki ErbePROPERTIES SHOPProp Master Debra HatchAssociate Prop Master Jenny FajermanAssistant Prop Master Jeni CheungProp Shop Foreman Will WidickSoft Goods Elizabeth EganProps Artisans Jason Donaldson, Chris Murillo, Carlos WaumanCOSTuME SHOPCostume Shop Manager Sue MakkooCostume Shop Supervisor Ingrid HeltonCostume Shop Foreman/Tailor Lissa SkilesFirst Hand/Master Stitcher K-Joy Lehmann-WayDraper Sarah MaiselWig and Makeup Supervisor Lisa Wylie First Hands Jan Blankenship, Claudia LaRueCrafts Corey Johnston, Christy JonesStitchers Rebecca FabaresResident Design Assistant Erick SundquistCostume Shop Assistant Desiree Hatfield-Buckley, Traci Van WykELECTRICSLighting Supervisor Mike DoyleAssistant Lighting Supervisor Kathryn SturchStaff Electricians Mike Lowe, Ramon Wenn, Matt WilsonElectricians Kristyn Kennedy, Patricia Lesinski, Andrea Ryan

SOuND/VIDEOSound/Video Supervisor Joe HuppertAssistant Sound Supervisor Rachel LeVineSound Shop Foreman Steve NegreteSound Technicians Rene Barger, Chris LuessmannVideo Engineer Eric May

ADMiNistrAtiON General Manager Debby Buchholz Associate General Manager Jenny Case Assistant General Manager Katherine Stout Human Resources Manager Derrick McGeeCorporate/Legal Counsel Robert C. Wright, Wright & L’Estrange Theatre/Legal Counsel F. Richard Pappas, Esq. Executive Assistant to Michael S. Rosenberg Christopher Hines COMPANY MANAGEMENTAssociate Company Manager Heather LoseyAssistant Company Manager Karissa FerlinCompany Management Assistant Jonathan Orara

FiNANCe Director of Finance John O’Dea Comptroller Brian BaileyInterim Payroll AP George Kelly Production Accountant Sharon Ratelle Information Systems Manager Martin Jones

DeVelOPMeNt Director of Development Deborah Ann TrimbleAssociate Director of Development, Corporate Relations Jill McIntyreAssociate Director of Development, Government & Foundation Relations Erin M. KnightAssociate Director of Development, Individual Giving Antonello Di BenedettoSpecial Events Manager Elizabeth GallowayDevelopment Associate, Individual Giving Sara AbernathySpecial Events Coordinator Laura JacksonDevelopment Coordinator Steven LoneAssistant to the Director of Development Hermione Gilpin

MArketiNg Director of Marketing Mary Cook Director of Public Relations Becky Biegelsen Associate Director of Marketing Mia FiorellaMultimedia Designer Dana HollidayCommunications Specialist Deanna ChewAudience Development Associate Alex Goodman TELESALES / TELEFuNDING Telesales and Telefunding Manager Steven KangSubscription Sales / Fundraising Associate Paul Preston Subscription Sales / Fundraising Representatives Suzanne Eliasson, Thomas Trimble, Dorothy Varonin, Blair WhitcombBOX OFFICE Box Office Manager M. Nikki Cooper-GrigalunusBox Office Assistant Manager Alicia ViolaBox Office Lead Operators Samuel Carr, Pearl Hang

Box Office Reservationists David Armstrong, Janelle Conde, Amanda Prodzinski

eDuCAtiON & OutreACH Director of Education & Outreach Stephen McCormick Education & Outreach Associate Marisol Best Education & Outreach Coordinator Nicole Keepers Audio Describers Mernie Aste, Brian Berlau, Tina Dyer, Shari Lyon, Kay O’Neil, Helen Warren Ross, Deborah Sanborn, Janet Schlesinger, Sylvia SoutherlandASL Interpreters Anelia Glebocki, Hilda Colondres ASL Volunteers Bonnie Fountain, Esther Shen Teaching Artists Jennifer Barclay Newsham, Brian Bose, Rebecca Dennis, Lucas Dominguez, Erin Gordon, Cory Hammond, Wendy Maples, Johamy Morales, Katie Palmer, Erika Phillips, James Pillar, Mary Reich, Megan E. Robinson, Craig Rovere, Cynthia Stokes, Tomas TamayoINTERNS Marisa Acosta, Josephine Austin, Samantha Bentson, Daniel Bradley, Azuceno Cano, Emily Cates, Melissa Colon, Jacob Devine, Taryn Finete-O’Connor, Chloe Foussianes, Micah Frank, Amanda Ghosh, Katherine Heath, Mika Jiaravanont, Elle Kaplan, Alexandra Kritchevsky, Annie Lee, Isabella Leung, Karen Li, Estevan Montemayor, Miriam Mwanga, Frederike Nuelle, Olivia O’Connor, Jordyn Patton, David Pearl, Hannah Prater, Carmen Quiñones, Randi Rudolph, Leah Salovey, Cherie Sandoval, Austin Schumacher, Brittney Scolari, Michael Silberblatt, Mark Suennen, Tammy Valdovinos, Mia Weinberger, Zoe Westbrook2012/2013 STuDENT BOARD OF TRuSTEES OFFICERS Co-Chair Roberto Quiñones Co-Chair Kayla Solsbak Vice-Chair Marisa Acosta Secretary Katie Armstrong

OPerAtiONs Director of Operations Ned Collins Operations Associate Jen McClenahan FRONT OF HOuSE House Manager John Craft Assistant House Managers Katherine Cordova, Amy Covington, Megan Danielson, Philip Kerkstra, Cameron McMartin, Eric Nickerson, Heather Wolf Janitorial Professional Maintenance Systems

AN ILIAD STAFFShow Carpenter Kyle AhlquistWardrobe Supervisor Jan MahLight Board Operators Mike Lowe, Ramon WennSound Engineer Chris Luessmann

LA JOLLA PLAYHOuSEChristopher Ashley, Artistic Director Michael S. Rosenberg, Managing DirectorstAFF

An Iliad Program

Documents

Transcript of An Iliad Program