monsieur chopin and george gershwin...

PERFORMANCES MAGAZINE P1

Welcome

UPCOMING Dear Friends,

Welcome to this performance! Following the success ofHershey Felder’s brilliant premiere of Beethoven, As I KnewHim last month, we’re thrilled that he is completing histrilogy, “The Composer Sonata,” with performances ofMonsieur Chopin andGeorgeGershwin Alone. Globe audiencesare the first in the world to have the opportunity to see allthree parts of the trilogy in succession. Since bothMonsieurChopin and George Gershwin Alone previously had sold-outruns at the Globe, we knew San Diego’s discriminatingaudiences would love this musical and theatrical treat!

The summer is fast approaching, an eventful time at the Globe. Our 2008 Summer Seasonbeginswith the repertory format Shakespeare Festival, featuringRomeo and Juliet,TheMerryWivesof Windsor, and All’s Well That Ends Well. We’re also looking forward to two exciting newproductions,The Pleasure of His Company, directed by Resident Artistic Director Darko Tresnjak,on the Shiley Stage in the Globe, and Sight Unseen, by Pulitzer Prize winner Donald Margulies,at the specially-built arena theatre in the James S.CopleyAuditoriumat the SanDiegoMuseumof Art.

In July,wewill break ground for the construction of theConradPrebys TheatreCenter, featuringa state-of-the-art arena stage, education center and plaza. TheOldGlobe is proud to recognizethe generous donorswhohave helpedus reach thismomentous point in theGlobe’s history. TheCapital Campaign, launched in 2006 with the announcement of the lead gift from DonaldandDarlene Shiley,has now raised over 75%of its goal. As the hammers ring out this summer,we need crucial support to complete the Campaign and secure the future of The Old Globe forthe 21st century.

You can play an important role in helping us reach this goal— and record your support of TheOld Globe in lasting fashion. We are offering donors the opportunity to underwrite a limitednumber of personalized granite pavers, to be installed in the newly-redesigned Copley Plaza infront of theGlobe’s three theatres. The paverswill be the focal point of the plaza’s graceful circulardesign, to be enjoyed bymillions of Globe patrons andBalboa Park visitors for decades to come.

Your contribution to the paver campaignwill also help usmeet a very important challenge. TheGlobe has been awarded a $1 million Challenge Grant by the nationally-renowned KresgeFoundation. To qualify for this grant, theGlobemust raise $9million in new or increased gifts.Your purchase of a paver will help us reach this goal,win the grant— and complete our CapitalCampaign. Your help is critical to this effort! To learnmore about howyou canparticipate,pleasecall the Globe’s Development Office at (619) 231-1941 x2317.

Thank you for choosing to be with us in 2008. We’ll be breaking ground — theatrically andliterally!— this summer. We hope you will be back often to share in the excitement!

2008SummerSHAKESPEARE

FESTIVALJune 14 - September 28, 2008Lowell Davies Festival Theatre

ROMEOANDJULIET

THEMERRYWIVESOFWINDSOR

ALL’SWELLTHATENDSWELL

THEPLEASUREOFHISCOMPANY

July 12 - August 17, 2008Old Globe Theatre

SIGHTUNSEENAugust 2 - September 7, 2008The Old Globe Arena Stageat James S.Copley Auditorium(San DiegoMuseum of Art)

THEWOMENSeptember 13 - October 26, 2008

Old Globe Theatre

BACKBACKBACKSeptember 19 - October 26, 2008The Old Globe Arena Stageat James S.Copley Auditorium(San DiegoMuseum of Art)

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Executive Producer

P2 PERFORMANCES MAGAZINE

Season SponsorsThe Old Globe is deeply grateful to its Season Sponsors, each of whom has made an annual donation of $50,000 or greater.

These gifts are critical to maintaining the Theatre’s high quality of artistic programming and award-winning work in the community.

To become a Season Sponsor, please contact Director of Development Todd R. Schultz at (619) 231-1941 x2310.

TheLeglerBenboughFoundation

JohnA.Berol

KarenandDonaldCohn

PeterCooperandNormanBlachford

Valerie andHarryCooper

AudreyS.Geisel

GlobeGuilders

SupervisorBillHornandtheCountyof SanDiego

Deni andJeff Jacobs

JoanandIrwin Jacobs

Las Patronas

TheLipinskyFamily

ConradPrebys

DonaldandDarleneShiley

SupervisorPamSlater-PriceandtheCountyof SanDiego

Sheryl andHarveyP. White

Anonymous


Old Globe Theatre,Donald and Darlene Shiley StageJune 11 - June 22, 2008

SCENIC DESIGN

Yael PardessLIGHTINGDESIGN

Richard NorwoodASSISTANT LIGHTINGDESIGN

TamoraWilson

PRODUCTIONCONSULTANT

Jeffrey Kallberg, Ph.D.

PROJECTIONDESIGN

John Boesche

SOUNDDESIGN

Benjamin Furiga

DIRECTED BY

Joel Zwick

PRODUCTION STAGEMANAGER

GiGi GarciaPRODUCTIONMANAGER/TECHNICAL DIRECTOR

Matt Marsden

THE EIGHTY-EIGHT ENTERTAINMENTSAMANTHA F. VOXAKIS AND LEE KAUFMAN PRODUCTIONOF

THEMUSICOF

Fryderyk ChopinBOOK BY

Hershey Felder

Monsieur Chopinwas developed inWarsaw, Poland; Paris, France; and Chicago.First performance,World Premiere Preview - 30 August, 2005

Royal George Theatre, Chicago

PRESENTS


Cast o f Charac ter s

MONSIEURCHOPINCAST

Fryderyk Chopin ...............................................................................................................................................................Hershey Felder

StageManager .......................................................................................................................................................................GiGi Garcia

The action takes place in Fryderyk Chopin’s salon, 9 Square d’Orléans, Paris.The date is 4March 1848, afternoon.

There will be no intermission

The StageManager employed by this production is a member of Actors’ Equity Association,the Union of Professional Actors and StageManagers in the United States.

Si desea una sinopsis de esta obra en Español, favor de pedírsela al acomodador que le entregó este programa.If you would like a synopsis of this production in Spanish, please request it from an usher.

MONSIEUR CHOPIN and GEORGE GERSHWIN ALONEare supported, in part, by the following generous sponsor:

HMElectronics, Inc. (HME)was the first company to develop awireless intercom system that

quickly became the industry standard among broadcast and entertainment professionals. In

tonight’s performance and many others throughout the year at the Globe, HME’s generous

gift of equipment provides clear and reliablewireless communication betweenmembers of the

Globe’s Production staff.


Bridge to Broadway

The Old Globe would like to recognize andthank the following generous individualswho have made extraordinary gifts of

$1 million or more to this organization. Thesemajor contributions have been designated forartistic projects, the endowment and facilities,and help The Old Globe remain one of our

country’s great theatre institutions.

Leadership Gifts to The Old Globe

$20,000,000 or greater

Donald and Darlene Shiley


Conrad Prebys


Sheryl and Harvey White

Kathryn Hattox

Karen and Donald Cohn


California Cultural andHistorical Endowment

Estate of Dorothy S. Prough

The Rivkin Family

Estate of Beatrice Lynds

Audrey S.Geisel /San Diego Foundation

Dr. Seuss Fund

Mr. andMrs. Victor H.Ottenstein

Mrs.Helen Edison

The Stephen andMary BirchFoundation

The Kresge Foundation

The Old Globe Salutes the Supporters of

BRIDGE TO BROADWAYTanyaandCharles BrandesKarenandDonaldCohn

PeterCooperandNormanBlachfordPamFarr

Jake andToddFigiSueandJohnMajor

RobinandHankNordhoffSheryl andHarveyWhite

Bridge toBroadway is a special fundraising programto launch Globe productions bound for the GreatWhite Way. To date, 20 Globe plays and musicalshave gone on to Broadway, including the currentproduction of A Catered Affair, which was nominatedfor twelve Drama Desk Awards and three TonyAwards.

Participants inBridge toBroadway enjoyed a privatedinner in one of New York’s finest restaurants andattended the opening night performance and castparty of A Catered Affair. Those who purchased thepackage during the Live Auction at the Globe Galaalsowere able to fly toNewYork and back by private jet,whichwas very generouslydonated by Sheryl and HarveyWhite.

Formore information or to participate in the nextBridge to Broadway excursion,please contact Director of Development Todd Schultz at (619) 231-1941 x2310.

PHOTO (L-R): LESLIE KRITZER ANDFAITH PRINCE. PHOTO BY CRAIG SCHWARTZ.

The Old Globe is pleased to recognize Silverjet as a new Globe ProductionSponsor. This British airline offers low-fare business class seats with flights betweenLondon - New York and London - Dubai. Silverjet provides travelers with the use ofprivate terminals and personalized services, both on the ground and in luxuriouscabins on the plane.

At previous Globe Galas, live auction packages included travel to London withaccommodations at Waddesdon Manor, the Rothschild’s family home, or the FourSeasons London. Thewinning bidders of these auctionpackageswill travel fromNewYork to London, compliments of Silverjet.

The 2008 Globe Gala will be held on Saturday, September 20.To learn more about the Globe Gala, please contact the Development

Office at (619) 231-1941 x2317.

Provides Airfare forGlobe Gala


Board of Direc tors

Major funding provided by the City of San Diego Commission for Arts and Culture.

The Old Globe is supported in part by grants from Supervisor Pam Slater-Price and The County of San Diego.

Donald Cohn,Chair,Board of Directors

Dear Friends,I am pleased to welcome you to this performance. Hershey Felder’sMonsieur Chopin and George Gershwin

Alone are a special treat, added to the Globe’s season to offer you an unprecedented opportunity, along withlast month’s Beethoven,As I Knew Him, to see all three parts of “The Composer Sonata.” Enjoy the show!

This summerwewill begin construction for theGlobe’s new facilities,which include a new education centerfor expanded education and outreach programs, a new arena stage offering enhanced technical capabilities andincreased audience comfort, as well as a gorgeous new plaza.

With construction beginning, we are entering the final phase of our Capital and Endowment Campaign.With extremely generous leadership support fromDonald and Darlene Shiley, Conrad Prebys, and our Boardof Directors, the Campaign has reached 75% of goal. To help the Globe complete the final,most challenging

phase of the campaign, the nationally-renowned Kresge Foundation has awarded us a Challenge Grant of $1 million to securecommunity support.

Elsewhere in this program (see page p12) you can read about a special opportunity to assist the Campaign and leave the imprint of yoursupport for The Old Globe for future generations with the purchase of a personalized granite paver in the central plaza. I invite you to joinwith the Globe family at this crucial juncture and help us meet the Kresge Challenge.

DIRECTORSMary Beth Adderley-WrightJoseph BenoitDeni S.CarpenterRobert CartwrightPeter J. CooperValerie S.CooperStephenM.CusatoElaine Bennett DarwinDavidW.DownJoel EwanPamela A. FarrJake FigiSally Furay, R.S.C.J.HaroldW.Fuson, Jr.*Victor P.GálvezRobert Gleason

BOARD OF DIRECTORS / OFFICERSDonaldCohn*

ChairKathyHattox*ImmediatePast Chair

AnthonyS.Thornley*Vice Chair Finance& Treasurer

SandraRedman*Vice ChairNominating

HarveyP.White*Secretary

SusanMajor*Vice ChairDevelopment

Martin GoodmanViviana IbañezDeni JacobsDaphne JamesonMitzi Yates LizarragaTimothy A.MacDonaldFernMurphyMarianne NelsonArthur NeumannRobin NordhoffRafael Pastor*Conrad Prebys*John RebeloSara Rosenthal,M.D.Jeri RovsekJean ShekhterNancy A. Spector

Louis G. Spisto*Daniel L. Sullivan, Ph.D.Julie H. Sullivan, Ph.D.EvelynMack TruittDebra TurnerCrystal WatkinsRuthWikberg-LeonardiJune YoderCarolyn YorstonDeborah YoungTim K.Zinn

EMERITUSDIRECTORSGaret B.ClarkJ.Dallas Clark (1913–2005)Bernard Lipinsky (1914-2001)Delza Martin (1915–2005)

Patsy Shumway

HONORARYDIRECTORSMrs.Richard C.Adams(1912–2005)Clair Burgener (1921-2006)Mrs. John H. Fox (1908–2003)Audrey GeiselPaul HarterGordon Luce (1925-2006)Dolly Poet (1921-2007)Deborah SzekelyHon. PeteWilson

*Executive Committee Member


MONSIEUR CHOPIN Author’s Note by Hershey Felder

MONSIEURCHOPIN is the second “movement” of a trilogy entitled “TheComposer Sonata.”The first movement,Beethoven, had its world premiere this season, and the finale,George GershwinAlone, has been playing since February, 2000.

Traditionally, a Sonata is made up of three movements. The first movement is generally in“sonata form.” It is a highly structured work that begins with a thematic statement,which is thenfollowedby a “working out” section, followedby a return of the themes, then further development,and finally a rounding out – a coda. First movements are generally dramatic, architectural, deeplythoughtful and emotional. This is Beethoven.

Traditionally, the second movement of a sonata is a “Romanza” of sorts, a lush and beautifulexpression of soul. This is Monsieur Chopin.

Finally – the last movement of the traditional sonata is generally dance-like, extroverted andjoyous,though still in someway thematically related to the previous twomovements.This isGeorgeGershwin Alone – the themes of which are suggested in both of its predecessors.

Monsieur Chopin - A “Romanza” for actor and piano.

Fryderyk Chopin (Zelazowa Wola, Poland 1810 - Paris, France, 1849) is thought of today as the “poet of thepiano” whose keyboard compositions are of an unparalleled beauty. He is considered the inventor of theromantic piano sound, as well as the originator of the technical approach to the keyboard still in use today.His unprecedented and exotic use of melody and harmony anticipates impressionism in music – amovement that would only come to fruition almost half a century after his death.

WhenFryderykChopin first arrived in Paris fromhis Polish homeland in 1831,his abilities at the keyboardcaused a sensation not only among Paris’ high society, but also among his accomplished and celebratedartist peers.However,even thoughhemade Paris his home,he continued to live as a Pole in exile rather thanas a Parisian.He surrounded himself with other Polish exiles, and he instilled his Polish soul into every notethat he composed.Even throughout his love affair with France’smost famouswoman,his longing for the soundsand the rhythms of his homeland was the basis of many of his compositions.

Today, we know Fryderyk Chopin as the most perfect of keyboard composers, but in his day, he actually earned his living as a piano teacherfor the very wealthy and cultured elite.He had but a few professional pianists among his students, yet he took his teaching very seriously andhis students were expected to be equally serious about their own work.

It is known that on matters of daily life, Chopin did not express his innermost feelings so readily, but his students did report that every nowand then during their lessons, Chopin would begin to reveal himself to a degree that no one besides his students would experience. In theend, those who knew Fryderyk Chopin best have said that only his students really experienced the deepest gifts of their master, and that as ateacher, Chopin was the greatest of them all.

Paris, the 4th of March, 1848Welcome to your lesson.

Hershey Felder as Monsieur Chopin

Fryderyk Chopin, 1849


Program Notes

Chopin: A ChronologyMarch 1, 1810 - Fryderyk Franciszek Chopin born inZelazowa Wola, west of Warsaw, to Mikolaj and TeklaJustyna.

April 1, 1810 - Mikolaj Chopin is awardedaposition at theWarsaw Lyceum, and moves his family to Warsaw. TheChopin family’s first apartment is located in the SaxonPalace.

1815-1816 - Music permeates the Chopin household:Mikolaj plays violin and flute,whileMme. Chopin plays thepiano and sings. According to Izabela, her brother ‘soonbegan to display a sensitivity to musical impressions bycrying.’

1816 - Six-year-old Fryderyk begins regular lessons underWojciech Zywny, formerly a teacher at the family boardinghouse. Chopin never has another piano teacher.

March, 1817 -The Chopin familymoves,with theWarsawLyceum, to the Kazimierz Palace. Chopin’s firstcompositions: polonaises,militarymarches and variations.

November, 1817 - Polonaise in G Minor is published.

1819 - As a child prodigy, Chopin begins to perform in thehomes of nobility and aristocracy.

April 10, 1827 - Chopin’s youngest sister, Emilia, dies ofconsumption. At the Powanzki cemetery, her gravestonereads: ‘Perished in the fourteenth spring of her life, like aflower in which blossomed the beautiful promise of fruit.’

April 21, 1829 - At a concert, Chopin meets KonstancjaGladkowska, his ‘first love’.

1830 - Chopin is part of active artistic life of Warsaw;composes waltzes, mazurkas, and écossaises.

February 26, 1832 - Chopin’s first concert in Paris, in theSalle Pleyel, as one of thirteen performers. The audienceincludes the musical elite of Paris, including Franz Liszt.

April 13, 1833 - Mikolaj Chopin writes to his son: “… inspite of your talent and the flattery which they lavish onyou – it is hot air, they will not help you in times of need.Should, God forbid, some indisposition or illness force youto break off your lessons, you will be threatened withpoverty in exile.”

June20,1833 - Chopin’s friendships, including thosewithfellow composers, becomemore intimate. Although he isat times critical of theirmusic, hededicates someof his owncompositions to them (“a mon ami F. Liszt”).

Throughout the first part of the nineteenth century, and particularly inthe years between the revolutions of 1830 and 1848,Pariswas amecca for pianists.They came from all parts of Europe to flaunt their virtuosity and to sell theirmusic. Pianos,pianists andpianomusic captured the attentionof thenineteenth-century Parisian musical public to a degree scarcely imaginable today.

In a concert life so fully freighted with pianists,wemight suppose that therewould have been little to distinguish FryderykChopin's debut before the Parisianpublic in 1832 from that of any of the other flock of keyboard artists. In themindsof his contemporaries, however, Chopin stood apart from the crowd in oneessential way: he was not only a virtuoso pianist, he was also a Pole. “ConcertbyMonsieurChopin,fromWarsaw," announced the title of the reviewof Chopin'sfirst public appearance in Paris, and from this moment, it seemed impossible toimagine Chopin the pianist and composer without also bringing to mind hisnative origins.

Chopin stood apart from other virtuosos by virtue of his coming from anexotic, distant land. From the start, the Polish element in Chopin's musicprovoked perceptions of foreignness, of strangeness. Chopin seemed inex-

tricably linkedwithhis nativeorigins; his Polishnessconstituted one of theprimary images throughwhich listeners filtered hismusic. This primary imageimplied in turn a close andpervasive relationship be-tweenChopin's entire oeuvreand nineteenth-centuryPolish history and culture.And that this epoch evokeshighly charged memories —throughout the nineteenthcentury, the state of Poland,

erased from themap,existed only in theminds of a disen-franchised citizenry—further solidifies this relationship. To hear Chopin was in some sense to “hearPoland."

Monsieur Chopin,The Polish Virtuoso

CHOPIN’S CHILDHOOD HOME IN ZELAZOWAWOLA,POLAND, 30 MILES OUTSIDE OF WARSAW.

By Dr. Jeffrey Kallberg


September 9, 1836 - Chopin asks for the hand of 17-year-old MariaWodzinska, and is accepted, on conditionthat he takes care of his health. During their secretengagement, Chopin writes what would become the firsttwo Etudes of Op. 25 in his fiancée’s album.

October, 1836 - At a soirée at the residence of CountessMarie d’Agoult,meets 32-year-oldGeorge Sand for the firsttime. Writes: “What an unpleasant woman!”

April 3, 1837 - In a letter to CountessMarie d’Agoult, Sandwrites: “Tell Chopin that I idolize him.”

May, 1838 - In a now-famous 32-page letter to Chopin’sclose friendWojciechGrzymala, Sandwrites:‘I ask not if heloves or is loved, if he loves her more or less than me…Iwant to know which of us he should forget or abandon inorder to preserve his peace, his happiness, his life, indeed,which appears to be too frail and faint to be exposed togreat suffering.’

June-November 1841 - Spends summer and fall atSand’s estate inNohant. Composes sevennewopuses (Nos.43-49).

July 30, 1842 - Spends ten days in Paris with Sand,choosing a new apartment. They decide on a complex ofhouses; Sand would live at no. 5, Chopin at no. 9.

May 3, 1844 - Mikolaj Chopin dies inWarsaw.

Summer, 1848 - Chopin’s pessimism grows: “I am nolonger capable of sadness or joy – I have used up myfeelings completely– I only vegetate andwait for it to endmore quickly.”And in a letter to Grzymala, hewrites "I feelalone, alone, alone, although surrounded by people.”

October 17, 1849 - Shortly after midnight, FryderykChopin dies. His last words were reportedly: “Matka, mojabiedna matka”[Mother, my poor mother].

October 30, 1849 - Thousands attend Chopin’s funeralin Church of the Madeleine. Music performed during theservices included Preludes in E Minor and B flat, Mozart’sRequiem, and the Funeral March from the B-Flat MinorSonata. Although Chopin is buried in the Pere-Lachaisecemetery, his heart rests in the Church of the Holy Cross inWarsaw.

Chopin especially encouragedthis way of hearing in hismazurkas and polonaises. Bothgenres traced their dance andvocal origins back to Poland (themazurka was cultivated primarilyin folk and urban dance spheres,the polonaise inmore aristocraticcircles). One reason Chopinturned so often to these distinctlyPolish kinds of music was thatthey gave him the chance throughtheir familiar rhythmic and formalgestures directly to evokememories of different aspects andstrata of Polish culture.

But listeners in Chopin's daymore generally construed anationalist element in all of his music. Some of them, especially in WesternEurope, perceived a “cultural” nationalism: for them, Chopin’s music evokedimages of Polish customs, beliefs, social forms, ethnic groups and language, butdid not engage expressly with the political status of the country. On the otherhand, Chopin’s Polish audiences were more inclined to hear a “political"nationalism in which the issue of the sovereignty of Poland was understood tolay at the expressive core of the composition.

Chopin himself left only a few vague verbal clues that testify to hisunderstanding of the nationalist element in his music. Yet the very elusivenessof these statements is suggestive. For in light of Chopin's abiding avoidance ofpolitical activism,they imply that he gravitatedmost comfortably to expressionsof cultural nationalism. Hemight certainly have hoped that listeners at the sametime reflect on the Polish political situation (following the Russian defeat of thePoles' 1830 “November uprising," the plight of Poland was much discussedthroughout Europe during the 1830s and 1840s). NonethelessChopin probablydid not normally view his music as a tool for political engagement.

—Dr. Jeffrey Kallberg is the Professor of Music History and Chair of the Department ofMusic at the University of Pennsylvania. He is the author of Chopin at the Boundaries: Sex,

History, andMusical Genre (Harvard University Press).

from Warsaw:1830 - 1848

CHOPIN’S PIANO.


SCENIC DESIGN

Yael PardessLIGHTINGDESIGN

Michael T.GilliamORIGINAL SOUNDDESIGN

Jon Gottlieb

MUSIC & LYRICS BY

GEORGEGERSHWIN& IRA GERSHWINBOOKBY

Hershey Felder

DIRECTED BY

Joel Zwick

PRODUCTION STAGEMANAGER

GiGi GarciaASSISTANT LIGHTINGDESIGN

TamoraWilsonPRODUCTIONMANAGER/TECHNICAL DIRECTOR

Matt Marsden

THE EIGHTY-EIGHT ENTERTAINMENTSAMANTHA F. VOXAKIS AND LEE KAUFMAN PRODUCTIONOF

HersheyFelderas

Original Wardrobe forGeorge Gershwin Alone provided by Kenneth Cole

Originally developed at the Tiffany Theatre, Los Angeles

Produced on Broadway by Hershey Felder, RichardWillis,MartinMarkinson

Produced in London'sWest End at the Duchess Theatre by Hershey Felder,Nicholas Paleologos, Jeff Sine,Robert Birmingham,Peg Golden, and Lee Kaufman

The worldwide copyright to the works of George and Ira Gershwin for this presentation are licensed by the Gershwin Family.The rights for the name, likeness, and life story of George Gershwin used in this presentation are licensed by the George Gershwin

Family Trust. GERSHWIN ® and GEORGEGERSHWIN ® are the registered trademarks of Gershwin Enterprises.

Old Globe Theatre,Donald and Darlene Shiley StageJune 25 - June 29, 2008

PRESENTS


Cast o f Charac ter s

GEORGEGERSHWINALONECAST

George Gershwin ..............................................................................................................................................................Hershey Felder

StageManager .......................................................................................................................................................................GiGi Garcia

There will be no intermission

Si desea una sinopsis de esta obra en Español, favor de pedírsela al acomodador que le entregó este programa.If you would like a synopsis of this production in Spanish, please request it from an usher.

DID YOU KNOW . . .

TheOldGlobe is the6thlargestproducingtheatreintheU.S.,with a larger andmore variedrepertoire than any other. We’re a San Diego landmark and a national artistic leader.

TheOldGlobewas recentlyawardedour4thconsecutive4-starrating forsuperiorfinancialmanagementbyCharityNavigator, the foremost evaluator of non-profit organizations. Thisranking puts the Globe in the top 6% of all non-profit organizations nationwide (thatincludes not just theatres,but hospitals,museums,charities,etc.). When youbuy tickets andcontribute to the Globe, you can be assured we use your money well!

The Old Globe’s EducationDepartment serves 50,000adults andchildrenevery yearwithstimulating and informative workshops, student matinees, pre- and post-show talks anddiscussions,professional development for teachers, and the bilingual Summer ShakespeareIntensive for high school students.

TheOldGlobe/University of SanDiegoMasterof FineArts is one of the topprofessionalactor training programs in the country. Founded in 1987 by Craig Noel and Sally Furay,R.S.C.J. to ensure that future generations of actors have strong training in classical theatre,the program has graduated nearly 150 accomplished young actors who now perform onBroadway and at regional theatres all over the country—including the Globe!


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Near the entrances of the two theatreswill be the Granite Pavers recognizinggifts of $50,000 and $25,000.

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$10,000GranitePavers (11” x7”)

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The questionmost often asked by journalists, artists and the public is “Whatdiscovery about George Gershwin surprised you most?”

The response that immediately comes to mind is the polarization of opinionabout everything Gershwin. He was beloved by the public at large, but hedivided the critics in half.His friends and acquaintances said they either lovedhim deeply, or simply tolerated him. There were those that said he was awomanizer, and others that he had only one mistress— his music.

Musicians and composers either loved his playing and composing — orcompletely dismissed it.Therewere friendswho said hewas aman in lovewithhis art, and others who said he was aman in love with himself.While RoubenMamoulian, famed director of Porgy and Bess, said that George had a genuineway of observing himself from the outside, Harold Arlen and other friendsclaimed that George lacked any ability for self-analysis. And although heengaged in sessionswith a psychoanalyst over a lengthy period,George himselfsaid that he really had no interest in looking deep inside.

A child of Russian-Jewish immigrants,GeorgeGershwin brought dancemusicinto the concert hall and made a “lady out of jazz.” He composed America’sgreatest opera with the Black South as its subject matter, which interestinglyenough, led to anumber of anti-Semitic attacks.George’s personal letters reveala very kind-hearted man, but there are a number of accounts to the contrary.There are recordings of George Gershwin’s own playing that are masterful, and others that reveal technical and musical deficiencies.

So given this polarization of thought,what was George Gershwin really like, and why did so many respond to him the way they did?TheMusic.

Thank you for attendingGeorge Gershwin Alone.

—Hershey Felder

GEORGE GERSHWIN ALONE Author’s Note by Hershey Felder

PHOTOS:HERSHEY FELDER AS “GEORGEGERSHWIN,“ PHOTOS BYMARKGARVIN.


Program Notes continued

OURCONNECTIONTOGEORGEBy Hershey Felder

In 1932, American composer

GeorgeGershwinwas a guest on the

Fleischmann Hour Radio Show,hosted

by the classic American crooner,

Rudy Vallee. Radio was still quite

new,and for the first time in history,

people from across the nation were

able to tune in and catch a few live

magicalmoments,all at the same time.Some years afterGeorge died,his

older lyricist brother, Ira,came across a number of long-forgotten acetate

discs stored in a family closet. To Ira’s shock, on one of the discs was a

complete and clear recording of this very radio show. Immediately after

Vallee’s brief introduction,there is a frissonof energy andGeorge’s fingers

hit the keys in a rising major chromatic passage that gives birth to a

glorious improvisation as good as its name:FascinatingRhythm.Themusic

and playing is infused with such joy that it is impossible not to want to

dive into the recording itself and somehowbe a part of aworld long gone.

There is something inGeorgeGershwin’smusic,and evenmore sowhen

one hears him play it, that brings him, completely and unequivocally, to

life.What is evenmoremiraculous is thatwhenone hears this recording,

one feels it to be familiar. What is it about George Gershwin and his

music that makes us connect with it in such a strong way?

Brooklyn-born in 1898,he had the gift of “hearingmusic in the heart

of noise.” Gershwin grewup to captureAmerican sound inmusic—“our

national pep,ourmetropolitanmadness,our blues.”His formal keyboard

lessons began at the age of 10, at which point, he immediately

commandeered the family piano away from his older andmore bookish

brother, Ira.George’s publicmusical life beganwhenhewas 15,pounding

out tunes for prospective sheet music publishers and buyers on New

York’s famed Tin-Pan Alley.With a natural keyboard ability and a special

gift for melody and harmony,George quickly made his way from song-

plugger to songwriter and,by the timehewas26 years old,with the 1924

New York premiere of Rhapsody in Blue, to concert hall composer and

major international star.

Songwriter Irving Berlin quipped, “George Gershwin is the only

songwriter I knew who became a composer.” George himself never cast

aside his natural gift for the creation of the great American song. In fact,

he was writing songs right up until the very end when he died of a brain

tumor in 1937 at age 38. As the last thing that George was working on

when he died was a melody left only in sketch form, it was up to his

brother Ira,withwhomGeorgewrote someof theworld’smost enduring

love songs,and their friend,musicianVernonDuke,to completeOurLove

is Here to Stay. Almost three quarters of a century later, there is no doubt

that Ira’s great romantic lyric also describes the enduring quality of his

andhis brother’s love—theirwork.George and Ira’smost beloved songs

have made their way into the public consciousness not just because of

their inventive and haunting sounds, but also because of the humanity

of Ira’s words. However, the most famous Gershwin work of all is the

wordless Rhapsody in Blue. How is it that a concerto-like collection of

loosely strung together themes and variations from a young composer

without much of a structural master plan is as beloved 80 years after its

debut as on the day its first note was born? Why do we connect to this

piece in the way we do?...

…Although throughout the years “serious” musicologists have

complained about the structure of the Rhapsody, one only has to look at

the first fewpages to seeGeorge’s genius uponwhich he builds the entire

piece. Two simple themes are turned inside out and sideways in at least

three keys with nary a sign of boredom.Then, just when things couldn’t

get more joyful, George introduces another seemingly unrelated theme

in Gmajor.Had he run out of ideas? Of course not!

This theme answers the one that directly precedes it.His themes are

talking to one another.A second American has entered the scene— and

he, too, has something to say to that which came before him! The new

melody is turned in everywhichway and inmore than one key,and pulls

L - R GEORGE GERSHWIN,DUBOSE HEYWARD, IRA GERSHWIN,PHOTO FROM THE GERSHWIN COLLECTION AT THE LIBRARY OF CONGRESS.


us into to its

rhythmic grasp,

because George

uses held notes

where the third

beat isn’t played.

One-and-two-

HOLD-and-four

– an inner

rhythmwhere the

composer makes

good on his promise to cap-ture the rhythm of American life in

sound.This is what America is about.We hold ontowhat we believe….

It has been said by those in the know, that the Rhapsody’s Finale

doesn’t broaden enough to allow us the full effect of a climax— that it

sneaks uponus,and robsus of the time to feel satisfied.Naturally!With

FORMORE INFORMATION ABOUTOLDGLOBE PRODUCTIONS, PLEASE VISIT OURWEBSITE AT www.TheOldGlobe.org.

ASELECTIONOFCOMPOSITIONS. . .BY GEORGE GERSHWINu George White's Scandals of 1920, 1921, 1922, 1923, 1924

u Lady,Be Good! (1924, lyrics by Ira Gershwin)

u Rhapsody in Blue (1924), his most famous work, a symphonic jazz composition for Paul Whiteman's jazz band & piano; premiered at Aeolian Hall

u Concerto in F (1925), three movements for piano and orchestra; premiered in Carnegie Hall by the New York Symphony Orchestra,Walter Damrosch conducting

u Oh,Kay! (1926, lyrics by Ira Gershwin and Howard Dietz)

• Includes the song, Someone to Watch Over Me

u Strike Up The Band (1927, lyrics by Ira Gershwin); premiered in Philadelphia

u Funny Face (1927, lyrics by Ira Gershwin)

u An American in Paris (1928), a symphonic poemwith elements of jazz and realistic Parisian sound effects; premiered at Carnegie Hall by the New YorkPhilharmonic,Walter Damrosch conducting

u Show Girl (1929, lyrics by Ira Gershwin and Gus Kahn)

u Girl Crazy (1930, lyrics by Ira Gershwin)

u Of Thee I Sing (1931, lyrics by Ira Gershwin)

• Awarded the Pulitzer Prize for Drama in 1932, the first musical to win that award, although only Ira Gershwin and the bookwriters were awarded thePrize, but not George Gershwin

u Second Rhapsody (1931), for piano and orchestra, based on the score for a musical sequence fromDelicious; premiered at the Boston Symphony Hall by theBoston Symphony Orchestra, Serge Koussevitzky conducting

u Cuban Overture (1932), originally titled Rumba, a tone poem featuring elements of native Cuban dance and folk music; premiered at the Lewisohn Stadiumof the City University of New York,Gershwin conducting

u Variations on I Got Rhythm (1934), a set of interesting variations on his famous song, for piano and orchestra

u Porgy and Bess (1935, lyrics by Ira Gershwin and DuBose Heyward)

• Revived on Broadway in 1942, 1943, 1953, 1976 (Houston GrandOpera;winner of the Tony Award for Most Innovative Revival of a Musical, directedby Jack O’Brien) and 1983.

GEORGE GERSHWIN PLAYS PIANO AT THE RKO CONVENTION IN JUNE 1937.TAKEN BY AN UNKNOWN PHOTOGRAPHER THIS IS THE LAST PHOTOGRAPH

TAKEN OF THE COMPOSER.

such vision as George Gershwin had, such a gift — and still, so much

more to say — how could George have given it a solid, full-blown and

final end?Americawas just begin-ning,aswas its greatest composer,and

the energetic and punchy finale is about the excitement of all which still

lies ahead.

That George Gershwin didn’t live to see the opening night of

Oklahoma orWest Side Story,MyFair Lady or Fiddler on theRoof or evenmeet

Obi-Wan, John Williams and Star Wars, is a tragedy. By right, a father

should be present at the successes of his young sons.But even thoughhe

died when just a young man himself, 67 years after he is gone, we still

connect to his music as if it were just composed today, and composed

especially for us — because what George Gershwin created was more

than just the foundation of amusical and cultural country.He left uswith

the musical reflection of who we are.

—Hershey Felder, February, 2004

FORMORE INFORMATION ABOUT GEORGE GERSHWIN ALONEPLEASE VISITwww.gershwinalone.com.


HersheyFelder(Monsieur Chopin/George Gershwin/Playwright)B R O A D W A Y ,LONDON’SWESTEND: George

Gershwin Alone, Helen Hayes Theatre,Duchess Theatre. REGIONAL ANDINTERNATIONAL APPEARANCES:include Monsieur Chopin, Chicago’s RoyalGeorge Theatre, The Geffen Playhouse,Arizona Theatre Company, AmericanRepertory Theatre, Hartford Stage, RaviniaFestival, The Old Globe Theatre, ClevelandPlayHouse;Command Performance for thePolish Ambassador to the United States,Polish Embassy, Washington; UijeongbuTheatre Festival, South Korea. GeorgeGershwin Alone, 2004-2005 Chicago; 1999-2008at Ford’s Theatre,AmericanRepertoryTheatre, Hartford Stage, The GeffenPlayhouse (2007 Los Angeles OVATIONAwards, Best Musical and Best Actor), TheOld Globe Theatre, Arizona TheatreCompany, Prince Music Theatre(Philadelphia), Cleveland Play House, TheGilmore Festival, Ravinia, El Paso,Uijeongbu, and others. UP-COMING:Monsieur Chopin in Paris and Warsaw;Beethoven, As I Knew Him at the GeffenPlayhouse, Cleveland Play House, ArizonaTheatre Company and others.COMPOSITIONS: include Fairytale, amusical; Les Anges de Paris, Suite for Violin andPiano;Song Settings,poetry byVachel Lindsay;Aliyah, Concerto for Piano and Orchestra;Saltimbanques for Piano and Orchestra; EtudesThematiques for Piano. RECORDINGS:include Love Songs of the Yiddish Theatre, BackfromBroadway, andGeorgeGershwinAlone andMonsieur Chopin for the WFMT RadioNetwork Recordings label. Worldwide livebroadcast,George Gershwin Alone, July 2005.CURRENTPROJECTS:include aNegaunee

Foundation Chicago compositioncommission, and a new musical, HistoireD'Amour a Paris/A Paris Love Story.Mr.Felderis on the Board of Directors of the ChicagoCollege of PerformingArts.Hehas also beena Scholar in Residence at HarvardUniversity’s Department of Music. Mr.Felder is married to Kim Campbell, formerPrimeMinister of Canada.

Joel Zwick(Director)Joel Zwick directedMyBig FatGreekWedding,the highest-grossing romantic comedy of alltime,produced by TomHanks,RitaWilsonand Gary Goetzman. Recent films includeFatAlbert (withBill Cosby),andElvisHas Leftthe Building, starring John Corbett and KimBasinger.Mr. Zwick directed the Broadwayproduction of George Gershwin Alone at theHelen Hayes Theatre, as well as all otherproductions.Mr.Zwick began his theatricalcareer at La Mama E.T.C., as director of theLa Mama Plexus. He has directed onBroadway, Off-Broadway and Broadwaytouring companies. Currently,Mr. Zwick isrecognized as Hollywood’s most prolificdirector of episodic television, having thedirection of five hundred and twenty-fiveepisodes to his credit.These include havingdirected twenty-one pilots,which have goneon to become regular series. Televisionshows include: Laverne & Shirley, Mork &Mindy,BosomBuddies,Webster,Perfect Strangers,Full House, Step By Step, Family Matters, It’s aLiving,Bros.Wayans, Joanie Loves Chachi, JamieFox,Kirk,Parent’Hood,Angie,OnOurOwn,TwoOf AKind,Love Boat,Hangin’WithMr.Cooper,etc. Previous New York productions haveincludedDanceWithMe (Tonynomination),Shenandoah (Broadway national tour),Oklahoma (national tour) and Cold Storage(American Place Theater). He acted in theoriginal New York production of MacBird.He directed Esther, Promenade Theater,NY;Merry-Go-Round (Chicago and Las Vegas);

Last Chance Saloon and Woycek, West End,London.Mr.Zwick has taught drama at YaleUniversity, Brooklyn College, QueensCollege, Wheaton College, and theUniversity of Southern California. He is agraduate (B.A.,M.A.) of Brooklyn College.

Yael Pardess(Scenic Design)Yael first collaborated with Hershey Felderon George Gershwin Alone in Los Angeles,followed by productions on Broadway,London, and throughout the U.S. Priorprojects with Mr. Felder includeRomantique, Sing, and Back fromBroadway. Her work has been seen onBroadway andmanymajor regional theatresincluding theMarkTaper Forum inL.A., theGuthrie in MN, A.C.T. in S.F., A.R.T.Cambridge, Oregon Shakespeare Festival,and Hartford Stage. Yael began her theatrecareer designing sets and costumes in Israel.Sincemoving to theUnited States nineteenyears ago, she has designed more than 150sets, many of which were award winnerssuch as: Blade to the Heat, Scenes from anExecution, Richard the II,Much Ado aboutNothing,Burn This,StandUpTragedy,TheCherry Orchard, Death and the Maiden, toname a few. She has collaborated withleading directors such as Joel Zwick, TomMoore, Assad Kelada, David Lee, KristoferTabori, Robert Egan, Jo Bonney, PeggyShannon, Seret Scott and Ron Link. Inaddition, Yael is art directing forcommercials,andmultimedia venues.Whileworking at a Los Angeles-based designcompany, she art-directed theatre showswith multiple stages and sets, multimediaand special effects for Movie Magic (incollaboration with Steven Spielberg), forUniversal Studios in Japan; The Star ofDestiny at theBobBullockHistoryMuseumin Austin, Texas - a Theo Award winningproduction; Lincoln Eyes, which is ondisplay at Springfield Lincoln Library, IL.

Profiles


Brooklyn, Big River, Guys and Dolls.REGIONAL: Arena Stage, The GlobeTheatres, Mark Taper Forum, SeattleRepertory, The Goodman Theatre, TheGuthrie Theater, The Pasadena Playhouse,TheGeffenPlayhouse,TheKennedyCenter,Ford’s Theatre, Philadelphia TheatreCompany, The Prince Music Theatre,Denver Center, Arizona Theatre Company.Awards: Los Angeles Ovation Awards,Dramalogue Awards, Garland Awards, andthe 1999 Career Achievement award fromthe Los Angeles Drama Critics Circle.

JonGottlieb(Original Sound Design:George Gershwin Alone)Jon Gottlieb serves as resident sounddesigner for Center Theatre Group at MarkTaper Forum/Ahmanson Theatres andheads the Sound Design program atCalifornia Institute of the Arts. RecentBroadway designs include: QED (LincolnCenter),Master Class by TerrenceMcNally,and Neil Simon’s The Dinner Party. RecentLosAngeles credits includeKingLear for TheCenter for New Theater at CalArts. Oscarand Felix at the Geffen Playhouse and TheMoliere Comedies at the Mark Taper Forum.Mr. Gottlieb has received eight LADCCAwards, over 60 Drama-Logue and L.A.Weekly Awards, Career AchievementAwards from The Los Angeles TheatreAlliance, the L.A. Weekly and the LosAngeles Theatre Center, and was recentlypresented with the Distinguished ArtistAward from the Los Angeles Music CenterClub 100. For Disney Imagineeering, hecreated original sound effects anddesign fortwo attractions at Walt Disney World inFlorida.

Boguslaw(Original Costume Design:Monsieur Chopin)Polish-bornBoguslawSankowski is knowntoChicagoans for his expertisewith aneedleand for dressing in black leather. From hisorigins as a fashion designer to difficultrestorations of historic clothing,he excels atprojects involving leather, cashmere, ordouble-faced fabrics. Boguslaw’s atelier islocated onChicago’s fashionableOakStreet,and he continues to cater to the very best ofChicago’s fashion clientele.

TamoraWilson(Assistant Lighting Designer )Tamora Wilson is excited to work withEighty Eight Entertainment again. Someofher favorite projects include working withKaleidoscope Dance and Midnight Circus.She has also designed for the followingproductions: Bus Stop, Beast on the Moon,Einstein’sDreams,Bye,ByeBirdie,TheOnesThatGot Away, Last Night of Ballyhoo, The Sound ofMusic, and Charlie and the Chocolate Factory.Her website can be found atwww.tamorawilson.com.

JohnBoesche(Projection Designer:Monsieur Chopin)JohnBoesche's scenic andprojectiondesignsfor theater have been seen by Chicagoaudiences at the Chicago ShakespeareTheater, Goodman Theatre, LookingglassTheatre and Steppenwolf Theatre.Broadway credits include The GlassMenagerie, directed by Frank Galati, atRoundabout Theatre where he is currentlyworking on Stephen Lang's Beyond Glory.Regionally his work has been seen atArizona Theatre Company, Asolo Theatre(Sarasota), Denver Center TheatreCompany, McCarter Theatre (Princeton),Milwaukee Repertory Theatre, New YorkShakespeare Festival (NYC), SeattleRepertoryTheatre,Shakespeare at the Folger

Yael currently works as a visual director forDisney Entertainment.

RichardNorwood(Lighting Design:Monsieur Chopin)Richard is a proud recipient of the 2006AfterDarkAward forOutstanding LightingDesign for his design ofOldClownWanted atTrap Door Theatre. Other recent awardsinclude the 2007 Angie Award for BestLighting Design (International MysteryWriters Theatre, Owensboro KY). Richardwas nominated for a 2007 Ovation awardfor best lighting design:Monsieur Chopin atThe Geffen, LA. Recent designs includeMonsieur Chopin at The Old Globe Theatre,Hartford Stage, and American RepertoryTheatre.Monsieur Chopin originated at theRoyal George Theatre, Chicago and starsHershey Felderwith direction by Joel Zwick.Other recent designs include An IntimateEvening with Lynda Carter, Apollo TheatreChicago;MotherCourage for Vitalists Theatre;The Real Thing and The Best Man for RemyBumppo. Richard has designed over 50shows for Trapdoor, includingPetraVanKant,Katzelmacher,Quills,Morocco,Baal,Lebensraum,Polaroid Stories,OrpheusDescending,and Squat!Richard has designed over twenty shows forDefiant Theatre including A ClockworkOrange, Titus Andronicus, Dope!, Cleansed,Godbaby, Action Movie; The Play, and RedDragon. Richard has been the residentlighting designer for Zephyr Dance for thepast nine years. Richard holds the positionof PerformanceCoordinator at theMuseumof Contemporary Art.

Michael T.Gilliam(Lighting Design:George GershwinAlone)BROADWAY: Brooklyn, Big River, Stand-UpTragedy. THEWEST END: George GershwinAlone. OFF-BROADWAY: Striking 12, Blue,End of the World Party, Zooman and the Sign,Menopause theMusical. NATIONALTOURS:


(WashingtonD.C.),SouthCoast Repertory(Costa Mesa), Theater on the Square (SanFrancisco),amongothers. Projectiondesignaccompanying the performance of musicincludesTheChicagoSymphonyOrchestra,EosOrchestra (NewYork),andTheRaviniaFestival Chicago. His designs for opera havebeen seen at Austin Lyric Opera, BarbicanTheatre Centre (London), BrooklynAcademy of Music, Canadian OperaCompany (Toronto), Dallas Opera,Houston Grand Opera, Lyric Opera ofChicago, Opera Lyon, Opera Pacifica,Portland Opera, Salt Lake Opera, SanFrancisco Opera, Theatre de la Monnaie(Brussels), Washington Opera (DC) andVancouver Opera among others. Johnreceived a Joseph JeffersonSpecial Award forprojection design in 2005. In addition tohis work in theater, John designs media forhis own gallery installations, historymuseums, and outdoor events.

LoganKibens(Video and Effects Editor:Monsieur Chopin)Logan is a film and video artist whose workhas screened at numerous venues includingTheChicago International FilmFestival andThe Brooklyn Museum of Art. Designcredits includeThe Infidel andWords onFire atSteppenwolf, Execution of Justice and On TheRecord with About Face Theatre,Alice, InsideMy Mouth, and Sex with The Neo-Futurists, aswell as Stupid Kids and Eloise and Ray withRoadworks Productions. Co-design creditsinclude Ferocious Beauty:Genomewith the LizLerman Dance Exchange, Great Men ofScience at Lookingglass Theatre, as well asmultiple works with Mordine and Co. Shehas also worked as Video and Effects Editorwith The Goodman Theatre, ChicagoShakespeare Theater, and WashingtonOpera (D.C.), among others.

GiGiGarcia(Production Stage Manager)GiGi is one of the original stage managersforGeorgeGershwin Alone and has called wellover 600 performances for Eighty-EightEntertainment. For thirteen years, she hasbeen a resident artist at A Noise WithinTheatre where she has worked as aproduction manager, stage manager andassistant director. Other theatres include:The Geffen Playhouse, The ClevelandPlayhouse, Arizona Theatre Company, TheKennedy Center,TheHollywood Bowl,TheCuillo Center for the Performing Arts, L.A.Theatreworks, Tiffany Theatres,OccidentalTheatre Festival, Bottom’s Dream, TheEclectic TheatreCompany,TheVirginia Ave.Project and Scottsdale ConservatoryTheatre. GiGi currently leads the DramaMinistry for Montrose Church where shehas produced anddirected several plays andfilms.

MattMarsden(Production Manager/Technical Director)Matt has been part of the Eighty-EightEntertainment Production Team since2005, when Hershey Felder premieredMonsieurChopin at theRoyalGeorge TheatreinChicago. Matt currently alsoworks at theRoyal George Theatre in Chicago where hehas been part of the production teams forHATS! The Musical; Forbidden Broadway: SVU;I Love You,You’re Perfect,Now Change; BleacherBums;GrahamNorton:RedHanded;ComfortableShoes; and The Flying Karamazov Brothers.Before the Royal George, Matt was afreelance Lighting Director, ProductionManager, and a Project Manager (BeckerStudios, Inc.). Matt’s career has includedworking on lighting forOlympic City at the1996 Olympic Games in Atlanta; featurefilm campaigns for Inspector Gadget, andDisney’sHercules; national conventions andtrade shows forMcDonald’s,AceHardware,Square D, and Maxxsonics, USA; retail

environments and displays for SonyGalleries, H2O+, and a NASFM award-winning national in-store display programfor Merrell Shoes. In the theatre, Mattworked to open Chicago’s Drury LaneTheatre (at Water Tower Place) andproduction-managed their inaugural showThe Full Monty and then Mornings at Sevenstarring Katherine Helmond. Thanks to allwhomake showbiz fun (includingHersheyFelder), but especially my wonderfullysupportive wife,Nettie.

JeffreyKallberg(Production Consultant)Jeffrey Kallberg (Ph.D., University ofChicago) is a specialist inmusic of the 19thand 20th centuries, editorial theory, criticaltheory, and gender studies. Kallberg haspublished widely on the music and culturalcontexts of Chopin, most notably in hisbook,Chopin at theBoundaries:Sex,History,andMusical Genre (Harvard University Press).His critical edition of Luisa Miller, for TheWorks of Giuseppe Verdi, has been performedthroughout theU.S.and internationally.Hiscurrent projects include a book on Chopinand the culture of the nocturne, anexamination of the convergences of sex andmusic around 1800, and a study ofScandinavian song in the first half of thetwentieth century. Kallbergwas electedVicePresident of the American MusicologicalSociety for the term2004-2006. He servedas ReviewEditor of the Journal of AmericanMusicological Society and is presentlygeneral editor of New Perspectives in MusicHistory and Criticism (Cambridge UniversityPress). He has won numerous awards forpublications, and received fellowships fromthe National Endowment for theHumanities, and the John SimonGuggenheimMemorial Foundation.Hehasalso twice been guest-of-honor at theInternational FryderykChopinCompetitionin Warsaw, Poland. In 2005, the Palmer

Profiles continued


TheDirectors aremembers of the Society of StageDirectorsandChoreographers,an independent national labor union.

This theatre operates under an agreement between theLeague of Resident Theatres and Actors’ EquityAssociation, the union of professional actors and stagemanagers in the United States.

This Theatre operates under an Agreement with theInternational Alliance of Theatrical Stage Employees LocalNo. 122.

The Scenic, Costume, Lighting and Sound Designers inLORT Theatres are represented by United Scenic ArtistsLocal USA-826, IATSE.

SPECIALTHANKS

Dr. Jeffrey Kallberg; Irene Wlodarski, Peter Goodrich, BonnieBarrett and Steinway Pianos, New York; David Ida and FieldsPianos,L.A.;Thomas Zoells;Steve Robinson,Eric Arunas,BethSchenker, The WFMT Radio Network; Chateau de Guerinet,France; Barbara DeVorzon, Jeff Wagner and Clavier Magazine;Ory Shihor, Judith Haddon, Milly Marmur, Stacy Friedman,James Gandre and the Chicago College of Performing Arts atRoosevelt University.

TheGershwin,Godowsky andStrunsky families,TheSukin LawGroup and Elliot Brown;RayWhite at the Library of Congress;LawrenceD.Stewart;Al andKathyChecchi;Skip and Jon Victorand families; Peg and Rick Golden; Paula Holt; Jeff Sine, BobBirmingham,Nick andPatti Paleologos;Jerry and JudyWeisfogel;Brian Novack,MatthewWalley;Marty and Arlena Markinson;Ken and Maria Cole, Mama and Papa Cole-Levine; Marty &Susan Jannol; Dasha and Maury Lewin (Z"L); the Cotsenfamilies, Michael Lewin, Rhona and Julian Frazin; PeterGoodman and CBS SundayMorning,Michael Donaldson.

A special thank you to Adam and Amy Gershwin and children;Marc and Andrea Gershwin; Leopold Godowsky III; RobertaKorus; SusanMyerberg.

Grosses bises à notre famille à Paris...Marie-Helen et Alexis,Thadée et Catherine,Marie-Victoire, Sascha Poliakoff, Cédric,Shura, Chiarra, Matteo Riou, et Amelia Carrico, ainsi que lesmembres de l’entreprise “BaSa” (!) –Carole Boué etGilles Sieg.

An important thank you to Lee and Claire Kaufman and theirfamily who, besides having driven, flown and even walkedthrough themost dreadfulweather to support our performances(it all startedwaybackwhenwith a terrible storm inPhiladelphiathat had Lee wandering off the street into a performance ofGeorge Gershwin Alone…), the Kaufman family have beenproduction supporters since the very beginning. I can onlyexpress how lucky and grateful I am,not only for their support,but for their friendship.

A particular and heartfelt thank you to my team of devotedartisans,many of whom have been with me through dozens ofproductions all over theworld -MattMarsden,GiGiGarcia,RichNorwood, Tamora Wilson, Francois-Pierre Couture, NettieWasowski, AndrewWilder, Yael Pardess,Michael Gilliam,GuyCasper, John Boesche, Erik Carstensen, Christopher Ash –without whom none of our work would be possible; and TheEntire Staff of the Old Globe Theatre.

A special thank you to Candice and Joel Zwick, Joel Zwick“Alone” – Joel, without whom there would be nothing butwandering art. Joel Zwick has always referred to himself as a“funny little man.” Indeed, that he is… but he is also, andmoreso, a great artist, an endless thinker, and a director’s directorwhose goal is not to impose his own “lofty ideas” on a work ofart, but to rid the work of all forms of pretense so that theexpression breathes as itmust –naturally,honestly,and aswhatit is.

A very special and personal Thank You to my Greek family,Samantha, Mom, Dad, and Chris Voxakis. As you have oftenimplied,“Whenmypeoplewerewriting philosophy,your peoplewere still swinging from trees.” (Gus,MBFGW) Without you,Eighty-Eight Entertainmentwould not exist. Andmany thanksto the rest of the auxiliary - Rosalinda, Sandy, and Cheryl - fortheir support over the years and across the miles.

My father and stepmother, Jack and Lea,my sister and brother-in-law,TammyandKevin and their dear childAvery,with thenextone on the way in good time…

And of course, to those who are everything -

...Chance and KIM (XXOO).

SamanthaF. Voxakis(Executive Director/G.M., 88LLC)Samantha is a proud native of BaltimoreMD, where her twelve years with theBaltimore Orioles included a number ofextraordinary events, including the openingof Camden Yards and Cal Ripken’s 2131game. Whennot keeping busywith the day-to-day operations of 88LLC, she enjoyscooking, travel, and theatre. There was atime she took great pleasure in playing thepiano; however, she has given it up ascomparisons toHershey’s playing are simplytoo painful. With special thanks to Mr.Felder, the GGA-MC LA, James, and TheFamily.

Eighty-EightEntertainment,LLC(Producer)Eighty-Eight Entertainment was created in2001 by Hershey Felder, and is devoted tothe creation of new works of music theatre.Eighty-Eight’s projects include the“Composer Trilogy” featuring the lives andwork of George Gershwin:George GershwinAlone,FryderykChopin:MonsieurChopin,andLudwig van Beethoven:Beethoven, As I KnewHim. Other projects include artistpromotion, as well as musical and filmworks in development. All members ofEighty-Eight LLC productions are creativeartists in their own right, and all membersare asked to advise and contribute on allaspects of production.

Theological Seminary called upon Kallbergto identify and authenticate an autographedmanuscript of Beethoven's Grosse Fuge thatwas discovered in their library. Themanuscript, one of the last that Beethovencompleted,preserves fascinating evidence ofhis compositional thinking; its reappearanceafter some 115 years caused considerableexcitement across the musical world. InDecember 2005, the manuscript sold atauction for nearly $1.9 million.

Michael Lewin(Original Production Musical Advisor:Monsieur Chopin)American concert pianist Michael Lewinenjoys an acclaimed international career,performingwith orchestras and in recital inover 30 countries.Hismany awards includetop prizes in the International Liszt,Beethoven (APA) and William KapellCompetitions. Mr. Lewin's highly-praisedrecordings on Naxos, Marco Polo andCentaur include music of Scarlatti, Liszt,Gottschalk, Griffes, Scriabin, Glazunov,Bolcom and Balakirev. A graduate of theJuilliard School and a Steinway Artist, he isChair of Piano at The BostonConservatory.www.michaellewin.com

LeeKaufman(Associate Producer)Lee Kaufman is a business entrepreneurwith an interest in classical music thatextends from Gregorian Chants in theMiddle Ages through to the moderncomposers. In the St. Louis CommunityCollege system,he teaches a classical musiclistening course, and a course dealing withthe role of Music for the Movies. He alsoteaches at the Chautauqua Institution inNew York and serves as managing directorof the American Elgar Foundation.


Education Experiences

Summer at TheOldGlobe is synonymouswithShakespeare. TheSan Diego community has embraced this annual feast for theShakespeare-starved for many years. In addition to our local fans ofthe Bard, last year’s Summer Shakespeare Festival was enjoyed bypeople from 47 states and 14 countries around the world.

The Old Globe knows classical theatre and it is part of ourmission to provide “an environment for the growth and educationof theatre professionals,audiences and the community at large.” Thissummer we continue building that environment for growth with anamazing Summer Shakespeare Intensive for high school students.This four week classical theatre training programwill serve up to 40students who auditioned in early March.

During this summer’s Intensive, a core faculty of our Master ofFine Arts students will put those teens through some of the samechallenging lessons they have learned in their graduate studies here.They study movement, learning to express emotions and meaningthrough their bodies. They practice stage combat, learning how tomake theatrical fisticuffs look real for an audience without injuringthemselves in the process. They study Shakespeare’s text to fathomthemeaning of the words, themysteries of the punctuation, and therhythmsof the speeches. They focus on speech, learninghow to speakclearly and distinctly and to project their voices for audiences in ourownLowellDavies Festival theatre. This project provides an amazingopportunity for serious students to really explore the craft of actingwith talented andwell-trainedmentors and to prepare themselves forthe college or professional theatre world.

The Intensive is unique in that it explores Shakespeare’s work inEnglish and in Spanish! Two years ago, the theatre presented a bi-lingual production,Romeo y Julieta,performedbyhigh school studentsfrom schools in SanDiego and Tijuana and presented in both cities.Theprojectwas exciting and challenging andprovided anopportunityfor students to build friendships and language skills.

This year, we are using a beautiful translation of Romeo and Julietby Pablo Neruda, Chile’s great poet, which was performed by ThePublic Theater in New York in 1965. It is rare to find a quality versetranslation, but Neruda created a work of art that reflectsShakespeare’s language, imagery and rhythm. This summer’sIntensive combines Shakespeare’s original text with Neruda’stranslation to create a version that tells the story in both languages.

San Diego is a diverse community and many of our neighborsspeak English and Spanish. The combination of languages andcultures is a part of whatmakes this city so beguiling. TheOldGlobeSummer Shakespeare Intensive embraces the community’s richlanguages and cultures and explores them through classic theatre.It is an honor and pleasure to work with these talented young actorsand to further their training with this empowering program.

The Old Globe shows its commitment to these students in aparticularly remarkable way. In recognition of the fact that talentedpeople come from all walks of life and that all students willing todevote themselves to a challenging artistic endeavor deserve theopportunity to do so,our generous donors havemade it possible forall students participating in this program to receive a full scholarship.This kind of farsighted commitmentmakes our donors stand out assupporters not just of the Globe but of the very future of theatre inSanDiego and thenation.Their support of the Intensive is exemplaryand we are grateful to each and every one of them.

The students will take to the Lowell Davies Festival stage onMonday,August 11 at 8:00 p.m. Please join us as we showcase theirwork.

For more information on The Old Globe’s Education programsplease contact Roberta Wells-Famula, Director of Education (619)238-0043 x2144

THEOLDGLOBESUMMERSHAKESPEAREINTENSIVE:Immersing Students in theBard’sWork

STUDENT PRODUCTION OF ROMEO Y JULIETA IN 2005


The house lights dim. Before the curtain rises or the stage is lit,music swells and you hear distant sounds of the sea. Sound is thefirst element of most performances, and before anything elsehappens,amood is set,a location is indicated,and youbegin to enterthe world of the play.

Everything youhear on stage—sometimes including the actors’voices — is brought to you by the Sound Department through itstwo related functions, sound design and sound engineering.

The Sound Designer creates a “soundscape” for a production, ascore ofmusic and sound effects thatmake up the aural environmentof the play. This process starts before rehearsals even begin,with thedirector and sounddesigner consulting to determine the atmosphere,setting,and actions thatmust be created and supported by the soundscore. Then the designer draws upon a vast library to produce theneeded sound. Musicmay be recorded or live,awell-knownpiece orsomething composed especially for the production. For all the othersounds,TheOldGlobe’s library includes 200,000 individual soundeffects.

But sometimes the perfect sound hasn’t yet been recorded andthen the sound designer must find or create it. For example, for the2006 production of Pig Farm, sound designer Paul Peterson spentthree days at a large commercial pig farm, recording the sounds ofhundreds of pigs eating, fighting,and “romancing.” Then he visitedtrained show pigs at the Del Mar Fairgrounds, to capture specificvocalizations— an entire pig vocabulary of snorts and squeals. Soeven thoughnot a single pig appears on stage,the play’s sound evokesthe farm setting, with a vivid sense that, just out of sight, the placeis teeming with hogs, sows, and piglets.

Eachnight in the theatre,those sounds are triggeredby theSoundEngineer,who operates a mixing console connected to a network ofsound equipment. Selecting the best equipment for the desiredsound quality is another crucial element of sound design. If thereis live music, each instrument may need a different kind ofmicrophone to best capture its unique sound. If the actors’ voiceswill be amplified, the sound designer must work with the costumedesigner to fit wireless transmitters into costumes (women oftenwear them in theirwigs!). Themicrophone elements are thenhiddenin the actors’ hairline or over the ear. The right speakers forbroadcasting the types of soundneededmust be chosen and locatedon stage and in the theatre. InDancing in theDark, for example, therewere 53 separate speakers, many of them concealed in elements ofthe set. Controlling the quality and volume of sound that goes into

the mixing console and out of each of those speakers to achieve theperfect mix of sound in the theatre is the domain of the SoundEngineer. During technical rehearsals, the Engineer works side-by-side with the Designer to create the desired mix, which is thenreplicated in each performance thereafter.

To coordinate the sound with the action on stage during everyperformance, the Stage Manager, watching the stage from a boothin the back of the theatre, cues the sound engineer (as well as lightsand other stage effects). A play typically averages around 100individual sound cues;Pig Farm had approximately 600, an averageof one every 10 seconds or so! Fortunately, many of these may becombined into automated sequences with digital equipment,allowing the sound engineer to set off a chain of sound effects andvolume fadeswith onemotion. A singleword in a stage direction, forexample, “storm,” may actually be as many as 15 individual sounds,blending together different levels of thunder, rain,andwind to createthe particular storm the audience experiences.

In Shakespeare’s day, people going to the theatre said they weregoing “to hear a play.” Our more visual culture may say we “see” aplay, but what we hear has a powerful impact on howwe experienceit. And, no less than those elements we do see, such as sets andcostumes, the sounds we absorb while engrossed in a performanceare designed, created, and produced by talented and skilled artistsand technicians,essentialmembers of TheOldGlobe’s creative team.

THESOUNDDEPARTMENT:AnIn-DepthLook(andListen)

GLOBE SOUND DIRECTOR PAUL PETERSON RECORDS SOUNDS IN THE FIELD.

Backs tage at the Globe


Annual Fund DonorsThe Old Globe’s ability to maintain the highest standard of excellence,while keeping ticket prices affordable, is due in large part to thefinancial support of more than 3,500 individuals, businesses, foundations and government agencies. Please join us in giving a warmthanks and recognition to these leaders who have made tonight and our 625 other performances possible. The Old Globe appreciates thesupport of those who have stepped into the spotlight.

Lawrence G.Allredge &DawnMooreAnonymousMrs. Inge Lehman Barta in memory ofChester K. Barta,MD

Jane Smisor BastienCharles &Molly BrazellArthur & Sophie Brody Fund of theJewish Community Foundation

The Louis Yager Cantwell PrivateFoundation

Deni & Ken CarpenterElaine &Dave DarwinMr.&Mrs. Brian DevineEdgerton FoundationDr.&Mrs. Robert EpstenPamela A. Farr

Hal & Pam FusonRobert Gleason &MarcMatysLee & Frank GoldbergMartin GoodmanDr.&Mrs.Harry F.Hixson, Jr.Daphne JamesonMr.&Mrs.Neil KjosDr. Ronald &Mrs. Ruth LeonardiJacquelyn LittlefieldSue & JohnMajorDr. Patricia MontalbanoHank & Robin NordhoffThe Kenneth T.& Eileen L.NorrisFoundation

Allison & Robert PriceSandra & Allen Redman

Jean &Gary ShekhterNancy & Alan Spector and FamilyMs. Jeanette StevensAnne Taubman &David BoyleGillian & Tony ThornleyEvelynMack TruittErna & Andrew ViterbiWeingart-Price Fund atThe San Diego Foundation

Stewart & BrendaWeissmanBrent V.Woods & Laurie C.MitchellJune E. YoderCarolynW.YorstonRobert & Deborah YoungEllen & Tim Zinn

Benefactors($100,000 and above)

Bank of AmericaCity of San Diego,Commission forArts & Culture

Audrey S.Geisel/The San DiegoFoundation Dr. Seuss Fund

Globe GuildersIrving HughesThe James Irvine FoundationMicrosoft

The San Diego Union-TribuneDonald &Darlene ShileyThe Shubert FoundationSupervisor Pam Slater-Priceand the County of San Diego

SeasonSponsors($50,000 to $99,999)American ExpressThe Legler Benbough FoundationJohn A.BerolCalifornia Bank & TrustJ.Dallas &Mary H.Clark Fund atThe San Diego Foundation

Karen &Donald CohnPeter Cooper &Norman BlachfordAdvised Fund at the San DiegoHuman Dignity Foundation

Valerie &Harry CooperDeni & Jeff Jacobs

Joan & Irwin JacobsLas PatronasThe Lipinsky FamilyConrad PrebysQUALCOMM, INC.Wells FargoSheryl & HarveyWhite Foundation

ProductionSponsors($25,000 to $49,999)

Mary Beth Adderley-Wright,RichardWright & Elizabeth Adderley

American AirlinesAT&TAlan BenaroyaMary Ann Blair Fundat The San Diego Foundation

Bombardier FlexjetCohn Restaurant Group/Prado RestaurantContinental AirlinesDanah H. FaymanJake & Todd FigiKathryn & John HattoxHMElectronics, Inc.Nokia

Sempra EnergySheraton San Diego Hotel &MarinaPatsy & Forrest ShumwaySilverjetStarbucks Coffee CompanyUnion Bank of CaliforniaU.S. BankMandell Weiss Charitable Trust

DirectorCircle($10,000 to $24,999)


FOUNDERCIRCLE($5,000 to $9,999)Dr.&Mrs.Wayne AkesonAnonymous (2)Ken & Ginger BaldwinThe Colwell Family Fund at The San Diego FoundationR. Patrick & Sharon ConnellAnn & John DaviesNina & Robert DoedeBernard J. Eggertsen & Florence NemkovCarol Spielman-Ewan & Joel EwanAlan & Pauline FatayerjiMartha &George GaffordMary Ann & Arnold GinnowLeo S.Guthman FundFred & Alicia HallettAlexa Kirkwood HirschLeonard & Elaine HirschMelissa & James HoffmannDr.&Mrs. Richard L.KahlerCarol & George LattimerPeter & IngeManesBobMartinetPaul I.&Margaret W.MeyerMoney/Arenz Foundation, Inc.Harle GarthMontgomeryArthur &Marilyn NeumannCharles & Barbara NoellDolly* & Jim PoetJohn &Marcia Price Family FoundationMike & Elizabeth RabbittEllen C.RevelleJeannie & Arthur RivkinDr.H.Warren RossDeborah SzekelyRic TorresDixie & Ken UnruhJean & TimWeiss

PLAYWRIGHTCIRCLE($2,500 to $4,999)Gail, John & Jennifer AndradeDr. Bob & Jill AndresMr.&Mrs. Richard BaldwinMelissa Garfield Bartell &Michael BartellJoan & Jeremy BergPerry S. Binder,MDPaul BlackDr.&Mrs. Edgar D.CanadaCecilia Carrick & Stan NadelCarol & Rudy CesenaCarol & Jeff ChangGaret &Wendy ClarkJack & Carol ClarkMs.Heidi Conlan/The Sahan Daywi FoundationSusan B.CowellGigi & Ed CramerDarlene G.Davies in memory of Lowell DaviesMrs. Philip H.DickinsonNoddy & Ira EpsteinSusanna &Michael FlasterSamuel I.& John Henry Fox Foundation at

Union Bank of CaliforniaMillicent & Charles FroehlichDeede GalesBarbara & Albert GarlinghouseDrs. Thomas H.& Jane D.GawronskiDr.&Mrs.WilliamGottMs.Cheryl HaimsohnSusan &Dr.Ronald HellerTish & Jere HorsleyRichard & Janet HunterHutcheson Family Fund at The San Diego Foundation

Al & Pat JaCobyMary & Russell JohnsonWilliam KaratzBob &Gladys KingJane & Ray KlofkornRosalie Kostanzer &Mike KeefeBob & Laura KyleSusan L. LeoneJames & Pamela LesterMerriel F.Mandell, Ph.D.Mr.&Mrs.DavidMullikenTom& Lisa PierceMr.&Mrs.Matthew PollackBrendaMarsh-Rebelo & John G.RebeloRoberta J. SimpsonMarisa SorBello & Peter CzipottMickey SternJulie & Bob SullivanJay &Diane SweeneyMarilyn Elizabeth ThompsonCarol VassiliadisDoris & Lou VetteseJordine VonWantochHelene & Allan Ziman

CRAIGNOELCIRCLE($1,500 to $2,499)The Family of Richard &Mary AdamsRichard AddessoAnonymous (3)Edwin BacherDiana Barliant & Nowell WischYvonne & Lew BarnumMrs. Lazare F. BernhardSally & John BerryCharles & Charlotte BirdCynthia Bolker & Greg RizziDr.Herman & Irene BoschkenRonda & Stanley BreitbardTerry & Bill BurdClint & Susie BurdettAnita Busquets &William LaddTrish Butler & Cary LoweDr.&Mrs. Robert M.CallicottEllen CaseyPam& Jerry CesakDolores ClarkHon.Arthur J. Collingsworth & Brian R. SimmonsMike Conley & Sue SteeleRichard & Stephanie CouttsSally & Pat CrahanMrs.Willard T.CudneyFran &Matt DaltonMrs.Gail Powell DavisPat & Dan DerbesDean &Mrs.Michael H.DessentJim & Sally DittoMarion EggertsenPeter & Doris EllsworthCarol FinkDieter & Susan Fischer/Dieter’s Mercedes ServiceMary &David FitzMr.&Mrs. Richard FordSid & Jean FoxJoy &Dr. Fred FryKaren &Orrin GabschElaine &Murray GalinsonBill & Judy GarrettLeslie & Robert GarsonDaniel & Arline GenisThe George Consulting GroupMartin & Enid GleichTom& Sheila Gorey

Drs. Barbara & Leonard GosinkNormHapke & Valerie Jacobs HapkeDrs. Patrick Harrison & Eleanor LynchDr.&Mrs. Peter K.HellwigRhonda Heth & ThomasMabieMichael & Jill HolmesDr.David K.HostetlerGary & Carrie HuckellRoberta HusseyAl Isenberg & Regina KurtzDrs. Sonia & Andy IsraelMr.&Mrs.David J. JohnsonMarge & Jerry KatlemanWilliam& Edythe KentonJo Ann KiltyKen & Sheryl KingWebster &Helen KinnairdDr.&Mrs. Ara S.KlijianSherry & Larry KlineCurt & Nancy KochBrooke &Dan KoehlerDr. Eric LasleyLedford Enterprises Inc.Terry &Mary LehrMs. Sherrill LeistSandy & Arthur LevinsonJerry & Elsa LewisRobin J. Lipman &Miro StanoMathew & Barbara LooninCharlie & Jackie MannF.Dale & Lois MarriottR.J.Maus, ArchitectsTony &NancyMcCuneDr.MarianneMcDonaldBill & Jeri McGawElizabeth & EdwardMcIntyreHarold O.McNeilElizabethMeyerJoel & Deirdre MickEstelle & JimMilchRenaMinisi & Rich PaulJudith &Neil MorganJames & NancyMullenJan &DavidMullinRuth & JimMulvaneyJoyce &Martin NashJosiah & Rita NeeperBob Nelson &Murray OlsonEileen & Lawrence NewmarkNordstromMr.&Mrs. Victor H.OttensteinParker & Crosland, LLPSigrid Pate & Glenn ButlerMarcia & Jim PiperMo & Bill PoppDr.&Mrs.Daniel PorteJoanne PowersJim & Claudia PrescottPeggyWynn PriceMarie &Don PrisbyJoseph & Jane RascoffMrs.Charlotte ReesLynne RichEdward H.Richard &Warren P.KendrickMr.&Mrs. Roger RobertsNancy J. RobertsonRachel A. Rosenthal &Michael LierschMr.&Mrs.Charles P. RoyceWarren & Beverly SanbornSanderson Family Donor Advised Fund

at the Rancho Santa Fe Foundation

*Deceased


Sherry & C.A. SheppardDrs. Joseph &Gloria ShurmanDee E. Silver,M.D.Alan & Esther SimanDotti & Joel SollenderHerbert & Elene SolomonN.L. Stanworth in loving memory of ScottNancy Steinhart & Rebecca GoodpastureEugene L.&Hannah StepThe Tarlov FamilyMr.&Mrs.Donald TartreMr.&Mrs.Charles TaubmanPat & Jack ThomasCherie Halladay TirschwellEd Torres &Mark VonderHaarGene & Celeste TreptePamela J.WagnerMerle & Phil* WahlJan HardenWebster & Raul OrtegaChris & PatWeilJames & EllenWeilShirli Fabbri WeissThe GrayWhite Family FundMichael & PennyWilkesMr.&Mrs.Harold B.WilliamsKeith J.Wong

PLATINUM($1,000 to $1,499)AnonymousMichael Bark & Laura BenedictJudy & Larry BelinskyNicholas B. BinkleyJane CowgillDan & Sue DonovanRon &Devora Eisenberg–Great News!Dan & Phyllis EpsteinRobert & Edry GootSandra Gulden & Leon J.GoldbergerGulden Private FoundationMr.&Mrs. ThomasM.HenrySuzanne & Lawrence HessJackie Johnston-SchoellDr.&Mrs. James E. LasryMr.&Mrs. James LimDon &Mary Jane LincolnJoy & RonaldMankoffJasnaMarkovac &GaryMillerAkiko CharleneMorimoto &

Hubert Frank Hamilton,Jr.Rod & Barbara OrthSusan ParkerDan RehmWilliam& Susane RobertsDon &Darlene RussellDebbie & Shayna Seid Family Fund of the

Jewish Community FoundationLew & Alice SilverbergInMemory of Edward SilversteinJohn &Margery SwansonStan & Anita UlrichPat & AllenWeckerlyBrendanM.& Kaye I.WynneDr. Joseph YedidChristy &Howard Zatkin

GOLD($500 to $999)Tony &Margaret Acampora

Janet Anderson & John GlascockAnonymous (4)Jeff & Donna ApplesteinMr.&Mrs.David A. BaerIna S. BartellRichard & Linda BasingerBen-Yehuda Family Fund of the

Jewish Community FoundationEdgar & Julie BernerNancy BlayneyBob & Joyce BlumbergSuzanne I. BondMr.&Mrs. Blaine A. BriggsDr.&Mrs. Simon C.Brumbaugh, Jr.RuthMary CampbellBeth & Tim CannGreg & Loretta CassRay & Shelley ChalupskyLynne Champagne &Wilfred KearseDoug & Elisabeth ClarkAnne C.ColemanRonald D.CulbertsonDr.&Mrs.WilliamDavidsonWes & Elaine DillonDr.Donald & Eilene DosePatricia EichelbergerWilliam Eiffert & Leslie HodgeDr. Susan Dersnah FeeRichard &Donna FerrierRichard & Beverly Fink Family FoundationSally FullerDr.&Mrs. Steven GarfinTheresa & Craig GeorgiArthur & Judy GetisNorman & Patricia GillespieThe Golemb FamilyLouise &Doug GoodmanDrs. Thomas L.& Cynthia L.GoodmanChris Graham&Michael AlboCarol & Don GreenMr.&Mrs.Norman GreeneSuzanne & Charles GrimshawMr.George GuerraRichard & Candace HadenLinda E.HansonAlex &Mary HartMr.& Mrs. Arnold HessMr. Stephen Hopkins &Dr.Carey PrattSteven &Nancy HowardViviana IbanezIsabella Fund at The San Diego FoundationDr.&Mrs.ClydeW. JonesKathy & Rob JonesKenneth &Marilyn JonesAndrew &Denise KaplanPatricia & Alexander KelleyGerald & Phyllis KellyMr.&Mrs.Kevin KiernanGayle & Jerry KluskyBill & Linda KolbMarvinM.Kripps,M.D.LABS, Inc./Silvia DreyfussJohn Q. Lalas, Jr.Thomas LeightyMr.Richard LeviKris & Briana LichterEdward &Nancy LyonCarl Maguire &Margaret SheehanDr.Robert &Marcia MalkusJeanneMalteseRon &MercyMandelbaum

Martin & Passante AALChristopher Maxin & Stephanie Buttell-MaxinDr.&Mrs.M. JosephMcGreevyKeith & Lesley McKenzieMr.&Mrs.WilliamMcKenzieCarole S.MillerJoel, Annette & AriannaMillmanShirley MulcahyTom&Doris NeumanKatherine NewtonMark NiblackJack & Virginia OliverInMemory of Margaret PeningerMr.&Mrs.David J. PettittDeborah B. PettryDr.Ken Pischel & Dr.Katherine OzanichDrs. Paul & Katherine PonganisDr. Julie Prazich &Dr. Sara RosenthalMr.&Mrs.Kedar PyattJosephW.RobinsonStuart & Linda RobinsonJoseph J. RuscheDr. Joseph & Carol SabatiniThe Sapp FamilyBarbara A. SawreyDrs. Lawrence &Miriam ShermanMr.&Mrs. Randall SilviaGloria Penner Snyder & Bill SnyderSharon S. Storey & Theodore A.MilbyHelga & Sam StrongRon & Susan StynJohn & Linda SunkelClifford & Kay SweetDr. Terry &Naomi TanakaLinda TerramagraRandy TidmoreMr.&Mrs. Jeffrey C. TruesdellMs.C. Anne Turhollow &Mr.Michael J. PerkinsNatalie C. Venezia & Paul A. SagerJo &HowardWeinerJanice L.WeinrickMr.&Mrs.DavidWeinriebKatherineWhiteRoss & BarbaraWhiteDennis & Carol WilsonDr.DoloresWozniakM.J. ZahnleElizabeth Zeigler & Bernard Kuchta

SILVER($250 to $499)Ben AbateMr.Gale Acker &Dr.Nancy AckerSybil & B.J. AdelsonMr.&Mrs.Donald AllisonGeorge AmeraultMr.&Mrs. Thomas AndersonAnonymous (5)Drs.Michael & Gabriela AntosEarl AsburyJohn & Elizabeth BagbyAllen &Nancy BaileyBeverly Bartlett & Barbara SailorsRuth & Jim BatmanSharon & Bill BeamerBruce & Patricia BeckerSarah & Vernon BergerArmand Bernheim, Jr.Joan BernsteinThomas Bilotta & FamilyMr.&Mrs. Stanley BirsteinRobert Blanton & Ann Clark

Annual Fund Donors continued


Joann Boone &Nancy DannigerRobert & Yvonne BoyerEd BrookinsJulia BrownMarie F. BuckeyDavid Burns &Diane LischioSandra Lee BurnsMs.Mary-Kay ButlerHelenM.CaldwellWilliam& Shirley CarringtonJerry L.CarterLuc & AnnMarie Cayet-PleskaChateau duMeowElaine & Peter ChortekRichard Clampitt & Rachel HurstBarbara Mistler CrewGlenn Currie PhotographyJohn Davis & Bill HughesDutch &DawnDershemWally & Linda DieckmannPatricia & Glen DoughtyStephen & Sandra DrewMr.& Mrs.Clarence B.DustinLizbeth Ecke &DavidMeyerEsther & Robert FeierDrs. Lawrence & Irene FineLarry & Jan FordPauline Forman in memory of Sid FormanArthur & Barbara FriedmanClare & Paul FriedmanRandee & Richard FriedmanCharles & Jeanne GahaganEstephan A.G.GargostFerdinand GasangDr.&Mrs.Michael GoldbaumCarole &Howard GoldfederEuvoughn L.GreenanMr.&Mrs. Arthur A.GreenbergMartin &Deanna GreenbergTheodore GrygaJerome & Anita GutkinMaggi HallHelenM.HammondRobert M.&HelenM.HansenC.HarbordtMark & Corrine HarveyDonald J.HickeyChristine Hickman &Dennis RagenMr.&Mrs. Thomas O.HippieJohn & Peggy HollPaul & Barbara HolzNancy & Bill HomeyerMr.&Mrs. Lee HorowittInMemory of Ray HowardStephanie & Carl HurstRobert HymanJoseph &Donna HynesSusan D. InotBill & Cheri JamesNancy B. & David A. JamesEdward & Linda JanonDr. Jim JaransonInMemory of Donald JenkinsJan JessopJudge &Mrs. Anthony C. JosephJim & Sharon JustesonMitchel KarpDr.Michael &Mrs. Lucy KeehanLouis &Mary Beth KellyGail & Chuck KendallLloyd & Joanna Kendall

Kathleen Kim& Zachary RattnerLouis J. KnobbeJo Ann & Lee KnutsonRemik Kolodziej & Steven DarisMr.&Mrs. Jay KranzlerMr.&Mrs. Albert W.KrasnoffJanay KrugerBetty & Richard KuhnElizabeth LasleyElliott & Phyllis LasserDixon & Pat LeeTom& Terry LewisDonald Lipkis,MD& Arlene PollardRoy & Carol LongSally & Bill LusterHarold & Beverly MartynBruce & BrendaMasonCdr.&Mrs. John C.Mathews IIIGene &DonnaMcAllisterRonaldMcCaskill & Robyn RogersOliver McElroy & Karen DelaurierTeresa McEuenCristie C.McGuireJohn Paul McHughSteve McInteeCharles & Billie McKnightMr.&Mrs. JimMelcherDrs. JohnMeyers & Betty JoanMalyMr.&Mrs.DavidMichanDr.&Mrs. Paul E.MichelsonJames &DorothyMildiceDr. &Mrs. JamesMillerCharlesW.Mills, Jr.Stan & Phyllis MinickDr. Isaac &Mrs.NancyMizrahiDr.&Mrs. Robert MorrisonSusan & Charles MuhaMary JoMurphyWendy & JimNeriHarvey &Marsha NetzerJack & Judy NicholsLarry &Marcia OsterinkDr.David & Elizabeth OstranderJoshua & Jacqueline PackCarolann PagliusoBarbara PainterEd & Carolyn ParrishClifford T. Pentrack &Mary E.GiovanielloLawrence Roy PerrinMr.&Mrs. Leslie D.ReedRobert & Doris ReedDaniel & Kynn ReisfeldBrent & Bev RobinsonClarice & Irl RobinsonMr.&Mrs.Christopher RohrerDiane RolandGerald & Ruth RosenbaumDr.&Mrs. Richard RowenRowling Family Charitable Fund of the

Jewish Community FoundationDr.Norman & Barbara RozanskyGeorge & Karen SachsSamiljan Family Fund of the Jewish

Community FoundationJosiah & Abigail SandJamesM.Santora &Dr.Daniel D. SewellSimon & Ruth SayreAnn &Herb SchnallMartin & Connie SchroederRAdm.&Mrs.H. James T. SearsLinda J. Seifert

Natalie H. ServiceLori Severson & Eric LongstreetGlenda Allen ShekellDr.&Mrs.Hano SiegelJerry & Beth SilvermanEunice M.Simmons,M.D.Anne & Ron SimonChristopher & Carmen SkipworthTerrence & Kathryn SlavinLance & Arlene SmithMalcolm E. SmithNorman & Judith SolomonBill & Barbara SperlingMr.&Mrs. Fred C. StalderAlanM.StallMr.&Mrs.George StassinopoulosRobert & Ann SteinerJames K. StenderupWootsie StocktonJan &Dave StormoenAbbeWolfsheimer StutzMrs. J.B. SwedeliusDonald &Margaret SweimlerDr. Blake S.&Mrs. Peggy Jean TalbotMr.Harold S. TaxelDr.Marshall & Leila TaylorDouglas & Lynn ToddMr.&Mrs. John TorellRobert C.&MelesseW.TraylorBarbara C.WardKathy & JimWaringWilliamWeeksMr.&Mrs. JamesWelterlenJudith L.WhiteSandyWicheleckiOlivia &MartyWinklerCassWitkowski FamilyMr.&Mrs. JohnW.WittDr. Perri L.WittgroveJanet WolfPaul & Claudia ZimmerVicky Zollweg & J.Michael Dunteman

This list is current as of May 15, 2008To learn more about supporting The Old Globe’s

performances and education and outreachprograms, please visit our website atwww.TheOldGlobe.org or call

Courtney Quinn at (619) 231-1941 x2311.


Lawrence G.Alldredge and DawnMoorePerry S. Binder,M.D.Paul BlackDr. andMrs. Edgar D.CanadaCarol and Rudy CesenaJack and Carol ClarkMary H.ClarkSteven J. CologneR. Patrick and Sharon ConnellSusan B.CowellGigi and Ed CramerDarlene G.DaviesMrs. Philip H.DickinsonNina and Robert DoedeMarion EggertsenBernard J. Eggertsen and Florence NemkovDanah H. FaymanSusanna andMichael Flaster

Mary Ann and Arnold GinnowAlexa Kirkwood HirschLeonard and Elaine HirschAl and Pat JacobyMary and Russell JohnsonBob and Gladys KingRosalie Kostanzer andMike KeefeBob and Laura KyleJames & Pamela LesterMerriel F.Mandell, Ph.D.Peter and IngeManesBobMartinetDr.MarianneMcDonaldPaul I. andMargaret W.MeyerDavid and NoreenMullikenCharles Noell and Barbara VossJeannie and Arthur RivkinDr.H.Warren Ross

Donald and Darlene ShileyRoberta J. SimpsonMs. Jeanette StevensJay and Diane SweeneyDixie and Ken UnruhDoris and Lou VetteseJordine VonWantoch

GlobeAmbassadors are generous supporters of TheOldGlobewho attend special presentations about activities at theGlobeand serve as the Theatre’s Ambassadors in the community.

For more information pleasecontact Courtney Quinn at(619) 231-1941 x2311.

Globe Ambassadors

Anonymous (14)

Robert S. Albritton*

Diana Barliant

Nancine Belfiore

Alan Benaroya

Dr. andMrs. Edgar D.Canada

Garet andWendy Clark

J.Dallas* andMary H.Clark

R. Patrick and Sharon Connell

Patricia W.Crigler, Ph.D., CAPT/USN/Ret.

Carlos and Patricia Cuellar

Patricia and Donn DeMarce*

Mrs. Philip H.Dickinson

Dr. andMrs. Robert Epsten

Frank A. Frye, III

Robert Gleason andMarc Matys

Marcy Goldstone

Kathryn Crippen Hattox

David and Debbie Hawkins

Craig andMary Hunter

Barbara Iredale*

Bob Jacobs

Joseph E. Jessop*

J. Robert and Gladys H.King

Marilyn Kneeland

Jean and David Laing

Jerry Lester Foundation

Dr. Bernard Lipinsky*

Heather Manion

CalvinManning*

Chris and Jill Metcalf

Paul I. andMargaret W.Meyer

Judy and GeorgeMiller

Steve Miller

Dr. Robert W.Miner

Shirley Mulcahy

Laurie Dale Munday

Stanley Nadel and Cecilia Carrick

Alice B.Nesnow

Arthur andMarilyn Neumann

Craig Noel

Greg and Polly Noel

PACEM (Pacific Academy of

Ecclesiastical Music)

Mrs.Margaret F. Peninger*

Velda Pirtle*

Florence Borgeson Plunkert*

Dolly* and Jim Poet

Dorothy Shorb Prough*

BrendaMarsh-Rebelo and John Rebelo

Donald and Darlene Shiley

Patsy and Forrest Shumway

B. Sy and Ruth Ann Silver

StephenM.Silverman

Roberta Simpson

Dolores and Rod Smith

Marisa SorBello and Peter Czipott

John and Cindy Sorensen

Marje Spear

Nancy A. Spector and Alan R. Spector

Jeanette Stevens

Eric Leighton Swenson

Anne C. Taubman

Cherie Halladay Tirschwell

Marian Trevor (Mrs.Walter M.)*

EvelynMack Truitt

Ginny Unanue

Carol and Lawrence Veit

Harvey* and Jordine VonWantoch

Merle and Phil* Wahl

Holly J.B.Ward

Sheryl and Harvey P.White

Mrs. Jack GalenWhitney

Stanley E.Willis II*

Julie Meier Wright

Carolyn Yorston

*InMemoriam

Craig Noel League members are leaving

lasting gifts to the theatre through planned

gifts, cash contributions, bequests and other

estate planning options.

Formore information,please contactDirector

of Development, Todd R. Schultz (619) 231-

1941, x2310 or

TSchultz@The OldGlobe.org.

Craig Noe l League MembersPlanned Giv ing Soc i e t y o f The Old Globe


Corporate Partners enjoy exclusive benefits and recognition, especially the opportunity to entertain clients and employees withexclusive receptions in our Patron and Lipinsky Family Suites, behind-the-scenes tours, and preferred seating at our shows.For information, please contact Todd Schultz at (619) 231-1941 x2310.

PRODUCTIONSPONSORS($25,000-$49,999)

SEASONSPONSORS($50,000 and more)

DIRECTOR CIRCLE($10,000-$24,999)

FOUNDER CIRCLE($5,000-$9,999)

PLAYWRIGHT CIRCLE($2,500-$4,999)

Break-Away ToursCity National BankCyberknife Centers of San Diego, Inc./RadiationMedical Group

Higgs, Fletcher &Mack, LLPKPMG,LLPMercerNeimanMarcus

ResMed FoundationTorrey Pines BankVistage International

Citigroup Foundation/Smith BarneyM2000 CorporationSan Diego Business JournalSycuan Resort & CasinoTheWestgate Hotel

Cush Family FoundationNicholas-ApplegateWD-40 Company

Special Thanks to our Corporate Donors


TICKET SERVICES HOURSMonday: noon – 6pmTuesday - Sunday: noon – last curtainHours subject to change. Please call ahead.Phone (619) 23-GLOBE or (619) 234-5623FAX (619) 231-6752Email [email protected]

ADMINISTRATION HOURSMonday - Friday : 9am – 5pmPHONE (619) 231-1941WEBSITE www.TheOldGlobe.orgADDRESS The Old Globe

P.O.Box 122171San Diego,CA 92112-2171

ORDERING TICKETS/CHANGE OF ADDRESSTheOldGlobe accepts Visa,Discover,MasterCard,or AmericanExpress.Phone orders for non-subscribers are subject to a $3 per ticket servicecharge,not to exceed $12.Ticket exchanges are subject to a service chargefor non-subscribers. If you havemoved,please notify the Ticket ServicesOffice to update our records.Call (619) 234-5623 during Ticket Serviceshours,mail your change of address to the Ticket Services Office, or emailus at [email protected].

UNABLE TO ATTEND?If you find you are unable to use your tickets,please give them to a friend,or turn them in to the Ticket Serivces Office and receive a tax receipt foryour donation. Tickets must be received by show time.

RESTROOMS AND TELEPHONESRestrooms are located in the lower lobby of the Old Globe Theatre andadjacent to the Festival Theatre; pay phones may be found in the lowerGlobe Theatre lobby and next to the Gift Shop.

SEATING OF LATECOMERSAlthough we understand parking is often at a premium, the seating oflatecomers is extremely disruptive.Latecomersmay be given al-ternativeseating and will be seated at an appropriate interval.

YOUNG CHILDRENChildren five years of age and under will not be admitted toperformances.

ELECTRONIC DEVICES AND CAMERASUse of recording devices and cameras is not permitted. If you arewearing a digital watch or pager, or if you are carrying a cellular phone,please silence it prior to entering the theatre.

SENNHEISER® LISTENING SYSTEMFor the convenience of the hearing impaired, the Sennheiser® ListeningSystem is available in theOldGlobe Theatre. Lightweight headsetsmaybeobtained from thehousemanager prior to performances, free of charge.

PUBLIC TOURSGo behind the scenes at The Old Globe to learn about the history, threestages, shop and craft areas. Open tours:most Saturdays and Sundaysat 10:30am.Groups by reservation. $5 adults; $3 seniors and students.Phone (619) 231-1941 x2142 for information/reservations.

LOST AND FOUNDIf you havemisplaced a personal itemwhile at the theatre,please contacttheTicket ServicesOffice or Security as soon as possible. If we are unableto locate your item,we’ll happily take down your contact information aswell as a description of the item and contact you if it is found. The OldGlobe does not assume liability for items left behind on premises.

NaturalHerbCoughDrops - Courtesyof RicolaUSA, Inc.—availableuponrequest—. Please askanusher.

Associate Artists of The Old Globe

Patron Information

William AntonJacqueline BrooksLewis Brown* Victor Buono*Wayland CapwellKandis Chappell* Eric ChristmasGeorge DeloyTimDonoghue

Richard EastonTovah FeldshuhMonique FowlerRalph FunicelloLillian Garrett-GroagHarry GroenerA.R.GurneyJoseph HardyMark Harelik

Bob JamesCharles Janasz* Peggy KellnerTom LacyDianaMaddoxDakinMatthewsDeborahMayKatherineMcGrathJohnMcLain

JonathanMcMurtryStephenMetcalfeRobert Morgan* Ellis RabbSteve RankinRobin Pearson RoseMarion RossSteven RubinKen Ruta

DouglasW.SchmidtSeret ScottDavid F. SegalRichard SegerDiane SinorDon SparksDavid Ogden StiersConrad SusaDeborah Taylor

* Irene TedrowSada ThompsonPaxtonWhiteheadJamesWinkerRobert Wojewodski* GWood* in memoriam

In recognition of their unique contribution to the growth of The Old Globe and their special talent, we take great pride and pleasure inacknowledging as ASSOCIATE ARTISTS OF THE OLD GLOBE, the following who have repeatedly demonstrated by their active presenceon our stages and in our shops, that wherever else they may work, they remain the heart and soul of this theatre.


Direc tor Pro f i l e s

DARKOTRESNJAKResident ArtisticDirector

Artistic Director ofthe Globe’s 2004-2007 ShakespeareFes t i va l s ,DarkoTresnjak's directorialcredits at the Globeinclude: Pericles, The

Winter's Tale,Hamlet,AMidsummerNight’sDream,TitusAndronicus, The Comedy of Errors, The Two NobleKinsmen, Antony and Cleopatra and Bell, Book andCandle. Earlier this year he directed The Merchant ofVenice at Theatre for a New Audience, a productionthat traveled to the Royal Shakespeare Company’sCompleteWorksFestival.Other credits includeAll'sWell That Ends Well at Theatre for a New Audience;TheTwoNobleKinsmen at ThePublic Theatre;PrincessTurandot and Hotel Universe at Blue Light TheaterCompany; More Lies About Jerzy at the VineyardTheater Company;The Skin of Our Teeth,Rosencrantzand Guildenstern Are Dead, The Winter's Tale, UnderMilk Wood,Moving Picture, The Blue Demon, PrincessTurandot and The Love of Three Oranges atWilliamstown Theatre Festival;Heartbreak House,What the Butler Saw,Amphitryon and The Blue Demonat the Huntington Theatre;Hay Fever and PrincessTurandotatWestportCountry Playhouse;Rosencrantzand Guildenstern Are Dead at Long Wharf TheaterCompany;ALittle NightMusic,Amour at GoodspeedOpera House; and La Dispute, UCSD. Otherdirecting credits include productions at FloridaGrand Opera,Opera Theatre of St. Louis, VirginiaOpera, Florentine Opera Company, and theAmericanpremiere of Rimsky-Korsakov’sMayNightat Sarasota Opera. Upcoming projects include TheDwarf and The Broken Jug for Los Angeles Opera’s“Recovered Voices” series and Antony and Cleopatraat Theatre for a New Audience. He is the recipientof the Alan Schneider Award for DirectingExcellence,TCGNational Theater Artist ResidencyAward,Boris SagalDirectingFellowship,NEANewFormsGrant, twoPennsylvaniaCouncil on theArtsIndividual Artist Fellowships, San Diego CriticsCircle Awards for his direction of Pericles and TheWinter's Tale, and Patté Awards for his direction ofThe Winter’s Tale and Titus Andronicus. He hasperformed with numerous Philadelphia dance andtheatre companies and toured across the UnitedStates and Japanwith theUNIMAAward-winningMum Puppettheatre. He was educated atSwarthmore College and Columbia University.

LOUISG.SPISTOCEO/ExecutiveProducer

Louis G. Spisto hasled The Old Globesince October, 2002.During his tenure,Spisto spearheadedthe return of theS h a k e s p e a r e

Repertory Season andbrought to theGlobe severalnew musicals, including the critically-acclaimed ACatered Affair, the launch of the national tour of theTony Award-winning Avenue Q and the Broadwaytransfers of Chita Rivera: The Dancer’s Life, and theTwyla Tharp/BobDylanmusical,THETIMESTHEYAREA-CHANGIN’. He has produced over 75 playsand musicals, including Dirty Rotten Scoundrels, thewest coast premiere of the Tony-winning play TakeMe Out and the annual holiday favorite,Dr. Seuss’How theGrinch Stole Christmas!. Spisto hasmanagedthe Globe’s Capital Campaign to raise $75 millionby theTheatre’s 75th anniversary in2010.LaunchedinMarch 2006, the campaign has reached 75% ofits goal to date. During the past four seasons, theGlobe has grown its subscription audience anunprecedented amount, resulting in the highestlevel of attendance in over a decade.TheGlobewasalso recognized by Charity Navigator, America’spremiere charity evaluator, which recently gave theGlobe its third consecutive 4-Star rating. A strongadvocate of arts education, Spisto initiated severalnewprograms including an innovative cross-borderproject involving students from both San Diegoand Tijuana in a unique bilingual production ofRomeo and Juliet. He also launched a free matineeseries which brings thousands of students to theGlobe’s productions. Spisto established areputation as a superb arts executive here inCalifornia, where he spent over ten years as theExecutive Director of the Pacific SymphonyOrchestra in Orange County. During his tenurethere,he tripled the orchestra’s annual budget,whileeliminating a prior deficit and successfullycompleting the orchestra’s first endowmentcampaign. In addition, he established a series ofinnovative recording projects with Sony Classicaland oversaw a number of nationally recognizedcommissioningprojects. He also served as the chiefexecutive at both American Ballet Theatre and TheDetroit Symphony.Heholds aMasters degree fromtheUniversity ofWisconsin inArtsAdministrationand a Bachelors of Business Administration fromthe University of Notre Dame, and spent manyyears directing, producing and as an actor in playsand musicals throughout his college and graduateschool years, as well as in professional summertheatre.

JACKO’BRIENArtistic DirectorEmeritus

Mr.O’Brien served astheArtisticDirector ofThe Old Globe from1982 through 2007.Recent Globe produc-tions: Dirty RottenScoundrels, Imaginary

Friends, Twelfth Night, The Full Monty, The Seagull, TheMagic Fire,Dr. Seuss’ How the Grinch Stole Christmas!,the world premieres of Associate Artist A.R.Gurney’s LaborDay andTinaHowe’sPride’sCrossing,as well as Time and Again, The Doctor Is Out (GettingAway With Murder) by Stephen Sondheim andGeorge Furth, plus productions of Henry IV,MuchAdo About Nothing,Oleanna,DamnYankees, King Lear,Ghosts,Hamlet,Uncle Vanya, and world premieres ofTerrenceMcNally’sUp inSaratoga,A.R.Gurney’sTheSnow Ball and The Cocktail Hour, Tom Dulack’sBreaking Legs, Associate Artist Stephen Metcalfe’sEmily. WEST END: Hairspray (Olivier Award forBest Musical, Best Director nom). BROADWAY:Creator/Supervisor,Dr. Seuss’ How the Grinch StoleChristmas!, The Coast of Utopia (2007 Tony Award®for Best Direction of a Play, which won a total of 7Tony Awards, including Best Play), Dirty RottenScoundrels (Tony noms:BestDirector andMusical),Henry IV (TonyAward),Hairspray (TonyAward),TheInvention of Love (Tony noms: Best Director andPlay),TheFullMonty (Tonynoms:BestDirector andMusical),More to Love, Labor Day, St. Louis Woman,Pride’s Crossing, The Little Foxes, Hapgood (LucilleLortel Award for Direction, 1995), Damn Yankees(Tony nom: Best Musical Revival), TwoShakespeareanActors (Tony noms:BestDirector andPlay),Porgy andBess forHoustonGrandOpera andBroadway (Tony Award), as well as Radio CityMusic Hall. ELSEWHERE: The Magic Flute, SanFranciscoOpera;Tosca,Santa FeOpera;Così fanTutteand Aida, Houston Grand Opera; The Most HappyFella,MichiganOpera and Broadway.TV:AnEnemyof the People, All My Sons, I Never Sang for My Father,Painting Churches and The Skin of Our Teeth, all forPBS’s American Playhouse. RECENT AWARDS:2008 Theatre Hall of Fame Inductee, 2004Thomas Degaetani Award (USITT), 2002 “Mr.Abbott”Award (SDCF),2001 JoanCullmanAwardfor Extraordinary Creativity, 2001 Joe A. CallawayAward (SDCF), the Drama League’s Julia HansenAward for Excellence inDirecting,2001.HonoraryDoctorate, University of Michigan. HonoraryDoctor of Humane Letters, University of SanDiego.Mr.O’Brien is a member of the College ofFellows of the American Theatre.


Staff Trish Guidi . . . . . . . . . . .Accounts Payable/AccountingAssistantTim Cole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Receptionist

DEVELOPMENTAnnamarie Maricle . . . . .AssociateDirector, InstitutionalGrantsMarilynMcAvoy . . . . . . . . . . . . . . . . . . . . . . . .MajorGiftsDirector

Eileen Prisby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EventsManager

Courtney Quinn . . . . . . . . . . . . . . . . . .DevelopmentCoordinator,IndividualAnnualGiving

Diane Addis . . . . . . . . . . . . . . . . . . . . .MembershipAdministrator

JoshMartinez-Nelson . . . . . . . . . . . .Development AdministratorDiana Steffen . . . . . . . . . . . . . . . . . . . . . . . . . .VIPDonorTicketingDonor ServicesJoyanne Buscemi,Monica Jorgensen, Barbara Lekes, RichardNavarro, Stephanie Reed, Judy Zimmerman . . . .SuiteConcierges

MARKETINGBecky Biegelsen . . . . . . . . . . . . . . . . . . . .PublicRelationsDirectorEdHofmeister . . . . . . . . . . . . . . .AudienceDevelopmentManager

Jackie Anderson . . . . . . . . . . . . . . . . . . . .PublicationsCoordinatorClaire Kennelly . . . . . . . . . . . . . . . . . . . . . . . . .MarketingAssistant

Samantha Haskins . . . . . . . . . . . . . . . . .PublicRelations AssistantJoyanne Buscemi,Monica Jorgensen,Judy Zimmerman . . . . . . . . . . . . . . .Marketing/Events Assistants

Erica Dei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GraphicDesignerVictoria Hayne . . . . . . . . . . . .Marketing andDevelopmentWriter

Craig Schwartz . . . . . . . . . . . . . . . . . . . . .ProductionPhotographer

Subscription SalesScott Cooke . . . . . . . . . . . . . . . . . . . . .SubscriptionSalesManager

Anna Bowen-Davies, Arthur Faro, Andy Fink, Randi Hawkins,Pamela Malone, YolandaMoore, Jessica Morrow,Ken Seper,Cassandra Shepard,Mandy Smith,GrantWalpole,Andrea LeighWalsh . . . . . . . .SubscriptionSales Representatives

Ticket ServicesShari Ressel . . . . . . . . . . . . . . . . . . . . . . . .TicketServicesManager

Marsi Roche . . . . . . . . . . . . . . . . . . . . .TicketOperationsManager

DaniMeister . . . . . . . . . . . . . . . . . . . . . . . . . .GroupSalesManager

Marissa Haywood,Shouna Shoemake . . . . . . . .LeadTicketServices RepresentativesBrian Abraham,Elizabeth Brown, Sarah Ditges, Tony Dixon,MerriFitzpatrick,Michael Knudsen, Alicia Lerner, Cassie Lopez,CarynMorgan, Jensen Olaya,Christine Perez, Jeffrey Pine,MichaelPousson,Carlos Quezada, Jessica Seaman,Molly Whittaker ...........................TicketServices Representatives

PATRONSERVICESMike Callaway . . . . . . . . . . . . . . . . . . . . . . . . . . . .TheatreManager

Adam Lindstaedt . . . . . . . . . . . . . . . . . . .Frontof HouseAssistantMerlin D. “Tommy” Thompson . . . . . . . . . . . .PatronServices RepRob Novak, Ashley Roberts . . . . . . . . . . . . . . . . . .HouseManagers

Dana Juhl . . . . . . . . . . . . . . . . . . . . . . .FoodandBeverageManager

Haydee Aldas . . . . . . . . . . .FoodandBeverageAssistantManager

Michelle Elliott, Perla Rios, Brock Roser, Anne-Marie Shafer,Tess Thompson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PubStaffBabs Behling, Rose Espiritu, Stephanie Rakowski,Stephanie Reed . . . . . . . . . . . . . . . . . . . . . . .Gift ShopSupervisors

Security/Parking ServicesRachel “Beahr” Garcia . . . . .Security/ParkingServices SupervisorIrene Herrig . . . . . . . . . . . . . . . . .AssociateSupervisorof SecuritySherisa Eselin, Janet Larson, Jeffrey Neitzel,Sonia Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SecurityOfficersDallas Chang,Deborah Elliott,Nicole Hagemeyer,Lou Hicks,Michael Moran . . . . . . . . . . . . .Parking LotAttendantsDallas Chang,Marcio Faria,David Nguyen . . . . . . . . . . . . . . . . . . . . . . . .V.I.P. ValetAttendants

Michael G.Murphy . . . . . . . . . . . . . . . . . . . . . . .GeneralManager

Dave Henson . . . .DirectorofMarketing andCommunications

Todd Schultz . . . . . . . . . . . . . . . . . . . . . .Directorof DevelopmentMark Somers . . . . . . . . . . . . . . . . . . . . . . . . . . .Directorof FinanceRichard Seer . . . . . . . . . . . . . . . .Directorof Professional TrainingRobert Drake . . . . . . . . . . . . . . . . . . . . . . . .Directorof ProductionRoberta Wells-Famula . . . . . . . . . . . . . . . . .Directorof Education

ARTISTICSamantha Barrie . . . . . . . . . . . . . . . . . . . . . . . .ArtisticCoordinatorKimMontelibano Heil . . . . . . . . . . . . . . . . . . . . .LiteraryAssociateJan Gist . . . . . . . . . . . . . . . . . . . . . . . . . . . .Voice andSpeechCoachBernadette Hobson . . . . . . . . . . . . . . . . . . . . . . . .Artistic AssistantStage ManagementLeila Knox . . . . . . . . . . . . . . . . . . . . . . .ProductionStageManager

Tracy Skoczelas . . . . . . . . . . . . . . . . . . . . .AssistantStageManager

PRODUCTIONDebra Pratt Ballard . . . . . . . . . . .AssociateDirectorof ProductionRon Cooling . . . . . . . . . . . . . . . . . . . . . . . . . . . .CompanyManager

Carol Donahue . . . . . . . . . . . . . . . . . . . . . .ProductionCoordinatorTechnicalBenjamin Thoron . . . . . . . . . . . . . . . . . . . . . . . . .TechnicalDirectorWendy Berzansky . . . . . . . . . . . . . . . .AssistantTechnicalDirectorKacie Lyn Hultgren . . . . . . . . . . . . . . . .ResidentDesignAssistantEliza Korshin . . . . . . . . . . . . . . . . . . . . . .Technical Assistant/BuyerChristian Thorsen . . . . . . . . . . . . .StageCarpenter/Flyman,GlobeCarole Payette . . . . . . . . . . . . . . . . . . . . . . . . . .ChargeScenicArtistAdam Bernard, Victoria Erbe, Jacque Velasquez . . . .ScenicArtistsGillian Kelleher . . . . . . . . . . . . . . . . . . . . . . . . . . .MasterCarpenter

Robert Dougherty . . . . . . . . . . . . . . . . .MasterCarpenter, Festival

William Barron,Matthew Clark,Matthew Giebe, Sheldon Goff,Larry Hall,William Kalman,Daniel Klebingat, JasonMcIntyre,LauraMcEntyre,MongoMoglia,Mason Petersen, Andrew Recker,Gilbert Vitelo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CarpentersLarry Hall, Benjamin Siebert . . . . . . . . . . . . . . . . . . . . . . .RunCrewEdee Armand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PaintersJames Belcher, Joshua Jordan . . . . . . . . . . . . . .SceneShopInternsCostumesStacy Sutton . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CostumeDirectorCharlotte Devaux Shields . . . . . . . . . . .ResidentDesignAssistantMaureenMac Niallais . . . . . . . . . . . . . . .Assistant to theDirectorShelly Williams . . . . . . . . . . . . . . . . . . .DesignAssistant/ShopperMichelle Hunt . . . . . . . . . . . . . . . . . . . . . . . . . . . .DesignAssistantSu-Lin Chen, Phyllis Davies,Gwen Dunham, Louise M.Herman,Louise Powers,Nanalee Raphael,Randal Sumabat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DrapersBabs Behling, Anne Glidden Grace, Lisa Goering, Somsi Norfolk,Shirley Pierson,Robert Ritter, Susan Sachs, Julia Trimarco,CoreyJohnston, JoanMathison . . . . . . . . . . . . . . . . . . .AssistantCuttersValerie Henderson,MaryMiller . . . . . . . . . . . .CostumeAssistantsMark Baiza,Melissa Beck, Erin Cass,Marnee Davis, RebeccaFabares,Kim Frank,Michelle Fuhriman, Peggy Harrison,Sarah Hendel,Holly Hess,Nancy Liu, AnnaMacDonald,MichelleMcCullough-Sanden, Juan-Carlos Olivas,Joanna Stypulkowska . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .StitchersTeri Tavares . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Dyer/PainterJudith Craigo . . . . . . . . . . . . . . . . . . . . . . . . . . .LeadCrafts ArtisanKelley Convery, Svi Roussanoff,Megan Schmidt,Dragana Vucetic . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Crafts ArtisansMolly O’Connor . . . . . . . . . . . . . . . . .Wig andMakeupSupervisor

Kim Parker . . . . . . . . . .Assistant toWig andMakeupSupervisor

AnaMaldonado,Kanoko Takagi . . . . . . . . . . . . . . .WigAssistants

Erin Schindler . . . . . . . . . . . . . . . . . . . . . . . . .WardrobeSupervisor

NolaWalkup . . . . . . . . . . . . . . . . . . . . . . . . . . . .CopleyCrewChief

Marnee Davis . . . . . . . . . . . . . . . . . . . . . . . . . . . .GlobeCrewChief

Kristin Bongiovanni, Erin Sutherland,NolaWalkup,BethMerriman . . . . . . . . . . . . . . . . . . . . . . . . . . .Festival RunCrewMarie Jezbera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rental AgentPropertiesNeil A.Holmes . . . . . . . . . . . . . . . . . . . . . . . . . .PropertiesDirectorKristin Steva Campbell . . . . . . . . . . . . . . .Assistant to theDirectorAmy Reams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Properties BuyerPat Cain . . . . . . . . . . . . . . . . . . . . . . . . . . . .PropertyMaster,Globe

David Buess . . . . . . . . . . . . . . . . . . . . . . . .PropertyMaster,Copley

Trevor Hay . . . . . . . . . . . . . . . . . . . . . . . . .PropertyMaster, Festival

M.H.Schrenkeisen . . . . . . . . . . . . . . . . . . . . . . . . . . .ShopForemanRoryMurphy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LeadCraftsmanRyan Buckalew, Patricia Rutter . . . . . . . . . . . . . . . . . .CraftspersonsKristi Rosen . . . . . . . . . . . . . . . . . . . . . . . . . . . .Properties AssistantLightingMegan Fonseca . . . . . . . . . . . . . . . . . . . . . . . . . .LightingAssistantTonnie Ficken . . . . . . . . . . . . . . . . . . . . . .MasterElectrician,Globe

Jim Dodd . . . . . . . . . . . . . . . . . . . . . . . .MasterElectrician,Copley

Kevin Liddell . . . . . . . . . . . . . . . . . . . . .MasterElectrician, Festival

Kristen Flores, Stephen Schmitz . . . . . . . . . . . . . . . . .FollowspotsTodd Adams, Elizabeth Axe, Jason Bieber,Meghan BourdeauBonnie Breckenridge,Mark Dewey,Kristen Flores, Lacey Flores,Kelli Groskopf,Maureen Hanratty, Justin Hobson, JenniferHorowitz, Ashley Jenks, Shawna Kyees, Steve Schmitz,Amanda Zieve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ElectriciansSoundPaul Peterson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SoundDirectorErik Carstensen . . . . . . . . . . . . . .MasterSoundTechnician,Globe

Rachel Eaves . . . . . . . . . . . . . . . .MasterSoundTechnician,Copley

Jeremy Nelson . . . . . . . . . . . . . .MasterSoundTechnician, Festival

Dana Pickop . . . . . . . . . . . . . . . . . . . . . . . . . . .MicRunnerFestival

ADMINISTRATIONBrian Ulery . . . . . . . . . . . . . . . . .Assistant to theGeneralManager

Mark Gingery . . . . . . . . . . . . .TheatreCenterProjectCoordinatorInformation TechnologyDean Yager . . . . . . . . . . . . . . . . .InformationTechnologyManager

ThadSteffen . . . . . . . . . . . . . . .InformationTechnologyAsst.Mgr.

J. Adam Latham . . . . . . . . . . . . .InformationTechnologyAssistantHuman ResourcesSandra Parde . . . . . . . . . . . . . . . . . . . . .HumanResourcesDirectorMaintenanceRandyMcWilliams . . . . . . . . . . . . . . . . . . . . . . .FacilitiesManager

Violanda Corona, Ismael Delgado,Miguel Gaspar, RobertoGonzalez, Reyna Huerta,Margarita Meza, Jose Morales, AlbertRios,Maria Rios,Nicolas Torres . . . . . . . . . . . . . . . .Building Staff

PROFESSIONALTRAININGLlance Bower . . . . . . . . . . . . . . . . . . . . . . . . . .ProgramCoordinator

Maria Carrera, Cynthia Caywood, Sabin Epstein, RobertBarry Fleming,Gerhard Gessner, Jan Gist, Peter Kanelos, FredRobinson, Liz Shipman . . . . . . . . . . . . . . . . . . . . . . . .MFAFaculty

Corey Johnston,Robin Sanford Roberts,Ben Seibert,George Yé . . . . . . . . . . . . . . . . .MFAProductionStaff

EDUCATIONRaúl Moncada . . . . . . . . . . . . . . . . . . . . . . . . . .EducationAssociateHollyWard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TourCoordinatorCarol Green . . . . . . . . . . . . . . . . . . . .Speakers BureauCoordinatorMarisela De la Parra, Vivia Font,Kimberly Parker Green, JanetHayatshahi, Jamie Koottarappallil, Steve Lipinsky,Nat McIntyre,Sarah Price,David Tierney . . . . . . . . . . . . . . . . . . .TeachingArtists

FINANCEPaula Nickodemus . . . . . . . . . . . . . . . . . . . . . . . .SeniorAccountantAngela Yoshida . . . . . .PayrollCoordinator/AccountingAssistant

DarkoTresnjakResident Artistic Director

JackO’BrienArtistic Director Emeritus

CraigNoelFounding Director

LouisG.SpistoCEO/Executive Producer

monsieur chopin and george gershwin...

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