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OCTOBER 2012

PERFORMANCES MAGAZINE 1

Welcome to

The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: Creating theatrical experiences of the highest professional standards; Producing and presenting works of exceptional merit, designed to reach current and future audiences; Ensuring diversity and balance in programming; Providing an environment for the growth and education of theatre professionals, audiences and the community at large.

Mission Statement

We are delighted to mark the start of The Old Globe’s 2012-2013 Season with the world premiere of Allegiance — A New American Musical. The Japanese American internment was a momentous event in the history of our nation — and our city — and its reverberations continue to be felt to this day. Allegiance brings this little-known history to life as only theatre can. Through the story of the Kimura family, we feel a personal and emotional connection to the 120,000 Americans who suffered internment. We experience, we learn and we join the chorus of voices that say: never forget.

This extraordinary 2012-2013 Season, which kicks off with Allegiance, also features another world premiere musical, two classics of the world stage and several acclaimed contemporary plays. The season includes George Bernard Shaw’s Pygmalion, the premiere of Freedman and Lutvak’s musical comedy A Gentleman’s Guide to Love and Murder and Jon Robin Baitz’s Other Desert Cities. Plus, Dr. Seuss’ How the Grinch Stole Christmas! is back for its 15th magical year. The season also features David Lindsay-Abaire’s Good People, Tarell Alvin McCraney’s The Brothers Size, a world premiere adaptation of Henrik Ibsen’s A Doll’s House and Bekah Brunstetter’s Be a Good Little Widow.

We hope to see you back at the Globe often in this upcoming season. We all come to the theatre for the first time because someone else invites us. This season, I hope you will invite a friend. Give someone else that first experience of theatre — and maybe even create a lifelong theatre lover.

Michael G. MurphyManaging Director

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2 PERFORMANCES MAGAZINE

MUSIC AND LYRICS BY

JAY KUOBOOK BY

MARC ACITO, JAY KUO AND LORENZO THIONE

MUSIC SUPERVISION, ARRANGEMENTS AND ORCHESTRATIONS BY

LYNNE SHANKEL

CHOREOGRAPHY BY

ANDREW PALERMO

DIRECTED BY

STAFFORD ARIMA

Presented by special arrangement with Sing Out, Louise! Productions.——————————————————

Donald and Darlene Shiley Stage

OLD GLOBE THEATRE Conrad Prebys Theatre Center

September 7 - October 21, 2012

PRESENTS

Donyale WerleSCENIC DESIGN

Alejo ViettiCOSTUME DESIGN

Howell BinkleyLIGHTING DESIGN

Jonathan DeansSOUND DESIGN

Darrel MaloneyPROJECTION DESIGN

Laura BergquistMUSIC DIRECTOR

Telsey + CompanyCraig Burns, CSA

CASTING

Anjee NeroSTAGE MANAGER


THE CAST(in alphabetical order)

FRANKIE SUZUKI ............................................................................................................................... Michael K. Lee*SAMMY KIMURA .......................................................................................................................................Telly Leung*MIKE MASAOKA ............................................................................................................................ Paolo Montalban*TATSUO KIMURA ................................................................................................................................Paul Nakauchi*KEI KIMURA ................................................................................................................................................Lea Salonga*SAM KIMURA, OJII-SAN ....................................................................................................................George Takei*HANNAH CAMPBELL ............................................................................................................................. Allie Trimm*

ENSEMBLE ................................................... Katie Boren*, Jon Jon Briones*, Geno Carr*, Karl Josef Co*, Marc de la Cruz*, MaryAnn Hu*, Brandon Joel Maier, Kürt Norby*,

Ann Sanders*, Jill Townsend*, Kay Trinidad*, Scott Watanabe*

FEMALE SWING ...............................................................................................................................Jennifer Hubilla*MALE SWING ................................................................................................................................. Conrad Ricamora*

DANCE CAPTAIN ..................................................................................................................................Jill Townsend*FIGHT CAPTAIN .........................................................................................................................................Geno Carr*

UNDERSTUDIESfor Tatsuo Kimura — Jon Jon Briones*; for Sammy Kimura — Karl Josef Co*; for Frankie Suzuki — Marc de la Cruz*; for Kei Kimura — Jennifer Hubilla*;

for Mike Masaoka — Conrad Ricamora*; for Hannah Campbell — Jill Townsend*; for Sam Kimura, Ojii-san — Scott Watanabe*

SETTINGSan Francisco, California — December 7, 2001

The Kimura Family Farm, Salinas, California — 1941-1942Heart Mountain Internment Camp, Wyoming/The Battlefields of Europe — 1942-1945

Washington, DC/San Francisco — 1945

There will be one 15-minute intermission.

STAGE MANAGEMENT STAFFStage Manager ............................................................................................................................................ Anjee Nero*Assistant Stage Managers .............................................. Rachel Miller Davis*, Evangeline Rose Whitlock*Stage Management Interns ..................................................Jessica Abad, Rachel Pollack, Megan Sprowls

PRODUCTION STAFFFight Director .................................................................................................................................................. George YéAssociate Director ................................................................................................................. Melanie Tojio LockyerAssociate Choreographer .................................................................................................................Jenny ParsinenAssociate Music Director .......................................................................................................................... Chris KongAssistant Scenic Design ........................................................................................................................ Sean FanningAssociate Costume Design ......................................................................................................... Charlotte DevauxAssociate Lighting Design .................................................................................................................. Amanda ZieveAssistant Lighting Design ......................................................................................................................Jason BieberAssociate Sound Design ........................................................................................................................... Brian HsiehAssistant Projection Design .......................................................................................................... Lucy MackinnonDialect Coach ......................................................................................................................................................Jan GistHistorical Consultant .......................................................................................................................Susan HasegawaMoving Light Programmer ........................................................................................................................Sean BeachProjections Programmer............................................................................................................Benjamin Keightley

*Member of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States.

Si desea una sinopsis de esta obra en Español o en Inglés, favor de pedírsela al acomodador que le entregó este programa.

If you would like a synopsis of this production in English or Spanish, please request it from an usher.


Welcome to The Old Globe!

Thank you for joining us for the world premiere of Allegiance — A New American Musical, which tells an important story about a very difficult time in our country’s history. The Old Globe is proud to be developing this work and that you are the first audiences to see a fully staged production of this new musical.

It cannot go without saying that this type of work would not be possible without you — our audiences and our donors. Ticket sales make up 50% of the Globe’s

annual operating budget, and the remainder largely comes from individuals who fund our creative and artistic vision and our education and community endeavors.

We thank you for your interest and attendance at our performances and, if you haven’t already, urge you to join our family of donors. In doing so, you will be a proud supporter of the region’s largest performing arts organization and one of the nation’s leading and most respected regional theatres.

I am honored to serve as Chair of The Old Globe Board of Directors and to help support such an esteemed and established cultural organization. On behalf of the Board of Directors, thank you for making the Globe a part of your life.

Enjoy the performance!

Board of Directors

Harold W. Fuson, Jr. Chair, Board of Directors

BOARD OF DIRECTORS Elaine Bennett Darwin* Vice Chair, Nominating

Harold W. Fuson, Jr.* Chair

Donald L. Cohn* Immediate Past Chair

Harvey P. White* Secretary

Anthony S. Thornley* Vice Chair, Finance & Treasurer

DIRECTORSMary Beth Adderley*Elizabeth AltmanPamela Cesak Nicole A. ClayJoseph J. CohenPeter J. Cooper*Valerie S. CooperSilvija DevinePamela A. FarrKaren FoxVictor P. GálvezKathryn Hattox*Elizabeth Helming Viviana IbañezDeni JacobsDaphne Jameson

Jo Ann KiltySheila Lipinsky Ramin PourteymourPaula Powers*Conrad Prebys*David ReaganSandra RedmanCrystal SargentReneé SchatzJean ShekhterAnn Steck Steven J. StuckeyDaniel L. Sullivan, Ph.D.Julie H. Sullivan, Ph.D.Evelyn Mack TruittDebra Turner Stacey LeVasseur Vasquez

Jordine Von Wantoch Pamela J. Wagner Jim WeningLynne WheelerDebbie WilsonKarin WinnerJune YoderCarolyn Yorston-Wellcome Vicki Zeiger*Executive Committee Member

HONORARY DIRECTORSMr s. Richard C. Adams

(1912–2005)Clair Burgener (1921-2006)Mrs. John H. Fox (1908–2003)Audrey Geisel

Paul Harter Gordon Luce (1925-2006) Dolly Poet (1921-2007)Deborah Szekely Hon. Pete Wilson

EMERITUS DIRECTORSGaret B. Clark J. Dallas Clark (1913–2005)Bea EpstenSally Furay, R.S.C.J.Bernard Lipinsky (1914-2001) Delza Martin (1915–2005)Darlene Shiley Patsy Shumway


MARY BETH ADDERLEY and ELIZABETH & RYAN WILLIAMS

Mary Beth Adderley is a native San Diegan who has been passionately involved with The Old Globe for a number of years. She is an Executive Committee Member on The Old Globe’s Board of Directors and also

serves on the Board of South Coast Repertory and is an Emeritus Trustee of Vanderbilt University. Of the several Globe productions sponsored by Mary Beth in the past, a sampling includes The Price, The American Plan, Hold Please and Richard O’Brien’s The Rocky Horror Show. In addition, she has been a generous supporter of the Globe Gala and other important events. Along with Mary Beth’s daughter, Elizabeth, and Elizabeth’s husband, Ryan Williams, the family regularly attends Globe performances and encourages friends and colleagues to do the same.

CONRAD PREBYS and DEBRA TURNERA native of South Bend, Indiana and a San Diego resident since 1965, Conrad Prebys is CEO of Progress Construction. Debra Turner hails from Phoenix and for more than 20 years has been

involved in real estate in Southern California.

Conrad and Debbie share a love of the arts and generously support San Diego non-profits including Scripps Mercy Hospital, San Diego Hospice, Sanford/Burnham Medical Research Institute, San Diego Zoo, Boys and Girls Club of East County and UC San Diego Performing Arts.

At The Old Globe, Conrad serves on the Board Executive Committee and Debbie as Co-Chair of the Development Committee. As part of the Globe’s Capital Campaign for facilities, Conrad donated $10.4 million for the new complex bearing his name and has been a Season Sponsor since 2004, supporting Dirty Rotten Scoundrels, Ace, the Shakespeare Festival and August: Osage County.

ELAINE LIPINSKY FAMILY FOUNDATIONElaine was the daughter of the late Dorris and Bernard Lipinsky and was honored to have been a part of The Old Globe family for many years.

The Lipinsky family’s tradition of generous support to the Globe

began in the 1950s, and it was extremely important to Elaine that this tradition be continued through her own foundation because of her parents’ love of the Globe and its service to the community through its dedication to theatrical excellence and arts education. Elaine also supported the M.F.A. Musical Theatre Program at SDSU, Vista Hill, Seacrest Village, Mama’s Kitchen, various other theatres in San Diego and other charities too numerous to mention.

HM Electronics, Inc. (HME) was the first company to develop a wireless intercom system, which quickly became the industry standard among

broadcast and entertainment professionals around the world. In 2011 the National Academy of Television Arts & Sciences (NATAS) presented HME with an Emmy Award for the company’s “work in the development of wireless intercom.” In 2010, HME acquired Clear-Com, the industry leader in professional cabled intercoms and also a winner of an Emmy Award for “development of the cabled intercom beltpack.” In tonight’s performance, and many others throughout the year at The Old Globe, HME’s generous gift of equipment provides clear and reliable wireless and cabled communication among members of the Globe’s production staff. The Old Globe extends their gratitude to HME for their ongoing support each year.

The James Irvine Foundation is a private, non-profit grantmaking foundation dedicated to expanding opportunities for the people of California to participate in a vibrant, successful and inclusive society. The Foundation’s grantmaking focuses on three program areas: Arts, California Democracy and Youth. Since 1937, the Foundation has provided over $1 billion in grants to more than 3,000 non-profit organizations throughout California. With $1.6 billion in assets, the Foundation made grants totalling $65 million in 2011 for the people of California.

Production Sponsors


Education

For more information about Education Programs please visit www.TheOldGlobe.org/Education.

In April, 2013, auditions will be held for the fifth-annual GLOBE HONORS, an awards program that celebrates the best talent among San Diego’s high schoolers. Finalists will perform on the Globe stage in front of a live audience on May 20, 2013, and winners receive scholarships and trips to either New York for the National High School Musical Theatre Awards competition or to Los Angeles for a special L.A. Experience.

Auditions for the SUMMER SHAKESPEARE INTENSIVE for high school students will be held in March, 2013. Each year,

students try out for this challenging summer program and the opportunity to work with Globe actors and artisans and perform on the Lowell Davies Festival Theatre stage in one of two 50-minute presentations of a Shakespeare play.

Registration for the MIDDLE SCHOOL SUMMER CONSERVATORY begins in April, 2013. This popular three-week program is a great way for middle school students to refine their acting skills by working with some of the Globe’s talented Summer Shakespeare Festival actors.

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Each year, The Old Globe’s education programs reach thousands of San Diego County students, giving them the chance to experience and explore all that theatre

has to offer. Below is a sampling of what’s to come in the 2012-2013 school year.

This fall, high school students will experience live theatre at our free STUDENT MATINEES of Allegiance – A New American Musical and the Old Globe/USD Graduate Theatre Program production of Shakespeare’s Measure for Measure. In addition to seeing a live professional production, all classes receive a free in-classroom workshop with a Globe teaching artist prior to their visit to put the production into context and enrich the viewing experience. Additional free matinees will be announced for the spring of 2013.

In December, students from Title One elementary schools will see Dr. Seuss’ How the Grinch Stole Christmas! as part of our SEUSSABRATION!, a slate of activities that make the Grinch experience even more special. School groups receive free tickets to special performances, teachers participate in a professional

development workshop and special activities take place on the Globe plaza after the show.

EDUCATION PROGRAMS

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The semi-finalists, finalists and winners of the 2012 Globe Honors.


For more information about the autism-friendly Grinch performance please visit www.TheOldGlobe.org/Autism.

Every year, families across the region look forward to The Old Globe’s production of Dr. Seuss’ How the Grinch Stole Christmas! as a highlight of their holiday season. The sounds, the snow, the surprises all combine to create a wonderful experience for children of all ages. But for families of children with autism, an experience like this is virtually impossible.

In 2011 the Theatre Development Fund (TDF) in New York launched its Autism Theatre Initiative to make theatre accessible to children and adults on the autism spectrum as well as their families. TDF worked with the producers of the Broadway production of The Lion King to make it easier for people on the autism spectrum to enjoy the show. They decreased sound levels, modified sudden sounds and lights and managed to provide a performance that would prove less upsetting to a child with auditory and visual sensitivities. They then went a step further by opening the show specifically to people with autism spectrum disorders, allowing them the comfort of knowing that they could get up during the performance if needed and could move, make noise, wear headphones or do whatever they felt was necessary to enjoy the show.

Late in 2011, Old Globe Managing Director Michael G. Murphy and the Globe Education Department invited a group of professionals who specialize in autism spectrum disorders to see Dr. Seuss’ How the Grinch Stole Christmas! and discuss the adaptations

necessary to make the show enjoyable for people with autism. With their suggestions in hand and the advisory support of TDF, The Globe will present an autism-friendly performance of Dr. Seuss’ How the Grinch Stole Christmas! on Saturday, December 15, 2012 at 10:30 a.m.

The performance will feature the full production with slight changes to staging, sound and lighting. But the biggest change will not happen on the stage — this performance will involve the caring, accepting attitude of our entire staff in welcoming families with children of all ages who are on the autism spectrum. These families will come to the theatre with the knowledge that they will be surrounded by other families who understand their situation. Our staff and volunteers will welcome them with open arms. Their children will have specially designated places to go in the lobby if they need to take a break from the show. They will have the opportunity to download our social story from our website to prepare their child for the experience of coming to the theatre. And when the lights go down (not all the way) in the theatre, they will know the joy of The Old Globe’s perennial favorite, a play that is truly for everyone.

Autism-Friendly Grinch Performance

Steve Blanchard and Logan Lipton in the 2011 production of Dr. Seuss' How the Grinch Stole Christmas!

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DR. SEUSS PROPERTIES™ & © 1957 & 2012 DR. SEUSS ENTERPRISES, L.P. ALL RIGHTS RESERVED.


Profiles

KATIE BOREN (Ensemble) is thrilled to join this extraordinary company in the telling of such an important story that needs to be told. Her credits include Lysistrata

Jones, The 25th Annual Putnam County Spelling Bee, Avenue Q and Miss Saigon. Ms. Boren is a member of AEA and is a proud graduate of Ithaca College. To my family, friends and D, to whom I owe everything, I send you endless love and gratitude. To Minna, I thank you for keeping my dreams possible. To Dustin, you are my favorite unlikely proposition. To Mom and Dad, I owe it all.

JON JON BRIONES (Ensemble, u/s Tatsuo Kimura) was born in the Philippines and went to London to join the original cast of Miss Saigon. He has played The Engineer

in Miss Saigon in Germany, U.S. Tour, U.K. Tour, Asian Tour, Philippines and the closing season in London. Recently he played the title character in The Romance of Magno Rubio ([Inside] the Ford, LA Weekly Theater Award nomination for Leading Male Performance). His favorite theatre credits include Fredrik in A Little Night Music (East West Players), Yellow Face (Center Theater Group), Lukas in Peregrinasyon (Ma-Yi Theater Company), Tateh in Ragtime, Enjolras in Les Misérables and Laertes in Hamlet. His favorite television credits include Cosme Caliyag on “Las Vegas” (recurring), Asian Elvis on “Sons of Anarchy,” “Miami Medical,” “Monk” and “Southland.” His recent film credits include Mr. Fan in Model Home, Father Mena in Blood Ransom, Raul in Nico’s Sampaguita and Genie in Sinbad: The Fifth Voyage.

GENO CARR (Ensemble) is thrilled to be a part of Allegiance and to return to The Old Globe after playing Papa Who in last year’s Dr. Seuss’ How the Grinch Stole Christmas!

In San Diego he has been seen in The

Servant of Two Masters (Craig Noel Award nomination), The Music Man and miXtape (Lamb’s Players Theatre), Parade, Little Shop of Horrors and Sweeney Todd (Cygnet Theatre Company), I Love You Because and A Christmas Carol (‘08/’09) (North Coast Repertory Theatre) and A Waltz Dream (Lyric Opera San Diego). Mr. Carr has appeared Off Broadway in Bush Wars and on the National Tours of Phantom, The Buddy Holly Story and Grease, and his favorite regional credits include The Producers, The Full Monty, Forever Plaid, Peter Pan and South Pacific. He has an M.F.A. in Acting and Directing from Sarah Lawrence College and a dual B.A. in Music and Theatre Arts from Hartwick College. www.genocarr.com.

KARL JOSEF CO (Ensemble, u/s Sammy Kimura) is beyond thrilled to be a part of Allegiance’s world premiere at The Old Globe, having made his

professional theatre debut in last year’s workshop. He was most recently seen as Thuy in Miss Saigon (Fulton Theatre). His other credits include Costs of Living (Stephen Schwartz/ASCAP workshop co-starring Telly Leung), Suites by Sondheim concert with Lea Salonga and Paolo Montalban (Lincoln Center for the Performing Arts) and The King and I with Lorenzo Lamas (North Shore Music Theatre). Praise be to God. Love you Mom, Dad and Mico for your unending support. My biggest thanks to Jay, Lorenzo, Stafford, Lynne, Craig and the whole production team for this amazing journey. To this beautiful cast, I am so honored to be surrounded by such inspiringly brilliant artists. Thanks to Joel, Michael and Christopher at CGF. He is a proud graduate of the University of Michigan — Go Blue.

MARC DE LA CRUZ (Ensemble, u/s Frankie Suzuki) is thrilled to join the Allegiance family and make his first appearance at The Old Globe. His theatre credits include

the award-winning Prison Dancer (New York Musical Theatre Festival 2012, Outstanding Ensemble Performance), Disney’s High School Musical (First National Tour), Where Elephants Weep (Cambodia), David Byrne’s Here Lies Love (The Public Theater), The 25th Annual Putnam County Spelling Bee and Making Tracks (San Jose Repertory Theatre), Miss Saigon (North Carolina Theatre), Pippin (The 5th Avenue Theatre) and The Wedding Banquet (Village Theatre and Asia Tour).

MARYANN HU (Ensemble) has television and film credits that include SooLin on the NBC sitcom “Whoopi,” “Law & Order,” Falling for Grace and the upcoming

film De Loba. Her Broadway credits include Bloody Mary understudy in the original cast of Lincoln Center Theater’s revival of South Pacific, as well as having played the role on the First National Tour. She also appeared on Broadway and in the National Tour of Miss Saigon. Her Off Broadway and regional credits include Cordelia in Falsettoland (National Asian American Theatre Company), The Audience (Transport Group), The Beautiful Warrior (Vineyard Theatre), The Yellow Wood directed by BD Wong (New York Musical Theatre Festival), Heading East, Mrs. Mullin in Carousel directed by Baayork Lee (National Asian Artists Project), Tuptim in The King and I and Song of Singapore. Her workshop credits include Bruce Lee: Journey to the West directed by Bartlett Sher, Frank Wildhorn’s Tears of Heaven, originating the role of Madame Du in Maury Yeston’s Peony Pavilion, Please Don’t Eat the Daisies and The Wedding Singer.

JENNIFER HUBILLA (Swing, u/s Kei Kimura) earned a B.F.A. in Musical Theatre from CSU Fullerton. Upon graduation, she was immediately cast as

the lead role of Kim in the U.S. Tour of Miss Saigon. She was then invited by Sir Cameron Mackintosh to join the U.K.


Tour, where she again played the role of Kim. The U.K. became her home for the next four years where she worked as a singer, actress and voice-over artist. Her other theatre credits include Aladdin, Tea, A Little Night Music, Marry Me a Little, Songs for a New World and The Fantasticks, among others. Her voice-over credits include Flashbacks of a Fool starring Daniel Craig and Wild Child starring Emma Roberts. She played the lead in several short films, one of them titled By the Water’s Edge, which premiered at the Cannes Film Festival. Ms. Hubilla also recently did a KFC commercial that is now on air.

MICHAEL K. LEE (Frankie Suzuki) has appeared on Broadway as Kayama in Pacific Overtures, Simon in Jesus Christ Superstar, Steve in Rent and Thuy in Miss

Saigon. His international credits include Chris in Miss Saigon in Korea, Where Elephants Weep in Cambodia, They’re Playing Our Song opposite Lea Salonga in the Philippines and A Twist of Fate opposite Laura Michelle Kelly in Singapore. In the U.S., he has successfully broken down traditional casting barriers, performing Tommy in The Who’s Tommy (Seattle Footlight Award for Best Actor in a Musical), Jesus and Judas in Jesus Christ Superstar and Aladdin in Disney’s Aladdin: A Musical Spectacular. His other U.S. credits include The Last Five Years (2009 Ovation Award nomination for Lead Actor in a Musical), The King and I, Making Tracks, Heading East, Mame (Hollywood Bowl), The Wedding Banquet, A Funny Thing Happened on the Way to the Forum, Could It Be Magic? The Barry Manilow Songbook, The Music of Andrew Lloyd Webber, Beijing Spring and Sweeney Todd. He is a proud member of Actors’ Equity and a graduate of Stanford University.

TELLY LEUNG (Sammy Kimura) most recently appeared in the Broadway revival of Godspell. His other Broadway credits include

Flower Drum Song (2002 revival), Stephen Sondheim’s Pacific Overtures (2005 revival) and the final company of Rent. He originated the role of Boq in the Chicago company of Wicked. Favorite credits include Angel in Rent directed by Neil Patrick Harris (Hollywood Bowl), Song Liling in M. Butterfly (Philadelphia Theatre Company), Give It Up! aka Lysistrata Jones (world premiere, Dallas Theater Center), Godspell (Paper Mill Playhouse), Bernstein: Mass (Baltimore Symphony, The Kennedy Center, Carnegie Hall), Harold Bride in Titanic and Barnaby in Hello, Dolly! (The Muny), Simon in Jesus Christ Superstar (Music Circus), Thuy in Miss Saigon (Pittsburgh Civic Light Opera) and Lun Tha in The King and I with Lou Diamond Philips (North Carolina Theatre). Mr. Leung has been featured on the recordings for Godspell (Sh-K-Boom Records), Flower Drum Song (DRG Records), Pacific Overtures (PS Classics), Wall to Wall Sondheim (Live from Symphony Space), Dear Edwina (PS Classics) and the Grammy Award-nominated Bernstein: Mass with Marin Alsop (Sony/Naxos). His television and film credits include “Glee” (Wes, Dalton Academy Warblers), “Law & Order: Criminal Intent” and Rent: Filmed Live on Broadway. Mr. Leung holds a B.F.A. from the Carnegie Mellon University School of Drama. He recently released his first solo album, I’ll Cover You, on the Yellow Sound Label.

BRANDON JOEL MAIER (Ensemble) is thrilled to be making his debut at The Old Globe in Allegiance. His San Diego regional work includes Leo Frank in Parade and

Seymour in Little Shop of Horrors (Cygnet Theatre Company), Emmett Forrest in Legally Blonde (Moonlight Stage Productions) and Chip Tolentino in The 25th Annual Putnam County Spelling Bee and I Love You Because (North Coast Repertory Theatre). His directing credits include Little Women, Rumors, Les Misérables and I Love You Because (assistant director). Mr. Maier also conceived, compiled and directed the San Diego State University fairy-tale revues WISH: A Musical Revue and

WISH II: Villains & Sidekicks. Mr. Maier received his B.A. in Theatre and M.F.A. in Musical Theatre from SDSU. He is currently a member of the faculty at his alma mater.

PAOLO MONTALBAN (Mike Masaoka) most recently starred in Honk! at Two River Theater Company. His Broadway credits include Manjiro in Pacific Overtures and Lun

Tha (understudied and performed) in The King and I. He has appeared Off Broadway in The Two Gentlemen of Verona (New York Shakespeare Festival) and The Romance of Magno Rubio (Culture Project). His regional credits include Flower Drum Song, Nero, The Boys from Syracuse and The Long Season. Mr. Montalban is best known for playing the Prince in the ABC/Wonderful World of Disney movie musical Cinderella opposite Brandy. His other television and film credits include Kung Lao in the TNT series “Mortal Kombat: Conquest,” supporting and featured roles in “One Life To Live,” “Law & Order: Special Victims Unit,” Camelot for “Live from Lincoln Center,” American Adobo, The Great Raid and Just Wright. He performed as a guest artist with the San Francisco Symphony and as a soloist in the Suites by Sondheim concert at Alice Tully Hall.

PAUL NAKAUCHI (Tatsuo Kimura), the son of camp survivors, has a bachelor’s degree in music and began his theatre career in the National Tour of The King and I with Yul

Brynner. He understudied and performed the role of The King of Siam on Broadway in the 1996 revival opposite Donna Murphy. He also played The King on London’s West End with Elaine Paige. Most recently he toured Asia in the Broadway Asia production of The King and I, recreating the same role. He toured the U.S. in the First National Tour of Miss Saigon understudying and playing the role of The Engineer. His movie credits include The Great Race and Dark Metropolis, and he has been


Profiles

seen on television in “ER,” “The Young and the Restless,” “General Hospital,” “Saturday Night Live,” and “Knots Landing.” His voice inhabits characters in the animated features The Invincible Iron Man, Doctor Strange and Alpha and Omega and the television cartoons “Avatar: The Last Airbender” and “Batman: The Brave and the Bold,” as well as numerous video games including Cars 2, Call of Duty: World at War and the soon-to-be-released Lost Planet 3, to name a few. He is excited to be making his Globe debut.

KÜRT NORBY (Ensemble) has appeared regionally in Dr. Seuss’ How the Grinch Stole Christmas! (The Old Globe), Limelight: The Story of Charlie Chaplin

and Zhivago (La Jolla Playhouse), Man of La Mancha and Sweeney Todd (Cygnet Theatre Company), miXtape, Leaving Iowa, Room Service, Hello, Dolly!, The Voysey Inheritance and The Winslow Boy (Lamb’s Players Theatre), Evita, The Desert Song and Bye Bye Birdie (Welk Resorts Theatre), Beauty and the Beast (Moonlight Amphitheater), Suds: The Rocking ‘60s Musical Soap Opera, Urinetown, Fiddler on the Roof and The Scarlet Pimpernel (Starlight Musical Theatre) and Miss Saigon (Fullerton Civic Light Opera). His film credits include 29th & Gay, U R Pre-Approved and Rubix Cube Dinner. He received his B.A. in Drama from UC Irvine. www.kurtnorby.com.

CONRAD RICAMORA (Swing, u/s Mike Masaoka) is making his Globe debut. Regionally he has appeared at Walnut Street Theatre, Prince Music Theater, Utah

Shakespeare Festival, Williamstown Theatre Festival, North Carolina Shakespeare Festival and Clarence Brown Theatre Company. Mr. Ricamora just played Ninoy Aquino in a two-month collaboration with David Byrne and Alex Timbers in the creation of the new show Here Lies Love. He will continue this work next March in the full-scale

production at The Public Theater. He also appears in Talladega Nights with Will Ferrell. www.conradricamora.com.

LEA SALONGA (Kei Kimura) is a Filipina singer/actress best known for originating the role of Kim in the West End production of Miss Saigon and bringing it to

Broadway, winning the Tony and Olivier Awards, among others. She was the first Asian to play Eponine in Les Misérables on Broadway, returned to the show in 2007 as Fantine and reprised the role for the sold-out 25th anniversary concert in London. Ms. Salonga wowed audiences and critics in her first ever cabaret show at New York’s famed Café Carlyle in 2010 and returned in 2011 for another engagement. In August 2011, she released a live version of her 2010 concert, “Lea Salonga: The Journey So Far,” and it rose to #3 on the iTunes Jazz charts. Honored with an appointment as a United Nations Food and Agriculture Organization Goodwill Ambassador in October of 2010, Lea has vowed to act as an advocate for the Youth and United Nations Global Alliance initiative. Ms. Salonga’s feature film credits include the singing voice of Princess Jasmine in Aladdin and Fa Mulan in Mulan and Mulan II. In honor of her portrayal of the beloved princesses, Disneyland bestowed upon Ms. Salonga the honor of Disney Legend in the summer of 2011. She dedicates her performance in Allegiance to the Hayashida and Katekaru clans. www.leasalonga.com.

ANN SANDERS (Ensemble) has appeared on Broadway as Belle in Disney’s Beauty and the Beast, Christmas Eve in Avenue Q and most recently in Leap of Faith.

Internationally she made her debut as Ellen in Cameron Mackintosh’s Miss Saigon and was seen in the National Tour of Lincoln Center Theater’s South Pacific. Off Broadway she portrayed the role of Trina in the National Asian American Theatre Company’s production of Falsettoland. Her regional

credits include roles in The King and I with Lou Diamond Phillips, Hair, Carousel, Man of La Mancha, Showboat, The Marvelous Wonderettes and It’s a Grand Night for Singing. Her television credits include CBS’s “Unforgettable” and “As the World Turns,” Showtime’s “The Big C,” ABC’s “All My Children” and Disney’s “Johnny and the Sprites.” As a soloist she has performed at the Morton H. Meyerson Symphony Center in Dallas, Symphony Space in New York and Carnegie Hall.

GEORGE TAKEI (Sam Kimura, Ojii-san) and his family, along with 120,000 other Japanese Americans, were unjustly incarcerated behind the barbed-wire enclosures of

United States internment camps with the outbreak of World War II. Mr. Takei spent most of his childhood at Camp Rohwer in Arkansas and at Camp Tule Lake in Northern California. At the end of the war, Mr. Takei and his family returned to his native Los Angeles where Mr. Takei graduated from Los Angeles High School and received his bachelor’s and master’s degrees from UCLA. Mr. Takei’s acting career has spanned more than five decades with more than 40 feature films and hundreds of television roles to his credit. He is best known for portraying Mr. Sulu in the “Star Trek” television and film series. Mr. Takei’s theatrical credits include Shimon Wincelberg’s Undertow (Edinburgh Festival Fringe), Philip Kan Gotanda’s The Wash (Manhattan Theatre Club and Mark Taper Forum), Frank Chin’s Year of the Dragon (The American Place Theatre), Fly Blackbird! (Billy Rose Theatre and Metro Theater), Snow White (Brighton Dome), Aladdin (The Hexagon Theatre in Reading, England and The Central Theatre in Chatham, England), Stephen Sondheim’s Pacific Overtures (Loft Theatre) and Peter Shaffer’s Equus (East West Players). In March 2012, Mr. Takei performed in an all-star reading of 8 by Dustin Lance Black and directed by Rob Reiner at Wilshire Ebell Theatre in Los Angeles. Mr. Takei is a member of the Academy of Motion Picture Arts and Sciences and Academy of Television Arts


& Sciences. He shares a Grammy nomination with Leonard Nimoy in the Best Spoken Word or Non-Musical Recording category. He has a star on Hollywood Boulevard’s Walk of Fame, and his signature and handprints are in cement in the forecourt of Grauman’s Chinese Theatre. A community activist, Mr. Takei is a member of the Japanese American Citizens League. He also is chairman emeritus and a trustee of the Los Angeles-based Japanese American National Museum, where Mr. Takei and his husband, Brad Takei, were married in 2008.

JILL TOWNSEND (Ensemble, u/s Hannah Campbell) is thrilled to be joining the Allegiance family in her hometown of San Diego. Her theatre credits include Swing/

Nimue/Tom in the National Tours of Camelot and Maggie in A Chorus Line. Her selected regional credits include Miss Dorothy in Thoroughly Modern Millie and Eileen in the West Coast premiere of I Love a Piano (Musical Theatre West), Winnie Tate in Annie Get Your Gun and Patty Simcox in Grease (Music Circus), Kim MacAfee in Bye Bye Birdie (San Diego Musical Theatre and Civic Light Opera of South Bay Cities), Val in A Chorus Line (San Diego Musical Theatre and American Musical Theatre of San Jose), Luisa in The Fantasticks (North Coast Repertory Theatre), Mistress in Evita (Fullerton Civic Light Opera) and Columbia in The Rocky Horror Picture Show (Universal Studios Hollywood). www.JillandRobert.com.

ALLIE TRIMM (Hannah Campbell) previously appeared at the Globe as Nora in Brighton Beach Memoirs and Phyllis Who in Dr. Seuss’ How the Grinch Stole Christmas!

Her Broadway credits include Kim MacAfee in the Roundabout Theatre Company’s 2009 revival of Bye Bye Birdie. Prior to that, she made her critically acclaimed Broadway debut as Patrice in Jason Robert Brown’s musical 13. Her favorite regional credits include

Patrice in 13 (Goodspeed Musicals), Mary Lennox in The Secret Garden (Lamb’s Players Theatre) and The Will Rogers Follies and Annie Get Your Gun (Moonlight Stage Productions). Ms. Trimm has participated in a number of readings and workshops including Sweet Valley High, Pregnancy Pact, Allegiance and The Water. Her film and television credits include Disney’s Prom, “30 Rock” and “Private Practice.” She will be attending Stanford University in the fall of 2013. www.allietrimm.com.

KAY TRINIDAD (Ensemble) has appeared on Broadway as Aquata in the original cast of The Little Mermaid. Her Off Broadway credits include Diane in the original New

York cast of Bare, The Roar of the Greasepaint – the Smell of the Crowd and Martha and Kit in Ninja: The Musical. Her regional and National Tour credits include Seussical the Musical, The King and I, Making Tracks and Bye Bye Birdie. She can be heard as Marcy Park on the Stage Stars recording of The 25th Annual Putnam County Spelling Bee. She has also appeared in the film March! She trained at New York University’s Lee Strasberg Theatre & Film Institute at the Tisch School of the Arts. Ms. Trinidad thanks her family and friends for all of their love and support and is grateful for all of God’s blessings. Thank you for your unending support Mom, Daddy, Ate Chris and Apey. www.kaytrinidad.com.

SCOTT WATANABE (Ensemble, u/s Sam Kimura, Ojii-san) just ended a five-plus-year run in Phantom – The Las Vegas Spectacular. He was also featured in the

Broadway, Los Angeles and Toronto productions of The Phantom of the Opera. His other Broadway credits include Pacific Overtures. His New York credits include Kismet and Candide. Regionally he has been seen as The Engineer in Miss Saigon, Padre in Man of La Mancha, Charlie in Annie Get Your Gun, Captain Lesgate in Dial M for Murder, Ito in Mame, Candide, Camelot,

Kayama in Pacific Overtures (San Francisco Bay Area Theatre Critics Circle nomination for Best Actor), The Prince and the Pauper, Franklin Shepard in Merrily We Roll Along, Evita, Pasquale in The Most Happy Fella, Chess, Jake in Paint Your Wagon, Lun Tha in The King and I. His television credits include “Law & Order: Criminal Intent.”

MARC ACITO (Book) wrote the book and additional lyrics for the Globe’s world premiere production of A Room with a View. Mr. Acito’s play Birds of a Feather, which tells the true story of the nationwide controversy caused by gay penguins in the Central Park Zoo, won the Helen Hayes Award for Outstanding New Play or Musical for its world premiere at The Hub Theatre. Birds of a Feather will appear next at Diversionary Theatre. Mr. Acito will also return to the Hub to create a stage monologue adaptation of his first novel, How I Paid for College: A Novel of Sex, Theft, Friendship and Musical Theater, which won the Ken Kesey Award for Fiction, was Editors’ Choice by The New York Times and was a Top Teen Pick by the American Library Association. Translated into five languages, it also inspired a sequel, Attack of the Theater People. A former professional opera singer, Mr. Acito regularly performs “singing commentaries” on National Public Radio’s “All Things Considered” and has written about theatre for The New York Times, Playbill and American Theatre. A product of the musical theatre program at Carnegie Mellon University, Mr. Acito graduated from Colorado College, which in 2009 awarded him an honorary doctorate. A book doctor to writers of all mediums, Mr. Acito teaches story structure at New York University. www.MarcAcito.com.

JAY KUO (Music, Lyrics and Book) marks his fourth musical with Allegiance. His composing career began at Stanford where he wrote and produced Upwardly Mobile, a coming-of-age story. Mr. Kuo’s second musical comedy, Insignificant Others, played from 2006-2008 in San Francisco at the New Conservatory Theatre Center, Zeum and Theatre 39 and won the Bay Area Theatre Critics


Profiles

Circle Award for Best Original Script. His third work, Worlds Apart, about star-crossed lovers in the cultural divide, performed in concert at San Francisco’s Magic Theatre in late 2006 and in New York City at New World Stages in 2008. Mr. Kuo has been part of the producing teams of many Broadway shows and national tours with an emphasis on the use of social media. He received his J.D. from UC Berkeley and is an appellate litigator admitted to practice in California and before the 9th Circuit and U.S. Supreme Courts.

LORENZO THIONE (Book) is proud and excited for the world premiere at The Old Globe of Allegiance, on which he began working in 2008 alongside friend and composer Jay Kuo following an encounter with George Takei, whose experience in the internment camps inspired them to write a musical about this dark and mostly unknown chapter of American history. Lorenzo is also a serial entrepreneur, theatre producer and community activist and was the co-founder of Powerset, Inc., an internet search company that was acquired by Microsoft in 2008 and whose technology was subsequently re-launched as part of Bing. He is the co-founder, chairman and president of Artify It, an internet-based startup that is bringing high-quality contemporary art within the reach of everyone. Thione has also co-founded and helped grow StartOut, a national non-profit organization dedicated to fostering and developing the next generation of entrepreneurs and business leaders within the LGBT community. Thione serves on the board of trustees of StartOut and of several companies in the U.S. and abroad. A native of Milan, Italy, Thione is a graduate of the University of Texas at Austin. A special thanks to his family, friends and everyone who has been supportive of this amazing and important project and especially to Jay for an amazing artistic, creative and business partnership and friendship.

STAFFORD ARIMA (Director) previously directed Ace at the Globe. He recently directed the revisal of the infamous Broadway musical Carrie (MCC Theater,

nominated for five Drama Desk Awards including Outstanding Revival of a Musical and an Outer Critics Award for Outstanding Revival of a Musical). His other work includes Altar Boyz (winner of the Outer Critics Circle Award for Best Off-Broadway Musical, nominated for seven Drama Desk Awards), Ragtime (West End, nominated for eight Olivier Awards including Best Director), The Princess and the Black-Eyed Pea (San Diego Repertory Theatre), The Tin Pan Alley Rag (Roundabout Theatre Company, nominated for an Outer Critics Circle Award as Outstanding Off-Broadway Musical), Jacques Brel Is Alive and Well and Living in Paris (Stratford Shakespeare Festival), Candide (San Francisco Symphony), A Tribute to Stephen Sondheim (Boston Pops), Guys and Dolls (Paper Mill Playhouse), The Secret Garden (World AIDS Day concert), Abyssinia (Goodspeed Musicals), Bowfire (PBS television special), Express Yourself (Broadway Dreams Foundation 2012, Atlanta) and Marry Me a Little (Cincinnati Playhouse in the Park). His upcoming project includes Bare (Off Broadway). Mr. Arima graduated from York University in Toronto where he was the recipient of the Dean’s Prize for Excellence in Creative Work. Mr. Arima dedicates his work on Allegiance to his father, Ray Arima, and his Aunts Tak and Tosh and Uncle Mush who were interned in British Columbia, Canada during World War II. www.staffordarima.com.

ANDREW PALERMO (Choreography) previously choreographed the Globe production of Ace. He is the Founding Artistic Director of dre.dance, an American contemporary dance company. In addition to concert dance, Mr. Palermo’s stage direction and choreography credits include Kristin Chenoweth at Carnegie Hall, The Frank Loesser Songbook with New York Philharmonic (Lincoln Center for the Performing Arts), The Mikado (Carnegie Hall), Lyrics & Lyricists (92nd Street Y), The Aluminum Show (international tour), V-Day (Urban Stages), Journey to the West (37 Arts), Great Joy (New Amsterdam Theatre), Esther Demsack (Summer Play Festival/

The Public Theater), DanceBreak 2011, Ace (Cincinnati Playhouse in the Park, The Repertory Theatre of St. Louis), Bright Lights, Big City (Prince Music Theater), Vices (Theatre Aspen), Elton John and Tim Rice’s Aida (Music Theatre of Wichita), Man of La Mancha (Music Circus), For the Record: Paul Thomas Anderson (Rockwell: Table & Stage), The Two Gentlemen of Verona (University of Cincinnati College-Conservatory of Music), Hairspray (American Musical and Dramatic Academy Los Angeles), She Loves Me (Westminster Choir College) and Hair and The Wild Party (Wichita State University). He is also working on the upcoming Off Broadway production of The Other Josh Cohen.

LYNNE SHANKEL (Music Supervision, Arrangements and Orchestrations) was most recently orchestrator and music director for the acclaimed revival of Once on This Island at Paper Mill Playhouse directed by Thomas Kail. Ms. Shankel has written orchestrations and arrangements for the San Francisco Symphony featuring Bonnie Raitt, The Dallas Opera Orchestra featuring George Hearn, Tony Bennett’s famed 80th birthday celebration at the Kodak Theatre in Los Angeles and the Radio City Christmas Spectacular. She was music director/arranger for the Broadway production of Cry-Baby as well as the resident music supervisor for the Tony Award-winning revival of Company, for which she conducted the Grammy Award-nominated cast album. She was music director/arranger for the Off Broadway hit Altar Boyz, for which she received a Drama Desk Award nomination for Outstanding Orchestrations. Her other Broadway credits include Disney’s Beauty and the Beast, You’re a Good Man, Charlie Brown and The Lion King. Her Off Broadway credits include The Extraordinary Ordinary (Drama Desk nomination for Outstanding Orchestrations) Vanities, Altar Boyz, The Thing About Men and Summer of ’42.

(continued on page 21)


On April 7, 1942, the downtown San Diego Santa Fe Depot overflowed with Japanese American families. Under the watchful eyes of armed military guards 21-year-old Tetsuzo “Tets” Hirasaki and 1,150 other San Diegans were ordered from their homes and into the custody of the United States government. Tets could only take what he could carry. The FBI had already picked up Tets’ father, Chiyomatsu Hirasaki, and his whereabouts were unknown to the family. Tets gamely smiled for the camera and promised to keep in touch with friends in San Diego.

This scene would be repeated in numerous communities as the U.S. government forcibly removed approximately 120,000 people of Japanese ancestry from the West Coast into American concentration camps1. The surprise Japanese attack on Pearl Harbor and the U.S. entrance into World War II had widespread ramifications for the local Japanese American community.

Several months earlier, on February 19, President Franklin D. Roosevelt signed Executive Order 9066. It delegated power to the Secretary of War and military

A SAN DIEGO PERSPECTIVEBY SUSAN HASEGAWA

Loyalty and Patriotism Behind Barbed Wire

San Diego’s Santa Fe Depot, April 7, 1942. Photo courtesy of the Japanese American Historical Society of San Diego.


commanders to take necessary actions to secure the West Coast from Japanese attack. Gripped by war hysteria and racial prejudice, military leaders, journalists and politicians voiced fears of sabotage and spying by the local Japanese American community. “Military necessity” was the justification for the removal of all people of Japanese ancestry from the exclusion zone encompassing the coastal areas of Washington and Oregon, the entire state of California and the southern border areas of Arizona. The government built 10 camps in desolate inland areas. Spartan tarpaper barracks, communal dining halls and public toilet facilities were all part of camp life for the duration of the war. The camps had armed military guards and barbed-wire fences to keep inmates confined. There were no cases of espionage or wrongdoing. The only crime of the Issei (Japanese immigrant or first generation) and their American citizen Nisei (second-generation) children: looking like the enemy.

As an American citizen, Tets had grown up learning about the American system of government and the Bill of Rights; during World War II, however, Tets’ faith in the U.S. would be sorely tested. Tets was assigned a horse stable in a temporary detention center at Santa

Anita Race Track for several months and found a job as a messenger. Tets writes of an inmate strike in response to searches and seizures for contraband: “Then also with the strike came the ban on meetings of any sort. Discussion of the present war — city, county, states, national politics and the present administration — was taboo. Then too, was the ban on Japanese literature, later came the ban on Japanese phonograph records. Where was the democracy — freedom of speech, etc.? Would a Caucasian U.S. citizen take such shoving around?”

Tets spent the remainder of the war in the Colorado River Relocation Center, commonly called Poston. He worked in the mess hall and, before starting his early morning shifts, watched the sunrise over “purple mountains” in an otherwise “drab” landscape. He wrote numerous letters to friends in San Diego describing the triple-digit summer heat and the winter desert weather: “The dust storm came during the third week of January and lasted for three days...we had the coldest morning yet when the temperature dropped to 20 degrees. That whole day ice was on the ground. Then it began to rain. It poured cloudburst after cloudburst for three days. The dust just turned into the stickiest mud I have ever seen.”

1(from page 13) The term “concentration camp” is defined in the American Heritage Dictionary as “a camp where...enemy aliens and political prisoners are confined.” Federal officials, including President Roosevelt, used the term concentration camp in government documents during the war. With the discovery of the Nazi death camps, the term became equated with the persecution and extermination of millions of innocent people. This did not happen in the case of Japanese Americans; they were, however, detained and confined in prison-like conditions simply because of their ethnicity.

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Living quarters at Poston War Relocation Center, June 1, 1942.


For protection against the elements, Tets stuffed newspapers into wooden barrack wall cracks and pounded the tops of canned food containers over holes in the floorboards.

With a population reaching almost 18,000, Poston instantly became the third largest city in the state of Arizona in 1942. Poston was also one of two camps located on Indian reservations. In camp, internees could obtain jobs paying $12 to $16 a month for a laborer and $19 a month for a skilled professional. Camp administrators scrambled to open schools, but due to initial furniture shortages, children brought their own chairs for daily lessons. Sports leagues, including softball and basketball, became very popular to break up the monotony of camp life. In the dry desert environment, internees created paper flowers to commemorate funerals and to celebrate weddings.

Ironically, the same individuals whose loyalties were questioned while living in the exclusion zone were then deemed appropriate to work in interior states and serve in the military. In 1943, camp internees could take a loyalty oath, complete an extensive personal history application, find a job outside of the exclusion area and leave camp. Young men were also reinstated for the draft. The loyalty questionnaire and the drafting of Nisei proved extremely controversial and sparked protests in different camps.

Tets on the other hand, writes of the eagerness of Nisei men to prove their patriotism: “When the Army came here to [Poston] Camp III to register the men under selective service and also to take volunteers for the Japanese American combat unit, it was the best piece of news we Nisei have had in a long time. We Nisei were despairing on ever becoming recognized. But now we have the chance to prove our loyalty, because after the evacuation, Nisei were classed as aliens ineligible for military service.” Tets was one of the first San Diegans to volunteer; however, a shoulder injury disqualified him from military service.

Even as Tets sought to prove his loyalty through military service, his father remained in a segregated Department of Justice camp.

Comprised of volunteers and draftees, the all-Nisei 442nd Regimental Combat Team became a formidable fighting force in the European theatre and was one of the most highly decorated combat units for its size and duration of service in the history of the U.S. military. Nisei and Kibei (Nisei educated in Japan who returned to the United States before Pearl Harbor) with Japanese language skills were recruited for Military Intelligence Service and were secretly deployed in the Pacific theatre.

With exclusion from the West Coast lifted starting in January 1945, internees had to decide on whether to return to San Diego or plant roots in other cities. Since the San Diego City Council had passed resolutions against the return of Japanese Americans to the region and the District Attorney had filed Alien Land Law suits against several Issei farmers, detainees faced an uncertain future in San Diego.

When the government closed Poston in late 1945, over 900 people returned to San Diego, including Tets and his family. Internees leaving camps received $25, war ration coupon books and a one-way ticket to their destination. Arriving in San Diego, families faced a severe housing shortage and wary employers. Devastated by the economic and psychological upheaval of incarceration, many Issei never recovered, but the rebuilding of the Japanese American community in San Diego had already commenced.

Susan Hasegawa is a professor of history and former chair of the History and Political Science Department at San Diego City College. Her community history, Japanese Americans in San Diego, was published in 2008. In addition to curating numerous exhibits locally, she has also written articles for the Japanese American National Museum and consulted on projects concerning the Japanese American experience for Oxford Publishing and University Press of Colorado.

Kathy Tasaki and Tets Hirasaki at the Santa Fe Depot, April 7, 1942. Photo courtesy of the Japanese American Historical Society of San Diego.

For more information on the San Diego Japanese American experience, visit the website of the Japanese American Historical Society of San Diego (JAHSSD) at www.jahssd.org. Its mission is to recognize the contributions Japanese Americans have made to the San Diego

region by preserving and making available artifacts, photographs and other information chronicling their history and experiences.

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ALLEGIANCE: A SAN DIEGO PERSPECTIVEA SPECIAL MUSEUM EXHIBITION

The Old Globe and the Japanese American Historical Society of San Diego present a museum exhibition throughout the run of Allegiance about the history of Japanese Americans who lived in San Diego prior to World War II and their removal to the internment camps. The exhibition contains photographs, artifacts and materials about the internment and how it affected San Diego County and its citizens. Located in the San Diego Museum of Man Annex directly adjacent to The Old Globe, the exhibition is free to the public and is open two hours prior to each performance and from noon to curtain on Tuesdays.

The map above shows facilities where Japanese Americans were held during World War II. The U.S. Government used additional facilities to detain members of other groups identified as “enemy aliens,” including individuals of German and Italian descent.

“THE TAG PROJECT”A LOBBY ART INSTALLATION by artist Wendy Maruyama

Wendy Maruyama’s large-scale sculptural installation “The Tag Project” features groupings of ID tags resembling those worn by Japanese Americans as they were sent to the internment camps. Approximately 11 feet tall and weighing more than 100 pounds, each grouping contains enough tags to represent every person in one of the 10 U.S. internment camps. The installation features three of the 10 groupings and is located in the upper lobby of this theatre.

FREE EXHIBITIONS DURING THE RUN OF ALLEGIANCE


Mike Masaoka (1915-1991) was a prominent and controversial figure in the history of the Japanese American internment.

In 1941, at the age of 26, Masaoka was hired as the National Secretary and Field Executive of the Japanese American Citizens League, an organization founded

in 1929 by and for Nisei (the first generation of Japanese Americans born in the United States). After the signing of Executive Order 9066, Masaoka testified before the U.S. House of Representatives, speaking out against the evacuation and internment of Japanese Americans, but also stating, “I think that we will be called upon to make greater sacrifices than any others. But I think sincerely, if the military say ‘Move Out,’ we will

be glad to move, because we recognize that even behind evacuation there is not just national security but also a thought as to our own welfare and security.”

Masaoka felt that the Japanese American community should work to prove their loyalty and demonstrate their patriotism. In the hopes of avoiding internment, he even proposed that they be allowed to serve in all-Nisei “suicide battalions,” which would take on highly dangerous missions, their loyalty guaranteed by the soldiers’ families and friends, who would offer themselves as “hostages.”

When it became clear that the U.S. military was moving forward with internment, Masaoka and the JACL advocated for Japanese Americans to cooperate fully. The War Relocation Authority was formed to oversee the internment, and Masaoka and other JACL

members served on its advisory council, representing the internees. Masaoka recommended camp policies that promoted the assimilation and Americanization of internees, in order to “eliminate those mannerisms and thoughts which mark us apart, aside from our physical characteristics.” He wrote, “We hope for a one hundred percent American community.”

In 1943, when the U.S. Army decided to form a Japanese American unit, the 442nd Regimental Combat Team, Masaoka was its first volunteer. He and four of his brothers served in the 442nd. When the draft was instated for Japanese Americans in the internment camps, the JACL spoke out strongly against those who resisted. (In 2002, the JACL formally apologized for taking this position.)

After the war, Masaoka became a lobbyist in Washington, DC, working on civil rights issues. He was active in supporting the Japanese American Evacuation Claims Act of 1948, which authorized government compensation of internees’ financial losses. He was also a major proponent of the McCarran-Walter Act, allowing the Issei (Japanese-born immigrants) to become naturalized citizens for the first time. He was active in the larger Civil Rights Movement, participating in the 1963 March on Washington and in the formation of the Leadership Conference on Civil Rights.

Masaoka’s actions before and during the internment earned him both passionate supporters and bitter detractors. Throughout his life, he always maintained that he had acted in what he felt to be the best interests of the Japanese American community. In his 1987 autobiography, They Call Me Moses Masaoka, he wrote: “Under the circumstances that existed in 1942—and it is important not to judge long-past decisions by contemporary values—I could not have done otherwise.”

“[I pledge] to actively assume my duties and obligations as

a citizen, cheerfully and without any reservations

whatsoever, in the hope that I may become

a better American in a greater America.”

– from Mike Masaoka’s “Japanese American Creed,” 1940.

(above left) Four of the five Masaoka brothers who served in the U.S. Army: Ben, killed in action; Mike; Tad, wounded; and Ike, completely disabled. Hank (not pictured), volunteered for the 442nd but transferred to the paratroops. (above right) Mike Masaoka at work in the 442nd Regimental Combat Team’s public information office in southern France.

Mike MasaokaBY DANIELLE MAGES AMATO


Long before he became an actor and cultural icon, George Takei was one of 120,000 Japanese Americans forced to leave their homes and enter internment camps. His family was first sent to Camp Rohwer in Arkansas, but when his parents answered “no” to questions 27 and 28 on the U.S. Government’s Loyalty Questionnaire, they were labeled “disloyals” and sent to the Tule Lake Segregation Camp. In all, his family spent four years in the camps. Meeting George Takei and hearing his personal story inspired Allegiance creators Jay Kuo and Lorenzo Thione to bring the story of the Japanese American internment to the stage.

UNCOMMON PATRIOTISM

George Takei at Camp Rohwer, the Arkansas internment camp where he and his family were imprisoned during World War II.

GEORGE TAKEI ON ALLEGIANCE


RAISING AWARENESS ABOUT THE JAPANESE AMERICAN INTERNMENT HAS BEEN AN ISSUE CLOSE TO YOUR HEART FOR MANY YEARS. WHAT MAKES MUSICAL THEATRE A GOOD VEHICLE FOR TELLING THIS STORY?The forced imprisonment of citizens and legal immigrants simply because they looked like the enemy is something we understand intellectually as unjust. Drama, however, humanizes this still little-known and even less understood story. It connects us and touches our common humanity, and music touches our hearts. Musical theatre is a powerful medium for moving an audience, both through their minds and their emotions, to experience the anguish, heartbreak, joy and triumphs of a people.

WHAT HAVE BEEN THE JOYS AND CHALLENGES OF REVISITING THIS PART OF YOUR LIFE—ESPECIALLY GIVEN YOUR FAMILY HISTORY AND THE WAY IT INSPIRED THE MUSICAL?I was five years old when armed soldiers came and banged on the front door of our Los Angeles home and ordered us out. I remember my mother had tears rolling down her cheeks. The terror of that morning is indelibly seared into my memory. But as a child, I was able to adjust to the abnormality of imprisonment, and my real memories are of the fun times I had. It was not until I was a teenager studying about democracy and the U.S. Constitution that I had difficulties reconciling my childhood memories with our national ideals. I read books on the internment, talked to older internees and had long and intense discussions with my father. And I became an activist. I testified at the Congressional hearing on redress for the unjust wartime incarceration. I went on national speaking tours. It troubled me that so few knew about the internment and understood even less of its complexities.

So the great joy was in meeting Jay Kuo and Lorenzo Thione one evening in, of all prophetic places, a Broadway theatre. During a brief intermission conversation, I mentioned my childhood in an internment camp, and from that conversation sprang the idea of a musical on that dark chapter of American history.

THERE IS A LARGE MILITARY POPULATION IN SAN DIEGO, WHERE OVER 2,000 RESIDENTS WERE SENT TO INTERNMENT CAMPS. IS ALLEGIANCE IN SOME WAY A MILITARY STORY? When Pearl Harbor was bombed, young Japanese American men and women, like all young Americans, rushed to recruitment centers to volunteer for service. This act of patriotism was answered with a slap in the face.

They were denied service and labeled “enemy non-aliens.” The insult of being categorized as “enemy” was compounded by the term “non-alien” — the government even stripped them of the word “citizen.”

A year into imprisonment, the government realized there was a wartime manpower shortage in the military, and, as suddenly as they rounded up Japanese Americans, they opened up the U.S. Army to them. Thousands of those same Japanese Americans went from behind the

barbed-wire fences to put on the same uniforms as that of the sentries that guarded over them. And they served with astonishing courage and heroism. When the war ended, the 442nd Regimental Combat Team, the all-Japanese American unit, returned from Europe as the most decorated unit of the entire war. Twenty-one vets of the 442nd were decorated with the Medal of Honor, the highest recognition the nation can grant. Theirs is a story of uncommon patriotism under extraordinary challenges.

IN ALLEGIANCE, YOU PLAY TWO CHARACTERS FROM TWO VERY DIFFERENT GENERATIONS: SAM KIMURA AND HIS GRANDFATHER, OJII-SAN. DID DIFFERENT GENERATIONS EXPERIENCE THE INTERNMENT DIFFERENTLY? DO YOU THINK DIFFERENT GENERATIONS WILL EXPERIENCE ALLEGIANCE DIFFERENTLY?

There are distinct generational differences in the experience of the incarceration. The older generation was made up largely of immigrants from Japan who came to the U.S. around the turn of the century. As a group, they were denied naturalized U.S. citizenship. A good number spoke little English. They were culturally Japanese. Their children were born and educated as Americans. They were citizens by virtue of their birth, and most had never visited Japan. They were culturally Japanese American. The internment was the biggest force in fracturing the community generationally. Today, the generation that experienced the incarceration has been silent from a sense of shame and bad memories. They had been incarcerated under suspicion of being spies and traitors. They wanted to be as “American” as they possibly could and forget their disgraced past. Thus, their children have little knowledge of their relatives’ internment experiences. Unlike other ethnic Americans, young Japanese Americans are possibly the one group most cut off from a connection to their ancestral heritage. Allegiance could be as eye-opening for younger Japanese Americans as it would be for the larger American audience today.

(left) Takei with his mother and siblings during their internment at Tule Lake; (top right) Takei’s kindergarten photo taken at Camp Rohwer.


COULD YOU TELL US ABOUT SOME OF THE RESEARCH YOU DID TO PREPARE FOR THIS DESIGN? A lot of my research came from very real, specific details of the internment camps. I started this project a year and a half ago by visiting the Japanese American National Museum where I got to see a barrack and view photographs and artifacts. It really gives you the sense of this great Japanese American story. I only knew some of the history before that. When I lived in California, I had learned about the internment camps, but I didn’t really get the depth of it and how much it impacted people’s lives for generations to come — and still impacts them today.

Some of my research came from Wyoming itself. My husband’s family is from Wyoming, so I’m familiar with the landscape and the feeling of what it’s like out there. The landscape is a big part of our design. I also looked at shoji screens, Japanese architecture and sculptures that work with wood and paper, origami and the idea of layering paper. We also referenced a beautiful picture of a tree with a cross section of the roots below. This image resonated a lot with the themes of the show; family, roots, heritage, hidden layers, deeper meanings. There is quietness and strength to this image.

WERE THERE SPECIFIC TEXTURES, COLORS OR SHAPES THAT YOU TOOK FROM YOUR RESEARCH TO CREATE THE SET? The whole set is comprised of very natural materials. There’s a lot of wood, a lot of fabric. There’s a layering of squares and rectangles to create almost a patchwork quilt, made not with many different colors but with neutrals — very much like the Wyoming landscape, which is dry and dusty with beautiful golden hues and sagey greens and warm browns. You don’t necessarily think about Japan alongside the desert, but we’re trying to combine the sensibilities of both locations into a poetic landscape.

WHAT WERE SOME OF THE CHALLENGING THINGS THAT THE SHOW REQUIRED THE SET TO DO? There are around 50 scenes in the show. So how do you take a conceptual, non-realistic set and make it change

to reflect specific locations? That has been a challenge. The set includes large panels that pivot, track and move around the space to shift your perspective. They serve as projection surfaces and help us transform the space.

HOW DID YOU DEVELOP AN INTEREST IN USING RECLAIMED AND SALVAGED MATERIAL IN YOUR WORK? I’ve always been inspired by my father, who was involved in solar energy and worked with salvaged materials in landscape and playground design. The light bulb moment occurred for me after working as an associate for the show High Fidelity on Broadway. We worked on the show for 13 months, and it closed after 13 performances and the whole set went into the trash. I couldn’t continue working that way. So I started building sets from reclaimed materials to use some of the waste I was seeing around me. With every show I try to reuse materials, and it’s not hard—there’s so much out there. For this show, it’s primarily reclaimed wood. We have wood from an old fence that someone was ripping down, pallet wood, old scaffolding boards, wood from previous Globe shows. The other materials are purchased new but are sustainable products. I try to avoid materials such as foam and plastic, unless they are salvaged from other sources.

USING SALVAGED MATERIALS SEEMS TO HAVE A PARTICULAR RESONANCE FOR THIS SHOW, AS THE INTERNEES THEMSELVES MADE EXTRAORDINARY THINGS FROM RECLAIMED AND SALVAGED MATERIALS THEY FOUND IN THE CAMPS. This show is a lot about contrasts. There’s a light, airy openness, and then there’s this oppressive wooden barrier. The internees are in an open landscape, but they’re being very contained behind barbed wire. Everything about their lives is controlled and managed and yet, they’ve been able to create a life for themselves within this harsh environment. That’s an important aspect of Allegiance, to show the spirit of the Japanese Americans and their ability to survive and grow.

THE LANDSCAPE OF INTERNMENTScenic Designer Donyale Werle on creating the set for Allegiance

Heart Mountain Relocation Center, Heart Mountain, Wyoming.

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Profiles

LAURA BERGQUIST (Music Director) music directed the Globe’s production of Jane Austen’s Emma – A Musical Romantic Comedy. She conducted the National Tours of The King and I, Titanic and Miss Saigon and is a frequent guest conductor in regional theatres and clinician in universities and churches. An ASCAP Awards recipient for composition, her personal catalog includes more than 60 works in print and several recordings. Her additional regional work includes Cincinnati Playhouse in the Park, The Repertory Theatre of St. Louis, Rubicon Theatre Company, Northlight Theatre, Lyric Theatre in Oklahoma, Music Theatre of Wichita, Arizona Theatre Company and Cleveland Play House, as well as New York Stage and Film, The Julliard School, New York Musical Theatre Festival, Midtown International Theatre Festival and National Alliance for Musical Theatre. She has been on the teaching faculties of Friends University and New York University at Playwrights Horizon. Her upcoming projects include Paul Gordon and John Caird’s Daddy Long Legs, directed by Caird in London, and Paul Gordon’s Jane Austen’s Emma, directed by Jeff Calhoun on Broadway. Ms. Bergquist resides in New York City with her husband, Joe.

DONYALE WERLE (Scenic Design) recently designed the Globe production of Richard O’Brien’s The Rocky Horror Show. She received a 2012 Tony Award for Peter and the Starcatcher on Broadway. Her other Broadway credits include Bloody Bloody Andrew Jackson (2011 Tony nomination). Her Off Broadway credits include The Taming of the Shrew (Theatre for a New Audience), Peter and the Starcatcher (New York Theatre Workshop, Lucille Lortel Award nomination), Bloody Bloody Andrew Jackson (The Public Theater, Lucille Lortel Award, Hewes Design Award, Outer Circle Critics Award nomination), Broke-ology (Lincoln Center Theater) and Jollyship the Whiz-Bang (Ars Nova). Her regional credits include shows at Paper Mill Playhouse and Magic Theatre. She is also a recipient of a 2011 Obie

Award. Ms. Werle supports and speaks publicly about sustainable design and is the co-chair of the Pre/Post-Production Committee of the Broadway Green Alliance.

ALEJO VIETTI (Costume Design) has designed the Globe productions of Engaging Shaw, Brighton Beach Memoirs, Broadway Bound and Lost in Yonkers. His New York credits include works for New York City Opera, Manhattan Theatre Club, Primary Stages, MCC Theater, the Radio City Music Hall Rockettes, Irish Repertory Theatre, The New Group, Cherry Lane Theatre, Rattlestick Playwrights Theater, Soho Repertory Theater and The Ensemble Studio Theatre, among others. Regionally, has designed at Alley Theatre (over 18 productions), Arena Stage, Hartford Stage, Long Wharf Theatre, Colorado Ballet, Minnesota Opera, Pasadena Playhouse, Cleveland Play House, Cincinnati Playhouse in the Park, Guthrie Theater, Ford’s Theatre, New York Stage and Film, Williamstown Theatre Festival, Paper Mill Playhouse, Pittsburgh Public Theater, The Repertory Theatre of St. Louis, Signature Theatre Company, Arizona Theatre Company, Goodspeed Musicals, Philadelphia Theatre Company, Barrington Stage Company, The 5th Avenue Theatre, Wolf Trap Opera Company and Opera Santa Barbara, among others. His other work includes Donetsk Opera in Ukraine, Edinburgh Festival Fringe, Ringling Bros. and Barnum & Bailey’s Boom a Ring. His upcoming projects include the Radio City Music Hall Rockettes’ Spring Show. He is a TDF/Irene Sharaff Young Master Award recipient.

HOWELL BINKLEY (Lighting Design) has designed the Broadway productions of Jesus Christ Superstar, How to Succeed in Business Without Really Trying starring Daniel Radcliffe (2011 Tony nomination), Lombardi, Million Dollar Quartet, Memphis, West Side Story (2009 Tony nomination), Gypsy starring Patti LuPone, In the Heights (2008 Tony nomination), Jersey Boys (2006 Tony winner), Avenue Q, Minnelli on Minnelli, The Full Monty, Parade, Kiss of the Spider Woman (1993 Tony

nomination) and How to Succeed in Business Without Really Trying starring Matthew Broderick. Mr. Binkley is also the co-founder of Parsons Dance. He is a five-time Helen Hayes Award recipient and was awarded the 1993 Laurence Olivier Award and Canadian Dora Award for Kiss of the Spider Woman and the 2006 Henry Hewes Design Award, Outer Critics Circle Award and Tony Award for Jersey Boys. Howell teaches master classes in lighting design in multiple undergraduate and graduate arts programs and has created a yearly scholarship and internship opportunity at his alma mater, East Carolina University, for an outstanding student in his beloved field of lighting design.

JONATHAN DEANS (Sound Design) has designs that have spanned from the Royal Opera House in Covent Garden to The Beatles LOVE in Las Vegas. His Broadway credits include Priscilla Queen of the Desert, Spider-Man: Turn Off the Dark, La Cage aux Folles, Young Frankenstein, The Pirate Queen, Lestat, Taboo, Follies, Seussical, The Music Man, Fosse, Parade, Candide and Ragtime. He also recently designed the Off Broadway revival of Carrie. His work with Cirque du Soleil includes LOVE, Viva Elvis, KÀ, Criss Angel Believe, Zumanity, O, Mystère, La Nouba, OVO and Corteo. He has been nominated for Tony and Drama Desk Awards and has been presented with a USITT award for Distinguished Career in Sound. Mr. Deans was born in England where, as a young actor, he was a member of the Royal Shakespeare Company and later went into sound design and designed for over two decades. Mr. Deans now lives in the U.S.

DARREL MALONEY (Projection Design) has designed for broadcast, commercials, concerts, film and theatre. His projection and video designs for Broadway include Green Day’s American Idiot (St. James Theatre) and Everyday Rapture (Roundabout Theatre Company). His other projection designs include Surf (Las Vegas), Karen O’s Stop the Virgens (St. Ann’s Warehouse), Masks Outrageous and Austere (Culture Project), Tokio Confidential (Atlantic Theater Company), The Submission

(continued from page 12)


Profiles

(MCC Theater), One Night with Janis Joplin (Portland Center Stage), SCKBSTD (Virginia Stage Company) and The Elephant Man (Minnesota Opera) as well as lighting and projections for Peer Gynt (La Jolla Playhouse and Kansas City Repertory Theatre). www.darrelmaloney.com.

JAN GIST (Dialect Coach) has been Voice, Speech and Dialect Coach for Old Globe productions since 2002. She has coached at theatres around the country including Ahmanson Theatre, La Jolla Playhouse, Oregon Shakespeare Festival, The Shakespeare Theatre Company in DC, The American Shakespeare Center, Utah Shakespeare Festival, Alabama Shakespeare Festival, Arena Stage, Milwaukee Repertory Theater, PlayMakers Repertory Company, Indiana Repertory Theatre, American Players Theatre and Mo’olelo Performing Arts Company. Ms. Gist has been a guest on KPBS radio’s “A Way with Words,” narrated San Diego Museum of Art documentaries, coached dialects for the film The Rosa Parks Story and recorded dozens of Books To Listen To. She is a founding member of The Voice and Speech Trainers Association and has presented at many national and international conference workshops for them and for The Voice Foundation. She has taught workshops in Russia for the International Voice Teachers Exchange at The Moscow Art Theatre and at London’s Central School of Speech and Drama. She has been published in VASTA Journals, and chapters in books include The Complete Vocal Warm-Up, More Stage Dialects and an interview in Voice and Speech Training in the New Millennium: Conversations with Master Teachers. She is a professor in The Old Globe/USD Graduate Theatre Program. www.jangistspeaking.com.

TELSEY + COMPANY (Casting) has cast the Broadway productions and Tours of Glengarry Glen Ross, Annie, Chaplin, Bring It On, Evita, Gore Vidal’s The Best Man, Newsies, The Gershwins’ Porgy and Bess, Spider-Man: Turn Off the Dark, Rock of Ages, Wicked, Sister Act, Jekyll & Hyde, Memphis, Million Dollar Quartet and The Addams Family.

Their Off Broadway credits include Bare, Rent, Atlantic Theater Company, MCC Theater and Signature Theatre Company. Regionally they have cast for La Jolla Playhouse and Paper Mill Playhouse. For film they have cast The Odd Life of Timothy Green, Friends with Kids, Joyful Noise, Margin Call, Sex and the City 1 and 2, I Love You Phillip Morris, Rachel Getting Married, Dan in Real Life and Across the Universe. Their television credits include “Smash” and “The Big C.” www.telseyandco.com.

ANJEE NERO (Stage Manager) has previously worked on the Globe productions of A Room with a View, Richard O’Brien’s The Rocky Horror Show, Kingdom and the 2007 Shakespeare Festival, among others. Her selected La Jolla Playhouse credits include the world premiere of Arthur Kopit’s play A Dram of Drummhicit, Ruined directed by Liesl Tommy, A Midsummer Night’s Dream directed by Christopher Ashley, Herringbone starring BD Wong and The Seven. Ms. Nero has worked with several prominent regional theatres including Center Theater Group, SITI Company, Huntington Theatre Company, Berkeley Repertory Theatre and more. Her other selected credits include Schick Machine (Paul Dresher Ensemble), which toured to Hong Kong earlier this year, multiple corporate events with MSI Production Services, Inc., Dream Report (Allyson Green Dance featuring Lux Borreal) and Garden of Forbidden Loves and Garden of Deadly Sound with San Diego-based dance company IMAGOmoves, which toured to the International Hungarian Theatre Festival in Cluj, Romania.

RACHEL MILLER DAVIS (Assistant Stage Manager) is making her Globe debut with Allegiance. Her Broadway credits include West Side Story, LoveMusik, The People in the Picture and The Caine Mutiny Court-Martial. Off Broadway she has worked for The Public Theater/New York Shakespeare Festival, Manhattan Theatre Club, St. Ann’s Warehouse and Women’s Project. Her regional credits include McCarter Theatre Center, Long Wharf Theatre and New York Stage and Film.

She has worked at opera houses all over the country including Glimmerglass Opera, Opera Company of Philadelphia, Lyric Opera of Kansas City, New Orleans Opera, Bard SummerScape, Opera Tampa and Opera New Jersey. Love to Brian.

EVANGELINE ROSE WHITLOCK (Assistant Stage Manager) has worked regionally on The Scottsboro Boys, A Room with a View, Odyssey and Engaging Shaw (The Old Globe), Limelight: The Story of Charlie Chaplin, HOOVER COMES ALIVE! and A Dram of Drummhicit (La Jolla Playhouse), What is the Cause of Thunder? (Williamstown Theatre Festival) and miXtape (Lamb’s Players Theatre). Stage management for dance: Michigan Ballet Academy, Las Mariposas with Eveoke Dance Theatre (San Diego premiere and Dominican Republic tour), Malashock Dance and Grand Rapids Ballet Company. Ms. Whitlock teaches with Christian Youth Theatre San Diego. She is an avid runner and figure skater and a UC San Diego M.F.A.

MICHAEL G. MURPHY (Managing Director) served as General Manager of The Old Globe from 2003 to 2012, overseeing the Production, Education, Human Resources, Information Technology and Facilities Departments, as well as Front of House operations. He also managed the construction of the Globe’s new theatre and education facilities. Prior to the Globe, he was the Managing Director of Austin Lyric Opera in Austin, Texas, Director of Administration of San Diego Opera and General Manager of San Diego Repertory Theatre. Before relocating to San Diego from New York, he held similar positions at Theatre for a New Audience and the Joyce Theater Foundation’s American Theater Exchange. He also served as negotiating assistant for the League of Resident Theatres and sales representative for Columbia Artists Theatricals Corporation. Mr. Murphy has served on the Board of Directors of the San Diego Performing Arts League and serves as a Management Trustee for San Diego County Theatrical Trusts, the pension and welfare trust for IATSE


stagehands in the San Diego region. He was also an adjunct faculty member of the Music Department at the University of San Diego. Mr. Murphy earned his B.F.A. degree in Stage Management from Webster University in St. Louis, Missouri and his M.F.A. in Performing Arts Management from Brooklyn College of the City University of New York.

JACK O’BRIEN (Artistic Director Emeritus) served as the Artistic Director of The Old Globe from 1982 through 2007. Broadway: Catch Me If You Can, Impressionism, The Coast of Utopia (Tony Award), Dr. Seuss’ How the Grinch Stole Christmas!, Dirty Rotten Scoundrels (Tony nomination), Henry IV (Tony Award), Hairspray (Tony Award), Imaginary Friends, The Invention of Love (Tony nomination, Drama Desk Award), The Full Monty (Tony nomination), More to Love, Getting Away with Murder, Pride’s Crossing, The Little Foxes, Hapgood (Lucille Lortel Award, Best Director), Damn Yankees, Two Shakespearean Actors (Tony nomination), Porgy and Bess (Tony Award). Metropolitan Opera: II Trittico. London: Love Never Dies, Hairspray (Olivier nomination), National Theatre: His Girl Friday. Six movies for PBS’s “American Playhouse.” Awards: 2008 Theatre Hall of Fame Inductee, 2005 John Houseman Award, ArtServe Michigan 2008 International Achievement Award, Honorary Doctorate, University of Michigan. Honorary Doctor of Humane Letters, University of San Diego. Film (actor): Sex and the City 2.

CRAIG NOEL (Founding Director) was first appointed director in 1939, directing 15 productions prior to World War II. Since then he directed more than 200 plays of all styles and periods and produced an additional 270 productions. His vision for The Old Globe resulted in the establishment of the Shakespeare Festival and the San Diego Junior Theatre in the late ‘40s, the expansion to two theatres in the ‘50s, Globe Educational Tours in the ‘70s and Teatro Meta and the Old Globe/University of San Diego MFA program in the ‘80s. During the 1940s,

Mr. Noel served as dialogue director for the 20th Century Fox Studios and was the former director of the Ernie Pyle Theatre in Tokyo. Described by Variety as the eminence grise of San Diego theatre, Mr. Noel is one of the few San Diegans to have had an entire year (1987) proclaimed in his honor, and to be named one of San Diego’s “Living Treasures.” He was a founder of the California Theatre Council and a former vice president of the California Confederation of the Arts. His numerous honors include The San Diego Union-Tribune list of 25 persons who shaped the city’s history; the Governor’s Award for the Arts; University of Arizona Alumni Association’s Outstanding Citizen, for his contribution to their Fine Arts department; San Diego State University’s Outstanding Alumnus; Conservator of American Arts Award from American Conservatory Theater; the San Diego Press Club Headliner Award; San Diego Gentleman of Distinction Award; and a combined tribute from the Public Arts Advisory Council and the San Diego County Board of Supervisors. Mr. Noel was particularly proud of the following three honors representing education and theatre: Honorary Doctorate of Humane Letters, University of San Diego, Honorary Doctorate in Fine Arts, San Diego State University and the annual Awards for Excellence in Theatre named in his honor by the San Diego Theatre Critics Circle. In 2007, he received the National Medal of Arts — the nation’s highest honor for artistic excellence — in a ceremony at the White House. Craig Noel died on April 3, 2010 at the age of 94.

TELSEY + COMPANY:Bernie Telsey CSA, Will Cantler CSA, David Vaccari CSA,

Bethany Knox CSA, Craig Burns CSA,Tiffany Little Canfield CSA, Rachel Hoffman CSA,

Justin Huff CSA, Patrick Goodwin CSA, Abbie Brady-Dalton CSA,David Morris, Cesar A. Rocha, Andrew Femenella, Karyn Casl,

Kristina Bramhall, Jessie Malone

This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the union of professional actors and stage managers in the United States.

The Directors are members of the Society of Stage Directors and Choreographers, an independent national labor union.

This Theatre operates under an Agreement with the International Alliance of Theatrical Stage Employees Local No. 122.

The Scenic, Costume, Lighting and Sound Designers in LORT Theatres are represented by United Scenic Artists Local USA-826, IATSE.

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

SPECIAL THANKS

Goodspeed Musicals Costume Rental• • •

Historic photographs of Heart Mountain taken by George and Frank C. Hirahara and provided courtesy of the George

and Frank C. Hirahara Photograph Collection, which Patti Hirahara donated

to the Washington State University Libraries, Manuscripts, Archives,

and Special Collections.• • •

Linda Canada• • •

Yuri Barrie Owens• • •

Michael Karns, Trevor Eaton, Seth Sikes, Blair Shepard, Ken Narasaki,

Susan Hasegawa, Jack DePalma, Braxton Molinaro, Wendy Dubner,

Justin Kwok, Laurence Moser, Justin Marconi, David Palmer,

Jeb Knight, Gracie Laciste.• • •

The Japanese American Historical Society of San Diego

• • •Wendy Maruyama

• • •San Diego Museum of Man

• • •Ben & Joan Pollard

• • •Special Thanks to

BUDDHA FOR YOU for the loan of Tibetan Bowls for this production.


In 1995, the Season Sponsor program was initiated by Globe Board Members to secure a foundation of support for artistic and education programs. Since that time, Season Sponsors have contributed millions

of dollars collectively to underwrite the annual operating budget, and The Old Globe is grateful to acknowledge the following donors who have generously supported the 2012 season. Shown below are

the production titles and programs funded, in part, through these generous donors’ 2012 Sponsorships.

L E A D S E A S O N S P O N S O R S

Mary Ann Blair Sponsor since 2007 Dividing the Estate

Karen and Donald Cohn Charter Sponsor since 1995 Inherit the Wind

David C. Copley Charter Sponsor since 1995 Dr. Seuss’ How the Grinch Stole Christmas!

Conrad Prebys and Debbie Turner Sponsors since 2004 Allegiance — A New American Musical

Darlene Marcos Shiley Charter Sponsor since 1995 The Old Globe/USD M.F.A. Program and Education Programs

Sheryl and Harvey White Sponsors since 2000 A Room with a View

For additional information on how you may become a Season Sponsor, please contact Todd Schultz, Director of Development, at (619) 231-1941 x2310.

S E A S O N S P O N S O R S

Mary Beth Adderley and Elizabeth & Ryan Williams Sponsors since 2004 Allegiance — A New American Musical

John A. Berol Sponsor since 1996 As You Like It

The Family of Mary and Dallas Clark Charter Sponsors since 1995

Peter Cooper and Norman Blachford Sponsors since 2008 The Scottsboro Boys

Valerie and Harry Cooper Sponsors since 2005 Divine Rivalry

The County of San Diego Sponsor since 1996

Audrey S. Geisel Sponsor since 1998 Dr. Seuss’ How the Grinch Stole Christmas!

Globe Guilders Charter Sponsors since 1995 Divine Rivalry

Kathryn Hattox Sponsor since 1998 As You Like It

Joan and Irwin Jacobs Sponsors since 2002 Inherit the Wind

Elaine Lipinsky Family Foundation Charter Sponsor since 1995 Allegiance — A New American Musical

June E. Yoder Sponsor since 2010 Divine Rivalry


LEADERSHIP GIFTSThe Old Globe recognizes and thanks the following generous individuals who have made extraordinary gifts of $1 million or more. These major contributions have been designated for artistic, endowment and facilities projects, and help The Old Globe remain one of our country’s great theatre institutions.

$20,000,000 or greater

Donald* and Darlene Shiley


Conrad Prebys


Sheryl and Harvey White

Kathryn Hattox

Karen and Donald Cohn


Viterbi Family Foundation


California Cultural and Historical Endowment

Estate of Dorothy S. Prough

The Rivkin Family

Estate of Beatrice Lynds

Audrey S. Geisel/ San Diego Foundation Dr. Seuss Fund

Mr. and Mrs. Victor H.* Ottenstein

Mrs. Helen Edison*

The Stephen & Mary Birch Foundation

The Kresge Foundation

*In Memoriam

The Old Globe is deeply grateful to its Corporate Season Sponsors, each of whom has made a 2012 annual donation of $50,000 or greater.

The Old Globe hosted the 2012 Globe Gala, A Night in Tuscany, on Saturday, July 28, in support of the theatre’s education and artistic

programs. The annual event featured an exclusive concert by Tony Award winner Lea Salonga, known for her roles in Miss Saigon and Les Misérables.

(from left) Globe Associate Artist Robert Foxworth, Lea Salonga and Board Members Conrad Prebys and Debra Turner.

(from left) Gala Co-Chairs and Board Members Jo Ann Kilty, Pam Cesak and Vicki Zeiger with Managing Director Michael G. Murphy.

(from left) Rich and Gaby Sulpizio, Sheryl White and Board Member Harvey White.

(from left) Richard Wright, Board Member Mary Beth Adderley and Lea Salonga.

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The Old Globe’s ability to maintain the highest standard of excellence, while keeping ticket prices affordable, is due in large part to the financial support of more than 2,000 individuals, businesses, foundations and government agencies. Please join us in giving a warm thanks and recognition to these leaders who have made tonight and our 629 other performances possible. The Old Globe appreciates the support of those who have stepped into the spotlight.

Benefactors ($100,000 and above)

City of San Diego Commission for Arts & Culture

David C. CopleyThe County of San Diego

Audrey S. Geisel/The San Diego Foundation Dr. Seuss Fund

Globe GuildersThe James Irvine FoundationMicrosoft

Darlene Marcos Shiley, in memory of Donald Shiley

The Shubert FoundationSheryl & Harvey White Foundation

Production Sponsors ($25,000 to $49,999)

AnonymousBalboa Park Celebration, Inc.Bank of AmericaAlan BenaroyaRichard & Kathy BinfordCalifornia Bank & TrustPamela & Jerry CesakElaine & Dave DarwinMr. & Mrs. Brian K. Devine

Pamela A. FarrHiggs Fletcher & Mack, LLP Elaine & Leonard HirschJo Ann KiltyBarbara G. KjosNational Corporate Theatre FundNeiman MarcusPaula & Brian PowersRandom House Children’s Books

Sheraton San Diego Hotel & MarinaPatsy & Forrest ShumwayMs. Jeanette StevensGillian & Tony ThornleyUnion BankU.S. BankMandell Weiss Charitable Trust

Director Circle ($10,000 to $24,999)

Jane Smisor BastienNikki & Ben ClayJoseph Cohen & Martha FarishNina & Robert DoedeKaren Fox & Harvey RubenHal & Pam FusonDiana GlimmLee & Frank GoldbergDr. & Mrs. Harry F. Hixson, Jr.Deni & Jeff Jacobs

Daphne H. & James D. JamesonJeffrey & Sheila Lipinsky

Family FoundationSue & John MajorRebecca MooresNational Endowment for the ArtsRafael & Marina PastorTom & Lisa PierceAllison & Robert PricePrice Family Charitable Fund

San Diego Gas & Electric®Reneé SchatzJean & Gary ShekhterAnne Taubman & David BoyleEvelyn Mack TruittDr. Steve & Lynne WheelerKarin WinnerLaurie Mitchell & Brent WoodsCarolyn Yorston-Wellcome

Season Sponsors ($50,000 to $99,999)

Mary Beth Adderley and Elizabeth & Ryan Williams

The Legler Benbough FoundationJohn A. BerolMary Ann BlairKaren & Donald CohnCohn Restaurant Group/

Prado Restaurant Peter Cooper & Norman Blachford

Advised Fund at the San Diego Human Dignity Foundation

Valerie & Harry CooperEdgerton FoundationKathy & John HattoxHM Electronics, Inc.Joan & Irwin Jacobs Fund of the

Jewish Community FoundationElaine Lipinsky Family Foundation

Conrad Prebys & Debra TurnerQualcomm FoundationUnitedWells FargoJune E. Yoder, in memory of David Yoder

Annual Fund Donors


FOUNDER CIRCLE($5,000 to $9,999)Lawrence G. Alldredge & Dawn MooreJoan & Jeremy BergBarbara BloomThe Louis Yager Cantwell

Private FoundationCarol & Jeff ChangClifford & Carolyn ColwellR. Patrick & Sharon ConnellAnn DaviesBernard J. Eggertsen &

Florence NemkovMarion EggertsenBarbara & Dick EnbergDr. & Mrs. Robert Epsten Carol Spielman-Ewan & Joel EwanMartha & George GaffordDrs. Thomas & Jane GawronskiNorm Hapke & Valerie Jacobs HapkeAlexa Kirkwood HirschWilliam Karatz Brooke & Dan KoehlerCarol & George LattimerPeter Manes & Yoko SakaguchiPaul & Maggie MeyerMoney/Arenz Foundation, Inc.Matthew & Judith PollackJohn & Marcia Price

Family FoundationRivkin Family Fund I at

The San Diego FoundationMickey SternBob & Julie SullivanDeborah SzekelyDixie & Ken UnruhJordine Skoff Von WantochPamela J. Wagner

CRAIG NOEL CIRCLE($2,500 to $4,999)Dr. & Mrs. Wayne AkesonGail Andrade and

John & Jennifer AndradeAnonymous (4)Judith Bachner & Eric LasleyJan & Rich BaldwinBobbie BallDiana J. Barliant* & Nowell WischJan BartMelissa Garfield Bartell &

Michael BartellDeron & Toni BearLinda BirchCharlotte & Charles BirdJoan Bishop, in memory

of Harold McNeilPaul BlackDr. Herman & Irene BoschkenDr. & Mrs. Edgar D. CanadaEdward & Pamela CarnotGeorge & Ellen CaseyRudy & Carol CeseñaGaret & Wendy ClarkMs. Heidi Conlan/

The Sahan Daywi FoundationRichard & Stephanie CouttsSusan Barlow CowellGigi & Ed CramerTimothy & Marie CunningCarlo & Nadine DaleoDarlene G. Davies, in memory

of Lowell Davies

Pat & Dan DerbesMichael & Katy DessentMrs. Philip H. DickinsonJim & Sally DittoDan & Phyllis EpsteinNoddy & Ira EpsteinCarol FinkMary & David FitzSusanna & Michael FlasterJean & Sid FoxThe Samuel I. & John Henry Fox

FoundationChuck Freebern Charles & Millicent FroehlichJoy & Dr. Fred FryeElaine & Murray Galinson Barbara & Albert GarlinghouseBill & Judy GarrettTeresa GeorgeNancy Reed Gibson Wendy GillespieRobert Gleason & Marc MatysWalter Goeddel Sheila & Tom GoreyDr. & Mrs. William GottWalter & Lola GreenTim HaidingerMs. Cheryl HaimsohnPat & Rick HarmetzGordon & Phyllis HarrisDrs. Patrick Harrison & Eleanor LynchRhonda Heth & Thomas MabieRichard & Janet HunterHutcheson Family Fund at

The San Diego FoundationDrs. Sonia & Andrew Israel Jerri-Ann & Gary Jacobs Pat JaCobyMary & Russell JohnsonJackie JohnstonKatleman Family Fund of the

Jewish Community FoundationDr. Gerald & Barbara KentBob* & Gladys KingKen & Sheryl KingWebster & Helen Kinnaird Jane & Ray KlofkornCurt & Nancy KochBetty & Dr. Leonard KornreichRosalie Kostanzer & Michael Keefe Regina Kurtz & Al Isenberg Bob & Laura KyleJean & David LaingPeter Landin & Michelle CardinalTerry & Mary LehrMs. Sherrill LeistJames & Pamela LesterSandy & Arthur LevinsonBarbara & Mathew LooninMerriel F. Mandell, PhDCharlie & Jackie MannElizabeth & Edward McIntyreElizabeth MeyerGrace & Scott MillerBarbara & Mike MortonJim & Ruth Mulvaney Foundation at

The San Diego Foundation Elspeth & Jim MyerJoyce & Martin NashBob NelsonLyn NelsonArthur & Marilyn NeumannLawrence Newmark

Ben & Joan PollardBill & Mo PoppDaniel Porte Jr., MDJoanne PowersThe Arthur & Jeanette Pratt

Memorial FundJoseph & Jane RascoffSarah B. Marsh-Rebelo &

John G. RebeloChrissy & Roger RobertsNancy RobertsonMary & Eugene Rumsey, MDCarole Sachs Warren & Beverly SanbornSanderson Family Donor Advised

Fund at the Rancho Santa Fe Foundation

Drs. Joseph & Gloria ShurmanDee E. Silver, MDPaul Scott Silvera & Todd SchultzElene & Herb SolomonNancy & Alan Spector and FamilyBarbie & Dan SpinazzolaNancy Steinhart &

Rebecca GoodpastureEugene & Hannah StepPat & Jack Thomas Cherie Halladay TirschwellCarol VassiliadisDoris & Lou VetteseZelda J. WaxenbergJan Harden Webster & Raul OrtegaThe Patricia and Christopher Weil

Family FoundationKathy & Jim Whistler

($1,500 to $2,499)Anita Busquets & William LaddLisa & David CaseyDevora & Ron Eisenberg

of Great News!Gary & Carrie HuckellWilliam & Edythe KentonSherry & Larry KlineRobin J. LipmanNancy & James MullenIn Memory of Dolly & Jim Poet Marie & Don PrisbyMarisa SorBello & Peter CzipottJames & Ellen WeilShirli Fabbri Weiss

DIAMOND ($1,500 to $2,499)AnonymousJeff & Donna ApplesteinMrs. Lazare F. BernhardSteve G. Bjorg Jane CowgillEnid Gleich George C. GuerraLeo S. Guthman FundJerry Lester, MD/Rosarito, MexicoPaul LevinDr. Robert & Marcia MalkusJoy & Ronald MankoffHolly McGrath & David BruceAkiko Charlene Morimoto &

Hubert Frank Hamilton, Jr.Mark Niblack, MDShearn & Linda PlattEsther RodriguezMargery & John Swanson

PLATINUM($1,000 to $1,499)Sondra & Robert Berk Fund of the

Jewish Community FoundationGary & Barbara Blake Family Fund of

the Jewish Community FoundationSteve & Elizabeth BluhmNancy BrockCecilia Carrick & Stan NadelHarry & Sandra CarterDorothy R. DringPaul & Clare FriedmanGay and Lesbian Fund for San Diego

at The San Diego Foundation Mr. & Mrs. Arthur A. GreenbergKaaren HendersonBill & Nancy HomeyerKenneth & Marilyn Jones Louis & Mary Beth KellyGayle & Jerry KluskyBill & Linda KolbDr. & Mrs. James E. LasryDon & Mary Jane LincolnEdward & Nancy LyonJasna Markovac & Gary MillerF. Dale & Lois MarriottPeggy Matthews Marcia MattsonDr. & Mrs. M. Joseph McGreevyJack MeekJudith & Neil MorganVirginia OliverDr. Julie Prazich & Dr. Sara RosenthalRobert & Doris Reed Jeffrey & Vivien ResslerWade & Candi RichThe Ralph B. Rogers FoundationSan Diego Concierge AssociationAlan & Esther SimanDave & Phyllis Snyder Jack & Louise StreckerGreta & Steve TreadgoldCeleste & Gene TrepteStan & Anita Ulrich Jo & Howard WeinerDavid & Irene WeinriebMary Kay WestChristy & Howard Zatkin

GOLD($500 to $999)Anonymous (4) George AmeraultDrs. Michael & Gabriela AntosEarl AsburyThe Backman FamilyAndris BaltinsBruce & Patricia Becker Amnon & Lee Ben-Yehuda Drs. John & Karen BergerJay Biskupski & Catherine ImrieBob & Joyce BlumbergBarbara BoltDr. & Mrs. J. Brand BrickmanDr. & Mrs. Simon C. Brumbaugh, Jr.Greg & Loretta CassLuc Cayet & Anne Marie PleskaLynne Champagne & Wilfred KearseJack & Carol ClarkRonald D. CulbertsonWalter & Cheryl DeeganDr. Donald & Eilene DoseJacqueline & Stanley Drosch


(continued)

Annual Fund Donors

What is the Craig Noel League? Founded in 2000 and named for the Globe’s Founding Director, the League is a planned giving society for the Globe comprised of individuals who have included The Old Globe in their estate plans. Through their generosity, these supporters of the Theatre are helping to ensure a long and bright future for San Diego’s leading cultural landmark.

Anonymous (17)Diana Barliant*Nancine BelfioreAlan BenaroyaBarbara Bolt Nancy Brock Ronald BrownDr. & Mrs. Edgar D. CanadaGaret & Wendy ClarkR. Patrick & Sharon ConnellPatricia W. Crigler. Ph. D.,

CAPT/USN/Ret.Carlos & Patricia CuellarMrs. Philip H. DickinsonDoug Druley & Becky YoungBernard J. Eggertsen &

Florence Nemkov

Dr. & Mrs. Robert EpstenFrank A. Frye, IIIMr. Alan Gary &

Ms. Joanee Udelf Nancy Reed GibsonRobert Gleason &

Marc MatysMarcy GoldstoneCarol & Don GreenKathryn HattoxDavid & Debbie HawkinsJill Denison HolmesCraig & Mary HunterBob JacobsGrace JohnstonGladys H. KingMarilyn Kneeland

Jean & David LaingJerry Lester FoundationHeather ManionChris & Jill MetcalfPaul I. & Margaret W. MeyerSteve MillerDr. Robert W. MinerShirley MulcahyLaurie Dale MundayStanley Nadel &

Cecilia CarrickAlice B. NesnowArthur & Marilyn NeumannRonald J. NewellGreg & Polly NoelPACEM (Pacific Academy of

Ecclesiastical Music)

Sarah B. Marsh-Rebelo & John Rebelo

Darlene ShileyPatsy & Forrest ShumwayB. Sy & Ruth Ann SilverDee E. Silver, M.D.Stephen M. SilvermanRoberta SimpsonDolores & Rod SmithMarisa SorBello &

Peter CzipottJohn & Cindy SorensenNancy A. Spector &

Alan R. SpectorJeanette StevensEric Leighton SwensonAnne C. Taubman

Randy Tidmore Cherie Halladay TirschwellEvelyn Mack TruittGinny UnanueCarol & Lawrence VeitJordine Von WantochMerle WahlHolly J. B. WardSarah Woodruff Watkins Sheryl & Harvey P. WhiteMrs. Jack Galen WhitneyJulie Meier WrightCarolyn Yorston-Wellcome

*In Memoriam

CRAIG NOEL LEAGUE MEMBERS

Planned Giving at The Old Globe

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To become a member of the Craig Noel League or to tell us of a gift you have already made, please contact Bridget Cantu Wear, Associate Director of Development, Planned Giving, at (619) 231-1941 x2312 or [email protected].

Elisabeth K. Ecke Bill Eiffert & Leslie HodgeEsther & Robert FeierRichard & Beverly Fink

Family FoundationPauline Forman & Jack Burke Susan & Steven GarfinPeter & Christine GaultTheresa A. GeorgiArthur GetisNorman & Patricia GillespieLouise & Doug GoodmanRobert & Edry GootChris Graham & Michael AlboCarol & Don GreenRichard & Candace Haden Helen M. HammondJames & Ruth Harris of the

Jewish Community FoundationVirginia HawkinsJamie Henson & Robert Houskeeper

Mike Hogan EnterprisesStephen Hopkins & Dr. Carey PrattDr. & Mrs. Clyde W. JonesKathy & Rob JonesPatricia & Alexander KelleyRobert Kilian & Kathleen Slayton Dr. Marvin KrippsLABS, Inc./Silvia DreyfussSherry & Rick LevinMarshall & Judy Lewis Fund of the

Jewish Community FoundationCarl Maguire & Margaret SheehanSally & Luis Maizel Drs. Betty Joan Maly & John MeyersRon & Mercy MandelbaumRev. Stephen J. MatherMcAuliffe FamilyRonald McCaskill & Robyn RogersMr. & Mrs. William M. McKenzieCharles & Billie McKnight Rena Minisi & Rich PaulCharles & Susan MuhaShirley Mulcahy

Marsha J. Netzer Rod & Barbara OrthBarbara B. OswaltIn Memory of Margaret PeningerDr. Ken Pischel &

Dr. Katherine OzanichDrs. Paul & Katherine PonganisRowling Family Charitable Fund of the

Jewish Community FoundationSimon & Ruth SayreLinda J. SeifertStella Shvil Professional FiduciaryBeverly & Howard SilldorfMr. William D. Smith & Dr. Carol HarterPeter & Frances Splinter Ronald & Susan StynJeffrey & Sheila TruesdellMs. C. Anne Turhollow &

Mr. Michael J. PerkinsMarlene G. Lipsey TurrentineNatalie C. Venezia & Paul A. SagerHarold WalbaDouglas Wallingford

Kathy & Jim WaringDave & Kim WashkowiakMs. Sandy WicheleckiDennis & Carol WilsonCass Witkowski FamilyMs. Abbe WolfsheimerBrendan M. & Kaye I. Wynne

*In Memoriam

This list current as of July 18, 2012.

For additional information on how you may support The Old Globe’s artistic, education and community programs, please visit our website at www.TheOldGlobe.org or contact Rachel Plummer, Major Gifts Officer, at (619) 231-1941 x2317 or [email protected].

(from left) Craig Noel League members Randy Tidmore, Evelyn Truitt and Nancy Brock visiting with Festival Artistic Director Adrian Noble at the Monthly “Food for Thought” luncheon held in June, 2012 at Hexagone Restaurant.


Public Support

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

The Old Globe is funded by the County of San Diego.

LEAD SEASON SPONSORS ($75,000 or more)

Corporate Partners enjoy benefits and recognition, including the opportunity to entertain clients and employees with exclusive receptions at the Theatre, behind-the-scenes tours, and preferred seating at our shows. For information, please contact Todd Schultz at (619) 231-1941 x2310.

Acquis Consulting GroupAmerican Express FoundationAOLBank of AmericaBloombergBNY MellonJames E. BuckleySteven BunsonChristopher Campbell/

Palace Production CenterCisco Systems, Inc.CitiCleveland ClinicCMT/ABCDatacert, Inc.Dorsey & Whitney FoundationEpiq SystemsErnst & YoungGoldman, Sachs & Co.

Marsh & McLennan CompaniesThe McGraw-Hill CompaniesMetLifeMorgan StanleyPfizer, Inc.RBC Wealth ManagementRVM Inc.The Ralph and Luci Schey FoundationSharp ElectronicsSkadden, Arps, Slate,

Meagher & Flom LLCGeorge S. Smith, Jr.TheaterMania.com/Gretchen ShugartJohn ThomopoulosJames S. TurleyUBSWells FargoWillkie Farr & Gallagher LLP

National Corporate Theatre Fund is a not-for-profit corporation created to increase and strengthen support from the business community for ten of this country’s most distinguished professional theatres. The following foundations, individuals and corporations support these theatres through their contributions to NCTF:

($10,000 to $14,999)Break-Away Tours ResMed Foundation

FOUNDER CIRCLE ($5,000 - $9,999)Bertrand at Mister A’s First American Trust

Nokia Inc. Hyatt Regency La Jolla The Westgate Hotel

CRAIG NOEL CIRCLE ($2,500 - $4,999)The Cox Kids Foundation at The San Diego Foundation

Cubic Corporation Goldman, Sachs & Co. HoyleCohen Northgate González Market

DIRECTOR CIRCLE ($15,000 to $24,999)

PRODUCTION SPONSORS ($25,000 - $49,999)

SEASON SPONSORS ($50,000 - $74,999)

Corporate Donors


ALLEGIANCE – A NEW AMERICAN MUSICAL

SEPTEMBER 7 - OCTOBER 21, 2012

Music and Lyrics by Jay Kuo Book by Marc Acito, Jay Kuo and Lorenzo Thione Directed by Stafford Arima

Starring television and film star George Takei, Tony Award winner Lea Salonga and Broadway star Telly Leung, ALLEGIANCE is an epic story of family, love and patriotism set during the Japanese American internment of World War II.

PYGMALION

JANUARY 12 - FEBRUARY 17, 2013

By George Bernard Shaw | Directed by Nicholas Martin

Director Nicholas Martin returns to the Globe after a 15-year absence to direct this charming classic full of wit and humor.

A GENTLEMAN’S GUIDE TO LOVE AND MURDER

MARCH 8 - APRIL 14, 2013

Book by Robert L. Freedman | Music by Steven Lutvak Lyrics by Robert L. Freedman and Steven Lutvak Based on the Novel Israel Rank by Roy Horniman Directed by Darko Tresnjak

This world premiere musical comedy of merriment and murder explores how low we’ll go to make it to the top. A co-production with Hartford Stage.

OTHER DESERT CITIES

APRIL 27 - JUNE 2, 2013

By Jon Robin Baitz | Directed by Richard Seer

A Broadway sensation and 2011 Pulitzer Prize finalist, this viciously comedic play is about long-buried secrets that threaten to put a once picture-perfect Palm Springs clan back on the tabloid pages. Contains strong language.

GOOD PEOPLE

SEPTEMBER 29 - OCTOBER 28, 2012

By David Lindsay-Abaire | Directed by Paul Mullins

Pulitzer Prize winner David Lindsay-Abaire’s (Rabbit Hole) Tony-nominated hit Broadway play GOOD PEOPLE explores whether we can all have the American Dream. Contains strong language.

THE BROTHERS SIZE

JANUARY 26 - FEBRUARY 24, 2013

By Tarell Alvin McCraney | Directed by Tea Alagic

An emotional and theatrical tour-de-force infused with music and the rhythms of the South that blends West African mythology with a modern-day story of two brothers reuniting in the Louisiana bayou. Contains strong language and adult situations.

Henrik Ibsen’s A DOLL’S HOUSE

MARCH 23 - APRIL 21, 2013

Adaptation by Anne-Charlotte Hanes Harvey and Kirsten Brandt Directed by Kirsten Brandt

The latest in our Classics Up Close series, Ibsen’s A DOLL’S HOUSE is a true landmark of modern drama.

BE A GOOD LITTLE WIDOW

MAY 11 - JUNE 9, 2013

By Bekah Brunstetter Directed by Hal Brooks

Melody thought being a young wife was hard—until she became a widow. Luckily her mother-in-law is an expert in the field. This quirky comedy contemplates how grief, devotion and hope can persevere within us all. Contains strong language.

SUBSCRIBE NOW TO THE 2012-2013

OLD GLOBE WINTER SEASON!Donald and Darlene Shiley Stage OLD GLOBE THEATRE Conrad Prebys Theatre Center

SHERYL AND HARVEY WHITE THEATRE Conrad Prebys Theatre Center

www.TheOldGlobe.org | (619) 23-GLOBE (234-5623)

Heath Calvert (bottom) with (from left) Lauren Molina, Kate Morgan Chadwick, Jenni Barber and Kelsey Kurz in Nobody Loves You.

(from left) Jared Joseph, Ron Holgate and JC Montgomery in The Scottsboro Boys. (from left) Evan Todd and Brandon Gill in The Recommendation.

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Associate Artists of The Old Globe

Patron Information

In recognition of their unique contribution to the growth of The Old Globe and their special talent, we take great pride and pleasure in acknowledging as Associate Artists the following individuals who have repeatedly demonstrat-ed by their active presence on our stages and in our shops, that wherever else they may work, they remain the heart and soul of the Globe.

William Anton Gregg BarnesJacqueline Brooks Lewis Brown*Victor Buono* Wayland Capwell* Kandis Chappell Eric Christmas* Patricia ConollyGeorge Deloy

Tim Donoghue Richard Easton Tovah Feldshuh Monique Fowler Robert FoxworthRalph Funicello Lillian Garrett-Groag Harry Groener A.R. Gurney Joseph Hardy

Mark HarelikBob JamesCharles JanaszPeggy Kellner* Tom Lacy Diana Maddox Dakin Matthews Deborah May Katherine McGrath John McLain

Jonathan McMurtry Stephen Metcalfe Robert Morgan Patrick PageEllis Rabb* Steve Rankin William RoeschRobin Pearson RoseMarion Ross Steven Rubin

Ken Ruta Douglas W. Schmidt Seret Scott David F. SegalRichard Seger* Diane SinorDon Sparks David Ogden Stiers Conrad Susa Deborah Taylor

Irene Tedrow* Sada Thompson* Paxton Whitehead James Winker Robert Wojewodski G Wood*

* In Memoriam

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

ADMINISTRATION HOURS Monday - Friday: 9am - 5pmPhone (619) 231-1941Website www.TheOldGlobe.orgAddress The Old Globe P.O. Box 122171 San Diego, CA 92112-2171

ORDERING TICKETS/CHANGE OF ADDRESSThe Old Globe accepts Visa, Discover, MasterCard, or American Express. Phone orders for non-subscribers are subject to a $3.50 per ticket service charge. Ticket exchanges are subject to a service charge for non-subscribers. If you have moved, please notify the Ticket Services Office to update our records. Call (619) 234-5623 during Ticket Services hours, mail your change of address to the Ticket Services Office, or email us 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 Services Office and receive a tax receipt for your donation. Tickets must be received by show time.

RESTROOMSRestrooms are located in the lower lobby of the Old Globe Theatre, the lobby of the Sheryl and Harvey White Theatre and adjacent to the Lowell Davies Festival Theatre.

SEATING OF LATECOMERSAlthough we understand parking is often at a premium, the seating of latecomers is extremely disruptive. Latecomers

may be given alternative seating and will be seated at an appropriate interval.

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

ELECTRONIC DEVICES AND CAMERASUse of recording devices and cameras is not permitted. Please silence all digital watches, pagers and cellular phones prior to entering the theatre.

ASSISTED LISTENING SYSTEMFor the convenience of our hard of hearing and hearing-impaired patrons, The Old Globe has an Assistive Listening System in all three theatres: the Sheryl and Harvey White Theatre, the Old Globe Theatre and the Lowell Davies Festival Theatre. A limited number of the lightweight headsets, as well as induction neck loops, may be obtained from the house manager prior to performances.

PUBLIC TOURSGo behind the scenes at The Old Globe to learn about the history, three stages, shop and craft areas. Open tours: most Saturdays and Sundays at 10:30am. Groups by reservation. $5 adults; $3 seniors and students. Phone (619) 238-0043 x2145 for information/reservations.

LOST AND FOUNDIf you have misplaced a personal item while at the theatre, please contact the Ticket Services Office or Security as soon as possible. If we are unable to locate your item, we’ll happily take down your contact information and a description of the item and contact you if it is found. The Old Globe does not assume liability for items left behind on the premises.

Natural Herb Cough Drops — Courtesy of Ricola USA, Inc. — are available upon request. Please ask an usher.


Staff Michael G. Murphy ................................................Managing DirectorRichard Seer ............................................Interim Artistic Advisor and .........................................................................Director of Professional TrainingEdward Nelson ...........................................Interim General ManagerDave Henson ..........Director of Marketing and CommunicationsTodd Schultz .................................................Director of DevelopmentMark Somers ........................................................... Director of FinanceRobert Drake ....................................................Director of ProductionRoberta Wells-Famula ...................................Director of Education

ARTISTICAdrian Noble .....................Shakespeare Festival Artistic DirectorEric Louie, Justin Waldman ..........................Associate ProducersDanielle Mages Amato ...................Literary Manager/DramaturgBernadette Hanson ................................................Artistic AssociateDesiree Nash ...........................Community Outreach CoordinatorKatherine Harroff ................................. Community Teaching ArtistJan Gist ..................................................................Resident Vocal Coach

PRODUCTIONDebra Pratt Ballard ..................Associate Director of ProductionRon Cooling ..............................................................Company ManagerCarol Donahue .............................................Production Coordinator

Stage ManagementLeila Knox ...................................................Production Stage Manager

TechnicalBenjamin Thoron .....................................................Technical DirectorWendy Berzansky ..............................Associate Technical DirectorTravis Barrett ..........................................Assistant Technical DirectorSean Fanning.............................................. Resident Design AssistantEliza Korshin ...............................................Technical Assistant/BuyerChristian Thorsen .......................Stage Carpenter/Flyman, GlobeCarole Payette .....................................................Charge Scenic ArtistW. Adam Bernard, Lynne Bolton, O. Daniel Capiro, Victoria Erbe, Ryan A. Grossheim, Eileen McCann .....................Scenic ArtistsGillian Kelleher..........................................................Master CarpenterAndrew Young ........................................... Charge Carpenter, WhiteLaura McEntyre ......................................... Automation CoordinatorAndrew Recker .................................................Automation OperatorFernando Avitia, Daniel Capiro, Peter Barosso, Chris Carignan, Chris Chauvet, Jason Chohon, Matt Clark, Robert Dougherty, Matt Giebe, Jack Hernandez, Jim Hopper, Josh Letton, Anthony Martinez, Seamus O’Bryan, Kyle Pollitt .................................................................................CarpentersMark Dewey, June Higginbotham, Seamus O’Bryan .................................................................... Deck CrewEros Valenzuela .............................................Technical Center Intern

CostumesStacy Sutton ...................................................................................DirectorCharlotte Devaux ................................... Resident Design AssociateMaureen Mac Niallais ..............................Assistant to the DirectorShelly Williams ..........................................Design Assistant/ShopperMichelle Hunt Souza ................................................ Design AssistantMarsha Kuligowski, Wendy Miller .......................Tailors/DrapersErin Cass, Joan Mathison ....................................................... DrapersBabs Behling, Keith Bonar, Annie Glidden Grace, Susan Sachs, Jordyn Smiley ............................... Assistant CuttersSu-Lin Chen, Mary Miller .................................Costume AssistantsMaria de la Mora, Tracy Graham, Nunzia Pecuraro, Heather Premo, Joanna Stypulkowska, Veronica von Borstel ............................................................... StitchersErin Carignan ................................................................Craft SupervisorSharon Granieri, Stephanie Parker .......................Craft ArtisansMolly O’Connor ...................................Wig and Makeup SupervisorKim Parker ...................... Assistant to Wig and Makeup SupervisorMelissa Kallstrom, Ana Maldonado .....................Wig AssistantsBeverly Boyd .......................................................Wardrobe Supervisor Beth Merriman ....................................Wardrobe Supervisor, GlobeDebbie Allen, Melissa Kallstrom, Anna Noll, Heather Premo, Ksusha Vanyan, Julie Vesselle....................................................Wardrobe Crew, Globe

Erin Abbenante, Kimberly Eddo, Sunny Haines, Christina Jo Nguyen, Sue Noll, Noelle Van Wyk, Traci Van Wyk ...............................................Wardrobe Crew, FestivalAnna MacDonald ...................................................Crew Chief, WhiteMarie Jezbera ..................................................................... Rental Agent

PropertiesNeil A. Holmes .......................................................Properties DirectorKristin Steva Campbell ...........................Assistant to the DirectorKristine Hummel ............................................................. Prop AssistantM.H. Schrenkeisen .........................................................Shop ForemanRory Murphy ..................................................................Lead CraftsmanJosh Camp, Trish Rutter, Beck Schlabach ........ CraftspersonsDavid Medina ..............................................................Properties BuyerTrevor Hay ........................................................Property Master, GlobeDan Klebingat ................................Stage & Property Master, WhiteDavid Buess ..................................................Property Master, Festival

LightingShawna Cadence ......................................................Lighting DirectorLace King .......................................................................Lighting AssistantTonnie Ficken .............................................. Master Electrician, GlobeJim Dodd .......................................................Master Electrician, White Kevin Liddell ............................................. Master Electrician, FestivalKristen Flores, Rafael Vallejo ...................Follow Spot OperatorsDominic Abbenante, Eben Alguire, Andrea Fields, Kristen Flores, William Hartley, Areta Mackelvie, Leah Nellman, Luke Olson, Rafael Vallejo ..............Electricians

SoundPaul Peterson ..................................................................Sound DirectorErik Carstensen ............................Master Sound Technician, GlobeJeremy Siebert .............................Master Sound Technician, WhiteJeremy Nelson ...........................Master Sound Technician, FestivalStephanie Celustka ...............................................Deck Audio, GlobeDana Pickop ...........................................................Deck Audio, FestivalRJ Givens, Austin Taylor ..................................... Sound Technicians

ADMINISTRATIONBrian Franko .............................................Assistant General ManagerShana Wride .................................................. Administrative AssistantDarlene Davies.............................................The Old Globe Historian

Information TechnologyDean Yager ....................................Information Technology ManagerThad Steffen .............Information Technology Assistant ManagerJohn Ralston................................Information Technology Assistant

Human ResourcesSandra Parde ...........................................Human Resources DirectorKathy Silberman .................... Interim Human Resources Manager

MaintenanceJames Ford .................................................................Facilities ManagerViolanda Corona, Ismael Delgado, Miguel Gaspar, Roberto Gonzalez, Bernardo Holloway, Reyna Huerta, Jose Morales, Albert Rios, Maria Rios, Vielka Smith, Nicolas Torres, Leonardo Rodriguez .....................Building Staff

PROFESSIONAL TRAININGLlance Bower ......................................................Program CoordinatorBrian Byrnes, Maria Carrera, Cynthia Caywood, Ray Chambers, Gerhard Gessner, Jan Gist, Fred Robinson, Abraham Stoll, George Yé ........M.F.A. Faculty

EDUCATIONKim Montelibano Heil ....................Education Programs ManagerCarol Green ....................................... Speakers Bureau CoordinatorJennifer Barclay Newsham, Rebekah Bonney, David Carson, Amanda Cooley Davis, James Cota, Jo Anne Glover, Lisel Gorell-Getz, Brian Hammond, James Pillar, Damon Shearer, Cynthia Stokes, Mark Wischkaemper ................................................. Teaching Artists

FINANCECarly Bennett-Valle ...............................................Senior AccountantTrish Guidi .........................Accounts Payable/Accounting AssistantAdam Latham .............Payroll Coordinator/Accounting AssistantTim Cole ..................................................................................Receptionist

DEVELOPMENTAnnamarie Maricle .......Associate Director, Institutional GrantsBridget Cantu Wear..............Associate Director, Planned Giving Eileen Prisby ..................................................................Events ManagerRachel Plummer .....................................................Major Gifts OfficerJessica Burger .................................................Development Manager,

Individual Annual GivingAngelique von Thun ........................................Major Gifts AssociateDiane Addis ..............................................Membership AdministratorKacie Bluhm......................................................Development AssistantRico Zamora ...........................................................VIP Donor Ticketing

Donor ServicesLee Conavay, Monica Jorgensen, Barbara Lekes, Richard Navarro, Stephanie Reed, Susie Virgilio Judy Zimmerman ......................................................Suite Concierges

MARKETINGJeffrey Weiser .............................................Public Relations DirectorMike Hausberg ..........................................Public Relations AssociateKelly Boyle ...................Digital and Print Publications CoordinatorMarissa Haywood ................................................Marketing AssistantMonica Jorgensen, Susie Virgilio ..........................................Marketing/Events Assistants

Subscription SalesScott Cooke ............................................Subscription Sales ManagerAnna Bowen-Davies, Arthur Faro, Andy Fink, Janet Kavin, Pamela Malone, Yolanda Moore, Jessica Morrow, Ken Seper, Cassandra Shepard, Jerome Tullmann, Grant Walpole.........................Subscription Sales Representatives

Ticket ServicesBob Coddington .........................................Ticket Services ManagerMarsi Bennion ........................................Ticket Operations ManagerDani Meister ........................................................ Group Sales ManagerTony Dixon, Rob Novak ............................Lead Ticket Services RepresentativesKari Archer, Sarah Ditges, Kathy Fineman, Merri Fitzpatrick, Steve Greenhalgh, Alejandro Gutierrez, Tyler Jones, Angela Juby, Cassie Lopez, Caryn Morgan, Christopher Smith ......................Ticket Services Representatives

PATRON SERVICESMike Callaway .............................................................Theatre ManagerJessica Talmadge, Mary Taylor, Samaria Ship..................................................................House ManagersKristen Cairns ...............................................Front of House AssistantElaine Gingery ......................................Food and Beverage ManagerTimothy Acosta, Missy Bradstreet, Nellie R. del Rosario, William Henderson, Benjamin A. Murrell, Paige Plihal, Amanda Rhoades, Michelle Thorsen .............................Pub StaffJasmine Morgan, Stephanie Rakowski, Lisa Reid ...............................................................Gift Shop Supervisors

Security/Parking ServicesRachel “Beahr” Garcia .......................................Security SupervisorDallas Chang, Sherisa Eselin, Oscar Gonzalez, Janet Larson, Jeffrey Neitzel, Catherine Posada ..................Security OfficersAlberto Holloway, Jeff Howell ...............Parking Lot Attendants Brandon Cencich, Norman Ramos .........VIP Valet Attendants

Jack O’Brien ..........................Artistic Director EmeritusCraig Noel............................................. Founding Director

october 2012 - old globe theatrepressarchive.theoldglobe.org/_pdf/programs/2012-13/allegiance... ·...

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