written by Frederick Knott adapted by Jeffrey Hatcher

arizona premiere
written by Frederick Knott
adapted by Jeffrey Hatcher
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Title Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Cast List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
About the Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
ATC Leadership. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
About Arizona Theatre Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
The Cast. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
The Creative Team. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Theatre Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Corporate and Foundation Donors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
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Staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Brooke Parks in Arizona Theatre Company’s production of Wait Until Dark. Photo by Ken Huth.
FROM THE INTERIM MANAGING DIRECTOR
For nearly 20 years, I’ve worked in and with Arizona arts and cultural organizations, but my
responsibilities always seemed to be from the audience side of the stage. As we wait for the
house lights to dim and curtain to go up, I wholeheartedly share your excitement for the
experience of theatre about to unfold.
Recently being named Arizona Theatre Company’s Interim Managing Director is causing my
perspective to shift. No longer can I take for granted the massive effort and incredible teamwork
required to create a moment theatre. These days, I’m allowed to wander backstage and into the
scene shop, the costume department, the wig room, the props department and more. Producing
professional theatre is a humongous undertaking – and requires the skills, experience, dedication,
talents and teamwork of a great many people.
Our annual Gala in Tucson in September was themed “Backstage Pass” and much of the event’s
focus was on the talented individuals who work in the wings or rafters or anywhere that doesn’t
involve being on stage. Generous ATC supporters contributed to purchase state-of-the-art audio
equipment, electric scene moving devices and sophisticated workshop tools. The equipment may
not be sexy (except to the production department) – but the results should be evident on the stage.
Once the show starts, allow the actors to entertain you and the plot to grab you attention.
But right now, please take a moment to appreciate the efforts of all the talented and dedicated
group of people working back stage that are responsible to make this production happen.
They are – WE ARE – the Arizona Theatre Company and we are delighted to welcome you.
Matt Lehrman
Interim Managing Director
PHOTO CREDITS FOR PAGE 5: Top Left: Paige Lindsey White in Other Desert Cities. Top Right: Anneliese van
der Pol & Loren Dunn in The Importance of Being Earnest. Middle Right: Kyle Sorrell, Mark Anders, Jon Gentry
and Bob Sorenson in Around the World in 80 Days. Bottom Left: James T. Alfred in The Mountaintop.
Bottom Right: Jessica Skerritt & Company in Xanadu. Photos by Tim Fuller.
4
48
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THEATRE
ARIZONA’S NATIONALLY-RENOWNED
PROFESSIONAL THEATRE
Special Thanks to I. Michael and Beth Kasser
Season Sponsors
David Ira Goldstein
Matt Lehrman
Jessica L. Andrews
Artistic Director
Interim Managing Director
Managing Director Emeritus
presents a co-production with Geva Theatre Center
Mark Cuddy
Tom Parrish
Artistic Director
Executive Director
WAIT UNTIL DARK
written by Frederick Knott
adapted by Jeffrey Hatcher
David Ira Goldstein. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director
Vicki Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scenic Designer
Marcia Dixcy Jory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Costume Designer
Don Darnutzer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lighting Designer
Brian Jerome Peterson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sound Designer
Adriano Gatto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fight Director
Jean Gordon Ryon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Dramaturg
Elissa Myers, CSA & Paul Fouquet, CSA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Casting
Timothy Toothman*. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stage Manager
Glenn Bruner*. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant Stage Manager
David A. Cap . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant Stage Manager
*Member of Actors’ Equity Association.
On this original Arizona Theatre Company and Geva Theatre Center co-production, the ATC
and GTC Production Staffs are responsible for scenic construction, costume construction,
lighting, projections, sound, props, furniture, wigs, scene painting and special effects.
Wait Until Dark is presented by special arrangement with SAMUEL FRENCH, INC.
Wait Until Dark adapted by Jeffrey Hatcher was Originally produced by Geffen Playhouse, Randall Arney, Artistic Director;
Ken Novice, Managing Director; Behnaz Ataee, General Manager; Regina Miller, Chief Development Officer
The video and/or audio recording of this performance by any means whatsoever is strictly prohibited.
COVER ART BY: Esser Design
2014-2015 SEASON SPONSORS: I. MICHAEL AND BETH KASSER
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CAST (in order of appearance)
Craig Bockhorn*. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CARLINO
Ted Koch* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ROAT
Brooke Parks*. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SUSAN
Remi Sandri* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SAM
Peter Rini*. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIKE
Lauren Schaffel* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GLORIA
*Member of Actors’ Equity Association.
SETTING:
The action takes place in October, 1944, in a basement apartment
of an old brownstone in Greenwich Village.
ACT I:
ACT II:
Scene 1: Friday evening.
Scene 2: Saturday afternoon.
Scene 1: About an hour later
THERE WILL BE ONE 15-MINUTE INTERMISSION.
ADDITIONAL STAFF
Ashley Simon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant to the Stage Manager
Jonathan Snipes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Original Music
Arizona Theatre Company operates under agreements between the League of Resident Theatres
(LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in
the United States; Stage Directors and Choreographers, an independent national labor union; and
United Scenic Artists Local USA-829, IATSE.
To learn more about Wait Until Dark, please visit the Education page on our website at
arizonatheatre.org for a comprehensive free Play Guide. The Play Guide contains information
about Film Noir, cultural context of 1940s America, and more. Play Guides are also available
in The Temple Lounge for a nominal charge to cover printing.
Cell phones and other devices that make a noise can greatly disturb your fellow audience
members and the performers. PLEASE TURN THEM OFF before the performance and again
at intermission.
8
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ABOUT THE PLAY
THE MORE IT CHANGES, THE MORE IT STAYS THE SAME
By Jean Gordon Ryon, Dramaturg, Geva Theatre Center
What happens when you take a thriller from the 1960s and reset it in another time period?
In this case, a surprising intensification of the elements that made the play a success to begin with.
Wait Until Dark was written by Frederick Knott (who had previously written Dial ‘M’ for Murder)
and was a hit on Broadway in 1966 with Lee Remick and Robert Duvall. It was subsequently
turned into the now-classic movie with Audrey Hepburn and Alan Arkin. It has been a staple at
regional and community theatres ever since. This thriller is famous for building suspense to a
terrifying last half-hour. (The movie’s climactic scene was included as number 10 in Bravo’s 100
Scariest Movie Moments.) The play is based on a time-honored premise: helpless woman forced to
defend herself against all odds. A recently blinded woman, still adjusting to her new reality, is
beset by dangerous con men who believe she is in possession of a valuable object. Will she
survive? Will help arrive in time? These questions have kept audiences on the edge of their seats
for years. The finely wrought plot has a million-dollar payoff at the end, and yet, the piece has not
had quite as many productions in recent years. Could it be that the piece felt slightly…dated?
Old-fashioned without being vintage? Would there be value in revisiting the script, and perhaps
changing the time period, making whatever changes were dictated by the new era?
These were the thoughts of the artistic team at the Geffen Playhouse in Los Angeles, who had
contacted the Frederick Knott estate to get permission to “fiddle” with the script. They then
approached writer Jeffrey Hatcher to adapt it. “Often the first knee-jerk reaction is to update the
script,” said Hatcher in a recent conversation. “But the elements of the story absolutely would not
work in a modern setting.” Without giving away too much of
the plot, let’s just say that if the characters had access to any
of the new technology of the last thirty years, there would be
no story. So what would happen if the story were moved back
in time, say to sometime in the fifties or forties? What time
period would preserve enough of the components of modern
daily life essential to the plot, and yet have enough about its
own personality to contribute to the story in interesting
ways? The team turned their attention to other eras, and
finally identified the World War II years, specifically 1944.
Encouragement to support the World
War II war effort in any way possible.
1944, three years after America entered World War II, was
“deep enough into the war that its effects were being fully
felt by people at home. Men could have gone away and come
back. But it wasn’t so close to the end that the world was
about to go back to normal again,” said Hatcher. It was a time
when focus on the war effort made people on the home front
feel both energized and anxious. Patriotism and pride wend
hand-in-hand with unsettling, rapid social change.
12
ABOUT THE PLAY (CONTINUED)
Call to women to join the labor
force in World War II.
In the new wartime setting of this play, Hatcher observes, “All the
really good strong, handsome, effective men are gone. What
kind of men are left? And how does that inform the character of
the men in this play?” Reasons for not being in the military
included being deemed physically or “morally” unfit. Men who
did serve often returned from the front damaged in some way.
“It’s a generally frightening world,” said Hatcher. “It’s a time
when people have been embracing violence, either by necessity
or by taste.” There’s a war going on and returning soldiers have
seen unspeakable acts. Simultaneously, the war effort has drawn
large numbers to cities where the new factory jobs are, and the
by-product of this urbanization is a higher crime rate. When one
character says, “It’s a dangerous world out there,” he knows
whereof he speaks.
Because so many men were gone, and wartime manufacturing
was at a peak, women entered the work force in record numbers.
In the era of Rosie the Riveter, women, who previously had been
considered too weak or incapable to hold down physically and
mentally demanding jobs, now proved themselves completely
able. In this new setting for the play, Susan’s experience reflects
that new truth in the world of 1944: she’s alone, she’s considered
helpless, and she is tested. The woman-against-the-odds motif
mirrors a whole society’s experience.
Rosie the Riveter, representing
the capabilities of the female
factory workers who entered the
work force during World War II.
Another reason to choose 1944, said Hatcher, was that it was a
year of many notable movies of the Film Noir style: Double
Indemnity, Laura and Murder My Sweet all came out in that year,
and provide a great stylistic reference point. The classic, highly
recognizable look of Film Noir (harsh lighting, dark shadows,
light coming through Venetian blinds creating striped shadows
across tortured faces) we immediately associate with a dangerous,
corrupt, often claustrophobic world. Although Wait Until Dark is
not necessarily a classic Film Noir story, its new setting brings out
many of the same characteristics: paranoia, ambiguity, a sense of
being trapped, an anxiety that lay under the feelings of success
and patriotism in the war years.
13
ABOUT THE PLAY (CONTINUED)
All these elements exist in the original script, but the new setting makes them stand out in bold
relief. One other story element that is interestingly affected by change of time period is Susan’s
blindness. In the original script, Susan is in the process of receiving “rehabilitation” to help her
adjust to her new reality. “I was the best in blind school today,” she tells her husband (in the movie
version). But all such references are removed from this new version. Presumably Susan is not
getting much outside help. Up until World War II, federal vocational programs existed to aid
veterans and private citizens with disabilities, but to be eligible for these programs, a person had
to be deemed “feasible,” that is, able to be trained to be self-supporting. Since it was assumed
that blind people would never be able to be self-supporting, little attention was paid to their
needs. But the large number of veterans returning home blinded forced a change in attitude and
suddenly the blind were not seen as helpless. New programs and research would spring up to
facilitate a blind person’s adjustment, making the World War II years a turning point in attitudes
toward blindness. Susan’s life as a blind woman is on the edge of major change, and her story
demonstrates just how justified that change is.
All these factors, brought out by the resetting of the time period, enhance and deepen the story.
In the end, the most memorable feature of the play is the terrifying roller-coaster ride it gives its
audience. Fasten your seat belts.
The set of Arizona Theatre Company’s production of Wait Until Dark, designed by Vicki Smith. Photo by Ken Huth.
14
ABOUT THE PLAY (CONTINUED)
Frederick Knott (Playwright) was born to English missionaries in Hankow, China, in 1916. He was
educated at Oundle School from 1929 to 1934 and later gained a law degree from Cambridge
University. He is the author of the BBC television production and stage play, Dial M for Murder,
which premiered at the Westminster Theatre in Victoria, London, in 1952, and wrote the screenplay for the 1954 Hitchcock film of the same name. In 1960, Knott wrote the stage thriller Write Me
a Murder, produced at the Belasco Theatre in New York in 1961. Wait Until Dark was produced on
Broadway at the Ethel Barrymore Theatre in 1966, directed by Arthur Penn and starring Lee
Remick, who won a Tony Award nomination for her performance. The film version, also titled Wait
Until Dark, was released in 1967 and starred Audrey Hepburn in the lead role. Knott died in New
York City in 2002.
Jeffrey Hatcher (Adapter) is the author of Sherlock Holmes and the Adventure of The Suicide
Club, Ten Chimneys, Dr. Jekyll and Mr. Hyde, Ella and co-author of Work Song: Three Views of Frank
Lloyd Wright and Tuesdays with Morrie – all of which have been seen on Arizona Theatre Company’s
stages. Mr. Hatcher authored the book for the Broadway musical, Never Gonna Dance.
Off-Broadway, he has had several pays produced, including Three Viewings and A Picasso at
Manhattan Theatre Club, Scotland Road and The Turn of the Screw at Primary Stages, Tuesdays
with Morrie (with Mitch Albom) at Minetta Lane Theatre, Murder by Poe and The Turn of the Screw
with The Acting Company, Neddy at The American Place Theatre and Fellow Travelers at
Manhattan Punchline. His plays – among them, Compleat Female Stage Beauty, Mrs. Mannerly,
Murderers, Mercy of a Storm, Smash Armadale, Korczak’s Children, To Fool the Eye, The Falls,
A Piece of the Rope, All the Way with LBJ, The Government Inspector and Work Song (with Eric
Simonson) – have been seen at such theatres as Yale Repertory Theatre, The Old Globe, South
Coast Repertory, Seattle Repertory Theatre, Intiman Theatre, Florida Stage, The Empty Space,
California Theatre Center, Madison Repertory Theatre, Illusion Theater, Denver Center Theatre
Company, Oregon Shakespeare Festival, Milwaukee Repertory Theater, The Repertory Theatre of
St. Louis, Philadelphia Theatre Company, Coconut Grove Playhouse, Asolo Repertory Theatre,
City Theatre, Studio Arena Theatre and dozens more in the U.S. and abroad. Mr. Hatcher wrote
the screenplays for Stage Beauty, The Duchess and Casanova, as well as authoring episodes of
the Peter Falk series, Columbo. He is a member and/or alumnus of The Playwrights’ Center,
The Dramatists Guild of America, Writers Guild of America and New Dramatists.
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ATC LEADERSHIP
David Ira Goldstein celebrates his 23rd season as Artistic Director of
Arizona Theatre Company. In over two decades, he has produced over
190 mainstage plays, workshops and presentations including
acclaimed appearances by the Royal National Theatre of Great Britain
and the Theatre Royal Bath. He received the 2010 Leader of the Year
Award in Arts and Humanities from the Capitol Times and the 2003
Governor’s Arts Award as Individual Artist for his contributions to the
arts in Arizona.
This season he directed Wait Until Dark for ATC. He has directed over
40 mainstage productions for ATC ranging from classics to new plays
to musicals, including Xanadu, Next to Normal, The Sunshine Boys,
Hair, Much Ado about Nothing, My Fair Lady, Valley Song, The Illusion, The Pajama Game, Side Man,
[title of show], How I Learned to Drive, The Mystery of Irma Vep, Scapin, The Two Gentlemen of
Verona, The Boys Next Door, Shadowlands, Fully Committed, The Pirates of Penzance, H.M.S.
Pinafore, Willi, Dreams from a Summer House, Other People’s Money, The Heidi Chronicles, Noises
Off and a Midsummer Night’s Dream, as well as many world premieres including The Kite Runner
by Khaled Hosseini, Sherlock Holmes: The Final Adventure (winner of the Edgar Award from the
Mystery Writers of America), Inventing van Gogh, Rocket Man, Private Eyes, Over the Moon and
Dracula by Steven Dietz, and Ten Chimneys, Dr. Jekyll and Mr. Hyde (Edgar Award nominee) and
Sherlock Holmes and the Adventure of The Suicide Club (Edgar Award nominee) by Jeffrey Hatcher.
Mr. Goldstein has been a guest director at theatres all across the country including Arizona Opera,
The Pasadena Playhouse, Berkeley Repertory Theatre, Seattle Repertory Theatre, Florida Stage,
Center Repertory Theatre, Kansas City Repertory Theatre, Northlight Theatre, San Jose Repertory
Theatre, Village Theatre, Geva Theatre Center, Laguna Playhouse, Repertory Theatre of St. Louis,
Mixed Blood Theatre, The Children’s Theatre Company in Minneapolis, Alaska Repertory Theatre,
and Illusion Theatre. His musical A Marvelous Party: The Noël Coward Celebration, which
originated at ATC, has played extensively across the U.S., winning many awards including four
Jeff Awards in Chicago (including Best Director), the Elliot Norton Award in Boston, several Bay
Area Critics Awards and the Los Angeles Drama Critics Award for Best Production.
Before coming to Arizona, Mr. Goldstein was Associate Artistic Director of ACT Theatre in Seattle.
His many productions there included Glengarry Glen Ross, Hapgood, Breaking the Silence, Lloyd’s
Prayer, the world premieres of God’s Country by Steven Dietz and Willi by John Pielmeier, as well
as a joint Soviet-American production of The Falcon. He was Associate Artistic Director at Actors
Theatre of St. Paul from 1983-86. Mr. Goldstein holds an M.F.A. from the University of Minnesota.
He has been a visiting instructor and director at ASU, University of Washington, University of
Minnesota and University of Northern Iowa. He has served as a panelist for the National
Endowment for the Arts, Theatre Communications Group, Arts Midwest, and the Arizona,
Minnesota, Oregon and Washington State Arts Commissions. Mr. Goldstein is a proud member of
Stage Directors and Choreographers Society, and Actors’ Equity Association. He is married to
KJZZ radio announcer Michele Robins. They share their home with their dog and cats: Rio, Rocky,
Cary, Reggie, and Dexter.
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ATC LEADERSHIP
Matt Lehrman experienced his first Arizona Theatre Company
production, A Walk in the Woods, as an audience member in 1989,
shortly after moving to Arizona. He’s delighted to join ATC as Interim
Managing Director as of September 2014.
Mr. Lehrman is best known in Arizona as the founder (in 2003) and CEO
of Alliance for Audience and ShowUp.com, a pioneering initiative within
Arizona’s arts and cultural community to stimulate public engagement
with theatre, music, dance, art and cultural attractions statewide.
He was recognized by the Arizona Republic as “Best Cheerleader
for the Arts,” and has received accolades from the ariZoni Theatre
Awards, the Arizona Office of Tourism and the Arts and Business
Council of Greater Phoenix. He has served as Faculty Associate at Arizona State University, teaching
upper level seminars on Arts Entrepreneurship and Arts and Public Policy.
As the Principal of Audience Avenue, LLC, Mr. Lehrman is a popular speaker and consultant to arts
and cultural organizations nationally, excited to explore the options and opportunities of not-forprofits when viewed from the audience-side of their mission statement.
Beginning in 1995, Mr. Lehrman served as the Scottsdale Cultural Council’s Vice President of
Marketing & Communications, the not-for-profit agency that manages the Scottsdale Center for
the Performing Arts and the Scottsdale Museum of Contemporary Art. Mr. Lehrman began his
career as a lobbyist on banking and mortgage finance issues in Washington, D.C., in the mid
1980s.
He is a graduate of Oberlin College.
21
ATC LEADERSHIP
Jessica L. Andrews was named Managing Director Emeritus in
September 2014. She returned last year as Managing Director, having
retired from ATC in July 2009 after eleven seasons as Managing
Director and three as Executive Director. From September 2010 –
September 2011, she returned to ATC as Interim Managing Director.
Following her tenure at ATC, she founded jandrews consulting and is
currently consulting with Invisible Theatre and The Mini-Time Machine
Museum. Previous consultancies include Borderlands Theater, The
Loft Cinema, Pan Left Productions, University of Arizona Poetry
Center through the Tucson Pima Arts Council, Metro Theater Company,
The Vineyard Playhouse, Emerge! Center Against Domestic Abuse,
and Break-Away Tours.
Ms. Andrews is the recipient of the 2008 Governor’s Arts Award for an Individual, the 2013 Lumie
for Lifetime Achievement from the Tucson Pima Arts Council, the 2007 Distinguished Achievement
in Theatre Management Award from the United States Institute of Theatre Technology, and a
2002 Woman on the Move Award from the Tucson YWCA.
During her career, she served on the Executive Committee of the League of Resident Theatres, and
on the Board of Directors of Theatre Communications Group. Since her arrival in Arizona, she has
served on the Theatre Panel of the Arizona Commission on the Arts, was the president of Arizona
Theatre Alliance, on the Board of the Maricopa Partnership for Arts and Culture, and Arizona
Citizens for the Arts, and is a member of Women at the Top, Nonprofit Executives Together; Nature,
Arts, Culture and Heritage Organizations, and the Advisory Board of Arizona Woman Magazine.
She also chaired a task force for the Pima Cultural Plan and served on the Livable Communities
Mobilization Council of the Tucson Regional Economic Organization Blueprint.
From 1990-94, Ms. Andrews served as Managing Director of The Shakespeare Theatre
(Washington, D.C.), and was the Director of the Theater Program for the National Endowment for
the Arts from 1987-1990. From 1985-87, she was Managing Director of Indiana Repertory Theatre
and from 1980-85 was Director of the Theatre Division of the national service organization,
FEDAPT. Previously, Ms. Andrews was Managing Director of Geva Theatre Center in Rochester,
NY, and Hartford Stage Company.
In 2010, Ms. Andrews taught a class on Theatre Management and Organization at Arizona State
University. She has guest lectured at University of Arizona, Arizona State University and Yale
School of Drama, and has been a reader for the Fund for New American Plays at the Kennedy
Center. She served as co-chair of the Arts Committee for the 1997 UK/AZ Festival, and during the
summer of 1995, taught a class in theatre management at the Centro Nacional de los Artes in
Mexico City. She has served on grants panels for nine state arts agencies and on the Theatre
Grants Panel for the U.S./Mexico Fund for Culture. She has served on the NEA Theater Program’s
Professional Companies, Challenge Review, Creation and Presentation, and Education and Access
panels, and was an NEA site reporter for the Theater and Musical Theater Program.
22
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THE CAST
Craig Bockhorn (Carlino) has appeared on Broadway in On Golden Pond,
The Lonesome West and Prelude to a Kiss. Off-Broadway and New York
credits include The Seagull (Delacorte Theatre); King Lear, The Cripple of
Inishmaan and Kit Marlowe (The Public Theater); The Hope Zone and The
Truth-Teller (Circle Repertory Company). Mr. Bockhorn has appeared at
regional theatres all over the country. Film and television credits include
Big Year, TransAmerica, Law & Order (SVU and Criminal Intent), The
Michael J. Fox Show, Person of Interest, Boardwalk Empire, Cupid,
Kidnapped, Ed and As the World Turns.
Ted Koch (Roat) has appeared on Broadway in The Pillowman, Death of
a Salesman and Cat on a Hot Tin Roof. National tours include Frost/Nixon
and Death of a Salesman. Regional theatre credits include The Seagull
(Huntington Theatre Company); Scott and Hem (Barrington Stage);
Strange Interlude (Shakespeare Theatre Company); Donnybrook! (Irish
Repertory Theatre); Born Yesterday and God of Carnage (Pittsburgh
Public Theater); and Snow Falling on Cedars (Hartford Stage). Film credits
include Cold Souls, Hannibal, Englishman in New York, Love to Leenya,
Autumn in New York and Dinner Rush. Television credits include The
Americans, Person of Interest, The Good Wife, Gossip Girl, The Sopranos,
The West Wing, Law & Order and Ed.
Brooke Parks (Susan) has played Ophelia in Hamlet (Yale Repertory
Theatre); the Princess of France in Love’s Labour’s Lost and Katrin in
Mother Courage (Shakespeare and Company); and numerous roles at the
Oregon Shakespeare Festival including Katherine in Henry V, Helen of Troy
in Troilus and Cressida, Mariana in Measure for Measure, Caroline Bingley
in Pride and Prejudice and Viola in Twelfth Night. She has performed
with the California classical repertory company A Noise Within for
various productions including A Midsummer Night’s Dream, Macbeth
and Coriolanus. Ms. Parks is a graduate of the Yale School of Drama.
Peter Rini (Mike) is pleased to make his Arizona Theatre Company debut.
Mr. Rini originated the role of Vinnie Bavasi in Neil Simon’s Proposals;
Marco in the Tony Award-winning revival of A View from the Bridge; and
Agent Loyal in Tartuffe: Born Again. He also played Commander Harbison
on the first national tour of South Pacific. Selected off-Broadway credits
include The Talls (Second Stage Uptown); The Old Boy (Keen Company);
and Feather: A Musical Portrait (New York Musical Theatre Festival).
Regional highlights include Richard Roma in Glengarry Glen Ross (Dallas
Theater Center); Don Pedro in Much Ado about Nothing (Hartford Stage/
The Shakespeare Theatre, D.C.); Constant in The Provok’d Wife
(American Repertory Theater); and Joseph Tumulty in the world premiere of
Edith (Berkshire Theater Festival). Television and film credits include Jason
Figueroa on Orange is the New Black, Blue Bloods, SMASH!, all the Law and
Order franchises, Sleepers, Boiler Room, and The Juror in addition to many
national commercial campaigns.
28
THE CAST
Remi Sandri (Sam) returns to ATC where he appeared in The Great
Gatsby, Sherlock Holmes and the Adventure of The Suicide Club, Much
Ado about Nothing, Pride and Prejudice and The Kite Runner. Mr. Sandri
has worked at theatres throughout the country, including Geva Theatre
Center (A Chorus Line, Twelve Angry Men, Camelot, House and Garden,
1776, The Importance of Being Earnest, My Fair Lady, The Agony and the
Ecstasy of Steve Jobs, Clybourne Park); ACT Theatre (Arcadia, Othello);
Cincinnati Playhouse in the Park (The Mystery of Irma Vep, The
Foreigner, The Underpants); Berkeley Repertory Theatre (Macbeth, The
Caucasian Chalk Circle, Journey to the West); Repertory Theatre of
St. Louis (Art, Tuesdays with Morrie); San Jose Repertory Theatre (A Flea
in Her Ear, Three Days of Rain, Iphigenia at Aulis); TheatreWorks
(The North Pool, Violet, Someone Who’ll Watch Over Me) and six seasons
with Oregon Shakespeare Festival. His television appearances include
Law & Order, Conviction and Deadline.
Lauren Schaffel (Gloria) has previously appeared in Basket Weaver in
the Samuel French OOB Festival (Playwrights Horizons); the world
premiere of Gloria; and in Summer and Smoke, The Glass Menagerie,
Battle of Angels and Camino Real as part of the Tennessee Williams
Project. Ms. Schaffel most recently appeared in the upcoming feature film
Revenge of the Green Dragons, My Dead Boyfriend (directed by Anthony
Edwards), and Admission (starring Tina Fey). Notable television roles
include Becca on the hit CBS show Still Standing and the voice of Lucy in
A Charlie Brown Valentine and Lucy Must Be Traded.
29
“Ingenious! A snazzy double act.”
– The New York Times
BOOK & MUSIC by Joe Kinosian BOOK & LYRICS by Kellen Blair
DIRECTED by
Scott Schwartz
NOV 29, 2014
through
DEC 20, 2014
PERFORMING AT THE TEMPLE OF MUSIC AND ART
ARIZONATHEATRE.ORG | 520-622-2823 | SEASON SPONSORS: I. MICHAEL AND BETH KASSER
ABOUT ARIZONA THEATRE COMPANY
Charles Janasz and Ali Rose Dachis in Arizona Theatre Company’s production of Vanya and Sonia and Masha
and Spike. Photo by Joan Marcus.
Now celebrating 48 years, Arizona Theatre Company (ATC) boasts the largest subscriber base of
any performing arts organization in Arizona with more than 130,000 people each year attending
performances at the historic Temple of Music and Art in Tucson, and the elegant Herberger
Theater Center in downtown Phoenix. Each season of carefully selected productions reflects the
rich variety of world drama – from classic to contemporary plays, from musicals to new works,
as audiences enjoy a rich emotional experience that can only be captured through live theatre.
Touching lives through the power of theatre, ATC is the preeminent professional theatre in the state
of Arizona. Under the direction of Artistic Director David Ira Goldstein, Interim Managing Director
Matt Lehrman and Managing Director Emeritus Jessica L. Andrews, ATC operates in two cities –
unlike any other League of Resident Theatres (LORT) company in the country.
ATC shares the passion of the theatre through a wide array of outreach programs, educational
opportunities, access initiatives and community events. Through the schools and summer
programs, ATC focuses on teaching Arizona’s youth about literacy, cultural development,
performing arts, specialty techniques used on stage, and opens their minds to the creative power
of dramatic literature. With approximately 450 Learning & Education activities annually, ATC
reaches far beyond the metropolitan areas of Tucson and Phoenix, enriching the theatre learning
experience for current and future audiences.
OUR VISION Touching lives through the power of theatre.
OUR MISSION To create professional theatre that continually provides new levels of artistic
excellence that resonates locally, in the state of Arizona and throughout the nation. Arizona
Theatre Company strives to:
• Produce a broad repertoire ranging from classics to new works;
• Engage artists to produce theatrical work of the highest caliber;
• Provide an educational bridge between our communities and our work;
• Assure access to the broadest spectrum of citizens;
• Achieve cultural diversity in all endeavors;
• Operate from a position of financial strength and fiscal responsibility.
31
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THE CREATIVE TEAM
David Ira Goldstein (Director) Please see Mr. Goldstein’s Artistic Director biography on page 20.
Vicki Smith (Scenic Designer) has designed The Mountaintop; Ma Rainey’s Black Bottom; The Kite
Runner; Touch the Names; Love, Janis; Hank Williams: Lost Highway; Dirty Blonde; Master Class;
The Last Night of Ballyhoo; Fences; and many more at ATC. She has also designed for Denver
Center Theatre Company, Geva Theatre Center, Utah Shakespeare Festival, Children’s Theatre
Company, Oregon Shakespeare Festival, Indiana Repertory Theatre, Kansas City Repertory
Theatre, Penumbra Theatre Company, Seattle Repertory Theatre, Actors Theatre of Louisville,
Milwaukee Repertory Theater, Dallas Theater Center, Pittsburgh Public Theater, Alley Theatre,
Berkeley Repertory Theatre and many others. Ms. Smith was Associate Designer at ACT Theatre
and has received Bay Area Critics Circle Awards for The Kite Runner and Execution of Justice; a
Drama-Logue Award for Cyrano; and Colorado Theatre Guild and Denver Ovation Awards for
Mariela in the Desert, Doubt, Plainsong, I’m Not Rappaport and Pierre, which was also selected for
the 2007 Prague Quadrennial Design Exposition.
Marcia Dixcy Jory (Costume Designer) has previously designed Somebody/Nobody and Ten
Chimneys at ATC. Ms. Jory’s regional theatre credits include ACT, Seattle Repertory Theatre,
Intiman Theatre, Seattle Children’s Theatre, Guthrie Theater, Long Wharf Theatre, Hartford Stage,
Opera Company of Boston, Kentucky Opera, Manhattan Theatre Club and Circle in the Square.
She has also designed over 70 productions as a resident costume designer for Actors Theatre of
Louisville. Ms. Jory is a faculty member at Santa Fe University of Art and Design and her book on
costume design, The Ingenue in White, is published by Smith and Kraus. www.marciadixcyjory.com.
Don Darnutzer (Lighting Designer) has designed 59 shows for ATC since 1981. His most recent
designs include The Mountaintop; Sherlock Holmes and the Adventure of The Suicide Club; Ma
Rainey’s Black Bottom; Touch the Names; Love, Janis; and I Am My Own Wife. He designed the
lighting for Broadway’s production of It Ain’t Nothin’ But the Blues and off-Broadway’s Hank Williams:
Lost Highway, Almost Heaven and The Immigrant. He has worked for American Conservatory
Theater, Guthrie Theater, The Kennedy Center for the Performing Arts, Oregon Shakespeare
Festival, Cleveland Play House, New Orleans Opera, Denver Center Theatre Company, Portland
Opera, KansasCity Repertory Theatre, Alley Theatre, Seattle Repertory Theatre, BB King’s Blues
Club in NYC, Palm Beach Opera, Shakespeare Theatre Company, The Repertory Theatre of St.
Louis, Actors Theatre of Louisville, Coconut Grove Playhouse and Geva Theatre Center.
Brian Jerome Peterson (Sound Designer) celebrates his 29th season at ATC, where he has
designed 76 productions, including Around the World in 80 Days, The Importance of Being
Earnest, The Sunshine Boys, Jane Austen’s Emma, The Great Gatsby, God of Carnage, Ma Rainey’s
Black Bottom, Lost in Yonkers, Ain’t Misbehavin’, George is Dead, Somebody/Nobody, Enchanted
April, Touch the Names, I Am My Own Wife, Twelfth Night, Tuesdays with Morrie, Crowns, Macbeth,
The Pirates of Penzance, The Immigrant, A Streetcar Named Desire, Oh Coward!, Copenhagen,
Fully Committed and The Mystery of Irma Vep (for which he won an ariZoni Award) and the world
premieres of Sherlock Holmes and the Adventure of The Suicide Club, Dr. Jekyll and Mr. Hyde,
Sherlock Holmes: The Final Adventure, Inventing van Gogh, Rocket Man, Minor Demons and The
Holy Terror. His designs have been heard in many theatres including Geva Theatre Center, Berkeley
Repertory Theatre, Seattle Repertory Theatre, Cleveland Play House, Northlight Theatre, Portland
Center Stage, Actors Theatre of Louisville and San Jose Repertory Theatre.
34
THE CREATIVE TEAM
Adriano Gatto (Fight Director) is Certified with Full Distinction by Fight Directors Canada and his
work has been seen in over 50 productions across the country, most recently at the Irish Classical
Theatre, Torn Space Theatre and MusicalFare. He has taught stage combat and also choreographed at many institutions, including the Eastman School of Music and Niagara University,
where he currently serves as the Artist in Residence. As an AEA member, Mr. Gatto was awarded
an Acting Fellowship to train at the Shakespeare Theatre Company with Michael Kahn. Additional
acting credits include productions with Folger Shakespeare Theatre, Round House Theatre and
Indiana Repertory Theatre, among others.
Jean Gordon Ryon (Dramaturg) serves as New Plays Coordinator at Geva Theatre Center where,
among other duties, she produces the Regional Writers Showcase and the Young Writers
Showcase. She was dramaturg for 1776, John Bull’s Other Island, That Was Then, Shear Madness,
The Underpants, The Clean House, Almost Maine, The Music Man, Company, Perfect Wedding, The
39 Steps, Last Gas and Geva’s current production of A Christmas Carol. Ms. Ryon holds a degree in
drama from Tufts University and a master’s degree in Arts Administration from Goucher College.
Her most recent directing credits include Grace and Glorie, Master Class and Blithe Spirit for
Blackfriars, The Chosen and The Immigrant for JCC’s CenterStage, Juno and the Peacock, Da,
Translations, Waiting for Godot, The Cripple of Inishmaan and Shining City for RCP’s Irish Players,
and Romeo and Juliet and Much Ado about Nothing for RCP’s Shakespeare Players. Ms. Ryon is
also the Artistic Director of The Geriactors, a traveling troupe of mature actors.
Elissa Myers Casting, Paul Fouquet, CSA (Casting) has cast dozens of ATC shows over the last
25 years. Broadway casting credits include seven shows, including the Tony Award-nominated
Having Our Say and 25 off-Broadway shows. Regional casting includes Denver Theatre Company
Center, Cleveland Play House, Alabama Shakespeare Festival and Magic Theatre. Film and television credits include the PBS movie Souls on Fire (2013); three “Movies of the Week” (with Tyne
Daly, Claire Danes, Christopher Reeve, Ed Asner and Daniel J. Travanti); five pilots and two PBS
specials by Wendy Wasserstein and Terrance McNally (with Bernadette Peters, Nathan Lane,
Blythe Danner, Spike Lee and Paul Sorvino); the Peabody Award-winning mini-series Liberty, as
well as the Emmy Award-winning mini-series Benjamin Franklin and John & Abigail Adams; and
the mini-series God in America, The People v. Leo Frank, Dolley Madison and Louisa May Alcott. The
office has so far received 15 nominations and has won three Artios Awards for Outstanding
Achievement in Casting.
Timothy Toothman (Stage Manager) is the Artistic Associate at ATC. He most recently stage
managed ATC’s productions of Around the World in 80 Days, The Importance of Being Earnest,
Freud’s Last Session, Lombardi, Daddy Long Legs and God of Carnage, among others. Mr. Toothman
spent five seasons as the Production Stage Manager for the Geva Theatre Center in Rochester, NY
and was then Company Manager for five years for Sunshine Too, a national touring ensemble of
deaf and hearing actors. He has also managed producing and presenting theatres in Indiana and
Maryland. Prior to moving to Arizona, Mr. Toothman spent eleven years as a program and grants
director for the Maryland State Arts Council and the Connecticut Commission on the Arts. Mr.
Toothman stage managed the National Heritage Awards Program for the National Endowment for
the Arts for ten years and was the Production Stage Manager for six seasons at the Vineyard
Playhouse on Martha’s Vineyard.
35
THE CREATIVE TEAM
Glenn Bruner (Assistant Stage Manager) is in his 18th season as Production Stage Manager at ATC
where he has stage managed, among many others, Vanya and Sonia and Masha and Spike, Venus
in Fur, Other Desert Cities, The Mountaintop, Next to Normal, The Great Gatsby, The Mystery of Irma
Vep, [title of show], The Kite Runner, Hair, Enchanted April, and the world premieres of Jeffrey
Hatcher’s Sherlock Holmes and the Adventure of The Suicide Club and Ten Chimneys, and Steven
Dietz’s Sherlock Holmes: The Final Adventure, Rocket Man, Inventing van Gogh, and Over the Moon.
Mr. Bruner has worked at Kansas City Repertory Theatre, Alley Theatre, Dallas Theater Center,
Pasadena Playhouse, Center Stage, Studio Arena Theatre, and Maine’s Portland Stage Company.
Mr. Bruner was the 2012 recipient of the Lucy Jordan Recognition Award, presented annually by
the Western Region of Actors’ Equity Association. He has been a member of AEA since 1981.
David A. Cap (Assistant Stage Manager) was previously the Production Manager at ATC for 15
years. A member of Actors’ Equity Association since 1988, he has stage managed at ATC and
Cleveland Play House.
Ashley Simon (Assistant to the Stage Manager) was Assistant to the Stage Manager for Arizona
Theatre Company’s Venus in Fur, Other Desert Cities, The Mountaintop, The Sunshine Boys, Jane
Austen’s Emma, Next to Normal, Red, The 39 Steps, Daddy Long Legs, Sherlock Holmes and the
Adventure of The Suicide Club, Lost in Yonkers, Woody Guthrie’s American Song, Backwards in High
Heels, The Glass Menagerie, Ain’t Misbehavin’, The Kite Runner, A Raisin in the Sun, Hair and The
Lady with All the Answers. She was also the Production Stage Manager for ATC’s Summer on Stage
2010, 2011, 2012, 2013 and 2014. Other credits include stage managing The Real Inspector Hound, The
Decameron, The Four of Us, Othello and Immortal Longings with The Rogue Theatre and The Mousetrap,
Same Time Next Year and Forever Plaid at The Theater Barn in the Berkshires. At Florida Stage, she
was Assistant to the Stage Manager for the world premiere of Deborah Zoe Laufer’s End Days.
Jonathan Snipes (Original Music) is a composer and sound designer for film and theatre living in
Los Angeles. He is a member of the rap group, clipping. The music heard in this production was
written for a 2013 production of Wait Until Dark at the Geffen Playhouse in Los Angeles, directed
by Matt Shakman. www.jonat8han.com
Geva Theatre Center (Co-Producer) is dedicated to creating and producing professional theatre
productions, programs and services of a national standard since 1972. As Rochester, NY’s leading
professional theatre, Geva Theatre Center is the most attended regional theatre in New York State,
and one of the 25 most subscribed in the country, serving up to 160,000 patrons annually, including more than 16,000 students. The 526-seat Elaine P. Wilson Mainstage is home to a wide variety
of performances, from musicals to American and world classics. The 180-seat Ron & Donna Fielding
Nextstage is home to Geva’s own series of contemporary drama, comedy and musical theatre;
Geva Comedy Improv; Geva’s New Play Reading Series and the Hornet’s Nest – an innovative
play-reading series facilitating community-wide discussion on controversial topics. In addition,
the Nextstage hosts visiting companies of both local and international renown. Geva Theatre
Center offers a wide variety of educational, outreach and literary programs, nurturing audiences
and artists alike. Since 1995, the organization has been under the artistic direction of Mark Cuddy.
The Actors and Stage
Managers employed in these
productions are members of
Actors’ Equity Association,
the Union of Professional
Actors and Stage Managers
in the United States.
The Director is a member
of the Stage Directors and
Choreographers Society,
an independent national
labor union.
36
The Scenic, Costume,
Lighting and Sound
Designers in LORT
Theatres are represented
by Union Scenic Artists
Local USA-829, IATSE.
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2014-2015 BOARD OF TRUSTEES
Cameron Artigue
Jessica L. Andrews
Chair
Attorney, Gammage & Burnham
Managing Director Emeritus
Arizona Theatre Company
Robert Glaser
Robert Begam
Immediate Past Chair
Principal, PICOR Commercial Real Estate
Services
Attorney, Begam & Marks
Joanie Flatt
President, Flatt & Associates
Lynne Wood Dusenberry
President
Community Volunteer
Kevin Gebert
Susan Segal
Jay Glaser
Investment Analyst, Holualoa Companies
Vice President (Phoenix)
Attorney, Gust Rosenfeld PLC
Retired Computer Professional and
Community Volunteer
Dina Scalone-Romero
David Ira Goldstein
Vice President (Tucson)
Executive Director, Therapeutic Riding of Tucson
Artistic Director, Arizona Theatre Company
Peter Akmajian
Senior Consultant, Arts Manager LLP
Daniel Hagerty
Treasurer
Attorney, Udall Law Firm LLP
I. Michael Kasser
President, Holualoa Companies
Marc Erpenbeck
Matt Lehrman
Assistant Treasurer
President and Chief Legal Officer, George Brazil
Interim Managing Director
Arizona Theatre Company
Robert Taylor
Jennifer Lohse
Secretary
Senior Director of Regulator Policy and Public
Involvement, Salt River Project
Program Director, Tucson Foundations
Jeff Gold
Assistant Secretary
Retired Entrepreneur and Community Volunteer
EMERITI TRUSTEES
HONORARY TRUSTEES
Shirley Estes, Donald Nickerson,
George Rosenberg, F. William Sheppard
Betsy Bolding, Joan Kaye Cauthorn, Norma
Feldman, Catherine “Rusty” Foley, Joe Gootter,
Sandy Hatfield, Jessica Lazarus, Sandra C.
Maxfield, Emily Rosenberg Pollock, Nina Trasoff,
Arlene Webster, Ruth A. Zales
A special note of thanks to the partners and staff at Lewis Roca Rothgerber for hosting
ATC’s Board of Trustees’ meetings.
40
GET CONNECTED
WITH ATC!
LIKE US ON FACEBOOK
facebook.com/arizonatheatrecompany
FOLLOW US ON TWITTER
@arizonatheatre
WATCH US ON YOUTUBE
youtube.com/arizonatheatreco
JOIN OUR EMAIL LIST
email.arizonatheatre.org
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THEATRE INFORMATION
THE TEMPLE OF MUSIC AND ART
The Temple of Music and Art is a beautifully refurbished 1927 theatre, built in the Spanish Colonial
style that flavors so much of our city. ATC has identified the following services and policies to
ensure your comfort and enhance your experience at the theatre:
THEATRE POLICIES
Latecomers will be seated only at an appropriate and predetermined break in action. In order not
to disturb patrons who are already enjoying the performance, latecomers may be seated in alternate locations until intermission. As a courtesy to our patrons and the actors, the use of cameras,
and recording devices is not permitted within the theatre. Please restrict cellular phone use to the
courtyard, only. Children under five are not permitted in the theatre during performances.
Emergency calls may also be made to the House Manager’s direct line: 520-884-4868.
Smoking is not permitted anywhere within the building. Designated smoking areas are located in
the front of the theatre, only. In the event of smoking onstage, a sign will be posted in the lobby.
SPECIAL SERVICES
The theatre is equipped with an in-house infrared transmission system for use by patrons with
partial hearing loss or limited range of hearing. Complimentary assisted listening headsets are
available before every performance at the Box Office. Please be prepared to leave a driver’s license
or other form of identification while using your headset. Every production is available in American
Sign Language. For information on the dates of our ASL performances, please contact the Box
Office. An in-house FM broadcast system is used to provide a running audio description of the
movement and activities onstage for patrons with limited vision. Pre-show tactile tours of the
backstage area and a pre-show narration about our building, the performers, and interpretive
information about the play itself are all available upon request. Contact the Box Office to make your
reservation for the audio described performances. Coordinated with the action onstage, those in
open-captioned seating will be able to read the play’s dialogue displayed in large green letters on
an LED screen. For open-captioned performance dates, contact the Box Office. Large print and
Braille playbills are available for all performances in the House Manager’s office in the lobby of the
theatre. Accessible seating is available via the Box Office for all performances. If you would like
seating assistance at the theatre, please contact the House Manager at 520-884-4868.
The balcony of the Temple of Music and Art is not accessible by elevator.
ATC CONTACT INFORMATION
Administrative Offices
Theatre and Box Office
343 South Scott Avenue, Tucson, AZ 85701
Phone 520-884-8210 Fax 520-628-9129
330 South Scott Avenue, Tucson, AZ 85701
Phone 520-622-2823 Fax 520-884-1496
arizonatheatre.org
[email protected]
47
GET CONNECTED TO ATC
BECOME AN ATC CIRCLES MEMBER AND
EXPERIENCE THE POWER OF THEATRE
WHEN YOU’RE A CIRCLES
MEMBER: You go behind the scenes.
You enjoy the highest level of customer
service. You interact with theatre patrons
such as yourself. Through your generous
support, you’ll help ATC produce thrilling
and engaging work and continue our
Learning & Education programs.
ANGELS
$25,000 AND ABOVE
PLAYWRIGHT’S GUILD
$10,000 – $24,999
PRODUCER’S CIRCLE
$5,500 – $9,999
DESIGNER’S CIRCLE
$3,500 – $5,499
DIRECTOR’S CIRCLE
$1,750 – $3,499
FOR MORE INFORMATION, VISIT DONATE.ARIZONATHEATRE.ORG
CORPORATE AND FOUNDATION DONORS
ATC is proud to acknowledge the following donors who made contributions from July 1, 2013
through June 30, 2014.
$25,000 AND UP
$5,500 – $9,999
$1,000 – $1,749
APS
Community Finance
Corporation
Jewish Community
Foundation of Southern
Arizona
Jim Click Automotive Team
Phoenix Magazine
Phoenix Office of Arts
and Culture
Salt River Project
The Diamond Foundation
The Margaret E. Mooney
Foundation
The Shubert Foundation
The Stonewall Foundation
Zazu Pannee Park Regent
City of Tempe
Cox Communications
Frances Chapin Foundation
Gammage & Burnham
Lewis Roca Rothgerber, LLP.
The David C. and Lura M.
Lovell Foundation
Zuckerman Family Foundation
Actors’ Equity Foundation, Inc.
Boeing Co.
Flagstaff Community
Foundation
Margaret Mellon Hitchcock
Foundation
Nextrio, LLC
Phoenix New Times
PICOR Charitable Foundation
Samloff Family Fund
The Molly and Joseph Herman
Foundation
The Phoebe R. and John D.
Lewis Foundation
Tim Fuller Studio
$10,000 – $24,999
American Express
Arizona Commission
on the Arts
Arizona Community
Foundation
BMO Harris Bank
Community Foundation
for Southern Arizona
Diamond Family
Philanthropies
Holsclaw Advisory
Endowment Fund
PICOR Commercial Real
Estate Services
The Stocker Foundation
The Virginia G. Piper
Charitable Trust
Tucson Pima Arts Council
$3,500 – $5,499
Anonymous
Break-Away Tours
George Brazil
Joseph and May Winston
Foundation
Kinder Morgan Foundation
Kohl Family Foundation
Providence Service
Corporation
Shapiro Family Philanthropic
Foundation
The Maurice and Meta Gross
Foundation
University of Arizona
Foundation
$1,750 – $3,499
Desert Diamond Casino
Enterprise Holdings
Foundation
Evo-Ora Foundation
GeoFund
Raytheon Systems Company
Scottsdale Cultural Council
Scottsdale League for the Arts
The Donald Pitt Family
Foundation
The Torosian Foundation
University Medical Center
49
$500 – $999
The Harold and Jean
Grossman Family
Foundation
Kathy Haun,The Haun
Family Trust
The Learning Curve/
Susan and Barclay Dick
Russ and Carolyn Russo
Foundation
$250 – $499
Kaizen Education Foundation
Gordon and Betty Moore
Foundation
Roth Family Foundation
INDIVIDUAL DONORS
ATC is proud to acknowledge the following donors who made contributions from July 1, 2013
through June 30, 2014.
ANGELS
$25,000 AND UP
Paul and Alice Baker
Jim and Vicki Click
Donald and Joan Diamond
Shirley Estes
Mr. and Mrs. I. Michael Kasser
Jim and Dolly Moran
Marilyn Papp
PLAYWRIGHT’S
GUILD
$10,000 – $24,999
Anonymous
Darryl and Mary Ann Dobras
Downtown Kitchen + Cocktails
Bruce and Katie Dusenberry/
Horizon Moving Systems
Joanie Flatt
Rodger G. Ford
Bruce and Edythe Gissing
Scott Kendall Haun
Helen Dyar King Fund
Peggy and Emerson Knowles
Mr. and Mrs. Richard Lehmann
Dr. and Mrs. Robert G. Maxfield
Enid and Michael Seiden
Janos and Rebecca Wilder
PRODUCER’S CIRCLE
$5,500 – $9,999
Jessica L. Andrews and
Timothy W. Toothman
Bill and Donna Dehn
Babs and Jay Glaser
David Ira Goldstein and
Michele Robins Goldstein
Judith Hardes
Randy Kendrick
Tandy and Gary Kippur
Bill Lewis and
Rick Underwood
Humberto and Czarina Lopez
David Mackstaller and
Lyn Papanikolas
Elyce and Mark Metzner
Jack and Becky Moseley
Slobodan Popovic and
Janie Shapiro
Jeffrey, Susan, Sara, and
James Rein
Jennifer A. Roberts
Herschel and Jill Rosenzweig
Drs. Helen and John Schaefer
James Wezelman
Michael Willoughby
Linda Wurzelbacher
DESIGNER’S CIRCLE
$3,500 – $5,499
Mary and Cameron Artigue
Frank and Barbara Bennett
Bruce and Jane Cole
Bruce L. and Lynne
Wood Dusenberry
Ms. Deanna Evenchik
Norma and Stanley G. Feldman
Catherine “Rusty” Foley
Kate Garner
Dr. Mary Jo Ghory
Rob and Laurie Glaser
Paulette and Joe Gootter
Michael and Lauren Gordon
Daniel Hagerty and
Michael Cook
Donald Henke
Bob and JoAnne Hungate
Rebecca and Sid Johnson
Drs. Steven and Marta Ketchel
Kevin and Jill Madden
Allan and Alfie Norville
Matthew and Mary Palenica
F. William Sheppard and
Range P. Shaw
Richard P. Stahl
Mrs. Robert K. Swanson
Robert Taylor
James Wezelman
Allan and Diana Winston
Gary Wolff and Sandy Gibson
Enid and Mel Zuckerman
50
DIRECTOR’S CIRCLE
$1,750 – $3,499
Anonymous
Roberta Aidem
Affinity Eye Care/
Dr. Robert Mulgrew
Mary and Todd Anderson
Alan and Char Augenstein
Christine and John R. Augustine
Mr. A. Frederick Banfield and
Ms. Eileen M. Fitzmaurice
Betsy Bolding held at the
Community Foundation
of Southern Arizona
Dr. Jose M. and
Mrs. Frances A. Burruel
Robert and Nancy Clark
Ginny Clements
Jacklyn Connoy and
William Maguire
Len and Doris Coris/
Watermill Financial
Bob and Vanne Cowie
Mark and Julie Deatherage
Dino and Elizabeth
Murfee DeConcini
Michael and Geri DeMuro
Martha Durkin
Marc and Margaret Erpenbeck
Fractured Earth Tile & Stone/
Elizabeth Miller
Leslie Freed
Ellis F. Friedman and
Irene Stern Friedman
Gail and Patric Giclas
Davina Glaser
Ellyn and Jeff Gold
Dr. Robert W. Gore
Jeff Guldner
Leslie Hall and Ted Jarvi
Hazel Hare
William and Theresa Hawgood
Elliott and Sandra Heiman
Dan Hennessee
Jeanne and Gary Herberger
Joseph Huang and Karen Rigby
Kay Juhan
Don Klomp
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INDIVIDUAL DONORS
DIRECTOR’S CIRCLE
CONTINUED
$1,750 – $3,499
George and Maria Knecht
Ruth and Ronald Kolker
Drs. Paul and Mary Koss
Toby and Matt Lehrman
Stacy and Susan Litvak
Lori Mackstaller, M.D.
Nora and Phil Mazur
Richard and Yvonne Morris
Ms. Deborah Moss
Helen and John Murphey
Linda and Fred A. Nachman
Don and Peg Nickerson
Dr. and Mrs. Charles W. Otto
Mr. Sydney Pearl and
Dr. Judy Balan Pearl
Ben and Sally Perks
Linda “Mac” and Russ Perlich
Toby and Michael Rozen
Ken and Judy Ryan
Dina Scalone-Romero
Lewis and Suzanne Schorr
Susan P. Segal
Steve and Shelly Silverman
Daniel J. and Evelyn G. Simon
Dawnelle and Ronald Spaulding
Rica and Harvey Spivack
Phyllis and Richard Stern
Robert and Shoshana Tancer/
Tancer Law Firm, P.L.C.
Mr. and Mrs. Don Underwood
Dr. Richard and
Madeleine Wachter
Russell and Kay Weed
Richard and Nancy Weiss
Nancy and Jeff Werner
Mark and Taryn Westergaard
BACKERS
$1,000 – $1,749
Anonymous (4)
Loren and Darla Acker
Judy and Rory Albert
Ms. Kathy Alexander and
Mr. Paul Lindsey
Becky and Doug Pruitt
Family Fund
Susan Berg
Bill and Barbara Bickel
Allan & Barbara Bowermaster
Ed and Arlene Cohen
Jan Copeland
Judie Cosentino
Pamela Frame
Todd Franks and Nancy Bodinet
Drs. Margot W. and J.D. Garcia
Becky and Dave Gaspar
Mr. and Mrs. James J. Glasser
Laurie and Chuck Goldstein
Jon and Erika Grasse
Ms. Pamela Grissom
Jennifer H. Gross and
Jerry LeFevre
Jeff Guldner
Sarajean Harwood
Stephen and Amanda Heitz
Peggy M. Hitchcock
Ed and Sandra Holland
Nathan Joseph
Robyn Kessler and Jeff Timan
Carol and Foster Kivel
Janice and Al Kivel
Carole and Rich Kraemer
Eileen and John Lamse
Rob and Jenni Leinbach
Helaine Levy and Steve Alley
Sam and Judy Linhart
Edith E. Luty
Anne and Ed Lyman
Phil and Carol Lyons
Courtney Mc Eniry
Ms. Elsa McTavish
Dorothy and Roy Mayeske
Jeffrey and Barbara Minker
Rosanna Miller
Dr. James E. Nation
Shelley Jo Pozez and
Bill Holmes
Mr. Bruce Raskin and
Ms. Carol Fink
Drs. Adib and Vivi Sabbagh
Marc and Deborah Sandroff
John Usher Sands
Claire and Henry Sargent
Cathy Shell
Mary P. Sullivan
Mollie Trivers and Shelley Cohn
D. Rae Turley
David and Dawn Veldhuizen
Mr. Richard K. Walker
Ronald and Diane Weintraub
Mary and Robert Wolk
Ruth Zales and
Kenneth Greenfield
54
PATRONS
$500 – $999
Anonymous (5)
Sandra L. Abbey
Dwight and Amy Adams
Peter Akmajian and
Colleen Cacy
Corbett and Pat Alley
Kate and Dabney Altaffer
Arlene and Morton Scult
Philanthropic Fund
Susan and Gregory Ash
Lee and Gay Ashton
Bob and Judy Atwell
Mary Ellen and Emery Bartle
Richard and Ann Bates
Mr. and Mrs. Edwin L. Biggers
Denice Blake and
John Blackwell
Kay Bouma
Shirley and Roland Calhoun
Mrs. Susan Call
Tyna Callahan and Dimitri
Voulgaropoulos
Neal and Sally Cash
Paul and Vicki Chandler
Shirley J. Chann
Paul and Susan Charlton
Kris and Earl Cohen
Steven Cohen and
Michael Godnick
David and Susan Cone
Mr. and Mrs. Duane Cote
Harlan and Gayla Crossman
Alicia and Jon Crumpton
Mr. and Mrs. William Cullen
Marjorie and George
Cunningham
Dr. and Mrs. William H. Dantzler
Gail E. Dunlap
Dennis Emond
Annette Everlove and
Michael Johnson
Ronna Fickbohm and Jeff Willis
Dr. and Mrs. John H. Finley
Helen V. Fisher
John and Louise Francesconi
Wendy Gamble and Carl Kuehn
Ann and Arthur Goldberg
Jerome and Anita Gutkin
Andy and Sara Gyorke
Rita C. Hagel
Ms. Athia Hardt
INDIVIDUAL DONORS
PATRONS
CONTINUED
$500 – $999
Drs. John M. and Robin B.
Harris
Michael and Phyllis Hawkins
John L. Hay and
Ruth M. Murphy
Les and Suzanne Hayt
Tom and Sandy Hicks
Sharon and Jesse Hise
David and Lori Iaconis
Abe J. Jacob
Karen and Chuck Jonaitis
Valerian and Mira Kaplan
Gary and Lee Ana Kains
Mr. and Mrs. Joseph
Kendhammer
Raymond Kemp and
Rick Douglas
Mr. Robert Knopf
Bill and Linda Knox
Jami Kozemczak
Linda Lambert
Bob and Sherrie Lane
Anne Leary and Bill Hemelt
Marianne and Bill Leedy
Dr. Alan Levenson
Dr. and Mrs. Marc Levison
Tracy and Michael Levy
Herb and Nancy Lienenbrugger
Elaine Litvack
Roy Loewenstein
Peter and Suzan Makaus
Gregory and Emma Melikian
Richard and Kathryn Merkel
Mr. Thomas Merryweather
Darrel and Ann Merwin
Mr. Gary Molenda
Essie and George Nadler
Pat and Wayne Needham
Jordan and Jean Nerenberg
Mr. and Mrs. Michael Ore
Bill and Kathie Peterson
Marilyn M. Prince
Will Rapp and Kathy Kolbe
Mr. Paul Rathjen
Lynda and Ed Rogoff
David and Sonja Saar
Suzanne Samuels
Vance, Louise, and
Camille Sanders
Dr. J.M. Santiago and
Ms. Janice Catt
Jerusha and Marc Schmalzel
Dr. Frances Schulter-Ellis
Paul and Jacqueline Schulz
Dr. and Mrs. Fred Schwartz
Mr. and Mrs. Marc Schwimmer
Dr. and Mrs. J. F. Seeger
Dr. William and Joanne Sibley
Drs. David Siegel and
Linda Riordan
Raj Sivananthan
Richard Snodgrass and
Merrie Brucks
Lin and Bob Spangler
Darryl and Helen Stern
Dan and Jill Stevenson
Doug and Jean Stuart
Mrs. Susan and
Mr. Glyn Thickett
Hugh and Allyn Thompson
Stephen and Susan Thompson
Bruce and Catherine Uhl
David and Nancy Ulmer
Barbra Vogen
Steve and Linda Wegener
Maggie White
FRIENDS
$250 – $499
Anonymous (7)
Daniel and Audrey Abrams
Vicki and Jerry Alpert
Lee and Gay Ashton
Eva and Martin Bacal
Emery and Jackie Barker
Mr. and Mrs. Robert Barnes
Bret and Mary Batchelor
Char and Gerry Bates
Trip Batten and Bill Henry
Mathis and Barbara Becker
Dr. Cash and Susanne Beechler
Tony Beram
Bill and Kathleen Bethel
Ms. Elizabeth Beyrer
Phylis and Gary Bolno
David and Bonnie Bickford
Chuck and Sandy Bonstelle
Carla and Chuck Borkan
John Bowers
Diane and Donald Bristow
Ms. Martha Brumfield
Vivian Bruns
Gene and Jeanne Bryan
Herb and Sylvia Burton
Ralph H. Byerly
55
Mr. and Mrs. John Carhart
Ms. Joyce Cohen
Ms. Cheryl Convery
Mr. and Mrs. James Coyle
Ronald & Vic Crowe
William and Saucy Cutlip
Susan Dale
Mr. Philip G. Derkum
Peter DeLuca
Stephen and Ruth Dickstein
Mr. Tom Dinwiddie
William DiVito and Mary Jo
Sheldon-DiVito
Jan and Leo Dressel
James Eichman
Michael R. Elert and
Dr. Honora A. Norton
Lee and Spencer Elliott
Ms. Susie Ernst
Mario and Elaine Espericueta
Nancy and Richard Fintzy
Ms. Mary Jo Fitzgerald
Ms. Tay Fitzgerald
Sarilyn and Sherman Fogel
Cindy Foley
Denise Andre Ford
Drs. David William and
Virginia Ramos Foster
M. Fowler
David and Cathy Freedman
Carol and Paul Gerlach
Gary and Gini Gethmann
Mrs. Linda G. Golburgh
Muriel and Marc Goldfeder
Dr. Gerald Golner
Steven Gottlieb
Robert and Judi Gottschalk
Nancy and Thomas Green
Alan and Ann Grove
Donita Gross
Diane Haller and Steve Betts
Michael Hamant, M.D., and
Lynnell Gardner, M.D.
Kenneth and Marian Handy
Monica and Jim Hart
Mr. and Mrs. Jerrold Hatcher
Susan B. Hazan and
Michael T. Burns
Frederick C. Henning
Dr. and Mrs. Arthur L. Herbst
Susan E. Hetherington
Sherry Heyman
Greg and Marcia Hilliard
Ms. Michele Himovitz
Harriet and Robert Hirsch
INDIVIDUAL DONORS
FRIENDS
CONTINUED
$250 – $499
Ms. Marsha Hirsch
Marjorie Hoffman
Dr. Arnold and Carol Hollander
Ms. Pamela Horner
Ms. Nancy Howell
David Hoyt Johnson
Mr. Robert Huber
J. Hufford-Jensen and
G. Kroening
John Irby and Norizan Osman
Gary Israel
Helen and Robert Jennette
Kim Johnson
Mr. Bill Jones
Ms. Leianne Jones
Marcia Jones
Hy Kaplan and Sue Vardon
Mr. and Mrs. Gerald Karches
Ms. Julianna Kasper
Sandra B. Katz, MD, JD and
D. Stephenson
Pam and Charles Katzenberg
David and Lisa Keene
Darrell and Susan Kidd
Ms. Susan Kidd
Susan and Carlton King
Jay and Barbara Kittle
Donald and Marsha Klein
Susan Knowlton and
Don Bourque
Karen and Sherwin Koopmans
Jessica and Steve Kozloff
Bobbie and Ted Kraver
Mr. and Mrs. Donald Laidlaw
Sally Lanyon
Drs. Arlyn and Joyce Larson
Lynne C. Larson
Leslie Latham and Lou Kahn
Philip and Ellen Leavitt
Mr. and Mrs. Robert Lebby
Mr. John Leonardo
Bertie Levkowitz and
Thomas Herz
Mr. and Mrs. Matthew Madonna
Martin Mannlein and
Barbara Stern Mannlein
Mr. and Mrs. Thom Mansur
Mike Martin
Alice Mason
Rudy and Maria Mathews
Mr. and Mrs. Stanley Matlick
Alan S. and Judi E. Max
Andy McKnight
Delos D. McKnight
Lynda Menis
Jean and Walt Merkel
Debra and Jeffrey Messing
Fred and Joyanne Mills
Joe and Michelle Millstone
Mr. and Mrs. George Mink
Jacque L. Montrose
Ms. Frances Moore
Phyllis and Harold Morgan
Melvin E. Mounts
Shirley G. Muney
Mr. and Mrs. Chuck Munson
Mrs. Connie Myren
Dana and Rick Naimark
Carl and Carolyn Nau
Susan and James Navran
Caren and Thomas Newman
Dr. Janko Nikolich-Zugich
Ms. Leslie O’Hara
Marilyn V. Olander, Ph.D.
Paula and Carl Olson
Betty Olwin
Mr. Jones Osborn, II
John Parente
Roger and Lori Peck
Martha and Terry Allen Perl
Julia Pernet
Jeanne Pickering and
Mike Andrew
Ms. Linda Piele
Mr. Herbert C. Ploch
Robert and Sheila Press
Robert Davis and
Lourdes Ramonet
Sandra L. Rausch
John and Jennifer Reid
Mr. and Mrs. Eugene R. Rice
Mrs. Joan C. Roberts
Roger and Janet Robinson
Bill and Eileen Roeske
Jeanne and Tom Rogers
Mr. and Mrs. James Ronstadt
Herbert and Laura Roskind
Kent and Barbara Rossman
Arnold and Carol Rudoff
Mr. and Mrs. Richard Rundle
Jennifer and Charles Sands
Kirk Saunders
56
Bart and Marcella Schannep
Alfred and Doris Schiller
Dr. and Mrs. Harry Schlosser
Mr. and Mrs. S.L. Schorr
Trisa and Andy Schorr
Lyle and Gail Schultz
Susan and Ford Schumann
Edward and Robyn Schwager
John and Maria Schwarz
Jim and Hazel Shuttleworth
Marvin Siegel and Eileen Bloom
Steve and Anita Slaughter
John and Phyllis Smiley
Lois and Lowell Sorenson
Mark and Gloria Spies
Linda Staubitz
Claire Steigerwald
Mr. and Mrs. David J. Sterle
Richard and Marie Stewart
Ms. Dana Stout
Teri and Don Sullivan
Morton and Nina Susman
Mr. Matthew Sweger
Jay Sykes
Philip and Mary Taylor
Robert and Beth Taylor
Anne and Steve Thomas
Neil and Marge Thornton
Mr. and Mrs. Richard Tofel
Nina Trasoff and Rodney Jilg
Tony and Rita Vickers
Bob and Emily Vincent
Barbara and John Walker
Linn and Karen Wallace
John and Connie
Nygaard Wareing
Bernie and Libby Weiner
Mrs. Virginia A. Weise
Richard and Stephanie Weiss
Jan Wezelman
Mr. and Mrs. Preston Whitt
Ms. Karin Williams
Mr. and Mrs. Peter Woods
Pennie DeHoff and Larry Wurst
INDIVIDUAL DONORS
GIFTS IN
MEMORY OF
Gertrude “Trudy” Shapiro by
Jessica L. Andrews and
Timothy W. Toothman,
Slobodan Popovic and
Janie Shapiro
Allan Glaser by Jessica L.
Andrews and Timothy W.
Toothman, Alice and
Paul Baker, Holualoa
Arizona, Inc., Robyn
Kessler and Jeff Timan,
PICOR Commercial Real
Estate Services, Lynn and
Mark Thomas
Anna Jolivet by Jessica L.
Andrews and Timothy
W. Toothman
Bob Cauthorn by The Alice
and Paul Baker Philanthropic
Fund, Laura and John
Almquist, Jessica L.
Andrews and Timothy W.
Toothman, Ms. Barbara
Atwood, Alice and Paul
Baker, Patricia Ballard,
Robert and Deanna Bates,
Jill Bishop, Betsy Bolding
held by the Community
Foundation of Southern
Arizona, Neal and Sally
Cash, Shirley J. Chann, Len
and Doris Corris/Watermill
Financial, The Dr. Herschel &
Jill Rosenzweig Donor
Advised Fund, Dr. and Mrs.
Edward Gentile, Rob and
Laurie Glaser, David Ira
Goldstein and Michele
Robins Goldstein, Pamela
Grissom, Gene and Naomi
Karp, Jim and Shirley Kiser,
Trudy Kohl, Clyde W. Kunz
and Brian L. Arthur, George
Loesch and Friends at
Interstate General Media,
Jennifer Lohse, Robert H.
Marshall, Robert and Sandy
Maxfield, Lyn Papanikolas
and David Mackstaller, Brent
Pichler, Judith Rich, Mr. and
Mrs. Robert A. Strauss, Lisa
Ungar, Patricia H. Waterfall,
Jan Wezelman, Ruth Zales
and Kenneth Greenfield,
Zuckerman Family
Foundation
Bob Hegyi by Raymond Kemp
and Rick Douglas
Chris and Joel Hatfield sons of
Don and Sandy Hatfield by
Norma and Stanley G. Feldman
Dr. Arnold I. Hollander by
Mrs. Carol Hollander
Elayne Miller by Jan Wezelman
Karl Haytcher by Jessica L.
Andrews and Timothy W.
Toothman, Claudia Vazquez
Larry Smith by Frank Davis
Mollie Hughes by Diane Tweedy
Ms. Beryl Beville by Mr. and
Mrs. Matthew Madonna
Rick Call by Ms. Susan Call
Richard Segal by Jessica L.
Andrews and Timothy W.
Toothman, Betsey Bayless,
Laura and Terry Bercovitz,
Michael Parrish and Susan
Davis, Mr. and Mrs. Rick
DeGraw, Norma and Stanley
G. Feldman, Jay Glaser, David
Ira Goldstein and Michele
Robins Goldstein, Mr. and
Mrs. Mark I. Harrison,
Henderson Engineers, Inc.,
Luana and Dough Manning,
Patricia Martin, Mr. Charles J.
Muchmore, Nancy and Bruce
Oyen, Mr. and Mrs. Scott Ruby,
Michelle and Stand Sparrow,
Sheryl and Dale Wanek
Rose Gottlieb by Joanne M.
Adams, James P. Erikson, Mr.
and Mrs. Marvin Glassberg,
Mr. and Mrs. Ke Chiang Hsieh,
Mr. and Mrs. John Humenik,
Mr. and Mrs. Scott Hurd, Mr.
James R. Kastella and Mrs.
Linda L. Kastella, Mr. and Mrs.
Theodore Katz, Robert and
John LaCose, Hani and Nora
Murad, Kenneth and Phyllis
Myslik, Nannette and Steve
Pageau, Wanda and Angelo
Petropolis, Sonja M.
Reinhardt, Lu Rodolph,
Robert and Susan Shrager,
Deb and Dave Solomon
Rudy Cosentino by
Judie Cosentino
57
GIFTS IN
HONOR OF
Clyde Kunz and Brian
Arthur’s marriage by
Jessica L. Andrews and
Timothy W. Toothman
Anne Raymond by
Ms. Ann Baldwin
Karen Scates by Betsy Bolding
Tucson Gala – Fund the Future
in honor of Ann Lovell by Ms.
Judith Braun
Ruthie Zales by Ms. Marsha
Cohen, Judy and Jay Feldstein
Asha and Jason Ricci’s
wedding by Len and Doris
Coris/Watermill Financial
David Ira Goldstein by Karen
and Lionel Faitelson
John and Helen Schaefer’s
Shelley Award by Norma and
Stanley G. Feldman
Lowell and Anne Rothschild’s
60th anniversary by Norma
and Stanley G. Feldman
In Honor of her son, Seth
Kromholz and Gilat Ben-Dor’s
engagement by Davina Glaser
Jay Glaser’s election to the
Board of Trustees by
Mrs. Linda G. Goldburgh
Beth and Michael Kasser by The
Dr. Herschel & Jill Rosenzweig
Donor Advised Fund
Ann Lovell and the Lovell
Foundation by Clyde W.
Kunz and Brian L. Arthur
Jean and Jordan Nerenberg
50th Wedding Anniversary
by Elyce and Mark Metzner
Linda “Mac” Perlich by Mr.
and Mrs. Chuck Munson
Stanley Feldman by
Lyn Papanikolas and
David Mackstaller
Robyn Kessler – Happy
Birthday by Lyn Papanikolas
and David Mackstaller
Geri Silvi by Slobodan Popovic
and Janie Shapiro
Ralph and Ingeborg Silberschlag
by Marilyn M. Prince
Randy Kincaid’s 60th Birthday
by F. William Sheppard and
Range P. Shaw
Bill Lewis and Rick Underwood
recent marriage by F. William
Sheppard and Range P. Shaw
Sarah J. Wich by Barbara Wich
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David Ira Goldstein
Matt Lehrman
Jessica L. Andrews
Artistic Director
Interim Managing Director
Managing Director Emeritus
ARTISTIC
ADMINISTRATION
ASSOCIATE ARTISTIC
DIRECTOR
ARTISTIC & PLAYWRITING
INTERN
ASST. TO THE MANAGING
DIRECTOR/BOARD LIAISON
ARTISTIC ASSOCIATE
PLAYWRIGHT-IN-RESIDENCE
FRONT OFFICE MANAGER
COMPANY MANAGER
RESIDENT COSTUME DESIGNER
FRONT OFFICE
ASST. COMPANY MANAGER
RESIDENT LIGHTING DESIGNER
LITERARY ASSOCIATE
RESIDENT SOUND DESIGNER
Stephen Wrentmore
Timothy Toothman
Robyn Lambert
Nicole Smith
Katherine Monberg
Natasha Smith
Mary Bertlshofer
Elaine Romero
Sara Kavitch
Kish Finnegan
Pat Boysen, Helen Daniels,
Barb Dominick-Price, Ellen
Gurewitz, Susan Tomlinson,
Linda Vogel
T. Greg Squires
Brian Jerome Peterson
ACCESSIBILITY
EDUCATION
DIRECTOR OF EDUCATION
Stephen Wrentmore
EDUCATION MANAGER
April Jackson
EDUCATION ASSOCIATES
Bryanna Patrick, Luke Young
TEACHING ARTISTS
Heidi Barker, Kevin Black,
Emma DeVore, Mathew DeVore,
Christopher Gerling, Athena
Hagen-Krause, Russell Long,
Katherine Monberg, Brian
Jerome Peterson, Andrea
Pratt, Sarah Ross, Kat Seaton,
Amy Shuttleworth, Ashley
Simon, Natasha Smith, Jared
Strickland, Barbara Tanzillo,
Amber Tibbitts
PRODUCTION MANAGER
Jennifer Smith
ASST. PRODUCTION MANAGER
Christopher Gerling
Debra Field
Yvette Miranda
ACCOUNTING ASST.
Kalyn Scanlan
THE TEMPLE LOUNGE
STAGE MANAGEMENT
Kish Finnegan
Glenn Bruner
Phyllis Davies
Emily Lucas
WARDROBE SUPERVISOR
ASST. MANAGER
Lisa A. Leonhardt
Sara Kavitch
WIGMASTER & DRESSER
CONCESSIONAIRES
STAGE MANAGERS
David A. Cap,
Timothy Toothman
ASSTS. TO THE
STAGE MANAGER
MANAGER
Emma DeVore,
Ashley Simon
SCENERY
TECHNICAL DIRECTOR
Matthew Saxton
ASST. TECHNICAL DIRECTOR
Philip Blackwood
STAFF CARPENTERS
Scott Greenleaf,
Jason LaFleur
OVERHIRE CARPENTERS
Butch Foley, Matt Murray,
Arthur Potts
SCENIC CHARGE ARTIST
Angela Aldrin, Crisi Badke,
Dawn Copps, Alison Doran,
Dani Gifford, Kim Grygutis,
Cynthia Hough, Shannon
Lempke, Mariah McCammond,
John McNiece, Rebecca
Smiley, Liz Weibler
Amanda Gran
DRESSERS - TUC
Huajilla Huebbe, Robin Strand
LIGHTING
LIGHTING SUPERVISOR
T. Greg Squires
MASTER ELECTRICIAN &
LIGHT BOARD OPERATOR - TUC
MARKETING
STAFF ELECTRICIAN
Gregg Bach
LIGHT BOARD OPERATOR – PHX
MARKETING &
COMMUNICATIONS
COORDINATOR – TUC
MARKETING &
COMMUNICATIONS MANAGER
Timothy Smith
Kat Seaton
Alexis Raetz
Erin Treat
OVERHIRE ELECTRICIANS
MARKETING ASST.
Katelin Ashcraft, Arthur Potts
Gary Edwards
Brigitte Bechtel
SOUND
STAGE CARPENTER – TUC
SOUND SUPERVISOR
Brian Peterson
MAINTENANCE SUPERVISOR
STAGE CARPENTER – PHX
Robert Douglass
PRODUCTION SOUND ENGINEER
& SOUND BOARD OPERATOR – TUC
MAINTENANCE TECHNICIANS
PROPERTIES
SOUND BOARD OPERATOR – PHX
Russell Long
PROPERTIES MASTER
Paul Lucas
FACILITIES – TUCSON
Horace Ashley
David Fitch, Dean Morgan
Mathew DeVore
Billy Lopez
59
CUSTOMER SERVICE
REPRESENTATIVES – PHX
DEVELOPMENT
COORDINATOR – TUC
SENIOR ACCOUNTING
ASSOCIATE
PRODUCTION STAGE MANAGER DRAPER
Carrie Luker, Michi Yamasaki
Debbie Archuleta
Carrie Toth
COSTUME DESIGN MANAGER
CUSTOMER SERVICE
REPRESENTATIVES – TUC
TICKET SERVICES
ASSOCIATE – TUC
DIRECTOR OF FINANCE
& ADMINISTRATION
Barbara Tanzillo
Becca Moore
DIRECTOR OF
DEVELOPMENT – TUC
FINANCE
COSTUME SHOP MANAGER
BOX OFFICE MANAGER – TUC
DEVELOPMENT
Carley Elizabeth Preston
COSTUMES & WARDROBE
Geri Silvi
Pam Beitman,
Linda Scwartz
Leslie Freed
PRODUCTION
TICKETS SERVICES MANAGER
ACCESSIBILITY COORDINATOR
Eileen Bagnall
TEACHING ARTISTS CONT.
TICKET SALES &
HOUSE MANAGEMENT
TICKET SERVICES
ASSOCIATE – PHX
FRONT OF HOUSE & RENTALS
COORDINATOR – TUC
Don Gest
HOUSE MANAGERS – TUC
Bill Bethel, Sonja Reinhardt
AUDIENCE ENGAGEMENT
STAFF
Freda Ganem
CONSULTANTS
AUDITORS
Beach, Fleischman & Co.
MARKETING &
COMMUNICATIONS
Kate Crowley
GRAPHIC DESIGN
Esser Design
IT SUPPORT
Team Logic IT
PUBLIC RELATIONS
The Kur Carr Group, Inc.
WEBSITE SUPPORT
Susana Diaz
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