• Actor, Teacher, Playwright: The Many Roles of Diana Burbano

    by 
    Beth Fhaner
     | Aug 16, 2019
    Diana Burbano

    ​Diana Burbano

    Diana with Student

    ​Burbano works with a student.

    Diana Burbano on Teaching Acting

    Burbano has been a Conservatory instructor for several years, where she’s taught youth and adult acting classes, musical theatre and acting for the camera. Here, she explains what she enjoys most about teaching:

    I love teaching. From the first day of adult basics class, when 20 grown-ups file into a room, nervous as heck and wondering what they are doing there, to the last class where they are playing, laughing and responding to each other as people and as actors, it’s a real joy. Sometimes I think I’m just a conduit to help these folks find their light. A lot of my students come to me after spending their whole lives doing something else, or they had a dispiriting experience in college, or they never got up the nerve to try acting before. I love watching them allow themselves to have fun. And a lot of my students keep going and go on to work in the industry! I keep in touch with many of them. I’m very lucky to be able to do what I do.”

    Learn more about Burbano’s approach to teaching.

    Diana Burbano is a familiar face around SCR, as the actor and playwright is also a Conservatory instructor who has taught beginning youth and adult acting classes, musical theatre and acting for camera. As an actor, she’s appearing in SCR’s season opener, American Mariachi, where she plays the character of Amalia, a role she portrayed in Arizona Theatre Company’s production of the play earlier this year. In our Q&A, Burbano shares her thoughts about American Mariachi and why it’s such an important play.

    You’re reprising the role of Amalia in SCR’s production of American Mariachi. What is it about this play that resonates with you?

    It’s a beautiful, relatable play about a daughter looking to connect with her mother while also finding her independence. But the reason it’s so important, so relevant in this moment is because there seems to be a need to open hearts about the essential humanity of Latinx/Mexican-American people. There feels like a real division right now that may be caused by a lack of seeing Mexican people depicted in their wholeness on stage, film and TV.

    American Mariachi is a family story and an American story. We are here and have been for a long, long time. We are part of the fabric of America and it’s important to see us onstage.

    How do you relate to the character of Amalia? What do you enjoy the most about playing this role, and what are the challenges?

    Amalia is suffering from early onset dementia; she often shifts ages in a single sentence. She becomes a child, and then ages tremendously in an instance, depending on how she reacts to outside stimulus. It’s incredibly challenging. But my absolute favorite thing is that I get to sing. I never get to sing enough!

    Amalia’s daughter, Lucha, is the primary caregiver for her mother. How does mariachi music help Lucha to connect with her mother?

    Amalia’s favorite aunt was a Mariachera, the music infuses her life, it’s deeply embedded in the way Amalia sees the world. When Amalia’s dementia takes her away from reality, the music brings her back.

    What do you hope audiences take away from American Mariachi?

    That we have more in common than we are different. That music is a balm to everyone. That love sometimes means defying expectations. That another language is only a barrier if you close your ears to its music.

    In addition to acting and teaching, you’re also a playwright. Tell us a bit about your recent work as a playwright.

    I’ve been extremely lucky, my writing has taken me all over the country—most recently to Actors Theatre of Charlotte, NC, with their NuVoices program. This year I was part of Center Theatre Group’s LA Writers’ Workshop, where I wrote a play about orangutans and autism called Sapience, and I’m under commission by Alter Theater in the Bay Area with my play Ghosts of Bogota, which will be produced in their 2020 season. I really like how Alter’s Artistic Director Jeanette Harrison describes Ghosts: “It is the story of three siblings, who return to their birth country when their grandfather dies. Ghosts is a universal story about family secrets, told through a very specific Latinx lens, and a story about that unique immigrant experience of never feeling fully at home in any country that can claim you."

    Who are your literary and artistic heroes?

    Top of the list: José Cruz Gonzalez! I first met José in the Hispanic Playwrights Project (HPP) on a play called Inkarri’s Return in 1995. He’s a generous person with a long memory, and we got to work together again on Long Road Today, SCR’s incredibly successful community based program in Santa Ana, Calif. To be on the Segerstrom Stage acting for him in American Mariachi feels like a grand, full-circle moment.

    I also owe so much to Luis Alfaro, who invited me to be a part of the Latinx Play Project at Oregon Shakespeare Festival, where I spent time with Octavio Solis. All three of these men have been incredibly generous with their time and with sharing opportunities with me. Thanks to Octavio’s recommendations, I have been playwright in Residence in Marfa, Texas, and got my commission at Alter! And Luis, by being a generous mentor and artist, has helped my work get into Center Theatre Group. Also, Karen Zacarías, Laurie Woolery, Sara Guerrero, Jesus Reyes, Patricia Garza, Tlaloc Rivas, the list goes on and on of Latinx artists generous with their time, their ideas and their advocacy.

    Any final reflections on American Mariachi?

    I can’t wait for audiences to see it. And we love the reactions. To hear the gritos at the start of the music energizes us for the rest of the show. 

    Learn more about American Mariachi and buy tickets.

  • Four Questions for Two “Wizard of Oz” Ensemble Members

    by 
    Beth Fhaner
     | Aug 14, 2019
    Kid actors from Wizard of Oz

    Caitlyn Yu and Preston Veravanich in rehearsal for The Wizard of Oz.

    With the Summer Players production of The Wizard of Oz (Argyros Stage, Aug. 10-11, 17-18), in full swing, it’s been a highly creative and exciting time around here. We recently caught up with actors Preston Veravanich and Caitlyn Yu, ensemble members in Oz, to give us the scoop on what they love about being a part of this spectacular show, which features all advanced students in SCR’s Theatre Conservatory.

    Tell us about the characters you portray.

    Veravanich: In our show, I portray many characters as a member of the ensemble. I play a Crow, an Osian [a resident of the city of Oz], a Winkie and a Snowflake. My favorite character by far is the Crow, but all characters have been a blast to play so far. 

    Yu: Since I am a member of the ensemble, I portray several characters in Oz. These characters include a Munchkin (who represents the Lullaby League), an Osian manicurist and a ghost. Each of my characters introduce Dorothy (and Toto) to the various locations found in the Land of Oz.

    What do you love most about working on The Wizard of Oz? And what has been most challenging?

    Yu: Since I have the opportunity of portraying several characters in The Wizard of Oz, I find distinguishing between my characters a bit complicated. For example, finding the differences in how my Osian character reacts to a significant object or person compared to my Munchkin character can be difficult. However, this is also one of my favorite parts of being in this show; I am able to explore my characters and find the differences and similarities between them that ultimately make them real people/beings in the story. This, along with several other aspects of being in SCR’s production of The Wizard of Oz, allows me to enjoy telling such a beautiful story with my friends.

    Veravanich: The thing that I love the most about being in this amazing show is the sense of professionalism that comes with it. Every time that I enter the Julianne Argyros Stage, I’m blown away by just how complex and impressive our set and our space is overall. The most challenging thing, for me, has been living as my characters, as strange as it may sound. Whenever I am a part of a show, my mind is so filled with what comes next in terms of notes and choreography and lines that I often forget that I am a person living in that moment. In other words, living in the present as opposed to living in the past or the future has been my biggest obstacle. 

    What do you enjoy most about working with/learning from director Hisa Takakuwa and musical director Erin McNally?

    Yu: Hisa and Erin focus on the importance of process versus product by teaching you about the how’s and why’s in relation to doing something instead of simply telling you what to do. I also love working with Hisa and Erin because they let you grow as an individual by letting you do the work. They are a significant part of your growing process, but they give you the freedom to grow by encouraging you to take risks, ask questions and find answers.

    Veravanich: Hisa and Erin have been a large part of my life for a very long time. I am so grateful to have known them for as long as I have, and I consider myself incredibly lucky to have had them as teachers. The favorite thing that I have learned from Hisa and Erin is the importance of togetherness. Everything that I know about acting has come from others, and Hisa and Erin both taught me to open my eyes towards the many things that my fellow castmates have to offer me and what I have to offer to them. 

    How are you using what you learned in your acting classes here to help you in this show?

    Veravanich: My acting classes laid the groundwork for all that I am able to do in the show. Many people don’t realize just how complicated a process acting is; each tier of acting is built upon the lessons learned in the last class. Theatre truly is life with all the dull parts cut out, as Alfred Hitchcock once said. The lesson that had to be reiterated to me the most was the importance of the ensemble. I was quite shy when I first entered the world of theatre and it took at least two years for me to break out of my shell. Thanks to all of my amazing teachers, I was able to realize how I could deepen my work onstage if I connected with my fellow actors that are onstage with me. 

    Yu: The acting classes at SCR focus on building characters by exploring their relationships and intentions in relation to where they are in their story. These classes give us the tools we need to build a story with characters ​who have their own unique traits so that we are prepared to perform our best in a show or ensemble, such as Summer Players. SCR’s acting classes have taught me how to succeed in this show by helping me animate my characters, which contributes to the overall show.  

    Learn more about The Wizard of Oz and buy tickets.

  • Great Taste – Menu Planning for the 2019 “Play Your Part” Gala

    by 
    Beth Fhaner
     | Aug 13, 2019

    Work on SCR’s 2019 Gala (“Play Your Part”, Sept. 7, at The Westin South Coast Plaza), the theatre’s annual fundraiser, is well underway. As part of their work, members of the Gala’s Cuisine Committee gathered at The Westin South Coast Plaza for one of the most important tasks of planning for the Gala—menu planning. Of course, this job involves tasting an array of flavorful dishes and signature cocktails. A tough job, but someone has to do it, right?

    Gala Chairs Steve and Laurie Duncan, along with Cuisine Committee co-chairs Deirdre Kelly and Bill Schenker and committee members Bette Aitken and Sarah McElroy tasted suggested menu items—from drink specials to hors d’oeuvres, from soups and salads to main courses. And, of course, desserts, too! Executive Chef Adrian Hernandez, who is new to The Westin South Coast Plaza, prepared a feast of savory dishes and the committee then had the incredibly difficult decision of selecting a winning dish for each category.

    The committee began by sampling a variety of hors d’oeuvres options, which included everything from a vegan polenta with vegetable ratatouille to an ahi wonton crisp with watermelon radish to grilled lamb chops with port wine reduction and much more. When making a final decision on a dish, the committee takes several factors into account including taste, presentation, whether the appetizer can be eaten in one or two bites, and if vegan and gluten-free options are also available.

    Following the hors d’oeuvres selection, the committee moved on to determining the menu’s first course. Various soup and salad options were presented such as a caprese salad with heirloom tomatoes and burrata cheese, chilled potato and leek soup and a bibb lettuce salad with beets, caramelized walnuts and feta cheese. Once again, the committee kept in mind taste, presentation and portion size when making their final selection.

    The group then moved on to making a decision regarding the entrée dishes. Several mouthwatering and appetizing entrée options included filet mignon with a cabernet reduction and rosemary skewered shrimp, short ribs, halibut served with tropical fruit relish, a New York strip steak with peppercorn and scallops with a garlic pesto reduction, plus a vegan option consisting of butternut squash, turkey tofu and sundried tomato and spinach with balsamic glaze. Ultimately, the committee opted to go with a delectable and satisfying dish, keeping in mind that the entrée shouldn’t be too large or overwhelming.

    Once the entrée option was finalized, it was time for everyone’s favorite task—selecting a scrumptious dessert. Chef Adrian brought out a variety of tempting treats including grilled peaches and mascarpone, chocolate cake, poached pears and key lime crème brûlée, in addition to a delicious selection of vegan and gluten-free desserts. The committee eventually selected a decadent dessert guaranteed to satisfy anyone’s sweet tooth. And finally, the last decision to be made involved a signature cocktail tasting. The mixologists at​ The Westin concocted four different, colorful cocktail options—all of which are vodka-based using Tito’s Handmade Vodka. The committee then narrowed down the choices to select two creative and refreshing drinks for partygoers.

    With a tantalizing menu of culinary creations and libations, not to mention dramatic décor, theatrical experiences, live entertainment and dancing, the 2019 “Play Your Part” Gala is set to be a fabulous evening, indeed!

    Learn more about the 2019 Gala “Play Your Part.”

  • Double Trouble – Two Actors Tackle the Role of the Wicked Witch of the West

    by 
    Beth Fhaner
     | Aug 12, 2019
    The Witches from Wizard of Oz

    Ella Webb and Olivia Drury in ​The Wizard of Oz.

    With the role of Miss Gulch/Wicked Witch of the West double cast in the Summer Players’ production of The Wizard of Oz (Julianne Argyros Stage, Aug. 10-11, 17-18), actors Olivia Drury and Ella Webb are having double the fun this summer. In our Q&A with Drury and Webb, learn how they, along with the entire Oz cast—all advanced students in SCR’s Theatre Conservatory—are bringing this beloved musical to life on stage.

    How much fun is it to play the iconic villain role in The Wizard of Oz? What do you enjoy the most about the role, and what are your biggest challenges?

    Drury: It is an absolute blast to play the Wicked Witch in this show. My favorite part has to be terrorizing Dorothy and her crew! The actors are some of my best friends, so it’s really fun to get to be really cruel and terrify them. The biggest challenge was definitely the size of the witch. It is such an iconic role, so filling those shoes was a little intimidating at first. I just had to learn to go for it, play around and be okay with making a fool out of myself.

    Webb: I’ve loved getting to play the Wicked Witch in this production of The Wizard of Oz. Playing such an iconic role is certainly daunting; one of the biggest challenges I’ve faced throughout the rehearsal process is creating a character that still feels unique and truthful to me, having grown up watching the Wicked Witch performed a certain way. Finding my individual Witch has really pushed me to experiment with character choices, whether that meant playing into some of Margaret Hamilton’s iconic choices or looking at the character from an entirely new angle. Perhaps the most enjoyable part of this process has been reveling in this character’s evilness. Playing villains like the Witch is incredibly fun because you have the opportunity to develop motivations and reasonings for the character’s actions throughout the story. The time I’ve spent talking with Hisa [Takakuwa], our director, and Olivia, my counterpart, about the nature of Ms. Gulch and the Witch has been a real highlight for me. 

    Does the double casting of the Miss Gulch/Wicked Witch of the West role allow you to play other characters in the show?

    Drury: Yes! In addition to Ms. Gulch and the Witch, I also play a Crow that bullies the Scarecrow, a citizen who welcomes Dorothy to Oz, and the Winkie General who commands the army of the Wicked Witch of the West.

    Webb: When Olivia and I are not playing the Witch and Ms. Gulch, we are on an ensemble track for the night. We get to play a Crow, an Osian [resident of Oz], and also get to control Glinda’s bubble!

    Were you a fan of L. Frank Baum’s Oz books or the classic film before getting cast in The Wizard of Oz?

    Webb: Before getting cast in this production of The Wizard of Oz, I was a big fan of the classic film. I remember watching the film when I was younger, singing along during “Somewhere Over the Rainbow” and covering my eyes when the Witch appeared onscreen. The film is definitely a big part of my childhood, so it is very fun to tell the story now. 

    Drury: If I’m being completely honest, the movie totally terrified me as a child (especially the Wicked Witch). But I read the book in fifth grade and fell in love with all the characters, magic and adventure.

    What are some of your favorite memories from Players’ Productions?

    Drury: I loved being the Whisk in Beauty ​and the Beast and terrorizing Lefou. As a chimney sweep in Mary Poppins, I had so much fun getting to create all the magic of the show. I really enjoyed being the Narrator in Into the Woods and getting to establish the story and support the other characters. Throughout all my years of Players, it’s always been a joy to work with Hisa and Erin [McNally, musical director], the stage management team, the crew and my fellow cast members.

    Webb: Summer Players has gifted me with so many wonderful memories throughout the years. During Annie, my first Summer Players show, I remember laying in the orphanage beds onstage while some of the actors performed a prologue to provide some historical context for the show. We had the opportunity to work with a dramaturg that summer who taught us about the Great Depression era in America so we could deepen our understanding of Annie’s story. I recall the slow fading of what I think was one of FDR’s [President Franklin Delano Roosevelt] fireside chats at the beginning of our first orphanage scene as the lights rose onstage. I was very young at the time so I didn’t fully understand its meaning, but I felt that it gave the show a larger significance and I know that I absolutely loved that part of the production.

    Some of my fondest memories from Summer Players took place during Mary Poppins. The set for that particular show was absolutely magical; the Banks household had two stories with a little sliding pole to get down, and the backdrop for the London skyline was a beautiful array of darks blues and purples. The whole world of Mary Poppins holds a very special place in my heart. I remember standing backstage with Nick, who played my brother, listening to “Being Mrs. Banks” and feeling the swells of emotion in Katherine Parish’s voice with great clarity. Plus, we got to use British dialects, which made me feel very proper and professional! 

    Was there an actor who inspired you to start studying acting and immerse yourself in the theatre world?

    Webb: I was first inspired to start acting when I heard Sutton Foster’s “Anything Goes” track in one of my dance classes. I had been dancing since I was three years old, but when my teachers put me in that “Anything Goes” dance number; I knew I had to learn whatever Foster was doing. I began to study all the dance breaks in famous musicals like The Producers and Wicked and begged my mom to see the shows at the Segerstrom Center for the Arts. My real entrance into the theatre world was at SCR, where I took my first acting class in the third grade. 

    Drury: I had always been a fan of theatre and acting, but I didn’t decide to start really studying it until I saw A Christmas Carol at SCR in 2012. That show (the young actors in particular) blew me away, and I immediately signed up for classes the following year.

    What have been some of the highlights from your acting classes at SCR?

    Webb: Most of the highlights of my time at SCR have been within the Players’ classes, both Junior and Teen. Throughout this past year in Teen Players, we had the opportunity to work on a multitude of different characters and text styles. I absolutely love character work, so being able to discover and embody characters like Phedre from Phedre, Estella from Great Expectations, Oliver from Oliver Twist, and more of our own creation was truly a highlight of my time at SCR. In classes at SCR, I always feel supported and comfortable to explore, which makes character work all the more exciting since there’s nothing external holding you back. 

    Drury: From improvised scenes to working in full body suits to stage combat to learning intricate harmonies, there’s never been a dull day at SCR. Most of all, though, my last ​Teen Players show, Oliver Twist, was really special to me.

    Learn more about The Wizard of Oz and buy tickets.

  • The 2019-20 Creative Teams Who Create the Worlds for Our Plays

    by 
    Beth Fhaner
     | Aug 12, 2019

    Light on Stage

    South Coast Repertory’s 2019-20 season is off to an auspicious start, as Artistic Director David Ivers and Managing Director Paula Tomei ​announced the 13 creative dream teams for the upcoming season, the first programmed by Ivers. The nearly 100 individuals are among the theatre industry’s finest, most creative and versatile talents.

    “I’m thrilled to announce the creative teams that will bring our stages to life, beginning Sept. 7, with American Mariachi for the upcoming season at South Coast Repertory,” Ivers said. “It’s inspiring, humbling and a deep source of pride to know that so many artists have committed to join our incredibly smart full-time staff. We join together with the single aim of creating a panoply of productions, built right here in Orange County, to serve our community.

    “The teams are a beautiful combination of talents from our home state and beyond. They represent the best in our industry across myriad disciplines. I hope you’ll celebrate this impressive body of individuals and join us for what I’m certain will be an impactful and entertaining season of plays,” Ivers said.

    The productions include American Mariachi by José Cruz González; The Canadians by Adam Bock; Aubergine by Julia Cho; Alexander and the Terrible, Horrible, No Good, Very Bad Day by Judith Viorst, based upon her book, with music by Shelly Markham (Theatre for Young Audiences); A Christmas Carol adapted by Jerry Patch; Fireflies by Donja R. Love; She Loves Me by Joe Masteroff, Jerry Bock and Sheldon Harnick; Where the Mountain Meets the Moon by Min Kahng (Theatre for Young Audiences) Outside Mullingar by John Patrick Shanley; The Scarlet Letter by Kate Hamill; I Get Restless by Caroline V. McGraw; and Dory Fantasmagory by John Glore (Theatre for Young Audiences). The casting director for all productions is Joanne DeNaut, CSA.

    Learn more about the full lineup.

    2019-20 Creative Team Members

    American Mariachi LogoAmerican Mariachi
    by José Cruz González
    Sept. 7-Oct. 5, 2019
    directed by Christopher Acebo

    music director: Cynthia Reifler Flores
    scenic design: Efren Delgadillo Jr.
    costume design: Kish Finnegan
    lighting design: Lonnie Rafael Alcaraz
    sound design: Rebecca Kessin
    production stage manager: Moira Gleason
    stage manager: Kathryn Davies
    dramaturg: Kat Zukaitis
    stage management interns: Gloria Perez, Emperatriz “Teresa” Mejia


    300x300TheCanadiansThe Canadians
    by Adam Bock (world premiere)
    Sept. 29-Oct. 20, 2019
    directed by Jaime Casteñada

    scenic design: Lauren Helpern
    costume design: Denitsa Bliznakova
    lighting design: Josh Epstein
    sound design: Cricket S. Myers
    production stage manager: Jenny Jacobs
    dramaturg: Andy Knight
    stage management interns: Janette Braggs, Teiya Dyke


    300x300AubergineAubergine
    by Julia Cho
    Oct. 19-Nov. 16, 2019
    directed by Lisa Peterson

    scenic design: Myung Hee Cho
    costume design: Myung Hee Cho
    lighting design: Peter Maradudin
    sound design: John Gromada
    video design: Yee Eun Nam
    dramaturg: John Glore
    stage management interns: June Kim, Hope Binfeng Ding


    300x300AlexanderAlexander and the Terrible, Horrible, No Good, Very Bad Day
    Theatre for Young Audiences
    book and lyrics by Judith Viorst
    music by Shelly Markham
    Nov. 8-24, 2019
    directed by Kari Hayter

    scenic design: Fred Kinney
    costume design: Elizabeth A. Cox
    lighting design: Andrew Schmedake
    sound design: Jeff Polunas
    production stage manager: Kathryn Davies
    production assistant: Rubén Bolívar
    dramaturg: Andy Knight
    stage management interns: Gloria Perez, Emperatriz “Teresa” Mejia


    300x300ACCA Christmas Carol
    by Charles Dickens
    adapted by Jerry Patch
    Nov. 30-Dec. 24, 2019
    40th Anniversary Production
    After 40 years, Hal Landon Jr. will be hanging up his top hat. It's the end of an era, but the tradition will continue. Don't miss Hal's final “Bah Humbug!”
    directed by John-David Keller

    scenic design: Thomas Buderwitz
    costume design by Dwight Richard Odle
    lighting design: Tom and Donna Ruzika
    music arrangement/composer: Dennis McCarthy
    sound design: Drew Dalzell
    vocal director: Dennis Castellano
    assistant director: Hisa Takakuwa
    production stage manager: Talia Krispel
    stage manager: Julie Renfro
    dramaturg: Jerry Patch
    stage management interns: Janette Braggs, Teiya Dyke


    300x300FirefliesFireflies
    by Donja R. Love
    Jan. 5-26, 2020
    directed by Lou Bellamy

    scenic design: Vicki Smith
    costume design: David Kay Mickelson
    lighting design: Don Darnutzer
    sound design: Scott W. Edwards
    video design: Adam Flemming
    production stage manager: Alyssa Escalante
    production assistant: Anna Klevit
    dramaturg: Andy Knight
    stage management intern: June Kim


    300x300SheLovesMeShe Loves Me
    by Joe Masteroff (book), Jerry Bock (music) and Sheldon Harnick (lyrics)
    Jan. 25-Feb. 22, 2020
    directed by David Ivers

    music director: Gregg Coffin
    scenic design: Jo Winiarski
    costume design: Alex Jaeger
    lighting design: Jaymi Lee Smith
    sound design: Jeff Polunas
    choreography: Jacklyn Miller
    production stage manager: Jamie Tucker
    stage manager: Moira Gleason
    dramaturg: Andy Knight
    stage management interns: Gloria Perez, Emperatriz “Teresa” Mejia


    300x300WhereTheMountainWhere the Mountain Meets the Moon: A Musical Adaptation
    Theatre for Young Audiences
    book, music and lyrics by Min Kahng
    based on the novel by Grace Lin
    Feb. 7-23, 2020
    directed by Jennifer Chang

    music director: Deborah Wicks-La Puma
    scenic design: an exciting creative collaborator will soon be named
    costume design: Anthony Tran
    lighting design: an exciting creative collaborator will soon be named
    sound design: Melanie Chen Cole
    video design: an exciting creative collaborator will soon be named
    production stage manager: Talia Krispel
    dramaturg: Kat Zukaitis
    stage management interns: Jazmin Polligner, Hope Binfeng Ding


    300x300OutsideMullingarOutside Mullingar
    by John Patrick Shanley
    March 8-29, 2020
    directed by Martin Benson

    scenic design: Thomas Buderwitz
    costume design: Angela Balogh Calin
    lighting design: Lonnie Rafael Alcaraz
    sound design: Vincent Olivieri
    accent coach: Philip​ D. Thompson
    production stage manager: Michael Friedlander
    production assistant: Rubén Bolívar
    dramaturg: Jerry Patch
    stage management intern: Janette Braggs


    300x300ScarletLetterThe Scarlet Letter
    by Kate Hamill (world premiere)
    Part of the Pacific Playwrights Festival
    March 28-April 25, 2020
    directed by Marti Lyons

    scenic design: Christopher Acebo
    costume design: an exciting creative collaborator will soon be named
    lighting design: Keith Parham
    sound design: an exciting creative collaborator will soon be named
    production stage manager: Kathryn Davies
    stage manager: Natalie Figaredo
    dramaturg: Kat Zukaitis
    stage management intern: Denise Kha


    300x300GetRestlessI Get Restless
    by Caroline V. McGraw (world premiere)
    Part of the Pacific Playwrights Festival
    April 12-May 3, 2020
    directed by Tony Taccone

    scenic design: Christopher Barreca
    costume design: Leah Piehl
    lighting design: an exciting creative collaborator will soon be named
    sound design: Cricket S. Myers
    projection design: an exciting creative collaborator will soon be named
    production assistant: Lauren Buangan
    dramaturg: John Glore
    stage management interns: Gloria Perez, Hope Binfeng Ding


    300x300ArcadiaArcadia
    by Tom Stoppard
    May 9-June 6, 2020
    directed by Shelley Butler

    scenic design: Reid Thompson
    costume design: Sara Ryung Clement
    lighting design: Elizabeth Harper
    sound design: ​Alex Hawthorn
    accent coach: Philip D. Thompson
    production stage manager: Moira Gleason
    stage manager: Alyssa Escalante
    dramaturg: John Glore
    stage management intern: Jazmin Polligne


    300x300DoryFantasmagoryDory Fantasmagory
    Theatre for Young Audiences
    by John Glore (world premiere)
    adapted from the book by Abby Hanlon
    May 22-June 7, 2020
    directed by Casey Stangl

    music director Deborah Wicks La Puma
    scenic design: Keith Mitchell
    costume design: Angela Balogh Calin
    lighting design: Karyn D. Lawrence
    sound design: Jeff Polunas
    production stage manager: Kathryn Davies
    stage manager: Anna Klevit
    stage management interns: Emperatriz “Teresa” Mejia, Janette Braggs