Download Dear Friends - The Pasadena Playhouse

Dear Friends,
Sheldon Epps
Artistic Director
Elizabeth Doran
Executive Director
I am proud and happy to say that OUR
theatre has been enjoying a tremendous
run of artistic success over the past
couple of seasons. We have touched
a number of fascinating and eclectic
theatrical bases with, I feel, great finesse
and artistry. Our ongoing success is due
to the wonderful artists who’ve been
involved in creating the art on our stage,
which in this current season has given
us musical highs, thought-provoking
drama, the merriment of the panto, and
a fascinating and emotionally moving
look at our national history. All of these
productions have been theatrically rich
and deeply satisfying. WE have much to be proud of.
And now, for the first time in many years, the work of the great
playwright George Bernard Shaw graces our stage. Many would call
Pygmalion Shaw’s greatest play. When writers, be they Shakespeare,
Noël Coward, August Wilson, Lillian Hellman, or Tennessee Williams,
produce so much work of brilliance, it is probably a bit foolhardy and
indeed unnecessary to identify a “best” or a “greatest.” In this case, I am
sure that this designation is partially due to the fact that this Shaw play
became the source material for a fairly successful musical, produced
many years later. My Fair Lady fans (and who isn’t?) will be pleased to
hear much that is familiar in today’s performance. I believe that you will
find that this play sings and soars even without those fine Lerner and
Loewe songs!
Certainly the language here takes flight over and over again. For me,
what is even more thrilling is the plethora of ideas that Mr. Shaw
presents here, all cloaked and enhanced by a story that is highly personal
and full of fascinating characters. With dazzling wit and stunning
humor, Shaw addresses issues that include sexual politics, the value and
importance of language, and class disparities. Deep and complex issues
to be sure. But Shaw’s brilliance is to cloak all of these debates in the
relationships that exist between the characters as they make their way
through a dramatically entertaining situation that stimulates not just the
mind, but our emotions as well. All of this accomplished with laser-sharp
wit and dazzling dialogue.
Handling such a work is a great challenge for those who must bring this
play to life. Fortunately, Shaw’s work is in the hands of my dear friend
Jessica Kubzansky, one of our theatre community’s most gifted directors,
who has chosen a company of actors that is up to the challenge. The
actors’ contributions are surrounded and enhanced here by the equal
artistry of a fine design team. My gratitude to them all for the breath of
life that they have given to this Pygmalion.
And so this good season continues! Enjoy the play. And as always, my
thanks to you as well for helping us to continue to bring such rich and
wonderful theatrical fare to the stage of our deservedly cherished
Pasadena Playhouse.
Sincerely,
Sheldon Epps
Artistic Director of The Pasadena Playhouse
PERFORMANCES MAGAZINE P1
THE RELEVANCE OF PYGMALION IN OUR LIVES TODAY
PYGMALION
THROUGH THE AGES
Language as a tool…
Language as a weapon…
Language as access…
From our first conversations about her vision for this production,
director Jessica Kubzansky and I talked about the language of
George Bernard Shaw’s Pygmalion. We talked about our own
impressions of the play, whether Shaw’s characters, observations,
and suppositions about gender, class, and their intersections still
resonate in the diverse urban sprawl of Pasadena and Greater Los
Angeles. I appreciate her invitation to share my reflections on those
conversations.
Aritst’s interpretation of Pygmalion and Galatea.
Piece by Elisabeth Caren.
A production of Pygmalion starring Tim Pigott-Smith and
Michelle Dockery. Photo by Tristram Kenton.
Audrey Hepburn and Rex Harrison in “My Fair Lady.”
Photo courtesy of Warner Bros.
Richard Gere and Julia Roberts in “Pretty Woman.”
Photo courtesy of Touchstone Pictures.
Working on this production I realized that Shaw’s words first
resonated with me as a local high school student and the eldest
daughter of a Filipino-immigrant dad and a white Midwesttransplant mom. I had grown up hearing my father pay special
attention to his pronunciation of certain sounds and syllables and
to cultural nuances. I remember countless conversations where he
overarticulated his words to make sure the other person not only
understood him, but respected him. He even chose not to teach us
his first language, Tagalog, so we’d fit in. Ironically, it was my lack of
Tagalog skills that ostracized me from certain teenage social circles.
Talk about ways that language can be a tool, a weapon, or a key to
accessing new opportunities—just ask today’s youth about their
own experiences.
That’s the thing about this play: even over a century after Pygmalion
first premiered, Shaw’s words and characters continue to be gritty
and elegant, witty and relevant. Henry Higgins tries to convince
other characters that to transform Eliza’s class status, he need
only transform her speech. But Eliza challenges our assumptions
about a person’s potential based on how he or she speaks. Despite
people’s judgments and the ways that language is used as a weapon
against her, Eliza is resilient, determined, persistent, and incredibly
intelligent.
We find value in exploring the play in the era in which it was set
because societal norms and rules for women are part of what makes
this play specific to its era. However, Jessica and our company still
find it screamingly relevant to our world today. To wit:
• Does how you communicate impact the way you are treated in the
world?
• Does language change according to neighborhood even if
everyone is speaking English?
• Is language intertwined with our experiences of gender and class?
• Can language be violent? Can an accent be a stereotype?
• Is language still a gift that provides access to opportunities or
simply access to more constraints?
• Have you ever changed the way you speak to impress, fit in with,
or dissociate yourself from the group of people that you were
with?
What discoveries about language will Shaw and our production
evoke for you? As Henry Higgins says, “Remember that you are a
human being with a soul and the divine gift of articulate speech.”
- Alison De La Cruz, Community Organizer
Rachael Leigh Cook and Freddie Prinze Jr. in “She’s All
That.” Photo courtesy of Miramax.
P2 PERFORMANCES MAGAZINE
Photo timeline inspired by Ali Laffer, Audience Engagement Officer.
Produced by Kareem Cervantes.
Elizabeth Doran
Executive Director
Sheldon Epps
Artistic Director
Presents
Written by
George Bernard Shaw
Starring
Ellen Crawford Stan Egi Sarah Hollis Alex Knox
Mary Anne McGarry Lynn Milgrim Carolyn Ratteray Tom Shelton
Bruce Turk Greg Watanabe Paige Lindsey White Time Winters
Scenic Designer
Costume Designer
Lighting Designer
Composer
Stephanie Kerley Schwartz
Leah Piehl
Jaymi Lee Smith
Bruno Louchouarn
Wig/Hair Designer
Animator
Casting Director
Dialect Coach
Carol F. Doran
Kaitlyn Pietras
Julia Flores
Nike Doukas
Production Stage Manager
Stage Manager
Producing Associate/ Technical Director General Manager/
Company Manager
Production Manager
Hethyr “Red” Verhoef Jessica R. Aguilar Kristen Hammack
Brad Enlow
Joe Witt
Directed by
Jessica Kubzansky
OPENING NIGHT March 22, 2015
PERFORMANCES MAGAZINE P3
with
Op-ED
Executive Director
Elizabeth Doran
I first saw Pygmalion at Yale Repertory Theatre when I was a high school student considering her critical next
academic steps. As a child whose poor Irish relatives came to Brooklyn during the potato famine and whose
working-class European relatives settled in Queens, even contemplating the jump to a high-class university like
Yale sent me into a state of great wonder and agitation.
I sat in the dark theatre and with rapt attention watched something relatively new to me: a great classic play.
Sure, I loved theatre and had performed Shakespeare and in musicals throughout my school years, and I had
visceral memories of my early Broadway show experiences, like grasping my grandmother’s gloved hand on the
way to the subway to Manhattan, or the rough feel of the red velvet seats brushing up against my young cheek
as I strained to stay alert for a late-evening performance.
But Pygmalion stirred up in me great new feelings: a sense of recognition, understanding, and self-awareness.
The play helped me see my own trajectory as a woman and gave me a sense of power about the changes I
was facing. Eliza reminded me of my own grandmothers, and watching Eliza’s decisions unfold on the stage
caused me to reflect upon the decisions the women in my own family have made over the years—decisions that
essentially led to this moment of opportunity for me. I sat next to my mother at this production of Pygmalion
and loved her for all she had done for me, including dragging us out to New Haven where she insisted to me
that anything was possible.
I knew a lot about my Hungarian grandmother, who was a big part of my younger life. She worked very hard
(“I do the work of four men!” she was often heard saying) and was incredibly creative about carving out
opportunities for my mom and uncle. I knew almost nothing about my Irish grandmother, beyond that she was
funny and always loved to smile. Her young passing was a tragic one, something all too common in the lives of
my immigrant ancestors. That night at Yale Rep, I wondered about what might become of Eliza someday, of her
children and her grandchildren. Through some combination of incredibly hard work, education, and luck, my
grandparents and parents got out of those class-stricken tenements of their youth. They propelled my brothers
and me far, far away to the land of much-greater opportunity, where we now raise our own children.
Ultimately, I left the theatre that evening committed to a professional path in the arts that I still tread today.
I am proud, 20 plus years later, to be producing this show—connecting in a way to my own heritage, both
personally and professionally, at the great Pasadena Playhouse. In the program, take a look at the long list of
women working on this play—each of them has taken a daring leap into making a living in this great art form.
Thank you ALL for supporting each of them by joining us today.
If you know of any earnest youngsters considering that next big step, gripped in the awakening of selfawareness that accompanies “growing up”…send ’em our way. They’ll be glad you did.
Sincerely,
Elizabeth Doran
Executive Director of The Pasadena Playhouse
P4 PERFORMANCES MAGAZINE
CAST OF CHARACTERS
HENRY HIGGINS ................................................................................................... Bruce Turk*
ELIZA DOOLITTLE ................................................................................. Paige Lindsey White*
COL. PICKERING ....................................................................................................... Stan Egi*
MRS. HIGGINS . .................................................................................... Mary Anne McGarry*
ALFRED P. DOOLITTLE ...................................................................................... Time Winters*
MRS. PEARCE ................................................................................................ Ellen Crawford*
MRS. EYNSFORD-HILL ...................................................................................... Lynn Milgrim*
CLARA EYNSFORD-HILL .............................................................................. Carolyn Ratteray*
FREDDY EYNSFORD-HILL ....................................................................................... Alex Knox*
ENSEMBLE ......................................................................................................... Sarah Hollis
ENSEMBLE ........................................................................................................ Tom Shelton*
ENSEMBLE ................................................................................................... Greg Watanabe*
TIME AND PLACE
London, England, 1912
Under the portico of St. Paul’s Church, Professor Higgins’s Laboratory,
Mrs. Higgins’s Drawing Room
Pygmalion is performed with one 15-minute intermission.
*Appearing through the courtesy of Actors’ Equity Association,
the Union of Professional Actors and Stage Managers in the United States
SOME FUN FACTS ABOUT PYGMALION
Pygmalion and Galatea: The Greek myth from which George
Bernard Shaw derived his title. Pygmalion was a Greek
sculptor from Cyprus who vowed never to waste a moment
of his life on women, finding them flawed creatures. He
instead dedicated himself to the creation of Galatea, a
beautiful statue of a woman chiseled out of marble. When
he finished his creation, he fell in love with her, but since she
was a statue, she would never be able to love him in return.
Henry Sweet: The distinguished phonetics scholar after
whom Shaw was said to have modeled Henry Higgins. Sweet
invented the Broad Romic system of phonetic notation,
not unlike “Higgins’s Universal Alphabet.” Sweet also sent
postcards to friends in his phonetic script and included a
shorthand translation.
and intended to remain so. Later in the 20th century it came
to be code for a homosexual who would never marry, but at
the time of Pygmalion, it simply meant a man who had no
interest in marriage.
Gentleman and Lady: Terms used to describe the character
of men and women of the upper class in British society, not
just as a class designation but as a code of behavior. These
titles demanded high expectations of reputable behavior,
politeness, proper appearance, and adherence to a strict
moral code.
Hanwell: The village where the first insane asylum in England
was built.
Broad Romic: The phonetic alphabet Higgins uses to record
the accents he hears. Every symbol represented a single
sound.
Missus: This term was used by the poor as a form of address
for a woman, without necessarily having illicit implications.
However, it could also mean a “mistress,” or a woman having
an extramarital sexual relationship with a married man.
Bell’s Visible Speech: A phonetic notation system developed
by the famous teacher of speech and elocution, Alexander
Melville Bell. It shows the position and movement of the
throat, tongue, and lips as they produce different sounds.
Public Houses: Licensed taverns that provided one of the few
opportunities for the classes to mingle, as a man from any
class could be found drinking there.
Five Pounds: £5 in 1912 (England) = $770 in 2015 (United
States).
Slut: A term in this time period used to describe a dirty,
slatternly woman, or a woman who didn’t keep her room
tidy; it did not have sexually licentious implications.
RECASTING OUR WORDS
Tec: Cockney slang for a detective.
Many words now used as slang in daily conversation have
actually been around for decades; however, their meanings
have morphed over time due to social, cultural, and aesthetic
forces.
Toff: Lower-class slang for the upper class. “Toff” derived
from the reference to the tassel on the caps of aristocratic
Victorian undergraduates.
Confirmed Bachelor: Referred to a man who was unmarried
Worrited: Cockney slang for being shoved around by
authority or power.
PERFORMANCES MAGAZINE P5
WHO’S WHO
ELLEN CRAWFORD
(Mrs. Pearce) Miracle
on South Division
Street (The Colony
Theatre), Great
Expectations – The
Musical (Odyssey
Theatre), The Last
Night of Ballyhoo
(La Mirada Theatre), and Who’s Afraid
of Virginia Woolf?, opposite husband
Mike Genovese (San Diego Repertory
Theatre and The Blank Theatre). The
Cocktail Hour and On Golden Pond at
Maine’s Public Theatre, which also
initiated multiple productions of The
Belle of Amherst. Broadway: Do Black
Patent Leather Shoes Really Reflect Up?
Off-Broadway: The Misunderstanding
and A Touch of the Poet. Television:
Lydia Wright on “ER” (1994–2009),
“Grey’s Anatomy,” “Desperate
Housewives,” and “CSI.” Film: “Angel’s
Perch” and “The Man from Earth.”
Regional: Utah Shakespeare Festival,
The Old Globe, La Jolla Playhouse, and
Berkeley Repertory Theatre.
STAN EGI (Col.
Pickering) most
recently performed
at the American
Conservatory Theater
in San Francisco and
La Jolla Playhouse in
The Orphan of Zhao,
directed by Carey
Perloff. He performed on Broadway
in the Tony Award-winning Anything
Goes. Off-Broadway credits include The
Public Theater (with director James
Lapine), Manhattan Theatre Club (with
director Oskar Eustis), and Playwrights
Horizons (with director Sharon Ott).
Regional theatres include Mark Taper
Forum’s Taper, Too; South Coast
Repertory; Berkeley Repertory Theatre;
Guthrie Theater; John F. Kennedy
Center for the Performing Arts; and
Yale Repertory Theatre. Film: “Rising
Sun,” “Paradise Road,” “Come See the
Paradise,” “Gung Ho,” “Boys on the
Side,” and “Little Fockers.” TV: “CSI,”
“Kickin’ It,” “Medium,” “Numb3rs,” and
“JAG.”
SARAH HOLLIS
(Ensemble) is
incredibly honored
and excited to
make her Pasadena
Playhouse and
theatrical debut
in Pygmalion!
TV credits: “The
Unit,” “Lie to Me,” “24” (recurring),
etc. Film credits: “Kill Your Darlings”
and “From the Dead.” Sarah would
P6 PERFORMANCES MAGAZINE
like to thank her family for their
unwavering support: “Thank you for
everything, Cammie, Ashley, mom, and
dad!” http://sarahhollis16.wix.com/
sarahhollis
ALEX KNOX (Freddy
Eynsford-Hill) is
making his Pasadena
Playhouse debut.
Regional theatre:
Eurydice, A Christmas
Carol (South Coast
Repertory), Twelfth
Night (Lake Tahoe
Shakespeare Festival), and Richard II
(Yale Repertory Theatre). Los Angeles
theatre credits include The Malcontent
and Macbeth at The Antaeus Company.
Alex wrote and performed No Static
at All, a one-man play about finding
enlightenment through the music
of Steely Dan, and has brought the
show to New York, Seattle, and Los
Angeles, where it was awarded Best
Solo Performance at the Hollywood
Fringe Festival. He is a graduate of the
University of California, Santa Barbara,
and the Yale School of Drama.
MARY ANNE
McGARRY (Mrs.
Higgins) is an IrishAmerican actress/
director and writer/
producer who works
in the United States
and abroad. Acting/
directing credits
include South Coast Repertory: Prelude
to a Kiss, Aunt Dan and Lemon, Lost
and Foundling, The Man Who Came
to Dinner, April Snow, Cold Sweat,
and A Chorus of Disapproval; Mark
Taper Forum: Other Desert Cities; The
Public Theater: Sonnets at a Sidewalk
Café; Steppenwolf Theatre Company:
Eden Court; and People’s Light &
Theatre: Eden Court. TV: “Mad Men,”
“Modern Family,” “Doll & Em,” “Major
Crimes,” “ER,” “The Practice,” and “The
Young and the Restless.” Film: “Terri,”
“Post Grad,” “Hitchcock,” and “Red
Dragon.” Upcoming film adaptation
of her “Honeymoon in Galway” in
development in the United Kingdom.
LYNN MILGRIM
(Mrs. Eynsford-Hill)
Broadway: Otherwise
Engaged, director
Harold Pinter;
Bedroom Farce,
director Peter Hall;
Charley’s Aunt; and
Brighton Beach
Memoirs (International Tour). OffBroadway: Manhattan Theatre Club,
Second Stage Theatre, and the New
York Shakespeare Festival, among
others. Leading roles in regional
theatres nationwide, including
numerous plays at South Coast
Repertory, such as The Trip to Bountiful
and the World Premiere of Rest. She
has guest-starred in many movies of
the week and episodic television shows
and has been a series regular in pilots
for CBS and ABC. She is a member
of The Antaeus Company, where she
recently appeared in The Malcontent
(StageSceneLA Award) and Wedding
Band.
CAROLYN RATTERAY
(Clara Eynsford-Hill) is
making her Pasadena
Playhouse debut in
Pygmalion. OffBroadway: Hecuba
(The Pearl Theatre
Company) and The
Cherry Orchard
(Classical Theatre of Harlem). Regional:
The Importance of Being Earnest and
Tartuffe (A Noise Within), Measure
for Measure and The Merry Wives
of Windsor (The Old Globe), How to
Disappear Completely and Never Be
Found (The Theatre @ Boston Court),
and Romeo and Juliet and As You Like It
(American Shakespeare Center). Film/
TV: “Castle,” “NCIS,” “All My Children,”
“Chemistry,” “The Young and the
Restless,” and “Law & Order: Criminal
Intent.” Education/Training: M.F.A.,
The Old Globe/University of San Diego;
B.F.A., New York University.
TOM SHELTON
(Ensemble) is
delighted to be
back onstage at The
Pasadena Playhouse,
where he was last
seen in 2011’s
South Street. Tom
has enjoyed long associations with
L.A.’s Hillside Repertory Company
(11 seasons), The Laguna Playhouse
(over a dozen productions, including
Travels with My Aunt, Red Herring, A
Christmas Memory, and Company),
South Coast Repertory (In the Next
Room or the Vibrator Play, Italian
Straw Hat: A Vaudeville, Bunnicula,
and many more), International City
Theatre (Loot, Twentieth Century, and
The Threepenny Opera), and more. Tom
is a teacher, songwriter, and published
playwright. His previous project, Silueta
(with Christopher Shelton and Diana
Burbano), was performed at the Great
Plains Theatre Conference.
WHO’S WHO
BRUCE TURK (Henry
Higgins) Broadway:
The Green Bird
(title role) and
Juan Darien. OffBroadway: Pericles,
King John, and Titus
Andronicus. Regional:
15 productions of
Shakespeare at The Old Globe in San
Diego (Craig Noel Award), Hartford
Stage (Resident Artist), Goodman
Theatre, Cincinnati Playhouse in
the Park, Seattle Repertory Theatre,
McCarter Theatre, La Jolla Playhouse,
Denver Center Theatre Company,
Shakespeare Theatre Company, The
Shakespeare Theatre of New Jersey,
Santa Cruz Shakespeare, Portland
Stage, and many more. International:
Tadashi Suzuki’s Acting Company Mito
(Japan). TV: “Murder in the First,”
“Numb3rs,” “ER,” and “Third Watch.”
Education: Northwestern University
and École Philippe Gaulier. Fox
Foundation Resident Actor Fellowship
for Distinguished Achievement.
GREG WATANABE
(Ensemble) Greg
has appeared off
Broadway in the
Ballad of Yachiyo
(The Public Theater)
and Golden Child
(Signature Theatre
Company). Regional
appearances include The Summer
Moon (A Contemporary Theater and
South Coast Repertory), The Happy
Ones (South Coast Repertory), and
Extraordinary Chambers (Geffen
Playhouse). Other appearances include
Yellow Face and Milvotchkee, Visconsin
(Mo`olelo Performing Arts Company),
Maple and Vine (Cygnet Theatre), and
10,000 Years (written and produced by
John Ridley). His television and movie
credits include “Curb Your Enthusiasm,”
“Reno 911!,” “Only the Brave,”
“Americanese,” and “Mighty Warriors
of Comedy.” Greg is an 18 Mighty
Mountain Warrior.
PAIGE LINDSEY
WHITE (Eliza
Doolittle) is thrilled to
make her Pasadena
Playhouse debut.
Recent theatre
credits include
Trying and GhostWriter (International
City Theatre), Other Desert Cities
(Arizona Theatre Company and Indiana
Repertory Theatre), The Children and
Jessica Kubzansky’s RII (The Theatre @
Boston Court), Walking the Tightrope
(24th Street Theatre), and The Trial of
the Catonsville Nine (The Actors’ Gang).
Television credits include “Shameless,”
“Days of Our Lives,” and “TV
Funhouse.” M.F.A. in acting from UCLA.
Member of Ensemble Studio Theatre
Los Angeles, The Actors’ Gang, and Los
Angeles Theatre Ensemble. Recipient
of the Los Angeles Drama Critics
Circle Award for Lead Performance.
Nominated for Ovation and LA Weekly
Theatre Awards.
www.paigelindseywhite.com
TIME WINTERS
(Alfred P. Doolittle)
performed in The
Good Doctor and
Equus and is happy
to return to The
Pasadena Playhouse.
Broadway: Amadeus.
Other theatre:
The Missing Pages of Lewis Carroll
and The Good Book of Pedantry and
Wonder (The Theatre @ Boston Court);
Cymbeline and The Beaux’ Strategem
(A Noise Within); Camelot (with
Michael York); Yes, Prime Minister
(Geffen Playhouse); and How the
World Began (South Coast Repertory).
Films: “Lavalantula,” “The Runaways,”
“The Life and Death of Peter Sellers,”
“A Little Princess,” “Doc Hollywood,”
“Defending Your Life,” “Sneakers,”
and more. TV: “Shameless,” “About a
Boy,” “Southland,” “Criminal Minds,”
“Carnivàle,” “Star Trek: The Next
Generation,” and more. He is married
to the brilliant actress Tracy Winters.
STEPHANIE KERLEY SCHWARTZ
(Scenic Designer) For The Pasadena
Playhouse, she had the great pleasure
of designing scenery and costumes
for Twelve Angry Men. Recent credits:
Scenery for Stupid Fucking Bird (The
Theatre @ Boston Court, co-produced
with Circle X Theatre Co.) and costume
design for Reunion (South Coast
Repertory). Resident Designer for
Rogue Machine Theatre, designing
scenery and/or costumes for many
productions, including Penelope,
Falling, One Night in Miami…, Three
Views of the Same Object, The New
Electric Ballroom, Blackbird, and
Treefall, among others. For Center
Theater Group/Mark Taper Forum: The
Lieutenant of Inishmore and Randy
Newman’s Harps & Angels. Winner
of Ovation, LA Weekly Theater, Los
Angeles Drama Critics Circle, and
N.A.A.C.P. Theatre Awards. Currently
running: Dontrell, Who Kissed the Sea
(Skylight Theatre Company) and
Trevor (Circle X Theatre Co.).
kerleydesign.com
LEAH PIEHL (Costume Designer) The
Pasadena Playhouse: Intimate Apparel
(Los Angeles Drama Critics Circle Award
for Best Costume Design; N.A.A.C.P.
Theatre Award nomination) and The
Heiress (Ovation Award nomination).
Race and A Christmas Carol: Twist
Your Dickens! (Kirk Douglas Theatre);
The Steward of Christendom (Mark
Taper Forum); The Most Deserving
(Denver Center Theatre Company);
The Motherfucker with the Hat and
The Light in the Piazza (South Coast
Repertory); The Dinosaur Within,
Futura, Tartuffe, and The Pain and the
Itch (The Theatre @ Boston Court); The
Doctor’s Dilemma, The Eccentricities
of a Nightingale, and Come Back, Little
Sheba (A Noise Within); Satyr Atlas
(Getty Villa); bobrauschenbergamerica
and Tree ([Inside] the Ford); and
Paradise Lost (Intiman Theatre).
Professor: University of Southern
California. B.A.: University of California,
Berkeley. M.F.A. in costume design:
California Institute of the Arts.
www.leahpiehl.com
JAYMI LEE SMITH (Lighting Designer)
Jaymi is thrilled to be back at The
Pasadena Playhouse after designing
Mauritius in 2009. Other theatres she
has worked at include Steppenwolf
Theatre Company, Oregon Shakespeare
Festival, South Coast Repertory,
Goodman Theatre, Utah Shakespeare
Festival, Denver Center Theater
Company, Dallas Theater Center,
Hartford Stage, Milwaukee Repertory
Theater, LaJolla Playhouse, Lookingglass
Theatre Company, Court Theatre, San
Jose Repertory Theatre, and Victory
Gardens Theater, among others. She
was the 2003 recipient of the Michael
Merritt Award and was a recipient of
a Jeff Award and an After Dark Award.
Her work has been seen in Ireland,
Italy, Scotland, Spain, and China. She is
currently the Associate Head of Design
at the University of California, Irvine.
Her work can be found at
jaymismith.com.
BRUNO LOUCHOUARN (Composer)
Theatre, dance, and film credits include
the futuristic cantina music in the
film “Total Recall”; A Weekend with
Pablo Picasso (San Diego Repertory
Theatre, Alley Theatre, Los Angeles
Theatre Center, Center REPertory
Company in Walnut Creek, Denver
Center Theatre Company, San Jose
Stage Company, and Arizona Theatre
Company); The Motherfucker with
the Hat and Eurydice (South Coast
Repertory); Surf Orpheus, a musical
(Getty Villa); Courting Vampires (The
Theatre @ Boston Court); Café Vida
PERFORMANCES MAGAZINE P7
WHO’S WHO
(Cornerstone Theater Company);
Wrestling Jerusalem (Intersection for
the Arts and PlayMakers Repertory
Company); El Henry (La Jolla Playhouse/
San Diego Repertory Theatre); “Voices
in the Dust,” an opera (Music @ Boston
Court); “Sol Path,” an immersive
installation (AxS Festival 2014); and
“Cubicle,” with dance company Diavolo
(The Broad Stage).
CAROL F. DORAN (Wig/Hair Designer)
The Pasadena Playhouse: Kiss Me,
Kate; Above the Fold; Baby It’s You!;
Stormy Weather; Mask: A New Musical;
Sister Act: The Musical, and more.
Los Angeles: Over 50 productions for
Center Theatre Group (Mark Taper
Forum, Ahmanson Theatre, and Kirk
Douglas Theatre) and productions
at the Geffen Playhouse and Deaf
West Theatre. Regional: Cirque du
Soleil; South Coast Repertory; La Jolla
Playhouse; Goodman Theatre, Chicago;
Actors Theatre of Louisville; and Asolo
Repertory Theatre, Sarasota. Broadway:
Big River, King Hedley II, and Seven
Guitars. Television: “Fargo,” “Hell on
Wheels,” “The Walking Dead,” “House,”
“Grey’s Anatomy,” “Angel,” “Buffy the
Vampire Slayer,” “Six Feet Under,” and
others. Over 80 feature films, including
“American Sniper,” “Transcendence,”
“Thor,” “The Dark Knight Rises,”
“The Blind Side,” “Eagle Eye,” “For
Your Consideration,” and “Gods and
Monsters.”
KAITLYN PIETRAS (Animator) is a Los
Angeles-based scenic and projection
designer. New York: A Fable (Cherry
Lane Theatre), The Gin Baby (IRT
Theater), and Do Like the Kids Do and
Shiner (IAMA Theatre Company). Los
Angeles: The Noir Series (Heretick
Theatre Lab), Melissa Arctic (The Road
Theatre Company), A Nice Indian
Boy (East West Players), RII (The
Theatre @ Boston Court), Slipping
(Rattlestick Playwrights Theatre),
Wolves (Celebration Theatre), Sixty
Miles to Silver Lake and Do Like the Kids
Do (IAMA Theatre Company), and Tall
Tales: Myths of Magical Trees (Geffen
Playhouse).
JULIA FLORES (Casting Director)
Past productions for The Pasadena
Playhouse include Diva, Purlie, A Life
in the Theatre, The Good Doctor, Blue,
Private Lives, Enchanted April, Talley’s
Folly, Noises Off, Showtune, Star
Quality, A Class Act, Blithe Spirit, Play
On!, and How the Other Half Loves.
Additional theatre credits include
productions for The Theatre @ Boston
Court, McCoy Rigby Entertainment,
ONSTAGE Series, TheatreWorks, Denver
P8 PERFORMANCES MAGAZINE
Center Theatre Company, B Street
Theatre, Los Angeles Philharmonic,
24th Street Theatre, San Jose Repertory
Theatre, Portland Center Stage, and
Reprise! Broadway’s Best. A special
and heartfelt thanks to Jessica K. (I
would follow you anywhere!) and to my
casting associate, the ever patient and
amazing Emma Fassler.
NIKE DOUKAS (Dialect Coach) As an
accent coach: Many seasons at A Noise
Within, The Theatre @ Boston Court,
South Coast Repertory, The Colony
Theatre, Rogue Machine Theatre,
L.A. Theatre Works, The Antaeus
Company, and Sacred Fools Theater
Company. As an actress: The Pasadena
Playhouse, South Coast Repertory,
PICT Classic Theatre, The Old Globe,
A Contemporary Theatre (Seattle),
Shakespeare Festival/LA, Mark Taper
Forum, Berkeley Repertory Theatre,
Santa Cruz Shakespeare, Berkeley
Shakespeare Festival, and American
Conservatory Theatre. M.F.A. from
the American Conservatory Theatre,
2012 recipient of the Lunt-Fontanne
Fellowship, and a member of The
Antaeus Company.
HETHYR “RED” VERHOEF (Production
Stage Manager) Born in Southern
California, Hethyr has been working
as a Stage Manager and Flyman since
the early ’90s. Hethyr continues to be
deeply invested in the worlds of theatre
and art and all the elements it takes
to create them. Hethyr has enjoyed
touring the country regionally as well
as doing many fantastic productions
here at The Pasadena Playhouse.
“Para mí sólo recorrer los caminos que
tienen corazón.” Proud Actors’ Equity
Association member, Local 33.
JESSICA R. AGUILAR (Stage Manager)
is tickled to return to The Pasadena
Playhouse for this witty production of
Pygmalion. The Pasadena Playhouse:
Stop Kiss, Twelve Angry Men, Intimate
Apparel, and Blues for an Alabama Sky.
Pre-Broadway tour: One Night with
Janis Joplin, concluding at Arena Stage.
Geffen Playhouse: Reasons to Be Pretty
and Death of the Author. Marin Theatre
Company: Fences and In the Red &
Brown Water. Los Angeles Theatre
Center: Devil’s Advocate and Dementia.
Cygnet Theatre: Man of La Mancha
and Hedwig and the Angry Inch. She
is a proud member of Actors’ Equity
Association, a fitness enthusiast, and an
avid S.F. Giants fan. Many thanks to her
F&F, Red, HW, PA, ML, MQH, and JK². JP.
XO to TB!
JESSICA KUBZANSKY (Director) is the
Co-Artistic Director of The Theatre @
Boston Court and an award-winning
director working nationally: Cherry
Lane Theatre, Rattlestick Playwrights
Theater, South Coast Repertory,
Geffen Playhouse, Portland Center
Stage, The Antaeus Company, Aurora
Theatre Company, Silk Road Rising, etc.
Previously at The Pasadena Playhouse:
Theresa Rebeck’s Mauritius. She has
many directorial passions: Classics,
including George Bernard Shaw’s
Heartbreak House; Tennessee Williams’
The Glass Menagerie, Camino Real,
and The Night of the Iguana; Lillian
Hellman’s Toys in the Attic; Eugene
O’Neill’s A Moon for the Misbegotten;
Bertolt Brecht’s Mother Courage
(David Hare translation); Wedekind’s
Lulu ( Peter Barnes adaptation); John
Guare’s The House of Blue Leaves;
Václav Havel’s The Memorandum; Dario
Fo’s Accidental Death of an Anarchist;
Marivaux’s The Triumph of Love
(Stephen Wadsworth’s adaptation);
Corneille’s The Illusion (Tony Kushner’s
adaptation); and more. Shakespeare:
RII, her three-person reenvisioning
of Richard II (The Theatre @ Boston
Court), Hamlet with Leo Marks and
The Winter’s Tale (Theater 150), The
Two Gentlemen of Verona (Illinois
Shakespeare Festival), Macbeth (The
Antaeus Company), and more. Recent
New Work: Sheila Callaghan’s New
York premiere of Everything You Touch
(Rattlestick Playwrights Theater/
Cherry Lane Theatre) and the World
Premieres of Everything You Touch,
Michael Elyanow’s The Children, Jordan
Harrison’s Futura (all at The Theatre
@ Boston Court), and many more.
Recently elsewhere: James Still’s I
Love to Eat (Portland Center Stage),
The 39 Steps (La Mirada Theatre for
the Performing Arts), Julia Cho’s The
Language Archive (East West Players),
and more.
JOE WITT (General Manager/
Production Manager) is in his fourth
season at The Pasadena Playhouse.
Other credits include Eric Idle’s An
Evening Without Monty Python (Los
Angeles and New York), Mr. Idle’s
What About Dick?, and the original
production of Baby It’s You! (before
it moved to The Pasadena Playhouse,
then Broadway). He helped develop
Will Ferrell’s Broadway debut in You’re
Welcome America. A Final Night with
George W Bush and was involved with
the incredibly puppeteered Stuffed
& Unstrung with the Jim Henson
Company (Los Angeles and New York).
Stage Management credits include
George Gershwin Alone (Broadway) and
the original New York productions of
WHO’S WHO
Hedwig and the Angry Inch. Los Angeles
credits include The Pee-wee Herman
Show Live, The Vagina Monologues,
Culture Clash’s Zorro in Hell, Mask (The
Pasadena Playhouse), Lydia (Mark
Taper Forum), Much Ado About Nothing
(featuring Lyle Lovett and Helen Hunt),
and the original Los Angeles production
of the Off-Broadway hit Jewtopia.
BRAD ENLOW (Technical Director)
hails from Cleveland, Ohio, which is
where he began his career in technical
theatre. His experience has taken
him across the country to theatres
throughout. He worked as the TD for
the University of the Pacific for six
years and was the TD at several other
theatre and opera companies before
moving to Los Angeles four years ago.
In Los Angeles, he became the TD for
several small companies, including
Reprise! Broadway’s Best. He has
been here at the historic Pasadena
Playhouse since January 2012 and
is excited to return for his third full
season. He wishes his family well and
hopes you enjoy the show.
KRISTEN HAMMACK (Producing
Associate/Company Manager) is in
her fifth season at The Pasadena
Playhouse. Kristen holds her bachelor’s
degree in Theatre Arts from California
State University, San Bernardino, and
has stage managed in Hollywood and
Los Angeles. Credits include RENT:
Downtown L.A. (Over the Moon
Productions), Room Service (Open Fist
Theatre Company), The Limitations
of Genetic Technology (Theatre of
NOTE), The Position (Asylum Lab),
and Phenomenon of Decline (Son of
Semele). Other productions include The
Woman in Black, Expressions, Scapin,
The Wiz, and Barefoot in the Park.
In memory of William R. Hammack
Sr., who worked for The Pasadena
Playhouse for 15 years (1944–1959). To
The Dash!
JUNE 2- JUNE 28
SHELDON EPPS (Artistic Director) has
been Artistic Director of the renowned
Pasadena Playhouse since 1997. Before
beginning his tenure at The Playhouse,
he served as Associate Artistic Director
of the Old Globe Theatre for four
years. He was also a co-founder of the
Off-Broadway theatre The Production
Company. Mr. Epps has directed both
plays and musicals at many of the
country’s major theatres, including
Roundabout Theatre Company,
Manhattan Theatre Club, Guthrie
Theatre, Playwrights Horizons, Seattle
Repertory Theatre, Arena Stage, and
Goodman Theatre. He conceived the
highly acclaimed musicals Play On! and
Blues In the Night, which both received
Tony Award nominations. He directed
productions of both of those shows on
Broadway, in London, and at theatres
throughout the world. Mr. Epps also
has had a busy career as a television
director, helming episodes of shows
such as “Frasier,” “Friends,” “Everybody
Loves Raymond,” “Girlfriends,” and
many others. For more than a decade,
he has served as a member of the
Executive Board of the Society of
Stage Directors and Choreographers.
Mr. Epps received the James Irvine
Foundation Leadership Award for
his efforts and accomplishments at
The Pasadena Playhouse. Under his
leadership, The Playhouse has earned
distinction for productions of artistic
excellence, critical and box office
success, and highly praised theatrical
diversity. He also Co-Directed the
Broadway production of Baby It’s You!,
which premiered at The Playhouse.
SEEMA SUEKO (Associate Artistic
Director) joined The Pasadena
Playhouse staff in January 2014 as
Associate Artistic Director, where she
directed Stop Kiss earlier this season.
For the past nine years, she served
as the Executive Artistic Director of
Mo`olelo Performing Arts Company, a
community-focused, socially conscious
Equity theatre company she cofounded
in San Diego. In addition to directing
at Mo`olelo, Seema developed
Mo`olelo’s greening initiative and
consensus organizing methodologies.
She led the company to its selection
as the inaugural Resident Theatre
Company at La Jolla Playhouse and to
awards from the American Theatre
Wing, the National Endowment for
the Arts, Actors’ Equity Association,
and the N.A.A.C.P. San Diego Branch,
among others. Other directing and
acting credits include The Old Globe,
Yale Repertory Theatre, 5th Avenue
Theatre, Indiana Repertory Theatre,
San Diego Repertory Theatre, and
Native Voices at The Autry, among
others. She was the recipient of the
inaugural Leadership U[niversity] grant
from Theatre Communications Group/
The Andrew W. Mellon Foundation,
which took her to Arena Stage in
2013 as a Visiting Artistic Associate in
mentorship with Molly Smith. She holds
an M.A. in International Relations from
the University of Chicago.
ELIZABETH DORAN (Executive Director)
hails from Patchogue, New York, where
she began her career in theatre as a
writer and performer. After earning
her B.A. in theatre arts at SUNY
Fredonia, she became interested in
building and sustaining great theatre
companies. She earned her M.B.A.
in Entrepreneurship and Strategy at
Rensselaer in Troy, New York. She
has served as Director of Finance
and Planning for La Jolla Playhouse,
was Managing Director for Capital
Repertory Theatre (a LORT regional
theatre in Albany, New York), and
most recently was Managing Director
of Los Angeles’ own The Actor’s Gang.
She and her husband, Kwinn Doran, a
college professor and historian, have
made themselves at home in South
Pasadena with their two young sons,
Giacomo and Ely, and welcomed a third
child, Calypso.
DO NOT MISS OUR GRAND FINALE!
MUSIC BY ACADEMY AWARD WINNER
DAVID SHIRE
BOOK AND LYRICS BY TONY AWARD WINNER
RICHARD MALTBY JR
CHOREOGRAPHED BY TONY AWARD NOMINEE
DAN KNECHTGES
DIRECTED BY
TAK VIRAVAN
626.356.7529
PasadenaPlayhouse.org
PERFORMANCES MAGAZINE P9
BOARD OF
DIRECTORS
David DiCristofaro
Chair
Brad King
Vice Chair
George A. Henning
Acting Treasurer
Linda Boyd Griffey
Secretary
Lenore Bond Almanzar
Valerie Amidon
Daisy Auger-Dominguez
Sheri Ball
Darrell G. Brooke
Elizabeth Doran
Peggy Ebright
Sheldon Epps
Sheila Grether-Marion
George A. Henning
Teena Hostovich
Amy LoCascio
Steve Mermell
Darrell D. Miller
Michael A. Persaud
Abel Ramirez
Bingo Roncelli
Brett Stangeland
Lilah Stangeland
Corky Hale Stoller
Mike Stoller
Martha Williamson
The following people have
been elected by the Board
of Directors to the Emeritus
Board, in recognition of their
extraordinary service
as past members of our
Board of Directors, and
in many cases for their
continued commitment and
service to The Pasadena
Playhouse.
CHAIR EMERITI
David M. Davis
Michele Dedeaux Engemann
Albert Lowe
Kerry McCluggage
Margaret Sedenquist
BOARD MEMBERS
EMERITI
Kathy Arntzen Roat
Carol Burnett
Ralph Hirschmann
Frank Kleeman
Dennis Lowe
Tad Lowrey
Rao Makineni
Lyn Spector
Elliot Stahler
Greg Stone
Leslie Tolan
James Watterson
IN MEMORIAM
David Angell
Theodore Fitch Behr
Betty Ann Koen Brooks
Roger Stangeland
P10 PERFORMANCES MAGAZINE
A NOTE FROM THE GALA COMMITTEE CO-CHAIRS
Mark April 25 on your calendar for this year’s Gala,
“Diamonds & Denim,” where we will celebrate the
legendary Tena Clark, creator of our 2011 musical
Twist – An American Musical, whose talents have
taken her from Mississippi to Hollywood.
Rising Nashville star Elizabeth Lyons (appearing at
this year’s Country Jam music festival with Blake
Shelton and Lady Antebellum) will perform. The
Kelly Rae Band, comprised of musicians whose
credits include Rascal Flatts, Tanya Tucker, and
Trick Pony, will keep your feet tapping and dancing
all night long. The award-winning Impro Theatre
will delight and amaze you with hilarious improv,
and you will be among the first to set foot in the
Playhouse Plaza, which will be transformed for one
magical night with stunning views of our theatre.
As you know, nonprofit theatres rely on donations
that augment earned income in order to produce
the kind of theatrical gems like today’s Pygmalion.
We hope you will deck yourself out with your
best bling, get out your dancing shoes, and join
us for a fabulous evening of delicious food; great
music; celebrities; a live auction featuring trips and
priceless, one-of-a-kind experiences; and more!
For tickets and information, contact Julia Fitzgibbons at jfitzgibbons@
pasadenaplayhouse.org or 626-204-7383. Tickets and tables may also be
purchased online at www.pasadenaplayhouse.org/support-us/special-events.html.
Sincerely,
Sheila Grether-Marion and Brett Stangeland
Gala Committee Co-Chairs
DO YOU LOVE GREAT THEATRE?
DO YOU LIKE TO TRAVEL?
2014–2015 DONOR BENEFITS
Visionary’s Circle ($100,000+)
• Guess Who’s Coming to Dinner? A special guest will attend a private
event in your home
• And all benefits listed below
Executive Director’s Circle ($75,000–$99,999)
• Access to the Green Room for a private event
• And all benefits listed below
Artistic Director’s Circle ($50,000–$74,999)
• A commemorative souvenir from a Playhouse production
• And all benefits listed below
Director’s Circle ($25,000–$49,999)
• A signed production poster
• An invitation to an exclusive event celebrating the new season
• And all benefits listed below
Designer’s Circle ($10,000–$24,999)
• An invitation to a private event hosted by the Board of Directors
• A parking pass for every Mainstage production in the 2014–2015 Season
• And all benefits listed below
Playwright’s Circle ($5,000–$9,999)
• Invitations to select events throughout the season
• Invitations to a full season of Pasadena Playhouse Opening Nights for
two people
• And all benefits listed below
Performer’s Circle ($2,500–$4,999)
• Invitations to select Pasadena Playhouse Opening Nights for two people
• And all benefits listed below
Stage Manager’s Circle ($1,000–$2,499)
• Personal VIP ticketing and subscription services
• Season-long admission to the Makineni Library (aka the VIP Lounge),
which offers complimentary snacks and beverages before the show and
during intermission at every Mainstage performance
• And all benefits listed below
Supporter ($500–$999)
• Treats in your seat throughout the season
• And all benefits listed below
Friend ($250–$499)
• Donor recognition in the program throughout the season
• And all benefits listed below
Contributor ($1–$249)
• Donor recognition on The Pasadena Playhouse website
• Deep and heartfelt gratitude for your support!
For more information, please contact the
Development Office at 626-737-2852.
For nearly 25 years
The Pasadena
Playhouse has
partnered with
Break-Away Tours
to offer unique
theatre packages to
two destinations:
London and New
York.
The tours are designed for people with a
passion for theatre, not just a passing interest.
Groups attend plays and lavish musicals and
are delighted by behind-the-scenes tours led
by professionals who lend valuable insider
perspectives. In addition to great theatre,
attendees visit museums and historical sites
and enjoy fabulous cuisine. These travel
experiences provide structured expeditions for
theatre aficionados in the warm company of
fellow Playhouse patrons.
The Fall Theatre Tour (October 9–19, 2015) will
take travelers to London for four productions,
including the Royal National Theatre’s
production of War Horse. The group will then
travel to Shakespeare’s birthplace of Stratfordupon-Avon and enjoy a production at the Royal
Shakespeare Theatre. The trip will culminate
in the majestic Georgian town of Bath for a
production at the Theatre Royal Bath.
Playhouse supporter Barbara Sinclair has been
to London twice with Break-Away Tours and
intends to go again. She recently shared, “The
trips are wonderful. I’ve told all my friends that
it is something they definitely need to put on
their Bucket List.”
For more information, please contact
Christine Franke
at 626-737-2852
or [email protected].
WAYS TO GIVE
CASH, CHECK, AND CREDIT CARD GIFTS
The Pasadena Playhouse
600 Playhouse Alley, Suite 300
Pasadena, CA 91101
ONLINE DONATION
Visit www.pasadenaplayhouse.org/support-us/annual-giving.html to make a gift.
For more information about Playhouse events, please go to www.pasadenaplayhouse.org/supportus/special-events.html
PERFORMANCES MAGAZINE P11
THANK YOU!
Visionary’s Circle
($100,000+)
The Ahmanson Foundation
Anonymous
Estate of Harriet L. Freeman
James Irvine Foundation
Wells Fargo Bank
Executive Director’s Circle
($75,000–$99,999)
Doris Duke Charitable Foundation
and Theatre Communications Group
Sheila Grether-Marion and Mark
Marion
Artistic Director’s Circle
($50,000–$74,999)
Avery and Andrew Barth
Herbalife
Julie and Don Hopf
Teena Hostovich and Doug Martinet
Terri and Jerry Kohl
Los Angeles County Arts Commission
The Ralph M. Parsons Foundation
Bingo and Gino Roncelli
Lilah Stangeland
S. Mark Taper Foundation
Frank Williams, M.D.
Director’s Circle
($25,000–$49,999)
Anonymous
Darrell G. Brooke and Rosa Olivia
Ayala
The Green Foundation
Gayle and Tad Lowrey
Pacific Global Investment
Management Company
Pasadena Community Foundation
The SahanDaywi Foundation
The Shubert Foundation
Art and Liz Silveri
U.S. Bank
Designer’s Circle
($10,000–$24,999)
Milo W. Bekins Foundation
Ms. Jane Carruthers
Chubb Group of Insurance Companies
Ann and Paul DeMartini
Patti and Jim Dolan
Michele and Roger Engemann
Sheldon Epps
Friends of The Pasadena Playhouse
Ed and Connie Foster
Brenda and Bill Galloway
Jay and Linda Griffey
David Lee
Lindemann Foundation
Michael Mackness and Eric Sigg
Merrill Lynch
Shannon J. and Darrell D. Miller
The Kenneth T. and Eileen L. Norris
Foundation
Ann Peppers Foundation
Marion R. Riley
Michelle Tyson, M.D., and Family
Cindy Vail and Greg Stone
Judy and Robert Waller
Jinny and Scott Wilcott
Playwright’s Circle
($5,000–$9,999)
Chantal and Steve Bennett
Diane and Fred Blum
John and Tamara Brown
Keith and Debra Cantrell
Bill and Mary Lea Carroll
City of Pasadena Cultural Affairs
Division
El Portal Restaurant
P12 PERFORMANCES MAGAZINE
Bernadette and Douglas Glenn
Sumi and Bill Hughes
Sally and Bill Hurt
Harvey and Ellen Knell
Amy and Anthony LoCascio
Liz and David McFadzean
Thomas N. Neff
Nick Nichols
Deidra Norman Schumann
Elizabeth Pankey
Kay and Bob Rehme
Jennifer Gayle Rogers
Paul and Cynthia Roye/The Capital
Group Companies
Betty Sandford
Southern California Gas Company
Elliot and Danielle Stahler
Anne Taubman and David Boyle
JoBeth Williams and John Pasquin
Performer’s Circle
($2,500–$4,999)
JoJeanne and Dann Angeloff
Anonymous
Aline and Danny Bakewell Sr.
Cynthia Bennett and Ed de Beixidon
Bhindi Jewelers
Z. Clark Branson
Charles Brewer Fiscus Foundation
Lynn and Carl Cooper
Mr. and Mrs. Leo Dencik
Peggy Ebright
Gail and Jim Ellis
Henri and Donna Ford
Fox Rothschild LLP
Rose Ann Hall
Ann and Robert Hamilton
Dr. Stephen Henry and Rudy O’Claray
Tracy and Richard Hirrel
Elizabeth Levitt Hirsch
Marcia L. Hoffman
The Hon. John J. Kennedy and Lena L.
Kennedy
Steven and Helen Kerstein
Pam and Brad King
Lauren and Matt Krieger
Delilah Lanoix and John W. Harris
Greta and Peter Mandell
Diane and Craig Martin
Susan McGuirl and Bob Musselman
Stephanie and Greg McLemore
Edith Mehlinger
Lary and Mary Anne Mielke
MonteCedro Inc.
Ann Mulally
Christine Marie Ofiesh
Pasadena Playhouse Alumni &
Associates
Michael Persaud
Barbara and Tony Phillips
Herbert and Marilyn Piken
Greg and Louise Probert
Dick and Sally Roberts
Susan Stevens Foundation
Ashana and Tom Thorman
Martha Tolles
Harold Wheeler and Hattie Winston
Wheeler
Molly Wolveck
Stage Manager’s Circle
($1,000–$2,499)
Gwen Abbott
Sara and George Abdo
Carol and Saleem Ahmed
Nadia Allaudin
Anonymous
Selwyn Aronson
Kathryn and Michael Balale
Sheri and Andy Ball
Monty Basile
Richard and Shelley Bayer
Meta and Jay Berger
Barrett and Carol Bingaman
LeeAnn Black/Latham & Watkins
Lois and Robert Bloom
Ronald Bloom
The Hon. Bill and Claire Bogaard
Robert Bozzani
Lesley Brander
Annette Brandin
Break-Away Tours
Deborah Carton
George L. Cassat
Catherine “Tink” Cheney and Barry
Jones
Jim and Marty Childs
Karen and Tim Chrisman
Dottie Clougherty
Martin L. Cohen, M.D., and Sharleen
Cooper Cohen
Craig Colbath and Ann Voyer
Barbara and Wes Coleman
Carol Ann Collins
William Cunningham
Gary Dahle and Derek Whitefield
April Danz and Kelly Johnson
Fernando Diaz and Gary Petrisak
Vin and Erica DiBona
David DiCristofaro
Elizabeth and Kwinn Doran
Patti Johns Eisenberg
Eleven Twenty Seven Foundation
Sue and Jim Femino
William F. Foran, M.D., and Vivien F.
Stanley
Jim Franke
Bobbie and Jerry Furrey
Beth Gertmenian
Richard Gilman
Kelly and Lou Gonda
Susan Hoffman
Preston Hopson
Carolyn “Cece” Horne
John and Barbara House
Jonathan Jaffrey
Jane Jelenko
Paulie Jenkins
Gregory and Samantha Jessner
Marilyn Jones and Mitchell Kaplan
Marcia and Gordon Kanofsky
Richard Kaplan
Lenny and David Kelton
John and Nancy Killen
Willette and Manu Klausner
Patti La Marr
Emilie and Allen Lanstra
Sally Jean Lash
Janet and David Lazier
Ms. Donna Leonhard
Linden Optometry, a P.C.
Shelly and Dennis Lowe
Becky and Kris Lythgoe
Melba MacNeil
Sandra Mader
Vivian J. Matsushige
David McAuliffe
Joyce McGilvray
Gloria and Accie Mitchell
Cheryl and Judd Morris
Ceil and Mort Mortimer
Gordon and DeEtte Mountford
Dega Nalayeh
Michael Naples
Pasadena Tournament of Roses
Amy Pascal and Bernard Weinraub
Diana W. Paul
Julietta Perez
Irwin Persaud
Gloria and Don Pitzer
Charlie Plowman
Terrence and Rita Roberts
Hilde and Irving Rosenbluth
Helene Rosenzweig
Virgil and Lynn Roth
Jan Saiget and John Clouse
John Sandoz and Beverly MorganSandoz
San Marino Rotary Charities
Sossi and Norman Sarafian
Jean Scott and Kent Keller
Alvan and Barbara Shane
Joel and Jil Sheldon
Judy and Bill Shupper
Amy Singh
Rabbi Lynn Brody Slome and Mr. Ansel
Slome
Mr. and Mrs. Jeffrey M. Smith
Lew and Vicki Snow
Dr. and Mrs. David and Gail Snyder
SPARC
Amy Stephens
Jim Stone
Seema Sueko and Troy Hirsch
Susan Sullivan
Philip V. Swan
Stender and Polly Sweeney
Laney and Tom Techentin
Janet Thomasser
Charla and Richard Tindall
Roslyn Towler
Betsey Tyler
Mary and William Urquhart
Sandy Valentine and Michael
Matthews
Andrea and John Van de Kamp
Michele Vice-Maslin
Sheran and David Voigt
Richard von Ernst and Thomas
Castaneda
Marianne and Gary Wallace
Dr. Nancy Warner
J. Patrick Whaley and Lynda L. Jenner
John C. Wileman
Karen Williams
Martha Williamson and Jon Anderson
Harvey and Sharon Zaslaw
Supporter
($500–$999)
Cynthia Abrams
Joan and Andreas Aebi
Jacqueline and Clarence Avant
Heather Backstrom
Susan Bleecker
Edward M. Boughton
James and Deborah Burrows
Foundation
Thomas and Dr. Jodie Cassutt
Yvonne and Raymond Chen
Diana J. Cliff
Renate and Mel Cohen
Patricia A. Cuneo
Keith David
Dorothy and William Davila
Mark and Victoria Eaton
Dorothy Falcinella
Robert Galvan
Chris Gonzalez and Cristina Perez
Gonzalez
Andrew Grosz
Michele Hall
J. P. and Diane Harris
Gail and Phil Hatchett
Susan Hauk
Phillip Hawkey
Virginia Hawkins
Sue Haynie-Horn
Adelaide Hixon
The HWL Family Foundation
Steven Infield and Patty Onagan
Ironshore
Helga Johnstone
Ruth and Jeremy Jones
Mary and Richard Josenhans
Mr. and Mrs. Jerome S. Kaplan
Barry Katz
Janet and Mark Labberton
Dianna Lau and Kevin Beggs
Kitty and Paul Lazarus
Ms. Jo Ann Lee
Lily Lee and Tom Chang
Maria Del Rio Low
Patricia MacLaren
Roger C. Memos
Jessie Milano
Dr. Donna Mills
Joy Moore
Elly and Jim Morgan
Skip and Jackie Morgen
Larry and Donna Moulton
Linda Moy
Dr. and Mrs. Robert Nafie
Kenneth and Richel Nash
Lisa Nelson
Janice Ohta
June Thurner Paine and Garret Paine
Edward Parker
Pasadena Highlands Senior Center
Lucile and John Penido
Elizabeth and Tom Polenzani
Andrea and Jeff Pomerance
William Pounders
Harvey Reichard
Ed Richmond and Linda Hrovat
Christy and Gary Roeber
Mr. and Mrs. John H. Scott
Bernadette and Russell Sherman
Janis and Stuart Simon
C. Edward Simpson
Gail Snyder
Mr. and Mrs. John D. Taylor
Eileen T’Kaye and David Bischoff
Janet and Robert Tranquada
Vroman’s Bookstore
James and Mary Weidner
Jeph Willis
Rosa Zee
Friend
($250–$499)
Mr. and Mrs. Arden Albee
Patricia Aleman
Anonymous (2)
Ms. Doris Arima
Ellen Bailey
Rita Baker
Robert and Josephine Barbera
Michael and Janice Barker
Chera Bashor
Patricia M. Beauchamp
Dennis Becvar
Brad Blaisdell
Paula Brand
Tom Brosterman
Jacqueline and Arthur Burdorf
Norman Cadman
Grace E. Carter
James Cheng
Jill and Riley Cole
Laurie Cooper
Rita Coulter
Suzanne and Donald Deise
John and Bonnie Dewitt
Charles Dillingham and Susan Clines
Tony Dinardo
Barbara Diner
Kay and Larry Driscoll
Susan Edwards
Daniel and Barbara Elman
Martha Erdman
Richard and Nancy Esbenshade
Yvonne Flint
George Forbes
Carole Fritz
Harry Gilbert
Lovett Goode
Robert Gotham
Sharon Griffin
Nancy and Raymond Guth
Debra Hammond
Tom Hatten
Ferne Hayes
Mary Ann Heidsman
Lillian Heimer
Reva Hicks
Ms. Robin Hirabayashi
Rena Hochleitner
Janis and Samuel Holcman
Isaac Hung
Gary Hunter
GIFT-IN-KIND DONATIONS
Our thanks to the following individuals and companies that
donated gifts-in-kind to The Pasadena Playhouse since December
25, 2013.
Any gifts-in-kind received after February 17, 2015, will be
acknowledged in the next program.
Lenore Almanzar
Bittersweet Treats
Bob Bozzani
Claire Trevor School of the Arts at the University of California, Irvine
Ross Clark
Easy Parking Service
El Portal Restaurant
Fox Rothschild LLP
Friends of The Pasadena Playhouse
Gelson’s
Ann and Robert Hamilton
Herbalife
Teena Hostovich and Doug Martinet
Kaiser Permanente
Patti La Marr
little junebugs
Mary Falkingham Floral Designs
Nescafé Dolce Gusto
Nestlé
O’Melveny & Myers LLP
Pasadena Animal Hospital
Pasadena City College
Printefex
Debby Prohias
David Rambo and Ted Heyck
redwhite+bluezz
Robert and Carol Shapiro
Stone Brewing Co.
TechFirmation LLC
Marie Ida
Mr. and Mrs. George Inadomi
Anne Ireland
Harold A. Jackson Jr. and Agnes M.
Jackson
Donna and Jeff Jaffee
Liz Jewkes
Anne and Charles Johnson
Rosa Johnson
Suzette Johnston
Suzanne and Michael Kahane
Lilli Kalmenson
Kathleen Kane
Patricia Kapur
Robert Karlin
Mr. and Mrs. Michael Kettle
Dr. Edward Klein
Leonard and Barbara Kolod
Joanne Landa
Xenophon Lang Jr.
Ms. Mindy Lauerlevin
Sandi Love
Akiko Maeda
Ms. Cierina Marks
Sharon Marsh
Phillip and Lois Matthews
Jennifer May
Annamarie Mitchell
Richard and Chang Soon Moak
Ms. Jodi Montgomery
Esther Mott
Alfred H. Muller
Kimberly Muller
Mr. and Mrs. Millard Murphy
Dr. Ejike and Mrs. Victoria Ndefo
Robert and Sharon Novell
Patrick Oliva
Thuy and Joseph Onstott
Joan Wojslaw Oppenheimer
Gina and James Pickens Jr.
Leonard and Jennifer Pihlak
Lucy Pliskin
Denise Prew
Florence Reese
Barbara Rosenthal
Mrs. Charon Sandoval
Kate Vosburg Schlepp
Lou and Nancy Schweiner
Laurie and Robert Silton
Rosemary Simmons
Barbara Sinclair
Grant and Liz Smith
Judy Smith
Lella Smith
Sue Spence
Brett Stangeland
Ms. Maryan Stephens
Ann Stewart
Victoria Stratman
Mrs. Linda Thomas
Shari Thomas
Mr. and Mrs. Robert Traver
Edward Washatka
Ms. Robertine Weise and Mr. Alan
Walker
Edgar and Peggy Whitmore
Women in Action
Roxanne Wong
All donors listed gave at least
$250 since December 25, 2013.
Contributions received after
February 17, 2015, will be
acknowledged in the next
program.
THE GILMOR BROWN SOCIETY
The Gilmor Brown Society, dedicated to a legacy of live theatre
and thus named after The Pasadena Playhouse founder, was
established to recognize, honor, and thank individuals for
provisions they have made through thoughtful estate planning to
further the mission of The Playhouse:
Anonymous
Ellen Bailey
Estate of Evelyn Bray
Marjorie Cates
Estate of Angus Duncan
Estate of Shirley Filiatrault
Estate of Harriet L. Freeman
Estate of Ada Gory
Sheila Grether-Marion
Adele Morse
Shirli Nielsen
Estate of Charles Pierce
Estate of Constance Ropolo
Lyn Spector
Lilah and Roger* Stangeland
Estate of Bill Watters
Jim Watterson
*Deceased
If you have included The Playhouse in your estate plans and your
name is not currently listed, please notify the Development Office
so we may acknowledge you for your support and add your name to
The Gilmor Brown Society.
For further information or other gift opportunities,
please contact the Development Office
at 626-737-2852.
PERFORMANCES MAGAZINE P13
IN COMMUNITY
WHY DO YOU DO THEATRE?
At a recent senior staff meeting at
The Pasadena Playhouse, we went
around the room and asked each
other, “Why do you do theatre?”
The responses were illuminating.
“Theatre has the power to change
expectations and assumptions,”
Artistic Director Sheldon Epps
shared. “That’s why I do theatre.”
Other thoughts people shared
included:
To discover; To belong; To
experience, recognize, witness,
and live magic; To make an
impact; So all can find their
artistry; To practice courage;
To bring joy...
Why do you do theatre?
Email your thoughts to Associate Artistic Director
Seema Sueko at [email protected].
NEW GENERATIONS THEATRE
ACCESS PROGRAM FOR YOUTH
“Our participation with The Pasadena
Playhouse has been truly a gift to me and
my students….You made us feel accepted
and at home.” – Jessica Graeber, Canyon
Oaks High School drama teacher
As a professional regional performing arts
organization, The Pasadena Playhouse
takes very seriously the responsibility
and privilege to cultivate the theatregoing audiences of tomorrow, while
simultaneously providing youth the
opportunity to experience world-class
theatre through our New Generations
program.
For more information about our programs
for youth, please contact Alexis Chamow at
[email protected].
P14 PERFORMANCES MAGAZINE
DEEPEN YOUR EXPERIENCE OF PYGMALION
“The discussion afterwards was par excellence…giving the
audience [the opportunity] to examine themselves.”
– A Playhouse patron
Pygmalion Talkback Tuesdays are
scheduled for March 24, March 31,
and April 7, following the 8:00 p.m.
performance.
Enjoy a conversation with the actors and
artists of Pygmalion on Sunday, March 29,
following the 2:00 p.m. performance.
MI HISTORIA, MI MANERA
Mi Historia, Mi Manera is The Pasadena
Playhouse’s initiative to increase arts participation
among Latino communities in the San Gabriel
Valley. Join us for the following Mi Historia, Mi
Manera events:
Thursday, March 19 at 7:30 p.m. – A reading of Stand and Deliver
at Pasadena City College
Saturday, March 28 at 7:30 p.m. – A reading of Kita y Fernanda
at La Puente Valley Women’s Club
For more information, contact Victor Vazquez at
[email protected].
Mi Historia, Mi Manera is funded by a grant from The James Irvine Foundation
and the Audience (R)Evolution Program, which is funded by the Doris Duke
Charitable Foundation and administered by Theatre Communications Group, the
national organization for the professional not-for-profit American theatre.
GREENHOUSE AT THE PLAYHOUSE
GREENHOUSE is The Pasadena Playhouse’s
partnership program with the School of
Dramatic Arts at the University of Southern
California.
Join us May 26–30 for USC’s New Works
Festival III held at the Carrie Hamilton Theatre at The Pasadena
Playhouse, featuring three new plays written by three graduating
students from the M.F.A. in Dramatic Writing program:
Child’s Play by Lena Ford
Scrambled Gambled Eggs by Victoria Moy
Sentience by Tylar Pendgraft
Contact [email protected] for more information.
PASADENA PLAYHOUSE ALUMNI & ASSOCIATES
Dustin Hoffman and Gene Hackman met as students at the Pasadena Playhouse College of
Theatre Arts in the 1950s, but it wasn’t until the 2003 motion picture “Runaway Jury” that they
appeared onscreen opposite each other. Alumni Henry Darrow (’56) and Elliott Street (’69) also
appeared in the film. If you review the special features section of the DVD version of that film,
you will find an extended interview with Hackman and Hoffman as they discuss their time at our
College of Theatre Arts.
Though the school has been closed for many years, Pasadena Playhouse Alumni & Associates is still a vital
organization with nearly 300 members around the world. A bronze plaque commemorating our school was
dedicated in the courtyard of The Playhouse in 2013.
www.ppa-a.org
AMBASSADORS OF THE PASADENA PLAYHOUSE
The Ambassadors started 2015 with the amazing production The Whipping Man. They
were treated to an analysis of this play by teaching artist Robert Paterno and then
enjoyed discussions with guests in the Library.
Encouraging subscribers to take advantage of TalkBack Tuesdays also adds to the
pleasure of the performances. And, most importantly, all this shared knowledge brings
our subscriber family closer together!
FRIENDS OF THE PASADENA PLAYHOUSE
In March the Friends celebrated their services to The Playhouse with a Volunteer Recognition
Lunch. Individual awards honored those who generously volunteered many hours. The event
also celebrated the 34,030 hours the Friends collectively volunteered in 2014 and the numerous
monetary donations given during the year, with The Friends presenting an annual donation to the
theatre. The members were given a peek into the future of the Playhouse when staff members
spoke about current and future events. The lunch also allowed the Friends to socialize and even
make new friends.
For more information on how to become a Friend, visit our website at www.friendsofthepasadenaplayhouse.org.
BACKSTAGE TOURS
Are you learning “theatre speak”? Everyday words sometimes mean something different in
the theatre. There are seven theatre terms in the sentence below. Can you find them? How
many do you know?
Dolly put aside her apron. She had to go up on deck and welcome her special company.
Learn more on a Backstage Tour! Visit the scene shop where magic is made, the Green Room where actors
prepare, and more. Possibly meet the ghost of Gilmor Brown, the founder of The Pasadena Playhouse.
Tours can be arranged for individuals and groups, the young and not so young.
To schedule a tour or request more information, email [email protected] or call 626-921-1162.
Donations are graciously accepted and much appreciated.
PERFORMANCES MAGAZINE P15
Facilities/Maintenance Manager...................... Mark Maldonado
Facilities/Maintenance.................................................. Sal Fariaz,
Jesus “Chuy” Garcia, Danilo Ramos
Sheldon Epps
Artistic Director
Elizabeth Doran
Executive Director
ARTISTIC
Associate Artistic Director....................................... Seema Sueko
Community Organizers............. Alison De La Cruz, Peter J. Harris,
Nijeul X. Porter, Victor Vazquez
Education Programs Consultant . ....................... Alexis Chamow
Producing associate/Company Manager ........ Kristen Hammack
2014–2015 Teaching Artists Corps....................... Daniel Chacon,
Anastasia Coon, Kim Dilts,
Tim Fannon, Deepti Gupta, Nedra Gallegos,
Kate Jopson, Kellen Law, Joan McConacha,
Robert Paterno, Michael Yurchak
ADMINISTRATION AND FINANCE
Director of Finance................................................ Meredith Min
Controller . ............................................................ Anna Panoian
Accounting Consultant................................ Mary Ann Heidsman
Executive Assistant...................................... Whitney Fortmueller
IT Consulting Firm................................................. TechFirmation
DEVELOPMENT
Director of Institutional Advancement .................... Jan Saiget
Major Gifts Officer ........................................... Christine Franke
Special Events Coordinator .............................. Julia Fitzgibbons
Development Associate ...................................... Gretchen Reyes
Donor Services Associates ................ Colby Salmon, Ben Torres,
Tyler Ware
MARKETING, COMMUNICATIONS & SALES
Marketing, Communications & Sales Director......... Patty Onagan
Marketing & Promotions Manager . ................. Jonathan White
Subscription Services Manager.................................Elias Feghali
Group Sales Associate . ....................................... Susan Von Tress
Marketing & Communications
Assistant.............................................................. Kareem Cervantes
Press Representative........................... Davidson & Choy Publicity,
Tim Choy, Peter Goldman
Production/Subscription
Graphic Designer....................................... Halogen Design Lab
Broadcast Advertising . ................................. Nancy’s Media Buys,
Nancy Pank
Program Coordinator/Copyeditor . .................... Nicole Fanning
Program Design............................................... Kareem Cervantes
Audience Engagement Officers . ......... Ali Laffer, Robert Paterno
Box Office Managers.............. Louis Douglas Jacobs, Shelby Page
Senior Box Office Associates............................ Whitney LaBarge,
Brandon Massey
Box Office Associates............... Rafael Goldstein, Sophie Goldstein,
Sara Kea, Robert Paterno,
Nathaniel Peterson,
Colby Salmon
House Managers...................................... Lenore Bond Almanzar,
Sue Haynie-Horn, Patrick J. Oliva,
Steven M. West
Telemarketing......................................................... Theatre Direct
FRIENDS OF THE PASADENA PLAYHOUSE
Executive Board
President................................................... Lenore Bond Almanzar
1st Vice-President.............................................. Sue Haynie-Horn
2nd Vice-President................................................ Nancy Ashcraft
Treasurer . ................................................................... Yvonne Lai
Recording Secretary.............................................. Sharon Zaslaw
General Board . ............................ Eugenia Amodei, Doris Arima,
Ellen Bailey, Mary Basile, Virginia Browning,
Bonnie Davis, Carolyn Di Pane, Jerri Faust,
Patti La Marr, Beverly Meissner, Shirley Miller,
Patrick J. Oliva, Frances Olson, Betty Parnell,
Natalya Pashkova, Jayne Thomas, Grace Woo
PASADENA PLAYHOUSE ALUMNI & ASSOCIATES
Executive Board
President............................................................... Valerie Amidon
Vice President........................................................... Anne La Rose
Administrator.................................................. R. J. Muehlhausen
Recording Secretary.................................................. Marje Cates
Treasurer . .................................................................... Eric Johns
Directors.............................. Lenore Bond Almanzar, Ellen Bailey,
Ross Clark, Charlyn d’Anconia, Ross Eastty,
John McElveney, Jaclyn Palmer, Pete Parkin
Emeritus - Past President............................................... Jim Kent
PYGMALION PRODUCTION STAFF
Production Stage Manager . .................... Hethyr “Red” Verhoef
Stage Manager .................................................. Jessica R. Aguilar
Production Assistants . ..... Kira Alemania, David Robinson Hicks
Assistant to the Director ....................... Courtney Anne Buchan
Assistant Scenic Designer .................................. Nicolas Santiago
Assistant Costume Designer . .................................... Ashley Rigg
Assistant Lighting Designer .................................... Brady J. King
Assistant Wig/Hair Designer ................................. Cassie Russek
Casting Associate ................................................... Emma Fassler
Deck Supervisor ........................................................ Matt Petosa
Deck Crew ............................................................. Michael Turner
Riggers . .......................................... Gabe Holguin, Sean Lewellyn
Rail ............................................................................... Chris Cook
Props Master . ......................................................... Ralph Brekan
Assistant Props Master ................................... Marissa Bergman
Master Electrician . .............................................. Chris Osborne
Associate Master Electrician/
Light Board Operator ............................................... Lauren Tyler
Electricians .......................... Evan Drane, Hilda Kane, Sean Mayer,
Darci Murphy, Johnny Park,
Rich Peterson, Matt Severns,
Michael Turner, Lauren Tyler
Production Sound Engineer................................. Eric Thompson
A2 ........................................................................... Joey Cleveland
Wardrobe Supervisor ......................................... Marie Growden
Wigs/Hair & Makeup Supervisor........................... Raenae Kuaea
Master Carpenter................................................... Isa Mitsuharu
Shop Foreman.......................................................... Gabe Holguin
Carpenters . ....................................... Joey Cleveland, Chris Cook,
Takuji “Clutch” Kuramoto, Sean Lewellyn,
Joel Schlesinger, Ryan Shull
The Actors and Stage Managers employed in
this production are members of Actors’ Equity
­Association, the Union of Professional Actors
and Stage Managers in the United States.
NI
SCE C A
UNITED
•L
O
ISTS
RT
IA
29
•
A
T
S
E
I
P16 PERFORMANCES MAGAZINE
CONNECT WITH US!
/PasadenaPlayhouse
@PasPlayhouse
pasadenaplayhouse
LEGAL COUNSEL
Pamela M. Golinski, Esq. Beigelman, Feiner & Feldman P.C.
GENERAL MANAGEMENT/PRODUCTION
General Manager/Production Manager....................... Joe Witt
Associate General Manager/
Human Resources Manager . ............................ Brandon Dobbins
Technical Director ..................................................... Brad Enlow
Producing Associate/Company Manager........ Kristen Hammack
Associate Company Manager . .............................. Stacey Castillo
PYGMALION
SPONSORS
CA
8
L USA
The Designers at this Theatre
are Represented by
United Scenic Artists • Local USA 829
of the International Alliance of Theatrical Stage Employes
#Pygmalion
WARNING: The photographic or sound recording of any
p­ erformance or the possession of any device for such ­photographic
or sound recording inside the theatre, without ­written permission
of the management, is prohibited by law. ­Violators may be
punished by ejection and violations may render the offender liable
for money damages.