by PETER FINLAYSON (@FootLightsLA)

Fringe Festival 2017!

that is featured in theaters throughout the greater Los Angeles area.

Each edition of the #HFF17 programs has many features that can be used as an effective marketing tool. Every show that you share a program with, is sharing all the information with their audience about the details of your production. Ultimately, your FootLights program will be a standout, professional quality, visual presentation of your show and a great keep-sake compendium to the Official Hollywood Fringe Guide.

FootLights is proud to be a part of the Hollywood

Fringe as the Official Guide Sponsor since its inception in 2010 . Each year we work closely with the Hollywood Fringe Management to bring better opportunities to participants and to assure you get better coverage for you creative efforts.

This year, Footlights is premiering a brand new 2017 Fringe Show Program.

The Fringe Show Program is a special version of the regular FootLights magazine

Peter Finlayson

Each edition of the #HFF17 program will cover up to six different productionsEvery show will have a full color image in front of either four or eight grayscale pages of information specific to your showThe reverse side of each cover image for every production will be used as advertising space exclusively for Fringe productions

Effective marketing toolAudience cross-promotion for each show sharing a single guideProfessional branded theater program with color imagesAll program participants will be automatically listed on the FootLights website in a featured Hollywood Fringe sectionAll program participants will have their Show Cover/Production automatically featured in FootLights’ unique Cover Carousel on our website at footlights.clickAdditional social media promotion through FootLights

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Features:

Benefits

Table of Contents

Welcome to the Fringe page 1Chuck Berry page 3The Inventor and the Escort page 13That Pretty Pretty page 19Clybourne Part page 25The Aeroplane page 31Build page 41Vonnegut Comes to Sacred Fools page 51

Each program section will consist of a 5.5”x8.5” full color cover photo, and each production will receive 350 copies for distribution.

4 pages of content $1758 pages of content $300

Advertising space for Fringe programs is available and those that use the FootLights programs will receve a 50% discount off of the listed ad prices.

¼ page $150½ page $260full page $400

All participants that use the FootlIghts program will have their production featured in our Cover Carousel ,which can be found at http:footlights.click, and will given special attention in our social media efforts.

To Place you order go to

http //footlights.clic /submit your listing/

Please add the word Fringe to the front of the show title to ta e part in this program.

by K EV IN D ELIN (@k d e l in )

F1

Yet, as an early rocker, he had a couple of obvious strikes against him.

First, there was the issue of racism. Many consider Ike Turner’s 1951 record Rocket 88 the starting point of the rock ‘n’ roll era, when “separate but equal” was still the law of the land. Though the doctrine was legally overturned by the 1954 Supreme Court’s unanimous decision in Brown v. Board of Education, the deeply-rooted “separate but equal” political and social legacy wouldn’t be overturned for years, even decades.

In the 1950s, you could peddle jazz, blues, and R&B records to the black community and a few sophisticated whites in urban areas. To reach the wealthy demographic of baby-booming, white teens in the suburbs, however, required something more familiar.

Chuck Berry may be dead but you know he won’t stay buried. He’s just too irrepressible for confinement to such a singular state. He was like his music: audacious and muscular. His huge hands easily enveloped the fretboard of his Gibson ES-335 and pulled sounds from it that would electrify the soul. Is it possible to remain still while experiencing the pure energy coming from his records? I wouldn’t know. I’ve never been able to do it.

Today, his presence is everywhere in the American landscape. Urban streets. Country roads. Everyone can identify his songs from his lic s. t’s hard to find anyone who can resist his hooks.

Chuck Berry and his distinctive style have permeated the culture to its deepest sonic vocabulary.

visit footlights.click

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Chuck Berry and Creating Commercialated Culture

Publisher - Editor-in-ChiefPeter Finlayson

Associate EditorTracey Paleo

Editor-at-LargeMichelle Fox

ColumnistKevin Delin

PhotographyMitsuo Kato

Graphics Rejyna Douglass-Whitman

Digital TechnologyIbrahim Hayak

F2

P ubl i s he d b y F oot l i ght s P ubl i s hi ng, I nc .445 N M o s s S t ., B ur ba nk, C A 91502

P hone : 818.762.0484 F a x: 818.436.5995

f oot l i ght s .c l i c k

F4

And by more familiar, I mean something white.

Take, for example, Little Richard’s self-penned Tutti Frutti. Considered seminal in rock history, the record is a pure original in Little Richard’s unique style. It entered the Billboard Hot 100 chart January 4, 1956. A mere two weeks later, Pat Boone’s diluted cover of the recording entered the charts. Little Richard’s record peaked at #21 on February 18. That same week, Pat Boone’s cover peaked at #12 – nine places higher! (Boone’s recording would again hit #12 three weeks later.) Little Richard’s version stayed on the charts for 12 weeks, Pat Boone’s cover for 18 weeks, 50% longer.

Apparently Pat Boone’s paler version played better to, well, paler audiences. In 1956 anyway.

In addition to race, there was the matter of Chuc ’s age. His first single Maybellene, hit the charts in 1955 when Chuck was at the ripe old age of 29. He was years older than his music peers Little Richard (22), Jerry Lee Lewis (19), Johnny Cash (23), and Elvis Presley (20). The only real precedent was Rock Around The Clock’s puffy, hillbilly, old white man Bill Haley who was a year older than Chuck. And what teenager wants to go see someone practically their parent’s age play something in the spirit of youth and rebellion?

Chuck’s race and age fueled in him a focused financial drive essentially unique in all rockers, early or modern. As anyone who has read his 1987 autobiography, Chuck Berry: The Autobiography, or seen the revealing documentary, Hail! Hail! Rock ‘n’ Roll, can attest, Chuck was about bucks.

Chuck Berry could (and would) discuss the payday of practically every gig he played – even those of decades past. “Too Much Money Business” could have been the title to his autobiography.

No pure artist was he. He knew the teens in the white neighborhoods didn’t play his favorite musicians (T-Bone Walker, Louis Jordan, and the like). And the teens in the white neighborhoods were where the money was. As he admits in his autobiography:

Whatever would sell was what I thought I should concentrate on, so from “Maybellene” on I mainly improved my lyrics toward the young adult and some even for the teeny boppers, as they called the tots then.

So out came songs universal to the pre-adult experience of the time: cars, school, and a more innocent love than the sweaty heat described in Tutti Frutti.

But if Berry’s topics tended towards the simple, his lyrics were not. As John Lennon put it: “He was writing good lyrics and intelligent lyrics in the 1950s when people were singing ‘Oh baby I love you so.’” Like Shakespeare, Chuck Berry invented words (such as “motorvating” and “botheration“) to enforce metric rhythms while maintaining meanings. His phrases were likewise precise: students hoped to pass “American history and practical math” and Nadine walks towards “a coffee-colored Cadillac.” I once suggested No Particular Place to Go to a friend writing a linguistics term paper about bilabial stops. She got an A.

Berry’s music also came from an unusual

visit footlights.click

(Ch u ck B er r y f r om page F1 )

(Cont’d on page F6 )

however, to listen to Johnson’s piano and hear the grounding for Chuck Berry’s riffs.

So there you have it: sophisticated jazz riffs with tight literate lyrics about inoffensive, universal subjects. All by design. And Chuck went further. His strong diction on the records (the better to hear the meter) and subtle infusion of the country-western music popular in his hometown of St. Louis allowed a magical transformation to happen. If Elvis was, as Sun Records owner Sam Phillips surmised, the “white boy who could sound like a black man,” Chuck Berry was the black man who could sound white. As he put it in his autobiography:

All in all it was my intention to hold both the black and

(Ch u ck B er r y f r om page F4)

F6 visit footlights.click

place. His original band, Sir John’s Trio, was run by piano player Johnnie Johnson until Chuck took it over. The trio consisted of Johnson on piano, Ebby Hardy on drums, and Chuck on vocals and guitar. The instruments clearly suggest a band following a jazz groove. Contrast that to the country-western make-up of Elvis’ or Johnny Cash’s trios or the horn-heavy, big band sound of Little Richard. Keith Richards will tell you that Chuck Berry adapted Johnnie Johnson’s piano riffs for guitar “because of the key it’s in… you’re playing in piano keys, horn keys, jazz keys, Johnnie Johnson’s keys.” So important was ohnson’s in uence that Richards thought he should have gotten co-writing credit and royalties on the songs: “But Chuck being Chuck, you’d be lucky to get a quarter. Or you’d end up paying him. t’s not terribly difficult

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(Cont’d on page F9 )

white clientele by voicing the different kinds of songs in their customary tongues.

Consequently, in Chuck’s early days, many deejays and promoters thought he was white. In his autobiography, he tells the story of a promoter outside a Knoxville venue who told him:

“It’s a country dance and we had no idea that Maybellene was recorded by a niggra man.” They had sold out the place but couldn’t permit a black person to perform, as it was against a city ordinance.

The local white band hired to back Chuck ended up replacing him.

But even that story, set in the Jim Crow South, demonstrates the effectiveness of Chuck’s strategy to pull in the white audience he desired. Other examples are easy to find. n a 1 Saturday Night Beech-Nut Show television performance, a lip-synching Berry, unplugged guitar in hand fires up a bunch of neatly-clothed and well-

behaved teenagers who giddily clap their hands. These same teens would likely have to duck and cover in a school drill the following day. In an era where classroom discussions on the horrors of atomic bombing were routine, Chuck Berry knew how not to make his music frightening for white teens and, especially, their white parents.

Chuck’s ability to create this magic never abated as the 1987 bio-documentary Hail! Hail! Rock ‘n’ Roll proves. In the film Chuc erry performs in his racially mixed hometown of St. Louis. Camera pans of the audience during the concert reveal, however, a racially unmixed crowd.

The same film also shows Chuc performing in a rehabilitated Cosmopolitan Club. Decades earlier, Sir John’s Trio was the house band for the original venue. Here again the film shows a racially unmixed audience – but of a different kind than in the grand concert and one that is more typical of East St. Louis. We also see a different

A Gibson ES-335

biggerdream

a new Broadway Musical

book by JOHN AUGUST music & lyrics by ANDREW LIPPAbased on the novel by DANIEL WALLACE

and the Columbia Motion Picture written by JOHN AUGUST

“Big Fish” is presented through special arrangement with Theatrical Rights Worldwide.

MARCH 17 to APRIL 22, 2017Fridays & Saturdays 8 p.m. Sundays 2 p.m.

WESTCHESTER PLAYHOUSE8301 Hindry Avenue, Los Angeles, CA 90045 For Reservations call (310) 645-5156

www.kentwoodplayers,org

kentwood players presents

Written and Directed by Matt Morillo

Produced by Joanne Hartstone

Starring Jessica Moreno and Jaret Sacrey

Set and Lighting Designer Rene Paras Jr.

Publicist Ken Werther Publicity

Graphic Design Kiff Scholl/AFK Design

Stage Manager J. Coldize

KADM Productions Presents

Jessica Moreno (Julia) is honored to be reunited with the original award-winning Edinburgh Fringe Festival team for another run of The Inventor and the Escort. This past summer, Jessica reprised her role of Amy in Matt Morillo's All Aboard the Marriage Hearse, which won the Encore! Producers Award at the Hollywood Fringe Festival, and where Jessica also received the Most Unleashed Performance Award. Following the HFF, she toured with the production to the Edinburgh Fringe Festival. Jessica recently appeared in Ted Lange's The Cause, My Soul at the Odyssey Theatre, and

she will reprise her role in the show this summer at the National Black Theatre Festival in North Carolina. Jessica has performed in lead roles Off-Broadway in New York and Los Angeles, where she received a Stage Scene LA Award nomination for Outstanding Achievement by a Lead Actress in a Comedy. She has performed in numerous productions supervised by Anne Bogart of SITI Company with the Columbia niversity FA irecting Program. Selected film and TV credits include roles on General Hospital, One Life to Live, As the World Turns, and Important Things with Demetri Martin. She was featured in the award-winning Sundance Film Festival hit Love, Ludlow and the Oscilloscopefeature film Breakup at a Wedding, produced by Anonymous Content and

achary uinto. She was recently cast in the film Broken Bow featuring Martha Plimpton, which will shoot this spring. Jessica received her acting training from the Royal Academy of Dramatic Art, Stella Adler Studio of Acting, Playhouse West, Second City, and SITI Company. She graduated magna cum laude with Departmental Honors from Columbia University with a BA in Anthropology. Jessica is currently studying psychology, dance, and child development through the incredible Los Angeles Community College District where she is developing a theater and dance curriculum for underserved and at-risk youth. More at www.jessicamorenoactress.com and @JMorenoActress.

Jaret Sacrey (Jeffrey) is thrilled to be revisiting this lovely, award winning play with the original team of Matt, Jessica and Joanne. An actor since childhood, Jaret has performed in plays in New York, Toronto, Los Angeles, Las Vegas and Scotland. He’s the recipient of an L.A. Ovation Award for the West Coast premiere of Tracy Letts’s play, Killer Joe. Onscreen, aret can be seen in numerous T /film roles and commercials most recently on Showtime’s, Masters of Sex. His favorite film roles have been in the comedies Last Words, Lucky Day, Thunder Chance and the DOGGONE trilogy, which,

by the way, his sons think are, “better than Star Wars!” He is a graduate of the American Academy of Dramatic Arts in New York, and a visual arts graduate of the Claude Watson School of the Arts in Toronto. Jaret lives in Los Angeles with his magnificent wife who li e a firm buttress has provided unwavering support, and his two young boys who will NOT be seeing this production.www.jaretsacrey.com

Matt Morillo (Writer/Director) All you need to know about Matt is that he was born in Queens, raised on the big, bad streets of Hicksville, Long Island, adopted by the Lower East Side and kidnapped by Culver City. You should also know Matt graduated from C.W. Post film school in 1999, and has written and directed three award winning films, produced seven short films, and two features. You should also know he then moved into the theater world and wrote the international cult hit Angry Young Women in Low Rise Jeans with High Class Issues, followed that up with another international cult hit All Aboard the Marriage Hearse (which recently took home an Encore! Producers Award in the 2016 Hollywood Fringe Festival), followed that up with American Soldiers and followed that up with Edinburgh Fringe Festival award winner The Inventor and The Escort, and then followed that up with Allen Wilder 2.0, which has its Los Angeles premiere on April 28th. You should also know Matt returned to the motion picture world by adapting Angry Young Women in Low Rise Jeans with High Class Issues into a hilarious web series which you can and should watch at kadm.com. You should also know you can find Matt on Facebook at facebook.com/mattmorillo and on Twitter @mattmorillo. Lastly, you should know that Matt finds thunderstorms romantic, likes hockey and doesn’t care for the way Katy Perry is treated by the media and wishes her and Rihanna would reconcile and his official website is mattmorillo.com.

Joanne Hartstone (Producer) Hailing from the other side of the world (Australia), and having produced shows in Europe and Australia, Joanne is excited to produce her first American production and to take the lead on the theatrical division of KADM Productions. She is also excited to bring her one woman show The Girl Who Jumped Off the Hollywood Sign, which just wrapped a critically acclaimed run at the Adelaide Fringe Festival, to Hollywood. It will make its American premiere as part of the Hollywood Fringe Festival in June. So look out for it! Producer/Production Credits include: We Live By The Sea, The Devil’s Passion, We Are Anonymous (Director), My Name Is Saoirse, Night Creature, Blink (Director), Nuclear Family, “Just let the wind untie my perfumed hair…” or Who Is Tahirih?, A Minute In The Schoolyard (Director), What Would Spock Do?, Thom Pain (based on nothing), Fable, Sherlock Holmes: A Working Hypothesis, Babylon, Allen Wilder 2.0, The Good Son, Call Mr Robeson, The Bunker Trilogy (Macbeth, Morgana, Agamemnon), Animal Farm, In The Window, Bill Clinton Hercules, Scaramouche Jones, Anthem For A Doomed Youth, Under Milk Wood, Fern Hill & Other Dylan Thomas, Who Wants To Kill Yulia Tymoshenko?, The Inventor and The Escort, The Strange Man (Director), Misery, Weights, Outland, The Boy James, The Event, Austen’s Women, The Sociable Plover, Smiler, Bully, The Ballad Of The Unbeatable Hearts, The Half, The Six-Sided Man, I, Elizabeth, Shylock, Goering’s Defence, Mussolini, Adolf, American Poodle, Phoenix Rising, Imperial Fizz, Driving Miss Daisy, Spitfire Solo, Westward Ho!, Que Reste-t'il?, Absolution, Long Live The King, Yasser, Vincent, Reasonable Doubt, I, Claudia, A Solitary Choice, Long Gone Lonesome Cowgirls (Director), Osama The Hero, Corvus. Performing Credits include: The Girl Who Jumped Off The Hollywood Sign, The Storm, Hamlet, Portrait of a Woman, Some Girl(s), Fitting Rooms, Ready

Set Go, Back to Before, Twinkle Twinkle, Zoe’s Lucky Charm, Ripple Effects - In Cabaret, Sing Your Own Musicals!, Oleanna, Misery, Molly’s Shoes, Two Sides, Changed Forever, Deadline Gallipoli, Mother Chook (with the Seraphim Trio).

Rene Parras Jr. (Set & Lighting Design) Rene has worked on various projects across southern California ranging from set design and fabrication, graphic design and more. He is honored to have worked with KADM Productions. He is excited to bring another one if his design to the stage and hope you enjoy the show.

KEN WERTHER PUBLICITY has been a staple in the Los Angeles performing arts community since 1982. Public relations, producing, directing. As producer: All Your Hard Work; The Good Boy; the Queer Classics productions of The Importance of Being Earnest and The Taming of the Shrew. Assistant director: Stop the World, I Want to Get Off (Musical Theatre Guild); The Women of Brewster Place (Celebration Theatre); The Woodsman (Coeurage Theatre Company). For a complete listing of PR activities, visit www.kenwerther.com.

Kiff Scholl AFK Design (Graphic Design) www.kiffscholl.com

Special Thanks

Theatre Planners Racquel LehrmanAmber Bruegel Victoria Watson

Richard WestCrystal Field

Theater for the New CityInes Wurth and Ines Wurth Presents

Jenni HalinaJoe Kilduff

Illo LightingVistaprint

Keep up with us!Twitter: @KADMProductions

Instagram: @KADMProductionsFB: facebook.com/KADMPro

www.kadm.com

biggerdream

a new Broadway Musical

book by JOHN AUGUST music & lyrics by ANDREW LIPPAbased on the novel by DANIEL WALLACE

and the Columbia Motion Picture written by JOHN AUGUST

“Big Fish” is presented through special arrangement with Theatrical Rights Worldwide.

MARCH 17 to APRIL 22, 2017Fridays & Saturdays 8 p.m. Sundays 2 p.m.

WESTCHESTER PLAYHOUSE8301 Hindry Avenue, Los Angeles, CA 90045 For Reservations call (310) 645-5156

www.kentwoodplayers,org

kentwood players presents

Will Bradley* Owen Betsy Moore° Jane Fonda

Cindy Nguyen° Agnes Tope Oni° Rodney

Paula Rebelo° Valerie

* appearing courtesy of Actors’ Equity Association ° member of Son of Semele Ensemble

The performance will run 80 minutes with no intermission. It contains explicit language, adult themes, and graphic content.

That Pretty Pretty; or, The Rape Play is presented by special arrangement with SAMUEL FRENCH, INC.

The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium, including the internet, is strictly

prohibited, a violation of the author’s rights and actionable under United States copyright law. For more information please visit www.samuelfrench.com/whitepaper.

Sound: John Zalewski Violence: Edgar LandaTechnical Director: Shen Heckel Stage Manager: Christina Bryan

Director: Marya Mazor Set: Aubree Lynn Lighting: Josh Epstein Costumes: Lena Sands

A note from Son of Semele’s Artistic DirectorSon of Semele, now in its 15th season, has produced 35 productions from over 30 brilliant writers! Whether this is your first time visiting us or if you are a longtime sup-porter, thank you for being here!

I’m proud that Son of Semele Ensemble is producing Sheila’s work again, after having presented Roadkill Con-fidential in 2012. I first recall seeing this play in American

Theatre Magazine. When I heard recently that it had never had a Los Angeles production, I was immediately eager to produce it. LA feels like the perfect place for a production of That Pretty Pretty. I am drawn to this play for a num-ber of reasons, such as its candid exploration of gender bias.

It’s important to share with you that Son of Semele needs your support. We estimate that ticket sales will cover 40% of our operating costs this year. That’s the reality of intimate theatre. And we can’t leave the other 60% on the old credit card. We rely on donations and other forms of support to make up the difference. So, if you have the means, please help us continue by making a tax-deductible contribution. It feels good to donate, I promise! And, if you don’t have the means to contribute, you can also help by telling a friend about us, posting on social media, or bringing someone with you next time you at-tend a show.

It’s been a privilege to have spent the last 15 years producing provocative work. I’m thrilled to share another one with you today. Thank you for coming!

Matthew McCray

SONOFSEMELE.ORG

Son of Semele believes that the impact of a theatrical experience should resonate beyond the theater door. As an ensemble of artists, we integrate complex design and performance, producing theatre that embraces the friction between emotion and intellect. Through a process of discovery, collaboration and creative risk-taking, we illuminate and amplify univer-sal questions.

Through our work, we make an earnest commitment to the artistic sus-tainability of the greater community. Our resident company, Son of Se-mele Ensemble, produces two productions each year. In addition, Son of Semele presents the annual Solo and Company Creation Festivals, and welcomes a variety of guest productions by like-minded theater artists through our Guest Productions program. For more information on Son of Semele programming, please visit our website.

CASTWill Bradley (Owen) LA theater credits include Romeo and Juliet (A Noise Within), Miravel (Sacred Fools), Fi-garo (A Noise Within), Stupid Fucking Bird (The Theatre @ Boston Court). Off-Broadway credits: The Twentieth-Century Way (Rattlestick Playwrights Theatre), Man And Superman (The Irish Repertory Theatre). Regional Credits: Lord Of The Flies (Barrington Stage), Candida (Two River

Theatre), Third (The Horizon Theatre). Television and film: Pretty Little Liars, The Normal Heart. Thank you to Sheila Callaghan for writing this incredible play and to you for coming to see it. Follow him on Instagram @thewillbradley.

Betsy Moore (Jane Fonda) After performing at Shake-speare Santa Cruz, Betsy’s career in Southern CA began with the famed Tony ‘n Tina’s Wedding. Work with ex-perimental writer/director John Sinner led to success-ful productions at REDCAT and the New York and Am-sterdam Fringe Festivals. She is thrilled that the short While the Trees Sleep (lead actress) was recently ac-

cepted to the Cannes and Edinburgh film festivals. After playing Joan in Bill and Joan at Sacred Fools she performed in awesome productions at Son of Semele including the well reviewed and honored Love and Infor-mation and her solo show Freebird goes to Mars. www.betsy-moore.com

Cindy Nguyen (Agnes) is very excited to be a part of That Pretty Pretty! She was last seen in Son of Semele Ensemble productions Love and Information and If You Can Get to Buffalo. She graduated with a BFA in Theatre Performance at Chapman University. Other LA Theatre: A Night of Noh Theatre: Kinuta (Actors Circle Ensemble). Also works in TV, film, and commercially when the universe is kind.

Tope Oni (Rodney) is an LA-based actor from New York City, educated in Chicago and NY, with an extensive the-atre background in English Renaissance and modern work, and on film in the Miami and NY independent scene. Re-cently arrived in Los Angeles, he is thrilled to be a Son of Semele Ensemble track member and honored to be work-ing with Marya, Sheila and the incredible cast and crew.

Paula Rebelo (Valerie) is excited to be making her debut

with Son of Semele. Select credits include Theatre Move-

ment Bazaar’s Big Shot (South Coast Repertory & Bootleg

Theatre), Four Larks’ The Temptation of St Antony (2015

Ovation Award for Acting Ensemble of a Play) and CNP’s

Prometheus Bound at the Getty Villa. She holds a BFA

from CalArts. Originally from Rio de Janeiro, Brazil, Paula

is thankful to have found an artistic family in Los Angeles at Son of Semele

Ensemble. She thanks her family for coming all the way from Brazil to see her

shows - and B.B. for being. paularebelo.com

PRODUCTION TEAMChristina Bryan (Stage Manager) is a recent graduate from the University of Southern California, where she majored in Stage Management & Technical Production. Recent credits include Mary’s Wedding (Malibu Playhouse), Get. That. Snitch. (Great Minds Creative Productions), and Follow (Watts Village Theatre Company). In her rare but precious free time, Christina enjoys dining out, making friends with neighborhood cats, and growing jalapeño peppers.

Sheila Callaghan (Playwright) has had plays produced and developed with Soho Rep, Playwright’s Horizons, Yale Rep, South Coast Repertory, Clubbed Thumb, The LARK, Actor’s Theatre of Louisville, New Georges, The Flea, Wool-ly Mammoth, Boston Court, and Rattlestick Playwright’s Theatre, among oth-ers. In 2010, she was profiled by Marie Claire as one of “18 Successful Women Who Are Changing the World,” and was named one of Variety magazine’s “10 Screenwriters to Watch” that same year. Sheila is currently a writer/producer on the hit Showtime comedy Shameless and a founding member of the femi-nist activist group The Kilroys. In 2016 she was nominated for a Golden Globe for her work on the Hulu comedy series Casual.

Josh Epstein (Lighting Designer) has designed lighting for many of the top regional theaters in the country including: Mark Taper Forum, The Pasadena Playhouse, Kirk Douglas Theatre, Geffen Playhouse, The Guthrie, The Good-man, Trinity Repertory Company, Baltimore Center Stage, Long Wharf, Paper Mill Playhouse, Alliance Theater, Playmakers Repertory and The Cincinnati Playhouse. He is a visiting professor at UCLA School of Theater, Film and Television. Josh received his MFA from NYU’s Tisch School of the Arts. He is a recipient of the NEA/TCG Career Development Program for Designers and a member of the O’Neill National Playwrights Conference Artistic Council. joshepsteindesign.com.

Shen Heckel (Technical Director) graduated from UCLA’s school of Theatre, Film, and Television, and has had the pleasure of working as a carpenter for both the Geffen Playhouse and the Kirk Douglas Theatre. He has worked in all aspects of theatre, including: stage manager and lighting designer of Twelfth Night, R&J, and A Winter’s Tale; set and lighting designer of The Bachelorette; assistant stage manager of Recorded in Hollywood; properties master of As-sassins, Taming of the Shrew, The Ben Hecht Show and Corktown 57. Most recently, he was the director and set designer of Next Thing You Know.

Edgar Landa (Fight Director) is an actor/director and creates fights & vio-lence for theatres large and small. Credits include: Hit The Wall (Los Angeles LGBT Center), El Henry (San Diego Rep/La Jolla Playhouse); The Reunion (South Coast Repertory); The Steward of Christendom (CTG/Mark Taper Fo-rum); Parfumerie (Annenberg Center for the Performing Arts); The Nether (CTG/Kirk Douglas Theatre). Edgar serves on the faculty of the USC School of Dramatic Arts and is a long-time collaborator of Son of Semele Ensemble. He is a proud AEA member and Pro99 supporter of small theatre in Los Angeles.

Aubree Lynn (Scenic Designer) is Los Angeles-based designer who works collaboratively to design and create space for live performance, film, installa-tions, and happenings throughout the United States and internationally. Her

biggerdream

a new Broadway Musical

book by JOHN AUGUST music & lyrics by ANDREW LIPPAbased on the novel by DANIEL WALLACE

and the Columbia Motion Picture written by JOHN AUGUST

“Big Fish” is presented through special arrangement with Theatrical Rights Worldwide.

MARCH 17 to APRIL 22, 2017Fridays & Saturdays 8 p.m. Sundays 2 p.m.

WESTCHESTER PLAYHOUSE8301 Hindry Avenue, Los Angeles, CA 90045 For Reservations call (310) 645-5156

www.kentwoodplayers,org

kentwood players presents

CLYBOURNE PARK by Bruce Norris

Director George L. Rametta

Producer Lauren A. Jarvis

Set Design Jason Gant

Lighting Design John Beckwith

Sound Design Ellen Taurich

Costume Design Sheridan Cole

Cast (in order of appearance)

Russ/Dan ........................................................................... Harold Dershimer Bev/Kathy .......................................................................... Andrea Stradling Francine/Lena ................................................................... Paulina Bugembe Jim/Tom/Kenneth .................................................. Jeremy Patrick Hamilton Albert/Kevin ...................................................................... Damon Rutledge Karl/Steve .................................................................................. Matt Landig Betsy/Lindsey .............................................................................. Jen Kerner

Setting

406 Clybourne Street, in the near northwest of Central Chicago.

Act One

September 26, 1959. Three o’clock. Saturday afternoon.

Act Two

September 26, 2009. Three o’clock. Saturday afternoon.

Coda

March 18, 1957. Eight o’clock. Monday morning.

There will be a 15-minute intermission between Acts I and II. Decaf coffee will be served at the intermission, courtesy of Kentwood Players

Presented by special arrangement with Dramatists Play Service, Inc., New York.

CLYBOURNE PARK by Bruce Norris

Director George L. Rametta

Producer Lauren A. Jarvis

Set Design Jason Gant

Lighting Design John Beckwith

Sound Design Ellen Taurich

Costume Design Sheridan Cole

Cast (in order of appearance)

Russ/Dan ........................................................................... Harold Dershimer Bev/Kathy .......................................................................... Andrea Stradling Francine/Lena ................................................................... Paulina Bugembe Jim/Tom/Kenneth .................................................. Jeremy Patrick Hamilton Albert/Kevin ...................................................................... Damon Rutledge Karl/Steve .................................................................................. Matt Landig Betsy/Lindsey .............................................................................. Jen Kerner

Setting

406 Clybourne Street, in the near northwest of Central Chicago.

Act One

September 26, 1959. Three o’clock. Saturday afternoon.

Act Two

September 26, 2009. Three o’clock. Saturday afternoon.

Coda

March 18, 1957. Eight o’clock. Monday morning.

There will be a 15-minute intermission between Acts I and II. Decaf coffee will be served at the intermission, courtesy of Kentwood Players

Presented by special arrangement with Dramatists Play Service, Inc., New York.

About the Cast

Paulina Bugembe (Francine/Lena) – Born and raised in Milwaukee, Wisconsin, Paulina spent her formative years acting out scenes from her favorite movies in her front yard. It wasn't until later in life that she made the connection between that and her passion for acting. She studied the Meisner technique at the Joanne Baron/D.W. Brown Studio on Santa Monica. She is thrilled to be a part of such an important play as Clybourne Park.

Harold Dershimer (Russ/Dan) – Harold’s local credits include productions at the Morgan-Wixson Theater, Theatre Palisades, the El Segundo Playhouse, El Segundo’s Broadway in the Park, and the Long Beach Playhouse. Here at the Westchester Playhouse, he’s been seen in Something’s Afoot, Brighton Beach Memoirs, Mame, An Ideal Husband, Into the Woods, Sordid Lives, The Hollow, Lend Me a Tenor, Rabbit Hole, Candide, Parade, Annie, A Little Night Music, Working, and The Odd Couple. He served as Stage Manager here for Orphans and has also directed the multiple award-winning Kentwood Players productions of Oliver! and

Fiddler on the Roof. His latest directorial project here was A Raisin in the Sun. Harold thanks his family for their continued support.

Jeremy Patrick Hamilton (Jim/Tom/Kenneth) – Jeremy Patrick Hamilton is proud to make his Los Angeles stage debut with the Kentwood Players, having recently moved from New York City. Favorite NYC credits include: The Mistakes Madeline Made (TIC Theater), Toothbrush (Manhattan Rep.), and Twelfth Night (Flea Theater). Jeremy has also worked as a producer on several documentary films with Hawk House Productions. In 2015 Jeremy wrote, directed, and acted in the short film, The North Shore, which is currently in post-production. Love to Brian and Cosmo for all of your support and encouragement. For more information, visit his website at:

jeremypatrickhamilton.com.

Jen Kerner (Betsy/Lindsey) – Simply put, Jen Kerner THRIVES on variety! She is a full time Special Education teacher working with persons with disabilities. Outside of work you’ll find her doing comedy improv at Upright Citizens Brigade, singing with her band Waterparx, performing in plays & musicals, taking ballet, creating encaustic art, and terrorizing the neighborhood on her Harley Davidson. She is currently in a Progressive Insurance commercial with Flo! Jen would like to thank the Kentwood Players for making her feel welcome. Also, Jen would like to thank Justin Wilcott for being the most loving, supportive person she’s ever known.

Matt Landig (Karl/Steve) – Matt is pleased to return to the Westchester Playhouse. Other Kentwood credits: Lend Me a Tenor (Max), Doubt (Father Flynn), and Squabbles (Jerry). Other stage credits include: The Little Dog Laughed (Mitch), The Importance of Being Earnest (Jack), Beau Jest (Bob), Charley's Aunt (the 'title role'), and Moon Over Buffalo (Paul). Awards: The Bay Area Shellie Award - Best Actor (The Diviners), Theatre Palisades - Best Featured Actor (Noises Off). Special thanks to Kaci Christian.

About the Cast

Paulina Bugembe (Francine/Lena) – Born and raised in Milwaukee, Wisconsin, Paulina spent her formative years acting out scenes from her favorite movies in her front yard. It wasn't until later in life that she made the connection between that and her passion for acting. She studied the Meisner technique at the Joanne Baron/D.W. Brown Studio on Santa Monica. She is thrilled to be a part of such an important play as Clybourne Park.

Harold Dershimer (Russ/Dan) – Harold’s local credits include productions at the Morgan-Wixson Theater, Theatre Palisades, the El Segundo Playhouse, El Segundo’s Broadway in the Park, and the Long Beach Playhouse. Here at the Westchester Playhouse, he’s been seen in Something’s Afoot, Brighton Beach Memoirs, Mame, An Ideal Husband, Into the Woods, Sordid Lives, The Hollow, Lend Me a Tenor, Rabbit Hole, Candide, Parade, Annie, A Little Night Music, Working, and The Odd Couple. He served as Stage Manager here for Orphans and has also directed the multiple award-winning Kentwood Players productions of Oliver! and

Fiddler on the Roof. His latest directorial project here was A Raisin in the Sun. Harold thanks his family for their continued support.

Jeremy Patrick Hamilton (Jim/Tom/Kenneth) – Jeremy Patrick Hamilton is proud to make his Los Angeles stage debut with the Kentwood Players, having recently moved from New York City. Favorite NYC credits include: The Mistakes Madeline Made (TIC Theater), Toothbrush (Manhattan Rep.), and Twelfth Night (Flea Theater). Jeremy has also worked as a producer on several documentary films with Hawk House Productions. In 2015 Jeremy wrote, directed, and acted in the short film, The North Shore, which is currently in post-production. Love to Brian and Cosmo for all of your support and encouragement. For more information, visit his website at:

jeremypatrickhamilton.com.

Jen Kerner (Betsy/Lindsey) – Simply put, Jen Kerner THRIVES on variety! She is a full time Special Education teacher working with persons with disabilities. Outside of work you’ll find her doing comedy improv at Upright Citizens Brigade, singing with her band Waterparx, performing in plays & musicals, taking ballet, creating encaustic art, and terrorizing the neighborhood on her Harley Davidson. She is currently in a Progressive Insurance commercial with Flo! Jen would like to thank the Kentwood Players for making her feel welcome. Also, Jen would like to thank Justin Wilcott for being the most loving, supportive person she’s ever known.

Matt Landig (Karl/Steve) – Matt is pleased to return to the Westchester Playhouse. Other Kentwood credits: Lend Me a Tenor (Max), Doubt (Father Flynn), and Squabbles (Jerry). Other stage credits include: The Little Dog Laughed (Mitch), The Importance of Being Earnest (Jack), Beau Jest (Bob), Charley's Aunt (the 'title role'), and Moon Over Buffalo (Paul). Awards: The Bay Area Shellie Award - Best Actor (The Diviners), Theatre Palisades - Best Featured Actor (Noises Off). Special thanks to Kaci Christian.

Damon Rutledge (Albert/Kevin) – Fresh from starring as Walter Lee in the iconic play A Raisin in the Sun, Damon is still floating on Cloud 9. In addition to Clybourne Park, he has just been cast as Othello in the summer production by Shakespeare by the Sea. Damon would like to thank Kentwood Players and the Westchester Playhouse for producing these opportunities and providing an avenue to help him pursue his dreams.

Andrea Stradling (Bev/Kathy) – Andrea is thrilled to return to Westchester Playhouse and honored to be a cast member of the remarkable Clybourne Park. Recently, she was seen as Mrs. Ravenscroft in Ravenscroft and Mrs. Marchmont in An Ideal Husband. Andrea received a best leading actress SCENIE for her work in Plaza Suite at Morgan-Wixson and recently played Penelope Sycamore in You Can’t Take It With You at Glendale Center Theatre. She sends love to Nicholas and Tierney and prays that “one day we can all sit around one big table” in peace.

About the Director

George L. Rametta (Director) – George walked through the doors of our theatre 23 years ago and found his home away from home. In that time he has nearly done it all, having been involved in numerous shows, workshops, and Dinner Dances, along with serving on our Board of Directors in many positions. George is very proud to be completing a 3-year run as Subscription Chairman, during which time our numbers have substantially increased. As director for KP, George will forever cherish his multi award-winning show The Trip to Bountiful. As an actor, George's favorite roles have been Edward Rutledge in 1776 and Melvin P. Thorpe in Best Little Whorehouse. And while his middle name might as well be “musical theatre”, George enjoys the flair for the dramatic, thanks all those responsible for bringing Clybourne Park to our stage, and sends kudos to our remarkably talented cast & crew for bringing Clybourne Park to life on our stage. With love always, to Lauren, and my apologies for not always listening with my ears. Just know that I'm always listening with my heart.

About the Producer

Lauren A. Jarvis (Producer) – Lauren is a proud graduate of the Leland Powers School of Radio, Television, & Theater. In earlier years Lauren worked at The New England Living Theater, MA, The Weston Playhouse, VT, and The Berkshire Theater, MA, with such stars as Gloria Swanson, Gloria Grahame, Betty Gillette, Betty and Jane Kean and Ray Fulmer. Lauren has been a member of Kentwood for 22 years, Stage Manager for P.S. Your Cat Is Dead and Producer for The Trip to Bountiful and Time Of My Life. As our resident Betty Crocker Lauren always whips up a fabulous assortment of treats for our ‘Subscriber Saturday’ events & dares you to compare his desserts with Mrs. Lovett’s meat pies – “God, that’s good!”

About the Designers

Jason Gant (Set Design) – Jason joined Kentwood Players in 2015. He is a licensed architect by trade and teaches Revit, a 3-D architectural modeling application, to architects, engineers and construction companies. This is Jason's second involvement on a set design project (his first being Brighton Beach Memoirs), and he is excited to help Kentwood Players visualize the set for Clybourne Park in 3-D. Additionally, Jason has been in the talent industry since his college years doing print modeling, dance, acting and promotions. John Beckwith (Lighting Design) – John has designed lights and worked the lighting board for more shows than he cares to mention. In fact, John does not like to write bios or draw attention to the time and effort he takes to make the Kentwood Players’ shows shine. That just makes us appreciate him all the more. Ellen Taurich (Sound Design) – Ellen is excited to be part of the amazing crew for her second Kentwood Players production. Previous shows she has worked on include Ravenscroft at Kentwood and Private Eyes at the Morgan-Wixson Theatre. When she is not trying to survive junior year of high school at Marymount, Ellen can be found volunteering at either MWT or Kentwood. Sheridan Cole (Costume Design) – Sheridan, KP member for forty-plus years, has costumed over a dozen shows, but Clybourne Park presents special challenges in that each actor plays two entirely different people living 50 years apart. It's been fun outfitting them in dissimilar fashion periods and watching their characters emerge. Thanks to the cooperative cast and her ever-cheery colleague Marie Olivas (and pregnancy expert!) for all the help.

Director’s Note

“Did you hear what I said?” is a commonly used phrase, whether by a parent, teacher, or co-worker. But, the actual question should be, “Are you listening to me?” There is a big difference between the two, as everyone hears, but not everyone listens. This is one of the major themes that drew me to Clybourne Park, as we wonder if the “fine art” of communication is really a fine art after all?? I am quite fascinated in the way that Bruce Norris set up the time frames of 1959 and 2009, in the same house, on the exact same days & dates, and then has many of the same words and phrases repeated by different characters in each time period. Some things just don't change. I ask that our audiences please listen to the Act 1 dialogue, as it will be like déjà vu hearing it again in Act 2. That, in itself, is great conversation for an after-theatre party or drive back home. And what a concept to have the same actors from Act 1 portray many of their related characters in Act 2!! That is sheer brilliance. Mr. Norris might be called an equal opportunity offender, and while the mighty Clybourne Park navigates the treacherous waters of racism, war, gentrification, gender issues, and disabilities, it also steers through a community of ineptitude and anxiety, where every character watches out for political correctness but is also always in a constant state of irritation. Nobody really wants to take home that chafing dish, now do they?? One character in Act 1 asks, “Is this safe?” but has no clue what lies ahead. And later on when we hear, “It's alright. Nothing broken.” we have to wonder if the journey of our mighty vessel was indeed a safe one. And being a ferociously smart and biting play, the comedy, and especially racial comedy, is used as a release valve during some very difficult and uncomfortable passages. Don't let that offend you–just remember Bette Davis' warning: “Fasten your seat belts, it's going to be a bumpy night!”

George L. Rametta May 2016

About the Designers

Jason Gant (Set Design) – Jason joined Kentwood Players in 2015. He is a licensed architect by trade and teaches Revit, a 3-D architectural modeling application, to architects, engineers and construction companies. This is Jason's second involvement on a set design project (his first being Brighton Beach Memoirs), and he is excited to help Kentwood Players visualize the set for Clybourne Park in 3-D. Additionally, Jason has been in the talent industry since his college years doing print modeling, dance, acting and promotions. John Beckwith (Lighting Design) – John has designed lights and worked the lighting board for more shows than he cares to mention. In fact, John does not like to write bios or draw attention to the time and effort he takes to make the Kentwood Players’ shows shine. That just makes us appreciate him all the more. Ellen Taurich (Sound Design) – Ellen is excited to be part of the amazing crew for her second Kentwood Players production. Previous shows she has worked on include Ravenscroft at Kentwood and Private Eyes at the Morgan-Wixson Theatre. When she is not trying to survive junior year of high school at Marymount, Ellen can be found volunteering at either MWT or Kentwood. Sheridan Cole (Costume Design) – Sheridan, KP member for forty-plus years, has costumed over a dozen shows, but Clybourne Park presents special challenges in that each actor plays two entirely different people living 50 years apart. It's been fun outfitting them in dissimilar fashion periods and watching their characters emerge. Thanks to the cooperative cast and her ever-cheery colleague Marie Olivas (and pregnancy expert!) for all the help.

Director’s Note

“Did you hear what I said?” is a commonly used phrase, whether by a parent, teacher, or co-worker. But, the actual question should be, “Are you listening to me?” There is a big difference between the two, as everyone hears, but not everyone listens. This is one of the major themes that drew me to Clybourne Park, as we wonder if the “fine art” of communication is really a fine art after all?? I am quite fascinated in the way that Bruce Norris set up the time frames of 1959 and 2009, in the same house, on the exact same days & dates, and then has many of the same words and phrases repeated by different characters in each time period. Some things just don't change. I ask that our audiences please listen to the Act 1 dialogue, as it will be like déjà vu hearing it again in Act 2. That, in itself, is great conversation for an after-theatre party or drive back home. And what a concept to have the same actors from Act 1 portray many of their related characters in Act 2!! That is sheer brilliance. Mr. Norris might be called an equal opportunity offender, and while the mighty Clybourne Park navigates the treacherous waters of racism, war, gentrification, gender issues, and disabilities, it also steers through a community of ineptitude and anxiety, where every character watches out for political correctness but is also always in a constant state of irritation. Nobody really wants to take home that chafing dish, now do they?? One character in Act 1 asks, “Is this safe?” but has no clue what lies ahead. And later on when we hear, “It's alright. Nothing broken.” we have to wonder if the journey of our mighty vessel was indeed a safe one. And being a ferociously smart and biting play, the comedy, and especially racial comedy, is used as a release valve during some very difficult and uncomfortable passages. Don't let that offend you–just remember Bette Davis' warning: “Fasten your seat belts, it's going to be a bumpy night!”

George L. Rametta May 2016

biggerdream

a new Broadway Musical

book by JOHN AUGUST music & lyrics by ANDREW LIPPAbased on the novel by DANIEL WALLACE

and the Columbia Motion Picture written by JOHN AUGUST

“Big Fish” is presented through special arrangement with Theatrical Rights Worldwide.

MARCH 17 to APRIL 22, 2017Fridays & Saturdays 8 p.m. Sundays 2 p.m.

WESTCHESTER PLAYHOUSE8301 Hindry Avenue, Los Angeles, CA 90045 For Reservations call (310) 645-5156

www.kentwoodplayers,org

kentwood players presents

PRESENTS

Written & Directed by

Mitch Rosander

VINCE……………………………….……………………………………………Kristian Maxwell-McGeever THE FOG………………………………………………………………………………………….…Bree Pavey* AL……………………………………...………………………………………………………………Jon Tosetti YOUNG VINCE/MICHAEL………….…….…….……………………………….……………...Leon Mayne GRANDPA ……………..……………………………………………….……………………….Peter Schuyler TED/ENSEMBLE……………….……………………….…………….…………...………………Max Marsh DAN/ENSEMBLE……………………………………………….…………………………………Alex Tracy JENNY/ENSEMBLE…………………………………………………………………………….Ashley Snyder SONI/MOM……………………………………………………………………………….Maria Mastroyannis LISA/ENSEMBLE………………..……………………………………………………………Lauren Sperling MEGAN/ENSEMBLE……………………...………………..…………………………….Shannon Estabrook BETH/ENSEMBLE………………..…………………...…………………………………………Tiffany Anne DAN UNDERSTUDY/ENSEMBLE…......……………………………………………………….Esten Daniel TED UNDERSTUDY/MALE SWING/ENSEMBLE…………………………...………….....Nathan Shoop BILL VO………………………………………………………..……………………………….Mitch Rosander

*Member of Actors’ Equity Association,

Union of Professional Actors and Stage Managers in the United States

This production is presented under the auspices of

Actor’s Equity Membership Company Rule.

PRESENTS

Written & Directed by

Mitch Rosander

VINCE……………………………….……………………………………………Kristian Maxwell-McGeever THE FOG………………………………………………………………………………………….…Bree Pavey* AL……………………………………...………………………………………………………………Jon Tosetti YOUNG VINCE/MICHAEL………….…….…….……………………………….……………...Leon Mayne GRANDPA ……………..……………………………………………….……………………….Peter Schuyler TED/ENSEMBLE……………….……………………….…………….…………...………………Max Marsh DAN/ENSEMBLE……………………………………………….…………………………………Alex Tracy JENNY/ENSEMBLE…………………………………………………………………………….Ashley Snyder SONI/MOM……………………………………………………………………………….Maria Mastroyannis LISA/ENSEMBLE………………..……………………………………………………………Lauren Sperling MEGAN/ENSEMBLE……………………...………………..…………………………….Shannon Estabrook BETH/ENSEMBLE………………..…………………...…………………………………………Tiffany Anne DAN UNDERSTUDY/ENSEMBLE…......……………………………………………………….Esten Daniel TED UNDERSTUDY/MALE SWING/ENSEMBLE…………………………...………….....Nathan Shoop BILL VO………………………………………………………..……………………………….Mitch Rosander

*Member of Actors’ Equity Association,

Union of Professional Actors and Stage Managers in the United States

This production is presented under the auspices of

Actor’s Equity Membership Company Rule.

LOFT ENSEMBLE STAFF

ARTISTIC DIRECTOR…………………………………………………………….…………Adam Chambers MANAGING DIRECTOR………………..………………...….…………...…………………….Kevin Meoak PRODUCTION MANAGER……………...……………………..………..………….……………..Bree Pavey TECHNICAL DIRECTOR………………….....…………………………...…………..……....Mitch Rosander COMPANY MANAGER……………………......…………….………...…………..………Marissa Galloway TECHNICAL CONSULTANT.…………………………………………………………….Tor Jensen Brown Marketing Manager.……………….Faye Kingslee House Manager………...Lindsey Newell Social Media Manager...………Dayeanne Hutton Literary Manager….……Stephanie Jones Membership Manager...………Victor Kamwendo Sergeant-at-Arms……...…Sarah Claspell Philanthropy Manager……...……….Leon Mayne Archivist……………………...Chris Haas

PRODUCTION STAFF

PRODUCERS…………………………………………………………………………………….......Bree Pavey Lauren Sperling Kevin Meoak WRITER/DIRECTOR……………………………………………………………………...…..Mitch Rosander STAGE MANAGER…………………………………..………………………………..………..Ainsley Peace CHOREOGRAPHY……….…………………………………………………………………………Bree Pavey SET DESIGN……………………………………..…………………………………………..…Mitch Rosander SCENIC DESIGN………………………………………………………………………………Lauren Sperling Tiffany Anne LIGHTING DESIGN……...…………………………………...………………………..………….Matt Richter Mitch Rosander SOUND DESIGN…………………………....…………………………….………………….. Suze Campagna

Dean Hovey COSTUME DESIGN…………………..…………….……………………...………….……Marissa Galloway Dayeanne Hutton MAKEUP DESIGN…………………………………………………………………….Angela Santori Merritt MAKEUP CREW………………………………………………………………………..……Ali Fisher-Collins

BOOTH OPERATOR………………………………………..…………………………………..Jordan Wynter STAGE CREW…………………………………………………………………………..Cadence Ellen Whittle PHOTOGRAPHY………………………………………………………………………..…………J.D. Ramage Ryan Johnson GRAPHIC DESIGN……………..………………..………………………………..………Amanda Chambers VIDEO PRODUCTION………………………………………………………..….…………….Nathan Shoop Kevin Kelly T. Michael Woolston

CAST & PRODUCTION STAFF TIFFANY ANNE (BETH/ENSEMBLE) is a Los Angeles native and though she's been involved in theatre for several years, her main passion is music. She has three current musical projects Last Animal, Buffalo, and Make Out Point. Tiffany also wrote the accompanying music to Lost Angels’ 2015 production of Middletown and LAVC's 2016 production of The Laramie Project. She co-hosts a podcast called Arrogant and in her free time makes custom puppets, draws and paints. This is Tiffany’s first production with Loft Ensemble. SUZE CAMPAGNA (SOUND DESIGNER) is thrilled to be working with Loft Ensemble on her first full length play as sound designer. She has been running and programming sound for Serial Killers at Sacred Fools Theater Company for several years now, where she is a member and sound master. SHANNON ESTABROOK (MEGAN/ENSEMBLE) is a mountain girl from Lake Tahoe, adapting to the wiles of Los Angeles. Graduating from the American Musical and Dramatic Academy in 2012 was the kick-start to her career, by specializing in staged productions and grind-house classics such as Prepare to Die and Zombies in the Basement. Shannon would like to thank her kitten, Sgt. Pepper, for keeping her awake until dawn; you are an essential part of the late-night-writing process. MARISSA GALLOWAY (COSTUME DESIGNER) started as a child model and spent her life in front of a camera or on the stage and is so excited to now lend her talents behind the scenes. She is a graduate of the American Academy of dramatic Arts. Some of Marissa’s favorite productions, both on and off the Loft stage, are A Lie of the Mind, HONK! (The Edinburgh Fringe Festival), Everything in the Garden, Wait Until Dark, Catalyst, and LoveSick (Winner of Excellence by an Ensemble at the 2012 New York International Fringe Festival), and Hammer of the Witches. DAYEANNE HUTTON (COSTUME DESIGNER) is happy to be a part of the production team for The Aeroplane. This is her third production at Loft, and she couldn't ask to be a member of a better team of people. Dayeanne is a graduate of Columbia College Chicago and you can find more of her work at dayeannehutton.com. DANIEL JOO (DAN UNDERSTUDY/ENSEMBLE) was born and raised in Los Angeles and holds Bachelor’s degrees in Sociology and Law & Society from the University of California Santa Barbara (UCSB). He recently completed his first year at the American Academy of Dramatic Arts (AADA). While studying at UCSB, Daniel was an active member of a Polynesian dance group, Iaorona Te Otea, and danced on tour with Morris Day & The Time. He has competed in Model America and won 2nd place at Muscle Mania, an amateur body building competition. Daniel has played semi-pro football, is trained in Krav Maga, boxing, and Tae Kwon Do (for which he won 1st place at the 2009 Tae Kwon Do World Cup Competition). He is also an active officer of the San Fernando Masonic Lodge. Daniel is an experienced actor having worked on several independent films and theatre productions such as Fortune 500 Man, Natural Demise, Surviving August, Ocean Front Property, Piece of My Heart, and has worked behind the scenes as an Assistant Director and Fight Choreographer.

LOFT ENSEMBLE STAFF

ARTISTIC DIRECTOR…………………………………………………………….…………Adam Chambers MANAGING DIRECTOR………………..………………...….…………...…………………….Kevin Meoak PRODUCTION MANAGER……………...……………………..………..………….……………..Bree Pavey TECHNICAL DIRECTOR………………….....…………………………...…………..……....Mitch Rosander COMPANY MANAGER……………………......…………….………...…………..………Marissa Galloway TECHNICAL CONSULTANT.…………………………………………………………….Tor Jensen Brown Marketing Manager.……………….Faye Kingslee House Manager………...Lindsey Newell Social Media Manager...………Dayeanne Hutton Literary Manager….……Stephanie Jones Membership Manager...………Victor Kamwendo Sergeant-at-Arms……...…Sarah Claspell Philanthropy Manager……...……….Leon Mayne Archivist……………………...Chris Haas

PRODUCTION STAFF

PRODUCERS…………………………………………………………………………………….......Bree Pavey Lauren Sperling Kevin Meoak WRITER/DIRECTOR……………………………………………………………………...…..Mitch Rosander STAGE MANAGER…………………………………..………………………………..………..Ainsley Peace CHOREOGRAPHY……….…………………………………………………………………………Bree Pavey SET DESIGN……………………………………..…………………………………………..…Mitch Rosander SCENIC DESIGN………………………………………………………………………………Lauren Sperling Tiffany Anne LIGHTING DESIGN……...…………………………………...………………………..………….Matt Richter Mitch Rosander SOUND DESIGN…………………………....…………………………….………………….. Suze Campagna

Dean Hovey COSTUME DESIGN…………………..…………….……………………...………….……Marissa Galloway Dayeanne Hutton MAKEUP DESIGN…………………………………………………………………….Angela Santori Merritt MAKEUP CREW………………………………………………………………………..……Ali Fisher-Collins

BOOTH OPERATOR………………………………………..…………………………………..Jordan Wynter STAGE CREW…………………………………………………………………………..Cadence Ellen Whittle PHOTOGRAPHY………………………………………………………………………..…………J.D. Ramage Ryan Johnson GRAPHIC DESIGN……………..………………..………………………………..………Amanda Chambers VIDEO PRODUCTION………………………………………………………..….…………….Nathan Shoop Kevin Kelly T. Michael Woolston

CAST & PRODUCTION STAFF TIFFANY ANNE (BETH/ENSEMBLE) is a Los Angeles native and though she's been involved in theatre for several years, her main passion is music. She has three current musical projects Last Animal, Buffalo, and Make Out Point. Tiffany also wrote the accompanying music to Lost Angels’ 2015 production of Middletown and LAVC's 2016 production of The Laramie Project. She co-hosts a podcast called Arrogant and in her free time makes custom puppets, draws and paints. This is Tiffany’s first production with Loft Ensemble. SUZE CAMPAGNA (SOUND DESIGNER) is thrilled to be working with Loft Ensemble on her first full length play as sound designer. She has been running and programming sound for Serial Killers at Sacred Fools Theater Company for several years now, where she is a member and sound master. SHANNON ESTABROOK (MEGAN/ENSEMBLE) is a mountain girl from Lake Tahoe, adapting to the wiles of Los Angeles. Graduating from the American Musical and Dramatic Academy in 2012 was the kick-start to her career, by specializing in staged productions and grind-house classics such as Prepare to Die and Zombies in the Basement. Shannon would like to thank her kitten, Sgt. Pepper, for keeping her awake until dawn; you are an essential part of the late-night-writing process. MARISSA GALLOWAY (COSTUME DESIGNER) started as a child model and spent her life in front of a camera or on the stage and is so excited to now lend her talents behind the scenes. She is a graduate of the American Academy of dramatic Arts. Some of Marissa’s favorite productions, both on and off the Loft stage, are A Lie of the Mind, HONK! (The Edinburgh Fringe Festival), Everything in the Garden, Wait Until Dark, Catalyst, and LoveSick (Winner of Excellence by an Ensemble at the 2012 New York International Fringe Festival), and Hammer of the Witches. DAYEANNE HUTTON (COSTUME DESIGNER) is happy to be a part of the production team for The Aeroplane. This is her third production at Loft, and she couldn't ask to be a member of a better team of people. Dayeanne is a graduate of Columbia College Chicago and you can find more of her work at dayeannehutton.com. DANIEL JOO (DAN UNDERSTUDY/ENSEMBLE) was born and raised in Los Angeles and holds Bachelor’s degrees in Sociology and Law & Society from the University of California Santa Barbara (UCSB). He recently completed his first year at the American Academy of Dramatic Arts (AADA). While studying at UCSB, Daniel was an active member of a Polynesian dance group, Iaorona Te Otea, and danced on tour with Morris Day & The Time. He has competed in Model America and won 2nd place at Muscle Mania, an amateur body building competition. Daniel has played semi-pro football, is trained in Krav Maga, boxing, and Tae Kwon Do (for which he won 1st place at the 2009 Tae Kwon Do World Cup Competition). He is also an active officer of the San Fernando Masonic Lodge. Daniel is an experienced actor having worked on several independent films and theatre productions such as Fortune 500 Man, Natural Demise, Surviving August, Ocean Front Property, Piece of My Heart, and has worked behind the scenes as an Assistant Director and Fight Choreographer.

CAST & PRODUCTION STAFF

MAX MARSH (TED/ENSEMBLE) is an actor and writer from Chicago who was introduced to acting by his grandfather and mother. After his migration to the West Coast, he attended the American Academy of Dramatic Arts. Some of Max’s favorite roles include Simon the Zealot in Last Days of Judas Iscariot and Pop in The Wooden Dish. He has trained with Second City Chicago and the Elgin Community College long form Improv Troupe. This is Max’s second show with Loft, having recently closed Christmas is Dead and deciding to become a full company member. He is beyond thrilled to work on such a wonderful script with some incredibly gifted nurturing actors in an environment as open and loving as Loft. Thank you, and feel free to enjoy the show. MARIA MASTROYANNIS (SONI/MOM) has played numerous roles in theater, film and televison, including The Diary of Anne Frank, Six Degrees of Separation, No Exit, CONAN and The Young & The Restless. She also co-created and performed her own dance theater pieces, Alter Ego and Fragments. Maria joined Loft last Spring, and couldn’t believe that anyone else in Los Angeles used Viewpoints as a basis for creating work. She is over the moon to be a part of such a creative and quirky group of artists. Maria is also a member of the Classical Theatre Lab, is fluent in German, sometimes plays the piano and is in the process of raising two kids. She would like to thank Mitch for creating this exceptional play and for inviting her to be a part of it! KRISTIAN MAXWELL-MCGEEVER (VINCE) was born in Blackpool, England and raised in Australia, where he honed his musical talents in singing and guitar while playing. Following graduation, he made the move stateside and is now pursuing his love of acting. Kristian graduated from the American Academy of Dramatic Arts with an Associate of Arts degree and was the recipient of the voice and speech award in his graduating class. This is his fifth show at Loft, having recently played Justin in Christmas is Dead, Varick in Hammer of the Witches, Snout in A Midsummer Night’s Dream and Robert in Relationships Suck! This new role, Vince, is Kristian's most important and treasured role to date. He is honored to be part of this show, is amazingly appreciative of his fellow cast members, crew, and director. Kristian can't wait for you to join him on this journey, and he wishes for you to please sit back and relax as your in-flight entertainment will begin shortly. LEON MAYNE (YOUNG VINCE/MICHAEL) recently finished his first year of training at the American Academy of Dramatic Arts and is very excited to be a part of this fun, zany, original play at Loft Ensemble. He was recently an understudy in Loft’s Hammer of The Witches as Heinrich, Cuckoo in a Cage in One Flew Over the Cuckoo’s Nest and Miles in Christmas is Dead. Leon really, really hopes you'll all enjoy the show, as it's very tragic and well-done, so try not to let him down. KEVIN MEOAK (MANAGING DIRECTOR) joined Loft Ensemble in his current position in the summer of 2010 and directed this year’s production of A Midsummer Night’s Dream. Producing highlights include A Ring in Brooklyn at the NoHo Arts Center (New Musicals, Inc.), Loft’s production of LoveSick at the 2012 New York International Fringe Festival (recognized for Outstanding Ensemble), Associate Producer on the award-sweeping Louis and Keely Live at the Sahara at the Matrix, and producing the 2008 LA Weekly Awards. He would like to send special thanks to his wife, Corinne, because she always deserves to be thanked.

CAST & PRODUCTION STAFF

ANGELA SANTORI MERITT (MAKEUP DESIGNER) is thrilled that this will be her sixth show in just over a year at Loft! Even though that may be relatively seasoned, it will always feel like her first show Will You Save Them? Special effects makeup has been Angela’s passion for many years and having the opportunity to learn and create at Loft has really been a dream. She is thankful for all the people she has met that help continue to fuel and push her to be a better artist. Let’s master this crazy circus called life together! Yay!

BREE PAVEY (THE FOG) Off-Broadway credits: A Midsummer Night’s Dream (Hippolyta & Titania), The Columbine Project (Winner, 2009 Artistic Directors’ Achievement Award - Best Supporting Actress). Regional credits include: Christmas is Dead (Michelle), She Kills Monsters (Agnes), A Midsummer Night’s Dream (Puck), Will You Save Them? (Delphine/Writer), Hamlet (Ophelia/Director), What Doesn't Kill You (Ryan/Jennifer/Writer), The Princes' Charming (Minnie), Macbeth (Hecate), Noises Off! (Vicki/Brooke), Beyond Therapy (Prudence) and many, many more. Bree can also be seen in film and on television, standing in line at Starbucks, and drinking Old Fashioneds with Marissa. Much love to VMB, Lord Chambers, MrKDawg, LoLo and her awesome family. Finally, Bree is so proud of Mitch for his commitment, courage, honesty and generosity. Thank YOU, the audience, for supporting intimate theatre. #lovethebuddyalways MITCH ROSANDER (WRITER/DIRECTOR) is extremely excited and humbled to be able to share this story with you. This is his 3rd world premiere as a playwright here at Loft following The Princes' Charming and Windows. Mitch would like to extend a HUGE pile of thanks to Bree, Lauren, and the entire production team who helped make this madness a reality. He would also like to thank Kristian and Leon for going to all of the scary places and not being afraid, and lastly to the entire cast: “thank you from the bottom of my heart and soul for getting behind this story and trusting me to lead you through the crazy. Thank you Abers for the faith, Professor Brown for the method to the madness and Bree for the accountability. CamCam says have fun! Enjoy the show!” PETER SCHUYLER (GRANDPA) is delighted to be in his third production at Loft Ensemble. Working with this incredibly talented crew is a delight. Peter’s Los Angeles theater credits include the Old Guy in Hollywood Fringe’s Pot: The Musical, Porter in Macbeth at Zombie Joe’s, and Dr. Spivey in Loft’s One Flew Over the Cuckoo’s Nest. Hmm. Both of those characters were old guys too. NATHAN SHOOP (TED UNDERSTUDY/MALE SWING/ENSEMBLE) recently joined Loft Ensemble in December and this is his first play with the company. Nathan studied for two years at the John Ruskin school of acting, along with private study from Victor Villar-Hauser and Eddie Jauregui. Regional credits include: Connections (Trey Claymore), A Death In Bethany (Henry), This Is Our Youth (Warren Straub), The Columbine Project (Dylan Klebold), Beirut (Torch). Nathan is presently represented by Beth Stein and Associates commercially and theatrically. He would like to thank everyone at Loft for giving him a safe place to play with himself.

CAST & PRODUCTION STAFF

MAX MARSH (TED/ENSEMBLE) is an actor and writer from Chicago who was introduced to acting by his grandfather and mother. After his migration to the West Coast, he attended the American Academy of Dramatic Arts. Some of Max’s favorite roles include Simon the Zealot in Last Days of Judas Iscariot and Pop in The Wooden Dish. He has trained with Second City Chicago and the Elgin Community College long form Improv Troupe. This is Max’s second show with Loft, having recently closed Christmas is Dead and deciding to become a full company member. He is beyond thrilled to work on such a wonderful script with some incredibly gifted nurturing actors in an environment as open and loving as Loft. Thank you, and feel free to enjoy the show. MARIA MASTROYANNIS (SONI/MOM) has played numerous roles in theater, film and televison, including The Diary of Anne Frank, Six Degrees of Separation, No Exit, CONAN and The Young & The Restless. She also co-created and performed her own dance theater pieces, Alter Ego and Fragments. Maria joined Loft last Spring, and couldn’t believe that anyone else in Los Angeles used Viewpoints as a basis for creating work. She is over the moon to be a part of such a creative and quirky group of artists. Maria is also a member of the Classical Theatre Lab, is fluent in German, sometimes plays the piano and is in the process of raising two kids. She would like to thank Mitch for creating this exceptional play and for inviting her to be a part of it! KRISTIAN MAXWELL-MCGEEVER (VINCE) was born in Blackpool, England and raised in Australia, where he honed his musical talents in singing and guitar while playing. Following graduation, he made the move stateside and is now pursuing his love of acting. Kristian graduated from the American Academy of Dramatic Arts with an Associate of Arts degree and was the recipient of the voice and speech award in his graduating class. This is his fifth show at Loft, having recently played Justin in Christmas is Dead, Varick in Hammer of the Witches, Snout in A Midsummer Night’s Dream and Robert in Relationships Suck! This new role, Vince, is Kristian's most important and treasured role to date. He is honored to be part of this show, is amazingly appreciative of his fellow cast members, crew, and director. Kristian can't wait for you to join him on this journey, and he wishes for you to please sit back and relax as your in-flight entertainment will begin shortly. LEON MAYNE (YOUNG VINCE/MICHAEL) recently finished his first year of training at the American Academy of Dramatic Arts and is very excited to be a part of this fun, zany, original play at Loft Ensemble. He was recently an understudy in Loft’s Hammer of The Witches as Heinrich, Cuckoo in a Cage in One Flew Over the Cuckoo’s Nest and Miles in Christmas is Dead. Leon really, really hopes you'll all enjoy the show, as it's very tragic and well-done, so try not to let him down. KEVIN MEOAK (MANAGING DIRECTOR) joined Loft Ensemble in his current position in the summer of 2010 and directed this year’s production of A Midsummer Night’s Dream. Producing highlights include A Ring in Brooklyn at the NoHo Arts Center (New Musicals, Inc.), Loft’s production of LoveSick at the 2012 New York International Fringe Festival (recognized for Outstanding Ensemble), Associate Producer on the award-sweeping Louis and Keely Live at the Sahara at the Matrix, and producing the 2008 LA Weekly Awards. He would like to send special thanks to his wife, Corinne, because she always deserves to be thanked.

CAST & PRODUCTION STAFF

ANGELA SANTORI MERITT (MAKEUP DESIGNER) is thrilled that this will be her sixth show in just over a year at Loft! Even though that may be relatively seasoned, it will always feel like her first show Will You Save Them? Special effects makeup has been Angela’s passion for many years and having the opportunity to learn and create at Loft has really been a dream. She is thankful for all the people she has met that help continue to fuel and push her to be a better artist. Let’s master this crazy circus called life together! Yay!

BREE PAVEY (THE FOG) Off-Broadway credits: A Midsummer Night’s Dream (Hippolyta & Titania), The Columbine Project (Winner, 2009 Artistic Directors’ Achievement Award - Best Supporting Actress). Regional credits include: Christmas is Dead (Michelle), She Kills Monsters (Agnes), A Midsummer Night’s Dream (Puck), Will You Save Them? (Delphine/Writer), Hamlet (Ophelia/Director), What Doesn't Kill You (Ryan/Jennifer/Writer), The Princes' Charming (Minnie), Macbeth (Hecate), Noises Off! (Vicki/Brooke), Beyond Therapy (Prudence) and many, many more. Bree can also be seen in film and on television, standing in line at Starbucks, and drinking Old Fashioneds with Marissa. Much love to VMB, Lord Chambers, MrKDawg, LoLo and her awesome family. Finally, Bree is so proud of Mitch for his commitment, courage, honesty and generosity. Thank YOU, the audience, for supporting intimate theatre. #lovethebuddyalways MITCH ROSANDER (WRITER/DIRECTOR) is extremely excited and humbled to be able to share this story with you. This is his 3rd world premiere as a playwright here at Loft following The Princes' Charming and Windows. Mitch would like to extend a HUGE pile of thanks to Bree, Lauren, and the entire production team who helped make this madness a reality. He would also like to thank Kristian and Leon for going to all of the scary places and not being afraid, and lastly to the entire cast: “thank you from the bottom of my heart and soul for getting behind this story and trusting me to lead you through the crazy. Thank you Abers for the faith, Professor Brown for the method to the madness and Bree for the accountability. CamCam says have fun! Enjoy the show!” PETER SCHUYLER (GRANDPA) is delighted to be in his third production at Loft Ensemble. Working with this incredibly talented crew is a delight. Peter’s Los Angeles theater credits include the Old Guy in Hollywood Fringe’s Pot: The Musical, Porter in Macbeth at Zombie Joe’s, and Dr. Spivey in Loft’s One Flew Over the Cuckoo’s Nest. Hmm. Both of those characters were old guys too. NATHAN SHOOP (TED UNDERSTUDY/MALE SWING/ENSEMBLE) recently joined Loft Ensemble in December and this is his first play with the company. Nathan studied for two years at the John Ruskin school of acting, along with private study from Victor Villar-Hauser and Eddie Jauregui. Regional credits include: Connections (Trey Claymore), A Death In Bethany (Henry), This Is Our Youth (Warren Straub), The Columbine Project (Dylan Klebold), Beirut (Torch). Nathan is presently represented by Beth Stein and Associates commercially and theatrically. He would like to thank everyone at Loft for giving him a safe place to play with himself.

CAST & PRODUCTION STAFF

ASHLEY SNYDER (JENNY/ENSEMBLE) was born and raised in Southern California and made her stage debut as Yenchna in Neil Simon’s Fools. She later moved to NYC to attend The American Academy of Dramatic Arts. This is Ashley's fourth show at Loft, having previously appeared in One Flew Over the Cuckoo’s Nest, The Princes’ Charming (returning to the stage at Hollywood Fringe in 2016!), and Hamlet. She is thrilled to be back on stage for Aeroplane. Ashley immensely adores her Loft family and feels insanely lucky to have found this group of people. She would like to thank her parents for their love and constant support as well as Billy and Autumn, her built in besties. Also, Mitch is amazing. LAUREN SPERLING (LISA/ENSEMBLE) is honored to join the cast of Aeroplane, which marks her eighth show as a company member at Loft! She spent two years studying acting at AMDA-LA. Lauren performs with A Faery Hunt, the longest running children’s show in Los Angeles. Past Loft credits include Relationships Suck!, The Princes’ Charming, Luci’s Thoughts on Empathy, Hamlet, Catalyst and She Kills Monsters. She also co-produces the monthly Loft Cabaret with Michaela Kahan. In her spare time, Lauren enjoys falling off couches, playing with feathers, picking rosemary, ripping out hearts, and spending time with Mr. Robin. Lauren sends love to the fam bam. Pensate dei pensieri felici. Bugbear. JON TOSETTI (AL) is honored to be a part of Aeroplane for his sixth production with Loft. Regional credits include: South Coast Repertory's A Christmas Carol (Thomas Shelley), Middletown (Cop), One Flew Over the Cuckoo's Nest (Dale Harding), Tracers (Scooter), and most recently Bree Pavey's world premiere Hammer of the Witches (Heinrich). He would like to thank Mitch for his strength and bravery in putting this story to paper and now to stage. “Cheers, my friend. We'll always have the Cher concert.” ALEX TRACY (DAN/ENSEMBLE) is a Georgia native, American Academy of Dramatic Arts graduate, and proud to make his performance debut at Loft with Aeroplane. He would first like to thank everyone who sees this show and hopes they all find their inner value that this play helped identify in himself. Alex additionally wants to recognize just how supportive and overwhelmingly positive his new family here at Loft has been, and looks forward to a future of limitless growth creatively and personally. Welcome and enjoy!

SPECIAL THANKS TO…

Heatherlynn Gonzales Ralph & Carmen Mitchell Matt Richter Linda Muggeridge Actor’s Equity Association Sacred Fools Theater Company The Garland Hotel NoHo Salesforce.com LA Stage Alliance Southwest Airlines

Patron Technology City Hearts: Kids say “Yes” to the Arts

The American Academy for Dramatic Arts All 99 Seat Theaters in Los Angeles

Friends of Bill

Did you know Loft Ensemble shares this space and is partially subsidized by City Hearts, a fellow non-profit arts organization? City Hearts has provided free visual and performing arts classes to children in Los Angeles for over 27 years. www.cityhearts.org

THANK YOU FOR ATTENDING OUR 2015-2016 SEASON!

DON’T MISS OUR ONGOING DARK NIGHT SERIES:

LOFT LATE NIGHT ● DARK N’ STORMY IMPROV LOFT SPEAKEASY ● LOFT CABARET ● LOFT ETCH A SKETCH

COMING TO THE MAINSTAGE

March 2016 - A World Premiere Musical

Wanting Miss Julie Book by John Sparks, Lyrics by Patricia Zehentmayr, and Music by Jake Anthony

Directed by Kevin Meoak

May 2016

King Lear Directed by Bree Pavey

Visit loftensemble.org for our full schedule!

LOFT ENSEMBLE IS…

Adam Chambers (Artistic Director) ● Kevin Meoak (Managing Director)

Deb Baker Jr. ● Seth Bewley ● Cameron Hastings Britton Tor Jensen Brown ● Sarah Claspell ● Laura Cotenescu ● Stefano della Pietra

Raymond Donahey ● Sean Durrie ● Peter Elliott ● Alex Fream Marissa Galloway ● Gabrielle Gulbranson ● Chris Haas ● Maria Hojas

Dayeanne Hutton ● Stephanie Jones ● Daniel Joo ● Michaela Kahan Victor Kamwendo ● Faye Kingslee ● Shaina Krashin ● Max Marsh Maria Mastroyannis ● Kristian Maxwell-McGeever ● Leon Mayne

Nick McLoughlin ● JoAnn Mendelson ● Raven Miles ● April Morrow Reno Muren ● Sanaye Nelson ● Lindsey Newell ● Bree Pavey

Ainsley Peace ● Jefferson Reid ● Matthew Wayne Roberts ● Mitch Rosander Javier Santovena ● Nathan Shoop ● Nick Slimmer ● Ashley Snyder

Lauren Sperling ● Jon Tosetti ● Alex Tracy ● Emma Alice Weber Cadence Whittle ● Jared Wilson ● T. Michael Woolston ● Jordan Wynter

CAST & PRODUCTION STAFF

ASHLEY SNYDER (JENNY/ENSEMBLE) was born and raised in Southern California and made her stage debut as Yenchna in Neil Simon’s Fools. She later moved to NYC to attend The American Academy of Dramatic Arts. This is Ashley's fourth show at Loft, having previously appeared in One Flew Over the Cuckoo’s Nest, The Princes’ Charming (returning to the stage at Hollywood Fringe in 2016!), and Hamlet. She is thrilled to be back on stage for Aeroplane. Ashley immensely adores her Loft family and feels insanely lucky to have found this group of people. She would like to thank her parents for their love and constant support as well as Billy and Autumn, her built in besties. Also, Mitch is amazing. LAUREN SPERLING (LISA/ENSEMBLE) is honored to join the cast of Aeroplane, which marks her eighth show as a company member at Loft! She spent two years studying acting at AMDA-LA. Lauren performs with A Faery Hunt, the longest running children’s show in Los Angeles. Past Loft credits include Relationships Suck!, The Princes’ Charming, Luci’s Thoughts on Empathy, Hamlet, Catalyst and She Kills Monsters. She also co-produces the monthly Loft Cabaret with Michaela Kahan. In her spare time, Lauren enjoys falling off couches, playing with feathers, picking rosemary, ripping out hearts, and spending time with Mr. Robin. Lauren sends love to the fam bam. Pensate dei pensieri felici. Bugbear. JON TOSETTI (AL) is honored to be a part of Aeroplane for his sixth production with Loft. Regional credits include: South Coast Repertory's A Christmas Carol (Thomas Shelley), Middletown (Cop), One Flew Over the Cuckoo's Nest (Dale Harding), Tracers (Scooter), and most recently Bree Pavey's world premiere Hammer of the Witches (Heinrich). He would like to thank Mitch for his strength and bravery in putting this story to paper and now to stage. “Cheers, my friend. We'll always have the Cher concert.” ALEX TRACY (DAN/ENSEMBLE) is a Georgia native, American Academy of Dramatic Arts graduate, and proud to make his performance debut at Loft with Aeroplane. He would first like to thank everyone who sees this show and hopes they all find their inner value that this play helped identify in himself. Alex additionally wants to recognize just how supportive and overwhelmingly positive his new family here at Loft has been, and looks forward to a future of limitless growth creatively and personally. Welcome and enjoy!

SPECIAL THANKS TO…

Heatherlynn Gonzales Ralph & Carmen Mitchell Matt Richter Linda Muggeridge Actor’s Equity Association Sacred Fools Theater Company The Garland Hotel NoHo Salesforce.com LA Stage Alliance Southwest Airlines

Patron Technology City Hearts: Kids say “Yes” to the Arts

The American Academy for Dramatic Arts All 99 Seat Theaters in Los Angeles

Friends of Bill

Did you know Loft Ensemble shares this space and is partially subsidized by City Hearts, a fellow non-profit arts organization? City Hearts has provided free visual and performing arts classes to children in Los Angeles for over 27 years. www.cityhearts.org

THANK YOU FOR ATTENDING OUR 2015-2016 SEASON!

DON’T MISS OUR ONGOING DARK NIGHT SERIES:

LOFT LATE NIGHT ● DARK N’ STORMY IMPROV LOFT SPEAKEASY ● LOFT CABARET ● LOFT ETCH A SKETCH

COMING TO THE MAINSTAGE

March 2016 - A World Premiere Musical

Wanting Miss Julie Book by John Sparks, Lyrics by Patricia Zehentmayr, and Music by Jake Anthony

Directed by Kevin Meoak

May 2016

King Lear Directed by Bree Pavey

Visit loftensemble.org for our full schedule!

LOFT ENSEMBLE IS…

Adam Chambers (Artistic Director) ● Kevin Meoak (Managing Director)

Deb Baker Jr. ● Seth Bewley ● Cameron Hastings Britton Tor Jensen Brown ● Sarah Claspell ● Laura Cotenescu ● Stefano della Pietra

Raymond Donahey ● Sean Durrie ● Peter Elliott ● Alex Fream Marissa Galloway ● Gabrielle Gulbranson ● Chris Haas ● Maria Hojas

Dayeanne Hutton ● Stephanie Jones ● Daniel Joo ● Michaela Kahan Victor Kamwendo ● Faye Kingslee ● Shaina Krashin ● Max Marsh Maria Mastroyannis ● Kristian Maxwell-McGeever ● Leon Mayne

Nick McLoughlin ● JoAnn Mendelson ● Raven Miles ● April Morrow Reno Muren ● Sanaye Nelson ● Lindsey Newell ● Bree Pavey

Ainsley Peace ● Jefferson Reid ● Matthew Wayne Roberts ● Mitch Rosander Javier Santovena ● Nathan Shoop ● Nick Slimmer ● Ashley Snyder

Lauren Sperling ● Jon Tosetti ● Alex Tracy ● Emma Alice Weber Cadence Whittle ● Jared Wilson ● T. Michael Woolston ● Jordan Wynter

BECOME A DONOR AND HELP LOFT FLY Donations can be made online at loftensemble.org.

Loft Ensemble is a 501(c)(3) nonprofit corporation and all donations are tax deductible to the fullest extent of the law

THANK YOU to all our donors…

LOFT Stratosphere members ($2500+) Larry and Gloria Wise/Tri-City Glass

James and Ann Yurcek

LOFT Sky members ($1000+) Stephanie Jones and Peter Schuyler

Janice & Charles Lovett Brett Snodgrass

Tony Wise

LOFT Gold Circle members ($500+)

Will and Deb Baker Michael and Keri Botello

In Memory of John Budnik Deborah Baker Jr. Adam Chambers

In Memory of Rod & Georgia Clefton In Memory of Deborah Engel

Les and Kim Fandel Jordan & Marissa Galloway

Carol Hove-Ahmanson Tor Jensen Brown

Bree Pavey Christina Joy Howard

Beryl Huang Jason Ryan Lovett

Kevin Meoak Catherine Ann Sisk Paula & R. Sullivan

Robert, Barbara, & Jason Vaughn Vanessa Vaughn

Larissa Wise T. Michael Woolston

LOFT Silver Circle members ($200+)

Stacen Berg and Paul Zografakis

Patricia & Victor Brown Patty Brown

Kevin & Tammy Chambers (In Honor of Memere)

Susan Wise Garcia Kyle Halkola

Travis Henderson Danny Jordan

Sean Durrie John & Lisa Galloway

Matt McCroskey Dennis Misetich

Linda & Richard Meoak Ana Menendez

Ann Noble Kenneth Rogers

Tom Rogers

LOFT Angel members ($100+) Natasha Baumgardner

Kim Bui Sarah Callagari

Paul & D. Cassaboon Ryan Champoin

Chuck Coyl Sherry Foster

David Fournier Gene Giles

Gary & Gail Klein Katya Lidsky-Friedman

Casey McCollum John & Beverly McGaffey

Michael Melilli Cher Merrill

Sean Miramatsu Cathy Noonan Kim Nguyen

Shaun & Kurt Oaklee Renee Pezzotta

Shaunesy Quinn In Memory of Robert Woodrow Smith

Sara North Ryan Ramos Ryan Rogers

Cris Weatherby

EVERY donation in any amount is meaningful to Loft Ensemble and you have our deepest thanks. Due to space limitations, only donations of $100 or more are acknowledged in our programs.

BECOME A DONOR AND HELP LOFT FLY Donations can be made online at loftensemble.org.

Loft Ensemble is a 501(c)(3) nonprofit corporation and all donations are tax deductible to the fullest extent of the law

THANK YOU to all our donors…

LOFT Stratosphere members ($2500+) Larry and Gloria Wise/Tri-City Glass

James and Ann Yurcek

LOFT Sky members ($1000+) Stephanie Jones and Peter Schuyler

Janice & Charles Lovett Brett Snodgrass

Tony Wise

LOFT Gold Circle members ($500+)

Will and Deb Baker Michael and Keri Botello

In Memory of John Budnik Deborah Baker Jr. Adam Chambers

In Memory of Rod & Georgia Clefton In Memory of Deborah Engel

Les and Kim Fandel Jordan & Marissa Galloway

Carol Hove-Ahmanson Tor Jensen Brown

Bree Pavey Christina Joy Howard

Beryl Huang Jason Ryan Lovett

Kevin Meoak Catherine Ann Sisk Paula & R. Sullivan

Robert, Barbara, & Jason Vaughn Vanessa Vaughn

Larissa Wise T. Michael Woolston

LOFT Silver Circle members ($200+)

Stacen Berg and Paul Zografakis

Patricia & Victor Brown Patty Brown

Kevin & Tammy Chambers (In Honor of Memere)

Susan Wise Garcia Kyle Halkola

Travis Henderson Danny Jordan

Sean Durrie John & Lisa Galloway

Matt McCroskey Dennis Misetich

Linda & Richard Meoak Ana Menendez

Ann Noble Kenneth Rogers

Tom Rogers

LOFT Angel members ($100+) Natasha Baumgardner

Kim Bui Sarah Callagari

Paul & D. Cassaboon Ryan Champoin

Chuck Coyl Sherry Foster

David Fournier Gene Giles

Gary & Gail Klein Katya Lidsky-Friedman

Casey McCollum John & Beverly McGaffey

Michael Melilli Cher Merrill

Sean Miramatsu Cathy Noonan Kim Nguyen

Shaun & Kurt Oaklee Renee Pezzotta

Shaunesy Quinn In Memory of Robert Woodrow Smith

Sara North Ryan Ramos Ryan Rogers

Cris Weatherby

EVERY donation in any amount is meaningful to Loft Ensemble and you have our deepest thanks. Due to space limitations, only donations of $100 or more are acknowledged in our programs.

biggerdream

a new Broadway Musical

book by JOHN AUGUST music & lyrics by ANDREW LIPPAbased on the novel by DANIEL WALLACE

and the Columbia Motion Picture written by JOHN AUGUST

“Big Fish” is presented through special arrangement with Theatrical Rights Worldwide.

MARCH 17 to APRIL 22, 2017Fridays & Saturdays 8 p.m. Sundays 2 p.m.

WESTCHESTER PLAYHOUSE8301 Hindry Avenue, Los Angeles, CA 90045 For Reservations call (310) 645-5156

www.kentwoodplayers,org

kentwood players presents

F9

(Ch u c k B er r y f r om page F7 )

visit footlights.click

kind of Chuck Berry: bluesy, sexy, and far more dangerous. He gamely comments to his East St. Louis audience, “I’m sorry I left the Cosmopolitan but I’m glad I made that money.” He couldn’t even keep a straight face during the “apology.”

Comparing the film’s two scenes clearly demonstrates Chuck Berry’s “intention to hold both the black and white clientele by voicing the different kinds of songs in their customary tongues.” But intention is sometimes not enough. Even with his desire to sell his product to white audiences, he could never quite outrun the racism of the times. It seems a pity Chuck never had a #1 song during the 1950s when he was at peak creativity. He came close only once: Sweet Little Sixteen hit #2 for a couple of weeks in 1958.

I guess you can make a song sound only so white.

So it’s a sad irony that Chuck Berry’s first and only 1 song was a achieved in the 1970s with a (b) novelty tune that was (c) not written by him and (d) recorded in England. Could there be anything more antithetical to the Chuck Berry mythos than My Ding-a-Ling?

And then it occurs to me that Chuck wouldn’t have found it sad at all. All gold records have the same luster and there are no asterisks on the Billboard Hot 100. Money is money. After all, this was the man who took the exact melody off his Run Rudolph Run and repackaged it the following year as a “new” song, Little Queenie.

Which is not to say that Little Queenie isn’t a little gem unto itself. Because it is.

In fact, Chuck Berry’s, or rather, Chuck Berry and Johnnie Johnson’s music was so powerful that it has been thoroughly absorbed by the culture to nearly the point of cliché. Nearly, but not quite. While Chuck may have targeted an audience, he never did so in a cynical manner. Intentionally blending elements to capture an audience’s attention does not lessen one’s standing as a creator.

Chuck’s desire for bucks may have provided a “pow’ful motor and some hideaway wings” but the resulting journey itself was joyously pure. Chuck was a creative artist of first degree and his work, even if culturally ubiquitous, sounds just as vital today as when it was first committed to wa .

Chuck Berry may be gone but his songs have already withstood the pressure of time. And racism as well. By targeting a specific audience he universali ed the sweet dreamland of fast cars, young love, and not being a minute over 17. Chuck’s commerce created culture. And so he’ll keep all of us – no matter what age, no matter what race – rockin’ ‘n’ rollin’ for all eternity. FL

F10 visit footlights.click

F11visit footlights.click

F13visit footlights.click

But then, the Theater-Film-Television-Producer-Director-Writer-Production Designer, hyphenate, seems to have a penchant for the weird and remote, and a knack for bringing it to life.

Rock’s alternate-universe directing is partnered with genre master Stuart Gordon (Re-Animator, Honey I Shrunk The Kids, Taste) for Sacred Fools Theatre Company’s 2017 Mainstage season finale to re create the early script as a fresh (epic) theatrical experience.

You’ve been in love with Vonnegut since you’ve been a teenager. Why?

Late in adolescence, I read Slaughterhouse Five. It was one of those books that gave you permission to be who you are. It set me off on an all-you-can-eat buffet of Vonnegut. The Sirens of Titan was one of my favorites.

Vonnegut’s books always went down like a sweet, sweet milkshake. He was just funny and punk rock and throwing out traditional structure, so I thought. You have these extremely crude characters cursing and swearing and having sex and wet dreams and stuff, that eighteen-year-old me was able to relate to.

When I re-read Slaughterhouse Five recently, I realized it’s a very classically structured book. Vonnegut merely appears to play with structure. You recognize it’s all about him dealing with PTSD. It’s a terribly sad, confessional story about how the worst things that happen to you, turn you into who you are; that we’re all used in various ways without

Ben Rock (Blair Witch Project, Alien Raiders, Baal, Occupation, Taste) laying out his Sirens of Titan Show & Tell – script, program, tattered teen tome and set design specs – was like discovering ancient artifacts that were going to change the course of human history.

“I brought some visual aids to show you. One of them is the original script that I got from the Chicago Public Library archives. This adaptation that we’re doing, was done in 1975 by the Organic Theatre in Chicago. Stuart did the adaptation with Vonnegut back then. Stuart also gave me the original program from 1977. Look at who was in it. Dennis Franz, Joe Mantegna, and Keith Szarabajka. Keith played Stony Stevenson in the original version. He’s probably going to do the voice for us. And by the way, Caroline who played Beatrice, that’s Stuart’s wife.”

Kurt Vonnegut’s original Hugo Award-nominated novel The Sirens of Titan revolves around a Martian invasion of Earth, and addresses issues of free will, omniscience and the overall purpose of human history.

“Keith, just had amazing stories about his whole experience. When I told him we had the script, he was like, ‘We had a script? I thought we just all had a copy of the book marked up with crayons.’”

It was also a beast to cast. The search for talent who embodied each character’s specificities was as oc described it “like choosing from a murderer’s row of amazing actors”.

by TRAC EY PALEO (@G ia M e d ia 3)

Vonnegut Comes to Sacred Fools

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(Cont’d on page F1 6 )

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our knowledge. It’s kind of meta.

Why Sirens?

Vonnegut’s stuff is smart, spare and straightforward. t’s not owery or wordy. He has a very specific authorial voice terse and dry, brutally sarcastic and fun. Of course in the case of The Sirens of Titan, it’s an outrageous story. There’s a lot of wackiness and humor. He takes a crap all over everything that is sacred and couches hard truth in delicious, ironic narrative science fiction that’s full of weird aliens and robots. You’re allowed to laugh. And the laugh disarms you a bit. But then the philosophy sinks in. This appealed to the adolescent in me then and now and I saw the message as one of humanism and people exercising free will within a deterministic universe.

The sirens in ancient Greece called to sailors with beautiful songs from the island and made them wreck their ships. What Vonnegut is referencing there is that Malachi, the protagonist of the book, who is rich by birth, is promised at the beginning that he’s going to end up on Titan, the Moon of Saturn and he’s going to meet these beautiful women. He’s shown a picture that entrances

him. When he gets there, however, it’s just a statue. Nothing is real. Malachi is a guy on a pathway seeking these all-important, all-consuming things. When he finds them he reali es none of them are what they were supposed to be. And he bears a terrible responsibility for everything that’s happened along the way.

How did you discover the play even existed?

In 1991 I was living in Orlando. There was a theater there called Theatre Downtown run by Frank Hilgenberg. Frank told me he came from the Organic Theatre and had worked for Stuart Gordon as a 19-year-old horror fan. Of course, Stuart Gordon’s name meant the world to me because of Re-Animator and I couldn’t have been more excited. Shortly thereafter, Frank saw me reading a Vonnegut book and says, “Oh we did a Vonnegut adaptation of The Sirens of Titan.”

I was just starting college. I didn’t know how to track something like that down. And there was no internet. So filed that away until four years ago when I was working on Taste with Stuart.

Stuart didn’t have a copy so that started me on a little quest. I went from archive to archive and finally landed in a specific archive at the Chicago Public Library that housed all the Organic scripts. I got permission from Stuart. But I also needed to get permission from the Vonnegut Estate.

The Vonnegut Estate has been instrumental in helping us set this up. The executor of the estate Don Farber, Kurt Vonnegut’s actual lawyer, then in his 90’s, agreed to let me get it as long as we could get a copy to them. They didn’t have one.

Director Ben Rock and actor Eric Curtis Johnson (Rumfoord) Photo: Scott Golden

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hen finally got the play it didn’t feel like a full-length script but it reads like one. It’s only twenty-nine pages long. It’s top of the page to the bottom of the page, from one side to the other. It looked like a one-act. I asked Stuart why was it formatted like that.

“We were just trying to save paper.”

How are you pulling it all together?

I’m biting my nails to the quick. I’m doing everything in my power to make sure the play makes narrative sense so that the audience will stay with it. I tend to think audiences are very smart. But it’s still important to make something like this accessible.This is a book and we’re putting on a play. They are two different animals. I keep saying to the cast too, all the

answers that we need are in this book. There’s some good research in here if you’re wondering why your character does x, y or z.

Many things have to come together. We’re dealing with puppets, special costumes, projections, a moving set and difficult transitions. e’ve come up with some brilliant solutions, though. And whenever I direct a play, we have one rehearsal where it’s nothing but scene changes so that we can keep the story moving. Nothing sucks the life out of an audience like a scene change.

Stuart has done an amazing job in his revision for our production. The Sirens of Titan is distilled down to a playable theatrical story but holds onto all the heart. That’s what the audience is here for. FL

(V onnegu t f r om page F1 4)

F16 visit footlights.click

hen finally got the play it didn’t feel like a full-length script but it reads like one. It’s only twenty-nine pages long. It’s top of the page to the bottom of the page, from one side to the other. It looked like a one-act. I asked Stuart why was it formatted like that.

“We were just trying to save paper.”

How are you pulling it all together?

I’m biting my nails to the quick. I’m doing everything in my power to make sure the play makes narrative sense so that the audience will stay with it. I tend to think audiences are very smart. But it’s still important to make something like this accessible.This is a book and we’re putting on a play. They are two different animals. I keep saying to the cast too, all the

answers that we need are in this book. There’s some good research in here if you’re wondering why your character does x, y or z.

Many things have to come together. We’re dealing with puppets, special costumes, projections, a moving set and difficult transitions. e’ve come up with some brilliant solutions, though. And whenever I direct a play, we have one rehearsal where it’s nothing but scene changes so that we can keep the story moving. Nothing sucks the life out of an audience like a scene change.

Stuart has done an amazing job in his revision for our production. The Sirens of Titan is distilled down to a playable theatrical story but holds onto all the heart. That’s what the audience is here for. FL

(V onnegu t f r om page F1 4)