directed by sam gold west coast premiere theatre october

Ahmanson Theatre

46th Season 2012/2013

first season production

Jeff Goldblum in

Seminar by Theresa Rebeck Directed by Sam GoldWest Coast PremiereOctober 10 – November 18, 2012

second season production

Anything GoesA Roundabout Theatre Company Production

Starring Rachel YorkMusic and Lyrics by Cole Porter Original book by P.G. Wodehouse & Guy Bolton, and Howard Lindsay & Russel CrouseNew book by Timothy Crouse and John WeidmanDirected and Choreographed by Kathleen MarshallNovember 27, 2012 – January 6, 2013

third season production

Backbeatby Iain Softley and Stephen JeffreysDirected by David Leveaux U.S. PremiereJanuary 20 – March 1, 2013

fourth season production

Tracie Bennett as Judy Garland in

End of the Rainbowby Peter QuilterDirected by Terry JohnsonWest Coast PremiereMarch 12 – April 21, 2013

season bonus option

Fela!Book by Jim Lewis and Bill T. Jones Music and Lyrics by Fela Anikulapo-KutiAdditional Lyrics by Jim LewisAdditional Music by Aaron Johnson and Jordan McLeanBased on the life of Fela Anikulapo-KutiConceived by Bill T. Jones, Jim Lewis and Stephen HendelDirected and Choreographed by Bill T. JonesPresented by Shawn “Jay-Z” Carter, Will Smith and Jada Pinkett Smith, Stephen and Ruth HendelApril 26 – May 5, 2013

fifth season production

The Scottsboro BoysMusic and Lyrics by John Kander & Fred Ebb Book by David ThompsonDirection and Choreography by Susan StromanMay 21 – June 30, 2013

season sponsors

P2 PERFORMANCES MAGAZINE

†Deceased

CENTER THEATRE GROUP BOARD OF DIRECTORS2012/2013 OFFICERS

honorary chairmanLew R. Wasserman†

chairmanMartin Massman

presidentWilliam H. Ahmanson

vice presidentAva Fries

secretaryAmy R. Forbes

assistant secretarySusan Grode

treasurerDr. Steven Nagelberg

board membersDean V. AmbrosePamela BeckNorris J. Bishton, Jr.Howard BragmanDiana BuckhantzDannielle Campos RamirezJoseph C. CarieriMarcy CarseyNancy de BrierCástulo de la RochaVin Di BonaDante Di LoretoFrances FlanaganBarbara FodorEric R. GarenKiki Ramos GindlerPatricia GlaserBrindell Roberts GottliebAliza Karney GurenTim HanlonStephen F. Hinchliffe, Jr.Darell L. KrasnoffLucy M. LabruzzoJennifer Altfeld LandauCarol Mancino Antonio ManningDale S. Miller Walter MirischJo MuseEdward B. NahmiasDiane NeubauerEdward L. RadaBill ResnickMichael RitchieLaura RosenwaldBruce L. RossDan SernettCheryl A. ShepherdEva SternSue Tsao

emeritusHarold ApplebaumRonald J. ArnaultJudith BeckmenGordon DavidsonPhyllis HenniganLeonard HirshanRichard KaganNancy Olson LivingstonO. Kit LokeyDiane Morton

past presidentsLew R. Wasserman†Marshall Berges†Armand S. Deutsch†Walter MirischHenry C. Rogers†Richard E. Sherwood†J. David Haft†Lawrence J. Ramer†Stephen F. Hinchliffe, Jr.Phyllis HenniganRichard KaganMartin Massman

Letter from John Kander

NEARLY EVERY MUSICAL I have ever written started as an idea around Fred Ebb’s kitchen table.

The Scottsboro Boys is no different. One morning in 2002, Susan Stroman, David Thompson, Fred Ebb and I were gathered around Fred’s table, eager to start a new project. One of us proposed an idea: what if we were to write a musical about a true story — one based on an important chapter of American history? In order to find inspiration, we turned to the landmark court trials of the 20th century. Immediately, the case that jumped out at us was the story of the Scottsboro Boys. As a young boy growing up in Kansas City, I remember when the Scottsboro Boys were first in the headlines. I remember the conversations with my parents about what the trials meant. I am sure there were similar conversations at kitchen tables across the country. I also remember when the headlines began to fade and the Scottsboro boys gradually disappeared from the national spotlight.

“The Scottsboro Boys is a story that still resonates today…”

As we began to write The Scottsboro Boys, it was immediately apparent why it was so important to tell their story. Behind the headlines, the spectacle, the ongoing trials, the histrionics of politicians and lawyers, was the story of nine young African American boys, determined to prove that they mattered. And as collaborators, our kitchen table conversations continued: how was it possible that a group of innocent boys could be destroyed by a single lie? Why was it easier to believe that lie than it was to accept the truth? The Scottsboro Boys is a story that still resonates today as we struggle to give voice to those who are marginalized or disenfranchised. I remember how much the story touched me as a young boy growing up in Kansas City. And it touches me even more today. Writing The Scottsboro Boys has been one of the most rewarding experiences of my career. I am eager for you to join us at the Ahmanson Theatre and become part of a conversation that I know you will take back to your own kitchen table. n

Sincerely,John Kander

PERFORMANCES MAGAZINE P3

MUSIC AND LYRICS BY

JOHN KANDER & FRED EBBBOOK BY

DAVID THOMPSONWITH

GILBERT L. BAILEY II DAVID BAZEMORE AYANNA BERKSHIRE

SHAVEY BROWN CHRISTOPHER JAMES CULBERSON JOSHUA HENRY

TRENT ARMAND KENDALL MAX KUMANGAI HAL LINDEN JC MONTGOMERY

JUSTIN PRESCOTT CLINTON ROANE CEDRIC SANDERS

DEANDRE SEVON CHRISTIAN DANTE WHITE C. KELLY WRIGHT

MUSIC DIRECTOR

JESSE KISSEL

ASSOCIATE DIRECTOR AND CHOREOGRAPHER

JEFF WHITING

DIRECTION AND CHOREOGRAPHY BY

SUSAN STROMAN

SCENIC DESIGN

BEOWULF BORITTCOSTUME DESIGN

TONI-LESLIE JAMES LIGHTING DESIGN

KEN BILLINGTON SOUND DESIGN

JON WESTON

ORCHESTRATIONS

LARRY HOCHMAN MUSICAL ARRANGEMENTS

GLEN KELLY VOCAL ARRANGEMENTS

DAVID LOUDFIGHT DIRECTOR

RICK SORDELET PRODUCTION STAGE MANAGER

EVANGELINE ROSEWHITLOCK

CASTING

MARK B. SIMON, CSA ASSISTANT CHOREOGRAPHER

ERIC SANTAGATA

Presents

The Scottsboro Boys received its world premiere at the Vineyard Theatre, Douglas Aibel, Artistic Director, Jennifer Garvey-Blackwell, Executive Director, New York City, February 2010.

Originally produced on Broadway by Barry & Fran Weissler and Jacki Barlia Florin,Janet Pailet/Sharon A. Carr/Patricia R. Klausner Nederlander Presentations, Inc/The Shubert Organization, Inc Beechwood Entertainment

Broadway Across America Mark Zimmerman Adam Blanshay/R2D2ProductionsRick Danzansky/Barry Tatelman Bruce Robert Harris/Jack W. Batman Allen Spivak/Jerry Frankel

Bard Theatricals/Probo Productions/Randy DonaldsonCatherine Schreiber/Michael Palitz/Patti Laskawy and Vineyard Theatre, October 2010.

The Scottsboro Boys is presented through special arrangement with Music Theatre International (MTI). New York, NY www.mtishows.com

Ahmanson Theatre • May 21 – June 30, 2013 The Los Angeles production of The Scottsboro Boys is generously supported in part by

Artistic Director’s Circle member Judie Stein and the Stein Family Foundation.


The Interlocutor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HAL LINDENMr. Bones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TRENT ARMAND KENDALLMr. Tambo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JC MONTGOMERYThe Lady. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .C. KELLY WRIGHT

The Scottsboro BoysOzie Powell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GILBERT L. BAILEY IIOlen Montgomery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DAVID BAZEMOREAndy Wright . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTOPHER JAMES CULBERSONHaywood Patterson. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOSHUA HENRYWillie Roberson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JUSTIN PRESCOTTRoy Wright . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CLINTON ROANEClarence Norris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CEDRIC SANDERSEugene Williams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DEANDRE SEVONCharles Weems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CHRISTIAN DANTE WHITE

PLAY VARIOUS OTHER CHARACTERS

Sheriff Bones/Lawyer Bones/Guard Bones/Attorney General/Clerk — TRENT ARMAND KENDALL;Deputy Tambo/Lawyer Tambo/Guard Tambo/Samuel Leibowitz — JC MONTGOMERY;

Victoria Price — CHRISTIAN DANTE WHITE; Ruby Bates — GILBERT L. BAILEY II;Judge/Governor of Alabama — HAL LINDEN; Electrified Charlie — JUSTIN PRESCOTT;

Electrified Isaac/Billy — CLINTON ROANE; Preacher — CEDRIC SANDERS; Little George — DEANDRE SEVON

SWINGS

SHAVEY BROWN and MAX KUMANGAI

UNDERSTUDIES

Understudies never substitute for listed performers unless a specific announcement is made at the time of the performance.

For Haywood Patterson – CEDRIC SANDERS; For The Interlocutor – JC MONTGOMERY; For The Lady – AYANNA BERKSHIRE; For Mr. Tambo, Roy Wright, Ozie Powell, Willie Roberson and Olen Montgomery – SHAVEY BROWN; For Mr. Bones, Clarence Norris, Andy Wright and

Charles Weems – MAX KUMANGAI; For Eugene Williams and Little George – CLINTON ROANE

ASSISTANT STAGE MANAGERS

RYAN C. DURHAMLORA K. POWELL

TIME/PLACEScottsboro, Alabama

1931 – 1937

The Scottsboro Boys is performed without an intermission.

CAST

DANCE CAPTAIN

JUSTIN PRESCOTT FIGHT CAPTAIN

MAX KUMANGAI


Please turn off all electronic devices such as cellular phones, PDAs, beepers and watch alarms. The videotapping or other video or audio recording of this production is strictly prohibited. The taking of photographs, with or without flash, is strictly prohibited. Latecomers will be seated at the discretion of the management. For patrons with disabilities: wheelchair seating is available in a variety of theatre locations. When ordering your tickets, please indicate any special needs.

For our hearing-impaired guests, the theatre is equipped with listening devices; please contact an usher for assistance.

ORCHESTRA

Music Director/Conductor JESSE KISSEL

Piano/Harmonium JESSE KISSEL

Woodwind JEFF DRISKILL

Trumpet CHRIS GRAY

Trombone/Contractor ROBERT PAYNE

Violin LESA TERRY

Bass/Tuba TOBY HOLMES

Guitar PAUL VIAPIANO

Drums TIM McMAHON

MUSICAL NUMBERS

“Minstrel March”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Orchestra

“Hey, Hey, Hey, Hey!”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company

“Commencing in Chattanooga” . . . . . . . . . . . . . . . . . . . . .Haywood, Scottsboro Boys

“Alabama Ladies” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Victoria Price, Ruby Bates

“Nothin’” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Haywood

“Electric Chair” . . . . . . . . . . . . . .Guards, Eugene, Electrified Charlie, Electrified Isaac

“Go Back Home” . . . . . . . . . . . . . . . . . . . . . . . . . .Haywood, Eugene, Scottsboro Boys

“Shout!” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Scottsboro Boys

“Make Friends With the Truth”. . . . . . . . . . . . . . . . . . . . . .Haywood, Scottsboro Boys

“That’s Not the Way We Do Things” . . . . . . . . . . . . . . . . . . . . . . . . Samuel Leibowitz

“Never Too Late” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ruby Bates, Scottsboro Boys

“Financial Advice” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Attorney General

“Southern Days” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Scottsboro Boys

“Chain Gang” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Scottsboro Boys

“Alabama Ladies” (Reprise) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Victoria Price

“Zat So?” . . . . . . . . . . . . . . . . . . . Governor of Alabama, Samuel Leibowitz, Haywood

“You Can’t Do Me” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Haywood, Scottsboro Boys

“The Scottsboro Boys”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Scottsboro Boys

“Minstrel March” (Reprise). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Orchestra


IN MARCH OF 1931, nine black youths, aimed toward nine different paths, hopped a freight train snaking through the Southern belly of the United States. When they would disembark — miles and miles before reaching their intended destinations — those nine lives would be forever, inextricably linked.

Pulled from the train and pinned with the accusation of raping two white women while aboard, the nine were tried in Scottsboro, Alabama, in a trio of hastily convened, jerry-built trials. The proceedings were heard before all-white Southern juries who initially convicted and sentenced all but one of the defendants, who was merely 13 at the time, to death by electric chair.

The story, however, was just beginning.

The “Scottsboro Nine” or “Scottsboro Boys,” as they became known in the press nationally and internationally, served as a living metaphor for the broken promise of equality and justice in America — for all Americans.

Nine Lives Truth, Justice and the Persistence of Memory: Reassessing the Case of the Scottsboro BoysBY LYNELL GEORGE

The Alabama National Guard protects the accused, March 20, 1931. from l to r: Clarence Norris, Olen Montgomery, Andy Wright, Willie Roberson, Ozie Powell, Eugene Williams, Charles Weems, Roy Wright and Haywood Patterson. donated by corbis.

Protestors, lead by Haywood Patterson’s mother, carry signs in front of the White House demanding the Scottsboro Boy’s freedom. donated by corbis.


Despite the admission from one of the alleged victims who revealed she had falsely testified, the trials blundered on, calling witnesses, hearing testimony: the play-by-play in the press fomenting activism across racial, political and geographical lines.

While just this April — 82-years later — an official and long-overdue pardon of the Scottsboro Nine granted by the State of Alabama was recorded and celebrated, the case still remains a stain on both American history and the American psyche. Appealed and retried multiple times, the Scottsboro case would usher the travesty of the U.S. judicial system into the spotlight, thus placing center-stage America’s two-tiered racial caste system for the world to see.

Out of the rubble of nine ruined lives, the case and its subsequent trials, and the accompanying vocal dissent, would serve to inspire and solidify the American Civil Rights Movement.

What was on trial during the Scottsboro affair wasn’t simply the truth or the innocence of nine young black men, but the United States itself and the very foundation on which it stood. Just how much closer the country has come to reaching its stated ideals — of justice, freedom and liberty for all — might be measured by what we read in news headlines or what in turn becomes the grist for radio shock-jocks. The right to a fair trial, the testimony of defendants who are wrongly accused, racial parity — are all themes that spin frequently through the news cycle, are all subjects that Americans have, if not personal experience with, a personal stake in.

This is precisely why composer John Kander and lyricist Fred Ebb chose to wander into this breach and revisit the broken civil compact of a particularly jagged piece of American history. A provocative story connecting a powerful albeit painful through-line from the present to past could have deep resonance beyond the world of the stage; Kander reflects in a letter of the show’s intent (see page 2): “As a young boy … I remember when the Scottsboro Boys were first in the headlines. I remember the conversations with my parents about what the trials meant. I am sure there were similar conversations at kitchen tables across the country. I also remember when the headlines began to fade and the Scottsboro boys gradually disappeared from the national spotlight,” he explained. The story caught fire inside of him.

Years later, as he and Ebb, along with writer David Thompson and director Susan Stroman, began to hash out the storyline at Ebb’s kitchen table, they realized that they had stumbled upon something. But how could they re-create it in such a way that would not just be fresh, but as shocking as it had been at that time — a vehicle that would demand attention?

The approach was nothing short of incendiary and, they knew, potentially polarizing. The story, they determined, would unfold as a classic minstrel show — featuring its stock conventions: rag-tag costuming, a chatty Interlocutor (the white emcee guiding the show) and the culminating cakewalk (the traditional closing dance, often performed in blackface) — taken

together, the whole: a raw confrontation of yet another layer of America’s legacy of bigotry and racism, and at the same time, commentary on the perpetually shifting ground upon which the Scottsboro Nine stood.

Historically, minstrelsy “entertainment,” which both housed and perpetuated many of the black stereotypes still ingrained in collective thought today, reached its peak as a theatrical form in the 19th century and faded out almost completely after the Civil Rights Movement. (It is also the root of the term “Jim Crow,” which was first the song “Jump Jim Crow” and the caricature who sang it, and later the shorthand nomenclature used to classify the series of discriminatory laws that would circumscribe black life in the South and beyond.)

In context of the musical The Scottsboro Boys, however, the minstrel show is a metaphor for the “buffoonery” of the judicial system itself; it derides the manner in which these nine young lives were hijacked and summarily victimized. The idea was to not just lampoon but to critique the system — and create a super-structure for the story that would propel it into public dialogue.

As a team Kander and his longtime collaborator, Ebb (who died in 2004, before the project was completed), weren’t novices to controversy, having tackled complex and sensitive subject matter in their decades-long career, one that has featured singing Nazis in Cabaret set in pre-World War II Berlin, the backdrop of a Latin American prison in Kiss of the Spider Woman or the mix-it-up gangster underworld in Chicago.

That decision addressed a wound, one not just unhealed, but still raw. Blackface and the uneasy, harsh-light spectacle of the minstrel show are not antique nor empty symbols; they evoke powerful emotions, still all-too-vivid memories about race and caste in America. Consequently, the vehicle itself forced a second look — a deeper look. Leaving the viewer unsettled — affected — was a way to keep the story within the audiences’ collective consciousness, potentially on the minds and lips of a new generation.

As the creative team envisioned it, the staged Scottsboro saga wasn’t imagined as typical jukebox musical fare, as it is not a story that should evaporate over after-theatre drinks, or be lost in the minutiae of planning for the next day. Its complex arc requires a different level of thoughtfulness and consideration.

That discomfort is precisely what Kander and Ebb were after, a discomfort with how easy it was, and too often is, to “grab justice,” to manipulate a lie into a semblance of truth — a masquerade or burlesque. “How was it possible that a group of innocent boys could be destroyed by a single lie?” wonders Kander in his letter. And it is a question The Scottsboro Boys implores that we never stop asking; it is a declaration embroidered in hope that the truth may outlive the lie. n

LYNELL GEORGE is a Los Angeles based journalist who writes about art, culture and social issues.


1931MARCH 25: A fight breaks out between white and black young men riding on a freight car. Nine black youths are arrested. Rape charges are added following accusations from two white women.APRIL 6-9: The boys are tried and found guilty.APRIL-DECEMBER: Progressive national organizations call for the country to reject the “Alabama frame-up.”

1932NOVEMBER 7: In Patterson vs. Alabama, the U.S. Supreme Court rules the defendants were denied the right to counsel which violated their rights to due process under the 14th Amendment.

1933JANUARY: Samuel Leibowitz takes on the case on behalf of the International Labor Defense, the legal arm of the Communist Party. MARCH 27: Haywood Patterson’s second trial begins before Judge James Horton.APRIL 6: Ruby Bates appears as a surprise witness and denies the rape occurred.APRIL 9: Haywood Patterson is found guilty.JUNE 22: Judge Horton sets aside Patterson’s

conviction and grants a new trial.NOVEMBER-DECEMBER: The trials of Haywood Patterson and Clarence Norris end in death sentences for both.

1935APRIL 1: In Norris vs. Alabama, the U.S. Supreme Court finds the exclusion of blacks on jury rolls deprives black defendants of their right to equal protection under the law.

1936JANUARY 24: While being transported to Birmingham Jail, Ozie Powell attacks Deputy Edgar Blalock. Sheriff J. Street Sandlin shoots Powell in the head (he survived with brain damage). DECEMBER: Lieutenant Governor Thomas Knight meets Leibowitz in New York to negotiate a compromise.

1937JULY 24: Rape charges against Olen Montgomery, Willie Roberson, Eugene Williams and Roy Wright are dropped. AUGUST 16: The four freed boys appear in Vaudeville.

1938OCTOBER 29: Governor Bib Graves meets with the Scottsboro defendants in his office to consider parole.NOVEMBER 15: Governor Graves denies the pardon applications of all five Scottsboro defendants.

1946JUNE/SEPTEMBER: Ozie Powell and Clarence Norris are released on parole.

1950JUNE: Andy Wright is paroled.DECEMBER: Haywood Patterson writes his autobiography, Scottsboro Boy.

1952AUGUST: Haywood Patterson dies of cancer.

1959AUGUST: Roy Wright dies.

1976OCTOBER 25: Alabama Governor George Wallace officially declares that Clarence Norris, the last of the nine Scottsboro defendants, is “not guilty.”

1989JANUARY 23: Clarence Norris, the last of the Scottsboro Boys, dies.

2013APRIL: The Scottsboro Boys are officially pardoned by the governor of Alabama.

THE SCOTTSBORO BOYS TIMELINE OF EVENTS

Chief Defense Attorney Samuel Leibowitz speaks with defendant Haywood Patterson with the other defendants standing behind. donated by corbis.


Olen Montgomery (Age 17) was extremely nearsighted and nearly blind in one eye from a cataract. The only pair of glasses he had was broken on the day of the arrest and he went for two years without a new pair.

Clarence Norris (Age 19), the son of sharecroppers, was the second of 11 children. After his father died, he began riding the rails to look for work. He was 19 when he was pulled from the train and charged with rape. Like the rest of the boys, he spent much of his time on death row. After many trials and tribulations, Norris was finally given a full pardon in 1976 with the help of the NAACP.

Haywood Patterson (Age 18). At 14, Patterson decided the best way he could help his family would be to not eat at home. He started hopping the trains, and was on his way to Memphis to find work when he was arrested. Haywood entered jail illiterate but he was a quick learner. “By the end of 1931, I got much confidence in my way with words so I prepared a Christmas gift for my mother, a letter by my own hand.”

Ozie Powell (Age 16) had an IQ of “64+” and just three months of schooling. He ran away from home at 14, and bounced from highway camps to sawmills for weeks or months at a time. Powell was jailed without retrial for five years. While being transported in 1936, he cracked under the pressure of constant abuse, and attacked a deputy. He was shot in the head by the sheriff and survived, but suffered from irreversible brain damage for the rest of his life.

Willie Roberson (Age 17). When Roberson was born, his father abandoned the family; his mother died two years later. Raised by his grandmother, he worked as a hotel busboy until her death, when he began riding the rails in search of work and free medical treatment for his severe case of syphilis. Roberson also suffered from asthma.

Charles Weems (Age 19). Charles Weems’ mother died when he was four and only one of his seven siblings survived beyond childhood. He completed school through the fifth grade, leaving school to take a job at a drug store. When his father became ill and unable to work, Weems was sent to live with his aunt in Georgia. He was going back home to Tennessee when he was pulled from the Southern Railroad.

Eugene Williams (Age 13) was the youngest of the Scottsboro Boys. He, like the other boys, was convicted in a speedy trial, but, the Supreme Court of Alabama struck down his conviction based on his young age. He was released in 1937, along with three other defendants.

Andrew “Andy” Wright (Age 19) was born in Chattanooga. He could read and write a bit. In the sixth grade, he was forced to quit school to help his mother after his father died. In 1937, he wrote to the Scottsboro Defense Committee expressing concern that his freedom, and that of four other defendants, had been traded for the release of Montgomery, Roberson, Roy Wright and Williams.

Leroy “Roy” Wright (Age 13). Jailed with his older brother, Andy, he was tried separately from the other boys due to his age, and was sent to jail for six years. Roy was one of the few boys who knew how to write, and often wrote letters on behalf of the others.

Hundreds of demonstrators march in Washington, D.C. against the trials in the Scottsboro case. donated by corbis.

THE SCOTTSBORO BOYS


Who’s Who

GILBERT L. BAILEY II (Ozie Powell/Ruby Bates) is very happy to be back on the train to Chattanooga! Off-Broadway: How The Grinch Stole Christmas (Young Max, Madison Square Garden), Gloryana (The Public). International Tour: Riverdance (Soloist/Tapper). Regional: The Scottsboro Boys (regional premiere, Philadelphia Theatre Company), High School Musical 2 (Chad, Music Theatre of Wichita), West

Side Story (Chino, West Virginia Public Theatre).

DAVID BAZEMORE (Olen Montgomery) most recently appeared in The Scottsboro Boys at American Conservatory Theater, The Old Globe and Philadelphia Theatre Company. His favorite credits include C.C. in Dreamgirls (Signature Theatre, D.C.), Leading Player in Pippin (Tri-County Performing Arts Center), Seaweed in Hairspray (Shenandoah Summer Music Theatre) and Four-Eyed

Moe in Five Guys Named Moe (Wilmington Drama League). He received a BFA in Musical Theatre from Shenandoah University Conservatory where he graduated summa cum laude. Thank you Stro, Jeff, Tommy and Kander for another chance to tell this story! www.dbazemore.net.

AYANNA BERKSHIRE (Understudy for The Lady). Ayanna is thrilled to make her CTG, Ahmanson and Los Angeles stage debut in The Scottsboro Boys. Regional: Race (Artists Repertory Theatre), Back Bog Beast Bait, Bang. Curtain. End of Show., The Investigation of the Murder in El Salvador (defunkt theatre), A Lesson Before Dying (PassinArt Theater Company), Fuente Ovejuna (Teatro

Milagro), The Tales of Canterbury (Ensemble Loupan), A Midsummer Night’s Dream (Tygres Heart Shakespeare), Pure Gold Baby (Seers Network). Film credits include Twilight, Extraordinary Measures, Wendy and Lucy, Say Uncle, The Dust Factory. Television credits include Grimm, Grey’s Anatomy, Awake, Leverage and Curb Your Enthusiasm.

SHAVEY BROWN (Swing/Understudy for Mr. Tambo, Roy Wright, Ozie Powell, Willie Roberson) is ecstatic to join this company again after appearing at The Old Globe and American Conservatory Theater last summer with this beautifully amazing show. His tours include Radio City Christmas Spectacular and The Pajama Game. Regionally he has appeared in Smokey Joe’s Cafe (Arts Center of Coastal

Carolina), The Producers (Maine State Music Theatre and Walnut Street Theatre; Barrymore Award nomination for Outstanding Ensemble in a Musical), Cats and Jesus Christ Superstar (Maine

State Music Theatre), Big River (The Human Race Theatre Company) and High School Musical on Stage! (Beef & Boards). Mr. Brown trained at Wright State University. Thank you to Jeff, Susan, Bloc, Mom, his friends DJB, family and God. Peace, love and happiness.

CHRISTOPHER JAMES CULBERSON (Andy Wright) was seen in The Scottsboro Boys at The Old Globe and A.C.T. and is thrilled to be reprising this role in his hometown of Los Angeles. In New York, Mr. Culberson appeared in Scandalous People (Minetta Lane Theatre), Bathory: The Musical and as Tiger Woods, Serena Williams and a host of other characters in Chuckleball. Some of his other favorite

theatre credits are Bernardo in West Side Story, Adrian in Smokey Joe’s Cafe, Matthew Henson in Ragtime, a New Rhythm Boy and Mrs. O’Malley in My One and Only and Stephen Sondheim’s 75th birthday concert at the Hollywood Bowl. Mr. Culberson’s television credits include Jimmy Kimmel Live!, Bill Nye the Science Guy and portraying Billy Dee Williams on Biography Channel’s Celebrity Ghost Stories. He studied at the Hamilton Academy of Music and UCLA. www.castChristopher.com.

JOSHUA HENRY (Haywood Patterson). Broadway: The Scottsboro Boys (Tony nomination for Best Lead Actor in a Musical), The Gershwins' Porgy and Bess, American Idiot, In the Heights, Bring It On: The Musical. Off-Broadway: In the Heights. Other New York: The Wiz and Cotton Club Parade (both at New York City Center En-cores). Regional: American Idiot (Berkeley Repertory Theatre), The Gershwins' Porgy

and Bess (American Repertory Theater), The Scottsboro Boys (The Guthrie Theater), Being Alive (Westport Country Playhouse), God-spell (Papermill Playhouse). Film: Sex and the City, Winter’s Tale (coming in 2014). Television: Army Wives, Kings, 2011 Tony Awards. Station Three Entertainment. www.joshuahenry.net.

TRENT ARMAND KENDALL (Mr. Bones). Center Theatre Group (Ahmanson): Preacher in The Color Purple, Steward in Into The Woods revival (NAACP nominee Best Supporting Actor). Other L.A.: Cowardly Lion in The Wizard of Oz (Pantages). Broadway and Off-Broadway: Into The Woods, The Wizard of Oz, Rev. Hightower/ Mrs.Taylor in Bat Boy, Mary Hubert in Nunsense A-Men!, God’s

Trombones. National Tours: Smokey Joe’s Cafe, Joseph... London: Five Guys Named Moe, Hey Mr. Producer!. Regional: Thunder Knocking on the Door (Cincinnati Playhouse), My One And Only, Lil’ Abner (Goodspeed), Children of Eden (Paper Mill), Purlie! (Encores). He’s the writer/ star of Picture Incomplete (NYMF, Fringe, United Solo Festival N.Y.- Best Musical, Tampa Bay PAC), Louis & Ella!, writer of Traffic and producer of Mr. Irresistible


(off-Broadway). Film: Five Guys Named Moe, Hey, Mr. Producer!. TV: Law & Order: SVU, Law & Order, Strangers with Candy and numerous commercials. www.TrentKendall.com

MAX KUMANGAI (Swing/Understudy for Mr. Bones, Clarence Norris, Andy Wright, Charles Weems) is so honored to be a part of this amazing show. Broadway National Tour: Hair, Encores!: Superman!, Where’s Charley?, Bells Are Ringing and Anyone Can Whistle. Off-Broadway: What’s That Smell? and Lysistrata Jones. HBO Series: Boardwalk Empire. Regional: Andre in Ain’t Misbehavin’ at Riverside Theatre,

Jetsom in The Little Mermaid and Paul in Kiss Me, Kate at the Muny. Special thanks to the creative team for giving me the opportunity to help tell this story. Thanks to all my agents at Nicolosi! Love to my family and friends. Go Blue!

HAL LINDEN (The Interlocutor) is an actor/singer/musician who has earned three Emmy Awards and a Tony Award (Lead Role in a Musical, The Rothschilds). Linden has recently appeared in Broadway productions of Cabaret, The Gathering and The Sisters Rosensweig. He has appeared on many major television shows, but is best known for the title role on Barney Miller. He has also completed

the national 19-week Hal Linden Tour, played Scrooge in A Christmas Carol at Madison Square Garden, and starred with Jack Lemmon and Walter Matthau in the film Out to Sea. Some of his other accomplishments include 44 weeks on Broadway as a cantankerous octogenarian in I’m Not Rappaport; a role as Alan Alda’s sexy, shallow sidekick in the Paramount feature A New Life; a nine-city tour of Man of La Mancha; and performances (on clarinet) with the Dallas, St. Louis and Atlanta symphonies. Linden began his career as a clarinet player and singer with the bands of Sammy Kaye, Bobby Sherwood and Boyd Raeburn. Linden is a graduate at New York’s American Theatre Wing; he later studied with Paul Mann and Lloyd Richards. His Broadway debut was in the 1958 production of Bells Are Ringing.

JC MONTGOMERY (Mr. Tambo/Understudy for The Interlocutor) was part of the original Broadway production of The Scottsboro Boys. He has also appeared on Broadway in Parade, The Color Purple, Swing, Bye Bye Birdie, The Little Mermaid, Thou Shalt Not, The Boys from Syracuse and Smokey Joe’s Cafe. Regional credits include The Color Purple (Alliance Theatre), Chess (Paper Mill

Playhouse) and The Scottsboro Boys (The Old Globe and A.C.T.). Most recently he appeared in the world premiere of Big Fish at the Oriental Theatre in Chicago. His TV credits include guest appearances on Law & Order, Law & Order: SVU, Law & Order: Criminal Intent, The Gifted Man, Blue Bloods, Another World and

The Guiding Light. He has appeared in over 30 national and regional commercials. Love to Kim, Marcus and Trevor.

JUSTIN PRESCOTT (Willie Roberson) graduated cum laude from SUNY Purchase Conservatory of Dance. He also attended the High School for the Performing and Visual Arts in Houston, TX, and received the 2006 NFAA Silver Award in tap. While at SUNY Purchase he performed as a guest artist with Setsuko Kawagachi Ballet (Nagoya, Japan), Lula Washington Dance Theatre and Taipei

Royal Ballet (Taipei, Taiwan). During this time he also premiered various works by choreographers such as Donald Byrd, Luca Vagetti, Doug Varone and was a premiere soloist for Sidra Bell. Shortly thereafter he made his Broadway debut in the energetic and revolutionary Broadway hit Fela!. Other credits include Fela! (international tour), Lost in the Stars (City Center Encores), Josephine (developmental lab), Memphis (national tour, 2010 Tony Award winner – Best Musical). TV: NBC’s Smash. Justin continuously gives thanks to the Creator and his loving family.

CLINTON ROANE (Roy Wright/Understudy for Eugene Williams) is thrilled to be returning to The Scottsboro Boys, having been a part of the original Broadway company. He also played the role of Roy Wright at the Philadelphia Theatre Company (Barrymore Award nomination for Best Supporting Actor in a Musical), The Old Globe and American Conservatory Theater. His New York

credits include Icarus in The Sporting Life of Icarus Jones. Regional credits include New Rythym Boy in My One and Only, Noble T. Jones in Hello! My Baby and Joey in Frosty the Snowman, as well as readings and workshops. He received a BFA from Howard University and trained at CAP21. Thank you God, family, Stro, Tommy, Kander, Jeff, Eric, friends and this amazing cast and crew.

CEDRIC SANDERS (Clarence Norris/Understudy for Haywood Patterson). Off-Broadway: History of the Word, Tripin the Musical. Other New York: The Me Nobody Knows, The Armageddon Dance Party. Regional: The Gospel According to Fishman (Signature Theatre), Matter of Honor (Pasadena Playhouse, 2008 NAACP Theatre Award for Best Actor). Film: Life Support, The Ten, American Gangster, The

Least Among You (2009 San Diego Film Festival Award for Best Actor), Rocksteady (2011 Jamaica Film Festival Award for Best Actor), The Social Network, All Things Fall Apart. Television: Law & Order, Law & Order: Criminal Intent, Law & Order: SVU and Bones. He will star this fall in the ABC series Mind Games.


DEANDRE SEVON (Eugene Williams/Little George). A native to Virginia. International Tours: Thriller Live (Japan/Scandinavia, Little Michael Jackson). Center Theatre Group: The Scottsboro Boys – debut. Regional: Once on this Island (Agwe), 13 (Eddie), Seussical Jr. (The Cat in the Hat, Awarded Best Male Vocalist), Les Misérables School Edition (Gavroche), Honk Jr. (Ugly). Many, many

thanks to Mark Simon, Eddie Rabon and Natasha Matallana with Take 3 Talent, my family at Miami Children’s Theater (MCT) and Broadway Artists Alliance. Most of all I want to thank my mom and dad for supporting my dream.

CHRISTIAN DANTE WHITE (Charles Weems/Victoria Price). TV: A Mann’s World (NBC, series regular-pilot), 2011 Tony Awards. Broadway: The Scottsboro Boys (original Charles and Victoria). N.Y.: The Wiz (Scarecrow), Lost in the Stars, Cotton Club Parade. Off-Broadway: The Scottsboro Boys, Jersey Boys (Vegas). National Tour: The Book of Mormon, Hairspray

(Seaweed). Workshop: Big Fish (The Witch).

C. KELLY WRIGHT (The Lady) makes her Center Theatre Group debut reprising a role that garnered her a 2012 BATCC nomination for Best Featured Female in a Musical (American Conservatory Theater, SF), and a 2012 Craig Noel Outstanding Resident Musical Award (Old Globe, San Diego). Off-Broadway: revival of The Great MacDaddy (Negro Ensemble Co.), Langston in Harlem (Urban Stages,

AUDELCO Award nomination, Best Supporting Actress), Black Pearl Sings! (InterAct Theatre, Philadelphia, Barrymore Award nomination, Best Actress). For work on various Northern California stages, Wright garnered numerous other Critics Circle nominations and awards for productions including Caroline, or Change; Radio Golf; It Ain’t Nothin' But the Blues; A Civil War Christmas; and Crowns. She appeared in world premieres of A Little Princess and Memphis. Wright's work can be seen on film in Angel Wishes, Everyday Black Man and the upcoming Fox feature Black Nativity.

JOHN KANDER and FRED EBB (Music and Lyrics). John Kander and Fred Ebb’s long collaboration has created many Broadway standards and contemporary classics. Broadway: Flora, the Red Menace; Cabaret (Tony Award); The Happy Time; Zorba; 70, Girls 70; Chicago; The Act; Woman of the Year (Tony Award); The Rink; Kiss of the Spider Woman (Tony Award and Olivier Award); Steel Pier; Curtains and The Scottsboro Boys. Their collaboration also transferred itself to movies, television and original material for the Academy Awards, Liza with a Z (Emmy Award) and HBO’s Liza Minnelli’s Steppin Out (Emmy Award),

Funny Lady, Oscar-nominated for How Lucky Can You Get; Lucky Lady; New York, New York; Stepping Out; and Chicago the movie. Oscar-nominated for Move On. The song “New York, New York” became the official anthem of New York City in 1985. Two musicals The Visit and All About Us have been produced regionally.

DAVID THOMPSON (Book) wrote the books for the Broadway productions of The Scottsboro Boys (Tony and Drama Desk Award nominations, Hull-Warriner Award, Outer Critics Circle and Lucille Lortel Awards for Best Musical), Steel Pier (Tony nomination) and Thou Shalt Not as well as the script adaptation for the current revival of Chicago, now in its 17th year on Broadway. His off-Broadway credits include And the World Goes ‘Round (Drama Desk and Outer Critics Circle Awards) and the revival of Flora, the Red Menace (Drama Desk nomination). Mr. Thompson’s adaptation of A Christmas Carol is now in its 22nd season at McCarter Theatre Center. Mr. Thompson produced and wrote James Taylor’s critically-acclaimed Perspective Series for Carnegie Hall. His television work includes Sondheim: A Celebration at Carnegie Hall, the PBS specials Razzle Dazzle, The Music of Richard Rodgers, and for Great Performances, My Favorite Broadway: The Leading Ladies. Mr. Thompson is a graduate of Northwestern University’s Medill School of Journalism.

SUSAN STROMAN (Direction/Choreography). Broadway: The Producers, Contact, Crazy for You, Show Boat, Oklahoma!, Young Frankenstein, The Frogs, The Music Man, Thou Shalt Not, Steel Pier, Big, Picnic. Off-Broadway: The Scottsboro Boys; Happiness; Flora, the Red Menace; And the World Goes ‘Round; MSG’s A Christmas Carol. New York City Opera: A Little Night Music, 110 in the Shade, Don Giovanni. Ballet: Double Feature (New York City Ballet), For the Love of Duke (New York City Ballet), But Not For Me (Martha Graham Company), Take Five... More or Less (Pacific Northwest Ballet). Film: Center Stage (American Choreography Award), The Producers: The Movie Musical (Four Golden Globe nominations). A five-time Tony Award-winner, her work has been honored with Olivier, Drama Desk, Outer Critics, Lucille Lortel, George Abbott and a record five Astaire Awards.

JEFF WHITING (Associate Director/Choreographer). Broadway credits include Big Fish (associate director), The Scottsboro Boys (associate director/choreographer), Hair (associate director), the Wicked fifth anniversary (associate director) and Young Frankenstein (assistant choreographer). His national tour credits include Young Frankenstein (director), Hairspray (associate director) and The Producers (associate director). His other New York credits include James Taylor: Carnegie Hall (director), Happiness (assistant director/choreographer, Lincoln Center Theater), We Open in Paris (director, Glimmerglass Opera) and Tarantella: Spider Dance (director/choreographer). Mr. Whiting is the founder and artistic director of Open Jar Productions, dedicated to the development and direction of new plays, musicals and special events around the world. Stage Write iPad App, designed and developed by Mr. Whiting, is a digital method for documenting staging and choreography and is already in use for many Broadway shows and tours.www.openjarproductions.com, www.stagewritesoftware.com.


JESSE KISSEL (Music Director/Conductor). Broadway: Leap of Faith, Spiderman: Turn Off the Dark, Ragtime (Avery Fisher Hall 15th Anniversary Concert), The Visit (Actors Fund Benefit) with Chita Rivera and John Collum. Regional: Titanic, Cats at the MUNY in St. Louis. Kennedy Center Spring Gala with Chita Rivera, Jenn Collella, Julie Murney (National Symphony Orchestra – JoAnn Folletta, conductor), Special opening of The Eisenhower Theatre (Kennedy Center); Tovah: Out Of Her Mind (Tovah Feldshuh). Symphonic Work: The Boston Pops – Red, White, and Blue; The Indian Hill Symphony – Paul Whiteman Celebration; Naples Philharmonic – Rhapsody In Blue concert series. Former adjunct faculty at Marymount Manhattan College and NYU’s CAP 21. BFA Boston Conservatory, MM Cincinnati Conservatory of Music in Orchestral Conducting.

BEOWULF BORITT (Scenic Designer). Broadway: The Scottsboro Boys (Tony nomination), Chaplin, Grace, Rock Of Ages, Sondheim On Sondheim, ...Spelling Bee, LoveMusik, The Two And Only. Off-Broadway: More than 50 shows including The Last Five Years, Toxic Avenger, If There Is I Haven’t Found It Yet, Miss Julie, Roundabout, Public, MTC, 2nd Stage, Vineyard, MCC, Primary Stages, New Group, Pearl, American Place, Keen Company. Other Designs: The Seven Deadly Sins (New York City Ballet), Paradise Found (London), Reel to Real (Beijing) and two editions of the Ringling Brothers and Barnum & Bailey Circus. He received a 2007 OBIE Award.

TONI-LESLIE JAMES (Costume Designer) has designed the Broadway productions of Lucky Guy; The Scottsboro Boys; Finian’s Rainbow; Chita Rivera: The Dancer’s Life; Ma Rainey’s Black Bottom; King Hedley II; One Mo’ Time; The Wild Party; Marie Christine; Footloose; The Tempest; Twilight: Los Angeles, 1992; Angels in America: Millennium Approaches and Perestroika; Chronicle of a Death Foretold; and Jelly’s Last Jam. Her television credits include Whoopi for NBC, five specials for PBS’ Great Performances series, As the World Turns (1995–1998), and A Huey P. Newton Story. She is the recipient of a Tony Award nomination, three Drama Desk Award nominations, three Lucille Lortel Award nominations, the American Theatre Wing Henry Hewes Design Award and three additional Hewes nominations, the Connecticut Critics Circle Award, the TDF Irene Sharaff Young Master Award, the 2009 Obie Award for Sustained Excellence in Costume Design. She is the Director of Costumes at Virginia Commonwealth University.

KEN BILLINGTON (Lighting Designer). 97 Broadway shows including this season’s Chaplin. Past seasons have included Hugh Jackman, Back on Broadway, Chicago, The Scottsboro Boys, Sondheim on Sondheim, White Christmas, [title of show], The Drowsy Chaperone, Lily Tomlin in The Search for Signs…, Footloose, Sweeney Todd the Broadway revivals of Bye Bye Birdie, Finian’s Rainbow, Sunday in the Park with George, Annie, Hello Dolly, Fiddler on the Roof, My Fair Lady and hundreds of touring productions from High School Musical to Fiddler on the Roof. Other: Shamu One Ocean and Shamu Rocks for the three Seaworld Parks, Jubilee! at Bally’s Las Vegas, Fantasmic! at Disneyland. Awards: Tony, Drama Desk, Outer Critics, Lumen (Architecture), Ace (Television).

JON WESTON (Sound Designer). Currently working on Big Fish directed by Susan Stroman. He has designed the Broadway production of How to Succeed in Business Without Really Trying; 13; Les Misérables; The Color Purple; The Glass Menagerie; Caroline, or Change (AUDELCO Award); Nine; Imaginary Friends; Thoroughly Modern Millie; The Green Bird, It Ain’t Nothin’ but the Blues; On the Town; Company in concert Lincoln Center Theater; and Man of La Mancha starring Raul Julia and Sheena Easton. His off-Broadway and regional credits include Los Otros (Mark Taper Forum); A Room With a View (The Old Globe); The First Wives Club (The Old Globe); Dangerous Beauty (Pasadena Playhouse); Parade directed by Rob Ashford (Mark Taper Forum); Rooms – A Rock Romance directed by Scott Schwartz; A Little Night Music (Los Angeles Drama Critics Circle Award); Himself and Nora; The Thing About Men; tick, tick… BOOM!; Bright Lights, Big City; and Family Guy Sings! (Carnegie Hall).

RICK SORDELET (Fight Director). 55 Broadway shows including The Lion King, Beauty and the Beast and The Scottsboro Boys. 52 first class productions worldwide including Ben Hur Live in Rome and European tour. Stunt Coordinator for Guiding Light for 12 years and One Life to Live. Teaches at Yale School of Drama. Awards: Edith Oliver Award for Sustained Excellence from the Lucille Lortel Foundation, Jeff Award for Best Fight Direction for Romeo and Juliet at Chicago Shakespeare Theater. Author of Buried Treasure.

MARK B. SIMON, CSA (Casting). CTG: The Royale, Neva (Kirk Douglas Theatre); End of the Rainbow, Backbeat (Ahmanson Theatre); A Parallelogram, Los Otros (Mark Taper Forum). Prior to joining the CTG casting department, Mark worked as a New York-based independent casting director for clients including Hal Prince, Jason Robert Brown, Graciela Daniele, Susan Stroman, Patricia Birch, Stephen Sondheim, Marvin Hamlisch, Nick Hytner, Alfred Uhry, Carol Burnett, Jeremy Sams, New York City Opera and the Radio City Christmas Spectacular on projects including 13, Parade, The Last Five Years, Show Boat, Candide, 3hree, Hollywood Arms, Bounce, LoveMusik, Paradise Found, Sweeney Todd, Chita Rivera: The Dancer’s Life, Sweet Smell of Success and Ragtime. Treasurer of the Board, Casting Society of America.

ERIC SANTAGATA (Assistant Choreographer) has worked on Broadway and in New York on The Scottsboro Boys (assistant director/choreographer), Chaplin, The Apple Tree, Happiness, Face the Music, Stairway to Paradise and How to Save the World and Find True Love in 90 Minutes. His tours include Bobby Van Husen in The Boy Friend directed by Julie Andrews and Guido in Casper starring Chita Rivera. Favorite regional credits include Seymour in Little Shop of Horrors, Bobby Child in Crazy for You, Cosmo in Singin’ in the Rain and Riff in West Side Story. He has appeared on television in the Mel Brooks tribute on The Kennedy Center Honors. Mr. Santagata is a graduate of the Cincinnati College Conservatory of Music.


EVANGELINE ROSE WHITLOCK (Production Stage Manager) has worked regionally on Allegiance, The Scottsboro Boys (co-production with A.C.T.-SF), A Room With a View, Odyssey and Engaging Shaw (The Old Globe), Limelight: The Story of Charlie Chaplin, Hoover Comes Alive! and A Dram of Drummhicit (La Jolla Playhouse), What is the Cause of Thunder? (Williamstown Theatre Festival) and miXtape (Lamb’s Players Theatre). Dance: Agape and Las Mariposas (San Diego premiere and Dominican Republic tour) with Evoke Dance Theatre, Malashock Dance, Michigan Ballet Academy and the Grand Rapids Ballet Company (resident production stage manager). Ms. Whitlock is the production manager and visiting professor of stage management at Baylor University. She is an avid runner and figure skater. MFA UC-San Diego.

RYAN C. DURHAM (Assistant Stage Manager). Broadway: The Scottsboro Boys, Impressionism. Off-Broadway: Ordinary Days (Roundabout Underground), Chair (TFANA), Old Comedy (Target Margin), The Scottsboro Boys, The Slug Bearers of Kayrol Island (Vineyard) The Lacy Project (SoHo Think Tank). Regional: The Unmentionables, The Cherry Orchard (Yale Rep) Hamletmachine, Myakovsky: A Tragedy, Roberto Zucco. (The Cutting Ball), The Taming of the Shrew (Shakespeare & Co).

LORA K. POWELL (Assistant Stage Manager). Broadway/N.Y.: Annie Get Your Gun, Chicago, The Life, Annie and The Wizard of Oz at Madison Square Garden. National Tour: Wicked. Los Angeles: Ahmanson – Backbeat, Seminar, Follies; Pantages – Wicked, The Producers, The Lion King. San Francisco: Wicked. Orange County: Disney’s Aladdin: A Musical Spectacular, Les Misérables. Regional: Paper Mill Playhouse (five seasons as resident production stage manager). Lora is pleased to return to the Ahmanson for The Scottsboro Boys and thanks her parents, and her son Dylan, for their continued love and support.

FOR CENTER THEATRE GROUP

MICHAEL RITCHIE (Artistic Director) is in his eighth season as Center Theatre Group’s Artistic Director, and has led over 100 productions to the Ahmanson, Taper and Douglas stages since his arrival in 2005. From 1996 to 2004 Michael was the Producer of the Williamstown Theatre Festival and prior to that he was a Production Stage Manager in NYC. At CTG, he premiered

six musicals that moved to Broadway—The Drowsy Chaperone (which won 13 Tony Award nominations), Curtains (eight Tony nominations) 13, 9 to 5: The Musical, Bloody Bloody Andrew Jackson and Leap of Faith. He has produced 30 world premieres including the musicals Minsky’s, Venice and Sleeping Beauty Wakes, and the plays Bengal Tiger at the Baghdad Zoo (a Pulitzer Prize finalist that also moved to Broadway), Water & Power and Yellow Face, and he presented a broad range of plays and musicals ranging from Dead End to The Black Rider to Edward Scissorhands to blockbusters such as God of Carnage, Mary

Poppins, Jersey Boys and August: Osage County. In addition, Michael inaugurated CTG’s New Play Production Program, designed to foster the development and production of new work.

EDWARD L. RADA (Managing Director) returned to Center Theatre Group in 2011 after previously serving as CTG’s Chief Financial Officer for 12 years (1996 – 2008). Rada spent three years (2008 – 2011) as President of the Music Center Foundation, a non-profit corporation that holds and invests the endowment and reserve funds for the Music Center and its resident companies (including CTG).

Prior to his years at CTG, he was the Director of Finance at The Old Globe in San Diego and principal of Rada & Associates, an accounting firm that specialized in entertainment-related non-profit organizations and theatrical productions. He is a graduate of Occidental College in Los Angeles with numerous post-graduate coursework and credentials. He currently serves on the board of directors for Entertainment Industry Foundation, Theatre @ Boston Court, and United Support of Artists for Africa/USA for Africa, among other affiliations. He also serves on the board of trustees for the pension, health and welfare and 401(k) plans of I.A.T.S.E. Local 33 Stagehands Union.

DOUGLAS C. BAKER (Producing Director) is now in his 23rd season at CTG. Previously, he managed Broadway and touring productions including Tru, Born Yesterday, The Gospel at Colonus, Annie, A Chorus Line, Working, The Wiz and Legends! starring Mary Martin and Carol Channing, which premiered at the Ahmanson Theatre in 1986. Baker is a graduate of Albion College, is an active

member of the Broadway League, the Independent Presenters Network and is a proud member of the Association of Theatrical Press Agents and Managers.

GORDON DAVIDSON (Founding Artistic Director) led the Taper throughout its first 38 seasons, guiding over 300 productions to its stage and winning countless awards for himself and the theatre — including the Tony Award for theatrical excellence, Margo Jones Award, The Governor’s Award for the Arts and a Guggenheim fellowship. The Kentucky Cycle and Angels in America (Part One)

won the Pulitzer in consecutive years and, in 1994, three of the four plays nominated for the Tony Award for Best Play were from the Taper (Angels in America won). In 1989 Gordon took over the Ahmanson and, in 2004, he produced the inaugural season in the Kirk Douglas Theatre.


COMPANY MANAGERKimberly Helms

Associate Scenic Designer . . . . . . . . . . . Alexis DistlerAssociate Costume Designer . . . . . . Nicole TobolskiAssociate Lighting Designer . . . . . . . . . John DemousAssociate Sound Designer . . . . . . . . . . . . . Sean FooteProduction Manager. . . . . . . . . . . . . . . . . Joe HamlinHouse Sound Engineer . . . . . . . . . . . . Bones MaloneMoving Light Programmer . . . . . . .Andrew WebberlyLighting Design Assistant . . . . . . . . . . Amanda ZieveRehearsal Pianist. . . . . . . . . . . . . . Anthony De AngelisRehearsal Drummer . . . . . . . . . . . . . . . Tim McMahonProduction Assistants . . . . . . . Scott Lilly, Nikki HydeAssistant to Susan Stroman. . . . . . . . Hannah WatzkeCompany Management Intern. . . . . . . . . . Sarah BedoStudio Teacher . . . . . . . . . . . . . . . . . . . Adam BennettChildren In Film . . . . . . . . . . . . . . . . . . . . . Toni CasalaNeurosport Physical Therapy . . . . . . Carolyn Lawson

ADDITIONAL CASTINGJim Carnahan & Stephen Kopel; Alan Filderman; Janet Foster.

Rehearsed at the New 42nd Street Studios, New York.

CREDITS AND ACKNOWLEDGEMENTSPhysical production provided by National Artists Management Company, Inc. Lighting equipment by PRG Lighting. Audio equipment by PRG Audio.

Trucking by Stage Call. New York properties services by Kathy Fabian/Propstar and Susan Barras. Piano tuning by 88 Keys Piano Service. CTG production

tailor – Savoia The Tailor; CTG’s New York costume shop – Izquierdo Studios, Ltd; additional costumes

and support provided by CTG Costume Shop and additional staff: Allison Dillard, Mara Holland,

Agnes Ingram, Whitney Oppenheimer, Jennifer Wolff and N.Y. intern Adam Adelman. Program

designed by Christopher Komuro, edited by Phyllis Moberly and coordinated by Lyn Cowan.

Production photography by Craig Schwartz. Historical photos connected with the Scottsboro

Nine trials donated by Corbis.

SPECIAL THANKSBarry Weissler and Alecia Parker,

Rick Pappas, American Conservatory Theater, Dianne Salem Durben, Michael G. Murphy.

THE SCOTTSBORO BOYS is presented through special arrangement with Music Theatre International (MTI). All authorized performance

materials are also supplied by MTI. 421 West 5th Street, New York, NY 10019Phone: 212-541-4684 Fax: 212-397-4684

www.MTIShows.com

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Center Theatre Group is a member of the AmericanArts Alliance, the Broadway League, IndependentProducers’ Network (IPN), LA Stage Alliance, Leagueof Resident Theatres (LORT), National Alliancefor Musical Theatre (NAMT) and the TheatreCommunications Group (TCG).

The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers

of the United States. This Theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

The musicians employed in this production are members of the American Federation of Musicians of the United States and Canada.

The Director/Choreographer is a member of the Stage Directors and Choreographers

Society, a national theatrical labor union.

United Scenic Artists represents the designers and scenic painters for the American theatre.

The following employees are represented by the International Alliance of Theatrical Stage Employees, Moving Picture Machine

Operators, Artists and Allied Crafts of the United States, its Territories and Canada, AFL-CIO, CLC: Stage Crew Locals 33; Local Treasurers and Ticket Sellers Local 857; Wardrobe Crew Local 768; Make-up Artists and Hair Stylists Local 706.

The Press Agents, Company andHouse Managers employed in

this production are represented by the Association ofTheatrical Press Agents and Managers.

ADDITIONAL STAFF AND CREDITS FOR THE SCOTTSBORO BOYS

Scottsboro youths and Attorney Samuel Leibowitz, center, arrive at Penn Station, New York City, after the four pictured boys were granted their freedom. from l to r: Eugene Williams, Olen Montgomery, Attorney Leibowitz, Willie Roberson and Roy Wright. donated by corbis.

CENTER THEATRE GROUP L.A.’s Theatre CompanyMICHAEL RITCHIE, Artistic Director EDWARD L. RADA, Managing Director

DOUGLAS C. BAKER, Producing Director

ARTISTICNEEL KELLER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Associate Artistic DirectorKELLEY KIRKPATRICK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Associate Artistic DirectorDIANE RODRIGUEZ . . . . . . . . . . . . . . . . . Associate Producer/Director of New Play ProductionPIER CARLO TALENTI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Resident Dramaturg/Literary ManagerLINDSAY ALLBAUGH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Producing Associate MALCOLM K. DARRELL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . New Play Production AssociateJOY MEADS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Literary AssociateERIKA SELLIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of Casting MARK B. SIMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Casting DirectorANDY CROCKER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Casting AssociateKEVIN L. CORDOVA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Casting Administrator

DAVID ADJMI (FADIMAN), TANYA BARFIELD, BURGLARS OF HAMM, JUSTIN ELLINGTON, STEVEN EPP, GINA GIONFRIDDO, SAM GOLD, JOE HORTUA, NICK JONES, RAJIV JOSEPH, DAVE MALLOY, LAURAL MEADE, JULIE MARIE MYATT (FADIMAN), DAN O’BRIEN, EVANGELINE ORDAZ, DAEL ORLANDERSMITH, WILL POWER (FADIMAN), MATT SAX, DOMINIQUE SERRAND, UNIVERSES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Commissioned Artists

ZAKIYYAH ALEXANDER, SHEILA CALLAGHAN, JONATHAN CENICEROZ, MATT GOULD, GRIFFIN MATTHEWS, MEG MIROSHNIK, TANYA SARACHO, JOHN SINNER . . . . . . . . . . . . . . . . . . . . . .CTG Writers’ Workshop Members

EDUCATION AND COMMUNITY PARTNERSHIPSLESLIE K. JOHNSON . . . . . . . . . . . . . . . . . . Director of Education and Community PartnershipsDEBRA PIVER . . . . . . . . . . . . . . . Associate Director of Education and Community PartnershipsTRACI CHO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of School PartnershipsPATRICIA GARZA . . . . . . . . . . . . . . . Senior Manager for Education and Community PartnershipCAMILLE SCHENKKAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Educational Programs ManagerDAN HARPER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Educational Programs AssociateASHLEY OPSTAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Educational Programs AssociateKELLY CHRIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Educational Communications CoordinatorVICTOR VAZQUEZ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Educational Services CoordinatorSHANNON WINSTON . . .Assistant to the Director of Education and Community Partnerships

MANAGEMENT AND ADMINISTRATIONNAUSICA STERGIOU . . . . . . . . . General Manager (Mark Taper Forum, Kirk Douglas Theatre)JEFFREY UPAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . General Manager (Ahmanson Theatre)SUZANNE HEE MAYBERRY . . . . . . . . . . . . . . . Assistant General Manager (Mark Taper Forum) KATIE BRUNER SOFF Assistant General Manager (Kirk Douglas Theatre, New Play Production) ALANA BEIDELMAN . . . . . . . . . . . . . . . . . . . . . . . . . . . Executive Assistant to Managing Director LIZ LYDIC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant to Producing DirectorSHANE HUDSON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Yale Management Fellow

ERIC SIMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Operations Manager (Kirk Douglas Theatre)TOM BURMESTER . . . . . . . . . . . . . . . . . . . . . . . . . Performance Manager (Kirk Douglas Theatre)LAUREN BAXA . . . . . . . . . . . . . . . . . . . . Assistant Performance Manager (Kirk Douglas Theatre)MIKE KINDLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Facilities Assistant (Kirk Douglas Theatre)SONDRA MAYER . . . . . . . . . . . . . . . . . . . . . . . . . . .Concessions Manager (Kirk Douglas Theatre)

PRODUCTION

SHAWN ANDERSON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Master Carpenter (Ahmanson Theatre)ANDREW W. ARNOLD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Flyman (Ahmanson Theatre)JIM BERGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Master Electrician (Ahmanson Theatre)STAN STEELMON . . . . . . . . . . . . . . . . . . . . . . . . . . . . Master Propertyman (Ahmanson Theatre)ROBERT SMITH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Master Soundman (Ahmanson Theatre)MICHAEL GARDNER . . . . . . . . . . . . . . . . . . . . . . . . . . Wardrobe Supervisor (Ahmanson Theatre)PATRICE MIRANDA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hair Supervisor (Ahmanson Theatre) CHRISTINE L. COX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .House Manager (Ahmanson Theatre)

JOE HAMLIN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Technical Director CHAD SMITH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant Technical DirectorSAM CRAVEN-GRIFFITHS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant Technical DirectorSARAH SOWELL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Shop Foreperson

DAWN HOLISKI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Shop DirectorANDREW THIELS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prop ManagerMERRIANNE NEDREBERG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Prop LeadSARAH KRAININ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Prop ShopperCANDICE CAIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Costume Shop DirectorBRENT M. BRUIN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Workroom SupervisorMADELINE KELLER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Costume GeneralistSWANTJE TUOHINO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Cutter/TailorELIZABETH LEONARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Production Operations ManagerJULIO A. CUELLAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Driver/CustodianEUGENE A. MONTEIRO II, BRIAN SLATEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DriversELLE AGHABALA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Interim Production Administrator

JONATHAN BARLOW LEE. . . . . . . . . . . . . . . . . . . . . . . Production Manager (Mark Taper Forum)CELESTE SANTAMASSINO. . . . . . . . . . . . . Associate Production Manager (Mark Taper Forum)EMMET KAISER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Master Carpenter (Mark Taper Forum) ROBERT RUBY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Master Propertyman (Mark Taper Forum) WILLIAM MORNER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Master Electrician (Mark Taper Forum) BONES MALONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Master Soundman (Mark Taper Forum) DENNIS SEETOO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wardrobe Supervisor (Mark Taper Forum) RICK GEYER . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hair & Make-up Supervisor (Mark Taper Forum) LINDA WALKER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . House Manager (Mark Taper Forum)

CHRISTY WEIKEL . . . . . . . . . . . . . . . . . . . . . . . . . . . Production Manager (Kirk Douglas Theatre)KATE COLTUN . . . . . . . . . . . . . . . . . . . . . Assistant Production Manager (Kirk Douglas Theatre)RICHARD PETERSON . . . . . . . . . . . . . . . . . . . . . . . . . . Master Electrician (Kirk Douglas Theatre)ADAM PHALEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Head Audio (Kirk Douglas Theatre)

FINANCE, INFORMATION SYSTEMS AND HUMAN RESOURCESMICHAEL F. THOMPSON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chief Financial OfficerMELODY MATTOS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ControllerJANIS BOWBEER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant ControllerFELICISIMA LAPID. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Accounts Payable SupervisorDANNY LAMPSON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Senior Staff AccountantALEGRIA SENA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Staff AccountantYUEN KI “ANNIE” LAW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Payroll ManagerAMEETA SHARMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Payroll Specialist

DAVE ALTON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chief Information Officer STAN GRUSHESKY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of Information SystemsSEAN PINTO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Database And Web ManagerMANDY RATLIFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tessitura AdministratorJARED WATANABE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Information Systems Analyst

JODY HORWITZ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of Human ResourcesMADRIO FLEEKS . . . . . . . . . . . . . . . . . . . . . . . . . . . Interim Senior Human Resources GeneralistJENNIFER ACHTERBERG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Facilities ManagerSINGER LEWAK, LLP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AuditorMICHAEL C. DONALDSON, LISA A. CALLIF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Legal CounselGIBSON, DUNN & CRUTCHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Legal Counsel

DEVELOPMENTYVONNE CARLSON BELL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of DevelopmentPATRICK OWEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Deputy Director of DevelopmentNATALIE BERGESON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of Donor ContributionsJEAN KLING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of Institutional SupportLIZ LIN. . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of Corporate Relations and CommunicationsCHARITY WU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of Individual GivingBECKY BIRDSONG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Major Gifts OfficerSANDRA EBEJER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Corporate Relations OfficerJAMIE CATALDO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Corporate Relations ManagerMANDI OR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Special Events ManagerJENNIFER RYEN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Major Gifts ManagerERIC BROWN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Communications CoordinatorJENNIFER CHAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Development AssistantKATY HILTON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Grant WriterDONALD JOLLY . . . . . . . . . . . . . . . . . . . . . . . . . . . Donor Relations Associate for the Inner CircleRICK LEE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Donor Contributions SupervisorKRISTEN LEVY-VAUGHAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Individual Giving AssistantERIC SEPPALA. . . . . . . . . . . . . . . . . . . . . . . . . . . Executive Assistant to the Development DirectorMARIA PAREDES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Donor Relations Associate for The Guild COURTNEY ROBERTSON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Institutional Giving Associate ERIN SCHLABACH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Donor Contributions AssociateELIZABETH WACHTEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Major Gifts Associate

AL BERMAN, ELIZABETH DELLORUSSO, GINA EAST, LILI HERRERA, TONY LEWELLEN, JESSICA NASH, HOLLY RAMOS, NICOLE SCIPIONE, LENA THOMAS, BILL WALTON, REHA ZAMANI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Donor AdvisorsADAM BURCH, KARLA GALVEZ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Donor Services AssociatesANNE BRUNER, MURRAY E. HELTZER, MARCI MILLER, JULIE NADAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Development Volunteers

MARKETING AND COMMUNICATIONSJIM ROYCE . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of Marketing, Communications and Sales

NANCY HEREFORD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of Media and CommunicationsPHYLLIS MOBERLY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Media and Communications AssociateJASON MARTIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Media and Communications AssociateSHANNON SMITH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Media and Communications AssistantLYN COWAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Media and Communications Assistant

CHRISTOPHER KOMURO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Art DirectorIRENE KANESHIRO, NISHITA DOSHI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Senior DesignersHARUKA HAYAKAWA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Graphic DesignerTERESA ENGLISH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Junior Graphic Designer

ANDREW DARCEY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Advertising Manager JIM HALLORAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marketing Associate, Creative JEWEL MOORE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Marketing CoordinatorROSE POIRIER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WebmasterKAREN VOCK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Marketing ManagerCRAIG SCHWARTZ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Production PhotographerLARRY DEAN HARRIS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . CopywriterCINEVATIVE/MARK CIGLAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Production VideoTOM BURMESTER, TREVOR ALGATT, KEVIN MAPP. . . . . . . . . . . . . . . . . . . . . . . . . . Event VideoALLIED LIVE: LAURA MATALON, LESLEY-ANNE STONE, KELLY ESTRELLA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Advertising AgencyLINDA STWEART, IT IS DONE COMMUNICATIONS . . . . . . . . . . . . Public Relations Consultant

TICKET SALES AND SERVICESSHAWN ROBERTSON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ticket Sales DirectorSKYPP CABANAS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ticket Operations CoordinatorSANDY CZUBIAK . . . . . . . . . . . . . . . . . . . . . . . . . . . . Audience and Subscriber Services ManagerJENNIFER BAKER, CHERYL HAWKER, RICHARD RAGSDALE. . . Audience Services SupervisorsALICE CHEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Audience Services Asst. SupervisorSAM AARON, DEBORAH REED . . . . . . . . . . . . . . . . . . . . . . . Audience Services Sales Associates

JEREMIE ARENCIBIA, VICKI BERNDT, RJ CANTU, CARLOS D. CHAVEZ, JR., PETER COLBURN, HESPER COLOHAN, DONALD CRANDALL, GARY HOLLAND, KAY LOCHARD, JUSTINE PEREZ, LEX SAVKO, DANNY SCHMITZ, CRIS SPACCA, TRAVIS WOOD . . . . . . . . . . . . . . . . . . . . . . . . Audience Services Representatives

DANUTA SIEMAK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Subscriber Services SupervisorCHRISTINA GUTIERREZ . . . . . . . . . . . . . . . . . . . . . . . . . . . Subscriber Services Asst. SupervisorLIGIA PISTE, CELIA RIVAS. . . . . . . . . . . . . . . . . . . . . Subscriber Services Senior RepresentativesIRENE CHUANG, PETER STALOCH . . . . . . . . . . . . . . . . . . Subscriber Services Representatives

SARAH K. GONTA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Box Office TreasurerKISHISA ROSS, GISELE FRAZEUR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant Treasurers YULIZA BARRAZA, ANGELICA CARBAJAL, MICHAEL KEMPISTY, LEROY PAWLOWSKI, MICHAEL SALTZMAN, . . . . . . . . . . . . . . . . . . . . . . . . . . . . Box Office Staff

MICHAEL ZOLDESSY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Account Sales ManagerEILEEN ROBERTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Account Sales AssociateKERRY KORF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Priority Services DirectorSUSAN F. TULLER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Priority Services Operations ManagerJAY BURNS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Priority Services Sales ManagerPAUL CUEN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Priority Services Manager

CAROLE BAXTER, RUSTY COLLINS, SUZANNE “MAGGIE” DODD, MARC “BYRON” DROTMAN, SAMANTHA ELSE, LOU GEORGE, KATE HALL, JERRY JOHNSTON, LISA KESSLER, SHEP KOSTER, ELENA MUSLAR, BRIAN “WILLIAM” PACHINGER, MATT PELFREY, EDWARD “MAX” RAZOR, JASMINE REGALA, KEN SALLEY, BOBBI LYNNE SCOTT, MICHAEL SMITH, JEFFREY STUBBLEFIELD, QUINN SULLIVAN, KATHRYN TABB, CANDICE WALTERS, DIANE WARD, JIM WATERMAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Representatives

Center Theatre Group would like to thank its exceptional staff for their ongoing commitment, dedication and extraordinary efforts.

directed by sam gold west coast premiere theatre october

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