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Magic Theatre
presents the legacy revival of
letter from the
Producing Artistic Director
Welcome to Magic Theatre!
Now in our 47th year of developing and producing vibrant, adventuresome work for
the stage, we continue our 5-year Sheparding America celebration with
Sam Shepard’s homegrown classic Buried Child. In honor of Sam’s 70th birthday,
Buried Child kicks off a season-long bash featuring work from our friends at Campo
Santo, A.C.T., Word for Word, and Crowded Fire.
Five times a season, my staff, board, and I gather in our rehearsal hall for the first
day of rehearsal with the actors, creative team, and a host of others who will support
the playwright on their journey. It is an age-old ritual to meet, greet, show and tell,
and break bread before the first reading, which will launch the collaborative part of
the process. And every first day I begin by welcoming our playwrights, whether it be
Julie Marie Myatt, Sharr White, or Octavio Solis, to the house that Sam built with
his groundbreaking premieres of Tongues, Buried Child, True West, and Fool for
Love. Sam Shepard is the rock star that called us to the table with his mind- and
heart-bending plays, music, poetry, and prose. Over the last five decades Sam has
altered us with his haunting, soul-searching voice transcribed through an everchanging myriad of forms – and changed forever the face of American theatre.
I write this letter as I fly back from a casting session for our second show, Arlington.
Even in auditions, I could feel the power of a beautiful story told in song (created by
the incomparable Polly Pen and Victor Lodato), and I’m so excited for Magic to be
producing a musical for the first time since I’ve been here.
In January we will be welcoming back Taylor Mac for the world premiere of Hir,
a comic drama exploring the American family, kaleidoscoping gender roles, and
coming home. In the spring, Any Given Day playwright Linda McLean also returns
to Magic with Every Five Minutes, a surreal examination of the workings of a
damaged mind. Finally, we’re presenting pen/man/ship by Christina Anderson,
who, like Sam, wrote the play while a playwright-in-residence in Magic. As with
Sam, we’ve made a commitment to a young, talented playwright that we believe can
shape the next generation of artists and audiences.
Sam didn’t build Magic Theatre, this extraordinarily rare cultural jewel, alone. He
built it with dedicated artistic leaders beginning with the visionary John Lion. He built
it with you: artists, donors, patrons, and trustees past and present. He did it with
you who are drawn, as I am, again and again to the mysterious, visceral, primal, and
communal rites of theatre.
It is with great affection that we welcome home Magic’s most beloved son,
Sam Shepard, with his seminal homecoming drama Buried Child. Thank you for
being here to celebrate with us.
Warmest regards,
BURIED CHILD
Written by Sam Shepard
Directed by Loretta Greco+
(in alphabetical order)
Vince
Halie
Shelly
Dodge
Bradley
Father Dewis
Tilden
Season Producers
Arthur and Toni Rembe Rock
Producers
John Marx and Nikki Beach
Becky and Jim Eisen
The Steppenwolf production of this version of
Buried Child was first presented on Broadway at the
Brooks Atkinson Theatre in New York City on April
30, 1996, by Frederick Zollo, Nicholas Paleologos,
Jane Harmon, Nina Keneally, Gary Sinise, Edwin
Schloss and Liz Oliver.
World premiere in San Francisco at Magic Theatre
in 1978.
First presented in New York City at the Theater for
the New City in 1978.
Buried Child is presented by special arrangement with Dramatists
Play Service, Inc., New York.
Patrick Alparone*
Denise Balthrop Cassidy*
Elaina Garrity
Rod Gnapp*
Patrick Kelly Jones*
Lawrence Radecker
James Wagner*
CREATIVE TEAM
Set Design
Costume Design
Lighting Design
Sound Design
Stage Manager
Fight Director
Director of Production
Technical Director
Props Design
Casting
Music by
Andrew Boyce**
Alex Jaeger**
Eric Southern**
Jake Rodriguez
Kevin Johnson*
Dave Maier
Sara Huddleston
Dave Gardner
Jacquelyn Scott
Dori Jacob
Jason Stamberger &
Jake Rodriguez
The video and/or audio recording of this performance by any
means whatsoever are strictly prohibited.
Media Sponsor of
Magic’s 2013/14 Season
This theatre operates under an agreement with
Actors’ Equity Association, the Union of Professional
Actors and Stage Managers in the United States.
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CAST
Opening Night:
Tuesday, September 17, 2013
* Member of Actors’ Equity Association, the Union of Professional
Actors and Stage Managers.
** M
ember of United Scenic Artists local 829, which represents the
designers and scenic painters for the American theatre.
+ Member of Stage Directors and Choreographers Society, the
union for stage directors and choreographers.
9/11/13 3:10 AM
Have you subscribed
to Magic Theatre’s
2013/14 Season?
With 5-play, 4-play, and
3-play options, there’s
something for everyone!
Ask a Magic staff member
for more information.
SUBSCRIBER BENEFITS
+ Guaranteed savings off full price tickets (save up to 26%)
+ Plans changed? No worries –
exchange your tickets
+ Personal copy of dramaturgy
and notes
+ Bring friends with you at a
discount (25% off full price)
Sarah Nina Hayon and Sean San José
in Se Llama Cristina (2013) Photo: Jennifer Reiley
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biographies
Sam Shepard
Playwright
Sam Shepard was born
Samuel Shepard Rogers
VII on November 5, 1943,
in Fort Sheridan, Illinois.
The son of a career Army
father, Shepard spent his
childhood on military bases in the United
States and Guam before his family settled
on a farm in Duarte, California. Shepard
worked as a stable hand on a ranch in
Chino from 1958 to 1960 and studied
agriculture for a year at Mount Antonio
Junior College. After leaving college, he
joined the Bishop’s Company Repertory
Players, a touring theater group. In 1963,
Shepard moved to New York City, where
he worked as a busboy at the Village
Gate in Greenwich Village and began to
write plays for the emerging experimental
underground theater scene. He made his
debut at Theatre Genesis on October 10,
1964, with the double-billed Cowboy and
Rock Garden. In 1965 he presented Up to
Thursday and 4-H Club at Theatre 65, Dog
and Rocking Chair at La MaMa Experimental
Theatre Club, Chicago at Genesis, and
Icarus’s Mother at Caffe Cino. Although
many mainstream critics were baffled by his
raw, chaotic, almost Beckettian pieces, he
was soon hailed by the New York Times as
“the generally acknowledged ‘genius’ of the
[Off-Off-Broadway] circuit.” In 1966, Red
Cross, Chicago, and Icarus’s Mother earned
Shepard a trio of Village Voice Obie Awards.
In 1967 and 1968, Shepard wrote La Turista,
his first full-length play, Melodrama Play, and
Forensic and The Navigators, all of which
also won Obie awards, and Cowboys #2,
which premiered in Los Angeles. In 1969,
Shepard began a stint playing drums and
guitar with the cult “amphetamine rock
band” the Holy Modal Rounders, later telling
an interviewer that he would rather be a
rock star than a playwright. He nevertheless
continued to write plays, completing Holy
Ghostly and The Unseen Hand in 1969,
Operation Sidewinder and Shaved Splits
in 1970, Mad Dog Blues, Back Bog Beast
Bait, and Cowboy Mouth (written with poet/
musician Patti Smith) in 1971. He left the
Rounders in 1971 and moved to England,
where he lived for the next three years. Two
notable plays of this period—The Tooth Of
Crime (1972, Obie Award) and Geography
Of A Horse Dreamer (1974)—premiered
in London. In 1973 he published his first
book of essays and poems, Hawk Moon.
Two similar collections followed in 1977
and 1982. In 1974 Shepard returned to the
United States and became the playwrightin-residence at the Magic Theatre in San
Francisco, a position he held until 1984.
Plays from this period include Action (Obie
Award, 1974), Killer’s Head (1975), Angel
City (1976), and Suicide In B-Flat (1976).
Beginning in the late 1970s, Shepard
applied his unconventional dramatic vision
to a more conventional dramatic form, the
family tragedy, producing Curse Of The
Starving Class and Buried Child in 1978
(both of which won Obie Awards) and True
West in 1980. The three plays are linked
thematically in their examination of troubled
and tempestuous blood relationships in
a fragmented society. Shepard achieved
his warmest critical reception with Buried
Child, which also won the Pulitzer Prize
for drama. Washington Post theater critic
David Richards wrote, “Shepard delivers a
requiem for America, land of the surreal and
home of the crazed…The amber waves of
grain mask a dark secret. The fruited plain
is rotting and the purple mountain’s majesty
is like a bad bruise on the landscape.”
Shepard began a new career as a film actor
in 1978, appearing in Renaldo and Clara and
Terrence Malick’s Days of Heaven. He also
began collaborating with Joseph Chaikin on
Tongues, a stage work with music that was
heavily dependent on the theories of Antonin
Artaud. Shepard and Chaikin would also
collaborate on Savage/Love (1979), War In
Heaven (1985), and When The World Was
Green (A Chef’s Fable) (1996). Throughout
the 1980s and into the ’90s, Shepard
continued to write plays—Fool For Love
(1983) won Obie awards for best play as well
as direction, and A Lie Of The Mind (1985)
garnered the New York Drama Critics Circle
Award and Outer Critics Circle Award for
outstanding new play—and expand his work
in film. He appeared as an actor in the films
Resurrection (1980), Raggedy Man (1981),
Frances (1982), The Right Stuff (Academy
Award nomination, 1983), Country (1984),
his own Fool for Love (director, Robert
Altman, 1985), Crimes of the Heart (1986),
Baby Boom (1987), Steel Magnolias (1989),
Voyager (1991), Thunderheart (1992), and
The Pelican Brief (1993). He also worked
on several screenplays, including Paris,
Texas with Wim Wenders (Palme d’Or,
Cannes Film Festival, 1984). As writer/
director, he filmed Far North and Silent
Tongue, in 1988 and 1992, respectively.
Shepard’s play Stages of Shock premiered
at the American Place Theatre in 1991, and
Simpatico transferred to the Royal Court
Theatre after its premiere in 1994 at the New
York Shakespeare Festival. A revised Buried
Child, under the direction of Gary Sinise,
opened on Broadway in April 1996 and
earned a Tony Award nomination. Eyes For
Consuela, based on a short story by Octavio
Paz, premiered at Manhattan Theatre Club
in 1998. Magic Theatre premiered The Late
Henry Moss, starring Sean Penn and Nick
Nolte, before it was moved to the Signature
Theatre in New York in 2001. Shepard’s
projects also include the short story
collection Great Dream of Heaven (2002); the
plays The God Of Hell (2005) and Kicking
A Dead Horse, which premiered in Dublin,
Ireland, in March 2007 and had its New
York premiere in July 2008 at The Public
Theater; the films Black Hawk Down (actor,
2001), Don’t Come Knocking (his second
collaboration with Wenders, writer/actor,
2006), The Assassination of Jesse James
by the Coward Robert Ford (actor, 2007),
and Descending from Heaven (actor, with
Pamela Reed). Shepard is considered one of
the foremost modern American playwrights.
The Signature Theatre devoted its entire
1996–97 season to his plays. In 1985 he
was inducted into the American Academy
of Arts and Letters, which awarded him
the Gold Medal for Drama in 1992. In 1994
he was inducted into the Theatre Hall of
Fame. Writing in the New Republic, Robert
Brustein called Shepard “one of our most
celebrated writers,” adding that his plays
“have overturned theatrical conventions and
created a new kind of drama.”
Loretta Greco+
Director / Producing
Artistic Director
is proud to be in her
sixth season as Magic’s
Producing Artistic
Director where in the
last five seasons she
has developed and produced more than
a dozen new plays. Her selected directing
credits at Magic include: Mauritius, Goldfish,
Oedipus el Rey, Or,, What We’re Up Against,
Annapurna, Bruja, The Other Place, and
Se Llama Cristina. Ms. Greco’s New York
premieres include: Tracey Scott Wilson’s The
Story, the Obie Award-winning Lackawanna
Blues by Ruben Santiago Hudson, and
Nilo Cruz’s Two Sisters and a Piano at The
Public Theater; Katherine Walat’s Victoria
Martin Math Team Queen, Karen Hartman’s
Gum, Toni Press Coffman’s Touch, and
Rinne Groff’s Inky at Women’s Project; Emily
Mann’s Meshugah at Naked Angels; Laura
Cahill’s Mercy at The Vineyard Theatre and
Nilo Cruz’s A Park in Our House at New
York Theatre Workshop. Additional regional
credits include the critically acclaimed
revival of David Mamet’s Speed-thePlow and the West Coast premiere of
David Harrower’s Blackbird at American
Conservatory Theater; Romeo and Juliet and
Stop Kiss at Oregon Shakespeare Festival
as well as productions at LaJolla Playhouse,
South Coast Repertory, McCarter Theatre
Center, Long Wharf Theatre, Studio Theater,
Intiman Theatre, Williamstown Theatre
Festival, Cincinnati Playhouse in the
Park, The Repertory Theatre of St Louis,
Area Stage, Coconut Grove Playhouse,
Playmakers Repertory Company, and The
Cleveland Play House. She directed the
national tour of Emily Mann’s Having Our
Say as well as the International premiere at
the Market Theatre in Johannesburg, South
Africa. Ms. Greco has developed work with
dozens of writers at Sundance, The O’Neill,
South Coast Repertory, The Mark Taper
Forum, New Harmony, New York Stage and
Film, The Cherry Lane, New Dramatists,
and The Public. Prior to her Magic post,
she served as Producing Artistic Director
of New York’s Women’s Project and as The
Associate Director/Resident Producer at
the McCarter Theatre in Princeton where
she conceived and launched their Second
Stage-On-Stage Initiative and commissioned
the work of Doug Wright, Nilo Cruz, and
Joyce Carol Oates among others. Ms. Greco
received her MFA from Catholic University,
her BA from Loyola University, New Orleans
and is recipient of two Drama League
Fellowships and a Princess Grace Award.
Patrick Alparone*
(Vince)
Credits at Magic include
Any Given Day, Mrs.
Whitney and Octopus.
Alparone last appeared
in The Normal Heart
at ACT. Other credits
include Elektra (ACT); Red (Portland Center
Stage); Phaedra (Shotgun Players); Period
of Adjustment, One Flew Over the Cuckoo’s
Nest (San Francisco Playhouse); Man of
Rock (Climate Theatre); Twelfth Night,
Ambition Facing West (TheatreWorks);
Olive Kitteridge (Word for Word/Zspace); A
Streetcar Named Desire (Marin Theatre Co.);
Skin (Encore Theatre Co.); Hamlet (Impact
Theatre); Little Dog Laughed (B Street
Theatre); Karima’s City in Egypt for The
Cairo International Festival for Experimental
Theatre (Golden Thread Productions). Film
credits include The Wisdom Tree, This is
Hamlet, Seducing Charlie Barker and Two
from the Line. patrickalparone.com
Denise Balthrop
Cassidy*
(Halie)
is delighted to be
performing at Magic
Theatre. Her stage work
includes performances
at The Kennedy Center
for the Performing Arts, Berkeley Repertory
Theatre, Quinapalus Theatre Co., Campo
Santo, Encore Theatre/Z Space, Eureka
Theatre, San Jose Stage, Pacific Alliance
Stage, Pear Avenue Theatre/ Bootstrap,
Women in Time, B Street Theatre, and
Word For Word, where she also directed
Communist (starring Rod Gnapp). Before
moving to the Bay Area, Denise was a
Teaching and Performing Artist at Cornell
University, toured the US with National
Players, and toured Europe with the
Department of Defense Overseas Tour
Shows as well as the US Information
Agency. She has performed big roles in
small films, and small roles in big films,
including opposite Sean Penn in The
Assassination of Richard Nixon while six
months pregnant. Denise holds a BA from
Duke University and an MFA from The
Catholic University of America. She is a
proud member of Actors’ Equity. Much love
and gratitude to Barney, BJ, John, and Rose
for their support!
Bold New
Magic
Season!
Magic Theatre’s 47th season
is continuing the tradition of
identifying and producing new
plays that challenge, thrill, and
amuse us. We look forward
to many remarkable nights of
theatre.
If this is the season for you to
buy or sell a home,
let Mike and Lea Ann Fleming—
Team Fleming—make your
production a success!
Stellar performances:
Magic Theatre and
Team Fleming
Mike & Lea Ann Fleming
McGuire Partners
415-351-HOME
[email protected]
DRE 01128571
9/11/13 3:10 AM
biographies
Elaina Garrity
(Shelly)
is originally from Pleasant
Hill, where she began
studying dance as a child,
and then performing with
Diablo Theatre Company,
Stars2000, CCCT, Kinsella
Conservatory, DVC, and others. Her vocal
pursuits were later cultivated with Steve
Kinsella, Dr. Lee Strawn, and Richard
Nickol. She just spent the past four years
pursuing her Bachelor’s at SFSU, where
she graduated cum laude with a degree
in Drama Performance and a minor in
Business Marketing. She was recently seen
as Gabriela in References to Salvador Dalí
Make Me Hot at SFSU, and Elena Ortega in
Guerilla Rep’s My Tia Loca’s Life of Crime, by
local playwright Roy Conboy. Other favorite
roles include Juliet, Killaine in The Clearing,
and Ronette in Little Shop of Horrors.
Rod Gnapp*
(Dodge)
A veteran of Bay Area
stages, Mr. Gnapp was
last seen at Magic in Se
Llama Cristina, Annapurna,
What We’re Up Against,
Goldfish, Mrs. Whitney
and Mauritius. He recently appeared in The
Beauty Queen of Leenane at Marin Theatre
Company, The Elaborate Entrance of Chad
Diety at the Aurora Theatre Company and
Behanding in Spokane at the SF Playhouse.
Theatre credits also include work at
American Conservatory Theater, Berkeley
Rep, California Shakespeare Theater, San
Jose Rep, TheatreWorks, Marin Theatre
Company, the Huntington Theatre Company,
Brooklyn Academy of Music, Seattle Rep,
Virginia Playhouse and the Pittsburgh Public
Theater. Mr. Gnapp can be seen in the
independent feature film Touching Home by
the Miller Brothers, with Ed Harris. He can
also be seen in Valley of the Hearts Delite,
Calendar Confloption (Pixar), and Return
to the Streets of San Francisco. He is the
recipient of many Bay Area Theatre Critics
Circle (BATCC) Awards and is a graduate of
the American Conservatory Theater’s MFA
program.
Patrick Kelly Jones*
(Bradley)
is making his Magic
Theatre debut. Recent
Bay Area credits include:
Abigail’s Party (San
Francisco Playhouse), It’s
a Wonderful Life: Radio
Play, Bellwether (Marin Theatre Company),
The Death of the Novel (SJ Rep), Hamlet
(Livermore Shakespeare Festival), The
Pitmen Painters (TheatreWorks), The Coast
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of Utopia: Voyage and Shipwreck (Shotgun
Players), Kafka’s Metamorphosis (Aurora
Theatre), Exit, Pursued by a Bear (Crowded
Fire). Other National Credits include:
Cymbeline, Misalliance (New York Classical
Theatre), Step One: Plays with Instructions
(The 52nd Street Project, NYC), You Can’t
Take it With You (Denver Center), The
Lieutenant of Inishmore, In the Belly of the
Beast (Florida Studio Theatre), A Number
(The Northern Stage, Vermont), Vincent
in Brixton (The Cleveland Play House),
Arms and the Man (Great Lakes Theater
Festival). Patrick earned his MFA in Acting
from Case Western Reserve University.
patrickkellyjones.com.
Lawrence Radecker
(Father Dewis)
is a resident artist with
Crowded Fire Theater
Company who has
developed and debuted
roles in a number of their
world premieres including
Marilee Talkingtonʼs Sticky Time, Caridad
Svichʼs Wreckage, Liz Duffy Adamsʼ The
Listener and Dominic Orlandoʼs Juan Gelion
Dances for the Sun. Most recently he was
seen in Crowded Fireʼs west coast premiere
of Thomas Bradshawʼs The Bereaved. He
has also worked with Golden Thread, Thick
Description, Marin Theatre Company, Brava!
For Women in the Arts, Cutting Ball and
Uncle Buzzy’s Hometown Theatre Show.
This is his Magic debut. He can also be
seen and heard in a variety of industrials
and voiceovers, as well as a few films and
television series.
James Wagner*
(Tilden)
was recently seen as Tripp
in Other Desert Cities
at the Fusion Theatre
Company. He originated
the roles of Weber in
the world premiere of
Theresa Rebeck’s What We’re Up Against
at Magic Theatre and Ethan in the world
premiere of Steve Yockey’s Very Still and
Hard to See at the Production Company in
Los Angeles. Other theatre credits include
New Jerusalem at LA Theatre Works, Secret
Order at San Jose Rep, Mauritius at Magic
Theatre, A Christmas Carol at the American
Conservatory Theater, Betrayed and The
Busy World is Hushed at the Aurora Theatre,
Bad Evidence at the Elephant Theatre
Company, Cost of the Erection at the Blank
Theatre Company, Beauty and the Beast
at the B-street theatre, Candida, David
Copperfield, A Midsummer Night’s Dream,
The Rainmaker, The Glass Menagerie, and
Mother Courage. His list of 30 short and
feature film credits include two Antero Alli
films and recently the lead in the short
film Share. Wagner has an M.F.A. from
A.C.T. and can be found online at www.
jameslouiswagner.com
Kevin Johnson*
Stage Manager
stage-managed last season’s production
of The Other Place for Magic Theatre.
Locally, some of the other theatres he has
stage-managed for include Aurora Theatre
Company, Berkeley Repertory Theatre,
California Shakespeare Theatre, Lorraine
Hansberry Theatre, Marin Theatre Company,
Shotgun Players, and Word for Word. He
has also stage-managed dance and music
productions, as well as the last album of
Dave Brubeck’s choral music, Brubeck and
American Poets.
Andrew Boyce**
Scenic Designer
is a NY based scenic designer who works in
Theatre, Opera, and Film. At Magic: Bruja,
Annapurna, Se Llama Cristina, The Lily’s
Revenge. Recent NYC credits include: Bike
America (Ma-Yi), Buyer & Cellar (Barrow
Street/Rattlestick), Trevor (Lesser America),
Red Handed Otter (Playwrights Realm/
Cherry Lane), Dreams of Falling, Dreams of
Flying (Atlantic Theatre Company). Work has
been seen regionally with: Center Theatre
Group, The Geffen, The Alliance, Actors
Theatre of Louisville, Curtis Opera Theatre,
Williamstown, Des Moines Metro Opera,
Westport Playhouse, Asolo Rep, Syracuse
Stage, TheatreWorks (CA), Bay Street
Theatre, Portland Center Stage, The Wilma,
Marin Theatre Company, Magic Theatre, and
American Players Theatre, among others.
Andrew is a member of the Wingspace
Design Collective and is graduate of Yale
School of Drama, where he is currently on
faculty in the design department.
Parallelogram, Other Desert Cities; Public
Theatre, N.Y: Two Sisters and a Piano;
Oregon Shakespeare Festival: A Streetcar
Named Desire, August: Osage County, Cat
on a Hot Tin Roof, Dead Man’s Cell Phone,
Romeo and Juliet, Handler, Fuddy Meers;
Kirk Douglas Theatre: The Nether, The Paris
Letter, Eclipsed.
Eric Southern**
Lighting Designer
Most recently his work on the world
premiere of Play/Pause with choreographer
Susan Marshall and composer David Lang
was seen at the BAM Next Wave Festival.
The Secret Agent, an opera by Michael
Dellaira and directed by Sam Helfrich,
premiered at the Avignon Opera House,
and as part of the Armel International Opera
Festival in Szeged, Hungary. With Magic,
he has also designed Bruja and The Other
Place and is lighting both Buried Child and
Hir this season. Other theatre work includes
the world premiere of Buyer and Cellar with
Michael Urie, and various projects with the
600 Highwaymen, Portland Center Stage,
The Commonwealth Shakespeare Company,
Kansas City Rep, The Atlantic Theater, and
the Juilliard Drama Department.
Jake Rodriguez
Sound Designer
has carved out sound and music for multiple
theaters across the San Francisco Bay
Area and beyond. Recent credits include
Girlfriend at Actors Theatre of Louisville,
Troublemaker, or The Freakin Kick-A
Adventures of Bradley Boatright at Berkeley
Repertory Theatre; Emotional Creature at
the Pershing Square Signature Center;
Scorched and Maple and Vine at American
Conservatory Theater; Bruja and Annapurna
at Magic Theatre; Hamlet at California
Shakespeare Theater; Care of Trees at
Shotgun Players; The Companion Piece at Z
Space. Rodriguez is the recipient of a 2003
Bay Area Theatre Critics Circle Award and a
2004 Princess Grace Award.
Dave Maier
Fight Director
has served as fight director for several
Magic productions including Oedipus el Rey
for which he won the SF Bay Area Theatre
Critics Circle Award. He is the resident
fight director at SF Opera and California
Shakespeare Theatre as well as a company
member with Shotgun Players. His work has
been seen at ACT, Berkeley Rep, San Jose
Rep, SF Playhouse, Aurora Theatre, and
Shakespeare Santa Cruz. He is recognized
as an instructor of theatrical combat by
Dueling Arts International and is a founding
member of Dueling Arts San Francisco.
Mr. Maier is currently teaching theatre arts
related courses at Berkeley Rep School of
Theatre and St. Mary’s College of California.
Dori Jacob
Casting
joined Magic Theatre in 2010 and is
proud to be in her fourth season with the
company, now as the Director of New
Play Development. For Magic, Ms. Jacob
dramaturged the revival of Claire Chafee’s
Why We Have a Body in 2011 and the world
premiere of Octavio Solis’ Se Llama Cristina
this past Winter. Associate dramaturgy
credits include: Luis Alfaro’s Bruja; Linda
McLean’s Any Given Day; Lloyd Suh’s Jesus
in India; Sharr White’s Annapurna; Taylor
Mac’s The Lily’s Revenge; Sharr White’s The
Other Place; Julie Marie Myatt’s The Happy
Ones; and Mark O’Rowe’s Terminus. Further
Bay Area dramaturgy credits include: Still
Waiting for Godot (The OFFCENTER) and
Assassins (Shotgun Players). As the resident
producer for Magic Theatre’s developmental
programming, Ms. Jacob’s credits include:
2011, 2012 & 2013 Virgin Play Series, the
2012 Asian Explosion Reading Series and
the 2013 Costume Shop Festival. Ms. Jacob
is a proud member of both the National
New Play Network’s Literary Committee and
Literary Managers and Dramaturgs of the
Americas. She is a graduate of UC Santa
Cruz and NYU’s Tisch School of the Arts.
Toni Rembe
Season Producer
is past president and a member of the
Emeritus Advisory Board of the American
Conservatory Theater and a member of
TCG’s National Council for the American
Theatre. She is a retired partner at the
law firm of Pillsbury Winthrop Shaw
Pittman and president of the van Loben
Sels-RembeRock Foundation, a private
foundation specializing in social justice and
related legal services. She is a member of
CONTINUED
Alex Jaeger**
Costume Designer
For Magic Theatre: Bruja, Se Llama
Christina, Annapurna, What We’re Up
Against, Or,,Oedipus el Rey, Goldfish, Mrs.
Whitney, Mauritius, Morbidity and Mortality.
Other theaters: ACT: Arcadia, 4000 Miles,
Maple and Vine, Once in a Lifetime, The
Homecoming, November, Rock N Roll,
Speed the Plow; Mark Taper Forum: A
* Member of Actors’ Equity
Association. AEA, founded
in 1913, represents more
than 45,000 actors and stage
managers in the United States.
Equity seeks to advance,
promote and foster the art of live theatre as
an essential component of our society. Equity
negotiates wages and working conditions,
providing a wide range of benefits, including
health and pension plans. AEA is a member
of the AFL-CIO, and is affiliated with FIA, an
international organization of performance arts
unions. The Equity emblem is our mark of
excellence. www.actorsequity.org.
+ Member of Stage Directors and
Choreographers (SDC)
** Member of United Scenic Artists
local 829. United Scenic Artists
represents the designers and
scenic painters for the American Theatre.
9/11/13 3:10 AM
w i n n e r!
2013 Tony Award
for Best Play!
“Deliriously
funny…”
— N e w Yo r k T i m e s
47TH SEASON 2013/14
BURIED CHILD
ARLINGTON
Legacy Revival
Begins September 11
by Sam Shepard
directed by Loretta Greco
World Premiere
Begins November 13
book and lyrics by Victor Lodato
music by Polly Pen
directed by Jackson Gay
HIR
World Premiere
Begins January 29
by Taylor Mac
directed by Niegel Smith
starts sep 20
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Mona Golabek performs some of the world’s most beautiful music,
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EVERY FIVE MINUTES
World Premiere
Begins March 26
by Linda McLean
directed by Loretta Greco
PEN/MAN/SHIP
World Premiere
Begins May 21
by Christina Anderson
directed by Ryan Guzzo Purcell
BC_Program_Final.indd 8-9
9/11/13 3:10 AM
dramaturgy
NOTES ON
BURIED CHILD
It is a commonly held view of Buried Child that it is a realistic
play, perhaps Sam Shepard’s most realistic play, with
predecessors such as Henrik Ibsen’s Ghosts and Eugene
O’Neill’s Long Day’s Journey Into Night. Like them, Buried
Child concerns a son’s homecoming and uses retrospective
action to unravel a mystery in the past. A more interesting
question for us, a century after the introduction of dramatic
realism, is to consider Shepard’s unique brand of realism.
One of the primary differences in Shepherd’s dramaturgy
is what could be called tears in the fabric of reality. Such
irregularities arise out of seemingly inexplicable incongruities,
i.e., the harvest of corn and carrots from an unplanted field,
Halie’s change of clothes between the first and third acts,
and the questionable nature of the buried child. It becomes
apparent as we follow the increasingly complicated revelations
of the past, that for this family, there exists no real truth. Reality
refuses to verify itself, with the result that truth is revealed as
malleable.
Commentary by
Jane Ann Crum
BC_Program_Final.indd 10-11
Shelly: Your whole life’s up there hanging on the wall.
Somebody who looks just like you. Somebody who looks
just like you used to look.
His face became his father’s face.
Same bones. Same eyes. Same nose. Same breath.
And his father’s face changed to his grandfather’s face.
And it went on like that.” —Vince, Act 3 Buried Child
Dodge: That isn’t me! That never was me! This is me. Right
here. This is it. The whole shootin’ match, sittin’ right in
front of you. That other stuff was a sham.
All memory of the past becomes questionable as the difference
between offered information and buried information reveals
itself. The resulting tension occurs as we, like Shelly, attempt to
fix or verify reality. We wait, as we have done since the advent
of the well-made play, for the moment of denouement, when
characters are unmasked and in one stroke the meaning of
the action is made clear. Yet Shepard’s construct of torn reality
Photo: Dorothea Lange
Photo: Brigitte Lacombe
Dodge, the aged and dying patriarch of the family, seems
closest to an awareness that reality may, in fact, be unfixed. He
rejects Shelly’s idea that old family photographs contain any
semblance of truth.
CONTINUED
9/11/13 3:10 AM
dramaturgy
“My temptation is quiet
here at life’s end
neither loose imagination
nor the mill of the mind
consuming its rot and bone,
can make the truth known.”
Photo: Loretta Greco
—An Acre of Grass, W.B.Yeats
BC_Program_Final.indd 12-13
9/11/13 3:10 AM
dramaturgy
Photo: Russell Lee
I knew a man,
a common farmer ,
the father of five sons.
And in them
the fathers of sons,
and in them
the fathers of sons.”
—Children of Adam, Walt Whitman
My name came down through seven
generations of men with the same name
each the first son the same name as the father
then the mothers nicknaming the sons so as not
to confuse them with the fathers when hearing
their names called in the open air while working
side by side in the waist-high wheat.
The sons came to believe their names were the
nicknames they heard floating across these fields
and answered to these names building ideas of
who they were around the sound never dreaming
their real legal name was lying in wait for them
written on some paper in Chicago and that name
would be the name they’d prefix with “Mr.” and
that name would be the name they’d die with.”
Norman Rockwell
—The Motel Chronicles, Sam Shepard
Photo: Walker Evans
BC_Program_Final.indd 14-15
9/11/13 3:10 AM
CONTINUED
continually evades the notion of truth. We
are left with a death, the inheritance of a
legacy, an unearthed symbol of broken
taboos, and Halie’s disembodied voice
reminding us of the mysterious fecundity of
the once-fallow field:
1964 Cowboys
1964 The Rock Garden
1965 Chicago
1965 Icarus’s Mother
1965 4-H Club
1966 Red Cross
1967 La Turista
1967 Cowboys #2
1967 Forensic & the Navigators
1969 The Unseen Hand
1969 Oh! Calcutta! (contributed sketches)
1970 The Holy Ghostly
1970 Operation Sidewinder
1971 Mad Dog Blues
1971 Back Bog Beast Bait
1971 Cowboy Mouth (with Patti Smith)
1972 The Tooth of Crime
1974 Geography of a Horse Dreamer
1975 Action
1976 Suicide in B Flat
1976 Angel City**
1977 Inacoma**
1978 Buried Child**
1978 Curse of the Starving Class
1978 Tongues (with Joseph Chaikin)**
1980 True West**
1981 Savage Love (with Joseph Chaikin)
1983 Fool for Love**
1985 A Lie of the Mind
1987 A Short Life of Trouble
1991 States of Shock
1993 Simpatico
1998 Eyes for Consuela
2000 The Late Henry Moss **
2004 The God of Hell
2007 Kicking a Dead Horse
2009 Ages of the Moon
2012 Heartless
Shepard’s ability to balance on the edge
of the irrational while remaining within the
parameters of realistic dialogue and action,
suggests a profound distrust of any belief
that we can ever fully perceive the truth,
or indeed, that truth as such, even exists.
The rational world recedes as Shepherd
takes us beyond our limited perceptions
of human existence, beyond sense and
knowledge.
I think it’s a cheap trick to resolve things.
It’s a complete lie to make resolutions.
I’ve always felt that, particularly in theater,
when everything’s tied up at the end with
a neat little ribbon and you’re delivered
this package. You walk out of the theater
feeling that everything’s resolved and you
know what the play’s about. So what? It’s
almost as though why go through all that if
you’re just going to tie it all up at the end?
It seems like a lie to me. ~Sam Shepard
Dodge’s farm is not a passive construct,
but functions as a harbinger of news from
a primordial past. The progression of the
earth’s produce carried into the farmhouse
reflects the downward movement of the
search for the child’s identity: from the tall
corn plant from which the ears are picked,
to the carrots pulled directly out of the
soil, to the bundle of bones Tilden must
dig out of the earth with his bare hands.
The return of the dead to plague the living
is one of the most primitive and basic of
all human fears. Buried Child hints at the
substratum of those fears—incest and
infanticide. Shepard walks the knife-edge
of terror with Buried Child, reminding us
that no matter how deeply we plant our
secrets, everything hidden must eventually
be revealed. – Jane Ann Crum
BC_Program_Final.indd 16-17
chronology of plays by Sam Shepard
Halie: I’ve never seen such corn. Have you
taken a look at it lately? Dazzling. Tall as a
man already. This early in the year. Carrots,
too. Potatoes. Peas. It’s like a paradise out
there, Dodge. You oughta take a look. A
miracle . . . I’ve never seen a crop like this
in my whole life. Maybe it’s the sun. Maybe
that’s it. Maybe it’s the sun.
Plays debuted at Magic Theatre
Previously at Magic Theatre, Jane Ann Crum served as production dramaturg
for Liz Duffy Adams’ Or, and Luis Alfaro’s Oedipus el Rey and Bruja. She
teaches M.F.A. directors and playwrights at the New School for Drama in New
York City. Her publications include essays on Sam Shepard’s Buried Child and
A Lie of the Mind.
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9/11/13 3:10 AM
biographies
Photo: Brigitte Lacombe
CONTINUED
Did you know that
this November 5 is
Sam Shepard’s 70th
birthday?
Magic Theatre is
getting ready to celebrate it
in a big way this December.
Stay tuned for more details
coming soon!
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BC_Program_Final.indd 18-19
the board and a former president of the
Commonwealth Club of California; was a
former board chair of the Presidio Graduate
School; and has served on the boards of
other nonprofit organizations and public
companies.
John Marx and Nikki Beach
Producers
began coming to Magic in 1981 and have
enjoyed its intensity and independence
ever since. John joined the Magic Theatre
board in 2009, and served as President
last season. In 1999, John co-founded
Form4 Architecture, a SF based firm, which
produces award-winning architecture
ranging from a 2,000 square-foot penthouse
in SF to a 4 million square-foot IT Campus
in Pune, India. Other projects include
the headquarters for Netflix, nVidia, and
Vmware. Recently, a monograph was
published on John’s work, by Balcony
Press, entitled, Wandering the Garden
of Technology and Passion. Nikki Beach
makes model trees for architects worldwide.
John and Nikki are honored to have been
producers of Ti na nOg, Mauritius, Oedipus
el Rey, The Lily’s Revenge, Bruja, Se Llama
Cristina, and now Buried Child. They find the
behind the scenes access and relationships
they have formed from producing to be
unforgettable.
Becky and Jim Eisen
Producers
have been entranced by live theatre for
many decades and have developed a
passionate admiration for the magic of the
written and spoken word. That passion
has found a fulfilling outlet in their longtime support of Magic Theatre. They share
and enthusiastically support Magic’s
commitment to nurturing playwrights and
producing vibrant new work. A partner in the
law firm of Morgan Lewis, Becky is a past
President of the Magic’s Board of Directors.
Magic Theatre
As one of the nation’s preeminent hothouses
for bold new work, Magic Theatre has
changed the face of American drama
through its steadfast commitment to the
cultivation of innovative plays, playwrights,
and audiences – and its explosive and
entertaining productions of original work.
Now celebrating its 47th season, Magic
passionately ensures the future vibrancy of
the American theatre by providing a safe yet
rigorous home for playwrights to develop
their work into world premieres and by
allowing them the rare opportunity to further
evolve new work through a second or third
production.
Founded by the indefatigable John Lion,
Magic has supported hundreds of artists
beginning with Michael McClure as the first
playwright in residence; his relationship
with Magic began in 1969 with his first
plays, The Cherub and Meat Poem. Sam
Shepard followed in 1975 and wrote
and premiered his seminal Buried Child
(Pulitzer Prize, 1979) and True West (both
directed by Robert Woodruff). Martin Esslin,
internationally renowned scholar and critic,
joined the company as the first resident
dramaturg in American theatre.
The next three decades heralded new work
from an extraordinary range of artists all
pushing the limits of form: Soon 3, Lynn
Kaufman, Athol Fugard, Mark O’Rowe, Nilo
Cruz, Octavio Solis, Claire Chafee, Jon
Robin Baitz, Paula Vogel, Anne Bogart,
Stephen Belber, Basil Twist, Julie Herbert,
David Mamet, and Rebecca Gilman are just
a notable few amongst hundreds of other
formidable writers who have been a part of
Magic’s history.
Current Producing Artistic Director Loretta
Greco took the reins in 2008. In Greco’s
first five seasons at Magic Theatre, 20 of
the 23 new plays produced by Magic have
had or will enjoy extended life on other
stages, further fulfilling Magic’s mission to
enrich the American theatrical canon with
vibrant new plays. Since its world premiere
in 2009, American Hwangap, by Lloyd Suh
has already been published three times and
has been performed in three other theatres
throughout the U.S. and in the Philippines.
Hwangap was joined by Mauritius in the San
Francisco Chronicle’s Top Ten Plays of 2009.
In addition, Mauritius was named best play
of the year by the San Francisco Bay Times
and was nominated for seven Bay Area
Theatre Critics Circle Awards, winning three.
Three of the four plays Magic produced
in 2010 appeared in the San Francisco
Chronicle’s Best of 2010: Luis Alfaro’s
Oedipus el Rey and Liz Duffy Adams’ Or,
were listed in the top ten and The Brothers
Size, as part of The Brother/Sister Plays,
presented in an unprecedented collaboration
with Marin Theatre Company and A.C.T.,
was named the Theatrical High of the Year
and “one of the most unforgettable events of
the decade.” Oedipus el Rey also received
seven LA Ovation Award nominations and
one from the LA Drama Critics Circle. In
addition, it was awarded the prestigious Will
Glickman Award.
the San Francisco Chronicle’s Best of 2012 list: Any Given Day by
Linda McLean, Bruja by Luis Alfaro, and The Other Place by Sharr
White. Additionally, The Other Place opened on Broadway in January
2013.
Magic’s latest world premiere, Octavio Solis’ Se Llama Cristina will
enjoy a continued life as it completes its National New Play Network
rolling world premiere with productions at Kitchen Dog Theater in
Dallas, TX and The Theatre @ Boston Court in Pasadena, CA.
special thanks
Adopt-a-Play parent: Pattie Lawton
Lynn Goldstein
Camilla Betteridge
Jon Weiss
wish list
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If you can help by providing any of the above, please call the
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All three of the world premiere plays
presented by Magic during the 2011-12
sesaon have gained national recognition
or have received further productions:
Annapurna by Sharr White was one
of six finalists for the 2012 Harold and
Mimi Steinberg/American Theatre Critics
Association New Play Award, recognizing
playwrights for the best scripts that
premiered professionally outside New York
City during 2011 and recently completed a
run in Los Angeles; Jesus in India by Lloyd
Suh received an Off-Broadway production;
and Bruja by Luis Alfaro has several
productions in the works.
Three of Magic’s 2012 shows appeared in
9/11/13 3:10 AM
Board of Trustees
President Corky LaVallee
Vice President Pattie Lawton
Treasurer Lynn Goldstein
Secretary LeAnne Crounse
Staff
Producing Artistic Director Loretta Greco
Director of Production Sara Huddleston
General Manager Peter Yonka
Director of Institutional Giving Carol Eggers
Major Gifts Officer Pat Kilduff
Associate Artistic Director Ryan Guzzo Purcell
Director of New Play Development Dori Jacob
Development & Marketing Associate Lorna Velasco
Patron Services Manager Alysha English
Artistic Associate Susie Lampert
Marketing/Development Volunteer Susan Boynton
Controller Richard Lane
Bookkeeper Rhonda Zeilenga
Artistic Direction Apprentice Ellen Abram
Artistic Direction Apprentice Sam Fiorillo
Literary Apprentice Rebecca Deutsch
Production Apprentice Kristine Reyes
Marketing and Development Intern Kathryn Curotto
Season Art Design Robert Brill
Commissioned Playwright in Residence Octavio Solis
Patron Services Associates
Charlene Eldon, Kyle McReddie
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Margaret (Ginger) Alafi (emeritus)
Debra Baker
Bruce Colman
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Loretta Greco, Producing Artistic Director
Cindi King
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John Marx
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Margot Manburg, Jack Miller, Erin Panttaja, Todd Pickering,
Arthur Roth
Docents
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Lea Ann Fleming, Gillian Heitman, Leigh Wolf
May 1, 2012 – August 27, 2013
We gratefully acknowledge all those that support Magic Theatre with gifts and in-kind donations to our Annual Fund, Benefit Fundraiser, and special projects
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Mike Mellor · Mary Moffatt · Julia Sommer · Bert Steinberg
Magic Theatre is generously supported by:
The Andrew W. Mellon Foundation
BC_Program_Final.indd 20-21
Magic Theatre Contributors
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If you like what you see at Magic,
we have many ways for you to be a part
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Contact a Trustee, or email Peter Yonka at
[email protected] to find out more.
Stacy Ross and James Carpenter in Any Given Day (2012) Photo: Jennifer Reiley
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Gaia Fund
The Ira and Leonore Gershwin
Philanthropic Fund
Hotel del Sol
The Bernard Osher Foundation
San Francisco Foundation
Producer ($5,000 - $9,999)
Clay Foundation – West
CLIFT
National New Play Network
The Harold and Mimi Steinberg
Charitable Trust
The Tournesol Project
Wallis Foundation
The Zellerbach Family Fund
Associate Producer ($500 - $4,999)
The Mervyn L. Brenner Foundation, Inc.
The Clorox Company Foundation
The Dramatists Guild Fund
Morgan, Lewis and Bockius LLP
Peet’s Coffee & Tea
The RHE Foundation
John Wiley & Sons, Inc.
Anonymous
You are an artist.
You see the true beauty in creative expression. You strive to elevate our culture.
You believe the arts make our community and the world a richer place. For your
dedication and your passion, we salute you.
Union Bank is proud to sponsor the 2013-14 Magic Theater
re Season.
Congratulations to all the participants in tonight’s performance!
Matching Gift Program
Apple · Bank of America Foundation ·
Chevron · Climateworks · Clorox · Federated
Department Stores · Genentech · Google ·
IBM Corporation · Microsoft Matching Gifts
Program · Morgan Stanley · Peter Wiley and
Sons, Inc.
Eva Strnad
Vice President, Mortgage Consultant
NMLS ID # 765201
Direct 415-765-2620
[email protected]
We strive for accurate donor listings. If you
have a correction or question, or would
like to find out more about ways to support
Magic Theatre, please contact Carol Eggers
at 415-263-9047 or [email protected]
unionbank.com
©2013 Union Bank, N.A. All rights reserved.
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CELEBRATE CALIFORNIA’S LIVELY CULTURE AT SAN FRANCISCO’S
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HOTEL DEL SOL IS A JOIE DE VIVRE HOTEL
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