IN THIS ISSUE:

• The Women
  
  • Program Notes: The Women
  • The Women Sponsors
• Back Back Back
  • Program Notes: Back Back Back
    
• Globe Announces 2009 Summer Season
• Education Experiences
• Upcoming Productions & Events
  • Dr. Seuss' How the Grinch Stole Christmas! Tickets on Sale
  • Grinch Family Experience
  • Insights Seminars
  • Post Show Forums
  • Nights At The Globe
• Conrad Prebys Theatre Center

THE WOMEN
Now Playing - October 26

Photos left: Jenn Harris as “Olga,” Blair Ross as “2nd Hairdresser,” Ruth Williamson as “Countess de Lage,” Mary-Pat Green as “1st Hairdresser” and Aimee Nelson as “Pedicurist”;Center Photo: Kathleen McElfresh as “Crystal Allen” and Kate Baldwin as “Mary Haines”; Photo right: Kate Baldwin as “Mary Haines” and Kathleen McElfresh as “Crystal Allen,” with cast members behind . Photos by Craig Schwartz.

By Clare Boothe Luce
Directed by Darko Tresnjak
September 13 - October 26
Old Globe Theatre

One of the sauciest, most stylish American comedies of all time was also a play ahead of its time. Mary Haines’ society girlfriends know a secret about her husband – and between the beauty parlors, the department stores, the hours in psychoanalysis and the dinner parties – something’s sure to slip. Clare Boothe Luce’s dishy, decadent 1936 classic comes to drop-dead-gorgeous life in a stunning large-scale production – as these cunning, sexy sophisticates use every weapon in their arsenal to fight for love, happiness, and their personal dignity. Spend an evening with this viciously entertaining group of women and you may discover that while times have changed, people haven’t.

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PROGRAM NOTES: The Women

CLAIRE BOOTHE LUCE'S RAGE FOR FAME

Images of Clare Boothe Luce

Clare Boothe Luce had a remarkable career. She was a journalist, war correspondent, editor of Vanity Fair magazine, Broadway playwright, member of the U.S. Congress, and Ambassador to Italy. In 1997, Sylvia Jukes Morris wrote a definitive biography of Clare Boothe Luce, Rage for Fame: The Ascent of Clare Boothe Luce, chronicling the early part of her career. The following excerpts from Rage for Fame trace the origin and development of The Women.

THE IDEA
The first idea for The Women had come from a conversation she overheard in the ladies room of the Morocco Club. Familiar voices at the washbasins were “dishing the dirt” about some married friends of hers. At the Greenbrier, venomous new lines took shape in her head. The lines grew into scenes, pouring out with phenomenal speed.

THE BUZZ
Awareness of the play’s worth spread quickly though the Broadway community. An MGM script scout predicted that it would cause “a mad scramble” among picture companies. It was “flashy, hokey material and not too expertly written, but it is an unusually good set-up for the screen . . . The author, a New York society woman, has written of her sex with a knowing and cynical pen.”

THE REHEARSALS
Casting and rehearsals for The Women began in early fall. There were the usual frustrations inherent in any major Broadway production. But none seemed to faze Clare, who was generally willing to jettison her old lines for new ones. Soon everyone concerned with the play was in awe of her. She was always perfectly dressed, coiffed, manicured, ready to turn on her charm and show her cleverness. [Playwright] Moss Hart would never forget the sight of her revising her script in the most feminine of boudoirs, sporting a blue ribbon in her hair and an ermine bed jacket fastened with a diamond pin.

[Actress] Ilka Chase remembered her sweeping in late one night, when the cast, “in varying attitudes of despondency,” was sitting on the bare and grubby stage. She was “on her way to a satin soirée . . . gowned by Hattie Carnegie, sabled by Jaeckel, and from her finger flashed one of Flato’s larger ice cubes.

“The most amazing thing about it,” Whipple would write, “is the cheerful feminine reaction to a comedy that ought actually to blister the ladies in their tenderest regions . . . They applaud the most brazenly cynical utterance. They delight in dissection. They may even take notes for their personal use.”

THE SUCCESS
When The Women broke its attendance record, Clare’s intimates celebrated in various ways. Condé Nast gave a party at his Park Avenue penthouse and invited his customary A list of actors, journalists, artists, and socialites. Bernard Baruch boasted about getting Max Gordon to produce the play and went to see it at least a dozen times. He bought scores of tickets to keep up the numbers, giving them away to everyone from politicians to elevator boys, and pointed out a tiny gold typewriter on his watch chain that Clare had given him.

Controversy about the play’s unprincipled characters and brittle dialogue continued. Eleanor Roosevelt wrote in her syndicated column “My Day” that she left a performance “longing for a little honest clean talk without any sham or pretense.” John Billings [editor of Life magazine] reacted predictably. “I thought it was pretty unpleasant . . . Harry [Luce, Clare’s husband], I suspect, is very proud . . . If I were in his place I would be ashamed to have a wife who wrote so autobiographically.”

Though Moss Hart [who had given Clare advice during the rehearsal period] was pleased with the play’s financial success, he expressed scant praise at the time. Thirteen years later, when The Women had become a perennial draw in theaters all over the world, he read it again, and wrote Clare a belated compliment:

“I was filled with an admiration for it that I must confess I didn’t have at the time it was produced. It’s a first rate job, and to my mind a highly under-rated play. It’s a great deal more than just a slick, well-constructed play — it’s a highly civilized and biting comment on the social manners and morals of our society, and women’s place in it. I had no idea it was so good . . . I don’t think you ever got the credit you deserved for it, and I thought I’d write and tell you so.”

FROM THE FOREWORD TO THE WOMEN
By Clare Boothe Luce

Photo from 1936 Broadway production of The Women. (Mielziner: Master of Modern Stage Design by Mary Henderson)

Ppictured from 1939 film: Virginia Weilder and Joan Crawford.

Old Globe sketch of Crystal’s bathroom. Scenic design by David P. Gordon.

The Women is a satirical play about a numerically small group of ladies native to the Park Avenues of America. It was clearly so conceived and patently so executed. The title, which embraces half the human species, is therefore rather too roomy. It was chosen, ungenerously it may seem, from a host of more generic titles —“Park Avenue," “The Girls," “The Ladies" — simply because it was laconic, original and not altogether too remote. Moreover, its very generality seemed to hold a wide audience appeal, a consideration which few commercial dramatists are required to ignore. This having been frankly stated, I am sure that few readers will be distracted by the width of the title from the narrowness of the play's aim: a clinical study of a more or less isolated group, projected, perhaps in bad temper, but in good faith.

Now, whether or not this play is a good play is any man's business to say. But whether or not it is a true portrait of such women is a matter which no man can adequately judge, for the good reason that all their actions and emotions are shown forth in places and times which no man has ever witnessed. “Vas you there, Charlie?" The patriotic Daughters of the American Revolution were notoriously harsh judges of soldiery, as demonstrated in What Price Glory?. The fact that their fathers were soldiers did not make them good judges of life on the Western Front. So all sentimental gentlemen, young and old, who read this book, are here warned that the fact that their mothers were women does not constitute them, ipso facto, able critics of Life in The Women's No-Man's Land.

But that the antics of these women do strike most audiences as funny, instead of dull or nauseating, as they might quite reasonably have done, is a very happy accident for me at the box-office. I am immensely gratified by the play's success, and properly appreciative of whom I have to thank — the women who are its staunchest advocates and best customers — the women who do not think “all women are like that.”

THE ALMIGHTY CLARE BOOTHE LUCE
By Helen Lawrenson

Claire Boothe Luce at home, 1942.

When I first knew her I didn't like her. Few women do. I can think of no one who has aroused so much venom in members of her own sex. Much of it is envy. But not all. Other more talented and successful women have disliked her intensely. Some years ago, when a magazine published an article about her entitled The Many Faces of Clare Boothe Luce, the most frequent comment by her peers was, “I thought she had only two.”

As I grew to know her better and as I learned from various personal sources something of her early life and background, I became, if not unreservedly fond of her, at least sympathetic. She made real friendship impossible, perhaps because she seemed to trust no one, love no one, remaining inaccessible deep in the malistic concept that rankled under her shield of opaque, steely self-assurance. Oddly, I was sorry for her, because I believe that despite the stunning and ineluctable procession of her triumphs, she was basically an unhappy woman, never satisfied, never content. Yet she was the glittering lodestar of a generation, or of those parts of it susceptible to the skittish canons of publicity. As such, she became a target for a certain amount of hyperdulia, with attendant accolades, some less awesome than others.

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THE WOMEN is supported, in part, by the following generous sponsors:

MARY ANN BLAIR Mary Ann Blair has supported theatre in San Diego, including The Old Globe, for the past ten years. Through her support of the Globe's Education and Outreach programs, Mary Ann has made it possible for thousands of children to experience the magic of theatre, and she often attends with them and delights in seeing their reactions to a performance. She believes that the arts are an important part of education and, with a firm commitment to children, she supports organizations that enrich children's lives through theatre, including San Diego Junior Theatre and Lyric Opera. She has also participated in the Globe's annual spring theatre trips to New York. We are very pleased to recognize Mary Ann Blair as a Production Sponsor for The Women.

VALERIE AND HARRY COOPER Valerie Cooper has served on the Globe Board of Directors for many years, including as Secretary and member of the Executive Committee. She was the Honorary Chair of the 2007 Globe Guilders Fashion Show and is on the Capital and Endowment Campaign Committee. Valerie and her husband, Harry, have played many other important roles at the Globe and both have co-chaired extremely successful Globe Galas (Valerie in 2004 and 2006; and Harry in 2005). The Coopers have previously sponsored The Violet Hour, Moonlight and Magnolias and A Catered Affair. Valerie and Harry are active throughout San Diego, supporting the San Diego Museum of Art, Vista Hill Foundation, La Jolla Playhouse, San Diego Opera, Planned Parenthood and Patrons of the Prado. Valerie can also be found on the hunter/jumper circuit with one of her prize-winning horses.

DENI AND JEFF JACOBS Deni and Jeff Jacobs have been loyal subscribers and donors to The Old Globe for years, and Deni serves on the Globe Board and has served as Co-Chair of the Globe Gala in 2007 and 2008, hosting the Gala Underwriters’ Party at their new home in La Jolla Shores in 2007. Jeff serves as Executive Vice President and President of Global Development for QUALCOMM, which has been a Globe Season Sponsor since 2004. Deni and Jeff are also involved with the Jewish Community Foundation, Educational Enrichment Systems, San Diego Sports Council, Big Brothers and Big Sisters, San Diego State University and the Scripps Foundation of Medicine and Science.

American Airlines, the world’s largest provider of air travel services with flights to 250 cities, 40 countries and 4 continents, has a decades-long relationship with The Old Globe and has been a production sponsor for the past 20 years, including such memorable shows as A Catered Affair, George Gershwin Alone, Chita Rivera: The Dancer’s Life, Lucky Duck, Henry V, Beyond Therapy and The Merry Wives of Windsor. American Airlines supports the Globe by providing much-needed air travel, bringing the finest actors, directors and designers from around the country to our stages. In addition to their tremendous production support, American Airlines is also a sponsor of the 2008 Globe Gala.

BACK BACK BACK
Starts September 19

L-R: Brendan Griffin, Nick Mills, Joaquin Perez-Campbell. Photo by Craig Schwartz.

By Itamar Moses
Directed by Davis McCallum
The Old Globe Arena Stage at Copley Auditorium, SDMA
September 19 - October 26

Before headlines blazed, before the Mitchell Report and ESPN lit up millions of television screens with the scandals, before congressional jaws dropped, comes the story of three guys making their way in the world of professional baseball – a world too competitive to rely solely on raw talent. This explosive play from the acclaimed writer of The Four of Us and Bach at Leipzig takes you behind the headlines into the locker room to witness an even more gripping confrontation you didn’t see on TV, as these teammates face each other and do battle – for their careers, their legacies, and the future of America’s favorite pastime. BACK BACK BACK was awarded an Edgerton Foundation 2008 New American Plays Award. For Mature Audiences.

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PROGRAM NOTES: Back Back Back

TIMELINE OF THE BASEBALL STEROID SCANDAL

GLOSSARY OF BASEBALL TERMS

Back Back Back cast (L-R): Brendan Griffin, Nick Mills and Joaquin Perez-Campbell. Photo by Craig Schwartz.

A.L.C.S. Abbreviation for American League Championship Series, a best-of-seven playoff series that determines which American League team will go to the World Series.

ACE ON THE HILL When a team has their best pitcher starting the game. The hill refers to the pitching mound. called up. A minor league player who is promoted to the major leagues.

CANDLESTICK Candlestick Park. Former home to the San Francisco Giants and current home to the San Francisco 49ers. Structural damage was incurred during the 1989 Loma Prieta earthquake minutes before Game 3 of the World Series was to be played.

CUT HIM LOOSE To be fired, traded or let go from a ball club.

DOUBLE A Part of the minor league or farm system of a major league team — players who are not yet ready to play in the majors or are working their way back from injuries. Double A is the mid-range classification.

FARM SYSTEM Teams in the minor league (see Double A) whose role it is to provide experience for young players; a training ground for future major leaguers.

FREE AGENCY In 1975 an arbitration panel declared that players with 6 years of major league service who were not under contract for the following season could, in essence, place themselves on the open market to see if other teams would offer more lucrative contracts. Until the mid-1970s players were bound to a team for the duration of their careers (unless they were cut loose or traded).

GOES THE OPPOSITE WAY  When a right-handed batter hits the ball to right field or a left-handed batter hits the ball to left field. Since most power comes from a right-handed batter hitting the ball to left field and vice versa, this “against the grain” approach can be particularly effective.

HIT AND RUN Actually, a run and hit, an offensive situation where base runners are in motion before the ball is hit, while the batter tries to make contact with the pitch. The desired outcome is that the runners will advance at least one base and eliminate the possibility of a double-play (see Turning Two).

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The Old Globe Announces
2009 Summer Season!

SUBSCRIBE TODAY
To a Winter or Summer Season package to guarantee your seats to the world premiere Broadway-bound musical event of 2009!

EDUCATION EXPERIENCES

Special Gifts to The Old Globe: Education Donors and Volunteers

The Old Globe’s Education Department is the fortunate recipient of many gifts from the San Diego community. Funding comes from numerous donors who commit their philanthropic gifts to the cause of enriching the lives of San Diegans young and old. The Old Globe’s Education programs are given freely to children and adults year round, but they aren’t “free.” The Globe incurs costs for every program and event. Student matinees are probably the most expensive “free” offering the Globe provides. These weekday matinees just for student audiences cost the Globe the same amount as regular evening performances. The Theatre pays the full cost of these performances and, in addition, the Education Department includes pre-show workshops at each school that attends the matinees.

Our Summer Shakespeare Intensive, a four-week full-day program that immerses teens in the study and performance of a Shakespeare play, involves the costs of teachers, directors, designers, stage managers, and our full Production Department in the classes, rehearsals and mounting of the program’s performance in the Lowell Davies Festival Theatre.

The costs of providing these programs are extensive but the rewards are even greater. The Globe and its donors have the satisfaction of knowing that their efforts are bringing the magic of live theatre to children who might otherwise never have the opportunity to attend or participate. Our education programs enrich the community by making theatre part of the lives of thousands of children each year.

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UPCOMING PRODUCTIONS & EVENTS

DR. SEUSS' HOW THE GRINCH STOLE CHRISTMAS!
Books and Lyrics By Timothy Mason | Music by Mel Marvin
Original production conceived and directed by Jack O'Brien
November 15 - December 28
Old Globe Theatre

Kevin Bailey as the "Grinch." Photo by Craig Schwartz.

America's favorite holiday fable, back for its eleventh incredible year, is a wonderful, whimsical production that will once again jump right off the pages of the classic Dr. Seuss book and onto the Old Globe stage. Come take part in the fun as The Globe is transformed into snow-covered Whoville right down to the last can of Who-hash!

TICKETS ON SALE NOW!
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GRINCH FAMILY EXPERIENCE
December 7, 2008

The Old Globe is also pleased to present the sixth annual Grinch Family Experience, a delightful family gala created to help raise money for the Globe's education and outreach programs, while offering an exciting day of hands-on theatre activities for children and families.

The celebration takes place on Sunday, December 7, beginning at 11:00am in the Globe’s rehearsal halls in Balboa Park. The event includes a special buffet lunch, followed by a puppet show and a delightful performance by the children in the Grinch, as well as “Grinchy” crafting activities where children can make fun holiday items. At 2:00pm patrons attend a performance of Dr. Seuss’ How the Grinch Stole Christmas! in the Old Globe Theatre. VIP ticket holders receive complimentary valet parking, priority seating, a photo with the Grinch and much more.

VIP tickets are $175 for children and $300 for adults. Tickets are $100 for children and $150 for adults. To reserve your Grinch Family Experience tickets, please call (619) 231-1941 ext. 2317 or email Events@TheOldGlobe.org.

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INSIGHTS SEMINARS & POST-SHOW FORUMS

The Insights Seminars are a Monday night series provides Old Globe patrons with an opportunity to be more closely connected to the work on stage and backstage at our three theatres. A panel selected from the artistic company of each production (playwrights, actors, directors, designers, and/or technicians) engages patrons in an informal and illuminating presentation of ideas and insights to enhance the theatre-going experience. Each Insights Seminar takes place in the theatre where the production is performed and includes an informal champagne reception starting at 6:30pm, seminar starts at 7pm. No reservations or advance payment necessary. Patrons may pay at the door.

Insights Seminars are Free to all donors and subscribers. For those not in either category, single seminars are $5. Teachers, students and seniors $3. Age appropriateness: Teens and adults.

For more information, please phone Roberta Wells-Famula (619) 231-1941 X2144 or e-mail at rwells-famula@theoldglobe.org.

2008 Insights Seminar Dates

Insights Seminars are made possible with the generous support of the City of San Diego Commission for Arts and Culture, and the County of San Diego.

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POST SHOW FORUMS

Join us after the show for an informal and enlightening question-and-answer session with cast members who will share with you the “inside story” of creating a character and putting together a production. Post-show forums are scheduled after selected Tuesday and Wednesday evening performances. Age appropriateness: Adults and high school/college student groups.
For more information, please contact the Box Office at (619) 23-GLOBE (234-5623).

2008 Post-Show Forum Dates

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NIGHTS AT THE GLOBE

Photos by J. Katarzyna Woronowicz

Out at the Globe
Thursday, September 25 - The Women, Back Back, Back, Romeo and Juliet
6:30pm- 7:45pm
An evening for gay and lesbian theatre lovers and the whole GLBT community. This event includes a hosted wine and martini bar, delicious appetizers, prizes and a pre-show mixer. Everyone is welcome.

Wine Lover's Night
Friday, September 26 - The Women, Back Back, Back,
All's Well That Ends Well
6:30pm- 7:45pm
Taste a variety of samples at this casual pre-show party. Includes a hosted wine bar and tasting, with a selection of cheeses and fruit.

TGIF (Thank Globe It's Friday)
Friday, October 3 - The Women, Back Back
6:30pm- 7:45pm
Kick off the weekend in style with friends at TGIF Martini Night, our music-filled pre-show bash! Includes a hosted wine and martini bar, delicious appetizers and dessert, and live music from a local San Diego artist.

CONRAD PREBYS THEATRE CENTER

The Conrad Prebys Theatre Center will herald an exciting new era for The Old Globe, enabling the theatre to produce works at an even higher artistic level and helping ensure the Globe’s prominent position in the future of American theatre. Construction will be completed in 2009 and the first production will be in early 2010.

	Old Globe Theatre - Donald and Darlene Shiley Stage The Conrad Prebys Theatre Center will encompass both the new facility now under construction and the Old Globe Theatre – the Globe’s flagship theatre with year-round performances of Broadway-bound musicals, classics and new plays.
	NEW! Sheryl and Harvey White Theatre A state-of-the-art arena stage – for our intimate productions – with 251 seats in five rows surrounding the stage, safe and comfortable theatre access for audience and actors, full lighting grid and trap room, and new public restrooms.
	NEW! Karen and Donald Cohn Education Center Including Hattox Hall, a large performance and training space for children and adults, as well as a studio dedicated to student activities and a “History of The Old Globe” installation. The Education Center will be home to the Globe’s many audience enrichment activities, serving more than 50,000 each year, and will feature spectacular views from the Donald and Darlene Shiley Terrace. NEWLY REDESIGNED! Copley Plaza The Globe’s 13,000-square foot “outdoor lobby” will feature an expanded dining pavilion and seating areas and stunning new landscaping, providing a comfortable welcome to theatergoers, as well as many of the 12 million annual visitors to Balboa Park.
	A Temporary Theatre Next Door During construction, The Old Globe has built a temporary arena stage in the James S. Copley Auditorium at the San Diego Museum of Art. We are grateful to the Museum for leasing us this space just steps away from the Globe to house our “second stage” productions. In building this theatre, we had one goal: to provide you with uninterrupted enjoyment of our intimate productions.

THE ALMIGHTY CLARE BOOTHE LUCE continued

In 1947 she came second to Mrs. Eleanor Roosevelt in a national poll to determine “the American woman you most admire”; in 1953, according to a Gallup Poll, she was one of “the ten most admired women in the world,” surpassed by Mrs. Roosevelt, Queen Elizabeth II, Mamie Eisenhower; during her tenure as our ambassador in Italy, freshman girls at Italian universities voted her “the ideal woman.” (Gina Lollobrigida came second.) From a skimpily educated but clever girl, so ambitious that it hurt, to her present dwindling status as Elder Stateswoman Emeritus (in which guise she issues apologias for Nixon and serves on some sort of civilian advisory board tangential to the State Department), she parlayed a nimble, mousetrap mind, apodictic nerve and a will as tough as lignum vitae beneath an exquisitely angelic facade into one of the most strategically calculated and fascinating success sagas of the century. Her technique was simple: aim for the top.

...

Ambassador Luce and Sir Winston Churchill, 1955.

Many years ago, in 1937, a friend wrote me: “I saw The Women and I think Mrs. Luce is wonderful to have thought it up. But then, I think God is wonderful to have thought up Mrs. Luce.”

Excerpts from an article in the August 1974 edition of Esquire magazine. The cover featured a picture of Clare Boothe Luce, with the caption “Woman of the Century.” Helen Lawrenson was an editor at Vanity Fair working with, and eventually for, Clare Boothe Luce, who became editor of the magazine.

GLOSSARY OF BASEBALL TERMS continued

HIT THE CORNERS Refers to a pitcher’s ability to throw a strike just within the boundaries of the strike zone (see Zone) without having the ball go directly over the plate.

HITTING FOR AVERAGE (or Batting Average) Batting average is defined as the number of hits divided by the number plate appearances. Players who hit for average may not have the most homeruns, but can effectively put the ball in play and get a good percentage of base hits. (Walks do not count towards average.)

JUICED An unproven theory that during the 1990–2000s, Major League Baseball was altering the make-up of baseballs, causing there to be an elevated number of homeruns hit.

MENDOZA LINE Named for shortstop Mario Mendoza, a term that refers to a player’s batting average (see Hitting for Average) falling below .200, the minimum level for acceptable offensive output regardless of defensive ability.

ON THE SCREWS When a batter hits the ball squarely.

PARK ONE Hit a home run.

PENNANT RACE The last weeks of the season when teams compete for playoff spots. Winners are the American and National League teams who then compete in the World Series.

ROOKIE OF THE YEAR An award given at the end of the season to the best first-year player in the American and National Leagues.

SAC FLY Short for Sacrifice Fly. With a runner on third base and fewer than two outs, the batter may hit a fly ball to the outfield which is caught, thus sacrificing himself, if it scores the runner.

SKIP Short for Skipper, another term for the team’s manager.

SLUGGER A player who is a home-run hitter, or hits the ball often for doubles or triples.

THE BREAK Refers to the All-Star Break in the middle of July, the halfway point of the season. Regular play is suspended for 3 days of festivities, during which time there is an exhibition game between the American and National Leagues’ best players. Beginning in 2003, whichever League wins the game obtains home-field advantage for the World Series.

THREAT TO STEAL A stolen base occurs when a base runner advances to the next base while the pitcher is delivering the ball to home plate. The fastest runners are frequently considered threats, but a “threat” can also be a player who is good at timing a pitcher’s delivery to home plate.

TOSSING BULLETS Throwing the ball very hard. Refers mainly to pitchers’ fastballs.

TURNING TWO Also called a double-play, the defensive act of getting two offensive players out during one continuous play.

WARNING TRACK   The portion of the outfield that is closest to and runs along the wall (over which a ball is considered a home run).  That part of the field resembles a running track and is made out of dirt or composite instead of grass or turf like the rest of the field.  This provides a warning to outfielders if they are running to catch a ball that they are nearing the wall.

WORK THE COUNT  Used to describe an ability of a batter with a discerning eye.  He will not typically swing at pitches out of the strike zone or will try to foul off many pitches to extend the at-bat and force the pitcher to make a mistake.

ZONE The strike zone; the vertical space between a hitter’s knees and the letters on his uniform, and horizontally from one side of home plate to the other.

EDUCTION EXPERIENCES continued

There is a sense of teamwork here at the Globe that involves our Board, our donors, and our staff and volunteers. Our donors often see themselves as partners in what we do, and they take the time to serve on the Education Committee, attend student matinees, visit schools to see Globe Readers or In-School Workshops and Residencies, and read thank-you letters written by students. They give their financial gifts and they give their attention. It’s this follow-through that makes the difference. The knowledge that there are people who really care about what we’re doing gives us a sense of empowerment and purpose. The people working here at The Old Globe have been the beneficiaries of that very special kind of philanthropy.

There is another kind of gift that keeps the Education Department not only alive but vibrant — the gift of time. Our volunteers give their time, energy and talents to tell stories. I’m referring to two education programs that tell stories in very different ways. Our Docents tell the story of The Old Globe while guiding visitors on tours through the many fascinating behind-the-scenes areas that are part of this wonderful theatre. The Docents share their knowledge and love of this organization and are an integral part of what we do. They love what they do and they’re very, very good at it.

Our Globe Readers tell another kind of story. These volunteers read stories to children in schools all over San Diego County. They encourage the children to read and to write stories and then many of those children’s stories are turned into short plays. Children everywhere learn a love of reading and a love of theatre. Their affection for their volunteer Reader translates to affection for The Old Globe – the place that person talks about at each school visit.

We are grateful to all who give — those that give of their financial resources and those that give of their time. All of our lives are enriched by their generosity and the high expectations that they have for The Old Globe.

If you would like to make a gift to Globe education programs, please contact the Development Office at (619) 231-1941. If you are interested in becoming a Globe Reader or Docent, please contact the Education Department at (619) 231-1941 x2141.

Roberta Wells-Famula
Director of Education