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The Blameless

February 23 – March 26

Sheryl and Harvey White Theatre
Conrad Prebys Theatre Center

The Blameless


The Blameless

By Nick Gandiello
Directed by Gaye Taylor Upchurch

Developed in The Old Globe’s 2016 New Voices Festival, The Blameless is a compassionate and moving look at the power of familial bonds in the most extraordinary of circumstances. The boisterous Garcia family has always tackled their days with warmth, humor, and tough love. But today is no ordinary day. Struggling to recover from a painful event in their past, they must find a way to hold everything together as they welcome to dinner the one man who might help them heal—or reopen their wounds. Gaye Taylor Upchurch (Bethany and The Last Match) returns to the Globe to helm this world premiere look at love, family, and hope.
Contains strong language.

Production Sponsors
Hyatt Regency La Jolla at Aventine
Elaine Lipinsky Family Foundation

Running time: 1 hour and 40 minutes. There is no intermission.

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Cast and Creative



Nick Gandiello (Playwright) is a playwright, screenwriter, and teaching artist based in New York. His plays include Oceanside (Merrimack Repertory Theatre), The Wedge Horse (Fault Line Theatre), Sunrise Highway (Ojai Playwrights Conference), Black Fly Spring (Xavier University), Swept (Williamstown Theatre Festival), At the Finish (Smith and Kraus’s The Best Ten-Minute Plays 2014), and Teeming Shore (The Best Ten-Minute Plays 2015). Mr. Gandiello was the 2015 Page 73 Productions Playwriting Fellow and was the winner of the 2016 Marin Theatre Company David Calicchio Emerging American Playwright Prize. He is an alumnus of the Ars Nova Play Group. His work has been developed or presented by Manhattan Theatre Club, Lark Play Development Center, The Flea, Samuel French’s Off Off Broadway Festival, Capital Stage, Premiere Stages, and Wide Eyed Productions, among others. For the screen, he developed and shot a television pilot, “Substance,” with Ready Set Go! Productions. Mr. Gandiello was the Literary Manager of Young Playwrights Inc. from 2012 to 2015 and is the Associate Artistic Director of Writopia Lab’s Worldwide Plays Festival. He received his M.F.A. from The New School for Drama.

Gaye Taylor Upchurch (Director) made her Globe debut in 2014 directing Laura Marks’s Bethany, and earlier this year she directed Anna Ziegler’s The Last Match. Ms. Upchurch has directed the Off Broadway productions of Nancy Harris’s Our New Girl, and Simon Stephens’s Harper Regan and Bluebird with Simon Russell Beale (Atlantic Theater Company), Bethany (Women’s Project Theater, Lucille Lortel Award nomination for Outstanding Play), and Lucy Thurber’s Stay (Rattlestick Playwrights Theater). Regionally Ms. Upchurch directed the world premieres of Clare Lizzimore’s Animal (The Studio Theatre, Helen Hayes Award nomination for Outstanding Director of a Play) and Melissa Ross’s Of Good Stock (South Coast Repertory), and at Hudson Valley Shakespeare Festival she directed An Iliad (also at West Point) and As You Like It,which she is reimagining for the Folger Theater in Washington, DC. She most recently directed Kathleen Turner in The Year of Magical Thinking at Arena Stage. Ms. Upchurch has developed new work at New Dramatists, New York Stage and Film, The Kennedy Center, Ensemble Studio Theatre, Playwrights’ Center, and SPACE on Ryder Farm. She is an alumna of the Women’s Project Theater Directors Lab, The Drama League, and the University of North Carolina School of the Arts.

Andrew Boyce (Scenic Design) is a Chicago- and New York City-based designer working in theatre, opera, film, and television. His New York credits include Lincoln Center Theater, Roundabout Theatre Company, Atlantic Theater Company, Rattlestick Playwrights Theater, The Play Company, The Playwrights Realm, Cherry Lane Theatre, and more. He has worked regionally with Actors Theatre of Louisville, Alliance Theatre, American Conservatory Theater, American Players Theatre, Asolo Repertory Theatre, California Shakespeare Theater, Curtis Opera Theatre, Dallas Theater Center, Geffen Playhouse, George Street Playhouse, Goodman Theatre, Kirk Douglas Theatre, Magic Theatre, Mark Taper Forum, Milwaukee Repertory Theater, Oregon Shakespeare Festival, Portland Center Stage, Studio Theatre, Syracuse Stage, Writers Theatre, and Yale Repertory Theatre, among others. Mr. Boyce is a member of the design collective Wingspace Theatrical Design, a graduate of Yale School of Drama, and a current assistant professor in the Northwestern University Department of Theatre. andrewboycedesign.com.

David Israel Reynoso (Costume Design) is a scenic and costume designer who recently designed the Globe’s productions of tokyo fish story, Constellations, Twelfth Night, Arms and the Man, Water by the Spoonful, Time and the Conways, Double Indemnity, and Be a Good Little Widow. He also designed As You Like It for The Old Globe and University of San Diego Shiley Graduate Theatre Program. Mr. Reynoso is the Obie Award-winning costume designer of the Off Broadway hit Sleep No More (New York and Shanghai) and is also a Helen Hayes Award nominee for Healing Wars (Arena Stage). He is recognized locally for his designs of Tiger Style!, Healing Wars, The Darrell Hammond Project, Kingdom City,and the DNA New Work Series presentation of Chasing the Song (La Jolla Playhouse). His other work includes Futurity, Cabaret, The Snow Queen, Alice vs. Wonderland, Trojan Barbie, Copenhagen, No Man’s Land, Hamletmachine, Ajax in Iraq,and Abigail’s Party (American Repertory Theater), The Comedy of Errors and Othello (Commonwealth Shakespeare Company), The Woman in Black (Gloucester Stage Company), and Dead Man’s Cell Phone (The Lyric Stage Company). Mr. Reynoso is also the recipient of the San Diego Foundation’s Creative Catalyst Grant, an Elliot Norton Award, a Craig Noel Award nomination, and multiple IRNE and BroadwayWorld Award nominations. davidreynoso.com.

Bradley King (Lighting Design) is a lighting designer based in New York City. His recent work includes The Last Match and Constellations (The Old Globe), Natasha, Pierre and the Great Comet of 1812 (Broadway, Imperial Theatre), The Black Crook (Abrons Arts Center), Every Angel Is Brutal (Clubbed Thumb), The Way West, Empanada Loca, Sucker Emcee, and Ninth and Joanie (Labyrinth Theater Company), Elijah Green (The Kitchen), The Winter’s Tale (The Pearl Theatre Company), Jacuzzi (Ars Nova), And I and Silence (Signature Theatre Company), and Women or Nothing (Atlantic Theater Company). His other work has been seen regionally at The Old Globe, American Repertory Theater, Alley Theatre, Berkeley Repertory Theatre, Guthrie Theater, La Jolla Playhouse, McCarter Theatre Center, Penobscot Theatre Company, South Coast Repertory, Virginia Stage Company, Yale Repertory Theatre, and Williamstown Theatre Festival. His opera work includes Bard SummerScape, Boston Early Music Festival, Kentucky Opera, New York City Opera, Opera Omaha, Vancouver Opera, and Virginia Opera. He is an IRNE and Elliot Norton Award winner and has been nominated for the Drama Desk, Lucille Lortel, and Henry Hewes Design Awards. bradleykingld.com.

Ryan Rumery (Sound Design) is a musician, composer, and producer. His music is featured in the films How to Let Go of the World and Love All the Things Climate Can’t Change (2016 Sundance Film Festival, HBO, iTunes, Amazon Video), City of Gold (2015 Sundance, SXSW Film Festival, IFC Films/Sundance Selects, iTunes, Amazon Video, Hulu), Those People, Gatewood, SynchroNYCity, and And, Apart (2016 Golden Door International Film Festival). His composition “End of Day” was used in CNN’s “Death Row Stories” episode “Murder in Paris.” His recent theatrical scores include the Pulitzer Prize-winning Between Riverside and Crazy (Atlantic Theater Company, Second Stage Theatre) and Fool for Love (Broadway). Mr. Rumery was sound consultant for Sufjan Stevens’s Round-Up at the Barbican and Edinburgh International Festival. He also consulted on the Nonesuch at 50 Festival at Brooklyn Academy of Music. As an album producer and musician, he has recorded with Jacob Valenzuela (Calexico), Bo Koster (My Morning Jacket), Tom Hagerman (DeVotchKa), and Jon Rauhouse (Neko Case). Mr. Rumery co-produces and records with Nick Luca at Elliott Smith’s former studio, New Monkey, in Van Nuys, California. He often works with Craig Schumacher at WaveLab in Tucson, Arizona. He recently produced Arlo Hannigan’s forthcoming album, and two albums for Jeremy Bass: Winter Bare and New York in Spring; the title track from the latter album won the John Lennon Songwriting Award.

David Huber (Vocal Coach) has worked on the Globe productions of Picasso at the Lapin Agile, Globe for All’s Measure for Measure, October Sky, Meteor Shower, Sense and Sensibility, Macbeth, tokyo fish story, Camp David, Constellations, Rain, The Last Match, The Metromaniacs, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, Arms and the Man, Buyer & Cellar, The Royale, Bright Star, and The Two Gentlemen of Verona. His previous Globe acting credits include The Winter’s Tale directed by Jack O’Brien, The Tempest, The Two Gentlemen of Verona, and The Merchant of Venice, among several others. He has studied voice with Master Linklater Voice teacher David Smukler, Eric Armstrong, and Kate Burke. He is a graduate of the Graduate Voice Teacher Diploma Program at York University in Toronto. His regional theatre credits include Actors Theatre of Louisville, Cincinnati Playhouse in the Park, The Repertory Theatre of St. Louis, Pittsburgh Playhouse, PCPA Theaterfest, Texas Shakespeare Festival, Center REP Theatre, and Centennial Theater Festival, among many others. Mr. Huber coaches voice, speech, and acting locally, works on speech issues with special needs students, and recently taught speech in the graduate theatre program at UC San Diego. He is a graduate of The Old Globe and University of San Diego Shiley Graduate Theatre Program.

Caparelliotis Casting (Casting) has cast the Globe productions of Picasso at the Lapin Agile, Meteor Shower, tokyo fish story, Constellations, The Last Match, Dr. Seuss’ How the Grinch Stole Christmas!, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, Rich Girl, Arms and the Man, Buyer & Cellar, The White Snake, The Twenty-seventh Man, The Royale, Vanya and Sonia and Masha and Spike, Water by the Spoonful, Time and the Conways, Bethany, The Winter’s Tale, The Few, Double Indemnity, The Rainmaker, Other Desert Cities, Be a Good Little Widow, A Doll’s House, The Brothers Size, Pygmalion, and Good People. Their Broadway casting credits include The Front Page, Les Liaisons Dangereuses, The Glass Menagerie (upcoming), Jitney (upcoming), The Little Foxes (upcoming), The Father, Blackbird, An Act of God, Airline Highway, Fish in the Dark, It’s Only a Play, Disgraced, The Country House, Holler If Ya Hear Me, Casa Valentina, The Snow Geese, Lyle Kessler’s Orphans, The Trip to Bountiful, Grace, Dead Accounts, The Other Place, Seminar, The Columnist, Stick Fly, Good People, Bengal Tiger at the Baghdad Zoo, The House of Blue Leaves, Fences, Lend Me a Tenor, and The Royal Family. They also cast for Manhattan Theatre Club, Atlantic Theater Company, LCT3, Ars Nova, Goodman Theatre, Steppenwolf Theatre Company, McCarter Theatre Center, Arena Stage, Second Stage Theatre (seven seasons), and Williamstown Theatre Festival (three seasons). Their recent film and television credits include HairBrained with Brendan Fraser, “American Odyssey” (NBC), “How to Get Away with Murder” (ABC pilot), “Ironside” (NBC), and Steel Magnolias (Sony for Lifetime).

Amanda Salmons (Production Stage Manager) has previously worked at The Old Globe on Dr. Seuss’ How the Grinch Stole Christmas!, October Sky, Macbeth, Rain, The Metromaniacs, Kiss Me, Kate, The White Snake, The Two Gentlemen of Verona, Vanya and Sonia and Masha and Spike, The Last Goodbye, Globe for All (2014-2015), the Summer Shakespeare Festival (2011-2013), Somewhere, Lost in Yonkers, I Do! I Do!, and The Price.Her other credits include Blueprints to Freedom: An Ode to Bayard Rustin (La Jolla Playhouse), Kiss Me, Kate (Hartford Stage), The Foreigner, miXtape, See How They Run, The Music Man,and The Rivalry (Lamb’s Players Theatre), The Gondoliers, The Pirates of Penzance, Candide, and Trial by Jury (Lyric Opera San Diego), and SummerFest (La Jolla Music Society). Ms. Salmons holds a B.A. in Theatre from UC San Diego.


Insight Seminar

This series provides Old Globe patrons with an opportunity to closely connect with productions both onstage and backstage. A panel selected from the artistic company of each show (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 90 minutes before curtain time on the Tuesday after performances begin, and includes an informal reception 30 minutes before the start. FREE; no reservations necessary.

Tuesday, February 28, 2017 at 5:30 p.m.


Post-Show Forums

Join us after the show for an informal and enlightening question-and-answer session with cast members. Get the "inside story" on creating a character and putting together a professional production. Post-show forums are scheduled after select Tuesday and Wednesday evening performances. FREE; no reservations necessary.

Tuesday, March 7, 2017

Wednesday, March 8, 2017

Tuesday, March 14, 2017

Wednesday, March 15, 2017

Tuesday, March 21, 2017

Wednesday, March 22, 2017


Subject Matters

Explore the ideas and issues raised by a production through brief, illuminating post-show discussions with local experts, such as scientists, artists, historians and scholars. Subject Matters will ignite discussion, bring the play's concerns into sharp focus, and encourage you to think beyond the stage! Subject Matters discussions follow select Saturday matinee performances. FREE; no reservations necessary.

Saturday, March 4, 2017



“Surprisingly funny, as performed by an ace cast under Gaye Taylor Upchurch's sensitive direction. Playwright Gandiello shows a particular gift for parceling out telling details in ways that feel perfectly organic.” —The San Diego Union-Tribune

“Gaye Taylor Upchurch is solidly effective in her staging, and The Old Globe deserves substantial congratulations for producing.” —San Diego Story

“A moden dramedy through and through, The Blameless finds the light even in the darkest of moments. With a stellar cast that has an ear for comedic timing, The Blameless is a thought-provoking narrative from a fresh young writer.” —Fine Magazine