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Adapted by Fiasco Theater
Directed by Jessie Austrian and Noah Brody
The acclaimed artists of Fiasco Theater are back! Fiasco delighted Globe audiences with their reinvented Into the Woods, and now they take on one of the greatest comedy writers of all time: Molière. In the outrageously funny masterpiece The Imaginary Invalid, the hypochondriac Argan wants his daughter to marry a doctor so he can save on his medical bills. But she’s in love with someone else. Soon the whole household joins in her madcap scheme to save true love and give Argan’s doctors a dose of their own medicine. This Globe-commissioned world premiere adaptation will have you in stitches. The New York Times called Fiasco “a force to reckon with in American theatre.”
Silvija and Brian Devine
Running time: Two hours and 20 minutes. There will be one 15-minute intermission.
Takeshi Kata (Scenic Design) previously designed Welcome to Arroyo’s, Some Lovers,and Pig Farm at The Old Globe. His recent New York credits include Man From Nebraska (Second Stage Theatre), The Profane (Playwrights Horizons), Forever (New York Theatre Workshop), Gloria and Outside People (Vineyard Theatre), Derren Brown: Secret and Through a Glass Darkly (Atlantic Theater Company), Adding Machine (Minetta Lane Theatre), and Orson’s Shadow (Barrow Street Theatre). Regionally Mr. Kata has worked at Alley Theatre, American Players Theatre, Goodman Theatre, Hartford Stage, Kirk Douglas Theatre, La Jolla Playhouse, Long Wharf Theatre, Mark Taper Forum, Steppenwolf Theatre Company, Williamstown Theatre Festival, and Yale Repertory Theatre, among others. Mr. Kata has won an Obie Award and has been nominated for Drama Desk, Ovation, Connecticut Critics Circle, and Barrymore Awards. He is an assistant professor at University of Southern California’s School of Dramatic Arts.
Emily Rebholz (Costume Design) previously designed the Globe productions of Richard O’Brien’s The Rocky Horror Show and Six Degrees of Separation. Her Broadway credits include Indecent; Dear Evan Hansen; Oh, Hello on Broadway; If/Then; Vanya and Sonia and Masha and Spike; and Bloody Bloody Andrew Jackson. Her recent Off Broadway credits include The Robber Bridegroom (Roundabout Theatre Company), The Tempest and Into the Woods (The Public Theater/Shakespeare in the Park), Pretty Filthy (The Civilians), Our Lady of Kibeho (Signature Theatre Company), The Who & The What and Stop Hitting Yourself (Lincoln Center Theater), Your Mother’s Copy of the Kama Sutra and Mr. Burns, a post-electric play (Playwrights Horizons), and The Way We Get By, The Substance of Fire, and The Last Five Years (Second Stage Theatre). Ms. Rebholz has designed the regional productions of Another Word for Beauty (Goodman Theatre), Don Giovanni (Santa Fe Opera), La Bohème (Opera Theatre of Saint Louis), Morning Star (Cincinnati Opera), and Yardbird (Opera Philadelphia). In addition, she has designed costumes at Manhattan Theatre Club, Rattlestick Playwrights Theater, Ars Nova, Atlantic Theater Company, American Repertory Theater, and Williamstown Theatre Festival. Her upcoming productions include Lucia di Lammermoor (Santa Fe Opera). Ms. Rebholz received her M.F.A. from Yale School of Drama.
Russell H. Champa (Lighting Design) previously designed The Old Globe’s productions of Picasso at the Lapin Agile, Rain, The Twenty-seventh Man, The Winter’s Tale, Groundswell, Back Back Back,and The Four of Us. His current and recent projects include Can You Forgive Her (Vineyard Theatre), The Light Years (Playwrights Horizons/The Debate Society), Othello (California Shakespeare Theater), The Hard Problem (American Conservatory Theater), and Thresh|Hold (Pilobolus). His Broadway credits include China Doll (Gerald Schoenfeld Theatre), In the Next Room, or the vibrator play (Lyceum Theatre/Lincoln Center Theater), and Julia Sweeney’s God Said “Ha!” (Lyceum Theatre). His work with New York companies includes Lincoln Center Theater, New York Shakespeare Festival/The Public Theater, Second Stage Theatre, Manhattan Theatre Club, Atlantic Theater Company, and New York Stage and Film. His regional credits include Steppenwolf Theatre Company, Arena Stage, The Wilma Theater, Long Wharf Theatre, Trinity Repertory Company, Mark Taper Forum, and The Kennedy Center.
Melanie Chen (Sound Design) is a San Diego-based freelance sound designer who has designed over 70 productions in San Diego, Los Angeles, and San Francisco. This past winter, she traveled to Beijing to work on a large-scale immersive installation of Peter Pan with Broadway Asia and Randy Weiner. Her recent regional credits include #SuperShinySara (La Jolla Playhouse’s 2017 POP Tour), Awake and Sing and An Iliad (New Village Arts), Travels with My Aunt, An Illusion, Marjorie Prime, Laughter on the 23rd Floor, and The Cocktail Hour (North Coast Repertory Theatre), Well and 2.5 Minute Ride (Diversionary Theatre), Seven Guitars and King Hedley II (Cygnet Theatre Company), Our Lady of Kibeho (MOXIE Theatre), The Two Gentlemen of Verona (The Old Globe and University of San Diego Shiley Graduate Theatre Program), and Native Son (UC San Diego M.F.A. Program). Ms. Chen holds an M.F.A. in Sound Design for Theatre & Dance from UC San Diego.
Ben Steinfeld (Original Music and Music Director) is co-artistic director of the acclaimed Fiasco Theater. As an actor, he has been seen on Broadway in Roundabout Theatre Company’s revival of Cyrano de Bergerac, and as James Monroe in Bloody Bloody Andrew Jackson. His Off Broadway acting and directing work includes his Lucille Lortel Award-nominated performance as the Baker in Fiasco Theater’s acclaimed production of Into the Woods (Roundabout, Lortel Award for Outstanding Revival),Fiasco’s Cymbeline (Theatre for a New Audience/Barrow Street Theatre, Off Broadway Alliance Award for Best Play Revival), and Fiasco’s Measure for Measure (The New Victory Theatre, The New York Times Top Ten of 2014). He recently made his London acting and directing debut with Fiasco’s Into the Woods at Menier Chocolate Factory. Mr. Steinfeld’s television and film acting work includes HBO’s Muhammad Ali’s Greatest Fight, “The Good Wife,” and “Law & Order: Criminal Intent.” He co-authored an essay for the recent book Living with Shakespeare (Random House), is writing the book for two new musicals in development, and serves as an adjunct professor and artist-in-residence at New York University’s Gallatin School. He is a graduate of the Brown University/Trinity Repertory Company M.F.A. Program in Acting.
Stephen Buescher (Movement) is a movement director/choreographer, actor, director, and teaching artist. He has designed movement for A Thousand Splendid Suns, Monstress, The Orphan of Zhao, Stuck Elevator, Let There Be Love, and Underneath the Lintel (American Conservatory Theater), A Midsummer Night’s Dream and Private Lives (Long Wharf Theatre), A Christmas Carol (Trinity Repertory Company), Love’s Labour’s Lost (Shakespeare Santa Cruz), and Blues for an Alabama Sky (Lorraine Hansberry Theatre). Mr. Buescher is Head of Movement in American Conservatory Theater’s M.F.A. program. For the Conservatory, he has directed The Taming of the Shrew, Black Orpheus, Romeo and Juliet, Galileo, The Island, The House of Bernarda Alba (which traveled to the Moscow Art Theatre), Can’t Pay Won’t Pay, Archangels Don’t Play Pinball, and Hotel Paradiso. He has taught physical theatre at Yale School of Drama, Brown University/Trinity Repertory Company, New York University, University of Connecticut, and University of Missouri–Kansas City. Mr. Buescher has performed nationally and internationally as a company member with the physical-based company Dell’Arte International for over a decade. He is a graduate of the Dell’Arte International School of Physical Theatre and California Institute of the Arts, and he is thrilled to be making his debut at The Old Globe working with Fiasco Theater.
Jess Slocum (Production Stage Manager) previously worked on the Globe productions of Red Velvet, Picasso at the Lapin Agile, Measure for Measure (Globe for All), Love’s Labor’s Lost, tokyo fish story, The Metromaniacs, In Your Arms, Twelfth Night, Buyer & Cellar, Bright Star, Othello, Water by the Spoonful, The Winter’s Tale, A Doll’s House, Pygmalion, A Room with a View, Richard O’Brien’s The Rocky Horror Show, the 2011–2013 Shakespeare Festivals, Rafta, Rafta…, Robin and the 7 Hoods, Alive and Well, Sammy, Cornelia, Since Africa, Dr. Seuss’ How the Grinch Stole Christmas!,and The Glass Menagerie. Her Broadway credits include In the Heights. Her regional credits include Indecent, Side Show, Ruined, The Third Story, Memphis,and Most Wanted (La Jolla Playhouse) and Post Office (Center Theatre Group). Her San Diego credits include Mo`olelo Performing Arts Company, North Coast Repertory Theatre, and Lamb’s Players Theatre. She is a graduate of Vanderbilt University.
Pamela Salling (Stage Manager) is happy to return to the Globe after stage managing last summer’s Love’s Labor’s Lost. She is a New York-based stage manager for theatre, dance, and opera; her select credits there include The Apple Family: Scenes from Life in the Country (That Hopey Changey Thing, Sweet and Sad, Sorry, and Regular Singing), Othello, Into the Woods, The Agony and the Ecstasy of Steve Jobs, Knickerbocker, and Neighbors (The Public Theater), De Materie and tears become...streams become... (Park Avenue Armory), Blood Knot (Signature Theatre Company), A Family for All Occasions, Thinner Than Water, and Massacre (Sing to Your Children) (Labyrinth Theater Company), and Garden of Earthly Delights (Martha Clarke). Ms. Salling also recently completed productions of How to Be a Rock Critic (ArtsEmerson) and Petrol Station (The Kennedy Center), and she works extensively with director Peter Sellars around the world, including for his productions of Lagrime di San Pietro, Kopernikus, Josephine Baker: A Portrait, The Gospel According to the Other Mary, St. Matthew Passion, Desdemona, Othello, The Winds of Destiny, A Flowering Tree, and La Passion de Simone.
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, May 30, 2017 at 5:30 p.m.
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, June 6, 2017
Tuesday, June 13, 2017
Wednesday, June 21, 2017
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, June 3, 2017