- Shows and Tickets
- Plan Your Visit
- Other Programming
- Support Us
- Arts Engagement
- Get Involved
- MFA Program
- About The Globe
- News and Media
By Madeleine George
Directed by James Vásquez
This unconventional new comedy from Pulitzer Prize finalist Madeleine George sees the Greek god Dionysus return to the modern world disguised as the butch gardener Diane, whose secret mission is to seduce mortal followers and restore the earth to its natural state. Where better to begin than with four real housewives from New Jersey? The New York Times cheered Hurricane Diane as an “astonishing new play,” and New York magazine hailed it as “hilarious and full of keen observation and profound human affection.” Contains strong language.
Running time: One hour and 30 minutes. There is no intermission.
Madeleine George (Playwright) has written the plays The Sore Loser, Hurricane Diane (Obie Award), The (curious case of the) Watson Intelligence (Pulitzer Prize finalist, Outer Critics Circle John Gassner Award), Seven Homeless Mammoths Wander New England (Susan Smith Blackburn Finalist), Precious Little, and The Zero Hour (Jane Chambers Award, Lambda Literary Award finalist). She is a founding member of the Obie Award–winning playwrights collective 13P (Thirteen Playwrights, Inc.); the Mellon Playwright in Residence at Two River Theater in New Jersey; and the Fellow for Curriculum and Program Development at the Bard Prison Initiative at Bard College.
James Vásquez (Director) is happy to return to The Old Globe. Previously with the Globe, he directed the West Coast premiere of Tiny Beautiful Things, the world premiere of American Mariachi, Dr. Seuss’s How the Grinch Stole Christmas!, Rich Girl, and Richard O’Brien’s The Rocky Horror Show. He will direct Hair this summer. Vásquez received the Craig Noel Award for Outstanding Direction of a Musical in 2018 for In the Heights (Moonlight Stage Productions) and in 2010 for Sweeney Todd (Cygnet Theatre Company). His other recent directing/choreography credits include In the Heights (Dallas Theater Center), American Mariachi (Denver Center for the Performing Arts Theatre Company), Dr. Seuss’s The Lorax (as associate director; Children’s Theatre Company), The Addams Family and Chicago (Moonlight Stage Productions), West Side Story and Cats (San Diego Musical Theatre),the West Coast premiere of [title of show], Pippin,and Next Fall (Diversionary Theatre), and Hedwig and the Angry Inch and Pageant (Cygnet Theatre Company), as well as developmental workshops at La Jolla Playhouse and Goodspeed Musicals. Vásquez is an amateur gardener, lover of dogs, and graduate of The Juilliard School.
Jo Winiarski (Scenic Design) is a set designer and art director who designed the Globe’s productions of They Promised Her the Moon and The Absolute Brightness of Leonard Pelkey. Her Off Broadway credits include Accidentally Brave; The Absolute Brightness of Leonard Pelkey; Love, Loss, and What I Wore; multiple shows with The Pearl Theatre Company; The Jewish American Princess of Comedy; and I Love You Because. Other New York theatre companies she has designed for are New Georges, The New Group, Keen Company, Clubbed Thumb, Relentless Theatre Company, and Roundtable Ensemble. Her regional design credits include 12 seasons and over 30 shows at Utah Shakespeare Festival, Pioneer Theatre Company, Guthrie Theater, Arizona Theatre Company, Oregon Shakespeare Festival, Dallas Theater Center, Geva Theatre Center, and Cincinnati Playhouse in the Park. Winiarski was the original art director on “Late Night with Seth Meyers,” serving in the role for the first five seasons. She received an Emmy Award nomination for art direction for A Colbert Christmas: The Greatest Gift of All.
Shirley Pierson (Costume Design) previously designed the Globe’s Tiny Beautiful Things and Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery. Highlights from her theatre credits include Kate Hamill’s Pride and Prejudice, Angels in America Parts I and II, Hir, Shockheaded Peter (Craig Noel Award for Outstanding Costume Design), The Wind and the Breeze, Pageant, The Importance of Being Earnest (Craig Noel Award nomination), Travesties, Assassins, A Christmas Carol, Parade (Craig Noel Award for Outstanding Costume Design), Spring Awakening, Mistakes Were Made, The Glass Menagerie, Little Shop of Horrors, Our Town, Cabaret, Sweeney Todd, Private Lives, It’s a Wonderful Life, and The History Boys (Cygnet Theatre Company), The Moors, The Boy Who Danced on Air, Now or Later, Marry Me a Little, The Further Adventures of Hedda Gabler, When Last We Flew, Pippin, Next Fall, and Harmony, Kansas (Diversionary Theatre), and The Fantasticks (Pasadena Playhouse). shirleypiersondesigns.com.
Cat Tate Starmer (Lighting Design) designed They Promised Her the Moon last season at The Old Globe. She recently designed The Winter’s Tale and Murder on the Orient Express (Alley Theatre), Steel Magnolias and Frankenstein (Guthrie Theater), Hold These Truths (TheatreWorks Silicon Valley, Guthrie Theater, PlayMakers Repertory Company), Buzz (Alabama Shakespeare Festival), and Off Broadway’s The Winning Side (Epic Theatre Ensemble). She has designed for many New York City–based companies, including The Civilians, Ensemble Studio Theatre, Working Theater, and HERE Arts Center. She has been a guest lecturer and designer at Yale University, Princeton University, Brown University, Barnard College, and Bard College. Starmer designed the architectural lighting for Plaza 33, a pedestrian plaza near Penn Station in New York. She received two Lumen Awards and a SOURCE Award for her architectural work with Focus Lighting. She is currently a lecturer in lighting design at Rutgers University’s Mason Gross School of the Arts and the company manager for the August Wilson Monologue Competition. She received her M.F.A. from Yale School of Drama.
Drew Levy (Sound Design) designed Broadway productions of Oklahoma! (Tony and Drama Desk Award nominations), Honeymoon in Vegas (Drama Desk nomination), Chaplin (Drama Desk Award), The Winslow Boy, The Importance of Being Earnest, and Present Laughter. His Off Broadway credits include Judgment Day; Oklahoma!; One Day: The Musical; The Weir; Why Torture Is Wrong, and the People Who Love Them; Emergence-SEE!; and Dutchman. Regionally, Levy designed Heartbreak Hotel and productions at The Old Globe, American Repertory Theater, Williamstown Theatre Festival, The 5th Avenue Theatre, Two River Theater, Westport Country Playhouse, and Huntington Theatre Company. His other credits include Reconfiguration: An Evening with Other Lives at Brooklyn Academy of Music; the 2014 and 2015 Drama Desk Awards; and the Metropolitan Opera 125th Anniversary Gala.
Golden Howl (Original Music and Music Direction) is an expansive folk-rock band based out of San Diego. Born from the roots of the earth, Golden Howl brings songs that capture the essence of life. With ear-catching layered harmonies, beautiful synergy, and carefully crafted songs, they will pull you in and captivate. Formed in 2016—by founding members Marlo Smith (vocals, drums, cello), Shannon O’Shea (keyboards, vocals), and Christopher Balcom (vocals, guitar), quickly adding Rachel Riba (percussion, vocals), and eventually bringing in Jules Stewart (drums) and Joshua Mooers (bass)—Golden Howl has all the pieces to plug into the outlet of creativity. Their music has been said to “impart energy, authenticity, and emotion that refuse to be ignored.” Their nontraditional setup and unique instrumentation leave listeners in excitement and curiosity for the next song. Golden Howl is thrilled to have written music for The Old Globe’s production of Hurricane Diane.
David Huber (Dialect and Voice Coach) has worked as a dialect, voice, and text coach on over 40 Old Globe productions since 2014. He has also served as a dialect/voice coach at La Jolla Playhouse, North Coast Repertory Theatre, Diversionary Theatre, and Scripps Ranch Theatre. His theatre acting credits include The Old Globe, Actors Theatre of Louisville, Cincinnati Playhouse in the Park, The Repertory Theatre of St. Louis, Pittsburgh Playhouse, PCPA Theaterfest, Texas Shakespeare Festival, Center REPertory Company, Lookingglass Theatre Company, Odyssey Theatre Ensemble, and Opera Pacific, among many others. Huber coaches voice, speech, dialects, acting, and public speaking privately and at several local colleges and schools, and he also works with special-needs clients. He is a graduate of the Graduate Voice Teacher Diploma Program at York University in Toronto and an M.F.A. graduate of The Old Globe and University of San Diego Shiley Graduate Theatre Program.
Caparelliotis Casting (Casting) has cast for The Old Globe for the past five seasons, including Noura, They Promised Her the Moon, Tiny Beautiful Things, Barefoot in the Park, The Wanderers, Picasso at the Lapin Agile, and Skeleton Crew. Their Broadway credits include The Minutes, Who’s Afraid of Virginia Woolf?, King Lear, Hillary and Clinton, Ink, The Waverly Gallery, The Boys in the Band, Three Tall Women, Junk, Meteor Shower, A Doll’s House Part 2, The Front Page, The Glass Menagerie, Jitney, The Little Foxes, Blackbird, Fish in the Dark, Disgraced, Holler If Ya Hear Me, Casa Valentina, The Trip to Bountiful, 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, Signature Theatre Company, Ars Nova, Goodman Theatre, Berkeley Repertory Theatre, McCarter Theatre Center, Arena Stage, and Seattle Repertory Theatre. Their film and television credits include “New Amsterdam” (series casting, NBC), “American Odyssey” (series casting, NBC), “How to Get Away with Murder” (pilot, ABC), “Ironside” (NBC), and Steel Magnolias (Sony for Lifetime).
Jess Slocum (Production Stage Manager) has worked on over 40 productions at the Globe, including Noura, As You Like It, They Promised Her the Moon, Familiar, Dr. Seuss’s How the Grinch Stole Christmas!, The Imaginary Invalid, Picasso at the Lapin Agile, Love’s Labor’s Lost, tokyo fish story, In Your Arms, Bright Star, Othello, Water by the Spoonful, Pygmalion, A Room with a View, and Robin and the 7 Hoods. Her regional credits include Noura (Shakespeare Theatre Company), Indecent, Side Show, Ruined, The Third Story, Memphis, and Most Wanted (La Jolla Playhouse), and Post Office (Center Theatre Group). She is a graduate of Vanderbilt University and a proud member of Actors’ Equity.
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 11, 2020 at 6:00 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, February 18, 2020
Tuesday, February 25, 2020
Wednesday, March 4, 2020
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, February 22, 2020
Open captioning is live text displayed simultaneously to the performance and does not require the user to have any special equipment for viewing the text. Please contact our Ticket Services Department at (619) 23-GLOBE (234-5623) or Tickets@TheOldGlobe.org to purchase tickets within view of the captioning screen. Tickets for open-caption performances go on sale on the single-ticket on-sale date and are subject to availability. Support for open captioning is provided in part by TDF. This project is supported in part by an award from the National Endowment for the Arts.