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By Heather Raffo
Directed by Johanna McKeon
A riveting West Coast premiere loosely inspired by Ibsen’s A Doll’s House from acclaimed playwright (and Old Globe/USD Shiley M.F.A. Program graduate) Heather Raffo. Noura and her husband are Chaldean Christian refugees from Iraq, celebrating their first Christmas Eve as American citizens. But the long-anticipated visit of an orphan girl they once sponsored, now a promising college student, causes them to question who they’ve become and what they’ve left behind. The Wall Street Journal’s Terry Teachout calls this powerful drama “one of the finest new plays I’ve ever reviewed. Full of unexpected revelations and flashes of sudden, blinding illumination.” Contains strong language.
Running time: 1 hour and 35 minutes. There is no intermission.
Heather Raffo (Playwright) is an award-winning playwright and actress whose work has been seen Off Broadway, Off West End, in regional theatre, and in film. She is the author and solo performer of the play 9 Parts of Desire (Lucille Lortel Award; Susan Smith Blackburn Prize Special Commendation; Drama League, Outer Critics Circle, and Helen Hayes Award nominations), which The New Yorker called “an example of how art can remake the world.” The play ran Off Broadway for nine months and has played across the U.S. and internationally for over a decade. Raffo’s libretto for the opera Fallujah featured in The Kennedy Center’s International Theater Festival, received its world premiere at Long Beach Opera, and opened at New York City Opera in 2016. Her newest play, Noura, recently won a Helen Hayes Award for Outstanding Original New Play and Williamstown Theatre Festival’s prestigious L. Arnold Weissberger New Play Award. Noura was developed over five years working inside multiple Middle Eastern communities, as well as at Georgetown University’s Laboratory for Global Performance & Politics. Noura received its world premiere at Shakespeare Theatre Company in Washington DC, later moving to Abu Dhabi and Playwrights Horizons in New York City.
Johanna McKeon (Director) has directed Mona Mansour’s Unseen (The Old Globe’s Powers New Voices Festival), Anne Washburn’s I Have Loved Strangers (Clubbed Thumb, Williamstown Theatre Festival), Tokio Confidential (Atlantic Theater Company), The Comedy of Errors and Schmoozy Togetherness (Williamstown), Much Ado About Nothing, Cymbeline, The Taming of the Shrew, and The Rise and Fall of Annie Hall (Martha’s Vineyard Playhouse), A Hatful of Rain (ITS Festival Warsaw), Semi-Permanent (New York International Fringe Festival; Outstanding Solo Show), The Importance of Being Earnest (Bard College), Golden Motors (BRIC), and Functional Drunk, Fiesta Cabana, and The Tanks Break (Ontological-Hysteric Theater). She directs frequently for the Obie Award–winning Noor Theatre, founded by Lameece Issaq to develop and produce theatre artists of Middle Eastern decent. McKeon was Associate Director on the Broadway productions of King Kong, War Paint, Hedwig and the Angry Inch, American Idiot, and Grey Gardens, and she has directed multiple national and international tours. Her independent feature premiere, Auld Lang Syne,received the Audience Award for Best Feature Film at the 2016 Indie Street Film Festival. She is the recipient of Drama League, Boris Sagal, and Fulbright Fellowships. McKeon received her M.F.A. from The University of Texas at Austin.
Andromache Chalfant (Scenic Design) is a set designer for theatre and opera and is based in New York City. She is very pleased to be returning to The Old Globe. Her recent projects include set and costume design for Blind Injustice, a new opera based on the Ohio Innocence Project (Cincinnati Opera), and Mary Stuart (Chicago Shakespeare Theater). Chalfant has designed sets in New York for theatres such as Brooklyn Academy of Music, Atlantic Theater Company, Lincoln Center Theater, Second Stage Theater, MCC Theater, New York Theatre Workshop, and Playwrights Horizons, among others. Regionally she has designed at Hartford Stage, McCarter Theatre Center, American Repertory Theater, Actors Theatre of Louisville, Opera Omaha, Opera Philadelphia, Virginia Opera, and Minnesota Opera. Chalfant is a company member of LAByrinth Theater Company and an Associate Artist of The Civilians. She is on the faculty at New York University’s Tisch School of the Arts, where she teaches set design in the Graduate Department of Design for Stage & Film.
Dina El-Aziz (Costume Design) has designed regional productions of Yasmina’s Necklace (Premiere Stages), Selling Kabul (Williamstown Theatre Festival), We’ve Come to Believe, The Corpse Washer, and How to Defend Yourself (Actors Theatre of Louisville/43rd Humana Festival), and Heartland (Geva Theatre Center). Her Off Broadway credits include Eh Dah? Questions for My Father (Hypokrit Theatre Company for New York Theatre Workshop’s Next Door), The Russian and The Jew (Anna & Kitty, Inc./The Tank), I Thought I Would Die but I Didn’t (The Tank), Dead Are My People (Noor Theatre for Next Door), and Daybreak (The Beckett Theatre/Pan Asian Repertory Theatre). Her other theatre credits include Marjana and the Forty Thieves and Pay No Attention to the Girl (Target Margin Theater) and Alternating Currents (Working Theater). She received her M.F.A. from New York University’s Tisch School of the Arts.
Driscoll Otto (Lighting Design) most recently designed The Purists at Huntington Theatre Company. His Off Broadway credits include Less Than 50%, Under My Skin, Solving the Riddle, and The Importance of Being Earnest. His other New York credits include La Donna del Lago at The Metropolitan Opera, Baden-Baden 1927 at Gotham Chamber Opera, and work with Ars Nova, Mint Theater Company, Ohio Theatre, Clubbed Thumb, La MaMa, Jazz at Lincoln Center, and Gotham Chamber Opera. Otto’s work is seen frequently in regional opera and theatre. His credits with regional companies include Santa Fe Opera, Pioneer Theatre Company, Drury Lane Theatre, Huntington Theatre Company, Syracuse Stage, North Carolina Opera, OperaDelaware, Opera Omaha, Virginia Opera, The Dallas Opera, Dallas Theater Center, Lyric Opera of Kansas City, Utah Opera, Chicago Opera Theater, Arizona Opera, Houston Shakespeare Festival, Trinity Repertory Company, Hangar Theatre, Flat Rock Playhouse, and Utah Festival Opera. He has also designed productions of Legally Blonde and Rock of Ages for Norwegian Cruise Line. Next up, Otto is designing The Golden Cockerel at The Dallas Opera and an adaption of Carmen in Hong Kong. He received his M.F.A. from New York University’s Tisch School of the Arts. DriscollOtto.com.
Melanie Chen Cole (Sound Design) is delighted to be returning to The Old Globe after designing Tiny Beautiful Things earlier this year and The Imaginary Invalid in 2017. Sheis a San Diego–based sound designer who has worked all over the country. Her select recent regional credits include the 2019 POP Tour Light Years Away, At the Old Place, and the 2017 POP Tour #SuperShinySara (La Jolla Playhouse), Aubergine, Actually, and Vietgone (San Diego Repertory Theatre), Pride and Prejudice (Cygnet Theatre Company), Buzz and Romeo and Juliet (Alabama Shakespeare Festival), Steel Magnolias (Dallas Theater Center), Sherwood: The Adventures of Robin Hood (PlayMakers Repertory Company), and Mrs. Warren’s Profession (A Noise Within). She holds an M.F.A. in Sound Design for Theatre & Dance from UC San Diego. melaniesound.com.
Noora Hammi (Cultural Consultant) is a medical-care-coordination supervisor with San Ysidro Health, and she previously worked for Sharp Home Health Services. She is also currently studying to become a physical therapist. She moved to the United States 11 years ago from Baghdad, Iraq, where she studied psychology. She organizes Chaldean-community activities through her church, and she has participated in a variety of social causes since she was 16 years old, such as feeding the homeless and collecting donations for refugees.
Caparelliotis Casting (Casting) has cast for The Old Globe for the past five seasons, including 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 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 been a stage manager on over 40 productions at the Globe, including 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, September 24, 2019 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, October 1, 2019
Tuesday, October 8, 2019
Wednesday, October 16, 2019
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, September 28, 2019
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.
Saturday, October 12, 2019 at 2:00 p.m.