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November 10 - 22, 2015
By William Shakespeare
Directed by Rob Melrose
Following a successful battle, Don Pedro and his followers visit Leonato’s estate. Don Pedro helps his officer Claudio propose marriage to Hero, Leonato’s daughter. Meanwhile, Hero’s cousin, Beatrice, fights constantly with another officer, Benedick, but Don Pedro decides to trick them into admitting that underneath all their arguing, they are truly in love. Meanwhile, the wicked Don John schemes to ruin Claudio and Hero’s happiness. He fools Claudio into thinking Hero is unfaithful and rejecting her at the altar. As a result, Leonato tells everyone Hero is dead—until the local police accidentally stumble upon Don John’s plot and clear her name.
Mark Danisovszky (Musician) has been performing in theatre in San Diego for nearly 30 years. He is thrilled to be bringing Shakespeare to the people. He previously worked at the Globe as the musical consultant for Rafta, Rafta…. Earlier this year he was the accordion soloist in Osvaldo Golijov’s cello concerto “Azul” with La Jolla Symphony and was the soloist for San Diego Symphony’s concert of “The Godfather Live.” This summer he created an orchestral reduction for accordion for Martinu’s Dadaist opera Tears of the Knife with Bodhi Tree Concerts at the San Diego International Fringe Festival. At the La Jolla Playhouse Without Walls Festival, Mr. Danisovszky recently completed the role of street accordionist for Sledgehammer Theatre’s Heaven on Earth, and he was also the musical director for Fern Street Circus. Last year he was the musical director for Stephen Sondheim’s Passion at ion theatre company, where he will be the musical director for the upcoming San Diego premiere production of Sunday in the Park with George. His credits at La Jolla Playhouse include onstage solo pianist for Luck, Pluck & Virtue by James Lapine with Neil Patrick Harris; accordionist and Oronte for The School for Wives; and pianist, accordionist, and assistant musical director for Mother Courage and Her Children in co-production with Berkeley Repertory Theatre. His San Diego Repertory Theatre credits include musical director for The Threepenny Opera, for which he won the Craig Noel Award for Outstanding Musical Direction, and solo pianist for A Cradle Will Rock, Red Noses, Six Women with Brain Death, Long Story Short, and many productions of A Christmas Carol. Mr. Danisovszky has appeared with the Atlanta Symphony Orchestra and the Hilton Head Symphony Orchestra, where he was the soloist for Alan Hovhaness’s Rubaiyat of Omar Khayyam. For San Diego Opera he served as onstage accordionist for Barber’s Vanessa and Berg’s Wozzeck. He was also musical director for Rip Van Winkle and Hansel and Gretel and accompanist for the artist-in residence-program for the Opera’s education department. He is the musical director at VISION: A Center for Spiritual Living.
Clinton Davis (Musician, Original Music, Music Director) is a multi-instrumentalist, composer, and educator born and raised in Kentucky and currently living in San Diego. He has composed and arranged music for theatrical production on both coasts, including The Old Globe and Brooklyn’s Lone Wolf Tribe. These productions have toured the United States, Europe, and South America. Most of his current projects and pursuits involve sifting through America’s vernacular musical past in some way or another. With the G Burns Jug Band, Mr. Davis arranges iconic country, blues, and jazz recordings of the 1920s and ’30s for a five-piece ensemble that tours the West Coast. They have performed with American roots music giants like Jim Kweskin, Del McCoury, and Michael Doucet. In 2015, the G Burns Jug Band released its second album, which iconic roots music publication No Depression called “a joyous and soulful restoration of one of the lost treasures of American musical tradition.” At UC San Diego, Mr. Davis serves as an associate instructor and leads a survey course on American roots music. He also works as an audio engineer, producing recordings for students and faculty that have been released on Naxos, Mode, Populist, and pfMENTUM record labels. clintonrossdavis.com.
Rob Melrose (Director) is the Artistic Director and Co-Founder of The Cutting Ball Theater. He has directed Pericles, The Prince of Tyre (The Public Theater), Happy Days, Pen, Freud’s Last Session, and Julius Caesar with The Acting Company (Guthrie Theater), Troilus and Cressida in association with The Public Theater (Oregon Shakespeare Festival), the world premiere of An Accident (Magic Theatre), Happy Days (PlayMakers Repertory Company), the world premiere of The Creature (Black Box Theatre, San Francisco Bay Area Theatre Critics Circle for Stage Direction), Hedda Gabler (The Actors Collective), and shows at The Sandra Feinstein-Gamm Theatre, California Shakespeare Theater, and Crowded Fire Theater, among others. His selected directing credits at Cutting Ball include The Tempest; The Taming of the Shrew, Macbeth, As You Like It, Hamletmachine, Strindberg Cycle: The Chamber Plays in Rep, Pelleas & Melisande, the world premiere of Krispy Kritters in the Scarlett Night, Will Eno’s Lady Grey (in ever lower light) and other plays, The Bald Soprano, Victims of Duty, the world premiere of Bone to Pick and Diadem, Endgame, and Krapp’s Last Tape. His translations of Woyzeck, Ubu Roi, Pelleas & Melisande, and Communiqué n˚ 10 have been published by EXIT Press. His rock musical Ozma of Oz was workshopped as a part of Bay Area Playwrights Festival. He received a B.A. in English and Theater from Princeton University and an M.F.A. in Directing from Yale University School of Drama. He has taught at Stanford University, University of California, Berkeley, University of San Francisco, University of Rhode Island, and Marin Academy. robmelrose.com.
Robin Sanford Roberts (Scenic Design) has designed over 20 productions at The Old Globe including Alive and Well, The Price, Fiction, Betrayal, Art, Blue/Orange, Sylvia, Da, The Old Settler, and Bus Stop. She also designed the Broadway production of It Ain’t Nothin’ But the Blues. Her many credits at San Diego Repertory Theatre include Uncanny Valley, Venus in Fur, Clybourne Park, Federal Jazz Project, Superior Donuts, The Seafarer, Ain’t Misbehavin’, Restless Spirits, Fire on the Mountain, Working, The Merchant of Venice, Shylock, The Beauty Queen of Leenane, Avenue X, It Ain’t Nothin’ But the Blues. Ms. Roberts has also designed for Denver Center Theatre Company, San Jose Repertory Theatre, Portland Center Stage, Arizona Theatre Company,Sacramento Theatre Company, and Swine Palace. She holds a degree in Architecture from Louisiana State University and an M.F.A. in Scenic Design from UC San Diego. She currently teaches in the Theatre Department at University of San Diego. robinsanfordroberts.com.
Charlotte Devaux (Costume Design) has designed 24 productions at The Old Globe, most recently Buyer & Cellar, Quartet, and Other Desert Cities. Her work has also been featured at La Jolla Playhouse, Mo`olelo Performing Arts Company, TheatreWorks Silicon Valley, and San Diego Dance Theater. She designed Miami Libre, a Cuban dance musical, for the Adrienne Arsht Center for the Performing Arts, Miami. Internationally, Ms. Devaux has designed costumes extensively for theatre and television in New Zealand. She was the costume designer and stylist for Television New Zealand’s iconic children’s program “What Now?”Her costumes have been featured at The Court Theatre and Christchurch Repertory Theatre, New Zealand. She holds additional costume design credits in Sydney, Australia, and London. Ms. Devaux serves as the Resident Associate Costume Designer at The Old Globe, where she has collaborated on over 70 productions, including In Your Arms, Bright Star, A Gentleman’s Guide to Love and Murder, The Last Goodbye, The Times They Are A-Changin’, Robin and the 7 Hoods, Dirty Rotten Scoundrels, andSummer Shakespeare Festivals. In 2015, Ms. Devaux is undertaking costume research and study in the U.K. as a grant recipient of the Leadership U: Continuing Ed program, funded by The Andrew W. Mellon Foundation and administered by Theatre Communications Group, the national organization for the professional not-for profit American theatre.
Diana Moser (Production Stage Manager) recently stage managed the Globe productions of Rich Girl, Time and the Conways, and All’s Well That Ends Well, the inaugural touring production of Globe for All. Since 2004 she has worked on over 25 shows at the Globe including Other Desert Cities, The Brothers Size, August: Osage County, The Recommendation, Brighton Beach Memoirs and Broadway Bound, The Whipping Man, I Do! I Do!, Opus, Six Degrees of Separation, The Pleasure of His Company, In This Corner, the 2007 Summer Shakespeare Festival, Restoration Comedy, and The Intelligent Design of Jenny Chow. Ms. Moser’s regional credits include La Jolla Playhouse, San Diego Repertory Theatre, Arena Stage, The Repertory Theatre of St. Louis, New York Theatre Workshop, Berkshire Theatre Festival, Children’s Theatre Company of Minneapolis, and Arizona Theatre Company. Ms. Moser received her B.A. from Bard College and her M.F.A. in Directing from Purdue. Proud member of Actors’ Equity. She lives in Nova Scotia, Canada, with her husband, photographer Paul H. Williams. HaresignPhotoWorks.com.
Amanda Salmons (Assistant Stage Manager) has worked previously at The Old Globe on Kiss Me, Kate, The White Snake, All’s Well That Ends Well, The Two Gentlemen of Verona, Vanya and Sonia and Masha and Spike, The Last Goodbye, the Summer Shakespeare Festival (2011-2013), Dr. Seuss’ How the Grinch Stole Christmas!, 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.