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Sense and Sensibility
July 6 – August 14, 2016
(Opening Night: Thursday, July 14)
WEST COAST PREMIERE
Donald and Darlene Shiley Stage
Old Globe Theatre
Conrad Prebys Theatre Center
Book, Music, and Lyrics by Paul Gordon
Directed by Barbara Gaines
Presented in Association with Chicago Shakespeare Theater
Jane Austen’s beloved, emotional novels inspire readers’ imaginations. Now Tony Award nominee Paul Gordon (The Old Globe’s Emma, Broadway’s Jane Eyre) refashions her timeless classic Sense and Sensibility into a gorgeous, thrillingly romantic musical. After their father’s untimely death, sisters Marianne and Elinor Dashwood lose their fortune, their home, and all their prospects for love. But fortunes can turn again. As the plucky heroines face their situation with courage and resolve, audiences will fall in love with Ms. Austen’s era in a whole new way, enchanted by the lush tones of this ravishing new musical score. The Chicago Sun-Times called Sense and Sensibility “flawless,” and The Wall Street Journal dubbed it “a winner, full of wit and romance—a show as light on its feet as the novel from which it derives.”
Paul Gordon (Book, Music, and Lyrics) was nominated for a 2001 Tony Award for composing the music and lyrics to the musical Jane Eyre. He won the 2015 Joseph Jefferson Award for New Work – Musical for his book, music, and lyrics for Sense and Sensibility, commissioned by Chicago Shakespeare Theater, where it had its world premiere that same year. He is also the recipient of the 2009 Ovation Award for his music and lyrics to Daddy Long Legs, which has had productions all over the world and recently completed an Off Broadway run at the Davenport Theatre, where it was nominated for two Drama Desk Awards, an Off-Broadway Alliance Award, and three Outer Critics Circle Awards. Mr. Gordon is the recipient of the 2007 San Francisco Bay Area Theatre Critics Circle Award for his book to the musical Emma, developed by TheatreWorks Silicon Valley and later staged at The Old Globe. Emma’s return engagement to TheatreWorks in 2015 broke every box office record in the theatre’s 45-year history. Analog and Vinyl, for which Mr. Gordon wrote book, music and lyrics, premiered at Weston Playhouse in 2014 and is scheduled for an Off Broadway run in fall 2016. Being Earnest, written with Jay Gruska, premiered at TheatreWorks in 2013. His other shows include Little Miss Scrooge, Death: The Musical, The Front, and The Sportswriter. In his former life, Mr. Gordon was a successful pop songwriter who wrote several number one hits. paulgordonmusic.com.
Barbara Gaines (Director)is the founder and Artistic Director of Chicago Shakespeare Theater, where she has directed more than 30 of Shakespeare’s plays. Her honors include Chicago Shakespeare Theater’s 2008 Tony Award for Outstanding Regional Theatre; the prestigious Honorary Officer of the Most Excellent Order of the British Empire (OBE) in recognition of her contributions to strengthening British-American cultural relations; and Joseph Jefferson Awards for Best Production (Hamlet, Cymbeline, King Lear, and The Comedy of Errors) and for Best Director (Cymbeline, King Lear, and The Comedy of Errors). At Lyric Opera of Chicago, Gaines directed Macbeth and The Marriage of Figaro. She received an honorary doctorate of letters from the University of Birmingham, the University Club of Chicago’s Cultural Award, the Public Humanities Award from the Illinois Humanities Council, and the Spirit of Loyola Award. Gaines serves on the Globe Council of Shakespeare’s Globe in London.
Rick Boynton (Creative Producer, Chicago Shakespeare Theater) led the development of Sense and Sensibility at Chicago Shakespeare Theater. As CST’s creative producer, he focuses on artistic planning and production and the development of new work. His projects include Chicago and international tours of Cadre (co-director), Othello: The Remix,and Funk It Up About Nothin, as well as A Flea in Her Ear (CST, Williamstown Theatre Festival), The Three Musketeers (CST, Boston, London), and The Emperor’s New Clothes, The Adventures of Pinocchio, and Murder for Two (CST, New York, national tour). He is the former artistic director of The Marriott Theatre and a multiple Joseph Jefferson Award-winning actor, and he has starred in productions nationally that include CST’s A Flea in Her Ear. As casting director/associate at Jane Alderman Casting, his projects included the television series “Early Edition,” “Missing Persons,” “The Untouchables,” and “ER”;the films While You Were Sleeping and Hoodlum, among others; and numerous national tours. Mr. Boynton has lectured at his alma mater, Northwestern University, and is past president of the National Alliance for Musical Theatre board.
Laura Bergquist (Music Director) happily returns to The Old Globe and its wonderful staff and musicians for her third show; previous productions include Jane Austen’s Emma by Paul Gordon and Allegiance – A New American Musical. Ms. Bergquist made her Broadway debut this season as music director and conductor of Allegiance starring George Takei and Lea Salonga. Her other regional work includes Chicago Shakespeare Theater, Center Stage in Baltimore, Cincinnati Playhouse in the Park, Northlight Theatre, TheatreWorks Silicon Valley, Music Theatre Wichita, and Lyric Theatre of Oklahoma. As an ASCAP Award recipient for composition, her personal catalogue includes more than 60 works in print and several cast recordings. In New York she has helmed productions for National Alliance for Musical Theatre, New York Stage and Film, New York Musical Theatre Festival, and Midtown International Theatre Festival, and she has performed at Joe’s Pub, 54 Below, Avery Fisher Hall, Symphony Space, and Merkin Concert Hall. Ms. Bergquist maintains a large coaching studio and is regularly called on as a performer and music director. laurabergquist.com.
Matt Raftery (Choreographer) has directed and choreographed Godspell; I Love You, You’re Perfect, Now Change; Alice in Wonderland; Cinderella; Joseph and the Amazing Technicolor Dreamcoat; Guys and Dolls; Aladdin; and Sleeping Beauty (The Marriott Theatre) and All Shook Up (Northwestern University). His credits as a choreographer include Cabaret, 9 to 5, Now and Forever: The Music of Andrew Lloyd Webber (Joseph Jefferson Award nomination), The Pirates of Penzance (Jeff Award nomination), The Music Man (Jeff Award nomination), My Fair Lady, The Bowery Boys (Jeff Award nomination), and Les Misérables (The Marriott Theatre), A Midsummer Night’s Dream and As You Like It (Chicago Shakespeare Theater), Stage Kiss (Goodman Theatre), Funny Girl (Drury Lane Theatre), The Christmas Schooner (Theatre at the Center), Beauty and the Beast, Guys and Dolls, Carousel, Brigadoon, The Pirates of Penzance, and Oklahoma! (Rocky Mountain Repertory Theatre), and Side Show (The Colony Theatre Company). Mr. Raftery received his B.F.A. in Music Theatre from Illinois Wesleyan University.
Kevin Depinet (Scenic Design) is thrilled to be working for The Old Globe. He has designed for Goodman Theatre, Steppenwolf Theatre Company, Chicago Shakespeare Theater, McCarter Theatre Center, Court Theatre, Writers Theatre, Drury Lane Theatre, Chicago Children’s Theatre, Denver Center Theatre Company, Arden Theatre Company, Milwaukee Repertory Theater, Glimmerglass Opera, Cincinnati Playhouse in the Park, American Players Theatre, Indiana Repertory Theatre, and Mark Taper Forum. His Broadway credits include associate designer for August: Osage County, The Motherf**ker with the Hat, and Of Mice and Men. His national tour credits include Camelot and Ragtime. Mr. Depinet has also designed for the National Theatre in London, Discovery Channel, Netflix, 21st Century Fox, and Disney. Kevindepinetstudio.com.
Susan E. Mickey (Costume Design) is an accomplished costume designer with a career in theatre, film, and television. Most recently, her costume designs for The Marriage of Figaro opened the 2016 season at Lyric Opera Chicago. She is the winner of a Carbonell Award for Don’t Stop the Carnival; two Joseph Jefferson Awards for School for Lies and The Madness of George III; and a Michael Merritt Award for Excellence in Collaboration. Ms. Mickey’s costumes have graced the stage in almost every major regional theatre in America. She has enjoyed extended design relationships with Oregon Shakespeare Festival, Huntington Theatre Company, Chicago Shakespeare Theater, and Alliance Theatre. Her work in television and film includes Miss Evers’ Boys for HBO and Mama Flora’s Family for CBS. Ms. Mickey is a member of the design faculty of the Department of Theatre & Dance at The University of Texas, where she is Senior Associate Chair.
Donald Holder (Lighting Design) previously designed the Globe’s In Your Arms and The Times They Are A-Changin’. His Broadway credits include The Lion King and South Pacific (Tony Awards), The King and I, The Bridges of Madison County, Golden Boy, Ragtime, Movin’ Out, Gem of the Ocean, A Streetcar Named Desire, Les Liaisons Dangereuses, and Juan Darien (all Tony-nominated), Fiddler on the Roof, She Loves Me, The Father, On the Twentieth Century, You Can’t Take It With You, Bullets Over Broadway, Cyrano De Bergerac, Thoroughly Modern Millie,and The Boy from Oz, among others. His regional credits include La Jolla Playhouse, South Coast Repertory, Seattle Repertory Theatre, Mark Taper Forum, Chicago Shakespeare Theater, Goodman Theatre, Steppenwolf Theatre Company, Denver Center Theatre Company, Center Stage, Hartford Stage, Williamstown Theatre Festival, Long Wharf Theatre, Huntington Theatre Company, Alley Theatre, and many others. He also designed the NBC television series “Smash.”
Ray Nardelli (Sound Design) previously served as associate sound designer for The White Snake at The Old Globe. His regional credits include Goodman Theatre, Steppenwolf Theatre Company, Indiana Repertory Theatre, Dallas Theater Center, Guthrie Theater, Adrienne Arsht Center for Performing Arts, McCarter Theatre Center, Long Wharf Theatre, Milwaukee Repertory Theater, Walnut Street Theatre, Court Theatre, Hartford Stage, Alliance Theatre, Syracuse Stage, Actors Theatre of Louisville, Congo Square, Oregon Shakespeare Festival, Alley Theatre, Chicago Shakespeare Theater, Northlight Theatre, Drury Lane Theatre, Lookingglass Theatre Company, Victory Gardens Theater, and American Girl Theatre in New York and Chicago. He was also the U.S. associate on David Bowie Is…. He has recorded, mixed, and produced CDs for many new musicials. He has over 400 film, television, and video game credits worldwide. Mr. Nardelli has received nominations for Cabaret in Dallas, The Jungle Book in Boston, and Alice in Atlanta in addition to four Joseph Jefferson Awards and eight nominations. He has also done production work on the pre-Broadway engagements of The Last Ship, Bring It On: The Musical, Ann, The Addams Family, The Light in the Piazza (assistant designer), All Shook Up, Death of a Salesman, and Moonlight and Magnolias.
Larry Hochman (Orchestrations) has provided orchestrations for 15 Broadway shows, including The Book of Mormon (Tony and Drama Desk Awards), She Loves Me (Drama Desk Award, Tony nomination), Something Rotten! (Tony and Drama Desk nominations), On the Twentieth Century, Pippin, The Scottsboro Boys (Tony nomination), Spamalot (Tony nomination), A Class Act (Tony nomination), the 2004 revival of Fiddler on the Roof (Tony nomination), and The Addams Family. His television composer credits include “Wonder Pets!” (five Emmy Awards). At the Globe, he orchestrated Dog and Pony and Dancing in the Dark (Craig Noel Award). Mr. Hochman’s regional and Off Broadway shows include Maury Yeston’s Death Takes a Holiday (Drama Desk nomination)and Marvin Hamlisch’s The Nutty Professor. He has 17 films to his name, including The Informant! (with a score by Mr. Hamlisch) and Disney’s Lady and the Tramp 2, Annie, and The Little Mermaid 2. His recording and concert credits include work with Paul McCartney, Eric Idle, Barbra Streisand, Hugh Jackman, Audra McDonald, Barry Manilow, Brian Stokes Mitchell, Mandy Patinkin, Boston Pops Orchestra, San Francisco Symphony, and New York Philharmonic. His classical work includes “In Memoriam” (published by Edward B. Marks).
Bruce Coughlin (Orchestrations) has several Broadway credits to his name, including Michael John LaChiusa’s The Wild Party, The Light in the Piazza (co-orchestrator; Tony and Drama Desk Awards), Urinetown, Grey Gardens, 9 to 5, Annie Get Your Gun, The Sound of Music, Once Upon a Mattress, and the 1996 revival of The King and I, plus additional/contributing orchestrations for Big Fish, On the Twentieth Century, Something Rotten!, and On the Town. His New York and regional credits include Mr. LaChiusa’s First Daughter Suite (co-orchestrator), Rain, Giant (with Larry Hochman), and See What I Wanna See; the recent London revivals of Assassins and Urinetown; and Amélie, Floyd Collins, Children of Eden, Finding Neverland (U.K. version), A Room with a View (The Old Globe), Tales of the City (American Conservatory Theater), and Far from Heaven (Playwrights Horizons). His opera credits include The Grapes of Wrath, 27, and Morning Star, all by Ricky Ian Gordon. His film credits include Hairspray (“Miss Baltimore Crabs”) and Fantasia 2000 (principal arranger). He is the winner of a Tony Award (and two additional nominations), Drama Desk Award (and eight nominations), and an Obie Award. His future projects include War Paint (Goodman Theatre) and October Sky (The Old Globe). brucecoughlin.com.
Curtis Moore (Music Supervisor and Additional Arrangements) wrote the musical Triangle, which premiered at TheatreWorks Silicon Valley and received six San Francisco Bay Area Theatre Critics Circle Awards. He composed the music for Venice with Matt Sax and Eric Rosen (which had a sold-out, extended run at The Public Theater) and Nora Ephron’s play Lucky Guy, starring Tom Hanks in his Broadway debut. With Thomas Mizer, Mr. Moore was awarded the 2009 Jonathan Larson Grant. Along with Triangle, they wrote the musicals The Legend of Stagecoach Mary (National Alliance for Musical Theatre) and The Bus to Buenos Aires (Ensemble Studio Theatre). He conducted and performed the music in The Bridge Project’s critically acclaimed world tour of Richard III, directed by Sam Mendes and starring Kevin Spacey, and he composed the score for Barry Edelstein’s production of Othello (The Old Globe) and Timon of Athens (The Public Theater). With Matthew Brookshire, he wrote and performed the songs for Todd Solondz’s film Palindromes (Venice, Toronto, Telluride, and New York Film Festivals). trickybox.com.
Harrison McEldowney (Original Production Choreographer) has numerous credits including television, Broadway, Off Broadway, West End, Carnegie Hall, and the Olympics. His credits at Chicago Shakespeare Theater, which also include the world premiere of Sense and Sensibility, are Tug of War: Foreign Fire, The Merry Wives of Windsor, The Merchant of Venice, Romeo and Juliet, Antony and Cleopatra, All’s Well That Ends Well, The Tempest, Henry VIII, and Sunday in the Park with George. His film credits include Sam Mendes’s Road to Perdition, Mark Medoff’s Children on Their Birthdays,and Vanilla City. He starred in Ruth Page’s Billy Sunday (Emmy Award nomination), and his choreography is featured in several Emmy-nominated and awarded dance specials for PBS. He is the inaugural recipient of the Prince Prize and has received the Ruth Page, Chicago After Dark, and Choo-San Goh Awards for choreography. He is a recipient of the Artistic Achievement Award from Chicago National Association of Dance Masters. Mr. McEldowney is a creative director for Wilson Dow Group and Under the Radar.
Peter Van Dyke (Production Stage Manager) has been a stage manager for over 50 productions at The Old Globe, beginning with Foxfire in the former Cassius Carter Centre Stage in 1984 and most recently Camp David. Some of his other notable shows include Waiting for Godot, Falsettos, Forever Plaid, Blues in the Night, Pride’s Crossing, Cowgirls, and nine Shakespeare plays, including Jack O’Brien’s monumental Henry IV. Born in Chicago and raised on a dairy farm in Wisconsin, Mr. Van Dyke has been a San Diegan since 1989. He has stage managed at Denver Center Theatre Company, Arizona Theatre Company, Pasadena Playhouse, Geffen Playhouse, La Jolla Playhouse, Long Wharf Theatre, Kansas City Repertory Theatre, and Mark Taper Forum. He has been the production stage manager of The Phantom of the Opera, Les Misérables, Wicked, Million Dollar Quartet,and Kinky Boots on tour, playing over 100 cities in 36 states and five provinces of Canada, as well as Seoul and Shanghai.
Laura Zingle (Assistant Stage Manager) is thrilled to be back at The Old Globe after recently working on The Metromaniacs, Arms and the Man,and Dr. Seuss’ How the Grinch Stole Christmas! (2014). She most recently was production stage manager for the U.S. premiere of The Little Match Girl by Helmut Lachenmann at Spoleto Festival USA in Charleston, South Carolina. Her La Jolla Playhouse credits include The Grift, Kingdom City, El Henry, Kamchatka (Without Walls Festival), His Girl Friday, and Hands on a Hardbody. At San Diego Repertory Theatre she was production stage manager of Detroit. Her other regional credits include a workshop of different words for the same thing (Center Theatre Group), AFI Fest 2013, Spoleto Festival USA, Opera NEO, and Palomar College Dance. Ms. Zingle is the stage manager of San Diego Gay Men’s Chorus. She has an M.F.A. in Stage Management from UC San Diego and is a proud member of AEA.
Chicago Shakespeare Theater (Co-Presenter) is a leading international theatre company and the recipient of the Tony Award for Outstanding Regional Theatre. Throughout 2016, CST is spearheading the international arts and culture festival Shakespeare 400 Chicago, a citywide celebration of the playwright’s 400-year legacy. Under the leadership of Artistic Director Barbara Gaines and Executive Director Criss Henderson, CST is dedicated to creating extraordinary productions of classics, new works, and family programming; to unlocking Shakespeare’s work for educators and students; and to serving as Chicago’s cultural ambassador through its World’s Stage Series. Through a year-round season encompassing more than 650 performances, CST attracts 225,000 audience members annually. One in four of its audience members is under 18 years old, and today its education programs have impacted the learning of over 1 million students. CST is proud to take an active role in empowering the next generation of literate, engaged cultural champions and creative minds.