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Sheryl and Harvey White Theatre
Conrad Prebys Theatre Center
West Coast premiere, presented in the January 2019 Powers New Voices Festival
By Selina Fillinger
Directed by Gaye Taylor Upchurch
National tensions swirl around the trial of Susie Glenn, an American teenager who left her home and family to join ISIS. Federal prosecutor Claire Fathi takes the case despite being reluctant to have her own gender and Muslim faith exploited in the name of justice. The Chicago Tribune exclaims that Selina Fillinger “can pack more moment-by-moment tension into a play than most playwrights ever manage in their careers.” This West Coast premiere etches compelling, complex portraits of a troubled young woman, her father, and the attorneys who battle over her future. Contains strong language.
Running time: One hour and 35 minutes, with no intermission.
The Joseph Cohen and Martha Farish New Play Development Fund
Paula and Brian Powers
Elaine Lipinsky Family Foundation
Selina Fillinger (Playwright) is a Los Angeles–based actor and writer. Her original work includes Faceless, The Armor Plays: Cinched/Strapped, Something Clean, and POTUS. Her plays have been developed at Roundabout Theatre Company, McCarter Theatre Center, Alley Theatre, The Repertory Theatre of St. Louis, and Northlight Theatre. She is currently commissioned at South Coast Repertory, Manhattan Theatre Club, Roundabout Theatre Company, and Williamstown Theatre Festival. She was a Hawthornden Castle Fellow and a resident of the Sallie B. Goodman Artist’s Retreat. Something Clean received the 2019 Laurents/Hatcher Foundation Award and Cinched/Strapped received the 2019 Williamstown Theatre Festival’s L. Arnold Weissberger New Play Award. Fillinger is a Northwestern University graduate (’16), where she studied playwriting under Laura Schellhardt.
Gaye Taylor Upchurch (Director) directed the Globe’s productions of Nick Gandiello’s The Blameless, Anna Ziegler’s The Last Match, and Laura Marks’s Bethany. Upchurch has directed the Off Broadway productions of The Last Match (Roundabout Theatre Company), The Half-Life of Marie Curie (Audible), Clare Lizzimore’s Animal (Atlantic Theater Company, Studio Theatre; Helen Hayes Award nomination for Outstanding Director of a Play), Nancy Harris’s Our New Girl, Simon Stephens’s Harper Regan,and Stephens’s Bluebird with Simon Russell Beale (Atlantic Theater Company), Bethany (Women’s Project Theater), and Lucy Thurber’s Stay (Rattlestick Playwrights Theater). Her other productions include Carson McCullers’s The Member of the Wedding (Williamstown Theatre Festival), The Year of Magical Thinking with Kathleen Turner (Arena Stage), Michael Kimmel and Lauren Pritchard’s musical Songbird (Two River Theater), and As You Like It (Falstaff Award for Best Play or Musical, Falstaff nomination for Best Director) and An Iliad (Hudson Valley Shakespeare Festival). She is an alumna of the University of North Carolina School of the Arts.
Lawrence E. Moten III (Scenic Design) is making his Globe debut. Based in New York City, he has worked on and Off Broadway. He was the associate designer for What the Constitution Means to Me and A Strange Loop. He continues his work with Constitution on the tour and filmed adaptations. Moten’s design work has been seen in New York City with Page 73 Productions, 59E59 Theaters, Ensemble Studio Theatre, and Cherry Lane Theatre, as well as The New School and Marymount Manhattan College. Regionally his work has been seen at California Shakespeare Theater, American Conservatory Theater, The Repertory Theatre of St. Louis, PlayMakers Repertory Company, Williamstown Theatre Festival, Everyman Theatre, Capital Repertory Theatre, UCCS Theatreworks, Children’s Theatre Company, Company One, Merrimack Repertory Theatre, and the theatre departments at Dartmouth and Princeton University. Lawrence is a lecturer of theatre at Princeton University and an adjunct at Rutgers University. He is a proud member of Local USA 829 and a member of Wingspace Theatrical Design. www.motendesigns.com, @motendesigns.
Emilio Sosa (Costume Design) designed Broadway and London productions of On Your Feet!, Motown The Musical, Lady Day at Emerson’s Bar & Grill, The Gershwins’ Porgy and Bess (Tony Award nomination), and Topdog/Underdog. His Off Broadway credits include Make Believe, Invisible Thread, and By the Way, Meet Vera Stark (Second Stage Theater), Big Apple Circus (Lincoln Center), Much Ado About Nothing and Romeo and Juliet (The Public Theater), Me and My Girl (City Center Encores!), Venus and The Hot Wing King (Signature Theatre), and Radio City Christmas Spectacular Starring the Radio City Rockettes. Sosa’s further credits include Blue Man Group (international tour), Man in the Ring (Huntington Theatre Company), The White Card (American Repertory Theater), Seize the King (La Jolla Playhouse), and Ma Rainey’s Black Bottom (Mark Taper Forum). He is an American Theatre Wing Trustee. @esosafashion.
Oona Curley (Lighting Design) is a New York–based lighting and set designer. Her recent New York credits include Lunch Bunch and Notes on My Mother’s Decline (The Play Company), The Karamazovs (New Ohio Theatre), Paris and The Homecoming Queen (Atlantic Theater Company), Dr. Ride’s American Beach House and Underground Railroad Game (Ars Nova), runboyrun and In Old Age (New York Theatre Workshop), The Appointment (Lightning Rod Special), Macbeth in Stride (The Public Theater/Under the Radar), Circus: Wandering City (Brooklyn Academy of Music), Good Grief (Vineyard Theatre), Tin Cat Shoes (Clubbed Thumb), and in a word (Lesser America). She recently designed the regional productions of Indecent (Weston Playhouse Theatre Company), Much Ado About Nothing and Cymbeline (Hudson Valley Shakespeare Festival), Nina Simone: Four Women (People’s Light), Lashed but Not Leashed (Guthrie Theater), Macbeth (Trinity Repertory Company), Paradise Blue (Long Wharf Theatre), Sweeney Todd and Mahagonny/Medium (Curtis Opera), The Magic Flute (Indianapolis Symphony Orchestra), The Light Princess (Arden Theatre Company), and ANDY: A Popera (The Bearded Ladies Cabaret Company/Opera Philadelphia). She is a company member of Lightning Rod Special, creators of the multiple-award-winning Underground Railroad Game and The Appointment. www.oonacurley.com.
Leon Rothenberg (Sound Design) designed The Old Globe’s productions of Clint Black’s Looking for Christmas, The Lion, Bethany, and Some Lovers. His recent Broadway credits include Hillary and Clinton, The Waverly Gallery, The Boys in the Band, A Doll’s House Part 2, Violet, The Realistic Joneses, and The Nance (Tony Award). He has designed regionally for Arena Stage, American Conservatory Theater, Arizona Theatre Company, Geffen Playhouse, Pasadena Playhouse, Huntington Theatre Company, Portland Center Stage, Seattle Repertory Theatre, La Jolla Playhouse, Long Wharf Theatre, McCarter Theatre Center, Williamstown Theatre Festival, New York Stage and Film, and more. His selected New York and Off Broadway credits include Classic Stage Company, Playwrights Horizons, Second Stage Theatre, New York City Center, Manhattan Theatre Club, and The Public Theater. He has also designed for Cirque du Soleil. www.klaxson.net.
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 Hurricane Diane, 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).
Marie Jahelka (Production Stage Manager) previously worked on The Old Globe’s The Underpants, Native Gardens, The Wanderers,Powers New Voices Festival (2016–2018), Red Velvet, Dr. Seuss’s How the Grinch Stole Christmas!, Somewhere, The Last Romance, The Whipping Man, Romeo y Julieta, Back Back Back, Opus, The American Plan, In This Corner, and Oscar and the Pink Lady. Her regional credits include Put Your House in Order, Hollywood, Ether Dome, Miss You Like Hell,and The Tall Girls (La Jolla Playhouse), The Humans, Aubergine, Evita, and Violet (San Diego Repertory Theatre), The Last Five Years, HIR, Dogfight, My Fair Lady, True West, Fool for Love, Spring Awakening, Company, Shakespeare’s R&J, Assassins, Mistakes Were Made, Parade, Cabaret, and Love Song (Cygnet Theatre Company), Hairspray and The Full Monty (San Diego Musical Theatre), and This Wonderful Life (North Coast Repertory Theatre). She received her B.A. in Theatre Arts from University of San Diego.
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, March 31, 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, April 7, 2020
Tuesday, April 14, 2020
Wednesday, April 22, 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, April 4, 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.