Published : Thursday, May 16, 2019 | 12:19 PM
Pasadena Playhouse Producing Artistic Director Danny Feldman announces four main stage productions for 2019/2020 including new productions of favorite musicals – Little Shop of Horrors with book and lyrics by Howard Ashman and music by Alan Menken, directed by Mike Donahue, and Irving Berlin’s Annie Get Your Gun with book by Herbert and Dorothy Fields, directed by Sarna Lapine – and two plays – the Los Angeles premiere of Lauren Yee’s The Great Leap directed by BD Wong, a co-production with East West Players, and Alfred Molina starring in the critically acclaimed West End and Broadway hit The Father by Florian Zeller and directed by Jessica Kubzansky. One more production and additional programming will be announced at a later date.
Memberships now available at www.pasadenaplayhouse.org, or by calling (626) 356-7529.
Producing Artistic Director Danny Feldman said, “These four exciting shows are a great reason to put down your phone, get off the couch, and head to the Playhouse. We’ve got two classic musicals with some of the best songs ever written for the theater, stunningly reborn and giving our audiences the chance to experience them in thrilling new ways. Add to that two extraordinary new dramas brought to the stage by two world-class artists, BD Wong and Alfred Molina. Our new lineup will take audiences on a bold theatrical adventure they won’t soon forget.”
The two musicals are from different eras – Little Shop of Horrors (September 17 to October 13) is the 1980s R&B megahit while Annie Get Your Gun (Spring 2020) is a return to the Golden Age of Broadway. Both productions take a fresh new perspective to the classic musicals.
In Little Shop of Horrors (book and lyrics by Howard Ashman, music by Alan Menken), a power-hungry, R&B-singing, carnivorous plant sets its sights on world domination! Directed by Mike Donahue (The Legend of Georgia McBride, Geffen Playhouse), this deviously delicious sci-fi musical comedy favorite comes to the Playhouse with some deliciously devious new twists: a brand new puppet concept for Audrey II, and a whole new take on Skid Row. Little Shop of Horrors has devoured the hearts of theatergoers of all ages for more than 30 years.
Village Voice critic Michael Feingold contends, “How often do you get to see a musical about a giant plant from outer space that sings, dances, talks jive and eats people?” Mel Gussow in The New York Times says that Little Shop of Horrors is “a show for horticulturists, horror-cultists, sci-fi fans and anyone with a taste for the outrageous! As entertaining as it is exotic.” Rex Reed summed it up by saying, “I just loved it!”
Annie Get Your Gun (Spring 2020) will bring the strongest and most revolutionary Annie Oakley you have ever seen to the beloved music and lyrics of Irving Berlin. Directed by Sarna Lapine (Sunday in the Park with George with Jake Gyllenhaal and Annaleigh Ashford), this production will return to the book by Dorothy and Herbert Fields made famous by Ethel Merman, rather than more recent versions from revivals. One of the classic scores of Broadway comes to life with There’s No Business Like Show Business, Anything You Can Do, I Got Sun in the Morning and You Can’t Get a Man With a Gun, all reimagined and performed by a country western, bluegrass band. Annie Get Your Gun is a co-production with Bay Street Theatre.
Lauren Yee’s newest work The Great Leap (November 6 to December 1, 2019) explores the story of an American basketball team traveling to Beijing for an exhibition game. The coaches find themselves in a conflict that runs deeper than the strain between the countries, and a young player’s actions abroad become the accidental focus of attention. Building tension right up to the buzzer, this sharp-witted new drama is about much more than making the shot, as two men with a past and one teen with a future struggle for their own personal victories. The Great Leap starred BD Wong (Jurassic Park films, HBO’s Oz, Law & Order: Special Victims Unit) at the Atlantic Theatre off-Broadway and in San Francisco at ACT. The Tony Award winner will now direct the Pasadena Playhouse production presented in partnership with East West Players.
New York Magazine described The Great Leap as “an exhilarating, deeply satisfying piece of work” and a “smart, feisty, highly enjoyable new play.” The San Jose Mercury News said “The Great Leap has got real game.”
Alfred Molina (Long Day’s Journey into Night, Geffen Playhouse; Miracle on 34th Street, Pasadena Playhouse, Tevye in Fiddler on the Roof, Broadway) stars in The Father (February 5 to March 1, 2020) by French playwright Florian Zeller — perhaps one of the most awarded plays of recent times on two continents – winning the 2014 Molière Award, and nominations for the Evening Standard Theatre Award, Olivier Award for Best New Play, and Tony Award for Best Play.
The Guardian said, “The Frenchman Florian Zeller has been called the most exciting playwright of our times.” Frank Langella won the 2016 Tony Award for Best Actor in a Play for the role being reprised by Molina. The production is directed by Jessica Kubzansky, artistic director of Boston Court Theatre and director of Hold These Truths, Pygmalion and Mauritius at Pasadena Playhouse, who is currently directing Ladies by Kit Steinkellner in its world premiere production at Boston Court.
A New York Times Critics Pick, Ben Brantley said that The Father is “harrowing … one of the most disorienting experiences in town … The Father operates from an exceedingly ingenious premise … that’s presenting the world through the perspective of a mind in an advancing state of dementia, making reality as relative and unfixed as it might be in a vintage Theatre of the Absurd production … [however] André’s ego is too large and impregnable to be deflated by senility. Dementia is inherently tragic. That’s what Shakespeare saw in King Lear, himself a precursor to this absurdist existential hero.” Lyn Gardner said in The Guardian that The Father is “hugely rewarding … a play that constantly confounds expectations and works almost like a thriller, with a sinister Pinteresque edge.”
The Playhouse Membership Program, a new model of theater subscription, is the best way to see all season productions and experience everything the theater has to offer while supporting the theater and our outreach programs. With a Membership to the Playhouse, patrons simply purchase their package, then book their tickets throughout the year before they go on sale to the general public. They can choose when they want to attend and where they want to sit, and never be charged for tickets to season productions!
A Playhouse membership includes:
• Free tickets to all season productions
• Access to the best seats in the house
• The freedom to attend any performance
• Savings of up to 50% over purchasing individual tickets
• Tax deductibility at higher levels
For a full list of benefits and to see how it works, visit pasadenaplayhouse.org/membership, or call 626-356-7529.
About The Pasadena Playhouse
The Pasadena Playhouse is a place where people have gathered for 100 years to experience bold and important theater. It is one of the most prolific theaters in American history with a legacy of profound theatrical impact and courageous new work. In 1937, the Playhouse was officially recognized as the State Theater of California for its contribution and commitment to the dramatic arts. Today it continues that tradition of excellence under the helm of producing artistic director Danny Feldman. Dedicated to enriching lives through theater, community programs and learning initiatives, Pasadena Playhouse is a living force in the community.
2019-2010 Slate of Offerings at Pasadena Playhouse
September 17 – October 13, 2019
Little Shop of Horrors
Book and Lyrics by Howard Ashman
Music by Alan Menken
Directed by Mike Donahue
Howard Ashman (Book & Lyrics): Best known as a pivotal creative mind behind the renaissance of Disney animation and his work on The Little Mermaid, Aladdin and Beauty and The Beast (which is dedicated to, “Our friend, Howard Ashman, who gave a Mermaid her voice and a Beast his soul…”) Ashman’s first love was theater. Ashman was a founder of off off Broadway’s renowned WPA Theater, where he conceived, wrote and directed God Bless You, Mr. Rosewater, as well as the classic musical, Little Shop of Horrors (both music by Alan Menken). In 1986, he wrote and directed the Broadway musical Smile (music by Marvin Hamlisch). Lamented as a lost treasure of the 1980′s theater scene, Smile remains popular on High School and College campuses throughout the country. Howard Ashman died in 1991 from complications of AIDS. For more information, please visit howardashman.com.
Alan Menken (Music): Legendary composer Alan Menken has created some of the most beloved songs and musical scores of our time. His unique voice, as a composer, a lyricist and a musical theater dramatist has captured the imaginations of audiences for over 35 years. Alan’s stage musicals include God Bless You Mr. Rosewater, Patch Patch Patch, Atina: Evil Queen of the Galaxy, Real Life Funnies, Little Shop of Horrors, The Dream on Royal Street, Kicks, The Apprenticeship of Duddy Kravitz, Beauty and the Beast, A Christmas Carol, Weird Romance, King David, The Hunchback of Notre Dame, The Little Mermaid, Sister Act, Leap of Faith, and Newsies. He has also contributed to such revues as Personals, Diamonds, and On the Record.
His film musicals include Little Shop of Horrors, The Little Mermaid, Beauty and the Beast, Newsies, Aladdin, Pocahontas, The Hunchback of Notre Dame, Hercules, Home on the Range, Enchanted, and Tangled. His dramatic underscores for films include Life With Mikey, Noel, The Shaggy Dog, and Mirror Mirror. He has contributed songs to such films as Rocky V, Home Alone 2 – Lost in New York, Life With Mikey, and Captain America – The First Avenger.
Alan’s television credits include writing numerous songs for “Sesame Street”, composing the score for the ABC mini-series “Lincoln”, contributing songs for the musical Polly, the Hallmark adaptation of his musical of A Christmas Carol and the songs for an episode of the ABC-TV series “The Neighbors”.
His songwriting collaborators have included Howard Ashman, Tim Rice, Stephen Schwartz, David Zippel, Jack Feldman, David Spencer, Lynn Ahrens, Dean Pitchford, Glenn Slater and Chad Beguelin. Alan won the 2012 Tony and Drama Desk Awards for his score to Newsies. He currently has more Academy Awards than any other living individual, including four for Best Score (The Little Mermaid, Beauty and the Beast, Aladdin and Pocahontas) and 4 for Best Song (“Under the Sea”, “Beauty and the Beast”, “A Whole New World” and “Colors of the Wind”). He has earned 11 Grammy Awards (including Song of the Year for “A Whole New World”), 7 Golden Globes, London’s Evening Standard Award, the Olivier Award, the Outer Critics Circle Award and the Drama Desk Award. Other notable achievements include induction into the Songwriters Hall of Fame and Billboard’s number one single (“A Whole New World”) and number one album (Pocahontas). In 2001 he received the distinction of being named a Disney Legend. He has also been awarded two doctorates in Fine Arts from New York University and the North Carolina School of the Arts. In 2010 he received his own star on the Hollywood Walk of Fame.
Mike Donahue (Director) is a New York-based director. NYC credits include: world premieres of Matthew Lopez’s The Legend of Georgia McBride (MCC, The Geffen and Denver Center, Joe A. Callaway Award, Outer Critics Circle Nomination, Ovation Award Nomination); Jen Silverman’s Collective Rage (MCC, Woolly Mammoth, Dramaleague Nomination), The Moors (Playwrights Realm – NYC premiere), Phoebe in Winter (Clubbed Thumb) and The Hunters (Cherry Lane Mentor Project); Jordan Seavey’s Homos, Or Everyone In America (Labyrinth); and Ethan Lipton’s Red-Handed Otter (Playwrights Realm). Regionally: world premieres of Jen Silverman’s The Roommate (Humana, Williamstown, Long Wharf); Rachel Bonds’ Curve of Departure (South Coast Rep, Studio Theatre), The Wolfe Twins (Studio Theatre D.C.) and Swimmers (Marin); Matthew Lopez’s Zoey’s Perfect Wedding and Lauren Feldman’s Grace, or The Art of Climbing (Denver Center); and Shostakovich’s Moscow, Cheryomushki in a new libretto by Meg Miroshnik (Chicago Opera Theatre). Additionally regionally, Annie Baker’s adaptation of Uncle Vanya (Weston); Amy Herzog’s 4000 Miles (Actors Theatre); Antony & Cleopatra (Shakespeare Festival St. Louis); and Assassins, Henry IV & V (co-directed with Joe Haj) and A Number (Playmakers Rep, 2011/12 Distinguished Guest Artist). Select readings/workshops: MTC, Roundabout Underground, NYTW, Soho Rep (Writer/Director Lab), McCarter, The O’Neill, Berkley Rep Ground Floor, South Coast Rep’s Pacific Playwrights Festival, New Dramatists, The Lark, Ars Nova, Primary Stages, Chautauqua, Cape Cod Theatre Project and Studio 42. Mike is recipient of a Fulbright to Berlin, the Dramaleague Fall Fellowship, The Boris Sagal Fellowship at Williamstown, winner of the Inaugural Opera America Director-Designer Showcase Award, and was the artistic director of the Yale Summer Cabaret for two seasons. Mike is a graduate of Harvard University and the Yale School of Drama. Upcoming: world premieres of Jen Silverman’s Wink and Kate Cortesi’s Love (Marin) and Euripides The Bacchae (Baltimore Center Stage).
November 6 – December 1, 2019
The Great Leap
by Lauren Yee
Directed by BD Wong
A Co-production with East West Players
Lauren Yee (Playwright): Lauren was born and raised in San Francisco and currently lives in New York City. Her plays include Ching Chong Chinaman (Pan Asian, Mu Performing Arts, SIS Productions, Impact Theatre), Crevice (Impact), The Hatmaker’s Wife (The Playwrights Realm, The Hub, Moxie Theatre, AlterTheater, PlayPenn), Hookman (Encore Theatre, Company One), IN A WORD (SF Playhouse, Cleveland Public, upcoming at Strawdog and Mo’olelo), King of the Yees (Center Theatre Group Kirk Douglas Theatre, The Goodman Theatre’s New Stages Festival), Samara (Victory Gardens, O’Neill Conference, Bay Area Playwrights Festival), and The Tiger Among Us (MAP Fund, Mu, Lark Playwrights Week). Her work has been developed at Lincoln Center/LCT3, The Goodman, The Public, Second Stage, Rattlestick Playwrights Theatre, Centerstage, Williamstown Theatre Festival, Kitchen Dog, the Magic Theatre, and others. Former Dramatists Guild fellow, MacDowell Colony fellow, Public Theater Emerging Writers Group member, Women’s Project Lab playwright, Second Stage Shank playwright-in-residence, and The Playwrights Realm Page One resident playwright. Her plays have been nominated for the Susan Smith Blackburn Prize, the L. Arnold Weissberger Award, and the Outer Critics Circle’s John Gassner Award.
Lauren Yee’s Cambodian Rock Band, with music by Dengue Fever, premiered at South Coast Rep, subsequent productions at Oregon Shakespeare Festival, La Jolla Playhouse, City Theatre, Merrimack Rep, Signature Theatre, and Portland Center Stage. Her play The Great Leap has been produced at the Denver Center, Seattle Repertory, Atlantic Theatre, the Guthrie Theatre, American Conservatory Theatre, and Arts Club, with future productions at InterAct Theatre, Long Wharf, and Asolo Rep. Honors include the Whiting Award, Horton Foote Prize, Kesselring Prize, Primus Prize, a Hodder Fellowship at Princeton, and the #1 and #2 plays on the 2017 Kilroys List. She’s a member of New Dramatists, Ma-Yi Writers’ Lab member, and Playwrights Realm alumni playwright. TV credits: PACHINKO (Apple), MIXTAPE (Netflix). Current commissions include Geffen Playhouse, La Jolla Playhouse, Portland Center Stage, Second Stage, South Coast Rep. BA: Yale. MFA: UCSD. www.laurenyee.com
BD Wong (Director): Born and raised in San Francisco, BD Wong is the only actor ever to have received all five major New York Theater awards for a single role – namely his performance in M. Butterfly (his Broadway debut): the Drama Desk Award, the Outer Critics Circle Award, the Theater World Award, the Clarence Derwent Award, and the Tony Award. Wong gained notice on HBO’s critically acclaimed series Oz as the resilient prison priest (Father Ray) for the show’s six-season run. Then, for eleven seasons on the top-rated NBC series Law & Order: Special Victims Unit he played George Huang, an FBI forensic psychiatrist and expert on the criminal mind.
BD co-starred in the NBC series Awake, in which he played John Lee, Det. Britten’s therapist in the ‘red reality’. Other television credits include ABC’s All-American Girl (as Margaret Cho’s brother Stuart) and HBO’s telefilms And the Band Played On and The Normal Heart, as well as guest-starring roles on Sesame Street, The X-Files, Madam Secretary, Nurse Jackie, NCIS: New Orleans and American Horror Story: Apocalypse. He most recently has been seen in two drastically different television roles simultaneously: as the nefarious Hugo Strange on Gotham and as the mysterious trans-female hacker Whiterose on Mr. Robot. For his work on the latter, he received an Emmy, Gold Derby and a Critic’s Choice Award nominations.
Wong has appeared in more than twenty feature films, including Jurassic World: Fallen Kingdom, Jurassic World, Focus, The Space Between Us, Stay, The Salton Sea, Executive Decision, Seven Years in Tibet, Jurassic Park, Father of the Bride (1 & 2), The Freshman and the Netflix Feature Bird Box. He can also be heard as the voice of Shang in the Disney animated films Mulan and Mulan II.
Wong’s additional New York theater credits include The Great Leap at The Atlantic Theatre Company, The Tempest, A Language of Their Own, As Thousands Cheer, Shanghai Moon, and the Broadway revivals of the musicals You’re a Good Man, Charlie Brown and Sondheim’s Pacific Overtures (the latter for which he received a Drama League nomination for distinguished performance). He produced and directed The Yellow Wood for NYMF and Cindy Cheung’s Speak Up Connie for the All For One Festival, and co-wrote and directed Alice Chan for the La Jolla Playhouse POP Tour. He recently starred regionally in The Orphan of Zhao at La Jolla Playhouse and San Francisco’s A.C.T. In addition, he has starred in five productions of the one-man musical Herringbone, a project dear to his heart.
Wong published his first book, Following Foo: the electronic adventures of the Chestnut Man (Harper Entertainment), a memoir about the extremely premature birth of his son, in 2003. Community service recognitions include those from the Asian American Legal Defense and Education Fund, Asian AIDS Project, GLAAD, National Gay and Lesbian Task Force, Asian Arts Alliance, Association of Asian-Pacific American Artists, East/West Players, Second Generation, Organization of Chinese Americans and APICHA. He sits on the boards of both the Actors’ Fund of America and Rosie’s Theater Kids. Wong resides in New York City.
East West Players — Established in 1965, East West Players is the nation’s leading Asian American theatre company for our award-winning productions that blend Eastern and Western movements and culture. In over 50 years of history, East West Players has since premiered more than 228 plays and musicals, along with over 1,000 diverse readings and workshops for actors, writers, and directors. By building bridges between East and West, we have cultivated a loyal audience of over 70% people of color. Our company continues to build platforms for artists of color while advocating for multi-faceted representations of the Asian Pacific American experience in the performing arts.
February 5 – March 1, 2019
by Florian Zeller
Translated by Christopher Hampton
Directed by Jessica Kubzansky
Starring Alfred Molina
Alfred Molina hails from London and has lived and worked in the USA since the early ’90s. His career has spanned over 45 years with more than 200 credits in theater, television and film. He made his film debut in Steven Spielberg’s Raiders of the Lost Ark, and quickly followed up with appearances for directors as diverse as Richard Donner, Mike Leigh, Jim Jarmusch, Lasse Hallström, Mira Nair, Stephen Frears, and Julie Taymor. His theater work includes the Royal Shakespeare Company, National Theatre, London’s West End and Broadway where he has been a three-time Tony Award nominee. He has also worked extensively in Los Angeles, with productions at the Mark Taper Forum, Geffen Playhouse and The New American Theatre. This is his first full production with Pasadena Playhouse. He dedicates this performance to full-time caregivers everywhere.
Florian Zeller (Playwright) has fast become one of France’s most well-known contemporary playwrights. L’Autre, Le Manège, Si tu Mourais, Elle t’attend, La Mère (The Mother, Molière Award in 2011), La Vérité (The Truth) and Une heure de tranquillité (A Bit of Piece and Quiet) were successfully produced in France and internationally. Le Père (The Father) was the 2014 winner of 3 Molière Awards (Best Play, Best Actor — Robert Hirsh and Best Actress– Isabelle Gelinas and won the Prix du Brigadier in 2015. Une heure de tranquillité (A Bit of Piece and Quiet)) starring Fabrice Luchini became a movie directed by Patrice Leconte. Most of Florian Zeller plays are being optioned and performed all over the world.
His plays La Mère (The Mother) Le Père (The Father) and La Vérité (The Truth) have been translated by Christopher Hampton. The play La Vérité (The Truth) was nominated for Best New Play at the 2016 Olivier Awards and Kenneth Cranham won for Best Actor in a Play. La Vérité (The Truth) also received two nominations for the 2016 Tony Awards: Best Play and Best Performance by an Actor in a Leading Role in a Play. Frank Langella was awarded for his performance. Florian Zeller lives in Paris. He is married to the actress and sculptor Marine Delterme.
Christopher Hampton (Adaptor): Christopher Hampton’s plays and musicals have so far garnered four Tony Awards, three Olivier Awards, four Evening Standard Awards, and the New York Drama Critics’ Circle Award; prizes for his film and television work include an Oscar, two BAFTAs, a Writers’ Guild of America Award, the Prix Italia, a Special Jury Award at the Cannes Film Festival, Hollywood Screenwriter of the Year, and The Collateral Award at the Venice Film Festival for Best Literary Adaptation. Original plays: Appomattox, The Talking Cure, White Chameleon, Tales From Hollywood, Treats, Savages, The Philanthropist, Total Eclipse, and When Did You Last See My Mother? Adaptations from novels: Youth Without God (Horváth), Embers (Márai), and Les Liasons Dangereuses (Laclos). Musicals: Stephen Ward, Dracula: The Musical, and Sunset Boulevard. Libreti: Appomattox, The Trial, and Waiting For The Barbarians (all for Philip Glass). Translations include plays by Chekhov, Ibsen, Molière, Horváth, Yasmina Reza, and Florian Zeller. Film includes: Ali and Nino, A Dangerous Method, Chéri, Atonement, The Quiet American, Dangerous Liaisons, The Good Father, The Honorary Consul, Total Eclipse, Mary Reilly, Tales From The Vienna Woods, and A Doll’s House. He wrote and directed Imagining Argentina, The Secret Agent, and Carrington. Television includes: The Thirteenth Tale, The Ginger Tree, Hôtel Du Lac, The History Man, and Able’s Will.
Jessica Kubzansky (Director) has been an Artistic Director of Boston Court Pasadena since its inception, and is also an award-winning director working nationally. For the Pasadena Playhouse: Hold These Truths, Pygmalion, and Mauritius. For Boston Court: the world premiere of Sarah B. Mantell’s Everything That Never Happened, Luis Alfaro’s Mojada, A Medea in Los Angeles (a co-production at the Getty Villa), the New York and world premieres of Sheila Callaghan’s Everything You Touch, (a co-pro with Rattlestick Playwrights Theatre at the Cherry Lane), the world premieres of Stefanie Zadravec’s Colony Collapse, RII (her own three-person re-envisioning of Shakespeare’s Richard II), Michael Elyanow’s The Children, the West Coast premiere of Julia Lederer’s With Love and a Major Organ, and many more. Recently elsewhere: Othello (A Noise Within), Jeanne Sakata’s Hold These Truths (Arena Stage, Portland Center Stage, ACT), Sofia Alvarez’s Amos & Boris, Aditi Kapil’s Orange (South Coast Rep), Aaron Posner’s Stupid Fucking Bird (ACT Theatre Seattle), Hamlet with Leo Marks (Theater 150). Kubzansky has received numerous awards and honors, among them the Los Angeles’ Drama Critics’ Circle’s Margaret Harford Award for Sustained Excellence in Theatre. Proud member of SDC.
Annie Get Your Gun
Music and Lyrics by Irving Berlin
Book by Dorothy & Herbert Fields
Directed by Sarna Lapine
A Co-production with Bay Street Theatre
Irving Berlin, the composer of the music and lyricist for Annie Get Your Gun, was born in Tyumen, Russia, on May 11, 1888, and immigrated to New York as a child. He would become one of the most popular songwriters in the United States, with hits like Alexander’s Ragtime Band, What’ll I Do, God Bless America, and White Christmas. His music forms a great part of the Great American Songbook.
Herbert & Dorothy Fields are the brother and sister team who wrote the book for Annie Get Your Gun. Dorothy started writing songs for Tin Pan Alley and Broadway in the 1920s. From the 1930s on, Dorothy also worked for Hollywood with her partner, composer Jimmy McHugh. She won an Oscar for the song The Way You Look Tonight from Swing Time (1936), which she had written with Jerome Kern. Herbert was a writer and actor, known for Hit the Deck (1955), 50 Million Frenchmen (1931) and Joy of Living (1938). Dorothy and Herbert won two Tony Awards in 1959 for Redhead including Best Musical and shared the award for Best Book/Libretto with Sidney Sheldon and David Shaw.
Sarna Lapine (Director) is a New York-based director and developer of new work. Upcoming: The Rape of Lucretia (Boston Lyric Opera), Kate Hamill’s adaptation of Little Women (Primary Stages) and Radioactive, a new musical by Eric Price and Will Reynolds (Manhattan School of Music). Recent: Into the Woods (Juilliard), Noises Off (Two River Theater) Frost/Nixon (Bay Street Theater), You Are Here, a new musical (Goodspeed Musicals); Photograph 51, Japan premiere (Umeda Arts Theater); Sondheim on Sondheim with the Boston Pops and the L.A. Phil; and the critically-acclaimed Broadway revival of Sunday in the Park with George, starring Jake Gyllenhaal and Annaleigh Ashford. Sarna directed the second national tour of Lincoln Center Theater’s South Pacific and was Associate Director of The National Theatre’s War Horse (North American Tour and Japan production). She started out at Lincoln Center Theater as Bartlett Sher’s assistant director on The Light in the Piazza and worked with him on the Tony-award winning revival of South Pacific, as well as the new musical Women on the Verge of a Nervous Breakdown and Clifford Odets’ Awake and Sing! She holds an MFA from Columbia University.
Bay Street Theatre is a not-for-profit 299-seat professional regional theater situated on the Long Wharf, in Sag Harbor, NY, and was founded in 1991. Founded by Sybil Christopher, Emma Walton Hamilton and Stephen Hamilton. Bay Street Theater & the Sag Harbor Center For The Arts is a year-round, not-for-profit professional theater and community cultural center, which endeavors to innovate, educate, and entertain a diverse community through the practice of the performing arts. We serve as a social and cultural gathering place, an educational resource, and a home for a community of artists. Many of the productions that premiered or were developed at Bay Street have moved to Broadway, Off-Broadway, regionally and abroad, including Nobody Don’t Like Yogi, Hedda Gabler, Love Janis, If Love Were All, Full Gallop, Swingtime Canteen and Three Hotels. Bay Street is considered ” …one of the Country’s pre-eminent regional theatres” (CBS Sunday Morning) and “…in the same league with the best major regional and Off-Broadway theatres.” (Newsday). In addition to the Mainstage productions, the variety of year-round programs at Bay Street include The Comedy Club, The Workshops, Special Events, and Educational Outreach Initiatives including Literature Live!, a Summer College Internship Program, Theater Workshops and Kids Theater Camps and Classes.