Cast, performances, who’s who, director’s notes and donors
6 In the Wings
Yuja Wang leads the Mahler Chamber Orchestra from the piano; Bang on a Can All-Stars at the Walllis; the East West Players update Rodgers and Hammerstein’s classic Flower Drum Song.
10 On Pointe Shoes
Ballerinas’ toe shoes make an exacting journey from cobbler to performances by American Ballet Theatre, Los Angeles Ballet and New York City Ballet, all appearing here in spring.
16 Family Affair
Design: Inspired by the culture and design heritage of Los Angeles, husbandand-wife architects chart a new path for clients of their company, AAHA Studio.
24 And the Winner is...
Dining: New Fanny’s, inside the Academy Museum of Motion Pictures, is a cinematically themed and often whimsical homage to Old Hollywood.
A culinary
for your theatre outing encore
A
PERFECT
DINING EXPERIENCE TO PAIR WITH YOUR PERFORMANCE
Indulge in a seasonal three-course prix fixe menu at Noé Restaurant & Bar, just a short walk from the theatre. Enjoy a stress-free meal with valet parking for $25 and receive 15% off your bill at Noé when you present your theatre program. Scan the QR code & reserve your table now for an unforgettable evening.
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Performances Magazine is published by California Media Group to serve performing arts venues throughout the West.
WIDELY REGARDED as one of the most important artists of her generation, pianist Yuja Wang makes a swing through Southern California as soloist with and leader of the Mahler Chamber Orchestra. Wang is celebrated for her extraordinary musicianship, transcendent technical prowess and charismatic stage presence; the nomadic collective Mahler Chamber Orchestra gathers 45 musicians from 20 countries for international tours. April 22 at Segerstrom Center for the Arts in Costa Mesa, Wang and the MCO present Alexander Tsfasman’s Jazz Suite for Piano and Orchestra and Prokofiev’s Piano Concerto No. 2 in G minor; a pre-concert lecture features KUSC’s Brian Lauritzen (philharmonicsociety.org). The program April 25 at the Soraya in Northridge features the Tsfasman work and Chopin’s Piano Concerto No. 1 (thesoraya.org). April 23, Yang plays both concertos at the Granada Theatre in Santa Barbara (granadasb.org).
Pianist Yuja Wang directs and serves as soloist with the Mahler Chamber Orchestra.
IMPACT AMPLIFIED
FROM THE OSCAR-WINNING grandeur of The Last Emperor to the intimacy of Merry Christmas Mr. Lawrence, the film scores of Ryuichi Sakamoto over the course of decades show him to be a composer of breathtaking range. His music was both deeply personal and profoundly cinematic. May 16 at the Wallis, Bang on a Can All-Stars, known for its ultra-dynamic performances, breathes new life into Sakamoto’s iconic album
1996, reimagining selections from scores including The Sheltering Sky and Wuthering Heights. The amplified sextet freely crosses boundaries between classical, jazz, rock, world and experimental music. “A fiercely aggressive group, combining the power and punch of a rock band with the precision and clarity of a chamber ensemble,” wrote The New York Times 9390 N. Santa Monica Blvd., Beverly Hills, 310.246.3800, thewallis.org
Flower Drum Song Redux
THE 60TH season of the East West Players concludes with the world premiere of Tony Awardwinning David Henry Hwang’s updated book for Rodgers and Hammerstein’s Flower Drum Song. The reimagined musical, April 16-May 31 at the Japanese American Cultural & Community Center’s Aratani Theatre, centers on a young Chinese opera artist who flees communism in the 1960s and finds herself in San Francisco’s Chinatown nightclubs. Lily Tung Crystal directs. The cast incudes Grace Yoo, Emily Kuroda and Marc Oka; Krista Marie Yu makes her company debut. 244 San Pedro St., downtown, 213.625.7000, eastwestplayers.org
MUSICAL
Above: Bang on a Can All-Stars. Right: Krosta Marie Yu makes her East West Players debut in David Henry Hwang’s update of Rodgers and Hammerstein’s Flower Drum Song
On Pointe Shoes
Simultaneously sturdy and fragile, ballerinas’ toe shoes make an exacting journey from a cobbler’s hands
THE BALLERINA’S BEST friend, the pointe shoe, is familiar to anyone who has seen a ballet.
Fabric slippers with a hard toe box, they allow a dancer to put full weight on the tips of her feet, lift herself with artistry and make leaps and turns beyond what’s humanly possible in conventional ballet flats.
“You’re able to achieve certain feats—no pun intended —that you can only do in a pointe shoe. That’s what
makes ballet and dance en pointe so unique,” says Melissa Barak, artistic director of Los Angeles Ballet and former dancer with New York City Ballet.
Classic pointe footwork will be richly available this spring with American Ballet Theatre’s Sylvia at Segerstrom Center for the Arts, Los Angeles Ballet’s Giselle at Ahmanson Theatre and New York City Ballet’s mixed repertory program at Dorothy Chandler Pavilion.
Most in the audience will never know the long and almost ritualized journey those dancers’ toe shoes
to their glorious turn on stage. by
SHERRY STERN
will have taken. Or that the shiny pair they see on a principal dancer’s feet likely won’t last the evening.
The pointe shoe’s history begins 200 years ago, when Italian and French ballerinas sought new ways to lift themselves, aiming to appear weightless and ethereal.
Nineteenth-century dancers worked with cobblers who handcrafted shoes using newspaper, flour paste and pasteboard for the platform, then reinforced the cardboard insoles with leather.
En pointe—the French phrase—was born.
Two centuries later, that shoe-making process remains tried and true, says master pointe-shoe fitter Josephine Lee, CEO of The Pointe Shop in Southern and Northern California. Founded 12 years ago in Orange County, it is also the main pointe shoe fitter for San Francisco Ballet.
“We specialize in a very small industry,” Lee says.
The Pointe Shop carries dozens of shoe styles, each made by hand at eight factories around the world. “They still use the old-world technique,” Lee says. “They layer paste and paper and leather and satin and burlap to make them stronger. Then they hammer to shape the shoes.”
Companies offer styles using polymer or synthetics but the techniques remain as they were 100 years ago.
Finding the right pointe shoe for a young ballerina is an involved—and sometimes never-ending—process that begins when she’s a pre-teen. But first comes hard work building strength and mastering technique.
Rosey Francis, an 8th grader who danced as Clara in ABT’s The Nutcracker in December, first went en pointe three years ago at age 10. “It’s crazy looking back at how young I was and how excited I felt,” she says.
That memorable moment was several years in the making at the American Ballet Theatre William J. Gillespie School at Segerstrom Center for the Arts; Rosey has trained there since she was 8.
“About a year in advance to getting pointe shoes, we started having pre-pointe classes,” she remembers. The classes focused on ankle and foot strengthening. One day, a teacher assessed her and her fellow students to determine if they were strong enough to go on their toes.
Each received an email the same day saying they were ready. “It was so special,” Rosey continues. “Our entire level are all really close buddies. We got the email and were all super-excited after class, hugging our parents.”
Then Lee visited the students at their studio, gave each a fitting, and they went en pointe for the first time. “It was magical,” Rosey recalls. “We had been looking up to the older dancers who got to do things en pointe and how beautiful their work was. We wore them all the time.”
Lee’s job is to help each dancer find the shoe that fits her foot and her personal preferences.
“It’s as close to a custom shoe that you can get without actually being custom shoes,” Lee says. “It’s almost like getting fitted for a cast and you need to find the cast that fits the shape of your foot.”
Catherine Hurlin in the American Ballet Theatre production of Sylvia
Like many things these days, the price of a pointe shoe has skyrocketed.
“It’s become very, very expensive,” Lee says. “In 2019, a pair was around $90 to $130. Now it could range anywhere from $110 to $180.”
Pointe shoes are as fragile as they are sturdy. As the paste and materials break down from sweat and wear, the shoes lose their structural integrity.
For a large company, they represent a huge expense. ABT’s 60 female dancers go through 4,000 pairs a year, according to Tomoko Ueda-Dunbar, the troupe’s head of wardrobe and shoe manager.
“Some dancers need a few pairs of shoes per show. Some go through a pair of shoes within a few hours of the rehearsal. It’s like a tissue—a hundred-dollar tissue just to blow your nose,” she says with a laugh.
The company spends approximately $500,000 a year on pointe shoes. Like many dance companies, ABT appeals to supporters to donate to its Pointe Shoe Fund.
Ueda-Dunbar oversees ABT’s pointe shoe room, where she tracks dancers’ preferences, orders the shoes and keeps them organized so that everyone has a bin where they can swoop in to pick up their latest supply.
Tiler Peck, a principal dancer with New York City Ballet, performed as the Sugar Plum Fairy in The Nutcracker a dozen times over the last holiday season
in New York and in Southern California with the Festival Ballet Theater, Westside Ballet and Pacific Festival Ballet.
Afterwards, she went online and counted 25 pairs of shoes that she’d used in those performances.
“Why do we wear so many shoes? It’s because during the Sugar Plum I wear two pairs ... one for the variation and then one for the pas de [deux]. That’s sometimes two pairs for one performance,” she shared on Instagram.
For a top dancer such as Peck, once a shoe is declared dead it can still have an afterlife. She often autographs them and leaves the shoes at the stage door for kids.
A ballet company buys the shoes for its pros. But for parents, keeping their daughter in pointe shoes can break the bank, Lee acknowledges. “That’s why we’re trying to make the shoe last.”
Rosey Francis might go through a pair every month or two. “You want to keep the shoe alive for as long as possible,” she says. “It’s less about getting the perfect fit all of the time, more about making the shoe last and building strength.”
The harder shoes last longer and give a dancer more support. A softer one allows for more movement.
“I want my dancers to find that fine line between feeling comfortable and not feeling like they’re hurting their bodies in any way,” Barak says. “It’s about finding a shoe that’s form-fitting and that really works for them.
“I think both are achievable—finding a shoe that looks good and that functions the way you need it to.
Rosey Francis in American Ballet Theatre’s Nutcracker. Above: Los Angeles Ballet artistic director
Melissa Barak
Coastal Serenity, Timeless Luxury
“It doesn’t have to be a death device.”
Even with customizing, dancers bend and tweak every pair as part of the process to meet their needs for comfort and danceability.
“When you’re a professional dancer, you can get up to 12 pairs of pointe shoes a month, and you’re breaking them into their perfect spot,” Lee says.
No two dancers manipulate their shoes in the same way.
When a bag of fresh pink pointe shoes is delivered to ABT principal dancer Isabella Boylston, she rolls back the heels of each shoe and tears out much of the inner sole.
Next, she puts the shoes down and uses her heel to smash the toe area. “It’s a very satisfying crunch,” Boylston says on her YouTube channel.
As part of Tiler Peck’s prep, she pinpoints a sweet spot on the bottom of each shoe and whacks them severely on the floor to make the shoe quieter during a performance.
ABT dancer Skylar Brandt takes a Home Depot box cutter to the inside of her custommade Capezios and slices off more than half of the shank; it’s part of the breaking-in process she refers to as “bonding with her shoe.” FEATURE
/ CONTINUED ON PAGE 28
Julia Keefe Indigenous Jazz Ensemble
Jacob Jonas The Company: Keeping Score
BroadStage is located on the campus of Santa Monica College and is a part of the SMC Performing Arts Center. As we actively work to create a more equitable path as a cultural institution, we respectfully recognize that the land on which BroadStage currently stands is the ancestral unceded territory of the Tongva, Gabrielino, Kizh peoples. We honor the Indigenous caretakers of these lands and their elders, past, present, and future.
Alexander Malofeev, piano
Dear Friends of BroadStage
BroadStage Board of Directors
Philip Rotner
Chair
Anne Taubman
Vice-Chair & Treasurer
Rob Bailis
Artistic and Executive Director
Laurie Benenson
Katrin Czinger
Marina Depietri Sinaiko
John Despres
Jennifer Diener
Donald Girard
Dr. Nancy Greenstein
Karen Hohman Almeida
Dr. Kathryn E. Jeffery, SMC
Superintendent/President
Richard Kendall
Linda Mansolillo
William Marks
Laura Maslon
Gerun Riley
Mark Smith
Ally Walker
Santa Monica College Board of Trustees
Dr. Sion Roy, Chair
Dr. Tom Peters, Vice Chair
Dr. Luis Barrera Castañón; Anastasia Foster;
Dr. Nancy Greenstein; Dr. Margaret Quiñones-Perez; Rob Rader; Sophia Manavi
Student Trustee
Kathryn E. Jeffery, Ph.D., Superintendent/President
Welcome back to BroadStage! As we step into a new year, we do so with reflection and gratitude. One year ago, our community endured devastating events that altered lives and the shape of our future. The weight of that moment still lives with us, as do our resilience, our fortitude, and our care for one another. With any luck, many now enjoy some greater sense of clarity as to what comes next, what steps can be taken together. And so it is with particular respect that we at BroadStage thank the many among our patrons, still displaced from the west side, who continue to come from new locations to be in community while rebuilding homes and lives.
January, February, and March are the months when we simultaneously present the heart of our current season, and also put the very final touches on the season we will soon announce. This is when we make our most difficult and complex decisions about what we will share with you in 2026-27. To get to those decisions, we spend anywhere between eighteen months and two years doing research and puzzling together multiple versions of what we believe, with all of our abilities of discernment and prognostication, will be relevant, thrilling, joyful, leading edge, exhilarating, and satisfying, a year from now or more. Particularly on an anniversary such as this, it seems almost impossible to imagine anyone can know what is coming next with enough certainty to take a stand — to publish a point of view. And yet take a stand we must, and step boldly into the unknown we will—with you. Listening to you all season long in all the ways you tell us what you like, what you love, what you could live without, fuels us in all we do. There is an intention behind every voice we welcome to our stage, and in no small part that is informed by the time we spend with you in this very theater at this critical time of year.
There is so much in store for you in these busy months ahead — from Grammy Award®-winning artists such as Patrick Page and Ladysmith Black Mambazo, to boundary pushing storytellers such as Jacob Jonas and Dominique, to multigenerational heroes like Parsons Dance — opera superstars Lise Davidsen and Freddie De Tommaso, and classical virtuosi Avi Avital and the Philharmonia Baroque Orchestra, Garrick Ohlsson and Richard O’Neill, Alexander Malofeev — Jazz big band singer, composer, arranger Julia Keefe, and Broadway’s Mandy Gonzalez — all represent the breadth of today’s musical and theatrical landscapes at their most exquisite and unique. This is the here and now. And while we offer you these shows, we remain at work building you the future — the Santa Monica International Jazz Festival for May of 2026, and a host of theatrical offerings that will shine brightly for 2027.
This is to say we start 2026 already thinking about 2027, which I bet many of you are as well. Let’s be here together and enjoy and let's keep our eyes on tomorrow, and all we hold dear - it is getting clearer and stronger by the minute.
Rob Bailis Artistic and Executive Director
Alexander Malofeev, piano
Saturday
Mar 7
7:30 p.m.
Main Stage
Alexander Malofeev, piano
Photo by Evgeny Evtyukhov
Program
Program
Jean Sibelius (1865–1957)
5 Pieces, Op. 75, “The Trees”
1. When the Rowan Blossoms
2. The Solitary Fir Tree
3. The Aspen
4. The Birch
5. The Spruce
Edvard Grieg (1843–1907) Holberg Suite, Op. 40
I. Praeludium
II. Sarabande
III. Gavotte
IV. Air
V. Rigaudon
Einojuhani Rautavaara (1928–2016)
Sonata No. 2, Op. 64, “The Fire Sermon”
INTERMISSION
Aleksandr Scriabin (1871–1915) Valse, Op. 38
Igor Stravinsky (1882–1971) Symphonies of Wind Instruments, K036 (arr. Arthur Lourié)
Arthur Lourié (1892–1966)
5 Préludes fragiles, Op. 1
1. Lento
2. Calme, pas vite
3. Tendre, pensif
4. Affabile
5. Modéré
Sergei Prokofiev (1891–1953)
Sonata No. 2 in D minor, Op. 14
1. Allegro ma non troppo
2. Scherzo. Allegro marcato
3. Andante
4. Vivace
Alexander Malofeev
“The latest phenomenon of the Russian piano school” (Corriere della Sera), “Alexander Malofeev manifests the piano mastery of the new millennium in itself” (Il Giornale)
“Malofeev’s artistry is truly remarkable for a young pianist who is at the beginning of what hopefully will be a long and fruitful career.” Boston Classical Review
Alexander Malofeev gained international recognition in 2014, winning the International Tchaikovsky Competition for Young Musicians at the age of thirteen. Reviewing the performance, Amadeus noted, “Contrary to what could be expected of a youngster…he demonstrated not only high technical accuracy but also an incredible maturity. Crystal clear sounds and perfect balance revealed his exceptional ability.” Since this triumph, Malofeev has quickly established himself as one of the most prominent pianists of his generation. Malofeev performs with some of the most wellknown orchestras around the world including the Philadelphia Orchestra, Boston Symphony, Orchestra of the National Academy of Santa Cecilia, RAI National Symphony Orchestra, Bournemouth Symphony, Korean Symphony, Mariinsky Theatre Orchestra, Russian National Orchestra, and the Orchestre National de Lille. He regularly appears with the most distinguished conductors on stage today, including Riccardo Chailly, Mikhail Pletnev, Myung-Whun Chung, Charles Dutoit, Michael Tilson Thomas, Yannick Nézet-Séguin, JoAnn Falletta, Marcelo Lehninger, Kazuki Yamada, Gábor Takács-Nagy, Kristjan Jarvi, Kirill Karabits, Vasily Petrenko, Andris Poga, and Fabio Luisi. He has been a guest of renowned music festivals and series such as Verbier Festival, International de Piano de La Roque d’Anthéron Festival, Rheingau Music Festival, Tanglewood Music Festival, Aspen Music Festival, Tsinandali Festival, and Celebrity Series of Boston.
The 2025-26 season begins with a run of concerto performances: Tchaikovsky 1 at the Vancouver Symphony, Oregon Symphony, Buffalo Philharmonic, and Frankfurt Radio Symphony; Rachmaninoff’s Rhapsody on a Theme of Paganini at the Seattle Symphony and Netherlands Philharmonic Orchestra; Beethoven 5 with the Vienna Symphony in Munich; and
About the Artist
Prokofiev 2 at the Belgian National Orchestra. In March, Malofeev tours Orlando, Houston, Santa Monica, Fresno, Sarasota, Sanibel, and Atlanta with a fin-desiècle recital featuring Sibelius, Grieg, Prokofiev, Scriabin, and Lourié, along with Rautavaara’s Piano Sonata No.2 “The Fire Sermon.”
Recent concerts of note include a premiere with the Los Angeles Philharmonic at the Hollywood Bowl, a 6-city solo tour across China, recitals in Korea with cellist Jaemin Han, performances with violinist Maria Dueñas at the Salzburg and Edinburgh Festivals, and a special appearance in Vatican City for the inauguration of Pope Leo XIV, as well as performances with the DSO Berlin, New World Symphony, Stavanger Symphony Orchestra, Gürzenich Orchestra Cologne, and Lucerne Festival Orchestra.
Malofeev was born in Moscow in October 2001 and resides in Berlin. In addition to his First Prize at the Tchaikovsky Competition for Young Musicians, he has won numerous awards and prizes at international competitions and festivals, including the Grand Prix of the first International Competition for Young Pianists Grand Piano Competition, and Best Young Musician of 2017 at the Festival Pianistico Internazionale di Brescia e Bergamo.
Malofeev recently became an exclusive recording artist with SONY Classical. His debut album will be released in fall 2025.
Julia Keefe Indigenous Jazz Ensemble
Sunday Mar 8
7:30 p.m.
Main Stage
Julia Keefe Indigenous Jazz Ensemble
Jazz & Blues Sponsor: Richard and Lisa Kendall
Photo courtesy of the artist
About the Artists
The Julia Keefe Indigenous Jazz Ensemble (JKIJE) is a nine-piece iteration of the Julia Keefe Indigenous Big Band, an ensemble of Native and Indigenous jazz musicians from across Indian Country. Performing pieces from their under-appreciated predecessors in jazz, like Mildred Bailey (Coeur d’Alene) and Jim Pepper (Kaw/Mvskoke), alongside works by contemporary Indigenous composers, the band spotlights a vibrant, long-standing tradition of Indigenous improvised music today.
Led by the celebrated vocalist and luminary Julia Keefe (Nez Perce), the ensemble brings charisma, passion, and purpose to every stage, leaving audiences both inspired and educated. JKIJE features a ‘who’s who’ of Indigenous bandleaders today, and has performed at marquee events including the 2024 Monterey Jazz Festival.
Band Statement
Indigenous jazz musicians, ensembles, and big bands have their place in the contemporary jazz world and jazz history. Following 19th-century federal policies to remove Indian children from their homes and indoctrinate them into European culture (Indian Boarding Schools), small ensembles and big bands began to flourish on reservations across the US and Canada in the first half of the Twentieth Century. Indigenous musicians started to ascend to celebrity with jazz as their medium – including Russell “Big Chief” Moore, Mildred Bailey, Oscar Pettiford, and Jim Pepper – but were never duly credited as Indigenous visionaries in the genre.
From time immemorial, songs have been the vessels of stories and lessons for the Indigenous people of the Americas. The goals of the Julia Keefe Indigenous Big Band are to celebrate and continue that tradition, to compose and perform new music inspired by traditional backgrounds, and to create a community of like-minded peoples from all backgrounds to uplift the next generation of Indigenous jazz musicians. Indigenous cultures are not monolithic; many cultures carry traditions and songs as old and sacred as the next. The Julia Keefe Indigenous Big Band reflects a wide range of Indigenous identities, from South America to Canada, Northeast to Southwest. Together, we represent a long-silenced, long-forgotten chapter of jazz history: the participation, contribution, innovation, and legacy of Indigenous jazz musicians. A legacy that
seasoned composers and arrangers Julia Keefe and co-founder Delbert Anderson (Diné) carry forward through original works inspired by songs and rhythms of their Native heritage reimagined through the language and stylings of jazz.
It is a rarity to see a single Indigenous jazz musician nowadays, let alone sixteen, on stage. The Julia Keefe Indigenous Big Band celebrates the diversity and vitality of Indigenous peoples in jazz: past, present, and future. It is the bridge for people everywhere to see themselves on the bandstand regardless of race, ethnicity, age, gender, or socio-economic status.
The JKIBB premiered at the Washington Center for the Performing Arts in May 2022. The premiere performance was made possible with the support of Jazz Road, a national initiative of South Arts, funded by the Doris Duke Charitable Foundation with additional support from The Andrew W. Mellon Foundation. Himacus Qeci’Yew’Yew (Thank you so much) for your support of Indigenous artists.
Jacob Jonas The Company: Keeping Score
Mar 19-22 Main Stage
Jacob Jonas The Company: Keeping Score
Photo courtesy of the artist
About the Artists
Thursday, March 19 at 7:30 pm: RESTART Friday, March 20 at 7:30 pm: NATURE SOUNDS WHILE THE IV DRIPS/ PRODUCT OF DIVORCE Sunday, March 22 at 2:00 pm: PRODUCT OF DIVORCE / NATURE SOUNDS WHILE THE IV DRIPS Sunday, March 22 at 6:00 pm: RESTART
Keeping Score Trilogy: PRODUCT OF DIVORCE explores childhood and pre-cancer trauma.
NATURE SOUNDS WHILE THE IV DRIPS reflects the endurance of the battle itself, long hospital stays, silence, and the emotional weight of chemotherapy.
RESTART considers the psychological aftermath, making sense of life and death, light and darkness, and everything in between. And all the guests along the way.
NOTE: You are entering a performance that was created fully as a somatic and cathartic experience. There are emotional complexities and symbolism that show light, darkness and everything in between. The performers will enact physical acts of violence, trauma, and pain. As well as love, illumination and courage. The work was created with input and care for each performer.
CONTENT WARNINGS: Fog/Haze, and Nudity.
Nature Sounds While the IV Drips was made possible by the New England Foundation for the Arts' National Dance Project, with lead funding from the Doris Duke Foundation and the Mellon Foundation and supported in part by the City of Santa Monica Community Access and Participation Grant Program.
Jacob Jonas (American, b. 1992)
Raised by concrete and the Pacific Ocean. A product of divorce. An outlier in academia, displaced and repositioned into special education. Forced away from the traditional path. Movement became identity. A company, a family for belonging. A blank canvas, home. Overcoming illness, understanding health. The work is medicine. Nature, a necessity.
A disruptor by nature, Jonas has collaborated with a spectrum of visionary artists and brands, from Kanye West to Elton John, Rosalía, SZA, Sia, Vanessa Beecroft, and Alejandro Iñárritu. His projects include the globally acclaimed films.dance, a series of over 45 short films
uniting artists from 25 countries, and #CamerasandDancers, a monthly Instameet bridging dance, photography, and architecture with institutions like The Metropolitan Museum of Art and Zaha Hadid Architects.
Born in Santa Monica, Jacob Jonas began his journey as a street performer, skateboarding along the Venice Beach Boardwalk. At 13, he joined The Calypso Tumblers, legends of acrobatics and street theater, under the directorship of Raymond Bartlett from Saint Kitts. Touring internationally to busker festivals, Jonas absorbed the discipline of the streets and the art of performance.
At 21, Jonas co-founded Jacob Jonas The Company with partner Jill Wilson and lighting designer Will Adashek, a nonprofit rooted in the intersection of dance, science, and community. By 24, he became the youngest artist to present work at the Wallis Annenberg Center for the Performing Arts. His career has since traversed institutions and landmarks, including Lincoln Center, Kennedy Center, Hollywood Bowl, The Getty Museum, The Music Center, Brooklyn Academy of Music, and more.
Jonas’s work challenges boundaries, living at the confluence of somatic innovation, architecture, and environmental consciousness. His technique, The System, is a fusion of movement, therapy, and creation, designed as a pathway for healing and expression. As a stage four cancer survivor, Jonas draws on personal resilience to explore the body as both a site of conflict and renewal.
Jacob Jonas’s art exists in dualities: rooted in rebellion and disruption, yet celebrated in the canon of contemporary culture. His work is raw yet refined, intimate yet universal, a testament to the transformative power of movement, nature, and collaboration.
Jacob Jonas The Company Board of Directors
Board Chair: Maria Mancuso
Vice Chair: Jonathan Pony
Members: Amy Masor, Achi Yaffe, Danny Robinson, Harold Masor, Joanne Roberts Wiles, Marissa Lepor, Suzy Bookbinder, Jacob Jonas, Jill Wilson www.jacobjonas.org @jacobjonasthecompany @__jjtc__ @the_system_jjtc www.films.dance @films.dance
Sunday Morning Music / Santa Monica: Delirium Musicum
Sunday Mar 29
11 a.m. Main Stage
Program
J.S. BACH (1685-1750)
“Brandenburg” Concerto no. 3 in G major, BWV 1048
Modeste MUSSORGSKY (1839-1881)
Pictures at an Exhibition (Arrangement by Jacques Cohen)
Sunday Morning Music / Santa Monica: Delirium Musicum
Photo courtesy of the artist
About the Artists
Our Band
Delirium Musicum is a self-conducted chamber orchestra that pulses with ferocious passion and infuses L.A.'s crackling energy into every performance, disrupting expectations and redefining “classical” music as the new red-hot concert experience.
A 21st-century musical phenomenon, Delirium Musicum breathes fire into masterworks from the Baroque to the music of tomorrow, delivering a concert experience that radiates with fierce and unapologetic creative fervor.
Led by violinist and Artistic Director Etienne Gara, Delirium Musicum performances grab hold of concertgoers' emotions and don't let go. Expect an incandescent, visceral experience as you enjoy Delirium Musicum's eclectic artists making their musical magic.
Don your courage, gather your tribe, and find a Delirium Musicum concert to experience today.
Our Players
The members of our L.A.-based ensemble represent the next wave of classical musicians. Dedicated to the highest artistic excellence and leadership, our multifaceted performers (representing 10 countries on 4 continents) cultivate gripping interactions with concertgoers. DM musicians make a point to engage intimately with audiences from all walks of life, creating a palpable bond through transcendent performances that inspire wild excitement and ecstasy.
Our Story
Founded in 2018 by violin virtuoso Etienne Gara, Delirium Musicum harnesses the artistic excellence, energy, and leadership of a generation of young musicians in Los Angeles who are forging a rich musical identity nourished by the city’s bustling artistic mosaic and boundary-bending vibe. Their diverse backgrounds (nine countries from four continents represented), their commitment to spontaneity, and the juxtaposition of music from all time periods allows the musicians to engage intimately with the audience to create profound human experiences.
Called “ferocious and rhythmically mesmerizing” by the San Francisco Classical Voice, the musicians of Delirium Musicum are known for their out-of-the-box approach to programming and scintillating live performances. “This exciting young ensemble is a step ahead, ready for anything – virtuosic and versatile.” (Mark Swed, Los Angeles Times).
The orchestra’s wide-ranging mix of concert performances, tours, and creative musical projects reaches out to audiences of broad tastes and traditions. “Seasons,” the ensemble’s debut album with Warner
Classics, was released in April, 2023, and received international accolades:
“They have mastered what musicians world-wide only dream of: connecting deeply with listeners.” Gramofon (Hungary)
“Utterly convincing . . . an urgency never before heard.” Luister Magazine (The Netherlands)
“The twenty or so young, globetrotting musicians of Delirium Musicum, full of energy . . . bring the necessary tension to these tempestuous “Seasons.”
Diapason (France)
Past projects include “Treelogy,” a collaboration with leading composers Billy Childs, Steven Mackey, and Gabriella Smith. The three-part work, commissioned by The Soraya in Los Angeles and premiered there in February, 2023, before touring in California, produced three new commissions honoring the iconic California Joshua trees, giant sequoias, and redwoods that were devastated by recent wild fires. The LA Times called it a “sublime, classical ode to California’s redwoods, sequoias and Joshua trees.”
MusiKaravan, an earlier project, followed Gara and fellow violinist YuEun Kim as they took to the road in 2020, after COVID shut down concert venues around the world. Living and traveling in their 1971 VW bus, they spent six months performing socially-distanced concerts for farm workers, winemakers, random passersby – and the occasional ostrich - up and down the West Coast of the U.S., from the Mexican to the Canadian border. The experience and the music were captured on video for their award-winning streaming series “Musikaravan.” The project continues as duo and trio performances of lively repertoire and audience give-and-take.
Engaged in the musical, emotional, and cognitive development of future generations, “Baby Concerts”, with the support of University of Southern California’s Brain and Creativity Institute, offer a safe space for parents with infants and toddlers to share an interactive musical moment being introduced to melody, rhythm, music-making, and a short, lightly-curated performance.
Delirium Musicum has recently received a string of awards including a Global Music Awards Silver Medal for Outstanding Achievement, and the 2020, 2021, and 2023 Audience Choice Awards from San Francisco Classical Voice in 3 different categories: Best Chamber Music Ensemble, Best New Music Ensemble, and Best Orchestral Performance for SEASONS at the Soraya in May 2023. Most recently, they won the San Francisco Classical Voice Audience Choice Award in all five categories they were nominated in.
BroadStage Activations
Experience and Explore
Everyone’s Here
Engage with the artists and each other beyond the stage. As part of our community, we invite you to experience our interactive workshops, open talks, festive gatherings, community field trips and more, to discover your own connection to the arts.
Our In Community programs welcome participants that are intergenerational, encompass gender identities, include varied socioeconomic, racial, and cultural backgrounds, and strive to accommodate people of all abilities.
Learn more about the upcoming Artist Workshops & Residencies and Community Field Trips by visiting broadstage.org/activations.
Photo by Andrew Boone
Become a Member!
Benefit from your impact: your Membership not only supports the performing arts in our community, it also enables you to receive a range of exciting benefits.
Skip the line
Celebrate with us
Get to know the artists
Get first access to the best seats in the house.
From our annual holiday soiree, to other gatherings and receptions, your social calendar will be full!
Keep an eye on your inbox for exclusive invitations to artist workshops and behind-the-scenes events.
For a full listing of Membership benefits and to become a Member, visit broadstage.org/membership, email development@broadstage.org, or call 310.434.3590.
Thank you to our donors
Your support helps keep the performing arts thriving here on the Westside. This list is updated quarterly.
Special thanks to our board members. We are so grateful to them for their leadership and unwavering support. Board member households are indicated with an *.
INNER CIRCLE
$1,000,000 & ABOVE
The Eli and Edythe Broad Foundation
Lloyd E. Rigler – Lawrence E. Deutsch Foundation
The Susan Stockel Fund for Theatre
$200,000 & ABOVE
Audre Slater Foundation
$100,000 & ABOVE
Karen Hohman Almeida*
Bill and Laurie Benenson*
Richard and Lisa Kendall*
$50,000 - $99,999
Leonard M. Lipman
Charitable Fund
Ann Petersen and Leslie Pam
Santa Monica Cultural Affairs
$25,000 - $49,999
Anonymous
Katrin and Kevin Czinger*
Jennifer Diener*
District Three, L.A. County Board of Supervisors
Greg Rae - Rae Family Foundation and Wayne Grey Wilson Foundation
Los Angeles County Department of Arts and Culture
Laura Stevenson Maslon*
Janet and Philip Rotner*
Anne Taubman*
Ruth Waddell and Eric Stockel
PRESENTERS CIRCLE
$15,000 - $24,999
Roger Allers and Genaro Pereira
Bank of Montreal
Elizabeth Fowler and Gary M. Sumers
James R. Mulally
$10,000 - $14,999
Jilla and Shallom Berkman
Angela and Garland
Campbell
Maria Dylan
Anita and Larry Miller
New England Foundation for the Arts
Amelia and Ralph Saltsman
Marina and Dan Sinaiko*
Judith Spector
Seth M. Weingarten, M.D.
$5,000 - $9,999
Diana and Dan Attias
Sara and Stanley Bailis
Debi and Norris Bishton
Constance Chesnut and Dr. Sheldon Benjamin
Professor Lee G. Cooper
Linda Mansolillo*
Elisa and William Marks*
BJ Dockweiler and Frank Stiefel
Mary Hart and Burt
Sugarman
James Newton Howard in memory of Antonio Lysy
Sharon Keith
Helane Pines
Lisi and Lyle Poncher
Rhonda and Stanley Rubin –Hafter Family Foundation
Santa Monica College Foundation
Linda and Peter Schlesinger
Victoria Sussman
$2,500 - $4,999
Anonymous
Terese A. Mosher Beluris
Robert Bennion
Roberta A. Conroy
Frank Gruber and Janet Levin
Norma Harris and Frank Packard III
Susan and David L. Hirsch III
Kathryn E. Jeffery, Ph.D.
SMC Superintendent/ President*
Suzanne and Donald Kleinbub
Coco and Frans Klinkenberg
Jonathan Steinberg and C. Buf Meyer
Kathy Kraas and Leon Shapiro
Laurie and Michael Schur
Pasadena Showcase House for the Arts
Anne-Marie Stephens
$1,500 - $2,499
Robert C. Anderson
Jeff and Susan Davidson
Robert and Suzanne Davidow
Dorée Gerold
Don and Blanca Girard
Whitney Green
Susan and Alan Greenberg
Sue and Larry Hochberg –Hochberg Family Foundation
The Katharine King Fund of the Liberty Hill Foundation
Elizabeth Puro
Matthew Rimmer
Silvern-Meister Family Fund
Alan and Kathryn Van Vliet
MEMBERS CIRCLE
$500 - $1,499
Debra and David Alpert
Shawn Amos
Chikako and William Archer
Dawn and Marshall Bein
Chris Borden
JoAnn and Wade Bourne
Suzanne and Jeff Buhai
Lily and Tom Brod
Laurie Bernhard
Janet Carter
Holly Corn and Jonathan Kaufelt
Couch Donnelly Giving Fund
Cindy and Ronald Furst
Carol Gee
Nancy Greenstein*
Aliza and Marc Guren
Gail Johnson
Leslie Kahan
Dr. Kathy Kaprinyak
Brad Katz
Sue Keane
Patricia Keating
Kozicki Family
Hannah and Marshall Kramer
Lena and Mark Labowe
David and Pam Lachoff
Deborah Lacusta and Dan Castellaneta
Gary Levine
Anne and Ronald Mellor
Lisa Pearl
Katie and Clark Porter
Carli Rogers
Dr. Robin and Ms. Catherine Roy
Nancy and Steven Schneider
Susan Shapiro
David Shaw
Don Simkin
Linda Sullivan and Bob Myers
Jan and Eddie Woods
BroadStage gratefully acknowledges Santa Monica College’s continued support and involvement.
We thank Designs by David for providing flowers at each performance.
Thank you to our BroadStage sponsors
LEONARD M. LIPMAN CHARITABLE FUND
AUDRE SLATER FOUNDATION
BroadStage gratefully acknowledges the 2025/26 Season Sponsor: Audre Slater Foundation
The Celebrity Series at BroadStage is generously supported by the Lloyd E. Rigler — Lawrence E. Deutsch Foundation.
Jazz & Blues Sponsor: Richard and Lisa Kendall
Theatre Sponsors: The Susan Stockel Fund for Theatre; Laurie and Bill Benenson
blackbox Sponsor: Ann Petersen and Leslie Pam
Los Angeles Master Chorale Presenting
Patron Sponsor: James R. Mulally
Garrick Ohlsson and Richard O'Neill Presenting Patron Sponsor: Amelia and Ralph Saltsman
Administration
Rob Bailis
Artistic and Executive
Director
Matthew Rimmer
Managing Director
Development
Graham Fandrei
Development Director
Emily Ellis
Development & Database
Management Associate
Nina Hadži-Nešić
Individual Giving Officer
Programming
Eric Bloom
Associate Artistic Director
Ilaan Egeland Mazzini
Director of Programs & Activations
Mónica M. Sahagún Education & Activations Manager
Production and Theater Operations
John Mulhern
Director of Production and Theater Operations
Kate Hamilton
Production Manager
Joannarae Ibañez
Company Manager
Rich Schade
Theater Operations Manager
Carl Lieberman
Piano Technician
Marketing
Brittany A. Gash
Director of Marketing & Communications
Carly Regal
Marketing and Communications Manager
Chandler David
Digital Media & Marketing Manager
Audience Services
Evan Nichols
Senior Manager, Ticket Operations & Partnerships
Administration
Gail Johnson
Administrative Assistant
Accounting
Jones & Associates
Press
pH Collective
Audience Services Administrators
Catarina Desrosiers, Elizabeth Sandoval, Gabrielle Johnsen, Hallie Stickley
Box Office Associates
Tim Hanson, Brittany Mackey, Susana Erdos
Front of House
Nick Ruth
Assistant House Manager
Drew Petriello
Lead Usher
Ushers
Zander Ayeroff, Crystal Campos, Egan Carroll, Marya Glur, Hannah Hayes, Jose Hernandez, Jimi Poulin, Russell Ramierez, Dyami Ramierez-Sahagun, Alice Rona
Production Assistants
Lila Shaked, Amanda Eckert, Camila Robles, David Ha, Kim Wong, Timothy Kennedy
Santa Monica College Staff
Donald Girard
Senior Director of Government Relations and Institutional Communication
Mitchell Heskel
Dean, Education Enterprise
Robert Rudolph
Director of Facilities Programming
Siamanto Ismaily
Production Manager
Joy Bice, Tom Carter, Carlos Lucio Lead Theater Technicians
Jonathan Ng
Digital Marketing Coordinator
We offer a number of services to accommodate persons requiring mobility, vision, and hearing access. If you have questions or would like to request additional accommodations, please contact Patron Services at 310.434.3200 at least two weeks in advance of the performance to ensure best possible arrangements.
FAMILY AFFAIR
A pair of young architects, inspired by Los Angeles’ unique culture and design heritage, charts a new path for their clients. by ROGER GRODY
HUSBAND-AND-WIFE architects
Aaron Leshtz and Harper Halprin founded Los Angeles-based AAHA Studio a decade ago to provide a more personalized, concierge-style approach to residential design.
“AAHA Studio was founded on the belief that design-centered thinking and a deeply collaborative client approach shouldn’t be mutually exclusive,” Leshtz says.
“Having spent years in the world of ultra-high-end design, we wanted to bring that same caliber of expertise to a more approachable, humble studio environment,” Halprin adds.
Because the firm’s residential designs are personalized, the firm’s portfolio reflects the eclectic tastes of a diverse clientele.
“To us, good design is part of a universal language used to solve complex problems. This is why AAHA Studio remains intentionally style-agnostic,” Halprin explains.
“In L.A., we have the freedom to move outside traditional boundaries, to find creative, bespoke solutions unique to each client,” says Leshtz.
Growing up in L.A. resulted in the couple’s deep appreciation for mid-century modernism, but that
Courtyard at a reimagined Venice bungalow.
Below: AAHA principals Harper Halprin and Aaron Leshtz
C IRCUS P
OLKA
,
J EROME R OBBINS ,
T HE R OBBINS R IGHTS T RUST
Experience the Joy of Dance
ENROLL NOW FOR A SUMMER OF ARTISTRY, GROWTH, AND INSPIRATION.
Westside School of Ballet’s Summer Intensive and Children’s Themed Camps o er young dancers a summer filled with movement, music, and magic.
CHILDREN’S CAMPS Ages 4-7 JUNE 15 – JULY 31, 2026
SUMMER INTENSIVE Ages 8-19 JUNE 22 – JULY 31, 2026
S OFIANE S YLVE , A RTIST - IN -R ESIDENCE AT THE N ATIONAL B ALLET OF C ANADA , T ORONTO
influence does not dictate their design decisions. “We’re inspired by the region’s architectural heritage —not as a set of rules to follow, but as a history of innovators who leveraged new technologies to solve regional challenges,” Leshtz explains.
Halprin cites L.A.’s unique intersection of climate and culture.
“Because the environment allows for year-round outdoor engagement, it fundamentally changes how we conceive of architecture. We constantly explore how spatial boundaries can dissolve to create seamless indoor-outdoor experiences.”
Informed by the Case Study Houses of the mid-century era, AAHA Studio created a design for a neglected Venice bungalow. The home’s living room was transformed into a courtyard, with its fireplace literally turned inside out.
Of a project on a quiet cul-de-sac at the edge of Santa Monica, Halprin
says, “We merged light and texture to create interesting moments and pure volumes and forms to arrive at something beautiful and usable.”
Bold, modern elements, an intriguing palette of tactile materials, and the blurring of borders between indoors and out resulted in a quintessential L.A. residence.
For a Brentwood revitalization,
Leshtz recalls, “We aimed to modernize and renovate the home to allow the clients to host their family for gatherings with grandkids.”
This commission shows off AAHA Studio’s exceptional interior design instincts, in which modern elements are expressed through a sophisticated crafting of natural materials.
PHOTOS
AMY BARTLAM AND, BELOW, ELIZABETH CARABABAS
Modernism near Santa Monica. Above: Elegance in Brentwood, two views
MARCH 21, 2026
DESIGN
FROM THE NEW WORLD
JUAN PABLO CONTRERAS, composer & special guest
BERNSTEIN Three Variations from Fancy Free
CONTRERAS Symphony No. 1*
DVOR ˇ ÁK Symphony No. 9, “From the New World”
BEETHOVEN EROICA
APRIL 25, 2026
JULIAN SCHWARZ, cello
QUINN MASON Heroic Overture
JENNIFER HIGDON Cello Concerto †
BEETHOVEN Symphony No. 3, “Eroica”
AMERICA @ 250
MAY 30, 2026
TERENCE WILSON, piano
JOHN WILLIAMS Liberty Fanfare
The devastating 2025 fires profoundly affected the AAHA Studio team; several clients in Pacific Palisades lost their homes. The principals are collaborating with other design and construction professionals to assist with the rebuilding of homes, neighborhoods and lives.
“Our role is to balance a respect for the past with a vision for the future, ensuring that as we rebuild, we’re preserving the heart of the community while creating a safe, beautiful space for families to return to,” says a statement by the couple.
JONATHAN LESHNOFF Rhapsody on “America” * †
COPLAND Appalachian Spring Suite
COPLAND Lincoln Portrait
* co-commission † west coast premiere
AAHA Studio and other leading residential design firms were invited to participate in Case Study 2.0, which could be remarkably beneficial in the rebuilding of Pacific Palisades and Altadena.
The program is creating a catalog of architectdriven home designs that can be approved as standard plans, thereby expediting entitlements and enhancing affordability without compromising exceptional aesthetics.
“This initiative is a call to arms that challenges us to prove that designforward homes can also be climate-resilient and cost-conscious,” Leshtz comments.
AAHA Studio 213.373.4581; aaha.studio instagram.com/aaha_studio
Join
Come
Featuring:
> Bill T. Jones/Arnie Zane Company > Wild Up
> Ain Gordon and Josh Quillen > Brokentalkers
> Jeremy Nedd > Charles Gaines > Tyshawn Sorey
> Luciana Souza and Marcel Camargo
BILL T. JONES/ ARNIE ZANE COMPANY
Photo by Jim Coleman
And the Winner is…
Fanny’s, inside a museum devoted to cinema history, offers an homage to Old Hollywood. by ROGER GRODY
THE ACADEMY MUSEUM of Motion Pictures, occupying a restored landmark and an adjoining Renzo Piano-designed theater, was a natural addition to the Los Angeles cultural landscape when it debuted in 2021. In the Streamline Moderne structure that originally housed a May Co. department store—now called the Saban Building—is Fanny’s, a whimsical and cinematically themed restaurant.
The 10,000-square-foot venue is named for Fanny Brice, the lead character in Funny Girl, for which
Barbra Streisand won an Academy Award in 1968. Its design was conceptualized by late architect Osvaldo Maiozzi, known for Bestia, République and the former Otium. The soaring space complements the building’s Art Deco heritage.
The dining room is a full-service affair with a kitchen led by chef Jun Bum Oh, whose résumé includes senior positions at Hotel Bel-Air and A.O.C. A quick-service café benefits those in a hurry. Either is ideal after touring the museum or attending a screening in the spherical auditorium.
Beneath exposed beams and ducts sits a prominent zinc-topped bar and red velvet booths illuminated by globe lamps that are supported by gracefully arched metallic arms.
The ambiance is a contemporary nod to legendary Hollywood haunts such as the Brown Derby and Chasen’s. Costume design sketches and a wraparound movie-themed mural by artist Konstantin Kakanias contribute to the cinematic vibe.
Cheese or charcuterie boards with accoutrements such as quince paste, honeycomb and fruit-and-nut bread
PHOTOS
STAN LEE
Konstantin Kakanias mural at Fanny’s
THE PLAY THAT INSPIRED THE BELOVED
DINING
are great ways to ease into a meal at Fanny’s. Other shareable starters include a crab cake with Singaporean chili-spiked sauce or the focaccia with garlic-infused cheese spread. A trio of shmears—lime- and cilantrolaced avocado spread, miso baba ghanoush and seductive trufflescented hummus—are presented with house-made pita bread.
Among the entrées is “Cool Hand Wellington,” a vegetarian version of the classic beef dish in which portobello mushroom and spinach are encased in golden-brown puff pastry and finished with a miso-mushroom jus. “Some Like It Hot Steak Frites” brings a strip steak with arugula and green peppercorn sauce. Rigatoni with stracciatella cheese and basil comprise “From Russia With Spicy Vodka” on the pun-filled menu.
“Paths
Simplicity wins in a steakhouseworthy burger with exceptional fries.
The eclectic wine list—selections range from a modestly priced Austrian Grüner Veltliner to an extravagant cult-status Hundred Acre ‘Ark Vineyard’ Napa Cab— offers something for every occasion. During Awards Season, specialty cocktails are created to honor the
“Best Picture” nominees.
Desserts, overseen by pastry chef Amanda John, are smart and attractive, as might be expected from a Wolfgang Puck Catering veteran.
Tarts and cookies are offered from a cart during matinee hours; evening compositions include “A Clockwork Orange”—semolina cake, whipped orange ganache, orange marmalade, and saffron gelée—and the aptly named “Chocolate Factory.”
Conceptualizing a museum restaurant can be a tricky business. It needs to complement its host institution’s exhibits and balance serious culinary technique with a genuine approachability.
Fanny’s gets the shot just right.
Fanny’s
Academy Museum of Motion Pictures 6067 Wilshire Blvd., Los Angeles 323.930.3080, fannysla.com
WRITTEN BY ATHOL FUGARD
DIRECTED BY EMILY MANN & TARELL ALVIN MCCRANEY
of Jidori Chicken” at Fanny’s
FEATURE
Dancers then sew their own ribbons to their shoes, which will wrap or crisscross around their ankles to keep the shoes stable and from slipping off. The ribbons both prevent injury and enhance the shoe’s aesthetics. Some dancers choose satin material, some prefer elastic, others use a combination.
KASIMOFF-BLÜTHNER PIANO CO.
Concert and Home Rentals
Blüthner Pianos (since 1853)
Neupert Harpsichords (since 1868)
Schiedmayer Celesta (since 1890)
They might sew with a special thread or opt for drugstore dental floss, which doesn’t break. Some tuck the ribbon inside of the shoe for a cleaner look; others sew it on the outside so there’s nothing rubbing against the foot. With trial and error, each dancer finds her favored approach.
The process can be tedious when they’re going through five shoes a week. As Boylston puts it, “Sewing is basically the bane of every ballerina’s existence.”
Even with all the planning before a show, a dancer needs to make sure she has the best shoe for the circumstance.
“I see a lot of dancers warming up backstage right before their performance, and they will have a couple pair of pointe shoes and just keep trying and trying different pairs,” Ueda-Dunbar says.
Her job also includes painting or dying shoes to match tights and
Don’t miss this world premiere before it heads to New York! Directed by Tony Award Nominee Kristin Hanggi. A contemporary pop-rock score offering a fierce, funny look at identity in the age of social media.
BROADSTAGE THE EDYE | CENTER THEATRE GROUP AHMANSON THEATRE KIRK
DOUGLAS THEATRE MARK TAPER FORUM | LOS ANGELES OPERA DOROTHY CHANDLER
DANCE AT THE MUSIC CENTER
PAVILION | DOROTHY CHANDLER PAVILION JERRY MOSS
PLAZA | LOS ANGELES
LOS ANGELES PHILHARMONIC WALT DISNEY CONCERT HALL | WALT DISNEY CONCERT HALL | PASADENA PLAYHOUSE | AMBASSADOR AUDITORIUM | LA MIRADA THEATRE | A NOISE WITHIN
MASTER CHORALE PASADENA
SYMPHONY | THE
WALLIS ANNENBERG CENTER BRAM GOLDSMITH THEATRE LOVELACE STUDIO THEATRE
| OLD GLOBE OLD GLOBE THEATRE WHITE THEATRE DAVIES FESTIVAL THEATRE | SAN
DIEGO SYMPHONY JACOBS MUSIC CENTER THE RADY SHELL AT JACOBS PARK | LA JOLLA
PLAYHOUSE MANDELL WEISS THEATRE MANDELL WEISS FORUM POTIKER THEATRE | SAN DIEGO OPERA SAN DIEGO CIVIC THEATRE | SEGERSTROM CENTER BROADWAY SERIES
PACIFIC SYMPHONY DANCE SERIES PHILHARMONIC SOCIETY | SOUTH COAST REP FOR ADVERTISING INFORMATION PERFORMANCESMAGAZINE.COM
