DANCING WITH BOB: Rauschenberg, Brown & Cunningham Onstage
contents
P1 Program
Cast, performances, who’s who, director’s notes and donors
6 In the Wings
Several regional orchestras and Shakespeare companies announce their summer seasons, most in outdoor settings.
10
Reviving the Revival
New interpretations of “Flower Drum Song” at East West Players and “Brigadoon” at Pasadena Playhouse aim for fresh takes on the classic musicals
16 Restaurateur, Redefined
Design: Former restaurateur Fran Berger has created a label for home entertaining while curating products from other designers.
24 Seoul Food
Dining: New Hojokban, in the Arts District downtown, elevates South Korean comfort food and the street fare known as pochas.
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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have announced their summer seasons. The Pasadena Pops offers five events at the Los Angeles County Arboretum, beginning with a “star-spangled salute” to John Williams on June 20 and concluding Aug. 29 with “Music of the Night,” devoted to Andrew Lloyd Webber (pasadenasymphony-pops.org). Pacific Symphony’s five-concert SummerFest at the Great Park Live outdoor amphitheater in Irvine begins with “July 4th Spectacular: America 250,” featuring soft-rock duo Air Supply, and concludes Sept. 5 with a “Tchaikovsky Spectacular” with violin soloist Randall Goosby (pacific.symphony.org). Muse/ique offerings include “Black Brilliance and the Harlem Renaissance”— June 2-3 at the Huntington in San Marino and June 7 at the Westside’s Skirball Cultural Center—and “Defiantly Joni,” about singer-songwriter Joni Mitchell, July 11-19 at the Mark Taper Forum downtown (muse-ique.com).
MUSIC
Pacific Symphony’s summer home in Irvine.
Opposite: Morgan James, soloist at Pasadena Pops’ star-spangled salute
SETTING A NEW STAGE
SHAKESPEARE ABOUNDS. The Griffith Park Free Shakespeare Festival, June 24-Sept. 6, includes the political thriller Coriolanus and the farcical The Comedy of Errors, about two sets of identical twins separated at birth. The Independent Shakespeare Co. presents the festival—“one of L.A.’s greatest summer traditions” (The Los Angeles Times)—in the
Dell at the Old Zoo; a new permanent stage will be unveiled next season (indieshakes.org). Will Geer Theatricum Botanicum returns with A Midsummer Night’s Dream, its Topanga Canyon setting serving as an enchanted forest inhabited by lovers fairy and human. Performances take place Sundays June 7-July 5 and on other dates into fall (theatricum.com).
Shakespeare by the Sea presents free performances of the tragedy Macbeth in parks throughout L.A. and Orange counties June 26–July 25 (shakespearebythesea.org).
Griffith Park Free Shakespeare Festival. Below: rendering of its coming permanent stage.
REVIVING THE REVIVAL
New interpretations of Flower Drum Song and Brigadoon in Los Angeles aim for fresh takes on the classic musicals. by SHERRY STERN
ONCE UPON A time—like the mythical Scottish village Brigadoon that returned every 100 years untouched by the modern world—revivals of musicals essentially remained untouched. Though sets and costumes might have varied, shows were treated almost as museum pieces, with few, if any, changes to music, book and choreography.
As sensibilities evolved, modern eyes began to detect stereotypes and wince at cliches in even beloved shows. Contemporary artists wanted to tackle the troubles head on, taking
shows on unpredictable journeys that their creators could never have imagined.
One need look no further for examples than the fresh takes on musicals written by two of Broadway’s most enduring duos now being produced at two Los Angeles houses.
East West Players is staging a do-over of Rodgers and Hammerstein’s “Flower Drum Song,” a critical darling when it opened in 1958, running for 600 performances on Broadway. For this production, playwright and librettist David Henry Hwang has further updated his own rewrite that premiered
at the Mark Taper Forum in 2001 before transferring to Broadway the following year. “Flower Drum Song” plays at East West’s Aratani Theatre through May 31 .
Pasadena Playhouse presents a new adaptation by writer-actor Alexandra Silber of Lerner and Loewe’s 1947 fantasy “Brigadoon,” not seen on Broadway since 1980. Her update of that storied team’s first hit, which ran for 581 performances and remains cherished for its lush score, plays May 13-June 14.
For decades, modifications of such classics were prohibited by the creators’ estates or licensing agents. And that worked fine; audiences
were excited to revisit the beloved shows. But eventually, dated shows became a challenge.
“It’s interesting that things back in the 1940s and ’50s have a lot of tropes and stereotypes and things we are sometimes shocked at today, things that we thought were funny back then,” says Hwang, who won a Best Play Tony for “M. Butterfly” and recently reworked his own 2007 play “Yellow Face” for an admired Broadway revival.
Copyright owners and trusts responded, often softening their stances. Shows such as “Annie Get Your Gun,” “Camelot” and “Kiss Me, Kate” have been tweaked and
tweaked again in recent revivals. The 2018 Lincoln Center production of “My Fair Lady” gave Eliza Doolittle more agency. The 2019 Tonywinning “Oklahoma” barely altered a line but took on a dark tone with changes in staging, tempo and characterization.
There’s good reason that the theater world returns to familiar if problematic shows, says Hwang, who teaches playwriting at Columbia University.
“It’s the feeling that these are historical classics in this country,” he says. “In the same way that people continue to go back to Shakespeare—there are things about
these works that we want to revisit. In the case of musicals, it’s natural for artists to want to put their own stamp and interpretations on new productions.”
That’s why Hwang wanted to reexamine “Flower Drum Song.”
The show about Chinese immigrants grappling with assimilation in San Francisco’s Chinatown loomed large for the playwright.
“One thing I like to emphasize is that in the entire history of Broadway before 2014, there was only one show that ever portrayed Asians as Americans. And that was ‘Flower Drum Song,’” he says.
Even as the show fell out of
Rendering of Club Chop Suey for David Henry Hwang’s new take on “Flower Drum Song.” Opposite: scene from the 1954 movie version of “Brigadoon.”
fashion—condemned in part by the thinking at the time, Why should white men write about Asian romance and culture?—Hwang always felt affection toward the work.
“Rodgers and Hammerstein have to be given a lot of credit in 1958 for creating a show about Asians as Americans and then going one step further and wanting to cast that show with primarily Asian actors. That was powerful and radical and revolutionary,” he says.
“By the time you get to the late ’90s, the show is no longer being performed for a variety of reasons. It seemed to me sad that this piece of theatrical history would be lost.”
The variety of reasons encompassed things practical —theaters
supposedly couldn’t find Asian actors to fill the roles—and things outdated, characters played more as caricature than authentic.
As Hwang wrote in 2001: The show was “regarded as quaint, patronizing and old-fashioned.” He didn’t want “Flower Drum Song” relegated to a footnote.
“It is a show that has generally brought joy and been received enthusiastically by Asian American audiences,” he says.
Where some might have taken a scalpel, Hwang tore the plot apart. “We ended up reconceiving the work so totally, I don’t think a single line remains from the original book,” he wrote at the time.
The well-known songs by Richard
Rodgers and Oscar Hammerstein II do remain. With titles that might not cut it today, such as “I Enjoy Being a Girl” and “Chop Suey,” Hwang refashioned most songs as “presentational,” musical numbers performed in a Chinatown nightclub.
Rather than focusing on the original plot’s arranged marriage, Hwang’s story shifts the emphasis to a young Chinese woman fleeing Communism and finding herself in the world of American nightclubs.
Though it’s still set in the 1960s, when clubs were still prevalent in San Francisco’s Chinatown, the 2026 approach considers recent developments with immigration and instances of anti-Asian hate.
“We’re playing with how to
Rendering for new version of “Brigadoon” at Pasadena Playhouse
approach the immigration story in this version, given everything that’s happening today and how that relates to the way Asian immigrants were being treated in the mid-’60s.”
“And then the wave of anti-Asian hate in my ‘Flower Drum Song,’ in both the 2002 and in this version, really manifests itself more in terms of how the characters see themselves. It’s about the personal damage from having grown up in a hostile environment.”
Hwang’s first revival was wellreceived by critics in Los Angeles and played to packed houses at the Mark Taper Forum. Its Broadway transfer was less successful.
The playwright acknowledges that he made concessions to make the show accessible to Broadway audiences.
“I looked at my 2002 revision and thought, ‘There’s stuff here that I feel I can do better.’ There’s some stuff that felt like I was a little pandering to a Broadway audience, some jokes that I think are not the smartest.”
Midcentury posters for classic musicals now getting new treatments.
By reconsidering it for East West Players, he says he can write for the theater’s core Asian American Pacific Islander audience.
“It felt like this might be a good time to create a new version that’s more centered on our community. This is the audience that we’re going for,” he says, adding: “I certainly hope that the more culturally specific a work can be, the more universal it becomes.”
Eleven years before “Flower Drum Song” debuted on Broadway, Alan Jay Lerner and Frederick Loewe had their first Broadway success with “Brigadoon.” They would go on to greater triumphs, notably “My Fair Lady” and “Camelot.”
“Brigadoon” successfully blended story, song and dance in a way few shows had accomplished at the time.
But over the years the show also fell by the wayside. The sentimental plot is a bit strange, about two American men, game hunters who travel to Scotland and stumble across the fabled village
of Brigadoon. One of them finds love and must decide if he’ll stay with the lass or return to his New York City girlfriend Jane. He has 24 hours to choose before the hamlet disappears for another century.
Though the work isn’t mounted often, the music has endured. “It’s Almost Like Being in Love” and “Heather on the Hill’ are standards.
While retaining the myth of the original, Silber’s reimagining aims to root the story in a more realistic setting.
She begins by changing the two men’s motivations. Tommy and Jeff are now leaving home for Scotland on personal journeys: no guns, no big-city girlfriend.
“Including Jane in the story was not serving a good purpose,” Silber says. “A man choosing between the opportunity to be brave, to grow, seemed like a more interesting story to me than pitting women against each other at its center.”
In fact, her update rethinks its women in major ways.
“What I wanted to make sure I did not do was paint it with a broad watercolor of a contemporary feminism lens,” she says, “but to actually bring out and portray that a matriarchal ancient society did exist in 18th-century Scotland.”
Consider the character of “Brigadoon’s” amusing subplot, Meg Brockie, a young amorous milkmaid in the original.
“Her entire objective is to sleep with our secondary character, Jeff Douglas, and convince him to marry her, which in 1947 in an operetta is very comical and very funny,” Silber says, but far less so now.
/ CONTINUED ON PAGE 28
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DEAR ESTEEMED PATRONS, SUPPORTERS, AND FRIENDS,
Every season at The Wallis is shaped by the people who gather here, forming a living community where ideas are exchanged, stories are tested, and new perspectives take root. The past year has brought meaningful achievements, and we look ahead with anticipation to the programming still to come.
Pulitzer Prize winning theater arrives this season directly from an acclaimed Broadway run with English, advancing our multi-season exploration of assimilation and belonging through a nuanced and humorous perspective of migration, and how language shapes us all. These themes echo across disciplines throughout our spring programming with Trisha Brown Dance Company’s Dancing with Bob: Rauschenberg, Brown and Cunningham on Stage alongside powerful musical performances by MUSE/IQUE, Los Angeles Chamber Orchestra, and Scott Dunn Orchestra that reflect the influence of Jewish and immigrant communities on our culture.
Mission-driven work likewise takes root in the resurgence of Family Programming, including free Family Fest events. GRoW @ The Wallis continues to bring arts education and transformative experiences for arts learners and arts lovers of all ages, background, and abilities.
At their best, the arts are transcendent. The voices we elevate here ripple outward, shaping conversations, deepening empathy, and expanding how we see one another. In a moment when the future of The Arts requires both vision and resolve, I am deeply grateful to our Board, Donors and Patrons for their continued leadership and belief in this vital work. Thank you for your belief in the long life of creative expression.
With deep appreciation,
DAPHNA NAZARIAN BOARD CHAIR, THE WALLIS
BOARD OF DIRECTORS
Daphna Nazarian CHAIR, BOARD OF DIRECTORS
Michael Nemeroff CHAIR, EXECUTIVE COMMITTEE
Mark Louchheim TREASURER
Jonathan A. Victor ASSISTANT TREASURER
Susan Strauss VICE CHAIR, PLANNING & ASSISTANT SECRETARY
Ronald D. Rosen VICE CHAIR, OPERATIONS & SECRETARY
Arnon Adar
Ahsan Aijaz
Debbie Allen
Wallis Annenberg*
Pamela Beck
John Bendheim
Thomas J. Blumenthal
Susanna Courier
MeraLee Goldman
Bruce Goldsmith
Carlo Brandon-Gordon
Laura Gordon
Halle Hammond
Cinny Kennard
LIFETIME TRUSTEES
Stephanie Vahn CHAIR, DEVELOPMENT
Honorable Vicki Reynolds FOUNDER EMERITUS
Bram Goldsmith* FOUNDING CHAIRMAN
Paul Selwyn* FOUNDING PRESIDENT
Jerry Magnin* CHAIRMAN EMERITUS
Richard Rosenzweig* PRESIDENT EMERITUS
Agnes Lew Mika Liu
Sandra Barros Lowy
Linda May
Bijan Nahai
Diana O vsepian
Gretchen Pace
Arline Pepp
Arnold Rosenstein
Ron Simms
Gregory Annenberg Weingarten
Grant Withers
Richard S. Ziman
Les Bider | Eunice David | Max Salter* | Luanne Wells*
IN MEMORIAM
Wallis Annenberg (1939-2025)
*In Memoriam
MUSE/IQUE
PRESENT
QUINCY’S WORLD THE NEW FOUNDING FATHER OF AMERICAN MUSIC
MARCH 5 - 8, 2026 | 7:30PM BRAM GOLDSMITH THEATER
FOR MORE INFORMATION SCAN BELOW:
MUSIC @ THE WALLIS IS GENEROUSLY MADE POSSIBLE BY TERRI AND JERRY KOHL
MUSIC @ THE WALLIS IS GENEROUSLY MADE POSSIBLE BY TERRI AND JERRY KOHL
TONALITY: REFUGE / REQUIEM
March 28, 2026 | 7:30 PM
ALL SAINTS’ BEVERLY HILLS
FOR MORE INFORMATION SCAN BELOW:
MUSIC @ THE WALLIS IS GENEROUSLY MADE POSSIBLE BY TERRI AND JERRY KOHL TONALITY CO-PRESENTER OF REFUGE / REQUIEM IS PATRICK LAWRENCE ZAPPIA.
PRESENTS THE ATLANTIC THEATER COMPANY & ROUNDABOUT THEATRE COMPANY
PRODUCTION OF
WRITTEN BY
DIRECTED BY
APRIL 4 - 26, 2026 BRAM GOLDSMITH THEATER
FOR MORE INFORMATION SCAN BELOW: THE FARHANG FOUNDATION IS THE OFFICIAL CULTURAL PARTNER AND SPONSOR OF ENGLISH
WORLD PREMIERE WAS PRESENTED BY ATLANTIC THEATER COMPANY AND ROUNDABOUT THEATRE COMPANY, NEW YORK CITY, 2022 AND OPENED ON BROADWAY JANUARY 23, 2025
WHAT IS THE SHOW ABOUT?
Sanaz Toossi’s English is a sharp, heartfelt comedy about four adults in Iran determined to master the world’s most unpredictable language. Inside their TOEFL prep classroom, mispronunciations become minor tragedies, vocabulary quizzes feel like high-stakes drama, and show-and-tell turns hilariously revealing.
As ambitions soar and tongues twist, laughter bubbles up alongside surprising moments of vulnerability. Clever, charming, and sneakily profound, English celebrates the joy, chaos, and courage it takes to find your voice, even when the words don’t quite cooperate.
MEET THE CHARACTERS
THE TEACHER
MARJAN
44 years old. Accent has traces of both American and British English. Once lived in Manchester, England. Loves speaking English.
THE STUDENTS
ELHAM
27 years old. Has a very thick Iranian accent. Wants to go to medical school in Australia. Doesn’t care for English, prefers speaking in Farsi.
ROYA
54 years old. Has a noticeable accent. Is studying English before she visits her son and granddaughter in Canada.
OMID
29 years old. Barely detectable accent. Grew up with American cousins. Studying English for a U.S. Permanent Resident (also known as a “Green Card”) interview.
GOLI
18 years old. Accent is light and sweet. Has wanted to speak English since she was a child.
TRISHA BROWN DANCE COMPANY WITH MERCE CUNNINGHAM TRUST
PRESENT
DANCING WITH BOB
RAUSCHENBERG, BROWN & CUNNINGHAM ONSTAGE
Trisha Brown
FOUNDING ARTISTIC DIRECTOR AND CHOREOGRAPHER
Kirstin Kapustik EXECUTIVE DIRECTOR
Carolyn Lucas
ASSOCIATE ARTISTIC DIRECTOR
May 7-9, 2026 | 7:30 PM BRAM GOLDSMITH THEATER
FOR MORE INFORMATION SCAN BELOW:
DANCERS
Savannah Gaillard, Rochelle Jamila, Burr Johnson, Claude Johnson, Catherine Kirk, Ashley Merker, Patrick Needham, Jennifer Payán, Spencer Weidie
Jamie Scott PROGRAMMING DIRECTOR
Cecily Campbell REHEARSAL DIRECTOR
Mike Steele COMPANY MANAGER
Amanda Kmett’Pendry MARKETING MANAGER
Benjamin Houtman ARCHIVIST
Louise Brownsberger PRODUCTION/STAGE MANAGER
Joe Levasseur LIGHTING SUPERVISOR
Morgan Lemos ASSOCIATE STAGE MANAGER
DANCE @ THE WALLIS IS GENEROUSLY MADE POSSIBLE BY KONI AND GEOFF RICH
SET AND RESET (1983)
CHOREOGRAPHY Trisha Brown
MUSIC Laurie Anderson, Long Time No See
ORIGINAL DESIGN AND COSTUMES Robert Rauschenberg
LIGHTING DESIGN Beverly Emmons
CHOREOGRAPHY STAGED BY Carolyn Lucas with Cecily Campbell, Marc Crousillat, Jamie Scott
DESIGN & PRODUCTION RECONSTRUCTION CONSULTANT Jessie Ksanznak, Nick Kolin
SCENIC RECONSTRUCTION Lawrence Voytek, ShowFab
COSTUME RECONSTRUCTION Amanda Kmett’Pendry, Dyenamix Inc., Zarah Green
SET AND RESET WAS FIRST PERFORMED BY THE TRISHA BROWN DANCE COMPANY ON OCTOBER 20, 1983
AS PART OF THE NEXT WAVE FESTIVAL AT THE BROOKLYN ACADEMY OF MUSIC. ORIGINAL CAST: TRISHA BROWN, IRÉNE HULTMAN, EVA KARCZAG, DIANE MADDEN, STEPHEN PETRONIO, VICKY SHICK, RANDY WARSHAW
INTERMISSION
TRAVELOGUE (1977)
CHOREOGRAPHY Merce Cunningham
MUSIC John Cage, Telephones and Birds
ORIGINAL DESIGN AND COSTUMES Robert Rauschenberg
CHOREOGRAPHY STAGED BY Marcie Munnerlyn and Andrea Weber
MUSIC DIRECTOR & REALIZATION OF TELEPHONES AND BIRDS FOR MOBILE DEVICES Adam Tendler
DESIGN & PRODUCTION CONSULTANT Davison Scandrett
SCENIC RECONSTRUCTION Mrinali Thanwani, Bland Wade & Kris Julio from UNCSA School of Design & Production; Sail Reconstruction by Rose Brand
COSTUME RECONSTRUCTION Earlene Munnerlyn and Marissa McCullough
LIGHTING RECONSTRUCTION Davison Scandrett & Joe Levasseur
TRAVELOGUE WAS FIRST PERFORMED BY THE MERCE CUNNINGHAM DANCE COMPANY ON JANUARY 18, 1977 AT THE MINSKOFF THEATRE IN NEW YORK CITY. ORIGINAL CAST: KAROLE ARMITAGE, ELLEN CORNFIELD, MERCE CUNNINGHAM, MORGAN ENSMINGER, MEG HARPER, CHRIS KOMAR, ROBERT KOVICH, JULIE ROESS-SMITH TRAVELOGUE (1977) BY MERCE CUNNINGHAM MERCE CUNNINGHAM TRUST. ALL RIGHTS RESERVED.
DANCING WITH BOB: RAUSCHENBERG, BROWN AND CUNNINGHAM ONSTAGE IS GENEROUSLY SUPPORTED BY DANCE REFLECTIONS BY VAN CLEEF & ARPELS, ROBERT RAUSCHENBERG FOUNDATION, THE IMPERFECT FAMILY FOUNDATION, THE WATTIS FAMILY, THE DEDALUS FOUNDATION, BLOOMBERG PHILANTHROPIES, THE GLADYS KRIEBLE DELMAS FOUNDATION, THE JAMES E. ROBISON FOUNDATION, THE JEROME ROBBINS FOUNDATION AND THE CHICAGO COMMUNITY FOUNDATION. WITH ADDITIONAL SUPPORT FROM KEN TABACHNICK AND YAEL MANDELSTAM, THOMAS AND LILY BEISCHER, BILL GOLDSTON AND RICCARDA DE ECCHER, LARRY AND JULIA ANTONATOS, AND MOLLY AND MICHAEL ROWEN OF MICHAEL’S MOTOR CARS, LANCASTER, PA.
Special thanks to Ken Tabachnick for envisioning this program; Andrea Weber, Rashaun Mitchell, and Patricia Lent of the Merce Cunningham Trust for their partnership; Courtney J. Martin, Francine Snyder, Kate Reibel, Miriam Master, and Anne Boissonnault; and the team at the Robert Rauschenberg Foundation for helping to bring this vision to life.
TRISHA BROWN DANCE COMPANY (TBDC) is a post-modern dance company dedicated to the performance and preservation of the work of Trisha Brown (1936-2017) and projects related to her legacy. Established in 1970, TBDC has toured throughout the world presenting work, teaching, and building relationships with audiences and artists alike trishabrowncompany.org
ROBERT RAUSCHENBERG FOUNDATION:
The Robert Rauschenberg Foundation builds on the legacy of artist Robert Rauschenberg, emphasizing his belief that artists can drive social change. Rauschenberg sought to act in the “gap” between art and life, valuing chance and collaboration across disciplines. As such, the Foundation celebrates new and even untested ways of thinking. https://www. rauschenbergfoundation.org
RAUSCHENBERG100:
Robert Rauschenberg’s (1925–2008) strong conviction that engagement with art can nurture people’s sensibilities as individuals, community members, and citizens was key to his ethos. The Centennial celebrations seek to allow audiences familiar with him and those encountering the artist for the first time to form fresh perspectives about his artwork. rauschenberg100.org
A year of global activities and exhibitions in honor of Rauschenberg’s Centennial reexamines the artist through a contemporary lens, highlighting his enduring influence on generations of artists and advocates for social progress. The Centennial’s activation of the artist’s legacy promotes cross-disciplinary explorations and creates opportunities for critical dialogue.
Trisha Brown, Founding Artistic Director and Choreographer, Carolyn Lucas, Associate Artistic Director, Cecily Campbell, Rehearsal Director, Kirstin Kapustik, Executive Director, Jamie Scott, Programming Director, Mike Steele, Company Manager, Amanda Kmett’Pendry, Marketing Manager, Benjamin Houtman, Archivist, Louise Brownsberger, Production/Stage Manager, Joe Levasseur, Lighting Supervisor, R. Christopher Maxwell, Assistant Stage Manager, Jennifer Lerner, Public Relations, Lisa Nuñez, Accountant, Julie Georges, International Representation
The Trisha Brown Dance Company is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
Other major support of the Trisha Brown Dance Company provided by the Imperfect Family Foundation, the Howard Gilman Foundation, The Shubert Foundation, the Fan Fox and Leslie R. Samuels Foundation, The Nathan Cummings Foundation, Jody and John Arnhold, the Hyde and Watson Foundation, the Harkness Foundation for Dance and The Gladys Krieble Delmas Foundation. TBDC also extends special thanks to the Trisha Brown Company Board of Trustees and the Company’s Individual Donors at all levels.
BIOGRAPHIES:
One of the most influential choreographers of her time, TRISHA BROWN (1936–2017) forever transformed the landscape of contemporary dance. A student of Anna Halprin, Brown participated in Robert Dunn’s choreographic workshops, leading to the formation of Judson Dance Theater and the explosion of interdisciplinary creativity that defined 1960s New York. In 1970, Brown founded TRISHA BROWN DANCE COMPANY (TBDC), embarking on four decades of artistic exploration. She created over 100 choreographies, six operas, and a body of visual art recognized in museum exhibitions worldwide. Her earliest works were shaped by the urban environment of downtown SoHo, where she experimented with sitespecific performances. By the 1970s, as Brown developed a singular abstract movement language, her work found a home in art galleries, museums, and international exhibitions. A pivotal shift came in 1979 when she moved from unconventional spaces to the proscenium stage, integrating her experimental vocabulary into traditional theatrical settings. Brown’s contributions earned her nearly every major award for contemporary choreographers. She was the first woman to receive the MacArthur ‘Genius’ Grant (1991) and was honored with five National Endowment for the Arts fellowships, two Guggenheim Fellowships, and Brandeis University’s Creative Arts Medal in Dance (1982). France named her Chevalier dans
l’Ordre des Arts et Lettres (1988), and she received the New York State Governor’s Arts Award (1999), the National Medal of Arts (2003), and the New York Dance and Performance ‘Bessie’ Lifetime Achievement Award (2011). That same year, she was awarded the Dorothy and Lillian Gish Prize for her “outstanding contribution to the beauty of the world.” Today, Trisha Brown Dance Company continues to honor her legacy through performances, education, licensing, and archival initiatives. The company reconstructs and remounts Brown’s major proscenium works from 1979–2011, alongside its In Plain Site initiative, which reinvigorates her choreography by adapting it to new spaces. In 2023, TBDC expanded its mission to include commissions from a new generation of artists, engaging contemporary voices whose work resonates with Brown’s legacy while reaffirming its primary role in preserving her groundbreaking contributions to dance.
MERCE CUNNINGHAM (1919-2009) was a celebrated dancer and choreographer renowned for his groundbreaking work, his lifelong passion for innovation, and his profound influence on generations of dancemakers and artists. Born in Centralia, Washington, he attended the Cornish School in Seattle where he was introduced to the work of Martha Graham and met the composer John Cage who would become his closest collaborator and life partner. In 1939, Cunningham began a six-year tenure as a soloist in the Graham company, and soon began presenting his own choreography, most notably on joint music and dance concerts with Cage. In the summer of 1953, during a teaching residency at Black Mountain College, Cunningham formed a dance company to explore his innovative ideas. Over the course of his seventy-year career he choreographed 180 dances including such iconic works as Summerspace, RainForest, Sounddance, Travelogue, Pictures, Beach Birds, BIPED, and Ocean. He also presented nearly 800 Events in museums, gymnasiums, outdoor stages and theaters, beginning in 1964 with the Museum Event No. 1 at the Museum des 20 Jahrhunderts. Cunningham premiered his final work, Nearly Ninety, on his ninetieth birthday. The Merce Cunningham Dance Company remained in continuous operation until its closure in 2011, giving nearly three thousand performances in
over forty countries. In collaboration with John Cage, Cunningham proposed a series of radical ideas including the separation of music and dance, the use of chance operations, and novel ways to utilize film and technology. He collaborated with such renowned artists and composers as Robert Rauschenberg, Jasper Johns, Andy Warhol, Frank Stella, David Tudor, Christian Wolff, and Takehisa Kosugi. Cunningham earned some of the highest honors bestowed in the arts including a MacArthur Fellowship (1985), a Kennedy Center Honor (1985), a Laurence Olivier Award (1985), the National Medal of Arts (1990), and Japan’s Praemium Imperiale (2005). In 2004, he was named Officier of the Legion d’Honneur. Today Cunningham’s work continues to be performed by professional and student dancers worldwide, and Cunningham Technique® is taught in countless studios and educational institutions.
Born in Port Arthur, Texas, ROBERT RAUSCHENBERG (1925–2008) attended Black Mountain College in North Carolina and the Art Students League in New York where he developed creative relationships and methods that proved to be formative. His nearly six-decade career was characterized by an irreverent and innovative approach to images, mediums, and disciplines and a love for artistic partnerships. Rauschenberg realized his first Combine in 1954, eschewing established artistic boundaries and hierarchies; he deployed the materials of everyday life while hybridizing aspects of painting and sculpture. Collaborations with composer John Cage and dancer/choreographer Merce Cunningham spurred Rauschenberg to add performance to his wide-ranging palette, including costume and set designs for the Cunningham and Paul Taylor dance companies. Rauschenberg’s Combine Minutiae (1954) occupied the stage, serving as the set for its namesake Cunningham choreography, initiating over two dozen collaborations across some five decades, culminating in a set and costumes for Cunningham’s XOVER (2007). Rauschenberg’s affiliation with the Judson Dance Theater motivated him to choreograph his first performance, Pelican (1963), and it led to a lifelong friendship with dancer/choreographer Trisha Brown, highlighted by numerous artistic collaborations. Brown performed in a number of Rauschenberg’s experimental works
including Spring Training (1965), Map Room II (1965), and Linoleum (1966). An avid admirer of Brown’s choreography, Rauschenberg in turn designed costumes, sets, lighting, and, on occasion, music for her performances. These collaborations were mutually inspiring. Rauschenberg’s set design for Brown’s Glacial Decoy (1979) led him back to photography, which became a driving force for his own work over the next decade and a half. Using his own photographs to silkscreen the costumes for Brown’s Set and Reset (1983) reintroduced a vital technique that Rauschenberg would employ in numerous series over the next dozen years. During the Rauschenberg Overseas Culture Interchange (ROCI, 1984–91), he arranged for Brown to preview Astral Convertible (1989), precursor to Astral Converted (1991), for which he designed set and costumes, at the Cultural Palace in Moscow at the time of the opening of ROCI USSR. In 1990 he designed set and costumes for Foray Forêt, which premiered at Biennale de la Danse in Lyon.
LAURIE ANDERSON is a writer, director, composer, visual artist, musician and vocalist who has created groundbreaking works that span the worlds of art, theater, experimental music, and technology. Anderson has created numerous multimedia stage performances, as well as published ten books and been nominated for five Grammy awards. Her visual work has been exhibited globally, with her largest solo exhibitions to date recently displayed at the Hirshhorn Museum in Washington DC and Moderna Museet in Stockholm. In 2024 she received a Lifetime Achievement Award from the Recording Academy and will be releasing “Amelia”, a new record based on Amelia Earhart’s final flight around the world. Anderson is currently working on a new stage work, “ARK: United States Part 5” set to open at Factory Internation this coming November in Manchester.
JOHN CAGE (1912-1992) was a singularly inventive and highly influential American composer, writer, philosopher, and visual artist. Throughout his career, he departed from the pragmatism of precise musical notation and circumscribed ways of performance. His principal contribution to the history of music is his systematic establishment of the principle of indeterminacy by adapting Zen Buddhist practices to composition and performance. Cage’s aesthetic of chance produced a unique body of “once-only” works, any two performances of which can never be quite the same. To reduce the subjective element in composition, he developed methods of selecting the components of his pieces by chance, early on through the tossing of coins or dice and later through the use of computerized random number generators including IC (1984), created by Cage’s programmerassistant Andrew Culver, to simulate the coin oracle of the I Ching. Cage’s use of the computer resulted in a system of total serialism, in which all elements pertaining to pitch, noise, duration, relative loudness, tempi, and harmony could be determined by referring to previously drawn correlated charts. Thus, Cage’s mature works did not originate in psychology, motive, drama, or literature, but, rather, were just sounds, free of judgments about their musicality, free of fixed relations, and free of memory and taste. His most enduring composition, influenced by Robert Rauschenberg’s White Paintings (1951), is the radically tacet 4’33” (1952), during which no sounds are intentionally produced.
BANG ON A CAN ALL-STARS RYUICHI SAKAMOTO, 1996
May 16, 2026 | 7:30 PM
BRAM GOLDSMITH THEATER
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MUSIC @ THE WALLIS IS GENEROUSLY MADE POSSIBLE BY TERRI AND JERRY KOHL
JOIN OUR COMMUNITY
With a gift of $100 or more, you can unlock exclusive donor benefits.
AN INVITATION FOR YOU AND A GUEST TO ATTEND COFFEE WITH THE WALLIS ($250+)
NAME RECOGNITION IN THE PROGRAM FOR 12 MONTHS ($1,000+)
AN INVITATION FOR YOU AND A GUEST TO ATTEND THE SEASON PREVIEW EVENT ($10,000+)
YEAR-ROUND ACCESS TO DAVID BOHNETT FOUNDATION FOUNDERS ROOM ($2,500+)
THE WALLIS
DONOR BENEFIT LEVELS
Advance notice and priority handling of tickets
An invitation for you and a guest to attend Coffee with The Wallis
Presale notice to purchase tickets to special events
Two complimentary beverages at any Wallis bar
Invitations for you and a guest to an Invited Rehearsal
$100-249Friend $250-499Associate $500-999Advocate
$1,000-2,499Enthusiast
$2,500-4,999Ambassador
$5,000-9,999 Directors Circle
$10,000-24,999 Silver Circle$25,000-49,999 Gold Circle
$50,000+Platinum Circle
Name recognition in the program for 12 months
One-time access to the David Bohnett Foundation Founders Room
Invitations for you and a guest to curated Behind-the-Scenes Experiences
A ccess to our exclusive VIP Ticketing Line
Year-round access to David Bohnett Foundation Founders Room
Invitations to additional VIP Events
An invitation for you to attend the Annual Leadership Evening
An invitation for you and a guest to attend the Season Preview Event
Private dinner with The Wallis Executive Director & CEO, Robert van Leer
First look at performance, program, and series sponsorship opportunities
LOS ANGELES CHAMBER ORCHESTRA
PRESENT
MARTÍN + MARWOOD + MOZART
LOS ANGELES CHAMBER ORCHESTRA
Jaime Martín, MUSIC DIRECTOR
Anthony Marwood, VIOLIN
Coleman Itzkoff, CELLO
May 17, 2026 | 4:00 PM BRAM GOLDSMITH THEATER
PROGRAM
WOLFGANG AMADEUS MOZART
Symphony No. 35 in D major, “Haffner,” K. 385
CHRISTOPHER CERRONE
Double Concerto for Violin and Cello
LACO COMMISSION / WORLD PREMIERE
PYOTR TCHAIKOVSKY
Orchestra Suite No. 4 in G major, “Mozartiana,” Op. 61
MUSIC @ THE WALLIS IS GENEROUSLY MADE POSSIBLE BY TERRI AND JERRY KOHL
PACIFIC JAZZ ORCHESTRA
MILES DAVIS & JOHN COLTRANE AT 100
May 28, 2026 | 7:30 PM
BRAM GOLDSMITH THEATER
MUSIC @ THE WALLIS IS GENEROUSLY MADE POSSIBLE BY TERRI AND JERRY KOHL
SCOTT DUNN ORCHESTRA PRESENT
FROM HELL TO HOLLYWOOD
FILM MUSIC’S FIRST GOLDEN AGE AND THE EMIGRE COMMUNITY
Scott Dunn, ARTISTIC DIRECTOR & CHIEF CONDUCTOR
May 30, 2025 | 7:30 PM BRAM GOLDSMITH THEATER
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MUSIC @ THE WALLIS IS GENEROUSLY MADE POSSIBLE BY TERRI AND JERRY KOHL
Max Steiner
Main Title from GONE WITH THE WIND 1939, MGM
Erich Wolfgang Korngold, arr. Korngold Overture from SEAHAWK 1940, WARNER BROS.
Erich Wolfgang Korngold, adapted Dunn 2026
Nora’s Theme from OF HUMAN BONDAGE 1943, WARNER BROS.
Franz Waxman
Hotel Lobby from REBECCA 1940, UNITED ARTISTS
Franz Waxman, arr. Waxman
Prelude and Lisa from REAR WINDOW Suite 1954, PARAMOUNT PICTURES
Franz Waxman
The Comeback (Finale) from SUNSET BOULEVARD 1950, PARAMOUNT PICURES
INTERMISSION
Max Steiner, arr. Steiner CASABLANCA Suite 1942, WARNER BROS
Branislau Kaper, arr. Dunn 2026
Dances from LILI 1953, MGM
Kurt Weill, arr. Dunn 2026
Speak Low from ONE TOUCH OF VENUS 1948, UNIVERSAL PICTURES
Dimitri Tiomkin, adapted Dunn 2026
Main Title (Overture) from THE ALAMO 1960, UNITED ARTISTS
Miklós Rózsa
Love Theme from EL CID 1961, ALLIED ARTISTS
Miklós Rózsa
Prelude and March of the Charioteers from BEN HUR 1959, MGM
Special thanks to the Wallis Annenberg Center for the Arts, Robert van Leer, Coy Middlebrook, Michael Haas, Michael Feinstein, Kurt Weill Foundation, Kim Kowalke, John Waxman, Juliet Rózsa, Brian Miller, Marty Fenton Frear, Josh Devries, Robbie Guthrie, Gill Graham, Deniz Cordell and Robbie Moray. Music copying services provided by Just a Theory Press
THE ARTISTS CIRCLE
The Artists Circle is a group of visionary arts patrons who believe in The Wallis’ mission and wish to create a lasting legacy in the performing arts
AN ANNUAL GIFT OF $25,000 & ABOVE PROVIDES THE FOLLOWING MEMBERSHIP BENEFITS
First Look At Production Sponsorship Opportunities
Travel Opportunities
Private Dinner with The Wallis Excecutive Director & CEO, Robert van Leer
Exclusive Invitations To Artists Circle Events
Access To Curiated Behind-The-Scenes Experiences
Year-Round Admission to the David Bohnett Foundation Founders Room
VIP Ticketing and Pre-Sale Access
Premium Seating
To set up a meeting with Director of Development Christine Bernardi Weil to discuss your membership in The Artists Circle, please email DonorRelations@TheWallis.org or call 424.284.4701
LOS ANGELES CHAMBER ORCHESTRA
PRESENT
HANDEL + VIVALDI + TELEMAN
LOS ANGELES CHAMBER ORCHESTRA
Margaret Batjer, DIRECTOR OF CHAMBER MUSIC + LEADER
MUSIC @ THE WALLIS IS GENEROUSLY MADE POSSIBLE BY TERRI AND JERRY KOHL
BODYTRAFFIC
PRESENT
MA MAISON
June 4-6, 2026
BRAM GOLDSMITH THEATER
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DANCE @ THE WALLIS IS GENEROUSLY MADE POSSIBLE BY KONI AND GEOFF RICH
PAULA POUNDSTONE
June 12, 2026 | 7:30 PM
BRAM GOLDSMITH THEATER
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KEEP THE WALLIS THRIVING
Every Gift Makes an Impact.
The Wallis is grateful for its supporters whose belief in our mission helps us continue to strengthen our local and global community as a presenter, producer, educator, and community resource for Greater Los Angeles.
Contact the Development staff at 424.284.4701 for more information.
WITH A GIFT OF $1,000 OR MORE,YOU CAN UNL OCK EXCLUSIVE DONOR BENEFITS.
Membership Categories include:
• FRIENDS $100-$2,499: Invitations to Donor Events, Name Recognition in the Program ($1,000+)
• AMBASSADORS $2,500-$24,999: Access to the Founders Room, VIP Ticketing Services
• AR TIST CIRCLE $25,000+: Invitations to Private VIP Events, Access to Annual Leadership Evening
V isit thewallis.org/givinglevelsbenefits to learn more.
WAYS TO GIVE
• C ash, check, or credit card
• Monthly Giving Club
• Gif ts of appreciated stock
• Donor-advised funds
• Bequests
• L ife insurance
• Retirement plan
• IR A-RMD
• Char itable gift annuity
• Char itable trusts
Questions? Email donorrelations@thewallis.org to set up a conversation with one of our Development staff.
PLACE YOUR FOREVER STAMP ON THE WALLIS
your legacy and ours with a planned gift to The Wallis
A planned gift to The Wallis is a meaningful way to sustain transformative performing arts while achieving your charitable and financial goals. By including The Wallis in your estate plans, you help ensure its vibrant future.
One simple option is a bequest in your will, allowing you to designate a specific gift while retaining control of your asset during your lifetime. Other options include charitable trusts, retirement plan designations, or life insurance policies –each offering flexibility to align with your personal and philanthropic objectives.
Your generosity will empower innovative performances, education programs, and community engagement, enriching lives for generations.
Our Development staff is pleased to explore with you the many creative, flexible giving options available to you and even help you include the necessary language to your will.
Contact us with questions by email at GiftPlanning@TheWallis.org or by phone at 424.284.4701.
@ A GLANCE
THE BAR @ JAMIE TISCH SCULPTURE GARDEN
A udiences are invited to enjoy craft cocktails, beer and wine before or after per formances and during intermissions!
THE BRAM GOLDSMITH
THEATER is a 500-seat venue where no seat is more than 50 feet from the stage, creating an intimate environment for you to enjoy your favorite performer.
THE LOVELACE STUDIO
THEATER is an intimate flexible space with traditional theater seating of eight rows of raked seats
QUIET ROOM The Lynn and Les Bider Family Foundation Quiet Room is available during most performances for patrons who wish or need to step away for a moment. You can still see and hear the performance in progress but the audience can’t hear you.
HEALTH & SAFETY
Your health and safety are very important to us. Visit TheWallis.org/Safety to stay up-to-date on our policies.
ACCESSIBILITY Accessible seating for patrons with mobility limitations are located in several locations on the main floor of the theater. Wheelchair accessible restrooms are also available on the main floor level.
A state-of-the-art telecoil induction system is installed in the Bram Goldsmith Theater. Assisted Listening Devices are also available at no cost to our patrons.
Please contact Ticket Services to notify us of any special needs, so we can help make your exceptional!experience
CREATIVE PARTNERS @ THE WALLIS
ANNUAL DONORS
The Wallis Annenberg Center for the Performing Arts is privileged to list the following individual donors who have made an annual contribution of $1,000 or more to the annual fund. For any questions regarding your donations, or if you would like to make a gift to the annual fund, please call 424.284.4701.
The following list recognizes gifts to the annual fund received from September 1, 2024, to October 24, 2025. Every effort has been made to ensure the accuracy of this listing. To report any omissions or inaccuracies, please call 424-284-4701.
PLATINUM ANGELS
$1,000,000 & ABOVE
Wallis Annenberg and the Annenberg Foundation*
SILVER ANGELS
$250,000 – $499,999
Terri and Jerry Kohl
Gregory Annenberg Weingarten and Regina Weingarten GRoW @ Annenberg*
Wallis Annenberg L egacy Foundation*
DIAMOND CIRCLE
$100,000 – $249,999
Cathy and Mark Louchheim*
Sandra Barros Lowy and Peter Lowy*
Arline and Buddy Pepp
Koni and Geoffrey Rich
The Simms/Mann Family Foundation
Jonathan A. Victor*
May and Richard Ziman*
PLATINUM CIRCLE
$50,000 – $99,999
Arnon Adar
Pamela and Dennis Beck*
Scott Dunn and Robert Moray
Sakurako and William Fisher Family
Katharyn A. Gerlich
Halle and Oliver Hammond
Stacey and Donald Kivowitz*
Daphna Nazarian*
Michael and Meeghan Nemeroff*
Honorable Vicki Reynolds and Mur ray Pepper
Arnold and Anita Rosenstein
Eva and Marc Stern
Susan Strauss*
Stephanie and Leon Vahn*
GOLD CIRCLE
$25,000 – $49,999
Anonymous
Ahsan Aijaz
John Bendheim
Thomas Blumenthal*
Carlo and Andrew Brandon-Gordon
Susanna and Jim Courier
Louise and Brad Edgerton
Bruce Goldsmith
Laura Gordon
Cinny Kennard
Agnes Lew
Daniel Lewis and Valerie Dillon
Mika Liu
Linda May and Jack Suzar
Gretchen Pace
Brenda R. Potter
Ruby Family Foundation
Carole Sasiela
Joan Selwyn and Marc Selwyn, Geof and Laura Wyatt, in memor y of Paul Selwyn
Stephanie and Howard Sherwood*
SILVER CIRCLE
$10,000 – $24,999
Martha and Barry Berkett
Alfred E. Mann Charities
Snehal Desai and Robert van Leer
Judy O. and Robert T. Flesh
Honorable MeraLee Goldman
Morris and Shîla Hazan
Char itable Fund
Thom and Vikki Melcher, in honor of Wallis Annenberg
Moshe and Helen Sassover
Jay and Deanie Stein
Seth Weingarten
DIRECTORS CIRCLE
$5,000 –$9,999
Miles Benickes and Kathleen Reiss
Catherine Glynn Benkaim and Bar bara Timmer in memor y of Paul Selwyn
Heidi Burnett
Bonnie and Ronald Fein
Sonia and Robert Freedman
Allen Kohl and Anita Mann Kohl
Tamara and David Lachoff
Anahita and Jim Lovelace
Laura Maslon
Gloria and Richard Pink
Karen Sulzberger and Eric Lax
Mary Ann Weisberg and Br yce Perry
Karen and Richard Wolfen
AMBASSADOR
$2,500 – $4,999
Eva Aaronson, in memor y of Bucky Hazan
Minoo Behboody, in honor of Amir Behboody
Judy Briskin
Barbara Bruser
Judy Carroll
Terri and Timothy Childs
Jill and Allen Chozen
Chester Chuang and S ean Beougher
Mrs. Diane Deshong
Sandra Krause and W illiam Fitzgerald
Kiki Ramos Gindler and David Gindler
Vera and Paul Guerin
Dr. Ariella D. Herman
Lynn and Bruce Heymont
Mr. Daniel Horwitz
Susan Howard
Vikki Jenkins
Cathy and Bill Kirkpatrick
Coco Klinkenberg
Paul D. Lerner & Stephen Reis
Barbara and Joel Marcus
Jeanne and Leonard Marks
Ann S. Petersen
Allan and Paula Rudnick
Melissa Rosenberg and Lev L. Spiro
Kathy Speer and Terry Grossman
ENTHUSIAST
$1,000 – $2,499
Bernadette Abbruzze
Robert Anderson
Daniel Banchik and Michael Collins
Michael Carmen
Dan Clivner
Rhea Coskey
Anne Dougherty and David Dobrikin
Adrienne Forst
Benita and Bert Ginsberg
Howard Gleicher and Damon Chen
Lessing and Sandy Gold
Carolyn and Bernard Hamilton
Freya and Mark Ivener
Joanne C. Kozberg
Stewart and Grace Krakover
Anita Lorber
Cynthia McGranahan and Lyle Dawn
Cookie Miller
Patricia and John Nickoll
Sharla Ortega
Paul Rosen, in honor of Ron Rosen
Brandi Roth and Bruce Clemens
Ronald S. Smith
Anne-Marie Spataru
Jan and Edward Woods
In Memoriam
* Multi-year Commitment
The Wallis Arrives
COMPREHENSIVE CAMPAIGN
The following listing recognizes donors who have made pledges of $100,000 or more to The Wallis Arrives, an ongoing campaign to raise $55 million dollars for The Wallis. We are grateful for the exceptional generosity of these donors, whose gifts beyond their annual support help ensure the future of The Wallis.
The following list recognizes gifts received as of October 24, 2025. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions.
DIAMOND ANGELS
($5,000,000 and above)
Annenberg Foundation
Luanne C. Wells
PLATINUM ANGELS
($1,000,000 – $4,999,999)
Wallis Annenberg Legacy Foundation
Gregory Annenberg Weingarten and Regina Weingarten / GRoW @ Annenberg
Sandra Barros Lowy and Peter Lowy
GOLD ANGELS
($500,000 – $999,999)
Steve M. Cochran Memorial Fund
Bram and Elaine Goldsmith Trust
The Peggy and Walter Grauman Fellowship in Classical Music
Michael and Meeghan Nemeroff
SILVER ANGELS
($250,000 – $499,999)
Pamela and Dennis Beck
The Rosalinde and Arthur Gilbert Foundation
Stacey and Donald Kivowitz
Cathy and Mark Louchheim
Daphna Nazarian
Susan Strauss
Stephanie and Leon Vahn
Jonathan A. Victor
May and Richard Ziman
DIAMOND CIRCLE
($100,000 – $249,999)
Thomas Blumenthal
Stephanie and Howard Sherwood
In Memoriam
LegacyGifts
The Wallis is grateful to the following supporters whose legacy gifts through their estate help ensure and enrich future programming and operations.
The following listing recognizes donors whose Legacy Gifts of $25,000 and above to The Wallis provide continuous longterm support.
The following list recognizes gifts received as of July 31, 2025. Every effort has been made to ensure the accuracy of this listing. However, we apologize for any inadvertent errors or omissions.
DIAMOND ANGELS
Luanne C. Wells
PLATINUM ANGELS
Burton E. Green Fund
Richard Rosenzweig and
Judith Henning Trust
Janet and Maxwell
Hillary Salter
GOLD ANGELS
Steven D. Cochran
Memor ial Fund
The Peggy and Walter Grauman Fellowship in Classical Music
Bram and Elaine Goldsmith Trust
DIAMOND CIRCLE
David Martin Finkelstein Trust
Paul Selwyn Memorial Fund
GOLD CIRCLE Anonymous
In Memoriam
INSTITUTIONAL PARTNERS
Special thanks to our corporate, foundation, government, and in-kind supporters whose generosity helps sustain The Wallis’s operations.
$5,000,000 & ABOVE
Annenberg Foundation*
$1,000,000 – $4,999,999
GRoW @ Annenberg
Gregory Annenberg
Weingarten and Regina Weingarten*
Wallis Annenberg
L egacy Foundation
Perenchio Foundation
$25,000+
Colburn Foundation
Dwight Stuart Youth Fund East West Bank
Edgewater Funds
Farhang Foundation
GEARY’S
Neiman Marcus
Ralph M. Parsons Foundation
South Coast Plaza
The Ahmanson Foundation
The Rosalinde and Ar thur Gilbert Foundation
The Leon Lowenstein Foundation Inc.
UP TO $24,999
Actors’ Equity Foundation, Inc.
Beverly Hills Rotary
Community Foundation
City of Beverly Hills
City National Bank
Friars Charitable Foundation
Los Angeles County Dept. of Ar ts and Culture
Total Wine & More
Walt Disney Company
Char itable Giving (Matching)
360 Group International, Inc
CONTRIBUTED GOODS AND SERVICES andSons Chocolates
Meridith Baer Home
Mitchell Silberberg & Knupp LLP
Moet Hennessy
Steinway & Sons Beverly Hills
Viking Cruises
THE WALLIS STAFF
SENIOR LEADERSHIP TEAM
Christine Bernardi Weil
INTERIM MANAGING DIRECTOR
Coy Middlebrook ACTING CHIEF PROGRAMMING OFFICER
Lynne Bolen CHIEF FINANCIAL OFFICER
Samantha Else DIRECTOR OF PRODUCTION
Erin Mahan
DIRECTOR OF HUMAN RESOURCES
Dawn Robinson-Patrick DIRECTOR OF PROGRAMMING
Kurt Swanson INTERIM DIRECTOR OF DEVELOPMENT
David Truly DIRECTOR OF SPECIAL PROJECTS
Michelle Wiesel GENERAL MANAGER
ARTISTIC
Misha Riley
Benina Stern PROGRAMMING MANAGERS
Joyce Maddox COMPANY MANAGER
DEVELOPMENT
Jody Price
ASSOCIATE DIRECTOR OF DEVELOPMENT
Loren Hayes INSTITUTIONAL GIVING COORDINATOR
Molly Lasher INDIVIDUAL GIVING ASSISTANT
Tess Rosenthal DEVELOPMENT ASSISTANT
MARKETING
Hannah Burnett
MARKETING & COMMUNICATIONS OFFICER
Imani Rose Smith
DIGITAL MARKETING COORDINATOR AKA
MARKETING/ADVERTISING CONSULTANTS
Davidson & Choy PR PUBLIC RELATIONS CONSULTANT
Studio Fuse GRAPHIC DESIGN
EDUCATION
/ GRoW @ THE WALLIS
Debra Pasquerette DIRECTOR OF CREATIVE AGING PROGRAMS
Pat Taylor INTERIM EDUCATION MANAGER
Charleen Molina EDUCATION PROGRAMS REGISTRAR
Sharena De Rouen EDUCATION PROGRAMS COORDINATOR
PRODUCTION
Art Riddle TECHNICAL DIRECTOR
Corey McCarey PRODUCTION MANAGER
Kayli Kimerer ASSISTANT PRODUCTION MANAGER
Joshua Shelden ASSISTANT TECHNICAL DIRECTOR
Lauren Wemischner LIGHTING SUPERVISOR
Jose Miguel Cortes
AUDIO VIDEO SUPERVISOR
Josemanuel Fraire AUDIO VIDEO COORDINATOR
Joseph Skowronski LIGHTING COORDINATOR
FIN ANCE & ADMINISTRATION
Matt Hatashita
ACCOUNTING MANAGER
Ikponmwosa Gaius-Obaseki FINANCE ASSOCIATE
FACILITIES
Roland Henriquez FACILITIES MANAGER
Peter Gapuzan FACILITIES MAINTENANCE TECHNICIAN
HUMAN RESOURCES
Connor Thompson HR GENERALIST
TICKET SERVICES
Tori Long
ASSISTANT TICKET SERVICES MANAGER
Claire Doucet
TICKET OPERATIONS SPECIALIST
Garrett Buss
TICKET OPERATIONS COORDINATOR
Eric Latham
VIP PATRON SERVICES ASSOCIATE
Timm Carney
Joelle Joyner-Wong TICKET SERVICES ASSOCIATES
FRONT OF HOUSE
Bryan Puckett
AUDIENCE SERVICES MANAGER
Natalia Benesz
Maile Raventos
Pia Shekerjian
HOUSE SUPERVISERS
GRAND HALL GREETERS
Jordan Castillo
Ruby Layne
Laura Long
Nathan Neuwirth
USHERS
Marissa Briones
Abigail Carver
Rae Cavoto
Jacqui Creekmore
Kai Dorsey
Marcus Escobar
Mark Fernandes
Teresa Estrada
Alex Friedemann
Kevyn Garcia
Nick Geracie
Zachary Goldsmith
Aislinn Hein
Mary Leveridge
Joely Loucks
Elaina Marino
Katie Nash
James Poulin
Stella Smith
Kelly Syers
Adam Taubenslag
Aeryn Williams
Willa Witkoski-Fields
HOST YOUR NEXT UNFORGETTABLE EVENT AT THE WALLIS
From red carpet premieres to private soirées, the Wallis Annenberg Center for the Performing Arts offers a stunning blend of classic elegance and modern sophistication—right in the heart of Beverly Hills. With versatile indoor and outdoor spaces, state-of-the-art amenities, and an expert events team, The Wallis is the perfect venue for galas, film shoots, corporate gatherings, and more.
Whether you're planning an intimate reception or a grand production, elevate your event with the timeless charm and cultural prestige of The Wallis.
Restaurateur, Redefined
Former restaurateur Fran Berger has created a personal label for home entertaining while curating distinctive products from other talented designers and craftspeople. by ROGER GRODY
FRAN BERGER KNOWS a thing or two about entertaining. The consummate hostess and veteran restaurateur—she founded and operated The Farm of Beverly Hills for more than 20 years—specializes in an approachable sophistication. Parlaying her brand beyond the dining scene, Berger has emerged as a luxury lifestyle designer, consultant, entrepreneur, author and television personality.
The longtime Angeleno has now
applied her entertaining expertise to the creation of an exclusive marketplace that showcases products she designed alongside a globally sourced selection of artisanal items.
“During my 20 years in the restaurant business, I witnessed the importance of friends and family gathering around the table,” explains Berger. “For me, underscoring the value of gathering, everything happens around the table—even if that table is a park bench.”
Erstwhile restaurateur Fran Berger and, top, her festive alfresco place settings.
Nestled in the heart of Pasadena’s walkable Playhouse Village neighborhood, Brantwood offers well-appointed private residences in a unique and tranquil setting, with community events and programs for the culturally minded.
For more information visit brantwood.com or call (626) 639-8900
“I describe my style as ‘traditional with an edge,’ ” says Berger. “I don’t object to modernism but I love the sensuality of the curve.” She feels it is essential to bring a thoughtfulness to the design of everyday objects. “Any vessel holds a liquid, but how it looks, how it fits your hands and how it feels on your lips can elevate the ordinary to the extraordinary.”
Berger designed her crystal stemware collection—handblown by Czech Republic artisans—with graceful curves, elegantly thin edges and oversized bowls. The red wine glass can hold an entire bottle of wine. “If your doctor says you can only have one glass, this is your answer,” Berger quips.
The Starling bar cart, fashioned
from nickel-finished brass, is a nostalgic design. “A bar is the ultimate home entertainment space, but not everybody has room for one,” says Berger. This cart is an elegant intersection of form and function: Mirrored glass shelves, refined sixspoke wheels and slender casters contribute to exceptional functionality and timeless aesthetic.
Artisanal caviar producer Regiis Ova, co-founded by celebrity chef Thomas Keller, has collaborated with Fran Berger on exquisitely packaged caviar selections. Elegant privatelabel caviar arrives in handsome gift boxes accompanied by a caviar tin opener and mother-of-pearl spoon.
That product can be paired with one of Berger’s Opal caviar ice bowls, crafted by a Northern California glass artist. “Caviar service is typically a precious ritual involving silver and crystal,” she says. “These bowls are affordably priced and
Caviar service and, above, the Starling bar cart
The Music Center Foundation was established in 1973 by Dorothy Bu um Chandler to provide endowment support to The Music Center, its educational activities, dance programs, and its four Resident Companies: Center Theatre Group, LA Master Chorale, LA Opera, and LA Phil.
By making a gift through the Foundation, you can support performances that thread our community together.
To learn more about how to leave a lasting legacy with the Music Center Foundation, contact Justin Marsh: 213-972-8046, jmarsh@musiccenterfoundation.org
For more information on the Music Center Foundation musiccenterfoundation.org
Center Theatre Group Student Matinee; photo by Cristina Burgos
can even go in your dishwasher.”
Porcelain Sip of Gold champagne cups combine traditional craftsmanship with modern aesthetics.
“I’m a very serious bubbly girl, so the first thing I designed in my stemware collection was a champagne flute,” says Berger. “You don’t think of drinking champagne from a cup, but this is an example of elevating an ordinary vessel to something extraordinary.”
The Champagne cups’ rims and interior surfaces are delicately finished in glistening 24-karat gold that brings additional
elegance to their playful black-and-white patterns. A crystal flute may be timeless but these cups are a compelling alternative: When filled with
champagne they provide the illusion of liquid gold.
“The gold adds a luminescence to the champagne,” Berger points out, yet another example
Approachable sophistication, a Berger trademark
of her approachable sophistication.
Fran Berger franberger.com instagram.com/franberger
Los Angeles Jewish Health...Energizing Senior Life!
At nonprofit Los Angeles Jewish Health, it’s our award-winning care that sets us apart.
We meet seniors where they are in life, with a focus on mind, body, and spirit.
Our comprehensive selection of programs, services, and living options include:
SEOUL FOOD
New Hojokban elevates the South Korean street fare known as pochas. by JENN TANAKA
IT’S A RAINY evening in downtown Los Angeles. We ask our server for advice. She suggests her favorite dish, perilla noodles. Chilled noodles on a cold night? We order them. The buckwheat noodles, swirled with jalapeño slices and a seaweed chiffonade, are fantastic— simple, refined, balanced.
The dish exemplifies how the cooks at Hojokban, new in the Arts District, have re-envisioned
pocha-style street food and South Korean comfort food.
The restaurant’s name is inspired by a small Korean dining table whose legs are carved to resemble a tiger, traditionally reserved for special gatherings. Hojokban has locations in Seoul and New York.
“Hojokban may not always be entirely traditional, but it is always authentic,” says Einstein Park, director of operations, “a reflection
of how Korean cuisine continues to evolve in a modern context…. Classic flavors with playful twists.”
Salmon ssambap suggests an oceanic jewel box. It brims with cubes of orange-pink salmon mixed with a fermented-soybean-paste, slabs of fresh uni and a generous scoop of caviar. A vibrant Korean
PHOTOS DIANE KANG
The fare at Hojokban and, below, its beef tartare.
2026/27
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FRANCESCO CORTI
beef tartare in a sesamesoy dressing arrives with thin lotus root chips.
Korean bar food is an inspiration.
Crispy shredded potatoes mimic a crunchy hash brown; the savory pancake is finished with a snowy mound of micro-planed Parmigiano
and drizzled with black truffle aioli. Honey-fried chicken sounds like latenight takeout but comes dotted with pumpkin seeds and chilies.
Virtually everyone orders the showstopping hojok galbi, tender soyglazed beef short ribs decorated with red Fresno
chile slices and crushed roasted peanuts. The meat is sliced off the bone and plated with the Flintstonesized rib beneath.
The ramyeon fried rice is also hugely popular. It’s no secret that spicy South Korean instant noodles are among the key ingredients; the bacon-
laden rice is playfully plated with the container.
To fully appreciate Hojokban, it helps to understand pochas.
At night, the streets of Seoul spring to life as street vendors set up shop under colorful tarpaulins. One moment, salaried workers are strolling out
Clockwise: the Hojokban dining room; hojok galbi short ribs with Fresno chilis and peanuts; and salmon ssambap
of offices, the next the sidewalks are lined with charcoal grills, tanks filled with fresh seafood, and patrons enjoying soju shots. The scene begins at dusk and vanishes by the morning commute.
The vendors are called pocha or pojangmacha. They inspired the HAND Hospitality restaurant group to launch Hojokban, one of 20 concepts that also include Atoboy, Jua and boutique dessert shop Lysée in Manhattan. Next door in L.A., sibling concept Cafe Knotted— huge in Korea, with 40 locations—sells creamand custard-filled donuts.
At Hojokban, the meal finishes with a complimentary treat: Melona gelato bars.
Hojokban
734 E. 3rd St., downtown 213.785.3400, hojokban.com
FEATURE
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Enter the new Meg, now 60, equally amorous but a woman who’s lived a full life and runs Brockie’s Tavern, where an authentic Celtic band in Pasadena will accompany Meg’s two standout songs.
“She not only serves drinks and food, but she’s the keeper of the Scottish culture. She’s the keeper of the Scots’ Gaelic language. She is the keeper of the music,” Silber says.
“That is absolutely the role a woman then would have served.”
Another overhaul is the character of Mr. Lundie, the village historian and keeper of Brigadoon’s magical secret. In the new version, it’s Widow Lundie, played here by Tony-winner Tyne Daly.
The reimagining, Silber says, “allows the role to align more truthfully with the lived realities of 18th-century Scottish communities, where women—particularly widows—often functioned as the quiet keepers of cultural memory, moral authority, and informal education.
David Henry Hwang
“By making Lundie a widow, the role gains a fully lived relationship to loss, endurance, and continuity—she is not simply explaining Brigadoon’s miracle, she has paid the price of it.”
Silber’s own story makes her well-situated for the ”Brigadoon” update. She played the role of Hodel in the 2015 revival of another classic musical, “Fiddler on the Roof” on both Broadway and the West End. Since Hodel disappears for the show’s last 45 minutes, Silber used that free time to write. She’s authored books and translated Greek tragedies, which she says in its way is also adapting a classic work.
Personally, she’s suffered great loss, as does one of the characters in her revamped “Brigadoon.” When Silber was 9, her beloved father was diagnosed with cancer. He died when she was 18, soon after Sept. 11. After a great deal of mourning and introspection, Silber moved across the Atlantic to study at the Royal Conservatoire
Alexandra Silber
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FEATURE of Scotland, where she remains involved.
“The decision I made is relevant to ‘Brigadoon.’ If I’d remained close to home, I think I would’ve collapsed on myself.”
For Hwang, his “Flower Drum Song” is something of a gift to a theater that has meant much to him; East West Players is celebrating its 60th season.
He mentions how his mother was a pianist for a show in the theater’s second season. Ten-yearold David was given the choice to go to rehearsal with his mother or be babysat by his aunt. He went to the rehearsal.
“I think it’s significant in retrospect that at an early age I saw people who looked like me as actors and directors and artistic administrators. Maybe that made it more possible when I got to college for me to envision myself as a playwright,” he says.
Hwang wrote his semi-autobiographical “Yellow Face” at the suggestion of the company’s then-artistic director, Tim Dang.
The venue features the David Henry Hwang Writer’s Institute, billed as the most active Asian Pacific American playwright development plan.
“What better place in the country to do ‘Flower Drum Song’ than East West Players?” Hwang reflects.
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