November 9, 10, 14-17, 2013Claire Trevor Theatre

Claire Trevor School of the ArtsUniversity of California, Irvine

preSenTS

Book by Alex Timbers

Music & Lyrics by Michael Friedman

Myrona DeLaney, Director/Choreographer

UCIrvine Drama Theatre Guild

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Lorna & Robert Cohen, Honorary Producers

Present

November 9, 10, 14-17, 2013Claire Trevor Theatre

Claire Trevor School of the ArtsUniversity of California, Irvine

ANDY BROOMELL Scenic Designer KRISTIN NEU Lighting Designer KAITLYN KAUFMAN Costume Designer MATT GLENN Sound Designer ANNE L. HITT Stage Manager MARIA PATRICE AMON LETICIA C. GARCIA DENNIS CASTELLANO Music Director

MYRONA DELANEYDirector/Choreographer

Audience Advisory: Subject matter may not be suitable for all audiences.

Dramaturgs

Due to a lapse in funding, the U.S. federal government has shut down.Call 1-800-FED-INFO for answers to government questions.

Really? In 2009 came the Tea partiers. They detested all things big: big government, big business, big national debt, and big taxes. They expressed hostility toward the elite and outrage that the government has come to the aid of Wall Street while ignoring the plight of Main Street. “America is ready for another revolution.”

In 2011, the Occupy Wall Street movement converted lower Manhattan into a political stage. This youth-powered group of activists was concerned about growing income inequality, corporate greed and the global influence of powerful financial institutions. They took their concern to the streets across America. “We are the 99%.”

The people rallied, giving voice to their disgust with the current state of affairs in our country.

Ah…History does repeat itself: It is the early 1800s. America is restless – an adolescent country unsure of its place in the world.

enter Andrew Jackson, a frontiersman and war hero from Tennessee, a troubled and controversial man with a larger-than-life personality. This self-made man would take on the status quo and win the peoples’ love.

Thus began the Age of Jackson. During his presidency, Jackson used his executive power to defund America’s national bank, settle the tariff crisis that threatened the viability of the union, and create the Indian removal Act, forcing native Americans to lands west of the Mississippi. He vetoed more bills than he passed and received an official censure by the United States Senate. Jackson was a man of the people, but made his own road.

Today the government is voting to reopen – get back to work. Good for them. But the people are alienated. We are stretched thin. We are weary of the in-fighting, drained by taxation, and exasperated by our leaders. But We are the people. We can make a change.

“It is from within, among yourselves – from cupidity, from corruption, from disappointed ambition and inordinate thirst for power – that factions will be formed and liberty endangered. It is against such designs, whatever disguise the actors may assume, that you have especially to guard yourselves.

“But you must remember, my fellow citizens, that eternal vigilance by the people is the price of liberty, and that you must pay the price if you wish to secure the blessing.” – Andrew Jackson

Myrona DeLaneyDirector/Choreographer

DIRECTOR'S NOTE

Bloody Bloody Andrew Jackson reframes our 7th president as a rock star. This rock musical, with music and lyric by Michael Friedman and book by Alex Timbers, creates a parallel between the prototypical rise of a rock and roll star and Andrew Jackson’s rise to national politics. Jackson was a Washington outsider whose brash and rebellious political style upset the traditionalist politicians. Friedman and Timbers first workshopped and staged Bloody Bloody Andrew Jackson with Les Freres Corbusier, a new York Theatre company founded by Timbers. The group reworks historical figures and events in new, ironized, or irreverent contexts. The 2010 off-Broadway production was recognized with the 2010 Drama Desk Award for Outstanding Book of a Musical and went to play on Broadway and received multiple Tony Award nominations.

The effect of situating the respected historical narrative of the U.S. presidency into a world of aggressive music is to create a space to question the events of the past and to realize the lasting legacies we live today.

The distance of time creates a sense in which historical events function as detached facts of life. Friedman and Timbers’s play intentionally juxtaposes the historically venerated with the contemporary profane in order to make us, as an audience, realize our complicity in lasting inequities.

The intentional irreverence of Bloody Bloody Andrew Jackson sets iconic moments from American history in the frame of contemporary pop culture. In the show, members of the political elite speak like “valley girls” – they curse obscenely, they eat Twinkies, and they squabble like petty children fighting over a television remote control. This mockery pulls political figures like Henry Clay and John Quincy Adams down from the elevation that historical distance creates, and this forces us to reconcile their actions within our contemporary social expectations.

Fittingly, Bloody Bloody Andrew Jackson opens the Claire Trevor School of the Arts’ Drama Department season, which focuses on themes of justice. Jackson claimed injustice after his first bid for president was lost in a backroom deal among the political elite despite Jackson having won the popular vote. As a president, Andrew Jackson’s legacy includes the Indian removal Act and the Trail of Tears, in which an estimated 4,000 people died. Questions of access to justice surrounded Jackson’s presidency and form the central focus of the show.

Bloody Bloody Andrew Jackson is a dream project for a dramaturg. Dramaturgs often work like archeologists searching to uncover and expand historical and cultural issues found in the words of the playwright and lyricist. Dramaturgs bring the actors and the design team articles, videos, and discussions on the political, historical, and social world of the play.

DRAMATURG NOTES

Within the show, a growing pattern of contemporary television references reach a peak in the final scenes of the play in which former-president Jackson speaks at a college graduation. Using television references to tell the story of Jackson post-presidency operates as a sort of incursion of the present onto the past. The contrast of his historicized speech against the contemporary medium of television creates a seeping of time across boundary lines. Television is a medium of the masses; it is broadcast across the nation and the world, thus breaking down boundaries in a populist means in much the same manner touted by Jackson himself.

each of the pop culture references in Bloody Bloody Andrew Jackson returns to a thematic question deftly presented in director Myrona DeLaney’s production: where do the people find justice? This musical is thematically centralized on Jackson’s fight for and admittance into the Ivory Tower of federal power. As a westerner and a self-made man, Jackson was an outsider to the established patterns of power transmission and social circles of the Washington elite. Bloody Bloody Andrew Jackson creates a narrative of forced admittance in which Jackson leverages the “mass-ness” of the American people to create his space of entry; through turning to the expanding middle class of land-owning men Jackson harnessed the popular vote and won the presidency in his second attempt.

Jackson’s fight to expand closed power structures was a fight to secure justice for himself. Yet he presented himself as “the people’s president,” as the man who won the popular vote and had the will of the masses behind him. Therefore, the question of justice must expand beyond the man to the people. In the show, the line “I am Andrew Jackson” is repeated frequently; as the characters each claim ownership of the identity, we, as audience, are also called to become Andrew Jackson. Across the blurred lines of history Bloody Bloody Andrew Jackson positions Andrew Jackson as a man who was and is both hero and villain, both individual and part of the masses, both searching for and responsible for justice.

Maria Patrice Amon, 6th year phD CandidateLeticia C. Garcia, 2nd year phD StudentDramaturgs

Friedman and Timbers’s script and lyrics constantly position the sacred and profane to create juxtapositions that serve to illuminate the theme of justice. As dramaturgs, we had the opportunity to tease out these connections for the creative team behind Bloody Bloody Andrew Jackson.

For example, the first page of the Bloody Bloody Andrew Jackson script features this image of the title.

The image is a visual homage to the 1970s rock and roll band AC/DC. The lightning bolt in between the letters was designed by Gerard Huerta in 1977 for the band's album Let There Be Rock. Bloody Bloody Andrew Jackson’s use of the iconic typography demonstrates the importance of the presence of the rock and roll aesthetic and provides a subtle indication of intent to recast history in an irreverent new context. Further, Huerta’s lettering style was based on the Gutenberg’s Bible typeface, and Jackson was the first president to effectively use the printing press to spread his populist message in his presidential campaigns. no doubt, if

Jackson were to run for office today he would be a proponent of the widespread use of new media including popularly accessible forms of social media.

The marketing design for the Broadway show continues this pattern of homage to iconic rock imagery through its reference of Annie Leibovitz’s cover image of Bruce Springsteen’s album Born in the USA. The visual parallels serve to emphasize the connection between historical figures and contemporary culture through intentional irreverence. This album’s strong commercial popularity and lyrical support for the common man’s struggle to achieve the American dream is a fitting match to Bloody Bloody Andrew Jackson.

CAST Andrew Jackson Connor Bond rachel Jackson Marlena Mack Martin Van Buren Anthony Simone John C. Calhoun Morgan Hollingsworth Henry Clay Zak Houston James Monroe Josh Odsess-Rubin* John Quincy Adams Derrick Gaffney narrator Hayley Palmer University president/Violin Bree Murphy Lyncoya Bryce Vaewsorn Man #1 Anthony Chan Man #2 Anthony Cloyd Man #3/ Black Fox Joey Abrego Woman #1 Bree Murphy Woman #2 Lindsey Iversen Woman #3 Catherine Nickerson Woman #4 Emma DeLaney Female Soloist Amanda Melhuish Band Leader/Guitar Cait Scott rock Star/Guitar Ryan Schwalm piano Dennis Castellano Bass Jerry Motto Drums Louis Allee

LIST OF SONGS Populism, Yea, Yea! Company I’m Not That Guy Andrew Jackson Illness As Metaphor Andrew Jackson, rachel & Band Leader I’m So That Guy Andrew Jackson & Company Ten Little Indians Female Soloist & Female ensemble The Corrupt Bargain Female ensemble, John C. Calhoun, John Quincy Adams & Henry Clay Rock Star Male Soloist, Band Leader, Andrew Jackson & Company The Great Compromise rachel & Company Public Life Andrew Jackson & Company Crisis Averted Jackson, Van Buren, Band Leader & Company The Saddest Song Andrew Jackson & Company Second Nature Band Leader The Hunters of Kentucky Company

Settings: early 19th Century…Tennessee, Across the U.S., The White House* Appears courtesy of Actors' Equity Association

BLOODY BLOODY ANDREW JACKSON ARTISTIC STAFF Department Chair & Artistic Director Daniel Gary Busby Vice Chair & Associate producer Don Hill Scenic Design Mentor Cliff Faulkner Costume Design Mentor Holly poe Durbin Lighting Design Mentor Jaymi Lee Smith Sound Design Mentor Vincent Olivieri Assistant Stage Managers Sammy Brown, erik Smith Dance Captain Lindsay Iversen production Assistants Jamie eby, Jessica Cunha Scenic Charge Artist David phillips Scenic Design Assistant Vannessa Fusi Lighting Design Assistant naomie Winch Sound Design Assistant Matthew eckstein Master electrician Stacie Marie O’Hara Costume Design Assistant Leslie Stamoolis Sound Mix engineer Kelsi Halverson CLAIRE TREVOR SCHOOL OF THE ARTS PRODUCTION STAFF production Manager/Technical Director Keith Bangs Assistant production Manager Shannon Bicknell Scene Shop Foreman Joe Forehand Master Carpenter Jeff Stube properties Supervisor pamela Marsden Costume Shop Manager Julie Keen Sr. Wardrobe Technicians erik Lawrence, Yen Trang Le Lighting Supervisor ron Cargile Sound Supervisor B.C. Keller Sr. Director of Marketing and Communications Lesly Martin Director of Space planning and Facilities Toby Weiner Box Office Manager David Walker

Audio CrewChristopher renfro, Aki Adabale, Oscar Manzo, Geneva Cannady,

Taylor Sanders

Costume CrewShelby eser, Jamie elster,

Haesol Seo, Sarah McGuire, rachel Williams

Scenic CrewBreanna Stewart, Claudia Lynch,

Jennifer Jones, robert Born

Guest Costume Crafts ArtisanDianne K. Graebner

Lighting Hang Crewromana Janoskova, Kayla Holford,

Dan Gold, Adam Williams

Lighting Run CrewKyle Swatzel, Gabri Smith, Michelle O'Brien,

Kaley Milligan, Jeremy Woodbeck, robert rancano

BLOODY BLOODY ANDREW JACKSON RUNNING CREW

The Claire Trevor School of the Arts would like to thank our supporters for their gifts of $500 to $100,000 during the past

academic year. A complete list of all our contributors can be found in the performance programs distributed at the majority of our

plays and concerts. We thank you all for your generosity!

Thank You!

If you would like to support the Claire Trevor School of the Arts, a specific program, or a particular academic department,

please contact our Development Officer at (949) 824-8750.

$25,000 – $99,000 Microsemi Corporation Anonymous John Ballantyne Beall Family Foundation/ Don and Joan Beall Leo Freedman Foundation William Gillespie Estate of Gunther Holland The Nicholas Endowment Dr. Nancy L. Ruyter Dr. H. Colin Slim

$10,000 – $24,999 The Boeing Company Sandra and Kenneth Tokita Arlene Vidor

$5,000 – $9,999 Diane and Dennis Baker France and Richard Campbell Paul Campbell Randy Garcia / The Investment Counsel Company Laguna Dance Festival Katie and Jim Loss Sheila and James J. Peterson Michelle Rohe

$1,000 – $4,999 Linda and Michael Arias Bingham McCutchen LLP Carol and Eugene Choi Ralph and Carol Clayman Community Foundation of the Jewish

Federation of Orange County Cynthia Corley Edward M. Parr Trust Janet and Henry Eggers Patricia and Michael Fitzgerald Suzanne and Michael Fromkin Monica and Kenneth Glandt Mary and John Graham Susan Hori Melinda and Joseph Huszti Laura Karam-Alfieri and Joseph Alfieri Carole and Edward Kim Barbara Klein Koba Tofu Grill Alexandra and Stephen Layton Phuong Luong and Joseph Lewis Doreen Marshall Toni Martinovich Rachel and Anthony Maus Vivian and Jim McCluney Darrellyn and David Melilli Orange County Community Foundation Cheryll and Richard Ruszat Marcia and Robert Ruth Audrey Schneiderman

Nina Scolnik and Louis Jack Segerstrom Center for the Arts Janice and Ted Smith Elizabeth and John Stahr Alison and Richard Stein Swanderful Music, Inc. Target Stores Elizabeth and Thomas Tierney Kathryn Vary Frost and Daniel Frost Sophia and Hemantha Wickramasinghe Laura Woodman and Garrett Sanderson

$500 – $999 Jean Aldrich Rudi Berkelhamer and Albert Bennett Christopher Blank Sharon Braun and Brian Thompson The Donald Bren Foundation Estate of Claire Trevor Bren Meredith Cheston Christopher L. Blank Attorney at Law, PC Gianna Drake-Kerrison and Demetrio Kerrison David Emmes Elizabeth and James Emmi Kathryn and Philip Friedel Geffen Playhouse Anne Gilbert Reginald Gilyard Colleen and James Hartley Lisa and George Harvey David Israelsky

Patricia and Kenneth Janda Cathy Kim and Matthew Kelly Yong and Moon Kim Roger Kirwan Sabrina LaRocca and Eli Simon Bettina and Willard Loomis Gail and James Lopes Daryn Mack Alexei Maradudin Peggy Maradudin Deborah and Jeffrey Margolis Sally and Jackson McManus Jacqueline and John Miles Sayoko Mizuno Molly White Trust Gail Polack and Sandra Rushing Susan Powers Nira Kozak Roston R. H. Rothberg Jo Anne and Robert Simon Toni and Hank Sobel Lorelei Tanji Molly and Vance White

2013-2014 SEASON-AT-A-GLANCEOCTOBEROct. 3 – nov. 27* The Symbolic Landscape:

pictures Beyond picturesque

Oct. 3 – nov. 27* A Twice Lived Fragment of Time

Oct. 3 – Jan. 25* Sight & Sound

Oct. 8* Lecture / Motherwell’s Mother:

An Iconography in Abstraction

Oct. 9* Lecture /The Ineffable, the

Unspeakable, and the

Inspirational: A Grammar

Oct. 10-12 Far-Flung follows function

Oct. 15* Lecture / The nature Theatre:

Art and politics

Oct. 16* Lecture / Desire Lines in the Mind

Oct. 17* Gassmann electronic Music

Series /Juicy

Oct. 19 Malcolm Bilson and Cecilia Sun

in Concert

Oct. 21*, 28* Asian Horror Film Festival

Oct. 25-27* Dance Conversations II:

Theatres in Dance

NOVEMBERnov. 2* Beall Center Family Day

nov. 2 Alan Terricciano and André

Gribou in Concert

nov. 7* CTSA Campus Open House

nov. 9 UCI Symphony Orchestra Concert

nov. 9, 10, 14-17 Bloody Bloody Andrew Jackson

nov. 13* noon Showcase Concert

nov. 19* Wind ensemble Concert

nov. 20* UCI Small Groups Concert

nov. 22, 23 Mandoria Awakening: 2

nov. 23-26, 30,

Dec. 1 A Christmas Carol

DECEMBERDec. 4* UCI Guitar ensemble noon

Concert

Dec. 4 Trio Céleste Concert

Dec. 5-7 new Slate

Dec. 6* Art Song and Artistry Series /

Wagner at 200

JANUARY 2014Jan. 9 – Feb. 8* Critical Curatorial Series

Jan. 9 – Mar. 15* A Solo exhibition by

Yoshua Okón

Jan. 9 – Mar. 15* A Solo exhibition of Work by

Victoria Fu

Jan. 15* Gassmann electronic Music

Series / Synthesizers Live!

Jan. 25, 26, 30, 31,

Feb. 1, 2 Angels In America

FEBRUARYFeb. 6 – May 1* Wall of Sound: new Work

by Zimoun

Feb. 7, 8 Kei Akagi & Friends in Concert

Feb. 12-16 Dance Visions 2014

Feb. 14 20th Annual Valentine’s

Day Celebration

Feb. 19* noon Showcase Concert

Feb. 21* Art Song and Artistry Series /

ABCs of Song

Feb. 21 – Mar. 16* Second Year MFA review

Feb. 25* Wind ensemble Concert

Feb. 26* UCI Small Groups Concert

MARCHMar. 1 UCI Symphony Orchestra

Concert

Mar. 8* Bernard Gilmore Memorial

Concert

Mar. 8, 9, 11-16 The Trial Of Dedan Kimathi

Mar. 9 UCI Choir Concert

Mar. 10 Claire Trevor Star Celebration

Honoring Joan and Don Beall

Mar. 13* Drama, Law and Justice: The

Making of The Trial of

Dedan Kimathi

Mar. 15 Mari Akagi & Kei Akagi in

Concert

APRILApr. 3-19* Tenth Annual Guest Juried

Undergraduate exhibition

Apr. 3-19* Undergraduate Honors project

Apr. 4* Spatia

Apr. 9* Bach’s Lunch

Apr. 12 Hossein Omoumi in Concert

Apr. 17-19 Dance escape

Apr. 19* Beall Center Family Day

Apr. 22-25* Virtual Venues:

The Distributed Body

Apr. 24 – May 2* MFA Thesis exhibition, part I

Apr. 25* Gassmann electronic Music

Series /Interactive

Instrumentation

Apr. 26 , 27, 29,

30, May 1-4 As You Like It

Apr. 30* UCI Guitar ensemble noon

Concert

MAY May 1-3 physical Graffiti

May 3 Lorna Griffitt & Friends in Concert

May 8-16* MFA Thesis exhibition, part II

May 14* noon Showcase Concert

May 14* Gassmann electronic Music

Series / ICIT Concert

May 18 Annual Honors Music Concert

May 20* Wind ensemble Concert

May 21* UCI Small Groups Concert

May 22-30* MFA Thesis exhibition, part III

May 23* Art Song and Artistry Series /

A Celebration of Women in Song

May 24 Sing of Spring

May 31, Jun. 1,

3-7 nickel Mines

JUNEJun. 2 Happy Days

Jun. 2 Trio Céleste Concert

Jun. 6 UCI Symphony Orchestra Concert

To purchase tickets by

phone: Arts Box Office

(949) 824-2787; Online:

www.arts.uci.edu/tickets

Honorary ProducersRobert & Lorna Cohen, Patricia & Mike Fitzgerald, Suzanne & Mike Fromkin, Vice Provost Herb Killackey,

Stephen & Alexandra Layton, Jim & Katie Loss, Toni Martinovich, Richard & Cheryll Ruszat

Benefactors – $1000+Joseph & Laura Alfieri, Daniel Gary Busby, Ralph & Carol Clayman, Ross Elbling & Cynthia Corley, Mary Gilly & John Graham,

Kenneth & Patricia Janda, Rachel & Tony Maus, Stephanie Cady Mister, Ed Parr, Marcia & Robert Ruth,Thomas & Elizabeth Tierney, Kumar & Sophie Wickramasinghe

Patrons – $500+Michael & Linda Arias, Christopher Blank, Albert Bennett & Rudi Berkelhamer, David Emmes & Paula Tomei,

Daniel & Kathryn Frost, Anne Gilbert, James & Colleen Hartley, Ralph & Carol Clayman, Cam & Mandy Harvey, David Israelsky, Dr. Moon H. Kim, M.D., Sabrina La Rocca & Eli Simon, Gail & Jim Lopes, Daryn Mack, Peggy & Alex Maradudin,

Jack & Sally McManus, Darrellyn Melilli, Susan Powers, Nira Kozak Roston, Sandy Rushing & Gail Polack, Deborah Stansbury Sunday, Lorelei Tanji, Brian Thompson & Shari Braun, Molly White

sPonsors – $250+Gina Adams, Rick & Angela Barker, Brooke Booth Ed.D., Ria Carlson & James Gerdts, Kate & Michael Clark,

Michael Flachmann, Philip & Katie Friedel, Joseph S. Lewis III, Willard & Bettina Loomis, Jack Miles, Mr. & Mrs. Mitsuhiko Nakano, Joshua & Lauren Murty, Patricia Price & Craig Behrens, Bryan Reynolds, Julia Lupton, Ryna H. Rothberg, Jo & Bob Simon,

The Stemler Family, Lorelei A. Tanji, Emilie L. Weir, Max & Marilyn Wolfsberg

affiliates – $100+Elizabeth Allen, Marilyn E. Armentrout, Anthony Battaglia, Kenneth Berner, Cliff & Lorie Briggs, Scott Brinkerhoff, Gary & Mindy

Chanan, Donald & Melanie Caspary (in Memory of Walter & Mary Hamel), Barbara & Herbert Cohen, Anne Colten, Karina & Steven Cramer, Caryn Desai, Sanjeev Dewan, Derek Dunn-Rankin & Katherine Martin, Jan & Murray Elbaum, Robert Farnsworth,

Rachel Gamby & Hugh Roberts, Valerie Glass, Dina Gray, Dr. Renee S. Harwick, Virginia Hayter, Karen & Jim Jackman, Kathleen Kam & Michael Russell, Judy Kaufman, Bobi Keenan, Michael & Elaine Kleinman, Larry & Ronna Lagin, Alice Lahtela, Martin

Langer, Sherry Linnell, Dr. & Mrs. Martin Litke (in Memory of Son Dr. David Litke), Laura Long, Mike & Emma Lubetkin, Rosa Luna, Paul Massatt, Lynn Massey & Keith Topper, Daniel & Sally Menzel, Eileen & Ray Merchant, Ricardo & Mela Miledi, Dr. Kivie & Rose Moldave, Dorene & Berj Moosekian, Laura O’Connor, Michael Oppenheim, Richard Pattie, James Pitts & Barbara Finlayson-Pitts, Judy, Jerry, Becky, & Annie Potter, Richard & Sterling Robinson, Gail & George Rothman, Debbie & Frank Rugani, Nancy Ruyter,

Jerry Scheer & Janet Jephcott Scheer, Margaret & Larry Schneider, Robert Schuppe, Margaret Segalla, Judy Shoemaker & Michael Poston, Stan & Deborah Silverstein, Hank & Toni Sobel, Rosemarie Swatez, Jeanne & Andrew Taylor, Barbara Thibodeau,

Mark Valdez, Roz & Elliot Vogelfanger, Michele & Irwin Walot, Sarah Whitten, Jay & Sandra Wilbur, Daniel Woods

associates – $50+Bernard Bendow, Borg-Sundstrom Family, Alyssa Boyle, Tony Crowell, Kathy Esfahani, Donna Fisher, Joan Herdrich, Don Hill,

Jimmy & Pie, Laura Long, Marcia Marlowe, Craig & Debra McIntosh, Tom & Barbara Moss, Arthur & Joan Nowick, Jone L. Pearce & David P. Lara, Michael & June Pilsitz, Briel Pomerantz, Corinne & Norman Rostoker, Alan & Anne Rubin, Sherie Senne, Tyler Seiple, Laura Simms, Hugh Stevenson & Jan Burns, Paula Sweet, Henry & Franca Stiepel, Kelson Vibber & Katherine Foreman

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Join now! new MeMBersHiPs start at $100.for coMPlete MeMBersHiP Benefits or to correct inaccurate or MissinG

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THEATRE GUILD 2013-2014

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BistangoLogo2004-BW.eps

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Converts to CMYK= C=0 - M=100 - Y=81 - K=10

“Combine the Culinary Arts with the Performing Arts”Written by Claire Trevor School of the Arts @ UC Irvine

Directed by Joseph S. Lewis III, Dean

Starring Bistango, Koba Tofu Grill & CyberA Café

SCENE ONEObtain tickets to a CTSA Dance, Drama or Music performance

through the Arts Box Office (949) 824-2787 or online at www.arts.uci.edu/tickets

SCENE TWOShow your tickets to your server at either

Bistango or Koba Tofu Grill.

INTERMISSIONEnjoy lunch or dinner the same day of the CTSA performance

and receive a special treat – on the house!*

SCENE THREEShow your paid restaurant receipt at the Arts Box Office

and receive a voucher for a free specialty coffee at the CyberA Café in the CTSA Arts Plaza.**

FINALEThoroughly enjoy the professional-level performance

by CTSA’s talented students and faculty.

Show your CTSA performance tickets at

CLAIRE TREVORSCHOOL of the ARTS

19100 Von Karman Ave., Irvine 92612 (949) 752-5999

*Receive a complimentary dessert

4501 Campus Dr., Irvine 92612(949) 725-0516

*Receive a complimentary dumpling appetizer

Show your paid restaurant receipt at the Arts Box Office & obtain a voucher

Arts Plaza, Claire Trevor School of the Arts @ UC Irvine(949) 824-9848

**Receive a complimentary specialty coffee