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In Gloria, playwright Branden Jacobs-Jenkins examines office culture at a large, New York-based magazine by focusing on a group of assistants and interns. The office gossip, the petty squabbles, the poorly concealed ambition, and the poisonous sense of privilege these millennials display is every bit as vicious as it is hilarious.

The discussion around the cubicles centers on a disastrous party thrown by the company’s least popular employee, Gloria. Dean (Michael Sturgis) is the only one of the group to have attended, and Ani (Alana Dietze) and Kendra (Jenny Soo) cackle in delight as they pull the uncomfortable details out of him. Realizing he was pretty much the only guest, Dean wound up spending his entire evening at the party.

The party is eclipsed the moment the news comes out that a pop diva is dead. While Ani and Kendra’s full-throated rendition of one of her hits isn’t enough to get a rise out their headphone-wearing intern, Miles (Devere Rogers), it does send Lorin (Steven Strobel), a highly-strung fact checker, scurrying across the hall in the hopes of ending the concert so he can get his work done on the diva’s obituary. Even Gloria (Jesicca Goldapple) makes several brief, but uncomfortably incomprehensible appearances.

Just when one is wondering whether there Is a point to all the banter and backstabbing, a shocking incident occurs which forcibly changes the focus and tone of the play. In the hands of a less-skilled playwright, such a galvanic shift could easily derail a production. But Jacobs-Jenkins, with help from Chris Fields’ skilfull and precise direction, manages the switch with grace.

Fields casts a remarkable ensemble featuring a number of Echo Theater veterans. The always watchable Dietze is quietly effective, while Soo relishes her opportunities and erupt in torrents of carefully crafted vitriol. Sturgis manages not to lose Dean’s humanity in the witty jeers and allows us to see the frightened boy lying just beneath the surface. Strobel, who seems unable to be anything but utterly endearing onstage, makes us laugh and empathize during his hysterical breakdown over workplace insensitivity, while his broken man in the second act is touchingly affecting.

Gloria is yet another pitch-perfect production from the Echo Theater Company.

Jacobs-Jenkins truly knows these characters and their world. He crafts sharp and sardonic dialog for them and allows their ambitions to run amok. He brings them to a moment of crisis and allows us to view the results. What we see is far from optimistic.

Echo Theater Company    September 15 – October 21, 2018






Laguna Playhouse Announces Ellen Richard as its Interim Executive Director

May 3, 2016…Laguna Beach, Calif…Laguna Playhouse Board of Directors announced today that, later this month, Ellen Richard will be joining Laguna Playhouse as its Interim Executive Director. The Playhouse announced late last year that it was undertaking a national search guided by Arts Consulting Group (ACG) for an Executive Director to succeed Karen Wood who had held this position for the past eight years.

Commenting on the appointment Joe Hanauer and Paul Singarella, Co-Chairmens of the Board of Directors, said “In the midst of our search we encountered this wonderful opportunity to engage Ellen while we continue to seek appropriate long-term leadership. To have found someone with the extraordinary qualifications that Ellen has is thrilling. She is the recipient of six Tony Awards as producer at New York’s Roundabout Theatre Company where she was Managing Director. Ellen also has strong successes in supervising the construction of theatres in New York and also in San Francisco at the American Conservatory Theater, a rare and valuable skill set considering the contemplated major remodel and expansion of the Laguna Playhouse.” Laguna Playhouse Artistic Director Ann E. Wareham adds, “We are pleased and proud to have Ellen Richard, truly a rock-star in our field, join us as our interim Executive Director who will help guide the Playhouse during this transition.” Comments Ellen Richard, “I have quickly grown fond of Laguna Beach and the Playhouse. I embrace this extraordinary opportunity to join one of the country’s top regional theatres at this time in its remarkable 95-year history. I look forward to helping the Playhouse and working with their incredible Board of Trustees and Ann E. Wareham.”


Ellen Richard served as Executive Director of the American Conservatory Theater in San Francisco from 2010 through 2015.  During her tenure, Ms. Richard negotiated a deal to buy the Strand Theater in tech corridor of Mid-Market San Francisco, helped raise the $34,000 million to renovate and operate it and steered the design and construction for the project which opened in May of 2015. The complex featured two performance spaces and has won multiple awards.  She opened the 50 seat Costume Shop Theater, a 49-seat “black box” venue used for the company’s Master of Fine Arts students and for shows by other local companies.  Ms. Richard was also credited with expanding the company’s educational efforts, coming up with programs like the San Francisco Semester, which brings undergraduate acting students to ACT from around the world, and Stage Coach, a community theater mobile unit that reaches into diverse neighborhoods

She was also Executive Director of The Second Stage Theatre in New York City. During her tenure at Second Stage, which began in 2006 (through 2009), she was responsible for the purchase contract of the Helen Hayes Theatre, growth in subscription income of 48 percent, and growth in individual giving of 75 percent, as well as conceptualization of a highly successful gala format and “Second Generation,” a giving program through which donors enable deserving New York City youth to experience live theater. Under Ms. Richard’s leadership, Second Stage provided the initial home for the Broadway productions Everyday Rapture, Next to Normal, and The Little Dog Laughed.

From 1983 to 2005, Ms. Richard enjoyed a rich and varied career with Roundabout Theatre Company. The Roundabout that Ms. Richard joined was a small nonprofit theater company in bankruptcy. By the time she departed as Managing Director, Roundabout had become one of the country’s largest and most successful theater companies of its kind, with net assets in excess of $67 million dollars. Ms. Richard is the recipient of six Tony Awards as producer, for Roundabout productions of Cabaret (1998), A View from the Bridge (1998), Side Man (1999), Nine (2003), Assassins (2004), and Glengarry Glen Ross (2005). As producer of more than 125 shows at Roundabout, she had direct supervision of all management and marketing functions. She created Roundabout’s “Theatre-PLUS” programs, which include singles, teachers, family, gay and lesbian, wine tasting, and the 7 p.m. “Early Curtain” series, all of which grew to represent more than 10 percent of Roundabout’s 40,000 subscribers.

As director of design and construction at Roundabout, Ms. Richard was responsible for more than $50 million of theater construction for 11 projects. She conceptualized the three permanent Roundabout stages — The Broadway venues of Studio 54 and the American Airlines Theatre, and the Off-Broadway venue The Harold and Miriam Steinberg Center for Theatre She directed the location search for Cabaret and oversaw the creation of the production’s environmental Kit Kat Klub. Prior to her tenure at Roundabout, Ms. Richard served as business manager of Westport Country Playhouse, theater manager for Stamford Center for the Arts, and business manager for Atlas Scenic Studio. She began her career working as a stagehand, sound designer, and scenic artist assistant.