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Home , Adolfo Pirelli, Broadway Worldwide, Gateway Playhouse, Harold Prince, Hugh Wheeler, Jonathan Tunick

SC 55th Season • 524th Production SEGERSTROM STAGE / JANUARY 19 - FEBRUARY 16, 2019

Paula Tomei MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents THE DEMON BARBER OF A Musical thriller music and lyrics by book by Hugh Wheeler from the adaptation by Christopher Bond originally directed on Broadway by Harold by John Iacovelli Melanie Watnick Lap Chi Chu Myers Kelly Todd SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN CHOREOGRAPHER

Philip D. Thompson Joshua Marchesi Joanne DeNaut, csa Jamie A. Tucker* ACCENT COACH PRODUCTION MANAGER CASTING STAGE MANAGER Music Director David O Directed by Kent Nicholson Sophie & Larry Cripe James, Kimberly, Haley Honorary Producers & Kolby Jacobs Haskell & White LLP Honorary Producers Corporate Honorary Associate Producer

Originally produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, Martin Richards in association with Dean and Judy Manos. SWEENEY TODD is presented through special arrangement with Music Theatre International (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com

Sweeney Todd • South Coast Repertory • P1 CAST OF CHARACTERS Anthony ...... Devin Archer* Beggar Woman ...... Erica Hanrahan-Ball* ...... Juliana Hansen* Mrs. Lovett ...... Jamey Hood* ...... Conlan Ledwith* ...... Robert Mammana* Beadle Bamford ...... Nicholas Mongiardo-Cooper* ...... Roland Rusinek* Jonas Fogg ...... Brent Schindele* Sweeney Todd ...... David St. Louis* Ensemble ...... Katy Tang*

MUSICIANS David O (Conductor/Music Director/Keyboard), Tim Christensen (Contractor), Larry Hughes (Clarinet), Robert Carr (Bassoon/Piccolo), Erin Breene (Cello), Tim Jensen (Bass), Mary Keating (Violin), Dustin McKinney (Trumpet), Danielle Ondarza (French Horn), Louis Allee (Percussion).

PRODUCTION STAFF Dramaturg ...... Literary Staff Assistant Stage Manager ...... Kathryn Davies* Assistant Director ...... Charlie Marie McGrath Assistant Accent Coaches ...... Emily Coleman, Lauren Roth Assistant Scenic Designer ...... Tyler Scrivner Costume Design Assistant ...... Ramzi Jneid Assistant Lighting Designers ...... Jesse Fryery, Caleb Wildman Assistant Sound Designer ...... Christian Lee Stage Management Interns ...... Madeleine Blossom, Joshua Hoover, Denise Kha Light Board Operator ...... Keannak Parvaz Follow Spot Operator ...... R.J. Romero Sound Mix Engineer ...... Jim Lupercio Microphone Technician ...... Rachele Ekstrand Automation Operator ...... Alex Johnson Deck Crew ...... Steven McFann, Julian Olive Wardrobe Supervisor ...... Jyll Chrystolini Dressers ...... Anna de la Cour, Lexi Noseworthy Wig and Makeup Technician ...... Gillian Woodson Wig Assistant ...... Karina Moreno Additional Costume Staff ...... Bronwen Burton, Rebecca Clayton, Timo Elliott, Lalena Hutton, Kaitlyn Kaufman, Megan Knowles, Erik Lawrence, Kaler Navazo, Tessa Oberle, Kathy Ranabargar, Lauren Smith, Sarah Timm, Swantje Tuohino

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the .

Photos may be taken before and after the show, and during intermission, but not during the performance. Show your appreciation for the play by using the hashtag #SweeneySCR and tagging the designers listed on P1. Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. Videotaping and/or recording of this performance by any means whatsoever are strictly prohibited. Electronic devices should be turned off or set to non-audible mode during the performance. Smoking is not permitted anywhere in the theatre.

P2 • South Coast Repertory • Sweeney Todd SETTING

LENGTH Approximately two hours and 30 minutes, including one 15-minute intermission.

MUSICAL NUMBERS

PROLOGUE “The Ballad of Sweeney Todd” ......

ACT ONE “No Place Like London” ...... Anthony, Sweeney, Beggar Woman “The Worst Pies in London” ...... Mrs. Lovett “Poor Thing” ...... Mrs. Lovett “My Friends” ...... Sweeney, Mrs. Lovett “Green Finch and Linnet Bird” ...... Johanna “Ah, Miss” ...... Anthony, Beggar Woman “Johanna” ...... Anthony “Pirelli’s Miracle Elixir” ...... Tobias, Sweeney, Mrs. Lovett, Company “The Contest” ...... Pirelli “Wait” ...... Mrs. Lovett “Johanna” ...... Judge Turpin “Kiss Me” ...... Johanna, Anthony “Ladies in Their Sensitivities” ...... The Beadle “Pretty Women” ...... Sweeney, Judge Turpin “Epiphany” ...... Sweeney “A Little Priest” ...... Sweeney, Mrs. Lovett

ACT TWO “God, That’s Good” ...... Tobias, Mrs. Lovett, Sweeney, Beggar Woman, Company “Johanna” ...... Anthony, Sweeney, Johanna, Beggar Woman “By the Sea” ...... Mrs. Lovett Wigmaker Sequence ...... Sweeney, Company “Not While I’m Around” ...... Tobias, Mrs. Lovett “Parlor Songs” ...... The Beadle, Mrs. Lovett, Tobias “City on Fire!”...... Lunatics, Johanna, Anthony “Searching”...... Mrs. Lovett, Sweeney, Beggar Woman, Anthony, Johanna “The Judge’s Return”...... Sweeney, Beggar Woman, Judge Turpin “Final Scene”...... Mrs. Lovett, Sweeney, Tobias

EPILOGUE “The Ballad of Sweeney Todd” ...... Company

Segerstrom Stage Season Sponsor

Sweeney Todd • South Coast Repertory • P3 Obsession, Revenge and Sondheim by John Glore fused into it plot elements from Jacobean tragedy and The Count of Monte Cristo. He was able to take all these dis- tephen Sondheim’s exalted place in the firma- parate elements that had been in existence rather dully ment of the American needs no for a hundred and some-odd years and make them into a advertisement, but it’s worth remembering that first-rate play. It struck me as a piece that sings.” fully 25 years ago, he had already been honored by Sondheim’s first step in turning the play into a the Kennedy Center for his lifetime achievements “piece that sings” was to arrive at a musical idiom that onS the strength of such popular and influential musicals suited the material. “What I wanted to write was a horror as Company (1970), (1971), movie … It had to be unsettling, scary, and very romantic. (1973), Sweeney Todd (1979) and Sunday in the Park In fact, there’s a chord I kept using throughout, which is with George (1984). (That’s not even to mention his early sort of a personal joke, because it’s a chord that occurred contributions as the lyricist for and in every score.” (One of the great film in the late 1950s.) Since receiving the Kennedy Center composers in the history of cinema, Herrmann was best tribute, he has continued to work with the same level of known for his moody, dramatic, jazz-inflected scores for daring commitment, tirelessly revising old shows while many of Alfred Hitchcock’s suspense films.) also adding new ones to his canon. Even now, at age 88, With that in mind, Sondheim composed a score full he’s working with playwright David Ives (Venus in Fur) of “unresolved dissonances that leave an audience in a on a musical based on two films by surrealist director state of suspense.” He also incorporated the “Dies Luis Buñuel. Irae,” a musical passage from the Catholic Sweeney Todd appeared during the Mass for the Dead (previously quoted fertile middle period of Sondheim’s ca- by such composers as Berlioz and reer. It debuted on Broadway almost Rachmaninoff), as a recurring exactly 40 years ago, the work of an motif to re-inforce Sweeney’s con- artist confident in his abilities but al- nection to death. (It appears first ways searching for new challenges in the “Ballad of Sweeney Todd,” and moving in unexpected direc- when the chorus sings “Swing tions. your razor wide, Sweeney! Hold it In 1973, while in England to the skies!”) for a revival of Gypsy, Sondheim Although initially drawn to took in a production of a popular the source material by its spec- Victorian melodrama called Swee- tacular use of the conventions of ney Todd: The Demon Barber of melodrama and revenge stories, Fleet Street, in a new adaptation by Sondheim and his collaborators Christopher Bond. “I had heard inevitably began to look for ways to it was Grand Guignol, and it was deepen its thematic resonance. “For something that just knocked me me,” Sondheim explained, “what the out,” Sondheim recalled. “Bond’s show is really about is obsession. I was new version was a tiny play, still using the story as a metaphor for any a melodrama, but … it had kind of obsession. Todd is a tragic hero a weight to it … in the classic sense that Oedipus is. He He also in- dies in the end because of a certain kind of fatal knowledge: he realizes what he has been doing. I find it terri- bly satisfying—much more so than any kind of accidental death, which often oc- curs in flimsy forms of melodrama.” Director Hal Prince observed, “It

P4 • South Coast Repertory • Sweeney Todd was only when I realized that while commentators have in- the show was about revenge voked everyone from Gustav that I knew how to do it. And Mahler, Maurice Ravel, Alban then came the factory, and the Berg, Benjamin Britten, Sergei class struggle.” Prince further Prokofiev and Franz Schubert commented, “I think it’s also to and Oscar about impotence … The rea- Hammerstein. son that the ensemble is used But, however apt such the way it is, the unifying emo- comparisons and connections tion for the entire company, is may be, Sweeney Todd is unde- shared impotence. Obviously, niably unique—and uniquely Sweeney’s is the most dramat- Sondheimian. To point to just ic, to justify all those murders. two of its surprising idiosyncra- Impotence creates rage and cies: rage is what is expressed most The show features not by Sweeney’s behavior.” one but three songs entitled Librettist Hugh Wheeler “Johanna”—one a yearning added “We wanted to make love ballad sung by Anthony, it as nearly as we could into a the young sailor who courts the sort of tragedy … The hardest girl with the yellow ; one a thing of all was to take these strangely jaunty lament sung by two really disgusting people Sweeney, who is Johanna’s fa- and write them in such a way ther; and one a dissonant song that the audience can rather of self-flagellation sung by the love them. And I think people immoral Judge who lusts after did love Mrs. Lovett—yet she Johanna. The three songs are doesn’t have a single redeem- linked by musical motifs and ing feature.” an obsessive repetition of the As he developed the girl’s name, but each is distinc- score, Sondheim incorporated the structural device of tive and peculiarly appropriate to the man who sings it. melodic leitmotifs to support the storytelling. “The no- Speaking of love ballads, one of Sondheim’s loveli- tion of using motifs is to pique the audience’s memory, est is “My Friends”—sung early in the show by Sweeney to remind them that this theme represents that idea or Todd, the demon barber … to his blades. Those blades— emotion. They’re guideposts along the way … When the which Mrs. Lovett has just returned to him—are the tools motif comes on, no matter what the guise, the audience of his profession, but they will soon become the tools of has a subconscious—and sometimes a conscious—emo- his obsession. Mrs. Lovett joins the song, harmonizing tional response. Most audiences are more comfortable with Sweeney but singing of another kind of loving friend- with music that is more familiar. In Sweeney Todd, instead ship—and the song turns into an unsettling musical depic- of using reprises of whole songs, I use reprises of motifs. tion of the odd love triangle that will propel much of the By the time the second act rolls around, the audience is action of this extraordinary musical. And when the song familiar with almost all the musical material.” (Sondheim, ends with Sweeney’s stunning declaration—“At last, my a lover of puzzles and mysteries, also uses a motif as a arm is complete again!”—we have a chilling premonition clue to a secret that lies at the heart of the story. It can of where we’re headed. This will not go well. be found in the minuet that briefly plays as Mrs. Lovett But things did go well for the show itself: its initial tells the sad story of what happened to Sweeney’s wife, in Broadway production ran for 557 performances, to be fol- “Poor Thing.”) lowed by countless revivals the world . Critic Martin Sweeney Todd has a kindred spirit in the Bertolt Gottfried sums up its legacy: “Like Porgy and Bess, Swee- Brecht- musical, Three Penny : both take ney Todd would become a repertory item, a staple of place at a junction of the moneyed class, the working poor opera companies around the world, and an acknowledged and the underworld of London; both have pronounced classic. Had he composed nothing else, this show would sociopolitical underpinnings; and both open with ironic have established Sondheim as a giant of the American ballads about their anti-heroic protagonists. As for Swee- stage.” ney’s musical brethren, in addition to Bernard Herrmann, Sondheim has acknowledged the influence of British Facing page, Stephen Sondheim in 2015; above, the original music hall songs in the tunes he wrote for Mrs. Lovett, Broadway poster for Sweeney Todd.

Sweeney Todd • South Coast Repertory • P5 Stagecraft in the Age of Sweeney Todd by Kat Zukaitis true crime stories, and experimented Melodrama Reigns with elaborate effects, novel settings he story of Sweeney Todd is set Melodrama dominated popular the- and convoluted plot twists. As the against the backdrop of the In- atre on both sides of the Atlantic in century progressed, realism replaced dustrial Revolution, when rapid the early part of the 19th century. The melodrama as the public’s favorite technological change catalyzed basic plot of melodrama was always theatrical genre, bringing with it new both an urban population boom the same: a virtuous protagonist is trends in stage design. Tand a host of sweeping social changes. pursued by an evil villain, but, after The population of London exploded, many trials and tribulations, good Scenery & Special Effects growing by a factor of six over the emerges triumphant. In the early de- For the early part of the century, stage course of a century, with nearly four- cades of the 19th century, sweeping scenery consisted of little more than fifths of its denizens belonging to the tales of pirates, castles and dungeons flat, painted backdrops that stretched working class and frequently living in were in vogue; after the 1830s, the do- behind the actors to suggest a set- poverty. mestic melodrama prevailed. In order ting. The Romantic movement found What was happening on British to keep the genre exciting, playwrights onstage expression in lush, colorful stages mirrored what was happen- often incorporated the latest novels or paintings that celebrated the beauty of the natural world, while detailed depictions of urban streets and alleys aimed to give viewers a taste of the urban experience. It was during this period that theatres began moving away from all-purpose backdrops of forests and town squares to pieces of scenery created for one specific pro- duction. As writers sought to sate the pub- lic’s taste for adventurous fare, their melodramatic plots called for ever more complicated special effects, leading to the development of highly specialized devices. The “Vampire trap” was a new kind of trapdoor in- vented for an 1820 adaptation of John William Polidori’s The Vampyre. It had 1858 William Waud drawing of Americans entering a theatre. two sprung doors that swung closed

ing in the streets: mainstream theatre took a popular, rather than elitist, bent and dramatists embraced the expand- ed storytelling possibilities brought by new technologies. New theatres sprang up in the poorer neighbor- hoods of London, moving away from a rotating repertory of shows and to- wards a commercial model that ran the same show every night for as long as it remained profitable, playing to working-class audiences. Classical dramas in verse were out; melodrama Diagram of the Corsican trap. and, later, realism were in.

P6 • South Coast Repertory • Sweeney Todd as soon as pressure was released, al- “The approach By the end of the 19th century, elec- lowing actors to “walk” through walls Kent and I have tricity began to replace limelights, al- or floors. A more elaborate version, taken to this set is lowing for still greater safety and pre- called the “Corsican trap,” was devel- to place it in the 19th century cision. oped for Dion Boucicault’s 1852 ad- as if a troupe of actors is per- aptation of Alexandre Dumas’ novel Sound The Corsican Brothers. This trap- forming it on tour. So the con- Before the advent of recorded sound, door involved a wheeled cart that ventions of the scenery embrace theatres relied upon a variety of spe- ran up an ascending track, through the stage techniques popular in cialized mechanical devices to create a camouflaged opening in a moving the British music hall and oper- common sound effects. A thunder conveyor belt, giving the impression V , which consisted of cannonballs of a ghost gliding upwards through etta with some techniques such being rolled through chutes, was a the floor. The play’s runaway suc- as sliding screens and roll drops must for any storm scenes. Thunder cess—Queen Victoria herself attend- borrowed from the Italian the- sheets and rain- and wind-makers ed several times—was largely due to were also kept in the wings. It wasn’t the sensational effect of the Corsi- atre of the 18th century. Left until 1890 that recorded sound was can trap, rather than any virtues of and right, framing the stage, introduced into the theatre—the first the script; many other theatres that we see the gilded boxes sur- documented instance being a phono- hurried to produce it all installed a rounding the proscenium. The graph recording of a baby’s cry. Corsican trap of their own. ‘act curtain’ and proscenium Costumes Lights are inspired by Benjamin Pol- Greater ease of travel and communi- Prior to the 19th century, lighting lock’s Toy Theatres. The way the cation brought previously unknown effects were limited to what could wings slide and the drops reveal locales into focus—and made far-off, be accomplished with candles, oil seemingly exotic countries popular lamps, and sunlight, all of which the next scene echoes the the- settings for Victorian plays. Along with were dim and difficult to focus. In atre magic from the period. The a desire for adventure came the pres- 1916, Philadelphia’s Chester Street drops are in black and white in sure to deliver a seemingly authen- Theater became the world’s first keeping with the trompe l’oeil tic experience. As the 19th century theatre to use gas lighting, revolu- progressed, both sets and costumes tionizing the field. The invention of nature of the scenery to ‘fool became more detailed and more re- the limelight in 1837 provided the the eye.’ We wanted our SCR alistic. Braun & Schneider’s The His- means to spotlight certain perform- production to not look or feel tory of Costume, printed between ers. (Although theatrical lighting like any other past production.” 1861 and 1880 in Munich, attempted technology has since progressed, to provide a comprehensive guide to the phrase “in the limelight” is still ~John Iacovelli, world clothing from antiquity to the used for someone in the public eye.) Scenic Designer present.

Braun and Schneider’s depictions of contemporary women’s fashion in Burma, Syria and the Netherlands.

Sweeney Todd • South Coast Repertory • P7 An Excerpt from A String of Penny Dreadfuls Pearls ‘You will remember,’ said Swee- by Kimberly Colburn ney Todd, and he gave his coun- tenance a most horrible twist as weeney Todd’s first known appear- tite for all things gruesome and devoured he spoke, ‘you will remember, ance in print was in an 1846 “penny local news accounts of wicked deeds and Tobias Ragg, that you are now dreadful,” a type of horror tale of the nefarious crimes. And because news com- my apprentice, that you have era published in serial form. Penny monly traveled by word of mouth, stories of me had board, washing, and dreadfuls were shocking and sensa- of shocking criminal exploits passed from lodging, with the exception that Stionalist writing, published on flimsy paper person to person (with probable embellish- you don’t sleep here, that you and costing only a penny. In the 1830s, in- ment along the way) and were asserted to take your meals at home, and creasing literacy and improving technology be “true fact.” Many penny dreadfuls were that your mother, Mrs Ragg, saw a boom in cheap fiction for the work- fictionalized accounts of real crimes. A bar- does your washing, which she ing classes. These captured the Victorian ber who turned his clients into meat pies may very well do, being a laun- imagination with their lurid tales of ghoul- was a secondary character in the short story dress in the Temple, and mak- ish murder and violent mayhem, from true : A Romance, written by ing no end of money: as for crime to the fantastical. They were escapist Thomas Prest. He was known to hunt regu- lodging, you lodge here, you fiction and the genre played fast and loose larly through newspapers for his story ideas. know, very comfortably in the with conventions of plausibility, character With its bloody killing spree, ghoulish villain shop all day. Now, are you not development and even continuity. They and macabre recipe for disposing of the evi- a happy dog?’ were considerably cheaper than the serial- dence, The String of Pearls was emblematic ‘Yes, sir,’ said the boy tim- ized novels of the day, like those of Charles of the popular genre. idly. Dickens, which cost a shilling (roughly 12 George Dibdin Pitt, a hack playwright ‘You will acquire a first-rate pennies) per part. of the time commonly known to purloin profession, and quite as good as The public had an enormous appe- other people’s ideas, dramatized Prest’s the law, which your mother tells story for the stage. He retitled it The String me she would have put you to, of Pearls: The Fiend of Fleet Street and Pitt only that a little weakness of the advertised his production as “Founded on headpiece unqualified you. And Fact.” He set his play in the reign of George now, Tobias, listen to me, and II, in the late 18th century. It debuted on treasure up every word I say.’ March 1, 1847, at London’s Hoxton Theatre, ‘Yes, sir.’ a theatre specializing in sensational melo- ‘I’ll cut your throat from ear dramas (sometimes called “bloodbaths”) to ear, if you repeat one word and it was a Victorian hit. of what passes in this shop, or Penny dreadfuls were never intended dare to make any supposition, to have much of a shelf life and, with the or draw any conclusion from enduring exception of Sweeney Todd’s anything you may see, or hear, legacy, they fell from popularity by the turn or fancy you see or hear. Now of the century. However, they left their cul- you understand me - I’ll cut tural mark, informing the pace of true-crime your throat from ear to ear -do narratives and pulp fiction’s cartoon-like you understand me?’ zeal. In their blatant derivativeness, they ‘Yes, sir, I won’t say noth- foreshadowed fan fiction and, it could be ing. I wish, sir, as I maybe made argued, were a precursor to young adult fic- into veal pies at Lovett’s in Bell tion and teen horror movies. From a mod- Yard if I as much as says a word.’ ern vantage point, their “scandalous” sub- Sweeney Todd rose from jects and bloody melodrama seem quaint… his seat; and opening his huge and yet, Sweeney Todd continues to thrill. mouth, he looked at the boy for a minute or two in silence, as The String of pearls; or, The Barber of Fleet if he fully intended swallowing Street. A domestic romance. Published circa him, but had not quite made up 1850, Salisbury Square, Fleet Street, London. his mind where to begin.

P8 • South Coast Repertory • Sweeney Todd Artist Biographies

Devin Archer Theatre). Her film and television credits include Lotte, Anthony Dream Job, “Alexa & Katie,” “The Office” (Sweeney Todd episode), “Rules of Engagement,” “How I Met is honored to be making his South Your Mother,” “Body of Proof” and “‘Til Death.” Thanks Coast Repertory debut with this to everyone involved in this production. Hanrahan-Ball production. He was recently is represented by DDO Artists Agency. iamericaball.com seen at the Ahmanson Theatre with Center Theatre Group’s first Juliana Hansen national tour of Bright Star. Ar- Johanna cher also toured with the North American company of Mamma Mia! before sitting with the production in Las is ecstatic to play Johanna at SCR. Vegas. His favorite Southern California credits include Her favorite credits include the McCoy/Rigby’s The Last Five Years (Jaime) and first national tour of Thorough- (Roger); Musical Theatre West’s Bright Star (Jimmy ly Modern Millie (Millie), Saved Ray) and Les Misérables (Marius); 3D Theatrical’s Tar- (Lana, Playwrights Horizons), zan (Tarzan); and Marina Summer Theatre’s South Mary Poppins (Mary, Cabrillo Play- Pacific (Joe Cable). His other regional credits include house), Les Misérables (Eponine, Sacramento Music Ace (John Robert, Nevada Conservatory Theatre), Fol- Circus), The Fantasticks (Louisa, Gateway Playhouse), lies ( Shakespeare Theater), Fiddler on the The Wizard of Oz (Dorothy, Civic Light Opera, South Roof (The Marriott Theatre, Lincolnshire), Departure Bay), West Side Story with and Lounge (Bailiwick Repertory Theatre, Chicago) and San Francisco Symphony (Rosalia, Grammy Award nom- Twelfth Night (Shakespeare at Notre Dame). Archer is a ination) and Aladdin (Jasmine, Disney). She created, proud graduate of Northwestern University (Go ‘!) produced and starred in the comedy webseries, “Find- and is represented by KMR. @devinjarcher. ing Fillion,” directed by Joel Zwick (My Big Fat Greek Wedding). She was awarded a best actress award for Erica Hanrahan-Ball her work in the film Here (168 Film Project). Her tele- Beggar Woman vision credits include Every Other (Rebecca, MarVista) Richard Sherman: Songs of a Lifetime (PBS), is thrilled to be making her SCR and “Grease: You’re The One That I Want” (finalist, debut. She was most recently seen NBC), working with Tony-Award winning director Kath- as Aldonza opposite Richard White leen Marshall and Sir . As a voice (the voice of Gaston in Beauty actor, she can be heard on “Star vs. The Forces of Evil” and the Beast) in Man of La Man- (Disney XD), “Unikitty” (Warner Brothers) and in an cha at Beef & Boards Dinner The- upcoming feature for Pixar. She’s the new voice of Mary atre. Her other recent theatre credits include Tanya in Poppins (Mary Poppins: Legacy Collection) and Cinder- Mamma Mia (Totem Pole Playhouse), Fraulein Kost ella (Cinderella: The Lost Chords) and she frequently in (La Mirada Theatre, Ovation Award nomi- works alongside Disney legend Richard M. Sherman. nation), Desiree in A Little Night Music (The Colony Hansen holds an MA acting degree from Guildford Theatre Company), Mrs. Mullin in (Musical School of Acting in England. JulianaHansen.com Theatre West), Pam in Baby (Coachella Valley Reper- tory Theatre, Desert Theatre League Award), Karen Jamey Hood in The Boy From Oz (Celebration Theatre, Ovation Mrs. Lovett Award), Bonnie in Babes in Arms at (Rubicon Theatre Company), Heather in I’m Still Getting My Act Together is an LA native who has lived and and Taking It on The Road... (Laguna Playhouse; di- worked in and toured rected by and starring Gretchen Cryer), Mrs. Liddell the U.S. and China. She originated in The Missing Pages of Lewis Carroll (Boston Court the role of Dot in Playwrights Ho- Pasadena) and Vera in Pal Joey (Arkansas Repertory rizons’ off-Broadway production

Sweeney Todd • South Coast Repertory • P9 of The Shaggs, which premiered in LA and played Chi- vision guest-starring appearances include “The Of- cago’s Lookingglass Theatre Company. Also in New fice,” “NCIS,” “CSI,” “The Good Wife,” “Elementary,” York, she played Mama Who in Dr. Seuss’ How The “CSI:NY,” “The Young & the Restless” and “Days of Grinch Stole Christmas! The Musical (Madison Square Our Lives.” His feature films include Just Say Love, Garden) and Queenie in Michael John LaChiusa’s The Flightplan and Menace. He is an LA Drama Critics Wild Party (B-Side Productions). Her U.S. and China Circle Award recipient, an LA Weekly Award recipient, tours include playing Ernestina Money, covering Sally a Award nominee, a three-time LA Ova- Struthers in the title role of Hello, Dolly! and perform- tion Award nominee and a two-time Joseph Jefferson ing in the ensemble of (Big League Pro- Award nominee. RobertMammana.com ductions). Hood had the pleasure of being part of sev- eral SCR Theatre for Young Audiences shows including Nicholas Mongiardo-Cooper Imagine, Jane of the Jungle and Junie B. Jones and a Beadle Bamford Little Monkey Business. is thrilled be on the Segerstrom Conlan Ledwith Stage again after appearing last Tobias Ragg season in and Shakespeare In Love. He has been seen off- is making his SCR debut. He Broadway in Rothschild & Sons, trained at the London Academy Lonesome Traveler and Julius of Music and Dramatic Art and Caesar. His other New York credits include SubUrbia, École Philippe Gaulier in Paris. Iolanthe, Slavs!, Three Days of Rain and Not About His theatre credits include San Nightingales. His regional appearances include King Diego Repertory Theatre, Marri- Lear, Of Mice and Men, Our Lady of 121st Street, A ott Theatre in Lincolnshire, Antaeus Theatre Company, Midsummer Night’s Dream, Side Show, Side By Side First Stage, Northern Sky Theater, Milwaukee Cham- By Sondheim (La Jolla Playhouse), , ber Theatre, Théâtre du Gymnase (Paris) and won first Laughter on the 23rd Floor and the world premiere of place at the Utah Shakespeare Festival Competition Words By: Ira Gershwin, for which he received a Los for Richard III. His film and television credits include Angeles Drama Critics Circle Award nomination for Sounds of Silence and the BBC London clown feature. Best Actor. His SCR young audiences appearances He received the Dean’s Award from the British Ameri- include Lucky Duck, The Borrowers and The Miracu- can Drama Academy at Oxford and is a dual citizen of lous Journey of Edward Tulane. His television credits Italy and the U.S. include “Fuller House” (Netflix, WB), “Superstore” (NBCUniversal) and “Casual” (Hulu). He attended Robert Mammana LaGuardia High School of Music & Art and Perform- Judge Turpin ing Arts and received a BFA from NYU. He has been a proud Equity member since 2003. nicholasmongiardo- is thrilled to be a part of this proj- cooper.com ect and honored to be back at South Coast Repertory working Roland Rusinek with such a fantastic group of art- Adolfo Pirelli ists. His Broadway and touring credits include Les Misérables, is making his SCR debut. His New and . He originated York theatre credits include Pi- the role of Warren in the critically acclaimed two per- angi in The Phantom of the Opera son play, The Twentieth-Century Way (off-Broadway (Majestic Theatre, Broadway); at Rattlestick Playwrights Theatre, with Boston Court Fezziwig and others in A Christ- Pasadena). Regionally, he appeared at such incredible mas Carol (Madison Square Gar- venues as The Denver Center for the Performing Arts den); Beadle in Sweeney Todd and Ciccio in The Most (John, The Constant Wife), Alliance Theatre (Aram, Happy Fella (NYC Opera); Jerry Springer: The Opera Beast on the Moon), Shakespeare Theatre Company (Carnegie Hall); (Encores!, (Carasco, ), Portland Center Stage Center); and The Prince and the Pauper (Lamb’s (Bruce in , Father in , Sky in Guys Players Theatre). He appeared in tours for The Ad- and Dolls), Pasadena Playhouse (Valentina in Casa dams Family, Kiss Me Kate and Camelot. His regional Valentina, Walter in Sleepless in Seattle). His tele- credits include The Dame in Beauty and the Beast A

P10 • South Coast Repertory • Sweeney Todd Christmas Rose (Laguna Playhouse); Sancho in Man David St. Louis of La Mancha (Valley Performing Arts Center and La Sweeney Todd Mirada Theatre); Alf in Limelight (La Jolla Playhouse); Val in Laughter on the 23rd Floor (Garry Marshall The- is making his SCR debut. His atre); Beadle in Sweeney Todd and Mr. Bumble, Oli- Broadway credits include Harry ver! (Sacramento Music Circus); Nicely-Nicely in Guys Potter and the Cursed Child, Side and Dolls (Theatre Under the Stars); The Governor in Show, Harlem Song, Rent, Jesus (Center Theatre Group/Ahmanson Theatre); Christ Superstar and The Scar- Beadle in Sweeney Todd (Reprise!, Musical Theatre let Pimpernel. Regionally, he ap- West, 5th Ave); Franz in , Paravicini in peared in Joan of Arc: Into the Fire (The Public The- The Mousetrap (The Maltz Jupiter Theatre); Clayton in ater), 9 Circles (The Sheen Center for Thought & Tartuffe (American Stage Theatre Company); Eric in Culture), The Royale (Milwaukee Repertory Theatre), Living on Love (Asolo Repertory Theatre); Tito in Lend Sweeney Todd (PlayMakers Repertory Company), Me a Tenor (Bay Street Theatre); and Bessie in Casa Ain’t Misbehavin’ (Portland Center Stage), Sideshow Valentina (GableStage). His television and film credits (La Jolla Playhouse, Kennedy Center), The Royale include “Coop and Cami Ask the World,” The Produc- ( Theatre), Intimate Apparel (Pasadena ers (2005), BearCity and the Macy’s Thanksgiving Pa- Playhouse), Thunder Knocking at the Door (Cin- rade. He is a guest lecturer for UCLA’s Ray Bolger Mu- cinnati Playhouse), Ruined (Geffen Playhouse, Inti- sical Theatre program and an alumnus of Los Angeles man Theatre), (Mark Taper Forum), Cousin County High School for the Arts and the PCPA’s actor Bette (Antaeus Theatre Company), The Life (Jaxx The- training program. rolandrusinek.com atricals), Ragtime (PCPA Theatre), Porgy and Bess (ZACH Theatre), Golden Boy (Long Wharf Theatre), Brent Schindele From My Hometown (American Heartland Theatre), Jonas Fogg Spunk (Delaware Theatre Company), Henry V (Shake- speare Theatre), Candide (Arena Stage) and Bessie’s is making his SCR debut. He just Blues (Studio Theatre). His honors include an Ovation appeared as young Ronald Rea- Award for outstanding supporting actor (Parade) and gan in the world premiere of In a a Helen Hayes Award for outstanding supporting actor Booth at Chasen’s at the El Portal (Bessie’s Blues). He appeared in the films Shrader Theatre in North Hollywood. His House, At Your Convenience, Trigger Effect and Temp- national touring credits include tation and on television in “NCIS: New Orleans,” “FBI,” The Sound of Music (Zeller at the Ahmanson Theatre; “Supergirl,” “I Take Thee Zoe,” “The Blacklist,” “Royal Von Trapp at the Segerstrom Center), Jesus Pains,” “NCIS,” “Third Watch,” “Law & Order SVU,” “A Christ Superstar (Peter, Simon) and West Side Story Royal Birthday,” “The Jury,” “One Life to Live,” “Homi- (Tony). He played the Leading Man in The Musical cide Life on the Streets” and “The Secret Path.” of Musicals (The Musical!), off-Broadway and around the country. He starred in the world premiere of South Katy Tang Street at Pasadena Playhouse, Souvenir at the Garry Ensemble Marshall Theatre, End of the Rainbow at International City Theatre, The 39 Steps at Glendale Centre Theatre, is thrilled to be making her South The Music Man and White Christmas at Palos Verdes Coast Repertory debut. Her cred- Performing Arts Center, Merrily We Roll Along at Ac- its include Cunegonde in Can- tors Co-op Theatre Company and the The Wallis An- dide (San Bernardino Sympho- nenberg Center for the Performing Arts, Sunday in ny), Anne Egerman in a A Little the Park with George and No Strings at Reprise!, and Night Music (), Striking Twelve at Laguna Playhouse and Ensemble Maria understudy, West Side Story (Broadway by the Theatre of Santa Barbara. His favorite roles include Bay), Ilse in Spring Awakening (Cygnet Theatre), Yu- Stanley Kowalski, Sky Masterson, Curly McLain, the mYum in The Mikado, Flora in Turn of the Screw for title roles in The Scarlet Pimpernel and Romeo & Ju- Benjamin Britten’s 100/LA Celebration (Pacific Opera liet, and an action-movie star in And the Winner Is. Project), (Fullerton Civic Light Opera) and His screen appearances include “Cold Case,” “Squares- Threepenny Opera (Los Angeles Theatre Center). ville,” Thirteen Days with Kevin Costner and the forth- Tang has performed regularly with the prestigious coming films Cold Cold Man and Call Me Dan. Love LA Opera Outreach Department, Palm Springs Opera to Erika. Guild and Orange County Opera. Internationally, she

Sweeney Todd • South Coast Repertory • P11 has performed operatic roles including Susanna in Le Everyone, A Little Night Music and Nijinsky. His plays Nozze di Figaro (Mediterranean Opera Festival, Italy), include , Little Fish (1961), Look: We’ve Come Sophie in Werther and Amour in Orphée et Eurydice Through (1961) and We Have Always Lived in the (La Péniche Opera, France). She studied at UCLA and Castle (1966, adapted from the novel). Ecole Normale de Musique de Paris. Tang began her He co-authored, with , the book for a performance career on the ice, as a junior Olympic new production of the 1919 musical Irene (1973), figure skater. wrote the books for A Little Night Music (1973), a new production of Candide (1973), Sweeney Todd, the Playwright, Director and Designers Demon Barber of Fleet Street (1979, based on a ver- sion of the play by Christopher Bond) and Meet Me in Stephen Sondheim (Music and Lyrics) wrote the St. Louis (adapted from the 1949 MGM musical). He music and lyrics for (1954), A Funny contributed additional material for the musical Pacific Thing Happened on the Way to the Forum (1962), Overtures (1976) and wrote a new adaptation of the (1964), Company (1970), Follies Kurt Weill opera Silverlake, directed by (1971), A Little Night Music (1973), (1974), at the New York Opera. He received Tony and Drama (1976), Sweeney Todd (1979), Desk awards for A Little Night Music, Candide and Merrily We Roll Along (1981), Sunday in the Park Sweeney Todd. Prior to his death in 1987, Wheeler was with George (1984), (1987), working on two new musicals, Bodo and Fu Manchu, (1991), (1994) and (2008) as well and a new adaptation of . as lyrics for West Side Story (1957), Gypsy (1959) and Do I Hear a Waltz? (1965), as well as additional lyrics Kent Nicholson (Director) returns to South Coast for Candide (1973). Anthologies of his work include Repertory after directing Once, Amadeus, How to (1976), Marry Me a Little Write a New Book for the Bible and The Light in the (1981), You’re Gonna Love Tomorrow (1983), Put- Piazza. Most recently, he directed Clint Black’s musi- ting It Together (1993/99) and Sondheim on Sond- cal, Looking for Christmas, at The Old Globe. His heim (2010). He composed the scores of the films other directing credits include shows for Berkeley Stavisky (1974) and Reds (1981) and songs for Dick Repertory Theatre, Seattle Repertory Theatre, Con- Tracy (1990) and the television production Evening temporary American Theatre Festival, New York Musi- Primrose (1966). His collected lyrics with attendant cal Theatre Festival, Weston Playhouse, Theatre Under essays have been published in two volumes: Finish- the Stars, TheatreWorks, Prospect Theatre Company, ing the Hat (2010) and Look, I Made A Hat (2011). In Rattlestick Playwrights Theatre and Actors Theatre of 2010, the formerly known as Henry Louisville’s Humana Festival of New American Plays. Miller’s Theatre was renamed in his honor. He has directed critically acclaimed productions of Death of a Salesman, All My Sons, Lizzie, Grey Gar- Hugh Wheeler (Book) was a novelist, playwright dens, Jacques Brel is Alive and Well and Living in and screen writer. He wrote more than 30 mystery Paris, Long Story Short, 9 Circles, Small Tragedy, Sat- novels under the pseudonyms Q. Patrick and Patrick ellites, Five Flights and Swimming in the Shallows. A Quentin; four of his novels were transformed into developer of both new plays and musicals, Nicholson films: Black Widow, Man in the Net, The Green-Eyed created and ran the New Works Initiative at Theatre- Monster and The Man with Two Wives. He wrote the Works in Palo Alto from 2001-08. He currently serves screenplays for Travels with My Aunt, Something for as the associate producer of musical theatre at Play-

“Glows with intelligence & humanity” —Backstage An intriguing portrait by Anna Ziegler of a courageous scientist directed by Kimberly Senior making her way in a male- MAR 3–24 dominated field in the 1950s. Age 14 and above.

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P12 • South Coast Repertory • Sweeney Todd wrights Horizons in New York and was co-creator of The Uncharted Writers Group at Ars Nova.

David O (Music Director) is a music-theatre artist Honorary Producers who specializes in contemporary music for the stage and concert hall. His compositions include the Ova- Sophie and Larry Cripe are passionate cham- tion Award-winning score for Ubu Roi (A Noise Within, pions of great theatre and this is their fourth 2006) and the choral piece “A Map of Los Angeles” time serving as Honorary Producers of a main- (Los Angeles Master Chorale, Walt Disney Concert stage production, having previously supported Hall). His musical direction credits include the world ’s Red (2016), Kneehigh’s Tristan premieres of 13 (Mark Taper Forum), Toy Story: The & Yseult (2015) and ’s Death of a Musical (Disney Creative Entertainment) and Songs Salesman (2013). Commenting on their deci- & Dances of Imaginary Lands (Overtone Industries), sion to sponsor Sweeney Todd, Sophie said: as well as the West Coast premieres of Michael John “Larry and I are great fans of Stephen Sond- LaChuisa’s The Wild Party, Little Fish and See What I heim and this extraordinary musical is one of Wanna See (The Blank Theatre). His film composi- his tastiest creations.” The Cripes have been tions include the score for the documentary Bronies: involved with SCR for more than 30 years and The Extremely Unexpected Adult Fans of My Little are longtime members of Platinum Circle and Pony. He has had the honor of numerous nomina- are First Night subscribers on both stages. They tions and awards over the years, including Ovation, also have been five-time Honorary Producers of Los Angeles Drama Critics Circle and Garland awards, the Pacific Playwrights Festival, underwriters at and was the recipient of the 2013 Los Angeles Drama numerous Galas and major donors to the the- Critics Circle Joel Hirschhorn Award for Excellence atre’s Legacy Campaign for SCR’s endowment. in Musical Theatre. Most recently, he was the musical Sophie is a member of the theatre’s Board of director for the world premiere of Jeanine Tesori and Trustees and previously served two years as its David Henry Hwang’s Soft Power at the Ahmanson president. and Curran theatres. James, Kimberly, Haley & Kolby Jacobs John Iacovelli (Scenic Design) created memorable chose this Stephen Sondheim classic for their designs at SCR including The Sisters Rosensweig, The first sponsorship at SCR, and said that “we are Roommate, Amadeus, Abundance, Rest, Silent Sky, very excited to join the Cripes in supporting Noises Off, Talley’s Folly, The Philanderer, Shadow- such an amazing musical!” With James joining lands, Faith Healer, along with 18 others including the theatre’s Board of Trustees in 2017, he and Heartbreak House (Los Angeles Drama Critics Circle his wife, Kimberly, expanded their involvement Award.) He has designed more than 300 plays and to include membership in Platinum Circle and musicals at most major theatres in the U.S. including providing underwriting support for the Gala. Steppenwolf Theatre Company, McCarter Theatre Daughters Haley and Kolby share their parents’ Center, Long Wharf Theatre, Seattle Repertory The- enthusiasm for theatre and are thrilled to be atre, Geffen Playhouse, Pasadena Playhouse, Berke- included as Honorary Producers of one of this ley Repertory Theatre, Goodman Theatre, Oregon season’s highlight productions. Shakespeare Festival and Center Theatre Group. Iacovelli received a primetime Emmy Award for the Broadway production broadcast of Peter Pan. He was the production designer on Ruby in Paradise, star- Melanie Watnick (Costume Design) is pleased ring Ashley Judd, and art director on Honey, I Shrunk to return and collaborate with SCR after previously the Kids! His television credits include The Old Settler designing Trudy and Max in Love, Smokefall and On starring Phylicia Rashad and Debbie Allen, The Gin the Mountain. Watnick’s costume designs for dance Game staring and Dick Van Dyke, have been seen both nationally and internationally “Babylon 5,” “Ed,” “Resurrection Blvd.” and “Lincoln with such companies as Ballet West, American Ballet Heights.” He has an MFA in scenic design from NYU’s Theatre II, Ballet X, Company C, Complexions Con- Tisch School of the Arts. This year, he received the temporary Ballet, Kansas City Ballet, Singapore Dance Distinguished Achievement Award in Scene Design Theatre, Malashock Dance, Corbin Dance, Backhaus and Technology from The U.S. Institute of Theatre Dance and Norwegian Cruise lines. Her costume Technology. iacovelli.com designs for theatre include work with The Juilliard

Sweeney Todd • South Coast Repertory • P13 School, Seattle Repertory Theatre, San Diego Reper- she earned a Tony Award nomination and a Drama tory Theatre, The Barter Theatre, Great Lakes Theatre Desk Award for her design of Rajiv Joseph’s Bengal Festival, Open Fist Theatre Company, Rogue Machine Tiger at the Baghdad Zoo. Regionally, she designed Theatre and, most recently, site-specific work with at the Ahmanson Theatre (50th Anniversary Celebra- Circle X Theatre Co. in Los Angeles. Watnick also has tion, Sunshine Boys), Mark Taper Forum (Bent, - served as a lecturer at University of California, Irvine, ard of Christendom, Joe Turner’s Come and Gone, UC-San Diego and Hartnell College. She is currently Bengal Tiger at the Baghdad Zoo, The Lieutenant of in her seventh year as the costume design faculty Inishmore), La Jolla Playhouse (The Squirrels, Guards member for Pepperdine University’s theatre program. at the Taj, Sideways, The Nightingale), Kansas City She received her MFA from UC-San Diego and her BA, Repertory Theatre (Sex with Strangers), Kirk Douglas with an emphasis in design, from UC-Santa Barbara. Theatre (Mutthouse, Endgame, Twist Your Dickens), Pasadena Playhouse (Stoneface, Above the Fold), the Lap Chi Chu (Lighting Design) recently designed Los Angeles Theatre (Carrie), The Montalbán Theatre the world premieres of Lynn Nottage’s Mlima’s Tale, (I Only Have Eyes), The Wallis Annenberg Center Sarah DeLappe’s The Wolves (Playwrights Realm), for the Performing Arts (Blues in the Night) and Gef- Rajiv Joseph’s Archduke (Mark Taper Forum) and fen Playhouse (The Untranslatable Secrets of Nikki Suzan-Lori Park’s Father Comes Home From the Wars Corona, Play Dead, Wrecks, Some Girls). She earned (). He has designed regionally for 22 Ovation Award nominations and won the Ruth Mark Taper Forum, Geffen Playhouse, Oregon Shake- Morley Award from the League of Professional Theater speare Festival, La Jolla Playhouse, The Old Globe, Women, and the Los Angeles Drama Critics Theatre Berkeley Repertory Theatre, American Contemporary Circle Kinetic Award for Outstanding Achievement in Theater, Goodman Theatre, American Repertory The- Theatrical Design. cricketsmyers.com ater, Arena Stage, Dallas Theater Center and Portland Center Stage. His New York design credits include Kelly Todd (Choreography), a UCLA theatre alumna, The Public Theater, New York Theatre Workshop, Sig- has directed, choreographed and performed in musi- nature Theatre, Second Stage Theatre, Performance cals in Los Angeles and New York. She is a proud resi- Space 122 and Kitchen Theatre Company. His honors dent artist at the Chance Theater, where some of her include the 2018 Obie Award for Sustained Excellence favorite projects have been Jones, for which in Lighting Design, Los Angeles Drama Critics Circle she received a 2014 Ovation Award for Best Chore- Angstrom Award for Career Achievement in Lighting ography; West Side Story, for which she received the Design, an Ovation Award and multiple Bay Area The- Los Angeles Drama Critics Circle 2012 Special Award atre Critics Circle Awards. He is on the lighting design for Fight Choreography; and Triassic Parq (2013) faculty at California Institute of the Arts. lapchichu. and Jerry Springer: The Opera (2011), both of which com won the Ovation Award for Best Musical in an Intimate Theatre and garnered Ovation Award nominations for Cricket Myers (Sound Design) is thrilled to return Best Choreography. She was named Southern Califor- to SCR after designing Kings; A Doll’s House, Part 2; nia’s Choreographer of the Year in 2011 and 2012 by The Siegel; Red; Mr. Wolf; Zealot; Trudy and Max StageSceneLA. Her other credits include SCR’s Once, in Love; 4000 Miles; The Fantasticks; The Parisian The Light in the Piazza, Ivy + Bean: The Musical, Woman; Sight Unseen; Elemeno Pea; The Trip to Absurd Person Singular and Seussical; The Who’s Bountiful; and Three Days of Rain. On Broadway, Tommy at Segerstrom Center for the Arts; and two

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ENJOY 4 BROADWAY PRODUCTIONS IN ONE WEEK! $ Plus: Welcome Dinner • Iguana Club Dinner & Show with Vince Giordano 4995 Cloisters & NY Botanic Gardens & Lunch in Little Italy (Bronx) Includes Airfare and All Taxes Tour of Historical New Amsterdam Theatre • Ellis Island Single Supplement NEW YORK One World Observatory • 9/11 Memorial Museum • Guided Walking Tours $1,195 Spring Theatre Tour • May 14-20, 2019 For more information call or email: (714) 708-5590 • [email protected]

P14 • South Coast Repertory • Sweeney Todd world premieres, Keep Movin’ On, featuring the music Kathryn Davies (Assistant Stage Manager) previ- of Sam Cooke, and What’s Going On, featuring the ously stage-managed Sugar Plum Fairy, Tales of a music of Marvin Gaye. She is currently a professor in Fourth Grade Nothing, The Roommate, All the Way, the Theatre Department at Pepperdine University. Future Thinking, Red, Vietgone, OZ 2.5, The Whip- ping Man, Tartuffe, Reunion, Trudy and Max in Philip D. Thompson (Accent Coach) teaches at UC- Love, Ivy+Bean: the Musical, The Motherf**ker with Irvine and works as a voice and dialect coach for pro- the Hat, How to Write a New Book for the Bible, Sight fessional and university productions. He is certified as Unseen, Topdog/Underdog, Sideways Stories from a master teacher of Fitzmaurice Voicework, is the co- Wayside School, In the Next Room or the vibrator founder of Knight-Thompson Speechwork and is the play, Doctor Cerberus, Ordinary Days, Our Mother’s past president of the Voice and Speech Trainers Asso- Brief Affair, The Injured Party, The Brand New Kid ciation. He is the head of voice and text at the Utah and Imagine—all at SCR. Her favorite credits include Shakespearean Festival and has served as resident The Wars at the Grand Theatre; Dividing the Estate coach there for 19 seasons and more than 100 produc- at Dallas Theater Center; La Bohème at Tulsa Opera; tions. He has coached at Pasadena Playhouse, Denver The Mystery of Irma Vep at The Old Globe; Daddy Center Theatre Company and Alabama Shakespeare Long Legs at Laguna Playhouse; Tosca and La Fille Festival, among others including numerous produc- du Régiment at Opera Ontario; Of Mice and Men at tions at Cincinnati Playhouse in the Park. This is his Theatre Calgary, CanStage, Neptune Theatre; The 32nd production at SCR. Dresser at Manitoba Theatre Centre; Skylight at Tar- ragon Theatre; To Kill a Mockingbird at Citadel The- Jamie A.Tucker (Stage Manager) is excited to return atre, Manitoba Theatre Centre, Theatre Calgary; and to SCR. He completed his MFA in dance, specializing The Designated Mourner at Tarragon Theatre and the in stage management, at UC-Irvine (1994), and his Edinburgh Fringe Festival. Davies also has worked as MBA in marketing from the University of Redlands head theatre representative at the Toronto Interna- (2014). He is currently a professor of stage manage- tional Film Festival, Dubai International Film Festival, ment and production management at CSU-Fullerton. AFI Fest, TCM Film Festival, Los Angeles Film Festival At SCR, he has stage-managed or assisted on more and as team leader at Sundance. than 60 productions. Some of his favorites have been the world premieres of Three Days of Rain, The Violet Music Theatre International (MTI) is one of the Hour, The Dazzle, The Intelligent Design of Jenny world’s leading theatrical licensing agencies, granting Chow and Mr. Marmalade. His other favorites include theatres from around the world the rights to perform Elemeno Pea, Jitney, A Midsummer Night’s Dream, the greatest selection of musicals from Broadway and Crimes of the Heart, Fences, Anna in the Tropics, The beyond. Founded in 1952 by composer Frank Loesser Trip to Bountiful, A View from the Bridge, Chinglish, and orchestrator Don Walker, MTI is a driving force Death of a Salesman, Hamlet and The Light in the in advancing musical theatre as a vibrant and engag- Piazza. He had the pleasure of working seven seasons ing art form. MTI works directly with the composers, on La Posada Mágica and six seasons at the helm of A lyricists and book writers of these musicals to provide Christmas Carol. If you can’t find him in the theatre, official scripts, musical materials and dynamic the- he is likely to be riding his bike through the canyons atrical resources to more than 70,000 professional, of south Orange County. He is a proud member of community and school theatres in the U.S. and in Actors’ Equity. more than 60 countries worldwide. MTI is particularly

Between the flock and the wolf... A mystery within a love story, about an African-American cop, her white male partner and the –MAY 5 shooting of a black man. Age 14 APR 14 and above. Contains adult language.

by Kevin Artigue directed by Leah C. Gardiner SCR.org | (714) 708-5555

Sweeney Todd • South Coast Repertory • P15 dedicated to educational theatre and has created spe- the art and craft of American playwriting. They also cial collections to meet the needs of various types of accepted SCR’s 1988 Tony Award for Outstanding performers and audiences. MTI’s Broadway Junior™ Resident Professional Theatre and won the 1995 The- shows are 30- and 60-minute musicals for performance atre LA Ovation Award for Lifetime Achievement. Ben- by elementary and middle school-aged performers, son has received the Los Angeles Drama Critics Circle while MTI’s School Editions are musicals annotated Award for Distinguished Achievement in Directing an for performance by high school students. MTI main- unparalleled seven times for George Bernard Shaw’s tains its global headquarters in New York City with Major Barbara, Misalliance and Heartbreak House; additional offices in London (MTI Europe) and Mel- John Millington Synge’s Playboy of the Western World; bourne (MTI Australasia). Arthur Miller’s The Crucible; Sally Nemeth’s Holy Days; and the world premiere of Margaret Edson’s Paula Tomei (Managing Director) is responsible for Pulitzer Prize-winning Wit, which he also directed at the overall administration of SCR. She has been man- Seattle Repertory Theatre and Houston’s Alley The- aging director since 1994 and a member of SCR’s staff atre. He has directed American classics such as A since 1979. She is a past president of the board of The- Streetcar Named Desire and has distinguished himself atre Communications Group (TCG), the national ser- in staging contemporary work including the critically vice organization for theatre. In addition, she served acclaimed California premiere of William Nicholson’s as treasurer of TCG, vice president of the League of Shadowlands. He directed revivals of Beth Henley’s Resident Theatres (LORT) and as a member of the Abundance and ’s The Trip to Bountiful; LORT Negotiating Committee for industry-wide union and Samuel D. Hunter’s The Whale and Rest (world agreements. She represents SCR at national confer- premiere); The Whipping Man by Matthew Lopez; ences of TCG and LORT and served as a theatre pan- and The Roommate by Jen Silverman (west coast pre- elist and site visitor for the National Endowment for miere). Benson received his BA in theatre from San the Arts (NEA) and the California Arts Council. Her Francisco State University. teaching background includes a graduate class in non profit management at UC Irvine (UCI) and as a guest David Emmes (Founding Artistic Director) is co- lecturer in the graduate school of business at Stanford. founder of South Coast Repertory. He received the She was appointed by the chancellor to UCI’s Com- Margo Jones Award for his lifetime commitment to munity Arts Council, serves on the Dean’s Leadership theatre excellence and to fostering the art of American Society Executive Committee for the School of Social playwriting. In addition, he has received numerous Sciences at UCI and on One OC’s Nonprofit Advi- awards for productions he has directed during his sory Council. She is also on the board of Arts Orange SCR career. He directed the world premieres of Amy County, the county-wide arts council, ­­­­and the board Freed’s Safe in Hell, The Beard of Avon and Freedom- of the Nicholas Endowment. She graduated from UCI land; Thomas Babe’s Great Day in the Morning; with a degree in economics and pursued an additional Keith Reddin’s Rum and Coke and But Not for Me; course of study in theatre and dance. In March 2017, and Neal Bell’s Cold Sweat; the American premieres she received the Mayor’s Award from the City of Costa of Terry Johnson’s Unsuitable for Adults; and Joe Mesa for her contributions to the arts community. In Penhall’s Dumb Show; and the Southland premiere October 2018, she received the Helena Modjeska Cul- of Top Girls (at SCR and the Westwood Playhouse). tural Legacy Award from Arts Orange County for Life- Other productions he has directed include Red, New time Achievement in the Arts and was recognized as England, Arcadia, The Importance of Being Earnest, a Person of Influence in the Orange County Business Woman in Mind and You Never Can Tell, which he Journal’s 2018 “OC 500.” restaged for the Singapore Festival of Arts. He has served as a theatre panelist and onsite evaluator for Martin Benson (Founding Artistic Director), co- the National Endowment for the Arts, as well as a founder of SCR, has directed nearly one-fourth of panelist for the California Arts Council. After attend- SCR’s productions. In 2008, he and David Emmes ing Orange Coast College, he received his BA and MA received the Margo Jones Award for their lifetime from San Francisco State University and his PhD from commitment to theatre excellence and fostering USC.

The Actors and Stage Managers em- The Scenic, Costume, Lighting and The Director is a member of the Soci- ployed in this production are members Sound Designers in LORT theatres ety of Stage Directors and Choreogra- of Actors’ Equity Association, the Union are represented by United Scenic phers, Inc., an independent national of Professional Actors and Stage Man- Artists Local USA-829, IATSE. labor union. agers in the United States.

P16 • South Coast Repertory • Sweeney Todd