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Home , Art (play), Bernard Boursicot, Chinglish (play), Clive Owen, David Henry Hwang, Da (play)

SC 55th Season • 528th Production SEGERSTROM STAGE / MAY 11 - JUNE 8, 2019

David Ivers Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR

David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS

presents M. BUTTERFLY

by

Ralph Funicello Sara Ryung Clement Josh Epstein Andre J. Pluess SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN & ORIGINAL MUSIC

Annie Yee Matthew E. Chandler Joanne DeNaut, csa Moira Gleason* CHOREOGRAPHY Holly Ahlborn CASTING STAGE MANAGER PRODUCTION MANAGERS

Directed by Desdemona Chiang

Geoff & Valerie Fearns Michael Ray Honorary Producer Honorary Producer

M. BUTTERFLY is presented by special arrangement with Dramatists Play Service, Inc., New York.

M. Butterfly • • P1 CAST OF CHARACTERS Marc/Pinkerton/Ensemble ...... Aaron Blakely* Comrade Chin/Ensemble ...... Melody Butiu* Tuolon/Judge/Sharpless/Ensemble ...... Stephen Caffrey* Agnes/Ensemble ...... Nike Doukas* Renee/Pinup Girl/Ensemble ...... Juliana Hansen* Song Liling ...... Jake Manabat* Rene Gallimard ...... Lucas Verbrugghe* Ensemble ...... Annika Alejo,*Yoko Hasebe, Andres Lagang, Sophy Zhao*

SETTING A prison in 1986, and between Paris and , 1950s-1980s.

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

PRODUCTION STAFF Dramaturg ...... Andy Knight Assistant Stage Manager ...... Alyssa Escalante* Assistant Director ...... Christine “Yari” Cervas Associate Sound Designer ...... Jeff Polunas Assistant Lighting Designers ...... R.S. Buck, Savannah Van Leuvan Costume Design Assistant ...... Ramzi Jneid Costume Design Interns ...... Sean Castro, Lauren Terceira Stage Management Interns ...... Lauren Buangan, Georgi Hughes Light Board Operator ...... Keannak Parvaz Sound Board Operator ...... Jim Lupercio Automation Operator ...... Alex Johnson Wardrobe Supervisor ...... Jyll Christolini Dressers ...... Carson Julian, Kaler Navazo Wig and Makeup Technician ...... Gillian Woodson Wig and Makeup Assistant ...... Karina Moreno Wig Maintenance ...... Lily Von Isenberg Additional Costume Staff ...... Rebecca Clayton, Lalena Hutton, Kaitlyn Kaufman, Erik Lawrence, Raven Loch, Tessa Oberle, Sarah Timm

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

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 #MButterflySCR 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 .

P2 • South Coast Repertory • M. Butterfly ’s Revolutionary Culture Under Mao by Andy Knight

n the fall of 1949, the two-decade civil war between tion instead of consumption. To protect the country the Chinese Communist Party (CCP) and the coun- from the insidiousness of capitalism, the CCP “reedu- try’s Nationalist regime finally came to an end. On cated” landlords, scientists and the urban elite through October 1, Mao Zedong, a communist revolutionary, forced labor. They discredited Western scholarship and stood in front of Beijing’s Tiananmen Gate and an- culture, as well, and soon teachers, artists and intellectu- Inounced the founding of the People’s Republic. China als found themselves accused of counterrevolutionary was now a communist country and Chairman Mao was activities. As hardline party ideology became increasing- its leader. ly important to CCP leaders, the punishment for dissi- In the aftermath of the civil war, the new Chinese dent behavior—even unproven—became more severe. government looked to the Soviet Union—and Joseph Over the next two-and-a-half decades, Mao re- Stalin’s planned economy—as a model for their socialist shaped China politically, economically and socially state. Much of the country’s farmland was redistributed through a variety of drastic campaigns. It was a tumul- in a move towards collectivism and many of its urban tuous period in the country’s history—and one that centers were reimagined as places of industrial produc- changed its culture forever.

Mao Zedong, October 1, 1949.

M. Butterfly • South Coast Repertory • P3 for the Masses May 1942

n May 1942—seven years prior to the establishment of the People’s Republic of China—Mao Zedong delivered his fa- mous “Talks at the Yan’an Forum on Literature and Art.” (At Ithat time, Yan’an, a city in north-central China, was an impor- tant base for the CCP.) While speaking to a large group of art- ists, writers and musicians, Mao proclaimed that culture played a key role in a revolution and that art must not serve the elite, but instead serve the masses. And to reach the masses, the pro- letariat must be at the center of the stories, not the bourgeoisie. To Mao, the purpose of art was also political and artists were instructed to promote communist principles in all of their work. In the years to come—particularly during the of the 1960s and ’70s—this doctrine would be used to persecute artists and intellectuals who were deemed prob- A photograph from the Yan’an Forum on Literature and lematic by the government. Art, 1942.

“Let a Hundred Flowers Bloom” May-June 1957

n February 1956, Soviet leader Nikita Khrushchev deliv- ered a controversial speech, titled “On the Cult of Per- sonality and Its Consequences,” in which he denounced Ithe tyrannical leadership of the recently deceased Jo- seph Stalin and condemned, among many other things, Stalin’s purges of Soviet communist party officials in the late 1930s. Khrushchev’s speech reverberated throughout the USSR and it wasn’t long before it reached a worldwide audience—including Chairman Mao, whose own party was engaging in counterrevolutionary purges. In response to Khrushchev’s speech and the up- heaval in Eastern Europe that followed, Mao and the CCP initiated the Hundred Flowers Campaign, which took its name from the line of a famous poem: “Let a hundred flowers bloom, let a hundred schools of thought contend.” The campaign—which, in an effort to distance Mao’s lead- ership from Stalinism, encouraged the Chinese public to critique the government—began on May 1, 1957. It lasted a mere five weeks, however, because Mao and his party officials had underestimated the public’s grievances. In June, the campaign was abruptly reversed and replaced with an Anti-rightist Campaign that punished many of the dissidents who spoke out during the month of Hundred Flowers. The government’s most vocal critics were fired from their jobs or sent to collective farms or labor camps. The few who were deemed the most dangerous were ex- ecuted. An example of one of the propaganda posters used in Mao’s China.

P4 • South Coast Repertory • M. Butterfly A Great Leap and a Fall From Power 1958-1961

fter the failure of the Hundred Flowers Campaign, Mao turned his attention back to China’s economic develop- ment. In January 1958, the Great Leap Forward began. AThis radical campaign—intended to put China’s industrial output ahead of Great Britain’s in just 15 years—authorized the relocation of millions of Chinese citizens to live and work on “people’s communes,” cooperatives set up for farming or man- ufacturing. The collectives, however, proved ineffective due to poor irrigation techniques, the useless steel produced in the “backyard furnaces” and a series of natural disasters. By 1959, the country had plunged into what would become a devastating famine. Although the total number of deaths remains in conten- tion, scholars estimate that somewhere between 30 and 45 mil- lion people died as a result of the Great Leap. While the disastrous Great Leap Forward didn’t end the CCP’s control of China by any means, it did diminish Mao’s in- fluence within his party. When the campaign was abandoned in 1962, many CCP officials held Mao responsible for its failure. , who was technically the president at the time, tried to reverse the economic downturn by implementing more moder- ate policies: foreign grain was imported; private farming, to an extent, was allowed again; and restrictions on China’s cultural life were relaxed. A poster from the Great Sparrow Campaign. During the Great Leap, the CCP encouraged citizens to eradicate the In the early 1960s, Mao—by then relegated to a figurehead Eurasian tree sparrow, which ate grain and fruit grown position—watched as pragmatism replaced ideological purity. on the collective farms. But after the sparrow population Worst of all, he feared that the party was beginning to promote was depleted, China’s crop yield actually decreased— capitalist principles. In his mind, the CCP needed to be over- for the sparrows also preyed upon insects. hauled.

The Play’s the Thing 1961

n 1961, historian and government cized Mao and the Great Leap For- official Wu Han published the final ward in 1959.) In a scathing essay, version of Hai Rui Dismissed from Yao called Hai Rui a “poisonous weed IOffice, his play about a Ming dynas- which should be criticized.” Other of- ty minister who was sent to prison for ficials within the party believed that criticizing the emperor. The play had the attack on Wu Han—who would been enormously popular when it was die in prison in 1969—was excessive performed during the prior year. Even and overly harsh. The party infighting Chairman Mao praised the piece. that had begun during the Great Leap But Mao’s closest allies—in- had come to a head. cluding his wife, Jiang Qing, and pro- For Mao, the disagreement paganda official Yao Wenyuan—saw among the ranks provided the perfect the play as a thinly veiled allegory for opportunity to set his next plan into Mao’s wife, Jiang Qing, pictured here in the downfall of Peng Dehuai. (Peng, motion. With Hai Rui, Wu Han had 1976, was a harsh critic of Wu Han and China’s former defense minister, was unwittingly opened the door for Mao’s would later play an important role in the stripped of his position after he criti- Cultural Revolution. Cultural Revolution.

M. Butterfly • South Coast Repertory • P5 The Great Proletarian Cultural Revolution 1966-1976

o reassert his power—and to purge the CCP of its purged from the party and arrested. (He would die in pris- bourgeois leaders—Chairman Mao, in August 1966, on two years later.) By 1971, Mao and his new apparent called for a Great Proletarian Cultural Revolution. He successor, Lin Biao, were at odds. Later that year, Lin died T enlisted the people to help him stamp out corrupt in a mysterious plane crash while fleeing the country. The party officials and “class enemies,” such as artists, musi- so-called Gang of Four—which included Jiang Qing, Mao’s cians and intellectuals. Students formed ad-hoc militias, wife, and Yao Wenyuan, who wrote the essay denouncing calling themselves Guards, in an effort to rid the coun- Wu Han—became an increasingly powerful presence in try of the Four Olds: old customs, old culture, old habits the party, especially as Mao’s health declined in the 1970s. and old ideas. Jiang, a former actor, played a particularly important role As the Cultural Revolution gained momentum, the in the CCP’s attempt to purify the country’s art from both number of increased rapidly—especially as ancient and Western influences. Traditional Chinese op- young workers and peasants joined the ranks—and their eras, for example, were replaced by revolutionary actions became more extreme. They used violent tactics that propagandized socialist ideals. to publicly shame monks, intellectuals, landowners and In September 1976, at the age of 82, Mao Zedong anyone deemed a counterrevolutionary. They razed tem- died. Although the Gang of Four hoped to retain their ples to the ground and destroyed ancient relics. In one power and to continue to enforce their austere policies, instance, they disinterred the remains of an emperor from Mao’s successor, Hua Guofeng, had them arrested in Oc- the Ming dynasty and burned them. During the 10 years of tober and later tried for treason. With their arrest, Mao’s the Cultural Revolution, at least one million people died at great Cultural Revolution—both symbolically and in prac- the hands of the Red Guards or in the country’s reeduca- tice—was finally at an end. tion camps. The power struggles within the CCP were also par- Above: A provincial party secretary facing public criticism ticularly brutal during this era. In 1967, President Liu was from Red Guards, 1966.

P6 • South Coast Repertory • M. Butterfly Making a Modern Classic Contemporary: David Henry Hwang on M. Butterfly

y now, David Henry Hwang writing. Not long after, Hwang drove York’s Public Theater in 1996-7. After is a grizzled veteran of the down the 405 from his family home in that, another 15 years would go by American theatre and one of to meet the SCR artistic before Hwang would return to SCR the foremost of team, including Patch and artistic di- with his play, —a comedy his generation; but his first rectors David Emmes and Martin Ben- about the confusions of language and contactB with South Coast Repertory, son. Patch remembers Hwang wore culture in America and China—in a in the early 1980s, came when he a T-shirt and shorts to the meeting. co-production by SCR and Berkeley was still an undergraduate at Stan- Hwang drove away with one of SCR’s Repertory Theatre that went on to a ford University. That’s when Jerry first new-play commissions. run in Hong Kong. Patch, SCR’s then-literary manager, But before Hwang could write a And now, the relationship that got in touch with Hwang to let him play for SCR, he had to finish another began when Hwang was a shorts-and- know of SCR’s interest in his early project—a play called M. Butterfly— T-shirt-wearing kid comes full circle that would cause his career to sky- with SCR’s production of M. Butterfly, rocket. It went straight to Broadway hot on the heels of a Broadway revival after a brief stop in Washington, D.C., that starred and Jin Ha. with and BD We recently interviewed Hwang to Wong in the leads. It ran for find out more about the second life of more than two years, earned M. Butterfly, in New York and at SCR. Hwang a and, eventually, became Why did you decide to revisit the a major motion picture star- text of M. Butterfly for the 2017 ring and John Broadway revival? Lone. The play’s long inter- Since the world premiere of this play national trajectory—along in 1988, the way we think about gen- with a couple of other career der has evolved dramatically. Simi- twists—meant that Hwang larly, the East-West power balance has wasn’t able to fulfill his SCR continued to transform; 30 years ago, commission until the mid-1990s. China, while rising, was not yet the su- The play he finally delivered perpower we know today. So I want- to SCR, , was loosely ed to revisit the text to reflect both based on the story of his Chinese of these realities, telling the story great-grandfather’s conversion to through a less binary, more gender- Christianity in the early fluid lens, while also trying to give the 20th century. It Chinese and Western perspectives had its world more equal weight. premiere in a co- Although M. Butterfly isn’t a docu- produc- drama, the plot of the revised text tion by seems to more closely reflect the SCR real-life relationship of and and , on which New the story is based. What pulled you in that direction?

M. Butterfly • South Coast Repertory • P7 Elements of the true story happened You received one of the first com- to fit nicely into my larger agenda. missions SCR ever gave to a play- For instance, Shi Pei Pu was known wright at an early point in your for his performance in a Chinese career (just before M. Butterfly be- called The Butterfly Lovers, came an international success). which—while obviously also hav- You’ve had a couple of productions ing “Butterfly” in its title—features a here since then (Golden Child and plot centered on gender confusion. Chinglish), and now we’ve come So by interpolating elements of But- full circle by bringing M. Butterfly terfly Lovers alongside the refer- to SCR. Southern is your ences to Madame Butterfly, the revi- original home, so is this a home- sion boosts the Chinese perspective coming in some ways? through both story and theatricality. SCR has been a faithful and fruitful theatrical home for me, here in my The play has some very astute ob- hometown. Former Literary Man- servations about gendering—not ager Jerry Patch was the first person just gendering individuals but en- in a major not-for-profit theatre who tire cultures, as well. It must have wrote me a supportive letter about been interesting to revisit the con- my plays, back when I was still an un- cept of gender fluidity and the dergraduate in college. toxic paternalism that permeates M. Butterfly, given how things have Is there anything noteworthy about or haven’t changed in the country this production of M. Butterfly, after and the world since you wrote the you’ve seen so many productions play. over the years? (I’m thinking of your Some people feel that today, the East comment that this is the first time is no longer gendered as feminine a major production of your work to the West’s masculinity. However, will be directed by an Asian-Amer- I believe that Western stereotypes ican director—or maybe it was an about Asia and Asians remain pow- Asian-American woman director?) erful and problematic. From Louis There have been countless produc- C.K.’s recent rant disparaging Asian tions of M. Butterfly, both in the U.S. masculinity, to the alt-right’s obses- and abroad, the vast majority of which sion with Asian women, to the notion I haven’t seen. As far as I’m aware, that China’s economic rise can only this is the first time my play will be di- be the result of “cheating,” old ways rected by an Asian-American woman. of looking at the world die hard. I feel confident that Desdemona will bring new insights and perspectives How do you think the theatrical to the work, helping to illuminate it landscape in America has changed further, even after all these decades. since M. Butterfly first opened? Certainly American theatre has dealt Looking ahead, are there specific more extensively with gender and topics or ideas that you’re inter- sexual identity since M. Butterfly ested in writing about that you opened. Similarly, there has been haven’t explored yet? If so, is there an explosion of wonderful young- anything you’d be willing to talk er Asian-American playwrights and about right now—just in a general theatre-makers, our director Desde- sense? mona Chiang being a prime example. Right now, I am primarily focused on The former is one of the reasons Julie bringing , my collaboration Taymor and I felt M. Butterfly could with composer that no longer turn so completely on the Photos top to bottom: and July- premiered at Center Theatre Group “surprise” of Song Liling’s “true” gen- ana Soelistyo in SCR’s 1997 production of last spring, to this fall. der. I therefore sought in this version Golden Child and Alex Moggridge and But I have at least two more major to make Song’s gender more ambigu- in the 2012 production theatre projects I hope to make hap- ous throughout. of Chinglish. pen in the next few years.

P8 • South Coast Repertory • M. Butterfly Artist Biographies

Aaron Blakely A Perfect Wedding (Kirk Douglas Theatre), Long Story Marc/Pinkerton/Ensemble Short (San Diego Repertory Theatre), A Little Night Music and Golden Child (), 36 Views was last seen at South Coast Rep- (Portland Center Stage), Hair (Reprise Theatre Com- ertory in How to Write a New pany) and Dogeaters and Boy (La Jolla Playhouse). Book for the Bible. His other re- Her and television credits include The Patients, A gional productions include Who’s Mother’s Greatest Fear, Untold, Blood Ransom, “The Afraid of Virginia Woolf?, Pho- Kominsky Method,” “NCIS: LA,” “Kingdom,” “Rizzoli tograph 51, and & Isles,” “Gotham,” “NCIS” and “Modern Family.” She How to Write a New Book for the Bible at Seattle earned an MFA from UC-San Diego. melodybutiu.com, Repertory Theatre; , Other Desert Cities and Mid- Instagram: @mellowdeebee dletown at A Contemporary Theatre; How to Write a New Book for the Bible at Berkeley Repertory Theatre; Stephen Caffery Sense and Sensibility at Book-It Repertory Theatre; Tuolon/Judge/Sharpless/ The Lion in Winter at Shakespeare Santa Cruz; as well Ensemble as productions with A Noise Within, Idaho Repertory Theatre and Southern Rep Theatre (New Orleans). appeared previously at SCR in His film credits include Outside In, We Need to Talk SHREW!, About Kevin and We Go Way Back. On television, he and Bach at Leipzig. His other appeared in “Z Nation” (Syfy), “Grimm” (NBC), “The credits include Stage Kiss and Librarians” (TNT), “Leverage” (TNT) and recurred for Yes, Prime Minister (Geffen Play- three seasons in Studios’ Emmy Award-win- house), The Seafarer and 36 Views (Laguna Play- ning, “The Man in the High Castle.” Blakely holds an house), Fuddy Meers (Rubicon Theatre Company), MFA in acting from the University of Washington. Red (Geva Theatre Center and PlayMakers Repertory Company), One Flew Over the Cuckoo’s Nest (Port- Melody Butiu land Center Stage), Galileo ( Playhouse), Comrade Chin/Ensemble Heartbreak House (Berkeley Repertory Theatre), A Doll’s House, Singers Boy, and The returns to SCR where her cred- Voysey Inheritance (ACT, ), Victoria its include Sheepdog (featured Musica (Cincinnati Playhouse), Restoration Com- voice), Naked Mole Rat Gets edy (Seattle Repertory Theatre), The Miser (Hartford Dressed: The Rock Experience Stage), The Body of (), The (Theatre for Young Audiences), Constant Wife (Pasadena Play House), Bargains (The A Christmas Carol (2018), Ship- Old Globe), The Cripple of Inishmaan and Falstaff in wrecked! An Entertainment, The Intelligent Design Henry IV (Antaeus Theatre Company), I Hate Ham- of Jenny Chow, Ivy + Bean: The Musical and Junie let (The Royal George), All’s Well that Ends Well and B. Jones in Jingle Bells Batman Smells. Her New Bach at Leipzig (Santa Cruz Shakespeare), The Scar- York credits include Doctor Zhivago (on Broadway) let Letter (Classic Stage Company) and What You Get and ’s (off-Broadway, The and Expect (New York Theatre Workshop). His film Public Theater). Her regional theatre credits include and television credits include Longtime Companion, Vietgone (Denver Center for the Performing Arts), Cinema Verite (HBO), “” (series regu- Ripe Frenzy (Greenway Court), Enchanted Nightin- lar for three seasons and director, CBS) “,” gale (Garry Marshall Theatre), Here Lies Love (Seattle “” (yada yada), “Nothing Lasts Forever” (mini- Repertory Theatre), Merrily We Roll Along (Wallis An- series), “” (Emmy Award nominee), nenberg Center for the Performing Arts), Sunday in “The Profiler,” “NCIS,” The Adventures of Young Indi- the Park with George (Huntington Theatre), Mon- ana Jones: Hollywood Follies, Murder of Innocence, stress (American Conservatory Theatre), Stage Kiss and Buried Alive, “CSI Miami,” “American Odyssey.” He Shipwrecked! (Geffen Playhouse), Helen (Getty Villa), has been a member of Actors Equity since 1982.

M. Butterfly • South Coast Repertory • P9 Nike Doukas Forces of Evil” (Disney XD), “Unikitty” (Warner Broth- Agnes/Ensemble ers) and the upcoming Toy Story 4 (). She’s the new voice of Mary Poppins (Mary Poppins: Legacy Collec- returns to SCR after appearing in tion) and Cinderella (Cinderella: The Lost Chords) and Sense and Sensibility, Yoga Play, frequently works alongside Disney legend Richard M. , The of Atlantis, Sherman. Hansen holds an MA in acting from Guildford The Happy Ones, Dead Man’s Cell School of Acting in England. JulianaHansen.com Phone, Ridiculous Fraud, Cyra- no de Bergerac, Major Barbara, Jake Manabat Much Ado About Nothing, Everett Beekin, The Beard Song Liling of Avon, Round and Round the Garden, Pygmalion, How the Other Half Loves, Arms and the Man, Blithe is making his SCR debut. His the- Spirit, Green Icebergs, The Company of Heaven and atre credits include M. Butterfly Loot. She most recently appeared in Three Days in the (Song Liling understudy, directed Country at The Antaeus Company, where she is a mem- by and starring Clive ber, and where, earlier last year, she directed Harold Owen and Jin Ha, Broadway), Pinter’s The Hothouse. This summer she will direct King (national tour, directed by Michael Lear at the Harold Clurman Theatre in Hollywood. Her Greif, Benny Company), The White Snake (written and other regional acting credits include the Pasadena Play- directed by Mary Zimmerman, Guthrie Theatre and house, Kinetic Theatre and PICT (both in Pittsburgh), Wuzhen Theatre Festival), The Provok’d Wife (directed Jewel Theatre Company (Santa Cruz), The Old Globe, by Mark Wing-Davey, American Repertory Theater), M. A Contemporary Theatre (Seattle), Mark Taper Forum, Butterfly (directed by Derek Charles Livingston, The Shakespeare Center of Los Angeles, Berkeley Repertory , LA Weekly Theatre Award nomi- Theatre, Shakespeare Santa Cruz, Berkeley Shakespeare nation, Best Actor), M. Butterfly (directed by Nick Man- Festival and American Conservatory Theatre. Her nu- gano, Capital Repertory Theatre), Thoroughly Modern merous television guest spots include a recurring role Millie (directed by Bob Durkin, West Virginia Public on “Desperate Housewives.” She is a recipient of the Theatre), Jen Silverman’s Crane Story (directed by Kath- 2011 Lunt Fontanne Fellowship, and holds an MFA from erine Kovner, Playwrights Realm), Charles Mee’s Gone the American Conservatory Theater. (directed by Ken Watt, 59E59 ), Milk-N-Honey (directed by Ellen Beckerman, 3-Legged Dog), work- Juliana Hansen shops of Philip Himberg’s Paper Dolls (directed by Mark Renee/Pinup Girl/Ensemble Brokaw, ), and Fabian Obis- po’s The Long Season (directed by Peter DuBois, Hun- is thrilled to be back at SCR, after tington Theatre Company), and readings with The Lark portraying Johanna in Sweeney and Ensemble Studio Theatre’s Youngblood playwrights Todd earlier this season. Her favor- collective. His television credits include “Bored to Death” ite credits include the first national (HBO, GLAAD Media Award nomination, Outstanding tour of Thoroughly Modern Millie Individual Episode), “Madam Secretary” (CBS), “Diet- (as Millie), Saved (Lana, Playwrights land” (AMC), “Lilyhammer” (), “Hunting Season” Horizons), Mary Poppins (Mary, Cabrillo Playhouse), (Vimeo, Independent Series Award, Best Ensemble), Les Misérables (Eponine, Sacramento Music Circus), The “The Lair” (HereTV) and “The Neighborhood” (Pilot). Fantasticks (Louisa, Gateway Playhouse), and West Side Manabat received his MFA from the A.R.T. Institute/Mos- Story with Michael Tilson Thomas and the San Francisco cow Art Theatre School Institute at Harvard University. Symphony (Rosalia, Grammy Award nomination). She created, produced and starred in the comedy webseries, Lucas Verbrugghe “Finding Fillion,” directed by Joel Zwick (My Big Fat Rene Gallimard Greek Wedding). She was awarded a best actress award for her work in the film Here (168 Film Project). Her is making his SCR debut. He most television credits include “Every Other Holiday” (Rebec- recently appeared in San Francisco ca, MarVista Entertainment) “Richard Sherman: Songs of Playhouse’s production of An En- a Lifetime” (PBS), and “Grease: You’re The One That I tomologist’s Love Story by Melissa Want” (finalist, NBC), working with Tony Award-winning Ross. His Los Angeles theatre cred- director Kathleen Marshall and Sir Andrew Lloyd Web- its include Alena Smith’s Icebergs ber. As a voice actor, she can be heard on “Star vs. The at Geffen Playhouse (Ovation Award nomination), Semi-

P10 • South Coast Repertory • M. Butterfly nar at the and Jon Caren’s Need to tant directing and dramaturgy credits include work at Know at Rogue Machine Theatre. His New York credits Oregon Shakespeare Festival, Playmakers Repertory include Bloody Bloody Andrew Jackson and The Ritz on Company, A Contemporary Theatre, California Shake- Broadway; Love Labour’s Lost and Macbeth at The Public speare Theater, Arizona Theatre Company, Intiman Theater; Robert Askins’ Permission at MCC Theater; The Theatre, Mark Taper Forum, Magic Theatre, Theatre- Common Pursuit at Roundabout Theatre Company; works and Rattlestick Playwrights Theatre. She is an Leslye Hedland’s Assistance at Playwrights Horizons; and Intersection for the Arts Triangle Lab Artist-Investigator the world premieres of boom by Peter Sinn-Nachtreib and an adjunct faculty member at Cornish College of and Oohrah! by Bekah Brunstetter. His film credits in- the Arts. Her awards and honors include the Vilcek Prize clude Our Idiot Brother; Lazy Eye; A Woman, a Part; for Creative Promise in Theatre, the Gregory Award for A Birder’s Guide to Everything; and Point and Shoot Outstanding Direction, a Stage Directors and Choreog- (short). His television credits include the upcoming raphers Society Sir Directing Fellowship, a “Dickinson,” “Splitting Up Together,” “Ten Days in the Drama League Directing Fellowship and she is a Young Valley,” “Grimm,” “Law & Order” and “Law & Order: Leader of Color (Theatre Communications Group). She SVU.” He has an MFA from New York University. is affiliated with Lincoln Center Theater Directors Lab and Directors Lab West. She earned a BA at the Univer- Playwright, Director and Designers sity of California, Berkeley, and an MFA in directing from University of Washington School of Drama. David Henry Hwang’s (Playwright) stage works include the plays M. Butterfly, Chinglish, , Ralph Funicello (Scenic Design) returns for his 31st Kung Fu, Golden Child, The Dance and the Railroad, season. Among his many SCR credits are designs for and FOB, as well as the Broadway musicals (co- SHREW!, Shakespeare in Love, Once, All the Way, Red, author), (2002 revival) and Disney’s Zealot, , Elemeno Pea, Misalliance, Hamlet, . Hwang is a Tony Award winner and three-time Brooklyn Boy, Major Barbara, The Circle, , nominee, a three-time winner and a two- Six Degrees of Separation, She Stoops to Folly, Buried time finalist for the Pulitzer Prize. He is America’s most- Child, Good and . His work has been seen on and off- produced living opera librettist, whose works have been Broadway and at many resident theatres including Lin- honored with two Grammy Awards. He is a writer/con- coln Center Theater, Mark Taper Forum, The American sulting producer for the Golden Globe Award-winning Conservatory Theater, Huntington Theatre Company, television series The Affair and is currently penning the Intiman Theatre, Seattle Repertory Theatre, Denver live-action feature musical adaptation of The Hunch- Center Theatre Company, Berkeley Repertory Theatre, back of Notre Dame for Disney Studios. Hwang serves Guthrie Theater, McCarter Theatre Center, Oregon as head of playwriting at and as Shakespeare Festival, Milwaukee Repertory Theatre, The chair of the . His newest work, Shakespeare Theatre, Stratford Shakespearean Festival Soft Power, with composer Jeanine Tesori, premiered of Canada, Royal Shakespeare Company, Theatre Royal in 2018 at Center Theatre Group and will open in New Bath and The Old Globe, where he is an associate art- York this fall. ist. He has designed for New York City Opera, LA Opera and San Diego Opera. He has been nominated for New Desdemona Chiang (Director) is a stage director York Drama Desk, Outer Critics Circle, Lucille Lortel and based in Seattle and Ashland, Ore., and is co-founder . He received the Michael Merritt Award for of Azeotrope (Seattle). Her directing credits include Excellence in Design and Collaboration () and Guthrie Theater, Oregon Shakespeare Festival, Pitts- his designs have been recognized by the Bay Area The- burgh Public Theatre, Baltimore Center Stage, Califor- atre Critics Circle, the Los Angeles Drama Critics Circle, nia Shakespeare Theater, Seattle Repertory Theatre, Drama-Logue, Backstage West and the United States Playmakers Repertory Company, Long Wharf Theatre, Institute for Theatre Technology. Funicello is the Powell Seattle Children’s Theatre, ACT Theatre Seattle, Ameri- Chair in Set Design at San Diego State University. can Shakespeare Center, Seattle Shakespeare Company, Heritage Theatre Festival, Book-It Repertory, Aurora Sara Ryung Clement (Costume Design) returns to Theatre Company, Seattle Public Theatre, Shotgun Play- SCR where her past projects include costumes for Cam- ers, Crowded Fire Theatre Company, Azeotrope, Impact bodian Rock Band, A Doll’s House, Part 2, 4000 Miles, Theatre, Playwrights Foundation, Golden Thread Pro- Completeness and Becky Shaw; sets and costumes for ductions, Washington Ensemble Theatre, One Minute How the World Began; and the set design for Absurd Play Festival, Ohio Northern University, University of Person Singular. Her upcoming projects include cos- Washington and Cornish College of the Arts. Her assis- tumes for Good Boys (and True) at the Pasadena Play-

M. Butterfly • South Coast Repertory • P11 house and sets for Henry IV Part I at the Folger Shake- the Shore (Steppenwolf Theatre); Stage Kiss, Lottery speare Theatre. Her work has been seen off-Broadway Day, Jungle Book (Goodman Theatre); Vietgone (Den- at Second Stage Uptown and Ma-Yi, and regionally at the ver Center for the Performing Arts Theatre); and The Guthrie Theatre, Oregon Shakespeare Festival, Denver Steadfast Tin Soldier, (Lookingglass Theatre Company, Center Theatre Company, Geffen Playhouse, Seattle artistic associate). His film scores include The Business Repertory, La Jolla Playhouse POP Tour, Mixed Blood, of Being Born. Among his many honors are Barrymore TheatreWorks, Center Stage Baltimore, Boston Court Awards; a New York Drama Critics’ Circle Award; Jeff Pasadena, Perseverance Theatre, East West Players, Cor- Awards; Ovation Awards; and nominations for a Drama nerstone Theater Company, A Noise Within, Yale Reper- Desk Award and a Lucille Lortel Award for composition tory Theatre, Native Voices at the Autry and others. She and sound design. is on the set design faculty at UCLA School of Theater, Film and Television and is a recipient of the Donald and Jeff Polunas (Associate Sound Design) is thrilled to Zorca Oenslager Fellowship in Design. She earned a MFA be returning to SCR for the third time this season, hav- at Yale School of Drama and an AB from Princeton Uni- ing previously designed Nate the Great and Naked Mole versity. sararyungclement.com Rat Gets Dressed: The Rock Experience. Last season, he designed for The Sisters Rosensweig, Shakespeare in Josh Epstein (Lighting Design) has designed lighting Love and Ella Enchanted. Polunas received his MFA in at many of the top regional theatres in the country. sound design at UC-Irvine and is currently the produc- His recent productions include The Legend of Georgia tion sound supervisor at the university’s Claire Trevor McBride (Geffen Playhouse), Indecent (), School of the Arts. He has designed more than 130 pro- Romeo and Juliet (Guthrie Theater) and ductions during his career including Venus in Fur, Flora (Geva Theatre Center). His work has also been seen & Ulysses, Tales of a Fourth Grade Nothing, Ivy & Bean at the Mark Taper Forum, Goodman Theatre, Kirk and Between Us Chickens (SCR); Les Liaisons Dangere- Douglas Theatre, Pasadena Playhouse, Trinity Reper- uses (Antaeus Theatre Company); Silent Sky, , tory Theatre, Baltimore Center Stage, Kansas City Rep- Abigail/1702, A Walk in the Woods and Uncanny Valley ertory, Long Wharf Theater, Alliance Theatre, Actors (International City Theatre); Passion Play, Seminar and Theatre of Louisville, PlayMakers Repertory Company, A Bright New Boise (Chance Theater); The Full Monty, Cincinnati Playhouse in the Park and Paper Mill Play- Peter Pan, The Wedding Singer and The Producers house. In addition, Epstein is an ensemble member at (Summer Repertory Theatre); and Company, Much Ado IAMA Theatre Company (Los Angeles) and on faculty About Nothing and The Importance of Being Earnest at the UCLA School of Theater, Film and Television. He (PCPA Theaterfest). He received Scenie Awards (Stag- is an LA Ovation Award winner, a Knight of Illumina- eSceneLA) for Sound Design in 2015 and 2017 and has tion nominee and a Helen Hayes Award nominee. He been nominated for NAACP, Stage Raw and Kennedy was a recipient of the NEA/TCG Career Development Center American College Theater Festival awards. Program for Designers and currently serves on the Eugene O’Neill Playwrights Conference Artistic Coun- Annie Yee (Choreography) is thrilled to be return- cil. Epstein received his MFA from NYU’s Tisch School ing to SCR, having acted in The Ballad of Yachiyo. of the Arts and lives in Los Angeles with his wife and Most recently, she choreographed King of the Yees at three daughters. joshepsteindesign.com Baltimore Center Stage and at ACT Theatre (Seattle directed by Desdemona Chiang). Her other choreogra- Andre J. Pluess (Sound Design/Original Music) is phy includes The Golden Dragon at Boston Court Pasa- making his SCR design debut. His Broadway credits dena, directed by Michael Michetti, where she won a include 33 Variations, , Metamor- Scenie Award and was nominated for an Ovation Award, phoses and The Clean House. In regional theatre, Broadway World-Los Angeles for Best Choreography his credits include After the Quake, Angels in Amer- and a Stage Raw Group Award nomination for produc- ica, Arabian Nights, Argonautika, Ghost Light, The tion design; The World of Extreme Happiness at Seattle Secret in the Wings, Treasure Island, The White Snake Public Theater, directed by Desdemona Chiang; Made (Berkeley Repertory Theatre); Cymbeline and Pericles in Bangkok at the Mark Taper Forum, directed by Rob- (Shakespeare Theatre Company); Equivocation, Smart ert Egan; and I Don’t Have to Show You No Stinking People, Indecent (Arena Stage); The Winter’s Tale, The Badges at Los Angeles Theatre Center, directed by Luis Merchant of Venice, Othello, Love’s Labour’s Lost (Ore- Valdez. She was the Chinese dance consultant for Pearl gon Shakespeare Festival); Macbeth, Titus Andronicus at Lincoln Center Theater, directed and choreographed (California Shakespeare Theater); Palomino (Center by Daniel Ezralow. For television, Yee choreographed Theatre Group); The Minutes, The Children, Kafka on the season finale of “The Drew Carey Show.” She is a

P12 • South Coast Repertory • M. Butterfly former Los Angeles Lakers Girl and Los Angeles Rams cheerleader. She was awarded a Stage Directors and Choreographers Society Foundation Observership for Soft Power at the Ahmanson Theatre, directed by Leigh Honorary Producers Silverman. Yee is a proud member of the Stage Direc- tors and Choreographers Society. Geoff & Valerie Fearns are serving as Hon- orary Producers for the sixth time, adding David Moira Gleason (Stage Manager) is excited to return Henry Hwang’s M. Butterfly to an already impres- to SCR for her second production after working ear- sive list of past productions they’ve supported lier this season on Vanya and Sonia and Masha and that includes Amy Freed’s SHREW! (2018), David Spike. She previously stage-managed Julius Caesar, Ives’ Venus in Fur (2014), Molly Smith Metzler’s The River Bride, Long Day’s Journey into Night, The Elemeno Pea (2012), Donald Margulies’ Collected Count of Monte Cristo, Water by the Spoonful, The Two Stories (2009) and Terry Johnson’s Hitchcock Gentlemen of Verona, King Lear, Romeo and Juliet Blonde (2006). The Fearns have been active at and assistant stage-managed UniSon, , SCR for more than 25 years and are currently Cymbeline and As You Like It at Oregon Shakespeare First Night subscribers to both the Segerstrom Festival; stage-managed Alive and Well, Since Africa, and Argyros stages, as well as longtime members Back, Back, Back and assistant stage-managed King of Platinum Circle. In addition, Valerie served for Lear, The Madness of King George III, The Taming of nine years on the theatre’s Board of Trustees and the Shrew, Whisper House, Cyrano De Bergerac, Corio- was engaged in various committees including the lanus, Twelfth Night, All’s Well That Ends Well, Romeo annual Gala. SCR is deeply grateful to Valerie and and Juliet, The Merry Wives of Windsor, Sea of Tran- Geoff for their outstanding support and ongoing quility, Hamlet, The Two Gentlemen of Verona, Mea- commitment to our theatre. sure for Measure, The Sisters Rosensweig, The Constant Wife, How the Grinch Stole Christmas, Chita Rivera: Michael Ray was introduced to SCR more than The Dancer’s Life, The Comedy of Errors, The Winter’s a decade ago and has stepped-up this season Tale and Macbeth at The Old Globe Theatre; and she with gusto as an Honorary Producer of David stage-managed Adoption Project: Triad at Mo’olelo Henry Hwang’s M. Butterfly and, as a member of Performing Arts Company and Miss Witherspoon at San Playwrights Circle, of Kevin Artigue’s Sheepdog. Diego Repertory Theatre. Michael’s other areas of support include the annual Gala and, most recently, he extended a Alyssa Escalante (Assistant Stage Manager) con- generous challenge/matching gift to SCR that is tinues her work at SCR following last season’s Gem of helping to inspire new and increased support the Ocean and this season’s Photograph 51 and Cul- from fellow theatre lovers. With a strong belief ture Clash (Still) in America. Her other recent cred- that live theatre has the power to make a unique its include The Bacchae (SITI Company/Getty Villa); impact on our lives, Michael, as one of the latest theatre is a blank page (SITI Company); A Streetcar additions to SCR’s Board of Trustees, is dedi- Named Desire (Boston Court Pasadena); Hold These cated to introducing a new generation to “one of Truths (Pasadena Playhouse); The Haunted House this nation’s great cultural institutions that sits in Party (Troubadour Theatre Company/Getty Villa); Cri- our backyard.” ers for Hire (East West Players); Mojada: a Medea in Los Angeles (Boston Court Pasadena/Getty Villa); Cash on Delivery (El Portal Theatre); Happy Days (Boston Court Pasadena, Commonwealth Shakespeare Com- pany); and Placas: The Most Dangerous Tattoo (U.S. tour). Much love and gratitude to Mom, Dad and Han- nah Minerva.

David Ivers (Artistic Director) is responsible for the Segerstrom Stage Season Sponsor overall artistic operation of the theatre. He started at SCR in March 2019 after serving as artistic director for Arizona Theatre Company. Before that, he served more Media Partner than 20 years as an actor and director at Utah Shake- speare Festival, with the last six as artistic director. He

M. Butterfly • South Coast Repertory • P13 was a resident artist at Denver Center Theatre Com- productions. In 2008, he and David Emmes received pany for a decade, acting in and/or directing more than the Margo Jones Award for their commitment 40 plays and has helmed productions at many of the to theatre excellence and fostering the art and craft of nation’s leading regional theatres including the Guthrie American playwriting. They also accepted SCR’s 1988 Theatre, Oregon Shakespeare Festival, Berkeley Reper- Tony Award for Outstanding Resident Professional The- tory Theatre and South Coast Repertory. His early career atre and won the 1995 Theatre LA Ovation Award for included serving as associate artistic director of Portland Lifetime Achievement. Benson has received the Los Repertory Theatre and he appeared in productions at Angeles Drama Critics Circle Award for Distinguished some of the nation’s top regional theatres including Achievement in Directing an unparalleled seven times Portland Center Stage and the Oregon, Alabama, and for George Bernard Shaw’s Major Barbara, Misalliance Idaho Shakespeare festivals. He taught at the University and Heartbreak House; John Millington Synge’s Play- of Michigan, University of Minnesota, Southern Utah boy of the Western World; Arthur Miller’s ; University and Southern Oregon University. He earned Sally Nemeth’s Holy Days; and the world premiere of his BA from Southern Oregon University and his MFA Margaret Edson’s Pulitzer Prize-winning , which he from the University of Minnesota. also directed at Seattle Repertory Theatre and Houston’s Alley Theatre. He has directed American classics such as Paula Tomei (Managing Director) is responsible for A Streetcar Named Desire and has distinguished himself the overall administration of SCR. She has been man- in staging contemporary work including the critically aging director since 1994 and a member of SCR’s staff acclaimed California premiere of William Nicholson’s since 1979. She is a past president of the board of The- Shadowlands. He directed revivals of Beth Henley’s atre Communications Group (TCG), the national service Abundance and Horton Foote’s The Trip to Bountiful; organization for theatre. In addition, she served as trea- and Samuel D. Hunter’s The Whale and Rest (world pre- surer of TCG, vice president of the League of Resident miere); The Whipping Man by Matthew Lopez; and The Theatres (LORT) and as a member of the LORT Nego- Roommate by Jen Silverman (west coast premiere). Ben- tiating Committee for industry-wide union agreements. son received his BA in theatre from San Francisco State She represents SCR at national conferences of TCG and University. LORT and served as a theatre panelist and site visitor for the National Endowment for the Arts (NEA) and the Cali- David Emmes (Founding Artistic Director) is co- fornia Arts Council. Her teaching background includes founder of South Coast Repertory. He received the a graduate class in non profit management at UC Irvine Margo Jones Award for his lifetime commitment to (UCI) and as a guest lecturer in the graduate school of theatre excellence and to fostering the art of American business at Stanford. She was appointed by the chan- playwriting. In addition, he has received numerous cellor to UCI’s Community Arts Council, serves on the awards for productions he has directed during his SCR Dean’s Leadership Society Executive Committee for the career. He directed the world premieres of Amy Freed’s School of Social Sciences at UCI and on OneOC’s Non- Safe in Hell, The Beard of Avon and Freedomland; profit Advisory Council. She is also on the board of Arts Thomas Babe’s Great Day in the Morning; Keith Red- Orange County, the county-wide arts council, ­­­­and the din’s Rum and Coke and But Not for Me; and Neal Bell’s board of the Nicholas Endowment. She graduated from Cold Sweat; the American premieres of Terry John- UCI with a degree in economics and pursued an addi- son’s Unsuitable for Adults; and Joe Penhall’s Dumb tional course of study in theatre and dance. In March Show; and the Southland premiere of Top Girls (at SCR 2017, she received the Mayor’s Award from the City of and the Westwood Playhouse). Other productions he Costa Mesa for her contributions to the arts community. has directed include Red, New England, , The In October 2018, she received the Helena Modjeska Cul- Importance of Being Earnest, Woman in Mind and You tural Legacy Award from Arts Orange County for Lifetime Never Can Tell, which he restaged for the Singapore Achievement in the Arts and was recognized as a Person Festival of Arts. He has served as a theatre panelist and of Influence in the Orange County Business Journal’s onsite evaluator for the National Endowment for the 2018 “OC 500.” Arts, as well as a panelist for the California Arts Council. After attending Orange Coast College, he received his Martin Benson (Founding Artistic Director), co- BA and MA from San Francisco State University and his founder of SCR, has directed nearly one-fourth of SCR’s PhD from 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.

P14 • South Coast Repertory • M. Butterfly Ensemble Annika Alejo accelerate her dance ability, she moved to the United Dancer States five years ago. She says it was the best decision she ever made because it gave her the opportunity to is making her SCR debut. She is a be featured in many performances here. After graduat- recent graduate from the Univer- ing Palomar College (San Marcos), she moved to Los sity California, Irvine, where she Angeles and participated in the EDGE Performing Arts double-majored and earned a BFA Center’s scholarship program. After finishing this pro- in dance performance and a BA gram and signing with The Movement Talent Agency, in anthropology. She was a solo- she is excited to see where her career takes her. ist and a member of the final Etude Ensemble to work with the late Donald McKayle; she performed McKayle’s Andres Lagang historic works at his final memorial concert. Addition- Dancer ally, she has worked with Lar Lubovitch, performing his iconic repertory Marimba at the Irvine Barclay Theater. is making both his South Coast Last summer, Alejo trained globally with Vertigo Dance Repertory and his professional Company in . In addition to concert dance, she debut. He recently earned his BA has performed in productions at The in theatre from UC-San Diego. GEM Theater. She is represented by Go2Talent, one of Los Angeles’ leading commercial dance talent agencies. Outside of the arts, she is a certified yoga and pilates trainer. Sophy Zhao Dancer Yoko Hasebe Dancer is making her SCR debut. In New York, she was a dancer for Arim is making her SCR debut. She Dance Company and the Second started her dance training at the Avenue Dance Company. She was age of 7 at Koshizuka Natsuko Bal- also a dancer in Grammy Award- let Atelier (Saitama City, Japan), winning violinist Miri Ben Ari’s which gave her a strong founda- latest music video, Quiet Storm. She recently gradu- tion and formed her work ethic. ated from NYU’s Tisch School of the Arts with a BFA She trained in ballet, contemporary dance and jazz. in dance and a minor in anthropology. While at Tisch, After graduating from high school, she attended the she had the opportunity to perform works by Sean Cur- Japan University College of Arts as a dance major, where ran, Pamela Pietro and Paul Taylor. During that time, her passion for dance kept growing, as did her hun- she spent a summer studying in Berlin, Germany, and ger to excel and learn different dance styles. When worked with renowned dancers and choreographers in- she learned about the large dance community in Los cluding Johannes Weiland, Ayman Harper, Meg Stuart, Angeles, and in order to broaden her experiences and Judith Sánchez Ruíz and Dominique Duszynski.

The cast of Sweeney Todd: The Demon Barber of Fleet Street; photo: Jordan Kubat.

2019/20 Season BUY YOUR SEASON TICKETS TODAY! (714) 708-5555 • SCR.org

M. Butterfly • South Coast Repertory • P15 PATRONS The following donors have contributed $150 to $299 to the Annual Fund this season. We gratefully recognize the vital role they play in supporting the highest quality of artistic production at SCR.

Pat & Art Adair Graham & T.J. Forsyth James & Marsha Lindsey Mary Smith Mr. & Mrs. James M. Rodney & Patricia Foster Michael & Robin Lingle Dave & Mary Solomon Alexander Carole Fritz Mr. & Mrs. Robert W. Little Gail Spickard John & Debbie Allen Ms. Linda Galloway Ms. Patricia A. Lynch Steven & Phyllis Spierer Chris Amy Ben & Shelley Gargle Debby Lyon Edward & Lauren Spilsbury Anne & Stanley Angermeir Mr. David George Bill & Karen Mangold Sid & Carole Spinak Tam & Dave Ankenbrandt/ Mr. & Mrs. Stephen A. Neil & Katie Matsui Mr. William Spurgeon The Ankenbrandt Group Gigliotti Ms. Bonnie McClellan Susan Stalzer & Bruce Tagle Bret & Lisa Bailey Mark & Sharon Goldhamer Dianne & John McGinnis Tom W. Staple Jeffrey & Tami Ballard Joel & Marcia Goldstein Glen & Sylvia McWilliams Mr. Rick Steadry Linda Barker Ms. Deborah Goodman Michelle Miller-Day & Ed Pamela Steeby Dr. Michael Bear Dr. Michele Goodwin Day Stefan Steinberg Les & Susan Bender Lotte Gopalakrishnan Mrs. Sandra Mills Henny & Robert Sterman Emmet Berkery Henry & Robin Gotterer Dawn & Matthew Minegar Colin Stewart Cindy Beyl George & Carla Graham Dr. & Mrs. Kivie Moldave Jean & Doug Stockdale Mr. Colin Bilash Mr. James Graham Richard & Mary Louise Daniel & Jeanne Stokols Dr. Maureen Bocian Alan & Sharon Graves Moore Jeffery & Stacy Stone John & Stacy Bower Mr. & Mrs. Thomas Greeley Beth & Richard Moran Lynn Strong Dennis & Sandra Bradley Mr. Catou Greenberg Shirley J. Moretti Meryl Swanigan Dr. Edwin Breitenbach Kathryn Gregory & Richard Mr. & Mrs. Douglas E. Mrs. Agnes Szekeres Mr. Arnold Brender Roth Nelson Robert & Betty Taylor Mr. & Mrs. James E. Brewer Patricia Griggs Matthew Nelson James & Pamela Taylor Shirley Brisacher Ms. Sandra Grim Cheryl Newman Mr. Mark Taylor Ms. Ann Brogden Janice Groh Lyle Norton & Martha Mr. & Mrs. Richard S. Taylor Mr. Lawrence Browne Lisa Hancock & Sean Falvey Mecartney Barbara & Bill Thibault David Brownstone & Carole Ms. Sharon Harrington Alice A. O’Keefe Tom & Patti Tisone Uhlaner Jim & Berri Harris Engin & Honorata M. Oktay Donald & Carole Tompkins Ron & Bonnie Bruce Matthew M. Hartgen William R. Osmun Rini Valdespino Flo Buchanan Ms. Janet Hartmann Mrs. Robin Ott Forrest & Margaret Venz David Taussig & Cecily Burt & Barbara Hechtman Don & Michelle Paolilli John & Pam Verdone Burke David & Jeanne Herzlinger Mr. & Mrs. Jack Pariser Dr. & Mrs. Samuel Vickery Mr. & Mrs. Richard Cabe Dr. Julie & Mr. David Hodge Deborah Paull Dr. & Mrs. Gerald Wagner Dr. Constance M. Calogeris Mr. & Mrs. Morris V. Hodges Edward Perez Newton & Sorrell Wayne Jane & Ira Carlin The Hollingsworths Mr. Robert Phillips Mr. Jonathan Webb & Ms. Lloyd & Ann Carnahan Mr. Val Hongo-Whiting Ms. Linda Pierpoint Deborah Swett Ms. Davea Carr Bill & Carolyn Honigman Ms. Nancy Pugh Dr. Eleanor Saltzer Sandy & Carl Collier Dr. Thomas & Janet Mary Rasmussen Weinstein John Corcoran Hryniewicki Marie Richamn Jane A Calister Ms. Patricia Coulson Charles Hunter Richard & Karen Rosenberg Dr. Barbara S. White Donald A. Cox Mark P. Ike Stanley Rosenblatt M.D. Ann & Dr. Donald Williams Richard & Kim Crawford Mr. & Mrs. James Jackman Joan Rutledge Royce & Darlene Wise Mr. & Mrs. Howard Davis Ms. Kim Jansma Elizabeth & Kamran Salour Max & Marilyn Wolfsberg In Memory of William H. Steve & Linda Jennings Lily & Loren Sandberg Dick Wollmer Davis Dan & Kathy Johnson Jack & Katy Schoellerman Mr. Mick Woodbury Jose & Cecilia De Souza Dr. & Mrs. Stanley Kaplan Cheri Schuurman Woody & Flo Woodruff Gerald & Veronica DeVries Pepita + Norman Katz Ms. Lori Schwartz Ms. Aileen Worrell Richard & Susan A. Dolnick Mr. & Mrs. Dan Kelly Frances Segal, MD Mr. & Mrs. Robert Zaitz Brian & Mary Donnelly Mr. John H. Kendall Dr. Martin & Suzanne Deborah & Marc The Drysch Family Norma Kershaw Serbin Zimmerman Joan & Bob Dubrish Hedy Kirsh Bob & Mary Shackleton Dr. & Mrs. Gilbert Zuker Gail Dufour Mr. Thomas Klammer Hal Shimazu & Cathy Liu Robert & Robin Zur Ms. Elizabeth A. Dyer Lidia Klingler Jae Ryong Shin Schmiede John & Patty Earnest Judith Koch-Jones Ms. Antoinette Sibley and 26 anonymous donors June & Jeff Elsten Mr. Alan Kornicks Charles Simmons Dr. & Mrs. Larry Ferrario Jeff & Christy LaBarthe Mr. & Mrs. Howard D. Recognition based on gifts received Tanya Finney & James Kathy Ladd & Tom Arnold Simpson on and before April 1, 2019. Brown Bill & Mary Langsdorf Ron & Marilyn Sion Mr. Greg Foley George & Myrna Lentz Barbara Sloate

P16 • South Coast Repertory • M. Butterfly