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48th Season • 460th Production JULIANNE ARGYROS STAGE / March 11 - April 1, 2012

Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS

presents by Donald Margulies

Cameron Anderson Fred Kinney Geoff Korf SCENIC DESIGN Costume DESIGN Lighting Design

Cricket S. Myers Jackie S. Hill Kathryn Davies* Sound Design PRODUCTION MANAGER STAGE MANAGER

Directed by David Emmes

Pam and Jim Muzzy Honorary Producers

Commissioned and originally produced by on September 20, 1991.

Originally produced in City by the on January 7, 1992. SIGHT UNSEEN is presented by special arrangement with , Inc., New York.

Sight Unseen • South Coast Repertory • P1 CAST OF CHARACTERS (In order of appearance) Jonathan ...... Gregory Sims* Nick ...... Andrew Borba* Patricia ...... Nancy Bell* Grete ...... Erin Anderson*

SETTING ACT I: Scene 1. A cold farmhouse in Norfolk, England. 1991. Scene 2. An gallery in . Four days later. Scene 3. The farmhouse. An hour before the start of Scene 1. Scene 4. A bedroom in . Fifteen years earlier.

ACT II: Scene 5. The farmhouse. A few hours after the end of Scene 1. Scene 6. The art gallery. Continued from the end of Scene 2. Scene 7. The farmhouse. A few hours after the end of Scene 5. Scene 8. A painting studio in an art college, New York state. Seventeen years earlier.

LENGTH Approximately two hours with one intermission.

PRODUCTION STAFF Casting ...... Joanne DeNaut, CSA Dramaturg ...... Kelly L. Miller Production Assistant ...... Julie Renfro Assistant Director ...... Ryanne Laratonda Dialect Coach ...... Philip D. Thompson Assistant to the Scenic Designer ...... Stephen Dobay Assistants to the Costume Designer ...... Rachael Lorenzetti, Noël Walker Assistant to the Lighting Designer ...... Evan Anderson Stage Management Intern ...... Amanda Corbet Light Board Operator ...... Matt Shipley Sound Board Operator ...... GW Rodriguez Automation Operator ...... Victor Mouledoux Wardrobe Supervisor/Dresser ...... Bert Henert Wig and Makeup Technician ...... Gieselle Blair

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

Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. The use of cameras and recorders in the theatre is prohibited. Smoking is not permitted anywhere in the theatre. Cellular phones, beepers and watch alarms should be turned off or set to non-audible mode during the performance.

Media Partner

P2 • South Coast Repertory • Sight Unseen On Art, Muses and the Past “O for a muse of fire, that would ascend the brightest heaven of invention…” ~ William Shakespeare, Henry V

“Cheat your landlord if you can and the ways in which you yourself have must, but do not try to shortchange altered.” the Muse. It cannot be done. You can’t ~ Nelson Mandela fake quality any more than you can fake a good meal.” “We are well advised to keep on nod- ~ William S. Burroughs ding terms with the people we used to be, whether we find them attractive “A precision of composition and figu- company or not. Otherwise they turn ration is what I’m working toward. up unannounced and surprise us, come I’ve always felt viewers should have an hammering on the mind’s door at 4 experience without having to ask what a.m. of a bad night and demand to know the hell it was about.” who deserted them, who betrayed ~ Eric Fischl them, who is going to make amends. We forget all too soon the things we “The man who arrives at the doors thought we could never forget.” of artistic creation with none of the ~ Joan Didion madness of the Muses, would be con- vinced that technical ability alone was “Basically we are all looking for some- enough to make an artist...what that one who knows who we are and will man creates by means of reason will break it to us gently.” pale before the art of inspired beings.” ~ Robert Brault ~ Plato “All men should strive to learn before “My desire is to make work that they die what they are running from, couldn’t have existed if I didn’t make and to, and why.” it…you have to transcend the situa- ~ James Thurber tion…it’s about grasping a moment, a feeling, and making it manifest.” “The people who make art their busi- ~ David Salle ness are mostly imposters.” ~ Pablo Picasso “I don’t really care about anatomy. “The market is the only critic that Something perfectly drawn to me is matters.” just somebody showing you they can ~ Walter Kirn draw.” ~ Julian Schnabel From top to bottom: Eric Fischl, The Old Man’s Boat and the Old Man’s Dog, 1981; Julian “There is nothing like returning to a Schnabel, Projected Drawing Test, 1973; place that remains unchanged to find David Salle, King Kong, 1983.

Sight Unseen • South Coast Repertory • P3 Artist Biographies

Erin Anderson* performed many times, including in the award-winning Grete War Music. Most recent television credits include the film The Sitter for Lifetime Television and guest appear- is making her SCR debut. She ances on “Huff,” “Medium” and “Numb3rs.” was most recently onstage at the Bootleg Theater, appearing in Ken Andrew Borba* Roht’s 99 Cent Only Show, Same- Nick O and Criminal Couture, con- ceived by Ann Closs-Farley. Ms. appeared at SCR in In the Next Anderson has acted regionally at the Williamstown Room or the vibrator play, Dead Theater Festival, playing Electra in Charles L. Mee’s Man’s Cell Phone, Lovers and Ex- Orestes and throughout with The Actors’ ecutioners and the Pacific Play- Gang in Bury the Dead, Aria Capo and Cymbe- wrights Festival reading of Ex- line the Puppet King, which also played at the Gef- traordinary Chambers. Stage ap- fen Playhouse; in As You Like It and The Merchant pearances include The 39 Steps (La Mirada Theatre); of Venice with L.A. Women’s Shakespeare Company; Private Lives, The Constant Wife, It’s a Wonderful Life and in devised new work with Teatro de Facto. Other (Pasadena Playhouse); Pericles, The Countess (The stage credits include Blue House Theater’s Marat/Sade Old Globe); Medea, Dorian Gray (Theatre @ Boston (2006 LA Weekly Award - Best Production of the Year), Court); Tranced (Laguna Playhouse); Closer (Berkeley Good Thing, directed by Robert Castro, and the pre- Repertory Theatre); the title role in Richard III (Shake- miere of Bobby Bendon Gets By. She recently starred speare Festival of St. Louis); four seasons with Oregon in the independent film Days Together, which traveled Shakespeare Festival; and seven seasons with The to festivals in the U.S. and Europe, winning Best Narra- Chautauqua Theatre Company. He has also appeared tive Feature at Virginia Film Festival, and for which she at Dallas Theater Center, Portland Stage Company, received the Best Actress Award at the 2011 Gotham , Delaware Theatre Company, Hud- Screen International Film Festival in New York City. son Valley Shakespeare Festival, Hangar Theatre and On television, her work includes “Justified,” “South- others. Film and television credits include Charlie Wil- land” and “Criminal Minds,” and she plays Cris in the son’s War, Nine Lives, Answers to Nothing, and recur- comedy web series “Bedheads.” ring roles on “Modern Family,” “Jericho,” “The Shield,” “Lincoln Heights,” “E-Ring,” “Enterprise” and many guest appearances. Mr. Borba is the Associate Artistic Nancy Bell* Patricia Director of The Chautauqua Theatre Company, and is a graduate of the NYU Graduate Acting Program and is delighted to return to SCR after Brown University. Proud member of A.E.A. appearing in Noises Off, What They Have, All My Sons, The Gregory Sims* Circle and The Philanderer, for Jonathan Waxman which she received a Los Angeles Drama Critics Circle Award nomi- is thrilled to be appearing at SCR nation. Other theatre credits include world premieres for the first time. L.A. theatre at Manhattan Theatre Club, New York Theatre Work- highlights include The Last Night shop, Hartford Stage, A Contemporary Theatre in Se- Of Ballyhoo (La Mirada Theatre), attle, Berkeley Repertory Theatre, Geffen Playhouse, Baal (LA Weekly nominee, Best Ensemble Studio Theatre, Centerstage, Pasadena Play- Actor) and Richard III (Sacred house, The Old Globe and McCarter Theatre Center, Fools Theatre Company). Off-Broadway, New York among many others. In Los Angeles, she is a member City and regional theatre highlights include After The of the Echo Theater Company, with which she has Rain (Theatre Four), Oedipus Rex (The Met Theatre),

P4 • South Coast Repertory • Sight Unseen The Brothers Karamazov (The Cultural Project), Hot Keys (Performance Space 122) Machinal (Two River Pam and Jim Muzzy (Honorary Producers) Theater Co.), Troilus and Cressida (American Stu- are among SCR’s most enthusiastic supporters dio Theatre), Shepherds Bush (The Eureka Theatre) and are actively involved in the life of the the- and Measure For Measure (Three River Shakespeare atre. They are Platinum Circle members and Festival). Film and television highlights include The subscribers to both stages as well as the The- Midnighters, Real Steel, Night at the Museum II, As- atre for Young Audiences series. Before un- toria, “Terriers,” “Medium,” “N.C.I.S. Los Angeles,” derwriting Sight Unseen, the Muzzys supported “Numb3ers,” “Notes From The Underbelly,” “FilmFak- Ordinary Days (2010), Dead Man’s Cell Phone ers,” “Law & Order: SVU” and “Third Watch.” Mr. Sims (2007), The Further Adventures of Hedda is a graduate of the acting program at Carnegie Mellon Gabler (2006), Princess Marjorie (2005) and University. For more information and full demo reel/ our holiday original La Posada Mágica. Pam resume go to PracticalGoalSettingTechnique.com serves on the SCR Board of Trustees and is a member of the Gala Committee. As major do- Playwright, Director and Designers nors to the Next Stage Campaign and Legacy Endowment Campaign as well as to the Gala, Donald Margulies (Playwright) has been associated they are helping SCR to thrive for years to with SCR for more than 20 years. He is the author of come. three other plays that, like the OBIE Award-winning, Pulitzer Prize-nominated Sight Unseen (1991), were commissioned and premiered by SCR: Collected Sto- following year (also by MTC), where it was nominated ries (1996), also a Pulitzer finalist and Los Angeles for the of 2010. The recipi- Drama Critics’ Circle Award winner, Brooklyn Boy ent of the 2000 Award for outstanding (2004) and Shipwrecked! An Entertainment (2007). achievement in the theatre by a playwright, Mr. Mar- The latter two and God of Vengeance, adapted from gulies was honored in 2005 by the American Academy the classic Yiddish drama by , were all pre- of Arts and Letters with an Award in Literature. He is sented at the Pacific Playwrights Festival. Dinner with a member of the council of the Dramatists Guild of Friends, which originated at Actors Theatre of Lou- America and teaches playwriting at . isville in 1998, went on after its West Coast premiere at SCR to win numerous awards, including the 2000 David Emmes (Director/Founding Artistic Director) is , long runs Off-Broadway and co-founder of SCR and directed last season’s success- in Paris, and productions all over the and ful revival of Three Days of Rain by Richard Green- around the world. His other plays include The Model berg. He has received numerous awards for produc- Apartment (OBIE Award), The Loman Family , tions he has directed during his SCR career, including Found a Peanut and Luna Park. What’s Wrong With a Los Angeles Drama Critics Circle Award for the This Picture? was produced on Broadway in 1994; Sight direction of George Bernard Shaw’s The Philanderer. Unseen and Brooklyn Boy received their Broadway He directed the world premieres of Amy Freed’s Safe premieres in 2004 and 2005, respectively, at Manhat- in Hell, The Beard of Avon and Freedomland; Thomas tan Theatre Club. His latest play, , Babe’s Great Day in the Morning; Keith Reddin’s Rum which had its world premiere at the Geffen Playhouse and Coke and But Not for Me; and Neal Bell’s Cold in Los Angeles in 2009, was produced on Broadway the ; the American premieres of Terry Johnson’s

Sight Unseen • South Coast Repertory • P5 Unsuitable for Adults and Joe Penhall’s Dumb Show; Opera); The Village Singer (The Manhattan School of the West Coast premieres of C.P. Taylor’s Good and Music); Gypsy Songs (Gotham Chamber Opera/The Harry Kondoleon’s Christmas on Mars; and the South- Morgan Library); The Consul (Opera Boston); and La land premiere of Top Girls (at SCR and the Westwood Bohème (The San Francisco Opera Center). www. Playhouse). Other productions include the West cameronanderson.net. Coast premieres of The Secret Rapture by David Hare and New England by Richard Nelson as well as Arca- Fred Kinney (Costume Design) returns to SCR after dia by Tom Stoppard, The Importance of Being Ear- having designed scenery for The Emperor’s New nest by Oscar Wilde, Ayckbourn’s Woman in Mind Clothes, Lucky Duck, A Wrinkle in Time, Ordinary and You Never Can Tell by George Bernard Shaw, Days, A Year with Frog & Toad and scenery and cos- which he restaged for the Singapore Festival of Arts. tumes for the Pacific Playwrights Festival workshop of After attending Orange Coast College, he received his Sunlight. Other credits include Peter Pan and Wendy BA and MA from San Francisco State University, and (Prince Music Theater); A Picasso (Pittsburgh City his PhD in theatre and film from USC. Theatre); Serious Money (Yale Repertory Theatre); Intimate Apparel (San Diego Repertory Theatre); The Cameron Anderson (Scenic Design) recently de- Price and Old Wicked Songs (Vienna’s English The- signed SCR’s A Midsummer Night’s Dream, which has atre); The Grouch (The Shakespeare Theatre of New been nominated for a Los Angeles Drama Critics Circle Jersey); End Game and Taming of the Shrew (Cutting Award. Other recent theatre credits include Emilie: La Ball Theatre, San Francisco); The 39 Steps, Loot and In Marquise du Châtelet Defends Her Life Tonight (SCR); The Continuum (Ensemble Theatre Company of Santa The Language of Trees (Roundabout Underground); A Barbara); Cats Talk Back and Suburban Stories (NYC Feminine Ending (Playwrights Horizons); Fault Lines Fringe Festival); The Good Daughter, The Adjustment, (Naked Angels), directed by David Schwimmer; Massa- Color of Flesh and Winterizing a Summer House (New cre (LAByrinth Theater Co); Underground (David Dorf- Jersey Repertory Company); and Masquerade, Steel man Dance at BAM); Heddatron (Les Freres Corbusier); Magnolias, Ethel Waters, Tartuffe, , Angel Street, Dixie’s Tupperware Party (Ars Nova); Elvis People , Noises Off, On Golden Pond and Bus Stop (Triad (New World Stages); Dead City, Anna Bella Eema and Stage, Greensboro, N.C.). He is a recipient of the NEA/ Belly (New Georges); Measure for Measure (Greer Gar- TCG Career Development Program for Designers and son Theatre Company); and Much Ado About Nothing holds an MFA from the Yale School of Drama. and Martha Mitchell Speaks (Shakespeare & Co). Re- cent opera and musical credits include West Side Story Geoff Korf (Lighting Design) designed lighting for at the Kilden Performing Arts Center in Norway (inau- the SCR productions of Taking Steps, Bach at Leipzig, gural production); Simon Boccanegra (Teatro Colon, The Further Adventures of Hedda Gabler, Lovers and Buenos Aires); West Side Story (Vancouver Opera); Executioners, Two Gentlemen of Verona, The Dazzle, La Cenerentola (Glimmerglass Opera); The Barber Making It, Hold Please, Art, Entertaining Mr. Sloane, of Seville (The Opera Theatre of St. Louis); A Little Amy’s View, Two Sisters and a Piano, The Summer Night Music, Three Decembers, Gianni Schicchi, Seven Moon and References to Salvador Dali Make Me Hot. Deadly Sins and Les Mamelles De Tiresias (Central City Mr. Korf is a member of the ensemble of Cornerstone Opera); Maria Padilla (The Minnesota Opera); Don Theater Company, where he has designed about 30 Giovanni (Wolf Trap Opera); Das Liebesverbot (USC productions over the past 15 years. His designs have Thornton School of Music); Cosi fan Tutte (Seattle also appeared in productions at La Jolla Playhouse,

P6 • South Coast Repertory • Sight Unseen The Old Globe, Mark Taper Forum, Oregon Shake- Wayside School, In the Next Room or the vibrator speare Festival, Seattle Repertory Theatre, A Contem- play, Doctor Cerberus, Ordinary Days, Our Mother’s porary Theatre and Intiman Theatre in Seattle, Seattle Brief Affair, The Injured Party, The Brand New Kid Children’s Theatre, Long Beach Opera, San Francisco and Imagine at SCR. Favorite credits include Divid- Opera, Goodman Theatre, Trinity Repertory, Yale ing the Estate at Dallas Theater Center; La Bohème Repertory Theatre, Huntington Theatre Company, and Rigoletto at Tulsa Opera; The Mystery of Irma Actors Theatre of Louisville, Guthrie Theater and on Vep at The Old Globe; Daddy Long Legs and The Broadway. Mr. Korf is a graduate of California State Marvelous Wonderettes at Laguna Playhouse; Tosca, University, Chico and the Yale School of Drama. He La Traviata and La Fille du Régiment at Opera On- also serves as the head of Design at the University of tario; Of Mice and Men at Theatre Calgary/CanStage/ Washington in Seattle. Neptune Theatre; The Dresser at Manitoba The- atre Centre; Skylight and Emphysema at Tarragon Cricket S. Myers (Sound Design) is thrilled to Theatre; To Kill a Mockingbird at Citadel Theatre/ return to SCR after designing Elemeno Pea, The Manitoba Theatre Centre/Theatre Calgary; Phèdre at Trip to Bountiful, Three Days of Rain and Lucky Soulpepper Theatre Co.; Closer at CanStage; and The Duck. On Broadway, she earned a Tony nomina- Designated Mourner at Tarragon Theatre and the Ed- tion and a for her design of inburgh Fringe Festival. Ms. Davies has also worked Bengal Tiger at the Baghdad Zoo. Her designs Off- as head theatre representative at the Toronto In- Broadway include the 16-month run of The Marvel- ternational Film Festival, AFI Fest and LAFF; team ous Wonderettes (Westside Arts, Upstairs). She has leader at Sundance; and as international consultant also designed regionally at The Mark Taper Forum and head theatre rep for the Dubai International (Vigil, Bengal Tiger at the Baghdad Zoo, Lieuten- Film Festival. ant of Inishmore, Burn This, The Subject was Roses), Berkeley Repertory Theatre (In the Wake), Arena Marc Masterson (Artistic Director) is pleased to be Stage (Book Club Play), The Kirk Douglas Theatre taking the reins for a new era of leadership for SCR. (The Little Dog Laughed, Come Back Little Sheba), In eleven seasons as Artistic Director of Actors The- Pasadena Playhouse (Crowns, Orson’s Shadow) and atre of Louisville, he produced more than 200 plays, Geffen Playhouse (Wrecks, Some Girls, Emergency). expanded and deepened arts education programs Other selected L.A. designs include The Colony and spearheaded community-based projects. Recent Theatre Company (Shooting Star, Grace & Glorie, directing credits include Elemeno Pea, The Kite Run- Mary’s Wedding, Trying, Master Harold…and the ner, A Midsummer Night’s Dream, Shipwrecked! An boys), The Antaeus Company (Cousin Bette), The Entertainment, , The Tempest, Celebration Theater (Bacchae, Stupid Kids, What’s Mary’s Wedding, , Betrayal, As You Like Wrong with Angry), Ford Amphitheater (Norman’s It, The Importance of Being Earnest and Macbeth. Ark) and Circle X Theatre (Battle Hymn). Ms. World premieres directed in the Humana Festival Myers has earned 13 Ovation nominations, and won of New American Plays include Ground, Wild Bless- LADCC and Garland awards in Los Angeles. www. ings: A Celebration of Wendell Berry, The Unseen, cricketsmyers.com. Natural Selection, The Shaker Chair, After Ashley, Tallgrass Gothic, Limonade Tous les Jours and Won- Kathryn Davies (Stage Manager) previously stage derful World. He served as Artistic Director of City managed Topdog/Underdog, Sideways Stories from Theatre in Pittsburgh for 20 years. He was founder

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Sight Unseen • South Coast Repertory • P7 and chairman of the Greater Pittsburgh Arts Alli- Theatre and won the 1995 Theatre L.A. Ovation ance, a board member of the Citizens for the Arts Award for Lifetime Achievement. Mr. Benson has in Pennsylvania, and for Leadership Pittsburgh. He received the Los Angeles Drama Critics Circle Award has served as a theatre advisory panel member for for Distinguished Achievement in Directing an un- the National Endowment for the Arts as well as nu- paralleled seven times for George Bernard Shaw’s merous foundations. He won the Man of the Year Major Barbara, Misalliance and Heartbreak House; Vectors Award in 1998, and received the Lifetime John Millington Synge’s Playboy of the Western Achievement Award from the Pittsburgh New Works World; ’s The Crucible; Sally Nemeth’s Festival. He is married to Patricia Melvin, and they Holy Days; and ’s Pulitzer Prize-win- have two daughters—Laura and Alex. ning , which he also directed at Seattle Repertory Theatre and the Alley Theatre in Houston. He has Paula Tomei (Managing Director) is responsible directed American classics including Ah, Wilder- for the overall administration of South Coast Reper- ness!, and A View from the tory and has been Managing Director since 1994. A Bridge. He has distinguished himself in the staging member of the SCR staff since 1979, she has served of contemporary work, including the world premiere in a number of administrative capacities, including of ’s Getting Frankie Married—and Subscriptions Manager, Business Manager and Gen- Afterwards and the critically acclaimed California eral Manager. She served on the board of Theatre premiere of William Nicholson’s Shadowlands. Mr. Communications Group (TCG), the national service Benson received his BA in Theatre from San Fran- organization for theatre, from 1998 to 2006, and was cisco State University. its President for four years. She has also served as Treasurer of TCG, Vice President of the League of South Coast Repertory, founded in 1964 by David Resident Theatres (LORT) and has been a member Emmes and Martin Benson, is widely regarded as of the LORT Negotiating Committee for industry- one of America’s foremost producers of new plays. wide union agreements. In addition, she represents In its three-stage Folino Theatre Center, SCR pro- SCR at national conferences of TCG and LORT, is a duces a five-play season on its Segerstrom Stage, a theatre panelist for the National Endowment for the four-play season on its Argyros Stage, plus an an- Arts (NEA) and the California Arts Council, and site nual holiday production. SCR also offers a three- visitor for the NEA; served on the Advisory Commit- play Theatre for Young Audiences series, and year- tee for the Arts Administration Certificate Program round programs in education and outreach. SCR’s at UC Irvine; and has been a guest lecturer in the extensive new play development program consists graduate school of business at Stanford and UC Ir- of commissions, residencies, readings and work- vine. She is on the board of Arts Orange County, shops. Among the plays commissioned and/or pre- the county-wide arts council, and the board of the miered and introduced at SCR are Donald Margulies’ Nicholas Endowment. Ms. Tomei graduated from Sight Unseen and Brooklyn Boy; Richard Greenberg’s UC Irvine with a degree in Economics and pursued Three Days of Rain and The Violet Hour; David an additional course of study in theatre and dance. Henry Hwang’s Golden Child, Jose Rivera’s Refer- She also teaches a graduate class in nonprofit man- ences to Salvador Dali Make Me Hot; ’s agement at UC Irvine. Intimate Apparel, Craig Lucas’ Prelude to a Kiss, Amy Freed’s The Beard of Avon, Margaret Edson’s Pulit- Martin Benson (Founding Artistic Director), co- zer Prize-winning Wit and David Lindsay-Abaire’s founder of SCR, has directed nearly one-fourth of Pulitzer Prize-winning . Most of these the plays produced here. In May 2008, he and plays were developed through its Pacific Playwrights David Emmes received the Margo Jones Award for Festival, an annual workshop and reading show- their lifetime commitment to theatre excellence and case. More than forty percent of the plays SCR has to fostering the art and craft of American playwrit- produced have been world, American or West Coast ing. Along with Emmes, he accepted SCR’s 1988 premieres. In 1988, SCR received the Regional The- Tony Award for Outstanding Resident Professional atre Tony Award for Distinguished Achievement.

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 Manag- Artists Local USA-829, IATSE. labor union. ers in the United States.

P8 • South Coast Repertory • Sight Unseen