38th Season • 371st Production MAINSTAGE / FEBRUARY 15 THROUGH MARCH 24, 2002

David Emmes Martin Benson Producing Artistic Director Artistic Director

presents the West Coast Premiere of

by

Scenic Designer Costume Designer Lighting Designer TONY FANNING AMY L. HUTTO TAMMY OWENS SLAUSON Composer/Sound Designer Production Manager Stage Manager ARAM ARSLANIAN JEFF GIFFORD *SCOTT HARRISON

Directed by OLIVIA HONEGGER

THE PLAYWRIGHTS CIRCLE, Honorary Producers

Lobby Hero by Kenneth Lonergan is presented by arrangement with Dramatists Play Service, Inc. in . , Inc., , produced the World Premiere of in 2000-2001. The Playwrights Horizons production was presented Off-Broadway by Jenny Weiner, Jon Steingart and Hal Luftig.

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (in order of appearance)

Jeff ...... *Kevin Corrigan William ...... *T.E. Russell Dawn ...... *Tessa Auberjonois Bill ...... *Simon Billig

SETTING: The spacious lobby of a middle-income high-rise apartment building in and the street outside, over the course of four consecutive nights.

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

PRODUCTION STAFF Assistant Stage Manager ...... *Dara Crane Casting Director ...... Joanne DeNaut Dramaturg ...... Jerry Patch Assistant to the Scenic Designer ...... Joe Celli Stage Management Intern ...... Collin Morrison

ACKNOWLEDGEMENT A special thank you to the police officers of the Rampart Division of the Los Angeles Police Department for their assistance.

Cellular phones, beepers and watch alarms should be turned off or set to non-audible mode during the performance. 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.

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

Media Partner Official Airline Media Partner

P - 2 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK Some Moral Dilemmas

BY JERRY PATCH ◆❖◆ narrow window of time, the workman n underwater tunnel is under will be crushed. If the fitting is with- obby Hero presents a set of four Aconstruction despite almost cer- drawn to rescue the workman, the characters, each of whom is in- tain loss of life in the attempt. The tunnel will have to be abandoned, Lvolved in at least one moral danger is accepted as a cost of con- and the project begun anew. Two dilemma or crisis of con- workmen have already died science. in the project. What The following should be done? Should were adapted from Moral Dilemma Defined the tunnel have been Moral Reasoning, by built? Victor Grassian (Pren- moral dilemma involves a situation in which the (Note: 112 men were tice Hall, 1981, 1992). Aagent has only two courses of action available, killed constructing n the novel Sophie’s and each requires performing a morally Hoover Dam. The first IChoice, by William impermissible action. was a surveyor, J. G. Styron, Sophie, a Polish Plato presents the classic example: Tierney, and the last was woman, is arrested by A man borrows a weapon from his neighbor his son, Patrick. Both the Nazis and sent to promising to return it at his neighbor’s request. One men drowned on the Auschwitz. Once there, day the neighbor, in a fit of rage, asks for the weapon same day, December 20, she is allowed a choice 13 years apart.) back apparently with the intention to kill someone. because she is not a The man is faced with a dilemma: if he keeps his Jew: one of her two ◆❖◆ children will be spared promise, then he will be an accessory to a murder; if execution in accord he refuses to hand over the weapon, he violates his im’s friend Tom has with her choice. She promise. Japplied for a job for agonizes, and, as both A moral dilemma, then, is a situation involving a which he is qualified and children are being choice between two opposing courses of action, where that Jim will hire. There taken away, she does there are moral considerations in support of each is another applicant who choose: she gives up course of action. is better qualified. Jim her daughter, believing –from The Encyclopedia of Philosophy believes he should be im- the son, older and partial, but would like to stronger, will more give Tom the job. Jim likely survive. decides that even though Sophie never learns his fate. structing the tunnel. On a day involv- morality might dictate giving the job Years later, haunted by guilt, she ing a race against time when a criti- to the best qualified, friendship has a commits suicide. Should she have cal fitting is lowered into place, a moral importance that might require felt guilty? Did she do the right workman is trapped beneath the fit- partiality in this case. He gives the thing? ting. If the fitting is installed in the job to Tom. Was he right?

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 3 The Moral Dilemma that Created American Literature

n chapter thirty-one of strike no places to harden me against and then says to myself: Huckleberry Finn, Mark Twain him, but only the other kind. I’d see “ ‘All right, then, I’ll go to hell.’” Igave his title character a crisis of him standing my watch on top of “…I shoved the whole thing out conscience that ultimately brought his’n, stead of calling me, so I could of my head; and said I would take up about American literature’s first go on sleeping; and see him how glad wickedness again, which was in my break from Puritan tradition. Adrift on a raft on the Mississippi River with Jim, the runaway slave, Huck pondered which course of action— turning Jim in or to keep on running with him—was the greater evil:

“Once I said to myself it would be a thousand times better for Jim to be a slave at home where his family was, as long as he’d got to be a slave, and so I’d better write a letter to Tom Sawyer and tell him to tell Miss Watson where he was. But I soon give up that notion, for two things: she’d be mad and disgusted at his rascality and ungratefulness for leaving her, and so she’d sell him straight down the river again; and if she didn’t everybody naturally despises an ungrateful nigger, and they’d make Jim feel it all the time, and so he’d feel ornery and disgraced. “And then think of me! It would get all around, that Huck Finn helped a nigger to get his freedom; and if I was to ever see anybody from that town again, I’d be ready to get down and lick his boots for shame… “Well, I tried the best I could to kinder soften it up somehow for myself, by saying I was brung up wicked, and so I warn’t so much to blame; but something inside of me he was when I come back out of the line, being brung up to it, and the kept saying, ‘There was the Sunday fog; and when I come to him again in other warn’t. And for a starter, I school, you could a gone to it; and if the swamp. . .and how good he always would go and steal Jim out of slavery you’d a done it they’d a learnt you, was… again; and if I could think up there, that people that acts as I’d “I was a trembling, because I’d anything worse, I would do that, too; been acting about the nigger goes to got to decide, forever, betwixt two because as long as I was in, and in for everlasting fire… things, and I knowed it. I studied a good, I might as well go the whole “But somehow I couldn’t seem to minute, sort of holding my breath, hog.”

P - 4 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK TESSA AUBERJONOIS SIMON BILLIG KEVIN CORRIGAN Dawn Bill Jeff

Artist Biographies

*TESSA AUBERJONOIS (Dawn) ap- other theatre credits include Arms and Institute in NYC from 1984-88 but has peared earlier this season in Hold the Man at the Alley Theatre, Shake- gone on to work mostly in films and Please and made her SCR debut in last speare Festival L.A.’s production of Oth- television. One of the first directors to season’s opener Everett Beekin. She ello, Love’s Labour’s Lost at the New hire him was who let has appeared Off-Broadway in Jersey Shakespeare Festival, Forty him play ’s crippled younger Trainspotting at the Players Theatre, Four Sycamore and King Lear at the brother Michael in . Since Killers and Other Family at the Rattle- Asolo Theatre and the Public then Corrigan has appeared in more stick and Uncommon Women & Others Theater/New York Shakespeare Festi- than 40 films, mostly independent such at the Lucille Lortel. Her regional the- val’s The Comedy of Errors. He is a as Living in Oblivion, Walking and atre credits include The Country Wife member of The Actor’s Company The- Talking, Buffalo 66, Slums of Beverly and Camino Real at the Shakespeare atre in New York, with whom he has ap- Hills, Henry Fool, Steal This Movie, and Theatre in Washington D.C., Hay Fever peared in numerous productions, most the upcoming Scotland P.A. He also and A Midsummer Night’s Dream at recently as Luke in Look Homeward plays the weird uncle on the Fox show Yale Repertory Theatre, The Cripple of Angel. Mr. Billig’s film credits include “Grounded for Life.” Inishmaan at The Wilma Theatre and The Thin Red Line, Tripwire, Bad City Twelfth Night and Pericles at the Utah Blues and Dean Quixote. His television *T.E. RUSSELL (William) is making Shakespearean Festival. Ms. Auber- credits include the role of Hogan on his SCR debut. Theatre credits include jonois’ film and television roles include “Star Trek: Voyager”; recurring roles on A Christmas Carol at the Goodman I’m Not Rappaport, “Law and Order” “Babylon 5” and “Silk Stalkings”; and Theatre, The Ultimate Experience at and “Another World.” She is a graduate guest appearances on “Dark Skies,” “Cy- Fine Arts, The Crate Dweller at the of the Yale School of Drama. bill,” “JAG,” “Time Cop,” “Seven Days,” Prop Theatre, Red Carnations at The- “VIP,” “All My Children,” television spe- atre 14, and Readin’ Ritin’ Rithmatic at *SIMON BILLIG (Bill) appeared at cials with Jason Alexander and the cast the Organic Lab Theatre. Film credits SCR in last season’s Entertaining Mr. of “Frasier” and the movie-of-the-week include 30 Years to Life, Bellyfruit, Sloane and Tom Walker. Prior to that The Elian Gonzales Story. Mr. Billig Trespass, Swinging with Sharks, Gladi- he appeared here in All My Sons and has a BA from Duke University and was ators and Toy Soldiers. On television the world premieres of Howard Ko- trained at The Juilliard School. he was a series regular on “City of An- rder’s The Hollow Lands and Amy gels,” “704 Hauser Street,” “Muscle,” Freed’s Freedomland. He made his *KEVIN CORRIGAN (Jeff) was and “Over Seventeen Not Admitted.” SCR debut in Death of a Salesman. His trained at the Lee Strasberg Theatre Films for television include leading

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 5 at The Coast Theatre and the Act 1 One sure and The Little Trick, which she Act Play Festival; and in London at The adapted from a Chekhov short story. Royal Court Theatre and The Battersea She is a member of Lincoln Center The- Playhouse. credits in- atre Director’s Lab and Chairman of the clude and Rocky and Bull- Steering Committee for Lincoln Center winkle. His film , Theatre Directors Lab West, which she which he wrote and directed, shared initiated. She was the Executive Pro- the Sundance 2000 Grand Jury prize ducer of Fiesta de artista de la Los An- and won the Screenwriting geles, and an honorary advisor to the Award, as well as the NY Film Critics California African American Circle, L.A. Film Critics Circle, Writers Roundtable. Guild of America and National Board of Review awards for Best Screenplay of TONY FANNING (Scenic Designer) 2001, two AFI awards for Best Film and designed last season’s Art and before Best New Writer, as well as The Suther- that All My Sons, Peter Hedges’ Good as T.E. RUSSELL land Trophy at the London Film Festi- New, An Ideal Husband and Three William val. He is a member of Naked Angels. Viewings. He designed the sets for Au- gust Wilson’s Two Trains Running on OLIVIA HONEGGER (Director) first Broadway and for the national tour of roles in Intimate Betrayal, Linda, Jail- directed the staged reading of Stuart The Who’s Tommy. His regional theatre birds, Heatwave and The Howard Spencer’s In the Western Garden at work includes Vita and Virginia and A Beach Story: Making the Case for Mur- SCR and returned last summer to direct Midsummer Night’s Dream at the der. the Pacific Playwrights Festival reading Globe Theatres and Don Pasquale for of Scab. She assisted Marion McClinton San Diego Opera, as well as designs for PLAYWRIGHT, on August Wilson’s King Hedley II at the Geffen Playhouse, Goodman The- DIRECTOR the Mark Taper Forum, the Goodman atre, Yale Repertory Theatre, Great & DESIGNERS Theatre, The Kennedy Center and the Lakes Theatre Festival, Virginia Opera, Virginia Theatre. Ms. Honegger is the Chautauqua Opera, Canadian Opera KENNETH LONERGAN (Playwright) Artistic Director of the Relentless The- Company and Piedmont Opera. His film has been represented in New York by atre Company where she directed Paula and television work includes the up- Lobby Hero (Playwrights Horizons, Vogel’s And Baby Makes Seven, Christo- coming Spider-Man in addition to What John Houseman Theatre, Drama Desk pher Kyle’s The Monogamist, Naomi Women Want, October Sky, What Lies Best Play nominee, Outer Critics Circle Iizuka’s Skin and Judith Thompson’s Beneath, Amistad, Jingle All the Way, Best Play and John Gassner Playwright- The Crackwalker for which she won The Indian in the Cupboard, Nell, For- ing nominee, and included in the 2000- best director from Entertainment rest Gump, Quiz Show, The Hudsucker 2001 Best Plays annual), The Waverly Today. She directed the world pre- Proxy, “The West Wing” (for which he Gallery (Williamstown Theatre Festi- miere of Neal Bell’s A Time Piece and won an Emmy Award for Art Direction), val, Promenade) and Daniel O’Brien’s Guernica for The Open “Melrose Place,” “Tales from the Crypt,” (Drama Desk Best Play nominee, En- Fist Theatre Company and staged a “Keep the Change,” and commercials core Magazine Taking Off Award). His reading of Luigi Pirandello’s To Clothe for British Airways, Nike, Intel and work has been performed in New York the Naked for The Wilton Project. She HBO. at Naked Angels, , The was resident director for The Theatre Atlantic Theatre Company, and H.B. for the Open Eye in New York City AMY L. HUTTO (Costume Designer) Playwrights Foundation; in Los Angeles where she directed Measure for Mea- is pleased to be working as a designer

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P - 6 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK for this Mainstage production. Ms. atre of Louisville; The Power of Seven stage, as well as the world premiere of Hutto designed the Second Stage pro- at the Kentucky Institute of Dance; the La Posada Mágica on the Second duction of Oleanna during the 1997-98 touring production of Live On Stage Un- Stage. He has previously served as As- season. Other design credits include censored at the Kentucky Arts Council; sistant Stage Manager on more than 34 Hamlet, Taming of the Shrew, and and Dream The Future for the Interna- Mainstage productions. Mr. Harrison Love’s Labour’s Lost for Sacramento tional Girl Scout Festival of the Arts. is a graduate of Pepperdine University, Shakespeare in the Park; To Kill a where he received his BA in Theatre Mockingbird and Man of La Mancha ARAM ARSLANIAN (Composer/ Arts. He has also stage managed at for Foothill Theatre Company; Mr. Rick- Sound Designer) is pleased to return Seattle’s Intiman Theatre, San Francis- ey Calls a Meeting, Uncle Ben’s: A to SCR where he designed Hold Please co’s Palace of Fine Arts, Shakespeare Home Grown Negro Narrative, and the earlier this season. As a founding Festival/Los Angeles, La Mirada The- 1993 production of A Christmas Carol member of the Relentless Theatre atre for the Performing Arts, Highways for Sacramento Theatre Company; Steel Company in Los Angeles he composed Performance Space and the St. Gene- Magnolias, Born Yesterday, The Awak- and designed sound for And Baby sius Theatre. Mr. Harrison would like ening, Much Ado about Nothing for Makes Seven, Skin, Hit and Run, The to take this opportunity to acknowl- Horse Cave Regional Theatre. Her Crackwalker, a staged reading of Son- edge and continuously support his fam- usual role at South Coast Repertory has nets for an Old Century as well as the ily, friends and colleagues who are bat- been to manage the Costume Shop for Lillian Theatre’s Contentious Minds, tling the fights of AIDS and cancer. the last five seasons. Ms. Hutto re- the Open Fist Theatre’s A Time Piece ceived her MA in Theatre from Univer- and Guernica, the Gascon Center The- *DARA CRANE (Assistant Stage Man- sity of Michigan and an MFA in Design atre’s Sun Dialogues and the Attic The- ager) is honored to be chosen as the and Technical Production from Univer- atre’s Just Society. He composed origi- Assistant Stage Manager this year on sity of North Carolina-Greensboro. nal themes for ESPN’s Century’s Great- the Mainstage. She completed her est Athletes series and has scored nu- MFA in Stage Management at the Uni- TAMMY OWENS SLAUSON (Light- merous independent films. Also a song- versity of California-Irvine in June of ing Designer) designed The Wheels writer and recording artist, he has re- 2001 where she stage managed theatre, Keep Turning and The Weather Started leased two CDs on the Surprise Truck dance and opera. She managed shows Getting Rough at SCR last season. Her Records label (www.surprisetruck.com) such as Pirates of Penzance, Scenes lighting has been seen at the Orange and has performed extensively across from an Execution, In the Boom Boom County Performing Arts Center Candle- the country. As a record producer, his Room, The Miser of Mexico, Dance Vi- light 2000, Candlelight 2001 and Dance credits include jazz harpist Stella sions, Bare Bones, and Cosi fan tutte to Festival 2002. Previous design credits Castellucci’s Lights and Shadows, Vol- name a few. While in school she was include Pound of Flesh, The Trojan umes I, II & III, the Hyperions’ Howl selected to intern on the world pre- Women and the world premiere of and the Ethers self-titled debut. miere of The Hollow Lands at SCR and Starr’s Last Tape as well as Coyote on a then was asked to return the following Fence for the Berkshire Theatre Festi- *SCOTT HARRISON (Stage Man- season as the Production Assistant for val; The Clouds, The Three Sisters, Long ager) began his 12th season with SCR Art. She recently stage managed Day’s Journey into Night and the up- stage managing The Circle and was As- Grease for Musical Theatre West in coming production of Medea for Stage sistant Stage Manager on The Home- Long Beach and has also stage man- First Cincinnati; South Pacific for coming. He has most recently worked aged at Lambs Players Theatre in San Baton Rouge Music Theatre; Gumbo Ya on his 11th A Christmas Carol, making Diego, where she managed Smoke on Ya for Swine Palace Productions; The that the seventh time he has been the Mountain and the world premiere Bacchae for Cincinnati Public Theatre; Stage Manager. He has stage managed of ‘Til We Have Faces. The Marriage of Figaro at Opera The- an additional 30 shows on the Main-

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PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 7 DAVID EMMES (Producing Artistic California Arts Council. After attend- for the two Shaw productions, John Director) is co-founder and Producing ing Orange Coast College, he received Millington Synge’s Playboy of the West- Artistic Director of SCR, one of the his BA and MA from California State ern World, Arthur Miller’s The Crucible, largest professional resident theatres University, San Francisco, and his PhD Sally Nemeth’s Holy Days and Wit. He in California. He has received numer- in theatre and film from USC. also directed the film version of Holy ous awards for productions he has di- Days using the original SCR cast. rected during SCR’s 37-year history, in- MARTIN BENSON (Artistic Director) Along with David Emmes, he accepted cluding a 1999 Los Angeles Drama Crit- shares co-founder credit and artistic SCR’s 1988 Tony Award for Outstanding ics Circle Award for the direction of leadership of SCR with his colleague Resident Professional Theatre and won George Bernard Shaw’s The Philander- David Emmes. As one of SCR’s chief di- the 1995 Theatre LA Ovation Award for er. He directed the world premieres of rectors, Mr. Benson has directed nearly Lifetime Achievement. Mr. Benson re- Amy Freed’s The Beard of Avon and one third of the plays produced here in ceived his BA in Theatre from Califor- Freedomland, Thomas Babe’s Great the last 37 years. He has distinguished nia State University, San Francisco. Day in the Morning, Keith Reddin’s himself in the staging of contemporary Rum and Coke and But Not for Me and work, most notably Paul Osborn’s Morn- PAULA TOMEI (Managing Director) Neal Bell’s Cold Sweat; the American ing’s at Seven, the critically acclaimed is responsible for the overall adminis- premiere of Terry Johnson’s Unsuitable California premiere of William Nichol- tration of the day-to-day operations of for Adults; the West Coast premieres of son’s Shadowlands, Athol Fugard’s SCR. A member of the staff since 1979, C.P. Taylor’s Good and Harry Kon- Playland, Brian Friel’s Dancing at she has served in a number of adminis- doleon’s Christmas on Mars; and the Lughnasa, ’s Oleanna, trative capacities including Subscrip- Southland premiere of Top Girls (at ’s The Homecoming,the tions Manager, Business Manager and SCR and the Westwood Playhouse). West Coast premiere of Peter Hedges’ General Manager. She currently serves Recent productions include the West Good As New and David Hare’s as President of Theatre Communica- Coast premieres of Three Viewings by Skylight. He has won accolades for his tions Group (TCG), the national ser- Jeffrey Hatcher, The Secret Rapture by direction of five major works by George vice organization for theatre where she David Hare and New England by Bernard Shaw, including the Los Ange- also served a two-year term as Treasur- Richard Nelson; and Arcadia by Tom les Drama Critics Circle (LADCC) er, and has served as the Vice President Stoppard, Six Degrees of Separation by Award-winners Misalliance and Heart- of the League of Resident Theatres , The Importance of Being break House. Among the numerous (LORT). In addition, she has been a Earnest by Oscar Wilde, Ayckbourn’s world premieres he has directed are member of the LORT Negotiating Com- Woman in Mind and You Never Can Jon Bastian’s Noah Johnson Had a mittee for industry-wide union agree- Tell by George Bernard Shaw, which he Whore..., Tom Strelich’s BAFO, and ments and represents SCR at national restaged for the 1990 Singapore Festi- Margaret Edson’s Pulitzer Prize-win- conferences of TCG and LORT; is a the- val of Arts. His producing responsibili- ning Wit, which he also directed at atre panelist for the National Endow- ties involve the overall coordination of Seattle Repertory Theatre and the Alley ment for the Arts and the California SCR’s programs and projects. He has Theatre in Houston. He has directed Arts Council (CAC), and site visitor for served as a consultant to the Orange American classics including Ah, Wilder- the CAC; served on the Advisory Com- County Performing Arts Center and as a ness!, A Streetcar Named Desire, A Deli- mittee for the Arts Administration Cer- theatre panelist and onsite evaluator cate Balance and All My Sons. Mr. tificate Program at UC Irvine; and has for the National Endowment for the Benson has been honored with the been a guest lecturer in the graduate Arts. He has served on the board of the Drama-Logue Award for his direction school of business at Stanford. She California Theatre Council, the Execu- of 21 productions and received LADCC graduated from UC Irvine with a degree tive Committee of the League of Resi- Distinguished Achievement in Direct- in Economics and pursued an addition- dent Theatres, and as a panelist for the ing awards an unparalleled six times al course of study in theatre and dance.

P - 8 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK