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Home , Ahmanson Theatre, Al Ruscio, A View from the Bridge, Joseph Hayes (author), Joseph Papp, Mark Taper Forum

41st Season • 400th Production SEGERSTROM STAGE / MAY 17 - JUNE 26, 2005

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

presents A VIEW FROM THE BRIDGE

BY

SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN COMPOSER/SOUND DESIGN Ralph Funicello Angela Balogh Calin Chris Parry Karl Fredrik Lundeberg

FIGHT CHOREOGRAPHER ASSISTANT DIRECTOR PRODUCTION MANAGER STAGE MANAGER Ken Merckx Sharyn Case Jeff Gifford *Jamie A. Tucker

DIRECTED BY Martin Benson

HONORARY PRODUCERS CORPORATE PRODUCER Barbara and William Roberts American Airlines

Presented by special arrangement with Samuel French, Inc.

A View from the Bridge • SOUTH COAST REPERTORY P1

CAST OF CHARACTERS (In order of appearance) Alfieri ...... Hal Landon Jr.* Eddie ...... Richard Doyle* Louis ...... Sal Viscuso* Mike ...... Mark Brown* Catherine ...... Daisy Eagan* Beatrice ...... Elizabeth Ruscio* Marco ...... Anthony Cistaro* Rodolpho ...... David Barry Gray* Tony/Mr. Lipari/Ensemble ...... Jay Michael Fraley* 1st Immigration Officer ...... Preston Maybank* 2nd Immigration Officer ...... Darin Singleton* Mrs. Lipari ...... Martha McFarland* Ensemble ...... M.S. Cliff E. Threadgold** Ensemble ...... Samer T. Marei**

SETTING The Red Hook area of , post World War II.

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

PRODUCTION STAFF Assistant Stage Manager ...... Erin Nelson* Casting ...... Joanne DeNaut Stage Management Intern ...... Mia D. Osherow Movement Consultant ...... Sylvia Turner Assistant Lighting Designer ...... Christian DeAngelis Costume Design Assistant ...... Julie Keen Additional Costume Staff .... Tracy Gray, Amber Johnson, Stacey Nezda, Mai Nguyen, Peg Oquist, Swantje Tuohino

Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. The use of cameras and recorders in the 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.

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

Official Airline Media Partner

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Tragedy and the Common Man

n this age few tragedies are written. It has often hero himself, the tale always reveals what has been been held that the lack is due to a paucity of called his “tragic flaw,” a failing that is not peculiar to heroes among us, or else that modern man has had grand or elevated characters. Nor is it necessarily a Ithe blood drawn out of his organs of belief by the weakness. The flaw, or crack in the character, is re- skepticism of science, and the heroic attack on life ally nothing—and need be nothing—but his inherent cannot feed on an attitude of reserve and circumspec- unwillingness to remain passive in the face of what tion. For one reason or he conceives to be a chal- another, we are often held lenge to his dignity, his to be below tragedy—or image of his rightful sta- tragedy above us. The in- tus. Only the passive, evitable conclusion is, of only those who accept course, that the tragic their lot without active re- mode is archaic, fit only taliation, are “flawless.” for the very highly placed, Most of us are in that cate- the kings or the kingly, gory. and where this admission But there are among is not made in so many us today, as there always words it is most often im- have been, those who act plied. against the scheme of I believe that the things that degrades them, common man is as apt a and in the process of ac- subject for tragedy in its tion everything we have highest sense as kings accepted out of fear or in- were. […] If the exaltation sensitivity or ignorance is of tragic action were truly shaken before us and ex- a property of the high- amined, and from this bred character alone, it is total onslaught by an indi- inconceivable that the vidual against the seem- mass of mankind should ingly stable cosmos sur- cherish tragedy above all rounding us—from this other forms, let alone be total examination of the capable of understanding “unchangeable” environ- it. ment—comes the terror As a general rule, to and the fear that is classi- which there may be ex- cally associated with ceptions unknown to me, I tragedy. think the tragic feeling is evoked in us when we are More important, from this total questioning of in the presence of a character who is ready to lay what has previously been unquestioned, we learn. down his life, if need be, to secure one thing—his And such a process is not beyond the common man. sense of personal dignity. […] Sometimes he is one […] It is time, I think, that we who are without kings who has been displaced from it, sometimes one who took up this bright thread of our history and followed seeks to attain it for the first time, but the fateful it to the only place it can possibly lead in our time— wound from which the inevitable events spiral is the the heart and spirit of the average man. wound of indignity, and its dominant force is indig- nation. Tragedy, then, is the consequence of a man’s Excerpted from Miller’s essay, which first appeared in the total compulsion to evaluate himself justly. in February 1949 and is reprinted in The Theater Essays of Arthur Miller, edited and with an In- In the sense of having been initiated by the troduction by Robert A. Martin (New York: Viking, 1978).

A View from the Bridge •SOUTH COAST REPERTORY P3

From Sicily to South Brooklyn: The Immigrant Odyssey

t was an Italian who began the story of immigration poverty. The peasants in the primarily poor, mostly to America. When Christopher Columbus set foot rural south of Italy and on the island of Sicily had lit- on American soil in 1492, he launched a flood of tle hope of improving their lot. Diseases and natural Imigration that is still in motion, and that trans- disasters swept through the new nation but its fledg- formed the continent completely. ing government was Although Italy as a unified nation in no condition to did not exist until 1861, the Italian bring aid to the peo- peninsula has sent millions of its ple. As transoceanic people to the shores of North Amer- travel became more ica. These new arrivals thought of affordable, and as themselves as Neopolitans, Sicilians, word of American Calabrians, or Syracuseans. They prosperity came via might not have understood each returning immi- others’ dialects, but upon arrival in grants and U.S. re- the they became Ital- cruiters, Italians ian Americans. By the turn of the found it increasingly 20th century, they would be ready difficult to resist the to change the continent once more. call of “L’America.” Most of this generation of Ital- This new gen- ian immigrants tooks their first steps eration of Italian im- on U.S. soil in a place that has now migrants was dis- become a legend—Ellis Island. In tinctly different in the 1880s, they num- makeup from those bered 300,000; in that had come be- the 1890s, 600,000; fore. No longer did in the decade after the immigrant popu- that, more than lation consist mostly two million. By of Northern Italian 1920, when immi- artisans and shop- gration began to keepers seeking new markets in which to ply their taper off, over four million Ital- trades. Instead the vast majority were farmers, fisher- ians had come to the United men and laborers looking for a steady source of States, representing more than 10% work—any work. There were significant numbers of of the nation’s foreign-born popula- single men among these immigrants, many of tion. whom came only to stay a short time. With- What brought about this dramatic in five years, between 30-50% of this surge in immigration? The causes are complex generation of immigrants would re- and each hopeful individual or family no doubt had turn to Italy. a unique story. By the late 19th century, the peninsu- The Italian immigrants who la of Italy had finally been brought under one flag, passed the test of Ellis Island went but the land and the people were by no means uni- about transforming the city they found fied. Decades of internal strife had left a legacy of vi- before them. Many previous immigrant olence, social chaos, and widespread groups, such as those from Germany and

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Scandinavia, had passed through in decades exclusion of immigrants past, but most had regarded the city as merely based on national ori- a way station before continuing on to settle gin and racial cate- elsewhere in the country. In the case of Italian gories. Because strict immigrants, however, fully one-third of them got immigration laws re- no further than , with most cluster- mained in effect ing in , the Bronx, and Brooklyn. well into the Red Hook, which is the setting for A View 1950s, a thriving from the Bridge, was one of the first neighborhoods trade sprang up in Brooklyn to be settled by the Dutch in 1636. in illegal immi- Named for the color of its soil and the pointed shape grants, en- of its peninsula that juts into the East River below the couraged by crooked dockyard owners eager to take advantage of cheap labor. In Arthur Miller’s explorations of the neighborhood, he was struck by the complex structure of orga- nized crime lurking just beneath its placid surface. (Always known as a tough neighborhood, Red Hook was home to Al Capone and the scene of his first crimes.) Years later, on his trip to Italy, Miller would marvel at the continuity of traditions, power structures and work habits between Italy and Red Hook.

(Sources: Library of Congress, Brooklyn Genealogy Information, Metropolitan Opera Information Center Archive, and Sicilian Culture: The Brief History. Please Brooklyn Bridge, Red Hook was one of the busiest refer to SCR’s online Playgoer’s Guide to A View from the Bridge for links to these and other helpful websites.) ports in the country by 1850 and remained so for the next hundred years. A tightly-knit Italian American community sprang up in the vicinity, composed pri- marily of longshoremen and dock- workers. Alarmed at the sheer num- bers of people from all corners of Europe that were pouring into the county, Congress began enforcing increasingly stringent immigration quotas. In 1924, the harshest law ever was passed: the National Ori- gins Act, which instituted a blanket

Previous page, Italian immigrant family at Ellis Island. Above, a partial map of Brooklyn showing the Red Hook district. Right, immigrants coming ashore at Ellis Island in 1920. Above, a passport used by Italian immigrants in 1909.

A View from the Bridge •SOUTH COAST REPERTORY P5

The Brooklyn Bridge Referred to as “the eighth wonder of the world” when it opened in 1883, the Brooklyn Bridge was the largest suspension bridge of its day and is considered by many to be the most influential bridge in Ameri- can history. This 3,460-foot expanse of steel which took fourteen years to build and cost $15.5 million meant that New Yorkers could look out over their city from a height heretofore unattainable, giving them an entirely new perspective on themselves and on the world. Serving as a tribute to individual creativity and vision, the Brooklyn Bridge has inspired countless writers and artists (including Arthur Miller) to celebrate its glories in paint and print.

I tell you, you walk out on the bridge, where you are absolutely safe, with the cars on the roadway down below, on either side where you are never fearful, where you never have any sense of edges, never any sense of non-support, And that’s all I can no swaying, recall of Brooklyn Bridge, where even the air feels textured with delight. tonight, John A. Roebling Oh, you walk out here and you are beautiful. You are rich and famous. and Washington Roebling You are one with the glories of the world about you, Brooklyn Heights and built it, and it hath cables New York Harbor and the Statue of Liberty and the towers of Manhattan. and it does one good You are one with all this beingness, and you are utterly free. to cross it everyday---- You are dancing in the air. You feel like you are flying. See my eerie wiseness? You are joy. Good night, innocent children of this mortal Sangsara (from “Getting Hitched” by Stephen Beal) world, you have to keep your mind empty & tranquil and pure or the whole Eternal Light escapes you -----Without the Eternal Light you’re only a yakking fool of rooms, beds, graves and monuments----with it, you are like the Silent Mountains of Snow and more than I know------

(from “The Brooklyn Bridge Blues” in The Book of Dharmas by Jack Kerouac)

Art inspired by the Bridge includes on this page, above, Georgia O’Keefe’s ‘Brooklyn Bridge’ (1949) and left, Mil- ton Bond’s ‘Brooklyn Bridge in 1914’ (1918). On the op- posite page, a fold-out postcard, bottom, and a photo- graphic collage by Karen Riedener (1982), left and right, Joseph Stella’s ‘The Bridge’ (1920-22) .

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Flow on, river! flow with the flood-tide, and ebb with the ebb-tide! Frolic on, crested and scallop-edg’d waves! Gorgeous clouds of the sun-set! drench with your splendor me, or the men and women generations after me; Cross from shore to shore, countless crowds of passengers! Stand up, tall masts of Mannahatta!—stand up, beautiful hills of Brooklyn! Throb, baffled and curious brain! throw out questions and answers! Suspend here and everywhere, eternal float of solution! Gaze, loving and thirsting eyes, in the house, or street, or public assembly! Sound out, voices of young men! loudly and musically call me by my nighest name! Live, old life! the part that looks back on the actor or actress! Play the old role the role that is great or small, according as one makes it!

Consider, you who peruse me, whether I may not in unknown ways be looking upon you; Be firm, rail over the river, to support those who lean idly, yet haste with the hasting cur- rent; […] Thrive, cities! bring your freight, bring your shows, ample and sufficient rivers; Expand, being than which none else is perhaps more spiritual; Keep your places, objects than which none else is more lasting.

(from “Crossing Brooklyn Ferry” in Leaves of Grass by Walt Whitman)

O harp and altar, of the fury fused, (How could mere toil align thy choiring strings!) Terrific threshold of the prophet’s pledge, Prayer of pariah, and the lover’s cry,—

Again the traffic lights that skim thy swift Unfractioned idiom, immaculate sigh of stars, Beading thy path—condense eternity: And we have seen night lifted in thine arms.

Under thy shadow by the piers I waited; Only in darkness is thy shadow clear. The City’s fiery parcels all undone, Already snow submerges an iron year . . .

O Sleepless as the river under thee, Vaulting the sea, the prairies’ dreaming sod, Unto us lowliest sometime sweep, descend And of the curveship lend a myth to God.

(from “To Brooklyn Bridge” by Hart Crane)

A View from the Bridge •SOUTH COAST REPERTORY P7

The Way We Were

A View from the Bridge premiered PULITZER PRIZES FIRST APPEARANCES on September 29, 1955. • Drama: Tennessee Williams (Cat • McDonald’s Restaurant Here’s a look back at what else was on a Hot Tin Roof) • “” happening 50 years ago. • Fiction: William Faulkner (A Fable) • UHF television • Disneyland PRESIDENT: Dwight D. Eisenhower • Fiber optics VICE PRESIDENT: Richard M. Nixon • Best Play: The • Computers using transistors in- MISS AMERICA: Lee Meriwether (Joseph Hayes) stead of electron tubes POPULATION: 165,931,202 • Best Musical: The Pajama Game • Microwaves for home use (costing (272,690,813 in 2000) • Best Actor in a play: Alfred Lunt $1,300) LIFE EXPECTANCY: 69.6 years (Quadrille) • Salk polio vaccine (77.2 now) • Best Actress in a play: Nancy Kelly • The Village Voice HOMICIDE RATE: 4.5 in 100,000 (Bad Seed) • Scrabble (7.1 now) • Best Actor in a musical: Walter • Guinness Book of Records UNEMPLOYMENT: 5.5% (5.2% now) Slezak (Fanny) • “The Honeymooners” COST OF A FIRST-CLASS STAMP: $.03 • Best Actress in a musical: Mary • “The Mickey Mouse Club” ($.37 now) Martin (Peter Pan) • “Don’t Walk” signs on New York City streets MAJOR EVENTS POPULAR MUSIC • Televised presidential press • Winston Churchill resigns as • “Rock Around the Clock” (Bill conferences British Prime Minister; Anthony Haley and His Comets) • Johnson & Johnson baby shampoo Eden succeeds him • “The Yellow Rose of Texas” • Crest toothpaste with fluoride • Federal Republic of West Germany (Mitch Miller) • Ann Landers’ advice column becomes a sovereign state • “Love Is a Many Splendored Thing” • Seat belt legislation • Argentina ousts dictator Juan Perón (The Four Aces) • “In God We Trust” on U.S. curren- • U.S. starts sending $216 million in • “Sixteen Tons” (Tennessee Ernie cy and coins aid to Vietnam Ford) • Ford Thunderbird • Rosa Parks refuses to sit at the back of the bus in Montgomery, POPULAR MOVIES FINAL APPEARANCES Alabama • Rebel Without a Cause • James Dean • Mister Roberts • Albert Einstein SPORTS • The Lady and the Tramp • Thomas Mann • NBA: Syracuse Nationals over Ft. • The Seven Year Itch • Charlie Parker Wayne Pistons Series: 4-3 • Carmen Miranda • NCAA Football: Oklahoma Record: POPULAR BOOKS 11-0-0 • Fiction: Marjorie Morningstar LA TRIVIATA • World Series: Brooklyn Dodgers (Herman Wouk); Michael J. Fox and return over NY Yankees, Series: 4-3 Auntie Mame (Patrick Dennis) to 1955 in Back to the Future. • World Boxing Championship: • Nonfiction: Gift from the Sea “Sugar” Ray Robinson (Anne Morrow Lindbergh); AND LAST BUT NOT LEAST The Power of Positive Thinking Arthur Miller begins secretly meeting ACADEMY AWARDS (Norman Vincent Peale) in her suite at the • Best Picture, Director, and Actor Waldorf. As he would later explain, Ernest Borgnine (Marty) POPULAR TELEVISION SHOWS “I was in a swift current, there was • Best Actress: Anna Magnani (The • “The $64,000 Question” (CBS) no stopping or handhold, she was fi- Rose Tattoo) • “I Love Lucy” (CBS) nally all that was true.” • “The Ed Sullivan Show” (CBS) Background: Arthur Miller and Marilyn Monroe in 1955.

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MARK BROWN ANTHONY CISTARO RICHARD DOYLE Mike Marco Eddie

Artist Biographies

*MARK BROWN (Mike) made his McBeal,” “Providence,” “Lawless,” Scorpion at the Stella Adler The- SCR debut last season in Cyrano “The Cape,” “SeaQuest,” and atre; In the Jungle of Cities and de Bergerac. Theatre credits in- “Pointman.” As a playwright, his Overboard at the Zero Church clude Arsenic and Old Lace and plays have been produced at Theatre; Lettice and Lovage and The Tempest at Utah Shake- Foothill Theatre, Pennsylvania Romeo & Juliet at the Will Geer spearean Festival; , Shakespeare Festival, Arts Center Theatricum Botanicum; A Mid- Richard III, The Complete Works of Costal Carolina, Cape May summer Night’s Dream at Com- of and The Stage, Cape Playhouse, The monwealth Shakespeare Compa- School For Wives at the Pennsyl- Colony Theatre Company, Utah ny; The Cure at Troy and The vania Shakespeare Festival; The Shakespearean Festival, The Phantom Lady at Loeb Experi- Complete Works of William , People’s Light mental Theatre; Rough Crossing Shakespeare, Two Gentlemen of and Theatre, Orlando-UCF at the Matrix Theatre Company; Verona, Taming of the Shrew and Shakespearean Festival, Hippo- and A Private View at The World The Curate Shakespeare at Orlan- drome State Theatre, B Street Theatre. Film and television do-UCF Shakespeare Festival; Theatre and Orlando Theatre credits include The Runestone, and five seasons at the McCarter Project. The Method, “Witchblade,” Theatre. Film appearances in- “Alias,” “Friends,” “She Spies,” clude Holy Man, Out of Sight and *ANTHONY CISTARO (Marco) is “10-8: Officers on Duty,” “Charlie Amy’s O. Television credits in- making his SCR debut. Theatre Lawrence,” “Angel,” “Alright Al- clude several mini-series and credits include The Architect of ready,” “Cheers,” “ Thanks,” “Se- made-for-television movies in- Destiny at the Zephyr Theatre; infeld,” “The Nanny,” “Search cluding From the Earth to the The King Stag at The Barbican and Rescue” and “Bob.” Moon, Murder in the Mirror, Theatre; Six Characters in Search Gold Coast, Clover and Saved by of an Author, Tartuffe, and The *RICHARD DOYLE (Eddie) is an the Light. Other television credits Island of Anyplace at American SCR Founding Artist. He ap- include “Diagnosis Murder,” “Ally Repertory Theatre; Tale of the peared this season in Habeas

A View from the Bridge •SOUTH COAST REPERTORY P9

DAISY EAGAN JAY MICHAEL FRALEY DAVID BARRY GRAY Catherine Tony/Mr. Lipari/Ensemble Rodolpho

Corpus, last season in Intimate ances on “The Pretender” and Clinton’s Inaugural Ball, a benefit Exchanges, The Last Night of Bal- “The Lot.” He is a voice-over performance of The Ringling lyhoo and A Christmas Carol, and actor in animation, CD ROMS, Brothers Barnum and Bailey Cir- the previous season in Relatively television, radio commercials, cus, Sondheim! A Celebration at Speaking, Proof and Major Bar- books on tape and documen- Carnegie Hall, and the UNESCO bara. Additional appearances in- taries, including the Emmy-win- Memorial for Audrey Hepburn at clude the world premieres of The ning series The Living Edens, Im- the U.N. Film and television Beard of Avon, On the Jump pressions of and the credits include Tony ‘n’ Tina’s (Robby Award), But Not for Me, recently released Green and Wedding, Ripe, Losing Isaiah, BAFO, The Interrogation of Green “Art-in-Architecture” docu- Judgement, “The It Factor,” “An- Nathan Hale, She Stoops to Folly, mentary. other World,” “Space Cases,” “All , Hospitality Suite and Highest My Children” and “Square One Standard of Living. Other credits *DAISY EAGAN (Catherine) TV.” She is currently producing include , made her SCR debut earlier this Blind Spot, a short film written A Delicate Balance, Of Mice and season in On the Mountain. On and directed by Aimee Lagos. Men, Ah, Wilderness!, What the Broadway she appeared in James Her performance is dedicated to Butler Saw, Pygmalion, Six De- Joyce’s The Dead, Les Misérables her mother, Andrea Boroff Eagan. grees of Separation, Arms and and The Secret Garden for which, the Man, The Cherry Orchard, at 11 years old, she was the JAY MICHAEL FRALEY (Tony/Mr. Waiting for Godot, Our Country’s youngest person to win a Tony Lipari/Ensemble) is making his Good and Intimate Exchanges, (Drama Desk and Outer Critics SCR debut. He was last seen in for which he earned a Los Ange- Circle Award Nominations). Off- the West Coast premiere of Fe- les Drama Critics Circle Award Broadway appearances include male Terrorist Project at Rude nomination. He won LADCC War in Paramus, Be Aggressive, Guerrilla Theatre Company. Last Awards for his roles in Sally First Day of Hunting Season, year, he played Candy Darling in Nemeth’s Holy Days and as Rev- Caught in the Net, James Joyce’s the West Coast premiere of erend Hale in . The Dead and Smack the Birdie. Candy and Dorothy, Uncle Peck “Cheers” fans will remember him She has performed in many con- in How I Learned to Drive and as Woody’s snooty father-in-law certs including Reel Music at Dr. Dysart in Equus. Being an Walter Gaines. Other film and Carnegie Hall, Hilary Clinton’s active member of Rude Guerrilla, television credits include Air First Ladies Luncheon, President he has been seen in numerous Force One, “NYPD Blue,” “Sis- Clinton’s first White House din- productions including Faust is ters,” movies of the week, “The ner for the Governors of the Dead, Cleansed, Taking Sides, Practice” and guest star appear- States and Territories, President Shopping and F**king, Search

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HAL LANDON JR. PRESTON MAYBANK MARTHA MCFARLAND Alfieri 1st Immigration Officer Mrs. Lipari

and Destroy, History of the Devil, “Touched by an Angel,” “J.A.G,” V at The Old Globe in San Corpus Christi, Terra Nova and “The Division,” “The X-Files” and Diego. Other resident theatre Tis Pity She’s a Whore. He has “Chicago Hope.” roles include Salieri in Amadeus, worked with Hunger Artists, Malvolio in Twelfth Night and Venice Playwrights Festival, *HAL LANDON JR. (Alfieri) is an Gordon Miller in Room Service. Grove Shakespeare, Laguna Play- SCR Founding Artist who recently Among his film credits are Tres- house and the Coun- appeared in Habeas Corpus, pass, Pacific Heights, Almost an ty Museum. He has been active- Cyrano de Bergerac, Safe in Hell, Angel, Bill and Ted’s Excellent ly involved in theatre for the past Antigone, The Drawer Boy Adventure and Playing by Heart. 26 years. (LADCC Award nomination), Two Gentlemen of Verona, Major Bar- *PRESTON MAYBANK (1st Immi- *DAVID BARRY GRAY (Rodolpho) bara, Getting Frankie Married— gration Officer) returns to SCR is making his SCR debut. The- and Afterwards, The School for after having appeared in The Lit- atre credits include Side Man at Wives, Much Ado about Nothing, tle Prince, Cyrano de Bergerac, Malibu Stage Company, Observe Entertaining Mr. Sloane, The Hol- The Hoboken Chicken Emergen- the Sons of Ulster Marching To- low Lands, True West, Play cy, Terra Nova, Two Gentlemen wards the Somme at Lincoln Cen- Strindberg, Tartuffe and Ah, of Verona and Much Ado about ter Theatre, A View from the Wilderness! Other credits in- Nothing. Other theatre credits Bridge at the Roundabout The- clude Arcadia, Our Town, Sid- include Liars at The Joseph Papp atre Company, Absolution at the ney Bechet Killed a Man, BAFO, Public Theater; Sour Springs at Court Theatre, Finnegan’s Funer- Six Degrees of Separation, An Theatre for a New City; A Mar- al Parlor & Ice Cream Shop at Ideal Husband, A Mess of Plays riage Proposal at Rapp Art Cen- Playwrights Horizons and Thurs- by Chris Durang, The Things You ter; at Purchase; day is Tomorrow at the John Don’t Know, Faith Healer, Ghost Family Affairs at Dorsett Theatre Houseman Theatre. Film credits in the Machine, Green Icebergs, Festival; Justice at Padua Hills include Why Do Fools Fall in Morning’s at Seven, Dancing at Playwrights Festival; The Impor- Love, Lawn Dogs, Soldier Boyz, Lughnasa, The Miser, Our Coun- tance of Being Earnest at Long Nixon, Dead Presidents, S.F.W., try’s Good and Waiting for Godot. Beach Studio Theatre; The Ele- Cops & Robbersons, Mr. Wonder- He created the role of Ebenezer phant Man at Knightsbridge The- ful and One Good Cop. Televi- Scrooge in SCR’s A Christmas atre; School for Scandal (Drama sion appearances include series Carol, and has performed it in all Logue Award), The Three Sisters, regular roles on “The Client,” “21 25 annual productions. He ap- Major Barbara and Tartuffe Jump Street” and “Dream Street” peared in Leander Stillwell at the (Robbie Award, Drama Logue and guest starring roles on and in Henry Award) at A Noise Within and

A View from the Bridge •SOUTH COAST REPERTORY P11

ELIZABETH RUSCIO DARIN SINGLETON SAL VISCUSO Beatrice 2nd Immigration Officer Louis

the European tour of Hucksters winning ensembles of TomFool- Luck and Fool for Love. Other of the Soul. Select film and tele- ery and Side by Side by theatre credits include Living Out vision credits include Novocaine Sondheim. She also appeared as at the Mark Taper Forum; The (with Steve Martin), Pudd’nhead Pope Joan and Louise in both the Dreamcoast, The Square and Wilson, Long Time Companions, SCR and Westwood Playhouse Moe’s Lucky Seven at Taper, Too; Wed Lock, War of the Colossal engagements of Top Girls. She and Shiloh Rules, Looking for Beast, “Every Knee Shall Bow,” has appeared in 19 of the 25 pro- Normal, Cat’s Paw, American “Tony and Tina’s Wedding,” “Ab- ductions of A Christmas Carol, Bullfighter and Stop Kiss at Taper ductions,” “Cybill,” “Suddenly having missed the first year when New Works Festival. She is the Susan,” “Matlock,” “Pride and she was on a U.S. tour with recipient of an LA Drama Critics Joy,” “Ryan’s Hope,” “Days of James Mason in A Partridge in a Circle Award, three LA Weekly Our Lives,” “Ryan’s Hope” and Pear Tree. Ms. McFarland is also Awards, five Drama-Logues and “A.J.’s Time Travelers.” a director, having staged Sly Fox is an Ovation nominee. Some of and The Foreigner at the Laguna those were for some of these: *MARTHA McFARLAND (Mrs. Li- Playhouse, Top Girls at UCI and Slide for the Wilton Project, Pot pari) is an SCR Founding Artist the world premiere of City with Mom and Savage in Limbo at The who served as the theatre’s Cast- the Circle X Company in Los An- Cast and The Shaper at the Met. ing Director for 11 years. Most geles. She is a teacher with the Hoss Drawin’ by her husband recently she appeared in Cyrano SCR Professional Conservatory Leon Martell and their co-written de Bergerac (where, for the first and privately in the L.A./Orange 1961 Eldorado were both part of time in her career, she played a County area. Ms. McFarland is the Padua Hills Playwrights Festi- man), Two Gentlemen of Verona, also a popular voice-over artist, a val. Film credits include, in as Mrs. Baines in Major Barbara, published poet and the Southern order of appearance, 28 Days, Georgette in The School for California Casting Director with Falling Like This, A Perfect World Wives, Ursula in Much Ado about the Oregon Shakespeare Festival and The Positively True Adven- Nothing, Mom in True West, Alice in Ashland. tures of the Alleged Texas Cheer- in Play Strindberg and reprised leader-Murdering Mom. She her role as Norah in Ah, Wilder- *ELIZABETH RUSCIO (Beatrice) guest stars on the new season of ness! Other roles at SCR include returns to SCR having appeared “Six Feet Under” and previously appearances in Our Town, Pyg- in the NewSCRipts reading of on “The Division,” “Gideon’s malion, , An Ideal Anon, the Hispanic Playwrights Crossing,” “Judging Amy,” “Sev- Husband, as Dr. Charlotte Wal- Project reading of Mimesophobia, enth Heaven” and “ER.” She lace in Beyond Therapy and as or Before and After, and the pro- dedicates this performance to her part of the Drama-Logue Award- ductions of The Geography of father and mentor, Al Ruscio,

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whose Eddie Carbone she saw Dugan Returns. His television that was condemned as sensa- when she was ten years old. appearances include “Law and tionalistic and exploitative. Al- Order: SVU,” “NYPD Blue,” though his credibility was dam- *DARIN SINGLETON (2nd Immi- “Boston Public,” “2 1/2 Dads” aged, Miller never stopped writ- gration Officer) last appeared at and “Soap.” ing. Fourteen plays and four SCR as George in . screenplays followed, including He made his professional stage PLAYWRIGHT, (1968), The American debut in at the DIRECTOR & DESIGNERS Clock (1980), The Ride Down Mt. Berkeley Repertory Theatre and Morgan (1991), worked extensively in the Bay ARTHUR MILLER (Playwright) was (1994), (2002), Area. He has appeared in many born in Harlem in 1915, the son and (2004). productions throughout the of affluent Jewish-American par- He also actively participated in Southland. Among his favorites ents. When his father's garment Broadway revivals of A View are Claudio in Much Ado About business failed in 1929, the fami- from the Bridge in 1997, The Nothing, at the L.A. Shakespeare ly was forced to move to Brook- Crucible in 2001, and After the Festival, Paris in The Misjudge- lyn. Upon graduation from the Fall in 2004. Arthur Miller died ment of Paris at The Old Globe, University of Michigan in 1938, of heart failure at his home in Orsino in Twelfth Night at The Miller joined the Federal Theatre Connecticut on February 10, 2005 Company Repertory, Marlowe in Project and continued to live and at the age of 89. She Stoops to Conquer, at the Hill- write in Brooklyn, composing side Repertory, Bradley in dozens of radio scripts for CBS. MARTIN BENSON (Director/Artis- Buried Child at Theatre Forty, In 1944, his first play on Broad- tic Director), co-founder of SCR T.S. Eliot in The Rape of Djuna way, The Man Who Had All the with his colleague David Emmes, Barnes at the St. Genesius, Luck, closed quickly and was fol- has directed nearly one third of Georgie in 70 Dollars to a Bus lowed in 1947 by All My Sons, the plays produced here. He has Ride Home and Paul in Romanti- which won the Drama Critics' distinguished himself in the stag- cally Incorrect at Theatre Neo. Circle Award. Two years later ing of contemporary work, in- His film and television credits in- came , cluding William Nicholson’s The clude Wolf, “Reunion,” “Sabrina which ran on Broadway for 742 Retreat from Moscow, Horton the Teenage Witch,” “Santa Bar- performances, and won both the Foote’s The Carpetbagger’s Chil- bara” and “General Hospital.” and the dren and the world premiere of He studied at A.C.T. and The Tony Award for Best Play. In Getting Frankie Married—and Actor’s Lab. He also studied 1953, Miller proclaimed his left- Afterwards, the critically ac- with the British-American Drama wing sympathies in The Crucible, claimed California premiere of Academy in Oxford. following which he was denied a Nicholson’s Shadowlands, the passport. After the failure of the Southern California premiere of *SAL VISCUSO (Louis) is making one-act version of A View from Michael Healey’s The Drawer his SCR debut. Theatre credits the Bridge in 1955, Miller rewrote Boy; and the West Coast pre- include Tabletop at Laguna Play- the play for a London production mieres of Peter Hedges’ Good As house, at the following year, during which New and Martin McDonagh’s The Third Stage, Red Wagon Poesy at time he was subpoenaed by Lonesome West. He has won ac- the Hudson Theatre, The First HUAC. His refusal to name colades for his direction of five Picture Show at the Mark Taper names led to a contempt of major works by George Bernard Forum, Private Wars at Gardner Congress citation, a $500 fine, Shaw, including the Los Angeles Stage and Waiting for Lefty at and a suspended sentence (later Drama Critics Circle (LADCC) The Company of Angels. Film overturned on appeal). 1956 was Award-winners Major Barbara, credits include The Amati Girls, also the year Miller divorced his Misalliance and Heartbreak Kicking and Screaming, The first wife and married Marilyn House. Among the numerous Cure for Boredom, Three Women, Monroe—an ill-fated relationship world premieres he has directed Confessions of a Sexist Pig, Bad that ended in divorce in 1961 are Tom Strelich’s BAFO and Business, Pinocchio Syndrome, and her suicide a year later. ’s Pulitzer Prize- The Dentist, Spaceballs, Fatso, These experiences were fodder winning Wit, which he also di- World’s Greatest Lover, The Tak- for , a semi-autobio- rected at Seattle Repertory The- ing of Pelham 1, 2, 3 and Max graphical play produced in 1964 atre and the in

A View from the Bridge • SOUTH COAST REPERTORY P13

Houston. He has directed Ameri- The Oregon Shakespeare Festi- (Garland Award), The Seagull, A can classics including Ah, val, Milwaukee Repertory The- Winter’s Tale, The Threepenny Wilderness!, A Streetcar Named atre, Stratford Shakespearean Fes- Opera (Drama-Logue Award) and Desire, A Delicate Balance and tival of Canada and The Old Twelfth Night (Drama-Logue All My Sons. Mr. Benson has Globe, where he is an Associate Award). Ms. Calin has designed been honored with the Drama- Artist. He has had a long associ- over 50 productions for local the- Logue Award for his direction of ation with the Mark Taper Forum atres and in her native Romania. 21 productions and received and worked for 30 years with Some of those productions are: A LADCC Distinguished Achieve- ’s American Conser- Midsummer Night’s Dream at The ment in Directing awards an un- vatory Theatre, where he was Di- Bowl, The Winter’s paralleled seven times for the rector of Design. He has been Tale at The Old Globe, The Last three Shaw productions, John nominated for N.Y. Drama Desk, of Mr. Lincoln at El Portal, Dia- Millington Synge’s Playboy of the Outer Critics Circle, blogues at the Tiffany Theatre, Western World, Arthur Miller’s and Tony Awards. He has re- The Sunshine Boys and Harvey The Crucible, Sally Nemeth’s ceived The Merritt Award for Ex- for La Mirada Center for the Per- Holy Days and Wit. He also di- cellence In Design and Collabo- forming Arts, Ivona, Princess of rected the film version of Holy ration and his designs have been Burgundia for the Odyssey The- Days using the original SCR cast. recognized by the Area Theatre atre, Blood Poetry (Drama-Logue Along with Emmes, he accepted Critics’ Circle, the L.A. Drama Award) for Theatre 40 and An- SCR’s 1988 Tony Award for Out- Critics Circle, Drama-Logue Mag- cestral Voices for the Falcon The- standing Resident Professional azine, Back Stage West and the atre. She has worked extensively Theatre and won the 1995 The- United States Institute for Theatre in film and television in the U.S. atre LA Ovation Award for Life- Technology. He is currently the and Romania, having 16 design time Achievement. Mr. Benson Powell Chair in Set Design at San credits with I.R.S. Media, Cannon received his BA in Theatre from Diego State University. Films, PBS, Full Moon Entertain- California State University, San ment and Romanian Films. She Francisco. ANGELA BALOGH CALIN (Cos- graduated with an MFA in set tume Design) designed Princess and costume design from the RALPH FUNICELLO (Scenic De- Marjorie, The Retreat from Academy of Arts in Bucharest. sign) began his 21st season at Moscow, Mr. Marmalade, Inti- SCR earlier this year with Brook- mate Exchanges, Terra Nova and CHRIS PARRY (Lighting Design) is lyn Boy. Among his other SCR the Theatre for Young Audiences originally from England. He has credits are the designs for Safe in productions of The Little Prince, designed theatre and opera inter- Hell, Major Barbara, The Circle, The Hoboken Chicken Emergen- nationally for 29 years, earning The Education of Randy New- cy, The Wind in the Willows, The 25 major awards and nomina- man, The Piano Lesson, Tartuffe, Emperor’s New Clothes and Side- tions. For SCR, he has designed Private Lives, Old Times, Death of ways Stories from Wayside School. Brooklyn Boy, Cyrano de Berger- a Salesman, Six Degrees of Sepa- Her previous SCR credits include ac, Major Barbara, School for ration, She Stoops to Folly, The set and costume design for The Wives, The Beard of Avon, The Misanthrope, Dancing at Lugh- Carpetbagger’s Children, Making Hollow Lands, Search and De- nasa, , The Miser, It and The Lonesome West; set de- stroy, The Miser, The Misan- Twelfth Night, Happy End, Kiss of sign for Play Strindberg; and sets thrope, Private Lives, Death of a the Spider Woman, Speed-The- and costumes for SCR’s Educa- Salesman, Ah, Wilderness! and Plow, Going for Gold, Misal- tional Touring Productions from Tartuffe. Other highlights in- liance, Highest Standard of Liv- 1998 to present. She is a resident clude 24 productions for the ing, Buried Child, Good and Da. designer at A Noise Within where Royal Shakespeare Company His work has been seen On and her costume designs include The (RSC) and Off-Broadway, and at many resi- Matchmaker, The Price, Bus Stop, (RNT) in England, as well as dent including the Lin- The Imaginary Invalid, The Skin work for many of this country’s coln Center Theater, Intiman The- of Our Teeth, The Misanthrope, regional theatres and opera hous- atre, Seattle Repertory Theatre, Cyrano de Bergerac, Another es. Notable production credits Denver Center Theatre, Berkeley Part of the Forest (Los Angeles include: The Who’s Tommy Repertory Theatre, Guthrie The- Drama Critics Circle Award and (Broadway and worldwide) di- ater, McCarter Theatre Center, Garland Award), Little Foxes rected by Des McAnuff, which

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garnered him the Tony Award, of contemporary classical music, CBS/Sony Television, Japan, Olivier Award (London), Dora his works have been performed Paramount Pictures and United Award (Canada), New York by a variety of orchestras, among Paramount Network. He is com- , New York them the Boston Symphony, poser in residence at the Mark Outer Critics Circle Award, Los Sinfa Nova and the National Taper Forum and served as musi- Angeles Drama Critics Circle Radio Orchestra of Sweden. His cal director for the Shakespeare Award and several other nomina- compositions have been featured repertory directed by Sir Peter tions; the musical The Secret Gar- at such prestigious international Hall at the . den (RSC, West End London); the festivals as the Mitsui Festival musical Jane Eyre (Mirvish Co. (Tokyo), the Perugia Festival KEN MERCKX (Fight Choreogra- Toronto, ); Not (Italy), the Biennale Festival pher) has staged violence for About Nightingales (RNT, Lon- (Venice), Teatro Espanol (Spain), many projects this year including don, Houston and Broadway) di- the Next Wave Festival (New Private Lives at the Pasadena rected by Trevor Nunn (Tony York), the Castle Hill Festival Playhouse, and The Award nomination, N.Y. Drama (Essex) and the San Sebastian Taming of the Shrew at the Idaho Desk Award); Les Liaisons Dan- Festival (Spain). Theatre and Shakespeare Festival, Julius Cae- gereuses (RSC, Broadway - Tony ballet music includes scores for sar at A Noise Within, As You Award nomination, N.Y. Drama the American Repertory Theatre Like It at Great Lakes Theatre Desk Award); A Midsummer (The King Stag co-composed with Festival, Sleuth and Wrong Turn Night’s Dream (RSC, Broadway & Elliot Goldenthal, Jacques and at Lung Fish at the Falcon The- World Tour - Olivier Award nom- His Master and The Changeling); atre and Kino and Teresa at the ination); and Translations the Brooklyn Academy of Music Gene Autry Theatre. Mr. Merckx (Boston, Broadway). He is an (Power Project with Bob Berky); is the resident fight choreogra- Associate Artist of the Alley The- the Seattle Repertory Theatre (A pher for the Idaho Shakespeare atre, Houston. Other work in- Flaw in the Ointment); Center Festival, Great Lakes Theatre Fes- cludes a section of the movie Re- Stage (In a Pigs Valise); Odyssey tival and A Noise Within. He re- naissance Man and the KPBS Theatre (Imperceptible Musabili- ceived his degree in theatre from Television Arts program “Center ties, Goose Amid the Revolt); the the University of Washington and Stage.” Mr. Parry also received Arizona Theatre Company (The the University of Illinois at Ur- the Lighting Designer of the Year Old Matador); the Colorado bana/Champaign. Award (1994) from Lighting Di- Shakespeare Festival (As You Like mensions International. He has It, A Midsummer Night’s Dream, SHARYN CASE (Assistant Direc- taught Lighting Design for 16 A Winter’s Tale); the Pan Asian tor) has directed throughout Or- years, and is currently Professor Repertory Theatre, New York; the ange County for the past 10 years and Head of the Design program Mark Taper Forum (Death and and is pleased to be working on at UCSD, and owns his own en- the Maiden, , Weights, this exciting production. Some tertainment and architectural The Poison Tree, Closer, 10 Un- of her directorial credits include lighting design company, Axiom knowns directed by Robert Egan, Terra Nova, Search and Destroy, Lighting Inc, in San Diego. Bandido! directed by Jose Luis Taking Sides, Execution of Justice Valenzuela, Hysteria directed by and Candy and Dorothy at The KARL FREDRIK LUNDEBERG Phyllida Lloyd, Enigma Varia- Rude Guerrilla Theatre Company (Composer/Sound Design) com- tions directed by Daniel Roussel where she is also a member. posed the music and sound for and The Molière Comedies direct- Other credits include Wait Until SCR’s productions of The Retreat ed by Brian Bedford); and the Dark for the Long Beach Play- from Moscow, The Drawer Boy, Ahmanson Theatre (A Midsum- house and BAFO, How I Learned The Dazzle and The Company of mer Night’s Dream, Measure for to Drive, Butterflies Are Free and Heaven. He is a CBS/Sony Measure and Romeo and Juliet for other local recording artist who has recorded directed by Sir Peter Hall). Film theatres. four albums with his jazz/world and television scores include music group Full Circle. He has works for PBS, Chal Productions *JAMIE A. TUCKER (Stage Manag- performed extensively through- (, New York), The er) completed his MFA in Dance, out the United States, Canada, American Film Institute, NRK specializing in Stage Manage- Scandinavia, continental Europe, Norwegian State Television, ment, at UCI in 1994. This sea- Japan and Brazil. As a composer Imagine Films Entertainment, son he has stage managed The

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Clean House and The Retreat cy, The Wind in the Willows, ator for the National Endowment from Moscow and assisted on A Sideways Stories from the Way- for the Arts, on the Executive Naked Girl on the Appian Way. side School, and The Emperor’s Committee of the League of Resi- Last season he stage managed New Clothes. Previous credits in- dent Theatres, and as a panelist , Lovers and clude La Jolla Playhouse, The for the California Arts Council. Executioners, Intimate Ex- Old Globe, Idaho Shakespeare After attending changes and Mr. Marmalade. He Festival, National Playwrights College, he received his BA and previously stage managed the Conference and Theatre IV. MA from California State Univer- world premiere of Richard sity, San Francisco, and his PhD Greenberg’s The Violet Hour, the DAVID EMMES (Producing Artis- in theatre and film from USC. West Coast premiere of Horton tic Director) is co-founder of Foote’s The Carpetbagger’s Chil- SCR. He has received numerous PAULA TOMEI (Managing Direc- dren, Relatively Speaking and the awards for productions he has tor) is responsible for the overall world premiere of Rolin Jones’ directed during his SCR career, administration of South Coast The Intelligent Design of Jenny including a Los Angeles Drama Repertory and has been Manag- Chow. He worked as SCR’s stage Critics Circle Award for the direc- ing Director since 1994. A mem- manager for the Second Stage tion of George Bernard Shaw’s ber of the SCR staff since 1979, productions of The Dazzle, True The Philanderer. He directed the she has served in a number of West, Play Strindberg, the world world premieres of ’s administrative capacities includ- premiere of But Not for Me and Safe in Hell, The Beard of Avon ing Subscriptions Manager, Busi- the Pacific Playwrights Festival and Freedomland, Thomas ness Manager and General Man- workshop production of Land- Babe’s Great Day in the ager. She currently serves as locked. He also was stage man- Morning, Keith Reddin’s Rum President of the Theatre Commu- aged three seasons of La Posada and Coke and But Not for Me and nications Group (TCG), the na- Mágica. He has worked as assis- Neal Bell’s Cold Sweat; the Amer- tional service organization for the tant stage manager on the Main- ican premiere of Terry Johnson’s professional not-for-profit the- stage productions of New Eng- Unsuitable for Adults; the West atre. In addition, she has served land, Our Town and Arcadia Coast premieres of C.P. Taylor’s as Treasurer of TCG, Vice Presi- and the Second Stage produc- Good and Harry Kondoleon’s dent of the League of Resident tions of BAFO and Three Days of Christmas on Mars; and the Theatres (LORT) and has been a Rain. Mr. Tucker has worked at Southland premiere of Top Girls member of the LORT Negotiating the Long Beach Civic Light (at SCR and the Westwood Play- Committee for industry-wide Opera on No, No, Nanette, Can house). Other productions in- union agreements. She repre- Can, , The King clude the West Coast premieres sents SCR at national conferences and I and . If of Three Viewings by Jeffrey of TCG and LORT; is a theatre you can’t find him in the theatre, Hatcher, The Secret Rapture by panelist and site visitor for the he is likely to be on the dia- David Hare and New England by National Endowment for the Arts mond, or riding in paradiseride- Richard Nelson; and Arcadia by and the California Arts Council; hawaii, Hawaii’s bike ride to stop Tom Stoppard, The Importance served on the Advisory Commit- AIDS. of Being Earnest by Oscar Wilde, tee for the Arts Administration Ayckbourn’s Woman in Mind Certificate Program at the Univer- *ERIN NELSON (Assistant Stage and You Never Can Tell by sity of California, Irvine; and has Manager) is thrilled to be putting George Bernard Shaw, which he been a guest lecturer in the grad- her UCSD MFA to good use in restaged for the Singapore Festi- uate school of business at Stan- her second season at South Coast val of Arts. His producing re- ford. She graduated from the Repertory. SCR credits include sponsibilities involve the overall University of California, Irvine the Theatre for Young Audiences coordination of SCR’s programs with a degree in Economics and productions of The Little Prince, and projects. He has served as a pursued an additional course of The Hoboken Chicken Emergen- theatre panelist and onsite evalu- study in theatre and dance.

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

P16 SOUTH COAST REPERTORY • A View from the Bridge