51st Season • 483rd Production SEGERSTROM STAGE / AUGUST 29 - SEPTEMBER 28, 2014

Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR

David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS

presents THE TEMPEST by William Shakespeare songs by and Kathleen Brennan choreographer, Matt Kent, Pilobolus

Daniel Conway Paloma Young Christopher Akerlind Charles Coes AND Darron L West SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN Johnny Thompson Thom Rubino Kenny Wollesen MAGIC DESIGN MAGIC ENGINEERING AND CONSTRUCTION INSTRUMENT DESIGN AND WOLLESONICS Miche Braden Joshua Marchesi Katie Ailinger* MUSIC DIRECTION PRODUCTION MANAGER STAGE MANAGER

adapted and directed by Aaron Posner and Teller

Jean and Tim Weiss Joan and Andy Fimiano Honorary Producers Honorary Producers

Corporate Associate Producer

THE TEMPEST is presented in association with the American Repertory Theater at Harvard University and The Smith Center, Las Vegas.

The Tempest • South Coast Repertory • P1 CAST OF CHARACTERS Prospero, a magician, a father and the true Duke of Milan ...... Tom Nelis* Miranda, his daughter ...... Charlotte Graham* Ariel, his spirit servant ...... Nate Dendy* Caliban, his adopted slave ...... Zachary Eisenstat*, Manelich Minniefee* Antonio, Prospero’s brother, the usurping Duke of Milan ...... Louis Butelli* Gonzala, a noblewoman of Naples ...... Dawn Didawick* Alonso, the King of Naples, father of Ferdinand ...... Mike McShane* Ferdinand, the Prince of Naples, son of Alonso ...... Joby Earle* Sebastian, brother to Alonso ...... Edmund Lewis* Stephano, a musician in Alonso’s Court ...... Eric Hissom* Trinculo, a musician in Alonso’s Court...... Jonathan M. Kim* Rough Magic, a spirit band ...... Miche Braden*, Joel Davel, Liz Filios*, Matt Spencer Minion/Ariel Understudy...... Christopher Rose

PRODUCTION STAFF Associate Director ...... Magdalene Spanuello Dramaturg ...... John Glore Casting ...... Joanne DeNaut, CSA Original Casting ...... Duncan Stewart and Co., Duncan Stewart, CSA, Benton Whitley, CSA Original Music Direction ...... Shaina Taub Musical Arrangements ...... Shaina Taub Assistant Stage Manager ...... Kristen Cruz* Magic Technician ...... Christopher Rose Assistant Choreographer ...... Manelich Minniefee Associate Scenic Designer ...... Andrew Cohen Associate Lighting Designer ...... Brian Jones Associate Costume Designer ...... Kate Nowacki Costume Design Assistant ...... Gwyneth Conaway Bennison Stage Management Intern ...... Emily Burst Assistant to the Director ...... A.J. Sclafani Assistant to the Lighting Designer ...... Kristen Neu Light Board Operator ...... Andrew Stephens Follow Spot Operators ...... R.J. Reynolds, Joe Wilkinson Sound Engineer ...... Brian Svoboda Sound A2 ...... Jacob Halliday Deck Crew ...... Emily Kettler Wardrobe Supervisor ...... Bert Hennert Dresser ...... Jessica Larsen Wig and Makeup Technician ...... Jenni Gilbert Levitation Illusion ...... John Gaughan

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

P2 • South Coast Repertory • The Tempest Nate Dendy (Ariel), Tom Nelis (Prospero), Charlotte Graham (Miranda). Photo: The Smith Center/Geri Kodey

LENGTH Approximately two hours and 15 minutes, including one intermission

ACKNOWLEDGEMENT Special thanks to University of California, Irvine; University of Southern California; California State University, Fullerton; and Segerstrom Center for the Arts

The use of cameras, videotaping or other video or audio recording of this production is strictly prohibited. Electronic devices 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. Smoking is not permitted anywhere in the theatre.

Media Partner

The Tempest • South Coast Repertory • P3 A Note from the Directors The following notes from co-directors Aaron Posner and Teller were written as they prepared this production of The Tempest for its first performances in a large show tent in Las Vegas in April 2014.

It is, under all the magic and When the play begins, these AARON POSNER music and spirits and such, really a families are, for the most part, in family story. disastrous disarray; and if Shake- Everything is set in motion speare is going to arrive at the o me, The Tempest is a story by Prospero’s deep desire for ven- genuinely happy ending he seems about a father and a daugh- geance on his younger brother, to be striving for, there needs to be ter… who not only usurped his throne a significant series of transforma- Of course it’s a lot of and put him out to sea to die, tions on the immediate horizon. other things, too (particularly but also put his three-year-old And right here is where Tin our chock-a-block production), daughter, Miranda, out to sea to Shakespeare gets really, really but when you get right down to the die. I have a two-and-half-year-old good, because… bottom of it all, I believe it’s about a daughter, and when I think about Transformation is not easy. passionate, powerful and problem- the heartless cruel reality of this True transformation—like letting atic father…and what he action, I understand a passion for go of hatred and resentment, and finally will or will revenge that could fuel a dozen offering compassion and genuine not do for his plays, not just one. forgiveness—is among the hard- little girl. The Tempest is est things in the universe for many not usually regard- of us. Shakespeare was therefore ed as a family artful enough to set this mythical play, but I think family tale in a world where true the frame transformation just might be pos- holds. Pros- sible—a world where perceptions pero, Miran- can be altered and not everything da, the spirit/ is necessarily what it seems to be. servant Ariel, He plunges us into a unique and and the mon- impossible world where spirits ster Caliban cre- roam, magic is real, reality is illu- ate an odd—but sive and illusion abounds. oddly recogniz- As Shakespeare approached able—dysfunc- the end of his life and work, I be- tional family. Love, lieve he was deeply engaged by the disobedience, deep possibility of transformation. How attachments, unmet can we move forward, he seems needs, passionate to ask, even though real damage resentments—these has been done? How do we forgive qualities are certainly each other—and ourselves—and hallmarks of complex get on with our lives? Questions and turbulent families. of this type abound in most of his And the Prospero clan is later plays, and The Tempest—pre- not the only problematic sumably his last play—is no ex- family in the play! Other fam- ception. On this particular island, ily (and family-like) relation- magic and amazement provide op- ships abound, providing portunities for the characters to provocative contrasts see things in whole new ways, and and juxtapositions. therefore create the conditions

Aaron Posner

P4 • South Coast Repertory • The Tempest necessary for true transformation. that if modern stage conjuring had evening, I drive to the Penn & Prospero is not only a father, been around in 1611, the King’s Teller Theater at the Rio All-Suites he is also a great magician, a mak- Men would have used it liberally. Hotel and do a magic show—and er of shows and a transformer of For only when spectators gasp at my heart races with joy. When I our perceptions. His magic makes a magic trick, can they understand need to fall asleep after a tense transformation possible. We watch viscerally the jitters which The day, I read a magic book. To give him transform the lives and fami- Tempest’s characters feel on en- up magic would be to be not me. lies around him on the fateful day countering the “subtleties of the So what titanic power en- on which this play transpires. We isle.” ables Prospero to do it? witness his own life forever trans- I may have dreamed I was His love for Miranda, his formed by and for the family he Prospero, but I could never be. child, Shakespeare tells us. loves. His use of, abuse of, and For at the end of The Tempest And this morning before re- final decision to relinquish his Prospero swears off magic. It’s not hearsal, when I saw Aaron Posner, magic are inextricably woven into easy for him. After all the recon- my co-director, as he beamed at the transformative nature of the ciliation and forgiveness, Prospero his tiny daughter toddling around story. To me, The Tempest, is a story tells us how he feels: “Every third the sculptures in Symphony Park about a great magician… thought will be my grave.” outside our tent in Las Vegas, I I can understand that. I’ve knew Shakespeare was right. been a magician for sixty-one years. TELLER I have in a glass case at home a first These notes originally appeared in edition of the first book in English programs for The Smith Center for the to describe magic tricks, Reginald Performing Arts and the ne morning in the late 1970s Scot’s Discoverie of Witch- American Reper- I woke from a dream in craft—and the Howdy tory Theater. which I was Prospero, the Doody magic set I got Ogreat magician of The Tem- at the age of five. The pest. As Prospero I was fighting first Shakespeare “mine enemies” not by stabbing I memorized as them with a sword, but by driving a child was the them mad with illusions. magical Witches’ I had read The Tempest many incantation from times, but prior to this dream I Macbeth; the sec- had never realized how different ond was “Ye elves Prospero is from typical fairy tale of hills,” from The wizards. He doesn’t use spells Tempest. I have and potions to affect the physi- felt the giddy joy cal world. He creates shows, and of rolling quarters those shows—“that insubstantial in paper sleeves pageant”—are his weapons. after collecting tips That makes him less like a from a street per- warlock than like a stage magician formance of magic. who shocks an audience by appar- I won the heart of ently sawing an assistant in half, the love of my life do- but never spilling a drop of real ing magic in a tiny Los blood. Angeles theater. When I Stage magic seems to have leave rehearsals of The been part of Shakespeare’s own Tempest each production of The Tempest: The surviving stage directions of Act III, Scene I contain the phrase, “with a quaint device, the banquet vanishes.” That’s Shakespearean lingo for what magicians call a “gaf- fus” or “gimmick.” I have no doubt

Teller

The Tempest • South Coast Repertory • P5 Rough Magic “Thunder and lightning. Enter ARIEL, like a harpy; claps his wings upon the table; and, with a quaint device, the banquet vanishes.” ~The Tempest, Act 3, Scene 3

ecause its protagonist, Prospero, is a conjurer, any must also contend with the Sirens, su- production of The Tempest must include at least a pernatural creatures whose enchanting voices lure any bit of magic, however rough-hewn. Even Shake- sailors who hear their song to certain shipwreck on the speare’s own production included the “quaint de- rocky coast of their island. vice” referred to in his stage direction, above. But Bfor this production, co-directors Teller and Aaron Posner have gone all in to incorporate the art that was the sub- Medea ject of Prospero’s study for most of his life. Using magic design by Johnny Thompson, a legend among magicians, edea, who was said to be the niece of , ap- Teller has created a series of astonishing illusions that Mpeared in numerous works of antiquity, including serve to propel the story while also taking an audience’s Ovid’s Metamorphoses and tragedies by Euripides and breath away. Seneca. The sorceress Medea falls in love with Jason, Two magicians figure in the story of The Tempest: captain of the Argo, while he is on his quest for the the other is Sycorax, the mother of Caliban who, while Golden Fleece. Jason wins both Medea and the Golden she doesn’t appear in the play’s present action, played an important role in its antecedent events. Sycorax, who ruled the island before Prospero’s arrival, was a practi- tioner of black magic—in contrast to Prospero, who has dedicated his own magic to higher purposes, notwith- standing his threats to use it for revenge against his en- emies. Sorcerers and practitioners of magic—both the black and white varieties—have figured prominently in literature through the ages, dating back to the earliest works of the ancient Greeks. Some examples fol- low. It’s likely that Shakespeare, an avid reader, would have been familiar with all of these stories or the leg- ends that inspired them. Whether he had any of them in mind as he wrote The Tempest in 1611 is unknown, and scholars have been unable to definitively identify a direct source for Shakespeare’s story of the magician Prospero.

The by

dysseus encounters the beautiful sorceress, Circe, Oduring his long journey home from the . She invites Odysseus’s crew to a feast, which includes a pottage of cheese, meal and honey—laced with magical potions. After they have gorged themselves, Circe uses her wand to transform the entire crew into swine. Only one man escapes to warn Odysseus, who has remained back at the ship. With the help of the god , Odys- seus is able to rescue his men, after which he remains on Medea (about to murder her children) by the island for a year, feasting, drinking wine and bedding Eugène Ferdinand Victor Delacroix (1862) Circe.

P6 • South Coast Repertory • The Tempest Fleece, thanks to the magic and potions she uses to help him meet three chal- lenges posed by her father, the king of Colchis. Jason takes her back with him to Iolcus—aided again on the journey by Medea’s magic—and she bears him several children. Later, after Medea’s trickery results in the death of the king of Iolcus by his own daughters’ hands, Jason and Medea must flee to Corinth. There, Jason abandons Medea to take up with King Creon’s daughter, prompt- ing Medea to avenge herself by murder- ing their two sons, along with Creon and his daughter. (Some scholars have pointed to Medea as an inspiration for the witch, Sycorax, in The Tempest.) Rough Seas The Old Testament n 1609 a ship called the Sea-Adven- future wife when a tempest shipwrecks him Book of Samuel ture—part of a fleet carrying colonists to on the coast of Pentapolis, in northern Af- IJohn Smith’s Virginia colony—got caught rica. In The Winter’s Tale, a shipwreck kills up in a fierce storm and was wrecked on the all the witnesses to the true fate of Perdita, ing Saul, who had earlier driven out shore of a deserted island in the Bermudas, daughter of the protagonist, Leontes. That all necromancers and magicians from K stranding its crew and passengers. All sur- makes possible another unexpected—and Israel, decides to consult the Witch of vived and ultimately resumed their voyage. emotionally complicated—reunion at the Endor when confronted with the assem- The story of their adventures made its way conclusion of the tale, along with other mi- bling hostile forces of the Philistines. Saul back to England where it was recounted in raculous reconciliations. asks her to summon the spirit of Samuel William Strachey’s A True Reportory of the Shipwrecks also figure in the narratives so as to seek his advice about the best Wracke and Redemption of Sir Thomas of Othello and The Merchant of Venice. It course of action against the Philistines. Gates, Knight. makes sense that a writer who often relied The witch conjures Samuel’s ghost—or Scholars have made a strong case that on the sea as a source of ample imagery and a simulacrum of it—who berates Saul Shakespeare was familiar with the account of resonant metaphor—for the voyage of life, for disobeying God and tells him that the shipwreck and had it in mind as he wrote for the journey of the ship of state—would he and his army will be destroyed by the The Tempest in 1611. In any case, ship- appreciate the value of shipwrecks as meta- Philistines the next day, a prediction that wrecks figure in a number of Shakespeare’s phoric reminders of unforeseen dangers, and comes to pass. Biblical scholars have plays—sometimes prominently, sometimes of the unpredictable actions of providence debated whether the Witch of Endor incidentally, but always as reminders of the that wrench us from our planned courses. was to be considered a true medium or caprices of fate and the unpredictablility of But the shipwreck in The Tempest— merely a skilled illusionist. life. Shakespeare’s final play—is different from The main stories in both The Comedy all these other examples in one respect. Its of Errors and Twelfth Night are set in mo- architect isn’t fate or providence, but Pros- Merlin and Morgan tion when characters are shipwrecked and pero himself; and if it still leads ultimately le Fay forced to take refuge in unfamiliar lands. to joyous reunions, marriages and reconcili- The shipwrecks in these plays serve to sepa- ations, it also reminds us of the hand of the rate characters from people they love and artist who has called forth a storm through he wizard, Merlin, of Arthurian leg- cast them into dangerous, confusing situa- an act of imagination and engineered the Tend, first appeared in a 12th-century tions. They launch stories that culminate in proper restoration of order to his world … history of Britain, and soon thereafter in happy reunions, new unions and restoration only to set aside his magic books and his staff an epic poem called Merlin. He also fig- of order. and walk away from his art and toward his ures prominently in more recent literary Shakespeare also uses shipwrecks in own final curtain. works, including Mark Twain’s A Con- two late tragicomic romances, a category necticut Yankee in King Arthur’s Court that also includes The Tempest. In Pericles, Above: Benjamin Smith’s 1797 engraving and T.H. White’s The Once and Future a play whose story relies heavily on sea voy- of a painting by George Romney, depict- ages and storms, the title character meets his ing the first scene of The Tempest.

The Tempest • South Coast Repertory • P7 Faust und Mephisto, Luis Ricardo Faléro (1880)

King. Legend has it that he was born of a union between a mortal woman and an incubus, from whom he derived Faust his supernatural powers, including the gift of prophecy and the art of shape-shifting. Credited with engineering the birth of Arthur through magic and intrigue, Merlin he protagonist of a classic German legend—whose later becomes Arthur’s tutor and finally his advisor. Tname gives us the term “Faustian bargain”—Dr. Faus- Morgan le Fay, half-sister to Arthur, plays an adver- tus is a scholar, bored with his earthbound studies, who sarial role in most Arthurian accounts and—like so many makes a deal with Mephistopheles to acquire knowledge sorceresses—is associated with an island, in this case of magic and the supernatural in exchange for his im- Avalon, or the Isle of Apples. She is said to have stud- mortal soul. Shakespeare’s contemporary, Christopher ied under Merlin, while plotting revenge against Guine- Marlowe, dramatized the story (again in the last decade vere, who had her expelled from court because of her of the 16th century) in The Tragical History of Dr. Faus- dalliance with one of Arthur’s knights. Like her , tus, as did the great German writer, Goethe, in a two-part Merlin, Morgan is portrayed as an expert shape-shifter. epic (written over many years in the first half of the 19th In a 13th-century French poem, Morgan is said to be the century) that was a hybrid of closet drama and narrative mother of the fairy king, Oberon, who works his own poem. The story of Faust also served as source material magic in Shakespeare’s A Midsummer Night’s Dream. for Thomas Mann’s novel, Dr. Faustus, Mikhail Bulga- kov’s novel, The Master and Margarita, and Gertrude Stein’s opera libretto, Doctor Faustus Lights the Lights, as The Faerie Queene well as many other more recent literary works.

dmund Spenser’s epic poem was published in the last The Sorcerer’s Apprentice Edecade of the 16th century—which was also the most prolific decade of Shakespeare’s career. One of the lon- gest poems in the English language, this allegorical tale oethe also told the tale of another aspirant to magic in places Arthur and his knights in the realm of the faeries, Ga 14-stanza poem, “The Sorcerer’s Apprentice.” Based where Arthur falls in love with the Faerie Queene. Merlin on a story found in a second-century work by the Greek appears in the story, as does a sorcerer named Archima- satirist Lucian, Goethe’s poem became the inspiration go, who engages in magic as a means to deceive people for a symphonic poem by Paul Dukas, which was in turn into immoral acts. The poem also features a character popularized in the Disney film, Fantasia—in which named Proteus, a shape-shifter who imprisons one of Mickey Mouse plays the young apprentice who borrows the poem’s heroines, Florimell, and attempts to seduce his master’s wand and wreaks havoc when he creates an her by means of his magical powers. army of uncontrollable animated brooms.

P8 • South Coast Repertory • The Tempest Artist Biographies

Miche Braden Playhouse. His television credits include “The Knick,” Rough Magic/Music Direction “All My Children” and “Law & Order: Criminal Intent.” He is the executive director of Psittacus Productions, psit- is making her SCR debut. She is a tacusco.org. product of the rich musical heritage of her hometown, Detroit, Mich., Joel Davel where she was the founder and for- Rough Magic mer lead singer of the women’s jazz band, Straight Ahead. She was a is making his SCR debut. With a protégé of Motown musicians Thomas “Beans” Bowles focus on original music and creative and Earl Van Dyke—leader of The Funk Brothers—and collaboration, Davel has collabo- jazz master composer Harold McKinney. Braden is a rated with composer Paul Dresher Drama Desk and Lucille Lortel nominee for her lead and for 16 years as part of his Electro- musical direction role in The Devil’s Music: The Life & Acoustic Band, Davel/Dresher Duo, Blues of Bessie Smith (). She recently did and with the international touring Double Duo quartet. vocal arrangements for ’s newest joint, Da This includes performances at Disney Hall, Carnegie Sweet Blood of Jesus, and a vocal over-dub for Queen Hall’s Zankel Hall and tours of Australia and Russia. Dav- Latifah’s HBO movie Bessie. Her international appear- el’s percussion career also includes performance and ances include Gone With The Wind (Royal Manitoba recording credits with groups led by electronic-diva Amy Theatre Center), Montreal Jazz Festival in Canada, Opera X Neuburg, percussionist William Winant, violinist Kaila De Lyon in France, Damien Foundation in Belgium, and Flexer, guitarist Jack West and David Tanenbaum. As a concert and jazz venues in Japan. She has performed composer, music director, soloist and improviser, Davel with Regina Carter, Alexis P. Suter, Milt Hinton, Lionel has appeared solo on-stage for numerous productions Hampton and others. Her recordings include “James for choreographer Claudine Naganuma, the Cream City Carter,” Gardenia’s for Lady Day, At the Crossroads, Semi-Circus, and the California Shakespeare Theater. “Miche Braden,” Diva Out of Bounds-Ms. Miche, “Post- Davel’s intimate knowledge of electronic music instru- modern Jukebox” (YouTube), Sweet Child O’ Mine, Liv- ments comes out of 20 years of technical design work ing On A Prayer, Story Of My Life (all music available on with synthesizer pioneer Don Buchla, an inventor of iTunes). MicheBraden.com and www.TheDevilsMusic. controllers designed to expand performance into new biz. electronic realms. joeldavel.com

Louis Butelli Nate Dendy Antonio Ariel

is making his SCR debut. His off- returns to SCR after appearing as Broadway credits include I Am The Mute in The Fantasticks (LA The Wind (59E59); A Midsummer Drama Critics Circle and Helen Night’s Dream (The New Victory Hayes Award nominations). His Theater); : A Rock Opera New York and regional credits in- (Ars Nova, 47th Street Theater, The clude The Tempest (A.R.T. Cam- New York Musical Theatre Festival Award for Outstand- bridge, The Smith Center Las Vegas), Angels in America ing Individual Performer and a Pulitzer Prize jury nomi- (Risk Theatre Initiative), Doctor Faustus, The Hitch- nation). His regional credits include The Tempest (A.R.T., hiker’s Guide to the Galaxy (Faultline Theatre), Ivanov The Smith Center), Henry VIII (Folger Theatre, Helen (Hunger & Thirst Theatre) and Twelfth Night (Dallas Hayes Award for Outstanding Supporting Actor), Twelfth Shakespeare Festival). He also has appeared onstage at Night (Folger Theatre, Helen Hayes nomination for Out- Trinity Repertory Company, The Public Theater, MCC standing Supporting Actor) and performances at The Theater and Arena Stage, among others. His film credits Shakespeare Theatre Company in Washington, D.C., Ala- include Turtle Hill: Brooklyn. Dendy earned his MFA bama Shakespeare Festival, Yale Repertory and La Jolla from Brown University/Trinity Repertory.

The Tempest • South Coast Repertory • P9 Dawn Didawick Boston Landmarks Orchestra). Eisenstat holds a bach- Gonzala elor of science degree in engineering from the Massa- chusetts Institute of Technology. @thefarceur is making her SCR debut and has been with The Tempest from Las Liz Filios Vegas to Cambridge. Her var- Rough Magic ied credits include the Broadway production of All My Sons (Tony is making her SCR debut. She is a Award Best Revival); the films Erin Philadelphia-based actress, musi- Brockovich, Christmas with the Kranks, The Amateurs, cian and teaching artist. She has Breakfast of Champions, I am I and the upcoming had the opportunity to perform Bread and Butter; and on television in Almost a Woman with the Arden Theatre, The Wilma (Peabody Award), “Pretty Little Liars” and her current re- Theater, The Philadelphia Orches- curring role as Eugenia Dobbs on “Hart of Dixie.” Other tra, Walnut Street Theatre, Bang On A Can, Inis Nua regional credits include Actors Theatre of Louisville, and the national children’s television network, PBS Kids Alabama Shakespeare Festival, The Globe Theatre, Long Sprout. Her international credits include Cape Town Wharf Theatre, Hartford Stage, Seattle Repertory The- Opera, Teatro Avvaloranti, San Juan de Dios Hospital atre and The Repertory Theatre of St. Louis. Her multi- and Celebrity Cruises. Filios also writes and performs ple productions with The Antaeus Company include The with the experimental cabaret troupe The Bearded La- Crucible, Autumn Garden, The Seagull, The Bear, Pera dies Cabaret, the funk band Johnny Showcase and the Palas, The Man Who Had All the Luck as well as playing Mystic Ticket, and the roots/punk collective Old Town Amanda in The Glass Menagerie and Big Mama in Cat Wake. She studied Suzuki piano with Sharon Rae and on a Hot Tin Roof in the Classic Fest series. She is an voice with David Smukler at Canada’s National Voice honorary board member of The Alpine Theatre project Intensive. She holds a BFA in musical theatre from the in Whitefish, Montana. Didawick and her husband Harry University of Michigan. Groener serve on the Board of The Antaeus Company. Charlotte Graham Joby Earle Miranda Ferdinand is making her SCR debut. Her New is making his SCR debut. His previ- York credits include Amandine ous credits include on Broadway (workshop) at Cherry Lane Theatre in War Horse; off-Broadway in Ju- and The Importance of Being Er- lius Caesar and Romeo and Juliet nest Hemingway at Access Theater. (Smith Street Stage); and region- Her regional theatre credits include ally in The Tempest (A.R.T), Owners The Tempest at A.R.T.; Three Sisters, Build and Love’s La- (Yale Repertory Theatre), The Puppetmaster of Lodz bour’s Lost at Chautauqua Theater Company; Camelot (Berkshire Theatre Group) and The Pitmen Painters at Trinity Repertory Company; Beast at New York Stage (Palm Beach Dramaworks). He has an MFA from the Yale & Film; and Life Science at Brown/Trinity Playwrights School of Drama. He is a company member of Smith Rep. She appeared in the films The Hot Flashes, Beijing, Street Stage (smithstreetstage.org). New York and on television in “Gossip Girl,” “Law & Order: SVU,” “Hart of Dixie” and “Joe, Joe & Jane” (NBC Zachary Eisenstat pilot). She earned her BA from Brown University and Caliban her MFA from the Brown/Trinity Rep MFA Program in Acting. is making his SCR debut. His re- gional credits include The Tempest, Eric Hissom The Heart of Robin Hood, and Stephano The Donkey Show (A.R.T.); On the Town and The Chosen (Lyric Stage); is thrilled be part of this tempest- Coriolanus (Commonwealth uous tour and to be making his SCR Shakespeare Company); and The Play About the Baby debut. His theatrical credits include (Exquisite Corps Theatre). His other theatre credits the national tour of The Thirty-Nine include Matchmaker, Matchmaker I’m Willing to Settle Steps, and appearances in sundry (New York Musical Theatre Festival) and A Midsummer productions at La Jolla Playhouse, Night’s Dream (Commonwealth Shakespeare Company, Seattle Repertory Theatre, Milwaukee Repertory, Actors

P10 • South Coast Repertory • The Tempest Theatre of Louisville, Asolo Repertory, Syracuse Stage, Kafka in Words, Words, Words, Sir Richard Attenbor- Cape Playhouse, Playhouse, Folger Theatre, ough in Time Flies (Bang Theatre Collective); Oronte Round House Theatre, Woolly Mammoth Theatre Com- in The Misanthrope, Pozzo in Waiting For Godot, Creon pany, Arden Theatre Company, Two River Theater, Penn- in Antigone (Pilot House); The Father in One Way to sylvania Shakespeare Festival, Orlando Shakespeare The- Babylon, Banquo in Macbeth (Chimera Theatre); and ater, Signature Theatre and many others. He is a direc- Horny Delivery Guy in 95% Chance They’ll Wind Up Like tor, playwright and a long-time artistic associate of the Larvae (New York Fringe Festival). His television credits Orlando Shakespeare Theater, where he was founding include “All My Children” (ABC Television) and voices on director of the Harriett Lake Festival of New Plays. His “Pokemon” and “Yugioh!” Lewis can also be seen in his television credits include “One Tree Hill,” “Mortal Kom- friend Gregory Abbey’s web series, “Marriage & Other bat,” and “Sheena, Queen of the Jungle.” His feature film Tragedies.” credits include Out of Time. Hissom has an MFA from the Florida State University/Asolo Conservatory. Mike McShane Alonso Jonathan M. Kim Trinculo returns to SCR after appearing in Cyrano De Bergerac and Dumb is making his SCR debut. His off- Show. He was an original cast mem- Broadway credits include In Masks ber of “Whose Line Is It Anyway?” Outrageous and Austere (he origi- (UK) and appeared in Little Shop nated the role of the Interpreter) of Horrors, Tailor Made Man and and The Radio City Christmas Pocket Dream (West End UK); and La Cage aux Folles Spectacular (principal/soloist). His and Taller Than a Dwarf on Broadway. His film credits film credits include The New Guy, Second Hand Lions include Robin Hood: Prince of Thieves, Richie Rich, and Pastor Sheperd. He has appeared on television in Tom and Huck, Office Space and Big Trouble. His tele- “Boardwalk Empire” and “Barney and Friends.” He re- vision appearances include “Seinfeld,” “ER,” “Brotherly ceived his BA in theatre and dance from the University Love,” “Frasier,” “Malcolm in the Middle,” the soon to of Texas. be released “Wayward Pines” as well as the British shows “Doctor Who,” “A Summer Days’ Dream,” “The Big One” Edmund Lewis and “S&M.” McShane is a proud member of Impro The- Sebastian ater and The Antaeus Company in Los Angeles.

is making his first SCR appearance. Manelich Minniefee He played the role of Sebastian in Caliban both of the original productions of The Tempest at The Smith Center in is an actor and physical perform- Las Vegas and A.R.T. in Cambridge. er living in Brooklyn, NY. In 2003, Previously, he appeared off-Broad- Manelich received his BFA in dance way in Bedlam Theatre’s acclaimed productions of Saint from NYU’s Tisch School of the Joan and Hamlet (Lynn Redgrave Theater). His other Arts. Later that same year he joined New York credits include Sackville and Mr. Harris in The Pilobolus Dance Theater, where he Libertine (Fools Theatre); Mark in The Philadelphia, toured full-time for six years, two years as the dance

The Tempest • South Coast Repertory • P11 captain. Minniefee currently works as a freelance per- Matt Spencer former in New York City and has worked with artists Rough Magic and companies such as Tino Sehgal, Sidi Larbi Cherka- oui, Inbal Pinto, Alison Chase Performance Group, Yara is making his SCR debut. Born in Travieso and The Greenwich Opera Company, as well as Long Beach, Calif., he has played continuing to perform and teach with Pilobolus. Min- music professionally for more than niefee’s television appearances include the 2007 Acad- 25 years. Spencer is a multi-instru- emy Awards telecast, “Ellen,” “Live with Regis and Kelly,” mentalist musician, who plays bass, “Sesame Street” and commercials for the NFL Network guitar and percussion and special- and BBVA Bank (Spain). izes in a variety of world music. He studied jazz perfor- mance at the University of North Texas and presently Tom Nelis teaches, records, writes and tours internationally, play- Prospero ing many different styles. He is a dance accompanist for modern dance classes at Chapman University and at is making his SCR debut. His pre- UC Irvine. He was musical director for the Cleo Parker vious credits include the Broad- Robinson Dance Company, Md., for his own 10-piece way productions of Enron, The salsa orchestra and has toured with the renowned tap Caine Mutiny Court Martial and dance company, Rhapsody in Taps. Spencer plays salsa, Aida. Off-Broadway, he appeared jazz, Latin jazz and contemporary music locally in Los in Road Show, Richard III, Henry Angeles and Orange County, with premier world class VI, Henry IV, ’Tis Pity She’s A Whore, American Docu- musicians. MattSpencerArts.com ment and The Merchant of Venice (The Public Theater); Doris to Darlene (Playwrights Horizons); Ipheginia 2.0, Playwright, Director and Designers Hot ‘N’ Throbbing (Signature Theater); Passion, Or- lando (Classic Stage Company); The Merchant of Ven- William Shakespeare (Playwright) is considered to be ice, The Broken Heart, The Jew of Malta (Theatre for a the greatest English-language writer of all time. Born into New Audience); The Medium, Score (New York Theatre a middle-class family in Stratford-upon-Avon in 1564, his Workshop); Songs and Stories From Moby Dick, War of nearly 40 plays have been performed hundreds of thou- the Worlds (Brooklyn Academy of Music); Lilith (New sands of times in countries all over the world and have York City Opera); Gross Indecencies (Minetta Lane The- inspired countless works in every art form. His words atre); and Hot Mouth (Manhattan Theater Club). He has have become such a part of our language that every day, worked internationally with Richard Foreman, Laurie people use lines from his plays without even realizing Anderson, SITI Company, The Royal Shakespeare Com- they’re quoting Shakespeare. Because so little is known pany and The Suzuki Company of Toga. Nelis is a found- about the Bard, he has been the subject of endless con- ing member of SITI Company, now in it’s 21st year. He jecture, as well as conspiracy theories that claim the man is the recipient of Obie (The Medium) and San Diego we call Shakespeare didn’t write the plays attributed to Critics Ensemble (Wintertime) Awards, and Drama him. Even Hollywood is looking into one of those theo- League (Score) and Barrymore Award (Candide) nomi- ries with a big-budget treatment this year: Roland Emm- nations. Nelis received his MFA from UC San Diego. erich’s Anonymous. What most everyone does agree on is that whoever wrote the works was a genius. Among his greatest works are Hamlet, Macbeth, The Taming of the Christopher Rose Minion/Ariel Understudy Shrew, As You Like It, The Tempest, Twelfth Night, Romeo and Juliet, King Lear and The Merchant of Venice. is making his SCR debut. He is a magician and mystery entertainer Aaron Posner (Co-Director/Adapter) is a Helen in Las Vegas. He has performed Hayes and Barrymore Award-winning playwright and his private show at numerous ho- director. His adaptations include Macbeth (with Teller), tels on the Las Vegas Strip, includ- Stupid Fucking Bird (a finalist for the Steinberg Award ing The Royal Resort, The Orleans and the winner of the 2014 Helen Hayes Award for Hotel and The Harmon Theater, which is part of Planet Outstanding New Play, adapted from Chekhov’s The Hollywood. Tony Hassini, president of the International Seagull), Who Am I This Time? (& Other Conundrums of Magician Society, calls him, “The greatest living mind Love) (adapted from Kurt Vonnegut short stories), The reader.” In addition, Rose has worked as a part of the Chosen and My Name Is Asher Lev (adapted from the production team (magic design) on several shows in- Chaim Potok novels), Sometimes a Great Notion (adapt- cluding WonderGround and Jeff McBride’s Magic at the ed from Ken Kesey), a nine-actor Cyrano, and a musical Edge. adaptation of Mark Twain’s A Murder, A Mystery and A

P12 • South Coast Repertory • The Tempest Marriage. He is a founder and former artistic director of Pilobolus i (Movement and Choreography) was founded Philadelphia’s Arden Theatre and has directed at major in 1971. Pilobolus has built its fervent and expanding regional theaters from coast to coast. He is an artistic as- international following by showing the human body to sociate at Milwaukee Repertory and the Folger Theatre in be the most expressive, universal and magical of media. Washington, D.C. Featured on the likes of “Oprah,” “Late Night with Conan O’Brien” and the “Academy Awards.” Pilobolus has been Teller i (Co-Director/Adapter/Magic) has been the small- awarded the Berlin Critic’s Prize, the Scotsman Award, er, quieter half of Penn & Teller since 1975. With Penn Jil- the Brandeis Award, a Primetime Emmy Award for Out- lette, he has played off- and on-Broadway, toured in North standing Achievement in Cultural Programming, the America and Britain and currently is the longest-running Samuel H. Scripps American Dance Festival Award for headline act in Las Vegas. Penn & Teller have written and Lifetime Achievement in Choreography, a TED Fellowship starred in television series and specials, including eight for presenting at the TED conference in 2005, and a 2012 seasons of the Emmy-nominated Showtime series “Penn Grammy Award nomination for its interactive music video & Teller: Bullshit!”; “Penn & Teller Tell a Lie” on Discovery; collaboration with OK Go and Google Chrome Japan, “All “Penn & Teller’s Sincity Spectacular” on FX; “Behind the Is Not Lost” (allisnotlo.st). Scenes,” a PBS children’s series on the arts; “The Unpleas- ant World of Penn & Teller,” a magic and comedy series on Matt Kent (Choreographer, Pilobolus) is the associate England’s Channel 4; and two current series, “Penn & Tell- artistic director of Pilobolus and has worked with the er: Fool Us,” for The CW and “Wizard Wars” for SyFy. Teller company since 1996 as a dancer, collaborator, creative di- has written for The Atlantic Monthly, Smithsonian, The rector, choreographer and associate artistic director. His New York Times, , Esquire, GQ, The past Pilobolus projects include head choreographer for New Yorker; as well as three books with Jillette and two Magnifico; choreographer for a sports Emmy-nominated on his own. He is a frequent contributor to “All Things teaser created with the NFL network; and choreographer Considered” on NPR. Teller and Aaron Posner co-directed for an appearance on “Late Night with Conan O’Brien.” a version of Shakespeare’s Macbeth and he co-wrote and Kent is one of the creators of Pilobolus’s Shadowland. directed the acclaimed stage production Play Dead, (off- He has performed in more than 24 countries and in Pi- Broadway and Los Angeles). Earlier this year, Teller made lobolus’s appearance on the “79th Academy Awards.” He his feature-length film directorial debut with the Oscar- also has been a zombie choreographer for AMC’s “The shortlisted and BAFTA-nominated Tim’s Vermeer, a Sony Walking Dead” and movement consultant on the Duncan Pictures Classics release. Sheik musical, Whisper House. Honorary Producers

Jean and Tim Weiss (Honorary Producers) are ar- and Legacy campaigns, as well as major Gala underwrit- dent theatre champions who have helped bring an un- ers. Jean also chaired the 2008 Gala, “A Midsummer paralleled 16 plays to SCR’s stages through their vision Night’s Dream… Celebrating 45 Years of South Coast and generosity. They have underwritten an SCR produc- Repertory.” tion every year since 2000, from timeless classics—such as Williams Shakespeare’s Much Ado About Nothing, Joan and Andy Fimiano (Honorary Producers) Jane Austen’s Pride and Prejudice, Molière’s Tartuffe— are dedicated community leaders and philanthropists to modern masterworks—including Lynn Nottage’s with a passion for the great theatre that SCR produces Intimate Apparel, Beth Henley’s Crimes of the Heart, for the Orange County community. Their soft spot for and Horton Foote’s Getting Frankie Married—and Af- musicals led them to underwrite The Fantasticks in terwards. “Jean and I have been very proud to be asso- 2013, followed by The Light in the Piazza. They are ciated with SCR for so many years,” Tim says. “We love excited to serve as Honorary Producers once again, the work, the people and the integrity, both artistic and helping SCR realize this theatrical interpretation of personal, that SCR has demonstrated for 50 years.” Tim Shakespeare’s The Tempest. The Fimianos are also sea- was elected to the Honorary Board in 2009, after having son subscribers and Gala underwriters, as well as major served a nine-year trusteeship (2000-09) with two terms contributors to SCR’s Legacy Campaign. SCR is honored as board president, as well as chairing SCR’s Legacy by their enthusiastic support and desire to continue the Campaign. They are leading donors to the Next Stage tradition of award-winning theatre for local families.

The Tempest • South Coast Repertory • P13 Tom Waits and Kathleen Brennan (Songs). Tom premiere of Huang Ro’s Dr. Sun Yat Sen for the Santa Fe Waits is an Oscar-nominated songwriter, Golden Globe Opera, the world premiere of Sting’s new musical The recipient, Grammy Award winner and Rock and Roll Last Ship, the world premiere of Tobias Picker’s Dolores Hall of Fame inductee. Waits and Kathleen Brennan, his Claiborne for the San Francisco Opera, Martha Clarke’s long-time collaborator and wife, were recently named new work Cheri for Signature Theatre and the Broadway number four in a list of the “100 Best Living Songwriters” production of Rocky, for which he received his sixth Tony published by America’s Paste magazine. Waits’s music is Award nomination. He is the recipient of ’s Mi- recognized for its distinctive orchestrations and arrange- chal Merritt Award in Design and Collaboration, as well ments. He has recorded more than 20 albums including as an Obie, two Drama Desk Awards and the 2005 Tony Bad As Me and appeared in well over 20 films, working Award for his work on The Light in the Piazza. with such maverick directors as , Terry Gil- iam, Francis Ford Coppola and Robert Altman. Charles Coes (Co-Sound Design) is a sound designer for theatre and live entertainment. His past projects in- Daniel Conway (Scenic Design) is making his SCR de- clude Queen of the Night at the Paramount Hotel in New sign debut. His recent projects include the premiere of York City; Third, On Borrowed Time and Electric Baby at Love in Afghanistan for Arena Stage; The Diary of Anne Two River Theater; Accidental Death of An Anarchist at Frank for Milwaukee Repertory; End of The Rainbow for Yale Repertory Theatre and Berkeley Repertory Theatre; Milwaukee Repertory; the premiere of Ken Ludwig’s new Servant of Two Masters at The Shakespeare Theatre Com- play, The Game’s Afoot, for the Cleveland Play House; the pany; Passion Play at Yale Repertory Theatre; My Wonder- American premiere of Sucker Punch for Studio Theatre; ful Day at The Wilma Theater; Parade at Ford’s Theatre; Company, Hairspray, Chess and Sunset Boulevard for Kiss Me Kate and My Fair Lady with Yale Music Theatre Signature Theatre Company; Sabrina Fair for Ford’s The- of the Air; Guthrie Theater; Wanda’s Monster, Louis Arm- atre; The Merry Wives of Windsor for The Shakespeare strong: Jazz Ambassador and The Butterfly with Making Theater Company; The Aliens for Studio Theatre; and Books Sing; aerial and aquatic spectaculars on Royal Ca- August Osage County for Arden Theatre Company. His ribbean Cruise ships; art installations with Anne Hamilton, current and upcoming productions include Sunday in Luis Roldan and Abelardo Morel; and work as a Broadway the Park with George for Signature Theatre Company associate for Darron L West, Mark Bennet and Bray Poor. and By the Way Meet Vera Stark for The Juilliard School. He has been nominated 12 times for Washington, D.C.’s Darron L West (Co-Sound Design) returns to SCR, Helen Hayes Award for Outstanding Set Designs and he having previously designed How The World Began and received the award twice: in 2000 and most recently in Chinglish. He is a Tony and Obie Award-winning sound 2009 for Stunning, at Woolly Mammoth Theatre, directed designer whose work for theatre and dance has been by Anne Kaufmann. heard in more than 500 productions nationally and inter- nationally, on Broadway and off. His accolades for sound Paloma Young (Costume Design) returns to SCR design include the Bay Area Theater Critics Circle Award, where she designed costumes for Pride and Prejudice, the Lucille Lortel and AUDELCO Awards and the Henry You, Nero, A Wrinkle in Time, The Brand New Kid and Hewes Design Award. He is a proud recipient of the 2012 Charlotte’s Web. Her other credits include Peter and the Princess Grace Statue. Starcatcher (Broadway, Tony Award), Natasha, Pierre, and the Great Comet of 1812 (Kazino, Lucille Lortel Johnny Thompson (Magic Design) is making his SCR Award), Titus Andronicus (California Shakespeare The- debut. Thompson (The Great Tomsoni) has written, de- atre, Bay Area Theatre Critics Circle Award), Trouble- veloped and provided material for magicians including maker, or The Freakin Kick-A Adventures of Bradley Siegfried and Roy, Penn and Teller, Doug Henning, Lance Boatright (Berkeley Repertory Theatre), A Midsummer Burton, David Blaine and The Amazing Jonathan. He was Night’s Dream (The Old Globe), Fly By Night (Dallas the magic consultant off-Broadway for Play Dead, for Theatre Center and Playwrights Horizons), The Patron which he won a Los Angeles Drama Critics Circle award Saint of Sea Monsters (Playwrights Horizons), Wildflower in the category of Illusion/Magic Design. In conjunction (Second Stage Theatre), Current Nobody and Hoover with Teller, he designed the magic effects for The Exorcist Comes Alive (La Jolla Playhouse) and Dos Pueblos (Mir- at the Geffen Theatre. His television and film credits as acle Theatre Group). Young holds an MFA from UC San a magic advisor/consulting include: “Fool Us,” “Hart to Diego. palomayoung.com Hart,” “Fantasy Island,” “One Day at a Time,” “Beyond Westworld,” The Fantasticks, Bogus, Houdini–Believe Christopher Akerlind (Lighting Design) returns to SCR and The Magic Box. where he previously designed Measure for Measure, Anna in the Tropics, A Little Night Music and The Cau- Thom Rubino (Magic Engineering and Construction) casian Chalk Circle. Recent work includes the American is making his SCR design debut. Rubino started design-

P14 • South Coast Repertory • The Tempest ing illusions, theatrical effects and displays more than 20 clay Theatre, The Wooden Floor, Little Fish Theatre, The years ago. In 1999, he moved to Las Vegas to continue his Actor’s Fund, American Coast Theatre Company, Chance journey. His company, Thom Rubino Illusions, has a cli- Theater and numerous dance companies in Southern ent list that includes Armani Exchange, Goldman Sachs, California. Cruz is a proud member of Actor’s Equity. Gucci, Sephora, Myth Busters, Siegfried and Roy Produc- tions, Cirque Du Soleil and Teller. He says, “It’s a privilege Magdalene Spanuello (Associate Director) is a Chi- to be part of Teller’s and Johnny Thompson’s Tempest cago-based theatre director and adjunct music theatre magic team.” faculty member at Carthage College. She has been on the directing staff of The Tempest since its inception at Kenny Wollesen (Instrument Design and Wolleson- The Smith Center in Las Vegas. Her international cred- ics) is making his SCR design debut. He is the found- its include Next to Normal and Seussical, the Musical! er of the Wollesonic Laboratories and mastermind be- (Shanghai Conservatory of Music). Among her regional hind Sonic Massages and the Himalayas Marching Band. credits are A Christmas Carol, Gutenberg! The Musical!, Among his sound designs are Great Small Works, Puppe- Forever Plaid (Milwaukee Repertory Theatre); Mary teers Cooperative and Imagination Explosion. As a musi- Dyer (Prologue Theatre Company, Chicago); and Arms cian, he has performed in numerous theatre productions and The Man (Ten Chimneys). Coming up, she will be including Alice, directed by Robert Wilson and Tom Waits, working on Evita (Carthage College). She received her and at venues such as Thalia Theatre and the Brooklyn MFA from Western Illinois University. She is overjoyed to Academy of Music. As a composer, he has written previ- be back assisting Aaron on such a phenomenal project. ously for Aaron Posner and Teller for their production of Love and thanks to Aaron and Teller. Macbeth. He also has composed music for productions at Two River Theater and Folger Theatre. Wollesen has Marc Masterson (Artistic Director) is in his fourth worked with Bill Frisell, Norah Jones, Tom Waits, Sean season with SCR. His recent directing credits include Lennon, Ben Goldberg, Laurie Anderson, Steve Bern- Death of a Salesman, Eurydice and Elemeno Pea at stein, Jonas Mekas, Butch Morris, Ilhan Ersahin, Hal Wil- SCR, As You Like It for the Houston Shakespeare Festival, ner, John Medeski, Jim Hall and John Zorn. The Kite Runner at Actors Theatre of Louisville and the Cleveland Play House. He previously served for 11 years Katie Ailinger (Stage Manager) is making her SCR as artistic director of Actors Theatre of Louisville and debut. Her off-Broadway credits include Nixon’s Nixon, produced the Humana Festival of New American Plays. FreshPlay Festival (MCC Theatre), Trial by Water, I-Land During his Actors Theatre tenure, he produced more (Ma-Yi Theatre), and Fan Tan King (PanAsian Repertory). than 100 world premieres, expanded audiences and the A Boston-based stage manager, she works at the Ameri- repertoire, deepened arts education programs and spear- can Repertory Theater, having stage-managed The Tem- headed numerous community-based projects. His other pest, The Lily’s Revenge, Woody Sez, Futurity: The Musi- Louisville directing credits include A Midsummer Night’s cal and Ajax. Her additional Boston credits include Cry Dream, Shipwrecked! An Entertainment, Glengarry of the Reed, Streamers, HTC Summer Play Festival and Glen Ross, The Tempest, Mary’s Wedding, The Crucible, the upcoming world premiere of Second Girl by Ronan Betrayal, As You Like It, The Importance of Being Earnest Noone (Huntington Theatre Company); A Delicate Bal- and Macbeth. The world premieres he directed at the ance, The Secret Rapture (Trinity Repertory Company); Humana Festival include works by Lisa Dillman, Wendell RED, The Divine Sister, The Great American Trailer Berry, Craig Wright, Eric Coble, Adam Bock, Gina Gion- Park Musical (SpeakEasy Stage Company); Henry VIII, friddo, Melanie Marnich, Charles Mee and Rick Dresser. Pericles (Actors Shakespeare Project); and three seasons He served as artistic director of City Theatre in Pittsburgh of A Christmas Celtic Sojourn (Cutler Majestic Theatre for 20 years and was founder and chairman of the Greater and northeast tour). Her regional theatre credits include Pittsburgh Arts Alliance, and as a theatre advisory panel Center Theatre Group, Ojai Playwrights Conference, member for the National Endowment for the Arts as well The Actors’ Gang, Theatre @ Boston Court and Coronet as numerous foundations. He won the Man of the Year Theatre. She holds a BFA in stage management from the Vectors Award, and received the Lifetime Achievement University of Southern California and is a proud member Award from the Pittsburgh New Works Festival. of Actors’ Equity. Paula Tomei (Managing Director) is responsible for the Kristen Cruz (Assistant Stage Manager) has been a overall administration of SCR and has been managing di- part of the stage management team at SCR for five sea- rector since 1994. A member of the SCR staff since 1979, sons and 15 productions. She holds an MFA in stage she has served in a number of administrative capacities management from UC Irvine and a BA in theatre arts and including subscriptions manager, business manager and minor in music from Vanguard University. Her other the- general manager. She was the president of the board of atre credits include work at Laguna Playhouse, Irvine Bar- Theatre Communications Group (TCG), the national ser-

The Tempest • South Coast Repertory • P15 vice organization for theatre, and served two terms as a Thomas Babe’s Great Day in the Morning, Keith Red- board member. She has also served as treasurer of TCG, din’s Rum and Coke and But Not for Me and Neal Bell’s vice president of the League of Resident Theatres (LORT) Cold Sweat; the American premieres of Terry Johnson’s and has been a member of the LORT Negotiating Com- Unsuitable for Adults and Joe Penhall’s Dumb Show; mittee for industry-wide union agreements. In addition, and the Southland premiere of Top Girls (at SCR and she represents SCR at national conferences of TCG and the Westwood Playhouse). Other productions he has di- LORT; is a theatre panelist for the National Endowment rected include New England, Arcadia, The Importance for the Arts (NEA) and the California Arts Council; site of Being Earnest,Woman in Mind and You Never Can visitor for the NEA; and has been a guest lecturer in the Tell, which he restaged for the Singapore Festival of Arts. graduate school of business at Stanford and UC Irvine. He has served as a theatre panelist and onsite evalua- She is on the board of Arts Orange County, the county- tor for the National Endowment for the Arts, as well as wide arts council, and the board of the Nicholas Endow- a panelist for the California Arts Council. After attending ment. Tomei graduated from UC Irvine with a degree in Orange Coast College, he received his BA and MA from economics and pursued an additional course of study in San Francisco State University and his PhD in theatre and theatre and dance. She also teaches a graduate class in film from USC. nonprofit management at UC Irvine. American Repertory Theater The A.R.T at Harvard Martin Benson (Founding Artistic Director), co- University is a leading force in American theatre, produc- founder of SCR, has directed nearly one-fourth of SCR’s ing groundbreaking work in Cambridge and beyond. productions. In 2008, he and David Emmes received The A.R.T. seeks to expand the boundaries of theatre by the Margo Jones Award for their lifetime commitment programming events that immerse audiences in transfor- to theatre excellence and fostering the art and craft of mative theatrical experiences. Throughout its history, the American playwriting. They also accepted SCR’s 1988 A.R.T. has been honored with many distinguished awards, Tony Award for Outstanding Resident Professional The- including consecutive Tony Awards for Best Revival of a atre and won the 1995 Theatre L.A. Ovation Award for Musical for Pippin (2013) and The Gershwins’ Porgy and Lifetime Achievement. Benson has received the Los Bess (2012), both of which Artistic Director Diane Paulus Angeles Drama Critics Circle Award for Distinguished directed; a Pulitzer Prize; a Jujamcyn Prize for outstand- Achievement in Directing an unparalleled seven times ing contribution to the development of creative talent; for George Bernard Shaw’s Major Barbara, Misalliance the Tony Award for Best Regional Theater; and numerous and Heartbreak House; John Millington Synge’s Playboy Elliot Norton and I.R.N.E. (Independent Reviewers of of the Western World; Arthur Miller’s The Crucible; Sally New England) Awards. Nemeth’s Holy Days; and Margaret Edson’s Pulitzer Prize- winning Wit, which he also directed at Seattle Repertory The Smith Center for the Performing Arts The Theatre and Houston’s Alley Theatre. He has directed hallmark of downtown Las Vegas’ 61-acre urban develop- American classics such as A Streetcar Named Desire and ment known as Symphony Park, The Smith Center for has distinguished himself in staging contemporary work, the Performing Arts is a public-private partnership that including the critically acclaimed California premiere opened in March 2012. Heralded as the city’s Heart of of William Nicholson’s Shadowlands. Most recently, he the Arts, The Smith Center is an architectural triumph directed a revival of Horton Foote’s The Trip to Bounti- and long-awaited cultural achievement that educates and ful and the world premieres of Samuel D. Hunter’s The entertains the citizens of Southern Nevada. The $470 Whale and Rest. Benson received his BA in theatre from million world-class performing arts center offers a blend San Francisco State University. of performances by resident companies, first-run tour- ing attractions, lectures and internationally acclaimed David Emmes (Founding Artistic Director) is co-found- performers in music, theater and dance. The five-acre er of South Coast Repertory. In May 2008, he received campus features four performance spaces including the the Margo Jones Award for his lifetime commitment 2,050-seat Reynolds Hall, a 258-seat Cabaret Jazz club, the to theatre excellence and to fostering the art of Ameri- 250-seat Troesh Studio Theater and the 1.7-acre Donald can playwriting. In addition, he has received numerous W. Reynolds Symphony Park for outdoor concerts. Addi- awards for productions he has directed during his SCR tionally, the campus is home to the Discovery Children’s career. He directed the world premieres of Amy Freed’s Museum that opened in March 2013. TheSmithCenter. Safe in Hell, The Beard of Avon and Freedomland, com @SmithCenterLV

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 • The Tempest