41st Season • 392nd Production SEGERSTROM STAGE / SEPTEMBER 3 - OCTOBER 10, 2004

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

IN ASSOCIATION WITH

presents the world premiere of BROOKLYN BOY

BY

SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC AND SOUND DESIGN Ralph Funicello Jess Goldstein Chris Parry Michael Roth

DRAMATURG PRODUCTION MANAGER STAGE MANAGER Jerry Patch Tom Aberger *Scott Harrison

DIRECTED BY Daniel Sullivan

HONORARY PRODUCERS CORPORATE PRODUCER Elaine and Martin Weinberg The Citigroup Private Bank

Brooklyn Boy was commissioned and developed by

Brooklyn Boy • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Eric Weiss ...... Adam Arkin* Manny Weiss ...... Allan Miller* Ira Zimmer ...... Arye Gross* Nina ...... Dana Reeve* Alison ...... Ari Graynor* Melanie Fine ...... Mimi Lieber* Tyler Shaw ...... Kevin Isola*

SETTING All scenes are set in the present in Brooklyn, Manhattan and Los Angeles.

LENGTH Approximately two hours and 20 minutes, including one 15-minute intermission.

PRODUCTION STAFF Assistant Stage Manager ...... Randall K. Lum* Casting by ...... Joanne DeNaut (South Coast Repertory), David Caparelliotis (Manhattan Theatre Club) Production Assistant ...... Jennifer Butler Assistant to the Set Designer ...... Tory Hyman Assistant Lighting Designer ...... Jeff Fightmaster Costume Design Assistant ...... Merilee Ford Assistant to the Director ...... Trevor Biship Additional Costume Staff ...... Pamela Walt

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

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

Official Airline Media Partner

P2 SOUTH COAST REPERTORY • Brooklyn Boy What’s an American Playwright Donald Margulies, the Silver Lining, and the Permanent Clouds in the Sunniest Skies

BY MICHAEL FEINGOLD consciousness is always marked by a sense of being in some way separate. And your history -— like the Holo- hen I see one of Donald Margulies’ plays, I al- caust history that sneaks or strides into all of Donald ways end up thinking about my cousin Abe. He Margulies’ plays — hangs over you, a permanent cloud and his wife were among the lucky ones. They in even the sunniest sky. There is no escape; what you Whad been in Theresienstadt, which was not one believe to be permanent and comforting can be taken of the worst camps, and they had survived to settle here from you in a second, can vanish with a word. When I after . They had actually married in the camp, was Literary Director of the Guthrie Theater, in the late their wedding conducted by the first Jewish chaplain to ’70s, we gave the world premiere of a beautiful, some- arrive with the Allied forces. They took a solemn vow, what erotic play by Isaac Bashevis Singer, with a won- as part of the ceremony, never derful performance to reveal to their chil- by the then un- dren what they had known F. Murray seen and endured. Abraham. Some- Abe and Ella did well how, my office here; they had a com- ended up having to fortable house and answer the angry two adorable daugh- letters — there ters. But daughters were only a few, growing up in Amer- awkwardly written ica come home from on crude lined school and want to paper — that said know why Mommy things like, “How doesn’t talk like all dare you put this the other mommies, Jew pornography why she has a funny on our beautiful accent, so eventually stage.” Nowadays — after going to a — that word again rabbi and being cer- — I wouldn’t be as emonially released surprised as I was from their vow — they told the whole story to their then. The American resistance to the concept of art as daughters, who cried a lot at learning they were part of a sensual pleasure, art as a salutary shock, art as a reve- vast nameless historical events on the other side of the lation of the Other, is in full cry. world. It made Abe, an intelligent, fastidious man who And this, too, hangs over Margulies, who very had always carried the secret sorrow deep inside him- properly uses his plays to test the validity of such con- self, start to wear it more openly; he began to fret more cepts, sorting out what it means to be creative in Ameri- outspokenly about politics, about the state of America. ca along with what it means to be a Jew: In Sight Un- In the late ’60s, he took Ella and the kids and emigrated seen, we weigh, and watch the artist-hero weigh for to Israel, because, he said, “It is going to happen again. himself, the question of whether the sensationalism that It is going to happen here. And I want to be with my brings media success is a spiritual impulse or merely a own people when the time comes.” money-making ploy. One of his attention-getting paint- Back then I thought Abe was funny, a bit cracked. ings shows a black man and a white woman making We all did. Nowadays I’m not so sure. I always told love — or is she being raped? — in a cemetery defaced Abe, “If it happens in this country, it will happen to the by graffiti’d swastikas. When the German art critic who blacks, not to us. They are hated worse than we are.” Jews, like blacks, are used to being hated; once SCR’s 1991 world premiere production of ‘Sight Unseen’ with, from left to right, Stephen Rowe, you have met the hatred, you never get over it. Your Randy Oglesby and Elizabeth Norment. KEN HOWARD

Brooklyn Boy •SOUTH COAST REPERTORY P3 you raise are your way of transcending it. Pretending that you have no ethnic identity is useless for the purpose of tran- scendence. is a Jew- ish play too, for all of the little impulses on ’s part to make it more univer- sal by making it abstract. No wonder the salesman’s son in The Loman Family identifies with it; no wonder, too, that he feels the impulse to turn it into something it isn’t — a musical with a happy ending. The American ending, you might say, that every ethnic group looks for and that none of us, as a group, can find. What Miller wrote, in effect, was the story of the Jewish spirit’s failure to find a home in the American system; everything Margulies writes, one step further on, is an implied critique of the system on that basis, the chronicle of a land which is is interviewing the all model apartments and no home for any- hero suggests that this image may be the product of a body’s spirit. clever Jewish mind, and gets called a Nazi in return, it’s What America was we know, or can learn; what’s hard to tell which party to the conversation is being to come is a little harder to determine, which is proba- HENRY DiROCCO touchy — especially when one recalls that, if the image bly where Margulies’ plays get their somber undertone. is indeed the product of a clever Jewish mind — Mar- After I had given Sight Unseen a very favorable review gulies’ — so are the art critic and her disturbing ques- in the Village Voice, a colleague from the paper’s Art tion. His gift for raising troublesome issues subtly (no- section went to see it and complained that is was an tice how the Holocaust has worked its way into the “obvious” story about a painter struggling to decide play’s discussion of art and artists’ tactics) comes with a whether or not to sell out, with an “obvious” happy concomitant gift for ironizing his way around them, for ending. But that is not at all what happens in Sight Un- seeing them from all sides. Because troublesome ques- seen. The hero’s struggle is to determine whether he tions don’t have simple answers; that’s why they, like has already sold out without realizing it. At the end of history, never go away. the play he regains, not his integrity, but a piece of his In other Margulies plays like The Loman Family past, in a compromise that discomfits everyone involved Picnic, What’s Wrong with This Picture? and The Model and leaves the best behind Apartment, the troublesome ques- tions are about family ethics; in Found a Peanut, they’re about friendship and money; in Sight Unseen, they’re about love and art. But in all five plays, the un- derlying question that is more deeply troublesome is about Jews and identity in America, and the real beauty of Margulies’ work is that he’s managed to create an ethnic theatre without the tub- thumping self-consciousness that often mars ethnic-minority art. In art the things you assert are your identity; the questions

Above, the SCR world premiere of ‘Collected Stories’ with Kan- dis Chappell, left, and Suzanne Cryer and, right, Coast premiere of ‘Dinner with ,’ with, from left to right, T. Scott Cunningham, John Carroll Lynch, and Jane Kaczmarek. KEN HOWARD

P4 SOUTH COAST REPERTORY • Brooklyn Boy him; his future — for all the play’s time disruptions — is an empty canvas. And so is America’s. It was a playwright — Eu- gene O’Neill — who told Time magazine, when he was put on its cover in 1946, that for him America was “the Margulies in Print greatest failure in the world” because it had all the re- sources imaginable and it had squandered or brutalized South Coast Repertory’s first commission to Donald them in the pursuit of material gain instead of using Margulies produced Sight Unseen, the playwright’s them to nourish the spirit. Fortunately, there is another breakthrough play. The SCR world premiere set in America: the one artists have always sought and all im- motion a string of productions that made this play migrants have come here to seek; the America that one of the most produced of the . The Sight nourishes, cherishes, accepts and includes. I am an Unseen compilation also includes Found a Peanut, American, you are an American, he or she is an Ameri- The Loman Family Picnic, The Model Apartment and can. If each of us has a consciousness of also being What’s Wrong with This Picture? for an exploration something separate, maybe we have to say that too is of themes ranging from childhood to the struggles an American phenomenon, and Donald Margulies’ “Jew- of an artist in contemporary society. ish” plays mixed up with pagan myths and European history and Florida condos and Broadway musicals are SCR’s second commission to Margulies resulted in the Pulitzer Prize fi- American plays. Ours is this country of endlessly un- nalist Collected Stories. It has been produced across the country and reeling possibilities, where anybody’s misery can be filmed by PBS starring and Samantha Mathis. Collected Sto- made into a musical (though this is probably not the ries explores the vexed emotional and legal best use for it), and everything great can still happen. question of a writer's right to create art from the So Donald Margulies’ plays remind me of all the biographical material of another person's life— reasons why I am not, despite the premonitions of my particularly when that other person is also a writ- cousin Abe, going to leave America, to which my father er. Ruth Steiner is an aging, highly regarded au- came as an 11-year-old in 1922, to learn English from thor who never wrote about her youthful affair Tin Pan Alley songs about flappers rolling their stock- with real-life poet Delmore Schwartz, and Lisa ings down. I am going to stay here “because I was Morrison is a student of Steiner's who, after pub- born here, and my great-great-grandmother baked lishing a much-ballyhooed first short-story collec- bread for George Washington’s troops when he crossed tion under Steiner's direction, follows up with a novel that draws upon the Delaware, and I am going to stay here and have a the Schwartz affair. The result is charged drama with the depth and piece of it just like you.” The part about my great-great- weight of the finest prose fiction. Winner of the Los Angeles Drama Crit- grandmother isn’t true. I didn’t say those words; Paul ics Circle Award for Best New Play. Robeson did, to a session of the House Un-American Activities Committee, which was trying to deprive him SCR’s third Margulies production was the West Coast premiere of Dinner of his passport because of his political beliefs. And with Friends, the second production for the play. when they asked him why he liked Russia so much, he Jane Kaczmarek, John Carroll Lynch, T. Scott Cun- said, among other things, “the great poet of Russia is a ningham and Julie White created an indelible pro- Negro,” which is true; he was speaking of Pushkin. duction under Daniel Sullivan’s direction. The Well, the great playwrights of America are African and script went on to a New York production and the Latin American and Irish and Italian and Chinese and 2000 . Called a “modern Eastern European. And Jewish. And when I see Don- day masterpiece on the destruction of today's ald Margulies’ plays, I see America. And I like America. marriage” it explores the effects of one mar- And I fear for America. And I smile at America. And I riage’s collapse on that couple and their closest decide not to emigrate. married friends. called it “A play for our time.” Michael Feingold is chief theater critic of The Village Voice in New York, and translator or adaptor of numerous plays and Other titles available through American Theatre (www.tcg.org): operas, including Brecht and Weill’s Happy End, presented at American Theatre Book of Monologues for Men, Stephanie Coen, Ed. South Coast Repertory in 1991. This piece is excerpted from American Theatre Book of Monologues for Women, Coen, Ed. his introduction to Sight Unseen and Other Plays, a collection Contemporary American Monologues Men, Todd London, Ed. of five plays by Donald Margulies (Theatre Communications Contemporary American Monologues Women, Todd London, Ed. Group, NY, NY, 1996). God of Vengeance, Sholom Asch (Margulies, Adaptor) Luna Park, Selected Short Plays and Monologues Copyright © 1991 by Michael Feingold. Used by permission of the author.

Brooklyn Boy •SOUTH COAST REPERTORY P5 Forever Flatbush

“Poor thing. To die and never see Brooklyn.” – Anne Sexton, “Rumpelstiltskin”

We were children from poor families, but didn't know it. I don't think I have ever in my life thought of myself as underprivileged, as unfairly deprived of something I might reasonably wish to own and didn't. Although incomes were low, everyone's father seemed to have a job, and later everyone's older brother and sister; finally, we, too, were out of school and working. It was a blessing of our childhood to be oblivious of our low economic state and of how others might regard us. I don't believe the circumstance of moderate poverty was too upsetting to our par- ents either. Nearly all were immigrants and living on a roughly equal level. This was the nature of life; they had learned that in Europe. It was not stylish to bemoan. They expected life to be hard, and most were living better than they had been able to in the Old World. -- Joseph Heller, Then and Now

SCENE: looking out the airplane window, as they leave San Francisco for Hawaii, days before the bombing of Pearl Harbor (1943) CHIEF SERGEANT: That’s an awfully big town San Francisco. CORPORAL WEINBERG: Strictly a one-whistle stop. There’s only one city in the USA and that’s New York. CHIEF SERGEANT: Oh, you’re just another hometown hick, Weinberg. What’s wrong with ? WEINBERG: California. The sun shines and nothing happens. Before you know it, you’re 60 years old. CHIEF SERGEANT: It’s no different from New York. My sister’s been tryin’ to get out of Brooklyn for the last 40 years. WEINBERG: Brooklyn. That ain’t New York, Chief. Once you cross that Brook- lyn Bridge, you’re out of this world. The only noise you hear is the hardening of your arteries. You know when I used to drive a hack, I had a pal who crossed that bridge back in 1929 and ain’t never heard from him since. – Dudley Nichols,William Faulkner, Howard Hawks, Air Force

“My parents were very old world. They came from Brooklyn, which is the heart of the Old World. Their values in life are God and carpet- ing.” –

Today, the Italian neighborhood remains; but the Jewish section has given way almost wholly to a population mainly Hispanic and African American. There are fewer stores; possibly no supermarkets; and, I am given to believe from newspaper reports, a higher crime rate than in my day. When I last looked, the storefronts on Mermaid Avenue still stood, but most were boarded up at the windows and had nothing going on inside. People must drive a good distance to a mall for all their marketing. Where my two old apart- ment houses had been, two tall modern units of a hous- ing project stand. -- J. Heller, Then and Now

P6 SOUTH COAST REPERTORY • Brooklyn Boy ADAM ARKIN ARI GRAYNOR ARYE GROSS Eric Weiss Alison Ira Zimmer

Artist Biographies

*ADAM ARKIN (Eric Weiss) previous- comedy, The Last First Kiss, starring Graynor in her first film role in Mys- ly appeared at SCR in the Pacific Will Smith and due out in February tic River, which was followed by the Playwrights Festival reading of 2005. Arkin has directed episodes of films Book of Love with Bryce Brooklyn Boy. He was nominated “,” “Northern Expo- Howard and Gregory Smith (Sun- for an Emmy Award for his role as sure,” “Ally McBeal” and “Monk.” dance Dramatic Competition 2004) Dr. Aaron Shutt on “Chicago Hope,” Recently he won an Emmy Award and Bereft, directed by Tim Daly in which he starred for six seasons. for directing My Louisiana Sky, a ( Film Festival 2004). She can He also received Emmy nominations Showtime film starring Julliette Lewis also be seen in the upcoming films for roles on “” and Kelsey Keel. The Great New Wonderful, directed and “.” Recently he has been by Danny Leiner with Maggie Gyl- seen in recurring roles on “The West *ARI GRAYNOR (Alison) is making lenhaal, and Michael Hoffman’s Wing” and “Eight Simple Rules.” On both her SCR and Broadway debuts Game Six opposite Michael Keaton stage Arkin received a Tony nomina- with Brooklyn Boy. She was last and Robert Downey Jr. tion for his role in the seen on the New York stage in the comedy I Hate Hamlet and also Second Stages production of Spanish *ARYE GROSS (Ira Zimmer) returns starred on Broadway as Nathan De- Girl, directed by Erica Schmidt. Pre- to SCR after having appeared in The troit in Guys and Dolls. Off-Broad- vious theatre credits include , Wild Oats, Screw- way roles include The Extra Man, world premiere of Fall by Bridget ball and Let’s Play Two. He was Sight Unseen and Four Dogs and a Carpenter and Into the Woods, direct- seen most recently in M. Butterfly at Bone at the Manhattan Theatre Club, ed by Oskar Eustis (both at Trinity East West Players and the world pre- as well as the premiere “Encores” Repertory Company) and Ah, miere of Chekhov X 4 with the An- production of Fiorello. Film credits Wilderness! at the Huntington The- taeus Company, where he is a mem- include Hanging Up, The Doctor with atre Company, directed by Kyle ber. Other theatre credits include William Hurt and Wrestling Ernest Donnelly. On television, she is best David Henry Hwang’s The Silver Hemingway with Robert Duvall, both known for her role as Meadow So- River (world premiere) at the Santa for director Randa Haines, as well as prano’s troubled college roommate, Fe Chamber Music Festival; The Halloween H20, With Friends Like Caitlin, on “” and her Square for Mark Taper Forum/ATW; These, Lake Placid, Under the Rain- guest star role on “Law and Order: Room Service at the Pasadena Play- bow and the upcoming romantic SVU.” Clint Eastwood cast Ms. house; Three Sisters at LATC; The

Brooklyn Boy •SOUTH COAST REPERTORY P7 KEVIN ISOLA MIMI LIEBER ALLAN MILLER Tyler Shaw Melanie Fine Manny Weiss

Rose of the Rancho and Bandido! for Broadway he appeared in Trust at (LA Shakespeare); the U.S. Comedy El Teatro Campesino; Chicago Con- The Kirk Theatre; The World Over Arts Festival with the Ensemble Stu- spiracy Trial, Portage to San Cristo- and The Water Children at Play- dio Theatre (Grand Jury Prize); and bal of A.H., Love Suicide at Sheffield wrights Horizons; Twelfth Night, (national tour). Barracks, and Black Box with the Venus and Wasp and Other Plays at Television credits include “Law & Odyssey Theatre Ensemble; and La NYSF/The Public Theater; Everett Order,” “,” “Friends,” Bête and Sleep… at Stages Theatre Beekin at ; and The “ER,” “NYPD Blue,” “Drew Carey,” Center, where from 2000 to 2003 he New Bozena at Cherry Lane Theatre. “” and “The X-Files;” and re- served as Artistic Director. He is Regionally, he appeared in The curring roles on “Judging Amy,” heard with some frequency on NPR Rainmaker at Center Stage, The New “Early Edition,” “Dave’s World” and and Public Radio International in Bozena at The Hudson Theatre and “Wiseguy.” Films include Bulworth, dozens of radio dramas and as the Venus at Yale Repertory. Film cred- Corrina Corrina, Showtime’s recent host of PRI’s Jewish Holy Days series. its include How The Grinch Stole Just Another Story, Ghost in the Ma- Films include Minority Report, Big Christmas, Uninvited, 24 Nights, chine, Wilder Napalm, Last Resort, Eden, Gone in 60 Seconds, A Mid- Academy Boyz and The New Yorker. Nightshift, HBO’s Breast Men, White night Clear, Mother Night, The Oppo- Television credits include “Law and of the Eye, the ancient Grease and the site Sex, For the Boys, Coupe De Ville, Order,” The Summer of Ben Tyler upcoming The Thing About My Folks. Tequila Sunrise and Soul Man. No- (Hallmark Hall of Fame) and “Viva table TV Guest appearances include Variety.” He has an MFA from the *ALLAN MILLER (Manny Weiss) ap- “Friends,” “ER,” “,” NYU Graduate Acting Program. peared at SCR in Death of a Sales- “CSI,” “The Guardian” and “The X man in 1997. He has acted in more Files,” among others. A series regu- *MIMI LIEBER (Melanie Fine) first ap- than 200 films and television produc- lar on the ABC “Ellen” and peared at SCR in the Pacific Play- tions and dozens of plays. For ten CBS’s short lived “Citizen Baines,” wrights Festival reading of Brooklyn years he was the artistic director of Mr. Gross has recurring roles on Boy. On Broadway she appeared in the Back Alley Theatre, where he co- “Judging Amy,” “The Practice” and the recent revival of I’m Not Rappa- produced or directed over 30 pro- “Six Feet Under” (Screen Actors port. Regional theatre appearances ductions, including the world pre- Guild Award for Outstanding Perfor- include We Won’t Pay, We Won’t miere of his own play, The Fox, for mance by an Ensemble in a Drama Pay (Long Wharf); Leon, Lena & which he received the Los Angeles Series). He attended UC Irvine and Lenz (Guthrie); Figaro Gets a Divorce Drama Critics Circle Award. The is a graduate of the SCR Summer (La Jolla Playhouse); Taking Sides, theatre also introduced Donald Mar- Conservatory (1978). The Greeks, Love Council, Accidental gulies to the West Coast with two of Death of an Anarchist, Offending the his plays: Found a Peanut and *KEVIN ISOLA (Tyler Shaw) is mak- Audience and Five Women Wearing What’s Wrong with This Picture? ing both his SCR and Broadway de- the Same Dress (Odyssey); Potestad Most recently he directed First Love buts with Brooklyn Boy (Manhattan (Stages); Help (Coast Playhouse); by Charles Mee at the Odyssey The- Theatre Club, February 2005). Off- Othello and Much Ado About Nothing atre and Who’s Afraid of Virginia

P8 SOUTH COAST REPERTORY • Brooklyn Boy O’Brien; Off-Broadway: Portraits, an advocate for rights and quality of You Belong To Me (HB), Good Will, life for people with disabilities. She the Liz Swados musical, Prince and attended the MFA program for acting the Pauper (Manhattan Theatre Club) at CalArts. and Patronage by Romulus Linney (Ensemble Studio Theatre). Region- PLAYWRIGHT, ally, she has appeared at such the- DIRECTOR & DESIGNERS atres as the Shakespeare Theatre of New Jersey (The Crucible, Enter The DONALD MARGULIES (Playwright) is Guardsman, Two Gentlemen of the author of two previous plays Verona, Comedy of Errors, Arms and that, like Brooklyn Boy, were com- the Man), Yale Repertory (Summer missioned and premiered by SCR: and Smoke, ’s Moon Over Sight Unseen (1991) and Collected Miami), Baltimore Center Stage, and Stories (1996), both of which were fi- eight seasons at Williamstown (fa- nalists for the Pulitzer Prize for vorites: The Big Knife directed by Drama. Also commissioned by SCR Joanne Woodward, Johnny On A is his upcoming, as-yet-untitled play DANA REEVE Spot starring and directed by James intended for family audiences. Din- Nina Naughton). On television she has ner with Friends, which originated at guest starred on “Law & Order,” Actors Theatre of Louisville, went on Woolf by Edward Albee for the Ac- “Law & Order: Criminal Intent” and after its West Coast premiere at SCR tors Studio Theatre. He teaches act- “All My Children.” She starred in the to win numerous awards, including ing privately, as well as at the Actors ABC “Steel Magnolias,” had re- the 2000 Pulitzer Prize, long runs off- Studio, and has taught at several uni- curring roles on the CBS/Dick Wolf Broadway and in Paris, and produc- versities, including the Yale School drama “Feds” and the HBO series tions all over the and of Drama. He is the author of A “Oz” and also appeared in the HBO around the world. His other plays Passion for Acting and has created films Above Suspicion and Someone include Two Days, God of Vengeance the videotape The Craft of Acting: Had To Be Benny. As a singer she (adapted from the classic Yiddish Auditioning. has performed on national television drama by Sholem Asch), The Model and at various New York venues. Apartment (), The *DANA REEVE (Nina) was most re- She sings the title song on the Loman Family Picnic, Found a cently seen singing in Cabaret and soundtrack of the Cable Ace Award- Peanut, Luna Park and What’s Main at the Williamstown Theatre winning HBO drama, In The Gloam- Wrong with This Picture? (produced Festival. She is delighted to be here ing, directed by her husband, on Broadway in 1994). Sight Unseen at SCR working with Daniel Sullivan Christopher Reeve. She also spent a recently completed its Broadway for the first time and Donald Mar- year as co-host of “Lifetime Live,” a premiere engagement at Manhattan gulies for the third, having had the daily talk show on the Lifetime net- Theatre Club’s Biltmore Theatre. pleasure of appearing in two other work. She is the author of The recipient of the 2000 Sidney of his plays, most recently Two Days Carepackages: Letters to Christopher Kingsley Award for outstanding at the Long Wharf Theatre and years Reeve from Strangers and Other achievement in the theatre by a play- ago in the Off-Broadway production Friends (Random House, 1999), wright, Mr. Margulies is a member of of Sight Unseen in the role of Grete mother to 12-year-old son Will, and the council of the Dramatists Guild at Manhattan Theatre Club. Other with her husband is actively in- of America and teaches playwriting stage appearances include, Broad- volved in the fight for increases in at Yale University. This play is for way: More To Love directed by Jack medical research funding and acts as Herb Gardner.

Brooklyn Boy •SOUTH COAST REPERTORY P9 DANIEL SULLIVAN (Director) has di- atre, Denver Center Theatre, Berke- He is a graduate and current faculty rected in theatres both nationally and ley Repertory Theatre, Guthrie The- member of the Yale School of abroad. On Broadway, he directed ater, McCarter Theatre Center, The Drama. Sight Unseen, The Retreat from Oregon Shakespeare Festival, Mil- Moscow, , Major Barbara, A waukee Repertory Theatre, Stratford CHRIS PARRY (Lighting Design) is Moon for the Misbegotten, I’m Not Shakespearean Festival of Canada originally from England. He has de- Rappaport, Conversations with My and The Old Globe, where he is an signed theatre and opera internation- Father, The Heidi Chronicles and Lin- Associate Artist. He has had a long ally for 28 years, earning 25 major coln Center’s productions of Ah, association with the Mark Taper awards and nominations. For SCR, Wilderness!, , Forum and worked for 30 years with he has designed Cyrano de Bergerac, An American Daughter and Morn- San Francisco’s American Conserva- Major Barbara, School for Wives, The ing’s at Seven. Off-Broadway credits tory Theatre, where he was Director Beard of Avon, The Hollow Lands, include Intimate Apparel, Dinner of Design. He has been nominated Search and Destroy, The Miser, The with Friends, London Suite, The Sub- for N.Y. Drama Desk, Outer Critics Misanthrope, Private Lives, Death of stance of Fire, An American Clock, Circle, Lucile Lortel and Tony a Salesman, Ah, Wilderness! and Proof, In Real Life, Psychopathia Sex- Awards. He has received The Merritt Tartuffe. Other highlights include 24 ualis; and at Lincoln Center Theater: Award for Excellence In Design and productions for the Royal Shake- Ten Unknowns, Far East, A Fair Collaboration and his designs have speare Company (RSC) and Royal Country, Spinning Into Butter and been recognized by the Area Theatre National Theatre (RNT) in England, Ancestral Voices. Most recent region- Critics’ Circle, the L.A. Drama Critics as well as work for many of this al credits were Julius Caesar, Cymbe- Circle, Drama-Logue Magazine, Back country’s regional theatres and opera line and Romeo and Juliet at The Old Stage West and the United States In- houses. Notable production credits Globe. From 1981 to 1997, Mr. Sulli- stitute for Theatre Technology. He is include: The Who’s Tommy (Broad- van served as Artistic Director of currently the Powell Chair in Set De- way and worldwide) directed by Des Seattle Repertory Theatre, where he sign at San Diego State University. McAnuff, which garnered him the directed more than 60 productions. Tony Award, Olivier Award (Lon- He established Seattle Rep’s New JESS GOLDSTEIN (Costume Design) don), Dora Award (Canada), New Play Program, developing new works has designed the New York pre- York , New York by , Herb Gardner, A. mieres of Donald Margulies’ Sight Outer Critics Circle Award, Los Ange- R. Gurney, William Mastrosimone, Unseen, Dinner with Friends, Collect- les Drama Critics Circle Award and Arthur Miller, ed Stories and The Loman Family several other nominations; the musi- and Charlayne Woodard, among oth- Picnic. Other New York credits in- cal The Secret Garden (RSC, West ers. Mr. Sullivan’s film and television clude Lincoln Center’s Henry IV End London); the musical Jane Eyre credits include The Substance of Fire (Tony nomination), Enchanted April, (Mirvish Co. Toronto, La Jolla Play- and Far East. He is the Swanlund Take Me Out, Proof, Love! Valor! house); Not About Nightingales (RNT, Professor of Theatre at the University Compassion!, Judgement at Nurem- London, Houston and Broadway) di- of Illinois, Champaign, Urbana. berg, , Ten rected by Trevor Nunn (Tony Award Unknowns, The Substance of Fire, nomination, N.Y. Drama Desk RALPH FUNICELLO (Scenic Design) is The Dying Gaul, Far East, Other Peo- Award); Les Liaisons Dangereuses back at SCR for his 21st season. ple’s Money, , The Mine- (RSC, Broadway - Tony Award nomi- Among his SCR credits are the de- ola Twins (Lortel and Hewes nation, N.Y. Drama Desk Award); A signs for Safe in Hell, Major Barbara, Awards) and revivals of The Most Midsummer Night’s Dream (RSC, The Circle, The Education of Randy Happy Fella, A Streetcar Named De- Broadway & World Tour - Olivier Newman, , Tartuffe, sire, Inherit the Wind, The Rainmak- Award nomination); and Transla- Private Lives, Old Times, Death of a er and Night Must Fall. Regional tions (, Broadway). He is an Salesman, Six Degrees of Separation, work includes designs for Mark Associate Artist of the Alley Theatre, She Stoops to Folly, The Misanthrope, Taper Forum, The Old Globe, La Houston. Other work includes a sec- Dancing at Lughnasa, Hedda Gabler, Jolla Playhouse, Seattle Rep, The tion of the movie Renaissance Man The Miser, Twelfth Night, Happy End, Guthrie Theater, Hartford Stage, and the KPBS Television Arts pro- Kiss of the Spider Woman, Speed-The- Long Wharf Theatre and the Mc- gram “Center Stage.” Mr. Parry also Plow, Going for Gold, Misalliance, Carter Theatre. He has also designed received the Lighting Designer of the Highest Standard of Living, Buried operas for , Year Award (1994) from Lighting Di- Child, Good and Da. His work has Washington Opera, Los Angles mensions International. He has been seen On and Off-Broadway, Opera, Glimmerglass and Houston taught Lighting Design for 15 years, and at many resident theatres includ- Grand Opera and the feature films A and is currently Professor and Head ing the Lincoln Center Theater, Inti- Walk on the Moon, The Substance of of the Design program at UCSD, and man Theatre, Seattle Repertory The- Fire and Love! Valour! Compassion! owns his own entertainment and ar-

P10 SOUTH COAST REPERTORY • Brooklyn Boy chitectural lighting design company, Michael’s chamber opera Their SCR’s 41st Season and his 15th year Axiom Lighting Inc, in San Diego. Thought and Back Again is available with the company. Last season he through e-mail at Rothmusik@ worked on Safe in Hell, Antigone, The MICHAEL ROTH (Original Music and aol.com. Last Night of Ballyhoo and Terra Sound Design) is pleased to be back Nova. The previous season he stage at SCR, where his work has been JERRY PATCH (Dramaturg) has been managed Major Barbara, Proof and heard in over 45 productions and pre- affiliated with South Coast Repertory Intimate Apparel. During his long as- mieres, including Donald Margulies’ since 1967. He has served as dra- sociation as one of SCR’s resident Dinner with Friends and Sight Unseen maturg on nearly 150 new plays seen stage managers he has worked on (both also seen Off-Broadway), the here since 1980, including the world more than a dozen world premieres Culture Clash/John Glore musical premieres of Abundance, Freedom- and has been associated with over 65 adaptation of The Birds (also at land, Golden Child, Search and De- productions. In 1997, Mr. Lum stage Berkeley Rep) and most recently the stroy, Sight Unseen, Three Days of managed the AIDS Benefit Help is on premiere of Mr. Marmalade. Other Rain, Intimate Apparel and . His the Way III at the Palace of Fine Arts recent projects in New York: People dramatic writing has been produced in San Francisco. Other stage man- Be Heard (music/theatre with Quincy at SCR and other theatres and on tele- agement credits include the American Long, currently at Playwrights Hori- vision. He co-conceived The Educa- Conservatory Theatre in San Francis- zons), Talking Heads (off-Broadway, tion of Randy Newman with Michael co, The Old Globe in San Diego, also in LA), and The Persians (Nation- Roth and Mr. Newman (SCR, 2000). Berkeley Repertory Theatre, San Jose al Actors Theatre); many collabora- He has been the project director of Civic Light Opera, VITA Shakespeare tions with Randy Newman including SCR’s Pacific Playwrights Festival Festival, Pacific Conservatory of the SCR’s The Education of Randy New- since it began in 1998, and for seven Performing Arts, Long Beach Ballet, man (also seen in Seattle, upcoming years was Artistic Director of the the- San Francisco Convention Bureau and in Philadelphia), orchestrating his atre program of the Sundance Insti- Kawasaki Motorcycles. He would Faust (seen in La Jolla and Chicago), tute. He serves as consulting dra- like everyone to take a moment to re- and editing two songbooks for Warn- maturg for the Roundabout Theatre member all those who have lost the er Bros.; at La Jolla Playhouse, over Company in New York. battle and all those still suffering and 35 productions including Tom Don- fighting the AIDS epidemic. aghy’s Eden Lane and Lee Blessing’s *SCOTT HARRISON (Stage Manager) A Walk in the Woods (also Broadway returns to SCR for his 15th season, DAVID EMMES (Producing Artistic Di- and PBS); with Mac Wellman, many having most recently stage managed rector) is co-founder of SCR. He has collaborations including The Allegory Cyrano de Bergerac. As part of his received numerous awards for pro- of Whiteness (music/theatre, directed continuous support and acknowl- ductions he has directed during SCR’s by Lisa Peterson at the 2001 Humana edgement of his friends and col- 40-year history, including a 1999 Los Festival), Bitter Bierce (PS 122, NY, leagues who are battling the fight of Angeles Drama Critics Circle Award and LA) and Terminal Hip; the Happy HIV/AIDS, Mr. Harrison spent his hia- for the direction of George Bernard Days musical, with Garry Marshall; tus participating in Paradise Ride, Shaw’s The Philanderer. He directed Anne Bogart’s The Women; collabo- along with Jamie A. Tucker, riding the world premieres of Amy Freed’s rating with Tom Stoppard and Carey 360 miles on an AIDS fundraising/cy- Safe in Hell, The Beard of Avon and Perloff on the American premieres of cling tour of Hawaii—four islands in Freedomland, Thomas Babe’s Great Indian Ink and The Invention of Love six days—and raising over $200,000 Day in the Morning, Keith Reddin’s at ACT; Des McAnuff’s film Bad for local AIDS service organizations. Rum and Coke and But Not for Me Dates; Donut Hole, a new indepen- and Neal Bell’s Cold ; the Amer- dent film by Peter Paige; and a new *RANDALL K. LUM (Assistant Stage ican premiere of Terry Johnson’s Un- opera with Nell Benjamin. The CD of Manager) is pleased to be part of suitable for Adults; the West Coast

Brooklyn Boy •SOUTH COAST REPERTORY P11 premieres of C.P. Taylor’s Good and liance and Heartbreak House. Among site visitor for the National Endow- Harry Kondoleon’s Christmas on the numerous world premieres he has ment for the Arts and the California Mars; and the Southland premiere of directed are Tom Strelich’s BAFO and Arts Council; served on the Advisory Top Girls (at SCR and the Westwood Margaret Edson’s Pulitzer Prize-win- Committee for the Arts Administration Playhouse). Other productions in- ning Wit, which he also directed at Certificate Program at the University clude the West Coast premieres of Seattle Repertory Theatre and the of California, Irvine; and has been a Three Viewings by Jeffrey Hatcher, Alley Theatre in Houston. He has di- guest lecturer in the graduate school The Secret Rapture by David Hare and rected American classics including of business at Stanford. She graduat- New England by Richard Nelson; and Ah, Wilderness!, A Streetcar Named ed from the University of California, Arcadia by Tom Stoppard, The Im- Desire, A Delicate Balance and All My Irvine with a degree in Economics portance of Being Earnest by Oscar Sons. Mr. Benson has been honored and pursued an additional course of Wilde, Ayckbourn’s Woman in Mind with the Drama-Logue Award for his study in theatre and dance. and You Never Can Tell by George direction of 21 productions and re- Bernard Shaw, which he restaged for ceived LADCC Distinguished Achieve- MANHATTAN THEATRE CLUB (Co-Pro- the Singapore Festival of Arts. His ment in Directing awards an unparal- ducer). Under the leadership of Artis- producing responsibilities involve the leled seven times for the three Shaw tic Director and Exec- overall coordination of SCR’s pro- productions, John Millington Synge’s utive Producer Barry Grove, Manhat- grams and projects. He has as a the- Playboy of the Western World, Arthur tan Theatre Club has been in the fore- atre panelist and onsite evaluator for Miller’s The Crucible, Sally Nemeth’s front of American Theatre for the past the National Endowment for the Arts, Holy Days and Wit. He also directed three decades. Since it’s founding in on the Executive Committee of the the film version of Holy Days using 1970, MTC productions have earned League of Resident Theatres, and as a the original SCR cast. Along with eleven , three Pulitzer panelist for the California Arts Coun- Emmes, he accepted SCR’s 1988 Tony Prizes, thirty-four Obie Awards, sev- cil. After attending Orange Coast Col- Award for Outstanding Resident Pro- enteen Drama Desk Awards, as well lege, he received his BA and MA from fessional Theatre and won the 1995 as numerous Drama Critics Circle, California State University, San Fran- Theatre LA Ovation Award for Life- Outer Critics Circle and Theatre cisco, and his PhD in theatre and film time Achievement. Mr. Benson re- World awards. Last fall MTC opened from USC. ceived his BA in Theatre from Califor- its newly restored and renovated his- nia State University, San Francisco. toric Biltmore Theatre on West 47th MARTIN BENSON (Artistic Director), Street. Plays produced by MTC in- co-founder of SCR with his colleague PAULA TOMEI (Managing Director) is clude The Tale of the Allergist’s Wife; David Emmes, has directed nearly responsible for the overall administra- Proof; King Hedley II; Seven Guitars; one third of the plays produced here. tion of South Coast Repertory and has Lips Together, Teeth Apart; Collected He has distinguished himself in the been Managing Director since 1994. Stories, Sight Unseen, Love! Valour! staging of contemporary work, in- A member of the SCR staff since 1979, Compassion!; Putting It Together; cluding Horton Foote’s The Carpet- she has served in a number of admin- Frankie and Johnny in the Claire de bagger’s Children and the world pre- istrative capacities including Subscrip- Lune; The Piano Lesson; Sylvia; Valley miere of Getting Frankie Married— tions Manager, Business Manager and Song; A Class Act; Ain’t Misbehavin’; and Afterwards, the critically ac- General Manager. She currently ; Fuddy Meers. Ac- claimed California premiere of serves as President of the Theatre tors such as Nathan Lane, Laura Lin- William Nicholson’s Shadowlands, the Communications Group (TCG), the ney, , Bernadette Southern California premiere of national service organization for the Peters, Linda Lavin, Sarah Jessica Michael Healey’s The Drawer Boy; professional not-for-profit theatre. In Parker, , James and the West Coast premieres of addition, she has served as Treasurer Naughton and Mary Louise Parker; Peter Hedges’ Good As New and Mar- of TCG, Vice President of the League playwrights such as Donald Mar- tin McDonagh’s The Lonesome West. of Resident Theatres (LORT) and has gulies, Terrence McNally, A.R. Gur- He has won accolades for his direc- been a member of the LORT Negoti- ney, Arthur Kopit, Athol Fugard, tion of five major works by George ating Committee for industry-wide , Beth Henley, John Bernard Shaw, including the Los An- union agreements. She represents Patrick Shanley, August Wilson and geles Drama Critics Circle (LADCC) SCR at national conferences of TCG David Auburn, are among the many Award-winners Major Barbara, Misal- and LORT; is a theatre panelist and artists who have committed to MTC.

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.

P12 SOUTH COAST REPERTORY • Brooklyn Boy