42nd Season • 405th Production SEGERSTROM STAGE / FEBRUARY 3 - MARCH 12, 2006

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

presents the American premiere of HITCHCOCK BLONDE

written and directed by Terry Johnson

William Dudley Chris Parry Ian Dickinson Ian Galloway for Mesmer SCENIC/COSTUME/VIDEO DESIGN LIGHTING DESIGN COMPOSER/SOUND DESIGN VIDEO REALIZATION

Magdalena Zira Jeff Gifford Jamie A. Tucker* ASSISTANT DIRECTOR PRODUCTION MANAGER STAGE MANAGER

Valerie and Geoff Fearns HONORARY PRODUCERS

Hitchcock Blonde • SOUTH COAST REPERTORY P1 THE CAST (in order of appearance) Jennifer ...... Adriana DeMeo* Alex ...... Robin Sachs* Hitch ...... Dakin Matthews* Blonde ...... Sarah Aldrich* Husband ...... Martin Noyes*

LENGTH Approximately two hours and 10 minutes, including one 15-minute intermission.

PRODUCTION STAFF Assistant Stage Manager ...... Chrissy Church* Casting ...... Joanne DeNaut Fight Choreographer ...... Martin Noyes Stage Management Intern ...... Andrew Metzroth Assistant to the Scenic Designer ...... James Humphrey Assistants to the Lighting Designer ...... Christian DeAngelis, Julie Farris Deck Crew ...... Chris Deckner, Deanna Keefe, Kris Kelley Costume Design Assistant ...... Merilee Ford

ACKNOWLEDGEMENT Video equipment provided by Large Screen Displays.

Hitchcock Blonde opened at the Royal Court Theatre in London on 2 April 2003. It transferred to the Lyric Theatre on 16 June 2003 and was produced in the West End by Royal Court Theatre Productions, Sonia Friedman Productions, Maidstone Productions, Nederlander Producing Company and Waxman Williams Entertainment.

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.

Media Partner Official Airline Media Partner

P2 SOUTH COAST REPERTORY • Hitchcock Blonde 90 Cuts in the Shower or, We Like to Watch

BY JOHN GLORE e never see the knife go in. That’s crucial to the scene’s ex- ceptional power. Norman Bates, in the guise of his aged mother, swoops down on Marion Crane in the shower and repeatedly stabs her with a large kitchen knife, the montage Wcutting rapidly between tight shots of Marion’s screaming mouth, the steely blade, the soft skin of Marion’s naked belly, gray-wigged Mother in silhouette, Marion from above just as the blade dives into frame, Mother’s shadowed face, knife held high, a rivulet of blood traveling down Marion’s legs and across the bottom of the tub toward the drain, Marion, her back against the tile wall, slip- ping slowly downward, pulling the shower curtain with her—and when this meticulously crafted sequence of more than 90 film snippets, each no more than a second or two in duration, comes to an end, we feel we have wit- nessed the most graphically depicted murder imaginable. But in fact our own minds are equal collaborators in the carnage; be- cause while Hitchcock does (contrary to legend) show blade piercing flesh, that image of the tip of the knife just beginning to draw blood takes up exactly three frames of film—one-eighth of a second—before Hitchcock cuts to the next shot. Our imaginations do the rest. And perhaps the most horrifying image in the sequence, the final one, is the least grisly: an extreme close-up of Marion’s glassy, dead eye, an eye that stares but no longer sees, an eye that coldly casts our own voyeuristic experience back at us. It is no accident that Hitchcock chose to preceed this famous scene from Psycho with a shot of Anthony Perkins peering through a peephole at Janet Leigh as she begins undressing for her shower. The sense of voyeurism is heightened by the director’s use of a 50 mm camera, which closely approxi- mates the field of vision of the human eye. “He wanted the camera being the audience all the time,” explained script supervisor Marshall Scholm, “to see as if… with their own eyes.” This increases the sense that we are in league with Norman Bates as anonymous watchers (hidden in dark theatres) of other peo- ple’s secrets, crimes and private moments. The note of voyeurism is struck in the opening moments of the film, when the camera moves from a wide view of the city of Phoenix to a close-up on one window, then travels through the window into the dark hotel room where Janet Leigh has just had an afternoon liaison with her paramour. We discover her still in brassiere and half-slip, a surprising exposure for a movie made in 1959. From the outset Hitchcock teases us with the possibility of see- ing this attractive woman naked; later he shows her to us half-dressed again in her apartment, then lets us peer through the peephole with Norman before bringing the tease to its culmination in the shower scene, when we believe in

Hitchcock Blonde •SOUTH COAST REPERTORY P3 her nakedness without ever actually see- ing it, even as the object of our scrutiny is destroyed. An Historical Hitchcock once responded to a critic’s complaint that Rear Window was Footnote a horrible film because the hero spent all of his time peeping out of the window, ne of the principal char- by asking “What’s so horrible about that? acters in Hitchcock Sure, he’s a snooper, but aren’t we all?” O Blonde is identified as the body We like to watch. Sometimes we double who stood in for Janet like it even better than touching and Leigh during the filming of the grasping. One key to our century-long shower scene, to spare Leigh mania for movies of all kinds is that we from having to appear naked on like sitting in the dark and looking into the set. Terry Johnson chooses people’s private lives without actually to render this character nameless being in them. It’s also the key to Hitch- and archetypal by calling her cock’s expert ability to manipulate our simply “The Blonde.” But in fact emotional engagement by manipulating the identity of the real body what we see and how we see it: he double used during the filming promises us peeks at the forbidden while of the shower scene has not never actually delivering more than hints, been lost to us: she was Marli suggestions, titillating keyhole glimpses. Renfro, a 23-year-old, red-head- In Hitchcock Blonde Terry Johnson ed nude model hired by Hitch- ponders the nature of the man behind cock for a total fee of $500. The that expertise: his speculative portrait of film’s wardrobe supervisor re- Hitchcock (who is not the main character members that Renfro “became in the play although his spirit dominates so comfortable, I recall her sit- it) shows us someone who understands ting quite nude except for this his audience’s voyeuristic predilections crazy little patch we always put because he shares them. Johnson’s over the pubic hair, talking with Hitch is a man who has an itch that he Mr. Hitchcock. I watched Mr. has tried to scratch throughout his film- Hitchcock, the model, and the making career, an itch for a certain kind crew one morning standing of woman: coolly beautiful, mysterious, around having coffee and elegant … blonde. Blonde with a capital doughnuts and thought, ‘This is B. Grace Kelly blonde. Kim Novak surreal.’” blonde. Tippi Hedren blonde. Hitch And according to Janet tries to scratch his itch not by having and Leigh, despite the extensive holding these fair-haired sirens but by shooting of the naked Renfro seeing them, seeing them intensely, over the course of nearly a ravenously, through the lens of his cam- week, Hitchcock ended up using era. His desire is stoked by the with- only shots of Leigh herself in the holding of its satisfaction, and when one final cut (Leigh’s most intimate particular blonde finally calls his bluff body parts were covered by and gives him what he wants (and moleskin when she herself stood doesn’t want) … the obsession blows up in the shower). “That was all in Hitch’s face. me,” said Leigh, “except for We like to watch. Seeing without when Norman wraps the body touching creates a sense of mystery and in the shower curtain.” If allure. But if ever we try to reach out Leigh’s recollection is accurate, and grasp the image of our fascination, then Marli Renfro’s immortality we may find that it disintegrates like light consists of playing a corpse reflected on a shower-spray of water. wrapped in plastic. Body dou- ble indeed.

P4 SOUTH COAST REPERTORY • Hitchcock Blonde Fie on Sinful Fantasy! Blonde-Lust and Other “Neurotic Compulsions”

O’er the great space of sea their course they bore, spouse; thou hast ravished my heart with one of For sake of Helen with the beauteous hair; thine eyes, with one chain of thy neck. And death for Helen’s sake o’erwhelmed them there. How fair is thy love, my sister, my spouse! – Hesiod how much better is thy love than wine! and the smell of thine ointments than all spices! – Song of Solomon

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In the friendship of the lover there is no real kindness; he has an ap- petite and wants to feed upon you. “Just as the wolf loves the lamb, so the lover adores his beloved.” – Plato quoting Socrates

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Whilst what we crave is wanting, it seems to transcend all the rest; then, when it has been gotten, we crave something else. – Lucretius

Playwright and director Terry Johnson works ✘ ✘ ✘ with actors Robin Sachs and Adriana DeMeo on a pivotal scene from Hitchcock Blonde. ✘ ✘ ✘ At length when the gathered desire has gone forth, there ensues for a brief Behold, thou art fair, my love; behold, thou art while a short pause in the burning passion; and then fair; thou hast doves’ eyes within thy locks … returns the same frenzy, then comes back the old Thy lips are like a thread of scarlet, and thy madness, when they are at a loss to know what they speech is comely: thy temples are like a piece of a really desire to get, and cannot find what device is to pomegranate within thy locks … conquer that mischief; in such utter uncertainty they Thy two breasts are like two young roes that pine away by a hidden wound. are twins, which feed among the lilies. – Lucretius Until the day break, and the shadows flee away, I will get me to the mountain of myrrh, and to ✘ ✘ ✘ the hill of frankincense. Thou art all fair, my love; there is no spot in Nine times now, since my birth, the heaven of light thee … had turned almost to the same point in its own gyra- Thou hast ravished my heart, my sister, my tion, when the glorious Lady of my mind, who was

Hitchcock Blonde •SOUTH COAST REPERTORY P5 The desire of a man for a woman is not directed at her because she is a human being, but because Playwright and direc- tor Terry Johnson in she is a woman. That she is a human being is of rehearsal. no concern to him. – Immanuel Kant

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Only God, my dear, Could love you for yourself alone And not your yellow hair. – W.B. Yeats

called Beatrice by many who knew not what to call her, first appeared before my eyes. … She appeared to me clothed in a most noble color, a modest and becoming crimson, and she was girt and adorned in such wise as befitted her very youthful age. At that instant, I say truly that the spirit of life, which dwells in the most secret chamber of the heart, began to tremble with such violence that it appeared fearfully in the Robin Sachs (center) and least pulses, and trembling, said these words: Adriana DeMeo rehearse as Behold a god stronger than I, who coming shall Johnson observes the action. rule over me. – Dante, Vita Nuova ✘ ✘ ✘

✘ ✘ ✘ There are two tragedies in life. One is to lose your heart’s desire. The other is to gain it. The hair is the richest ornament of women. – From George Bernard Shaw’s Man and Superman – Martin Luther ✘ ✘ ✘ ✘ ✘ ✘ Complete object-love… is, properly speaking, charac- Fie on lust and luxury! teristic of the man. It displays the marked sexual Lust is but a bloody fire, over-estimation which is doubtless derived from the Kindled with unchaste desire, original narcissism of the child, now transferred to Fed in heart, whose flames aspire the sexual object. This sexual overestimation is the As thoughts do blow them, higher and higher origin of the peculiar state of being in love, a state Pinch him, fairies, mutually; suggestive of a neurotic compulsion. Pinch him for his villainy; – Sigmund Freud Pinch him, and burn him, and turn him about Till candles and starlight and moon shine be out. ✘ ✘ ✘ – Shakespeare, Merry Wives of Windsor It was a blonde. A blonde to make a bishop kick a hole in a stained-glass window. ✘ ✘ ✘ – Raymond Chandler

P6 SOUTH COAST REPERTORY • Hitchcock Blonde The Icy Blondes

itchcock’s ideal woman, at least in his arm his hand stroked her thigh. Not only in the film, films, was willowy, blonde, and cool. either. On the first day of rehearsal, when Donat and What intrigued him was the hint of Carroll had only just met, Hitchcock handcuffed them uninhibited passion behind the cool together and then pretended for several hours to have Hfaçade; in his own words, “the drawing-room type, lost the key. the real ladies, who become whores once they’re in Hitchcock’s mischievous, semi-sadistic treatment the bedroom … Sex should not be advertised. An of blondes hit its stride in Hollywood, perhaps pro- English girl, looking like a school teacher, is apt to voked by the flawless glamour of its screen goddess- get into a cab with you and, to your surprise, she’ll probably pull a man’s pants open.” This revealing quote points to a recurrent (and some would say misogynistic) pattern in Hitchcock’s treatment of his heroines. Time and again in the director’s films one of these cool, soignée blonde women is re- duced to a disheveled, panic- stricken mess, or reveals unex- pected depths of sexual ardor. This could be seen as the psy- cho-sexual equivalent of Hitch- cock’s love of showing us danger and terror lurking beneath the surface of seemingly everyday Hitch and Madeleine Carroll events and places, such as a on the set of Secret Agent. children’s party (Young and Innocent), an art auction (North by Northwest), a quiet London street (The Man Who Knew Too Much), or a es. Joan Fontaine, tormented by the sinister Judith sleepy small town (Shadow of a Doubt). Anderson in Rebecca, fears her husband is poisoning Like Hitchcock himself, the serial killer in The her in Suspicion. Her fears turn out to be illusory Lodger seems to have it in for blondes: All the (though Hitchcock, if he’d been allowed, would have women he targets are fair-haired, and we see nervous had it otherwise), but Ingrid Bergman really is being blondes donning wigs or pulling down hats before poisoned in Notorious, and again in Under Capricorn. braving the foggy streets, while their brunette col- Bergman was the first of Hitchcock’s actresses leagues laugh smugly. But the first of Hitchcock’s ice with whom he became obsessed, maintaining that she maidens to be thoroughly disarrayed was Madeleine returned his passion. He became similarly fixated on Carroll, who spent much of The 39 Steps handcuffed Grace Kelly and Tippi Hedren. Kelly was put through to Robert Donat, so that every time she moved her it less than her counterparts, though in Dial M for

Hitchcock Blonde •SOUTH COAST REPERTORY P7 cho half-dressed on a bed with her lover, suffers a ter- rible fate for her lack of modesty. The most problematic and extreme instance of Hitchcock’s attitude toward his cool blondes was his treatment of Tippi Hedren. “I had always heard that his idea was to take a woman—usually a blonde— and break her apart, to see her shyness and reserve broken down,” Hedren later recalled. “I thought this was only in the plots of his films.” But the ordeal Hitchcock put her through in filming The Birds (where she was pecked and gouged by very real, panicky birds tied to her with threads) was matched by his obsessive personal pursuit of her off-screen. Hedren’s rejection of his advances strained their rela- tionship during the shooting of Marnie, where her icy blonde image is specifically linked with sexual frigidity. Hitchcock liked to quote the nineteenth-centu- ry French playwright Victorien Sardou’s advice, “Tor- ture the women!” — adding provocatively, “The trouble today is we don’t torture women enough.” Hitch and Grace Kelly. Hitchcock, at least, did his best to make up for the omission.

This article by Philip Kemp is found in Ken Mogg’s book, The Murder she was nearly strangled and then tried for Alfred Hitchcock Story, and is reprinted with the kind per- murder; but more often she served to illustrate Hitch- mission of Kemp and Mogg. cock’s taxi thesis (as outlined previously), revealing hidden fires behind her reserved, classic beauty. In Hitch directs “Tippi” To Catch a Thief, she makes bold physical advances Hedren in Marnie. toward Cary Grant, while in Rear Window she teases the immobilized James Stewart with a filmy negligee, purring about a “preview of coming attractions.” In North by Northwest the alluring but lethal Eva Marie Saint, with her penchant for sex on trains, is equally ambivalent. This view of the cool blonde as sexually schizoid is made explicit in Vertigo where Kim Novak, having seemingly died as the elegant, fair-haired Madeleine Elster, is resurrected as Judy Barton, a brunette dressed and made up to look as tarty as pos- sible. But such overt carnality is rejected by James Stewart. Judy must dye her hair, change her clothes, and become Madeleine again before he’ll make love to her. (The analogy with the director, avidly mold- ing his female stars to fit his template, is inescapable.) To Hitchcock, only when a woman’s sexuality is con- cealed is it truly erotic. In the case of some actresses, it seems that the concealment was too thorough; Hitchcock could do little with the wholesomeness of Doris Day (in the re- make of The Man Who Knew Too Much) or Julie An- drews (in Torn Curtain). Conversely, revealing all too early is dangerous: Janet Leigh, first seen in Psy-

P8 SOUTH COAST REPERTORY • Hitchcock Blonde “Good Evening...” Hitchcock on Hitchcock

Making a film means, first of all, to tell a story. That to one. In these conditions this same innocuous story can be an improbable one, but it should never conversation becomes fascinating because the pub- be banal. It must be dramatic and human. What is lic is participating in the scene. The audience is drama, after all, but life with the dull bits cut out. longing to warn the characters on the screen: “You shouldn’t be talking about such trivial matters. ✘ ✘ ✘ There’s a bomb beneath you and it’s about to ex- plode!” In the first case we have given the public There is a distinct difference between “suspense” fifteen seconds of surprise at the moment of the ex- and “surprise,” and yet many pictures continually plosion. In the second case we have provided confuse the two. I’ll explain what I mean. We are them with fifteen minutes of suspense. now having a very innocent little chat. Let us sup- pose that there is a bomb underneath this table be- ✘ ✘ ✘ tween us. Nothing happens, and then all of a sud- den, “Boom!” There is an explosion. The public is What it boils down to is that villains are not all surprised, but prior to this surprise, it has seen an black and heroes are not all white; there are grays absolutely ordinary scene, of no special conse- everywhere. quence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows ✘ ✘ ✘ it, probably because they have seen the anarchist place it there. The public is aware that the bomb is The Lodger was the first true “Hitchcock movie.” … going to explode at one o’clock and there is a clock It was the first time I exercised my style … We in the décor. The public can see that it is a quarter opened with the head of a blonde girl who is

Hitchcock Blonde •SOUTH COAST REPERTORY P9 screaming. I remember the way I photographed it. I had been intended as a serious picture, it would have took a sheet of glass, placed the girl’s head on the glass been shown as a clinical case with no mystery or sus- and spread her hair around until it filled the frame. pense … In the mystery and suspense genre, a Then we lit the glass from behind so that one would be tongue-in-cheek approach is indispensable. struck by her light hair. Then we cut to show an elec- tric sign advertising a musical play, Tonight, Golden ✘ ✘ ✘ Curls, with the reflection flickering in the water. The girl has drowned … The consternation of the crowd [On Vertigo:] I was intrigued by the hero’s attempts to suggests that a murder has been committed … The re-create the image of a dead woman through another man murders only one who’s alive … The story is divided into women. Always blon- two parts. The first part goes up to des. Madeleine’s death, when she falls from the was intrigued by steeple, and the second part opens with the ✘ ✘ ✘ the hero’s attempts hero’s meeting with Judy, a brunette who to re-create the looks just like Madeline … At first [James] Sex on the screen I Stewart thinks Judy may be Madeleine; then should be suspenseful, image of a dead woman he resigns himself to the fact that she isn’t, I feel. If sex is too bla- on condition that Judy will agree to resemble tant or obvious, there’s through another one Madeleine in every respect … Cinematically, no suspense. You who’s alive … all of Stewart’s efforts to re-create the dead know why I favor so- woman are shown in such a way that he phisticated blondes in –Alfred Hitchcock seems to be trying to my films? We’re after undress her, instead the drawing-room type, of the other way the real ladies, who be- around. What I liked come whores once they’re best is when the girl in the bedroom. Poor Mari- came back after hav- lyn Monroe had sex written ing had her hair all over her face, and dyed blond. James Brigitte Bardot isn’t very Stewart is disappoint- subtle either … I think the ed because she most interesting women, hasn’t put her hair sexually, are the English up in a bun. What women. I feel that the En- this really means is glish women, the Swedes, that the girl has al- the northern Germans, and most stripped, but Scandinavians are a great she still won’t take deal more exciting than the her knickers off … Latin, the Italian, and the Kim Novak locked in discussion with Hitch. French women. Sex should ✘ ✘ ✘ not be advertised … Look at the opening of To Catch a Thief. I deliberately photographed Grace Kelly ice- I’m full of fears and I do my best to avoid difficulties cold and I kept cutting to her profile, looking classical, and any kind of complications. I like everything beautiful, and very distant. And then, when Cary Grant around me to be clear as crystal and completely calm. accompanies her to the door of her hotel room, what I don’t want clouds overhead. I get a feeling of inner does she do? She thrusts her lips right up to his mouth. peace from a well-organized desk. When I take a bath, I put everything neatly back in place. You wouldn’t ✘ ✘ ✘ even know I’d been in the bathroom. My passion for orderliness goes hand in hand with a strong revulsion A mother sometimes demonstrates her love for her toward complications. baby by playing a game that consists of frightening the infant with gestures and sounds like “Boo, brr …” The ✘ ✘ ✘ baby may be scared, but it will laugh and wave, and as soon as it can talk, it will call for more … If Psycho There’s a devil in every one of us.

P10 SOUTH COAST REPERTORY • Hitchcock Blonde SARAH ALDRICH ADRIANA DEMEO DAKIN MATTHEWS Blonde Jennifer Hitch

Artist Biographies

*SARAH ALDRICH (Blonde) is erly Hills, 90210,” and “Total Showcase, This is Our Youth, making her SCR debut. The- Security”; and guest starring Am I Blue, Polaroid Stories, atre credits include Ascension, roles on “Bones,” “Cold Case,” 1940’s Radio Hour and Killing A Safe Distance, Heaven and “CSI: New York,” “Ordinary Icons at the Rutgers Theatre All Things Lovely and All Night Miracles,” “The D.A.,” “Karen Conservatory at the Globe The- Radio at the Electric Lodge; Sisco,” “Charmed,” “Joan of Ar- atre in London. Television Quartet at Coast Playhouse; cadia,” “Strong Medicine,” “CSI: credits include “Law & Order: The Lion in Winter at Pasadena Miami,” “The Phantom Eye,” Criminal Intent,” “Bones,” “Re- Playhouse; and The Comedy of “Born into Exile,” “L.A. Johns,” lated,” “Out of Practice” and a Errors and The Rose Tattoo at “The People,” “Diagnosis Mur- recurring role on “The Prac- the Marysville Playhouse. Film der” and “Jenny.” tice.” credits include Big Bad Wolf, Miracle at Sage Creek, Trees *ADRIANA DEMEO (Jennifer) is *DAKIN MATTHEWS (Hitch) ap- Grow Tall and Then They Fall, making her SCR debut. The- peared at SCR as Andrew Un- Little Black Book, Minimum atre credits include The Mer- dershaft in Major Barbara, Wage, Pledge of Allegiance, The chant of Venice at Shakespeare Arnolphe in Molière's The Syndicate, Becoming Irish and on the Sound; The Miracle School for Wives, and as C. S. Back Road Motel. Her televi- Worker, How to Succeed in Lewis in Shadowlands with sion appearances include con- Business... and Oklahoma! at Kandis Chappell, which earned tract roles on “Port Charles” FPAC; A Midsummer Night’s both of them L.A. Drama Critics and “The Young and the Rest- Dream at the Edinburgh Fringe Circle Awards. He has ap- less”; recurring roles on “Bev- Festival; and Shakespeare peared frequently at The Old

Hitchcock Blonde •SOUTH COAST REPERTORY P11 MARTIN NOYES ROBIN SACHS Husband Alex

Globe, most recently as Casca rently the Artistic Director of the Alabama Shakespeare Festi- in Julius Caesar, Baptista in Andak Stage Company, an As- val; The Three Musketeers, The The Taming of the Shrew, Sir sociate Artist and resident dra- Trojan Women and Much Ado Toby Belch in Twelfth Night, maturg of The Old Globe, and about Nothing at the Oregon and Falstaff in The Merry Wives an Emeritus Professor of En- Shakespeare Festival; Our of Windsor; the Center Theatre glish from Cal State East Bay. Town at A Noise Within; Othel- Group, where he played Dick He was the Founding Artistic lo at the Grove Shakespeare Cheney in Stuff Happens, Ca- Director of The Antaeus Com- Festival; and Zastrozzi, Rosen- pulet in Sir Peter Hall's Romeo pany, the Artistic Director of crantz and Guildenstern Are and Juliet, and Brutus in Julius the Berkeley Shakespeare Fes- Dead, Woyzeck, Picasso at the Caesar; and the American Con- tival and the California Actors Lapin Agile, The Elephant Man servatory Theater of San Fran- Theatre, a founding member of and Good Night Desdemona at cisco. On Broadway, he re- John Houseman's Acting Com- the Center Stage Theatre. Mr. cently dramaturged the Denzel pany, and a Juilliard Drama In- Noyes received his MFA from Washington Julius Caesar and structor. He is also an award- Alabama Shakespeare Festi- appeared in his own adapta- winning playwright and trans- val/University of Alabama. tion of the Tony Award-win- lator, a stage director and a ning production of Shake- Shakespeare scholar. *ROBIN SACHS (Alex) is mak- speare's Henry IV, winning the ing his SCR debut. Theatre Bayfield Award for acting and a *MARTIN NOYES (Husband) credits include The As- Drama Desk Award for adapta- appeared at SCR previously in tronomer’s Garden at the Royal tion. His 20 films include The All the Way Home, Galileo and Court Theatre; The Gay Lord Fighting Temptations, Thirteen A Christmas Carol. Other the- Quex directed by John Gielgud Days, The Siege, The Muse, atre credits include Romeo & at the National Theatre; Henry Nuts, And The Band Played Juliet, The Grapes of Wrath, IV at Her Majesty’s Theatre; On, and Clean and Sober. He Twelfth Night, Measure for and Royal Hunt of the Sun, has also appeared in over 150 Measure, The Merry Wives of Pericles and Twelfth Night at television shows, including, Windsor, Sheppey, Cinderella, the Round House and Her most recently, recurring roles The Two Gentlemen of Verona, Majesty’s Theatre. Film credits on “Desperate Housewives,” A Christmas Carol, A Doll’s include Northfork, Megalodon, “The King of Queens” and House, Much Ado about Noth- Galaxy Quest, The Lost World: “Jake in Progress.” He is cur- ing, Othello and Noises Off at Jurassic Park, Henry VIII and

P12 SOUTH COAST REPERTORY • Hitchcock Blonde His Six Wives, The Disappear- oos Nest (with Chistian Slater), er Award), Richard II, A Mid- ance, Ravager, Vampire Circus Hitchcock Blonde, Entertaining summer Night’s Dream and, and A Flame to the Phoenix. Mr. Sloane, The Graduate (with most recently, Marya (also The His television appearances in- Kathleen Turner), Dead Funny, Old Vic) for the Royal Shake- clude a recurring role as Ethan Hysteria, Elton John’s Glasses speare Company; also, Rayne on “Buffy the Vampire and The Memory of Water. At Amadeus at The Old Vic and Slayer”; leading roles on “Dy- Steppenwolf Theatre in Chica- New York; Hamlet at the Neue nasty: The Reunion,” “Babylon go he directed John Malkovich Schauspielhaus Hamburg; The 5: In the Beginning,” “Life in The Libertine by Stephen Jef- Ship for Glasgow’s Cultural Without George,” “Rob Roy” fries (which was nominated for Capital of Europe Year, 1990 and “Brideshead Revisited”; five Jeff Awards, including Best (Theatre Crafts International and guest starring roles on Production), and most recently Award); and The Big Picnic “Alias,” “Star Trek: Voyager,” directed Stephen’s new play (Harland and Wolff Shipyard, “F/X: The Series,” “Nash Lost Land. He has written tele- Glasgow 1994). West End Bridges,” “Simon Says,” vision drama that has been credits include I, Claudius, “Nowhere Man,” “Diagnosis broadcast worldwide, most re- Mutiny!, Kiss Me Kate, Girl- Murder,” “Murder, She Wrote,” cently Not Only But Always for friends, Matador, Heartbreak “Walker, Texas Ranger,” “Bay- Channel Four and “Cor House, A Streetcar Named De- watch Nights,” “Pacific Blue,” Blimey!” for ITV. He also sire, My Night With Reg, “Chess Game,” “Quiller,” “Her- wrote “The Bite” for the BBC Lenny,The Breath of Life, man’s Head” and “Jake and the and ABC Australia. His film Hitchcock Blonde (Olivier Fatman.” Way Upstream was chosen for Award) and Old Times; and re- the London Film Festival and cently, The Woman in White in PLAYWRIGHT, Insignificance was the official London and New York. For DIRECTOR & DESIGNERS British Entry at Cannes. His the National Theatre Mr. Dud- film about Peter Cook and ley has designed over 50 TERRY JOHNSON (Playwright/ Dudley Moore, Not Only But shows including Lavender Director) has had his work per- Always, was nominated for two Blue, Larkrise to Candleford, formed all over Great Britain BAFTA’s, winning Best Actor Lost Worlds, The World Turned and in New York, Los Angeles, for Rhys Ifans, and was award- Upside Down, Undiscovered Washington, DC, Texas, Syd- ed Best Film at the Banff Film Country (Olivier Award), Dis- ney, Melbourne, Wellington, and Television Festival. patches, Don Quixote, Schweyk Vienna, Dusseldorf, Rotterdam, in the Second World War, The Bucharest, Tel Aviv, Paris, WILLIAM DUDLEY (Set, Costume Mysteries (Olivier Award), The Dublin and Toronto. He is the and Video Design) was born in Real Inspector Hound, The Crit- recipient of nine major British London in 1947. In college he ic (Olivier Award), Entertain- Theatre awards including the studied Fine Art (painting) at St ing Strangers, Waiting for Olivier Award Best Comedy Martin’s School of Art London Godot, Cat on a Hot Tin Roof 1994 and 1999, Playwright of and did his Post Graduate (also in New York), The the Year 1995, Critics Circle work at The Slade School of Shaughraun, The Changeling, Best New Play 1995, two Art UCL London in Stage De- Bartholomew Fair, The Voysey Evening Standard Theatre sign. Mr. Dudley’s designs for Inheritance, The Crucible, The Awards, Writers Guild Best Play theatre include Small Change, Coup, Pygmalion and The Rise 1995, Writers Guild Best Play The Fool, Hamlet (Drama and Fall of Little Voice (both 1996, the Mayer-Whitworth Award), Edmund, Kafka’s Dick, Olivier Awards), On The Ledge, Award 1993 and the John Whit- Etta Jenks and Hitchcock Johnny on a Spot, Under Milk ing Award 1991. In recent Blonde for the Royal Court; Wood, Wild Oats, The Al- years he has had eight produc- Ivanov, That Good Between Us, chemist, The Homecoming, The tions running in London’s West Richard III, The Party, The London Cuckolds, Cleo, Camp- End: One Flew Over the Cuck- Merry Wives of Windsor (Olivi- ing, Emmanuelle and Dick,

Hitchcock Blonde • SOUTH COAST REPERTORY P13 The Forest, Blue/Orange, All My Shakespeare Company (RSC) consulting company, Axiom Sons (Olivier Award), The and Royal National Theatre Lighting Inc, in San Diego. Coast of Utopia (Critics Circle (RNT) in England, as well as Award), Honour and The Per- work for many of this country’s IAN DICKINSON (Composer/ manent Way. Extensive work regional theatres and opera Sound Design) is currently the in opera includes The Barber houses. Notable production Head of Sound at the Royal of Seville and Idomeneo credits include: The Who’s Court Theatre, London, where (WNO), Billy Budd (Metropoli- Tommy (Broadway and world- his numerous credits include tan Opera), The Abduction wide) directed by Des Alice Trilogy, The Woman Be- from the Seraglio and The Bar- McAnuff, which garnered him fore, Stoning Mary (also Drum ber of Seville (Glyndebourne), the Tony Award, Olivier Award Theatre, Plymouth), Breathing Tales of Hoffmann, Der (London), Dora Award (Cana- Corpses, Dumb Show, The Rosenkavalier, Don Giovanni, da), New York Drama Desk Sweetest Swing In Baseball, The Cunning Little Vixen Award, New York Outer Critics Wild East, Shining City (and (Royal Opera House), The Ring Circle Award, Los Angeles Gate, Dublin), Lucky Dog, Blest Cycle (Bayreuth), Un Ballo in Drama Critics Circle Award and Be the Tie (with Talawa TC), Maschera (Salzberg Festival) several other nominations; the Ladybird, Notes on Falling and Lucia di Lammermoor musical The Secret Garden Leaves, Loyal Women, The (Lyric Opera of Chicago). Most (RSC, West End London); the Sugar Syndrome, Blood, Play- recently, he designed The Sil- musical Jane Eyre (Mirvish Co. ing the Victim (with Told By an ver Tassie (English National Toronto, La Jolla Playhouse); Idiot), Fallout, Flesh Wound, Opera) and Lucia di Lammer- Not About Nightingales (RNT, Hitchcock Blonde (and Lyric, moor (Opera National de London, Houston and Broad- West End), Black Milk, Crazy- Paris). Exhibitions: The Rose way) directed by Trevor Nunn blackmuthafuckin'self, Caryl Theatre archeological site (Tony Award nomination, N.Y. Churchill Shorts, Imprint, Bankside London. Films: Per- Drama Desk Award); Les Li- Mother Teresa is Dead, Push suasion for BBC Television and aisons Dangereuses (RSC, Up, Workers Writes, Fucking US Cinema (Bafta Award) 1994, Broadway - Tony Award nomi- Games, Herons and Cutting and The History of the 1587 nation, N.Y. Drama Desk Through the Carnival. Other Rose Theatre 2000. Award); A Midsummer Night’s theatre includes Pillars of the Dream (RSC, Broadway and Community (National Theatre); CHRIS PARRY (Lighting Design) World Tour - Olivier Award A Few Good Men (Haymarket, was born and trained in Eng- nomination); and Translations West End); Port, As You Like It, land. He has lived in the USA (Boston, Broadway). He is an An Experienced Woman Gives for 17 years and has designed Associate Artist of the Alley Advice, Present Laughter, The theatre and opera international- Theatre, Houston. Other work Philadelphia Story, Wolk's ly for 30 years, earning 25 includes a section of the movie World, Poor Superman, Martin major awards and nominations. Renaissance Man and the Yesterday, Fast Food, Coyote For SCR, he has designed 14 KPBS Television Arts program Ugly, Prizenight (Royal Ex- productions: A View from the “Center Stage.” Mr. Parry also change, Manchester); Night of Bridge, Brooklyn Boy, Cyrano received the Lighting Designer the Soul (RSC Barbican); Under de Bergerac, Major Barbara, of the Year Award (1994) from The Curse, Eyes of the Kappa The School for Wives, The the trade publication Lighting (Gate Theatre); Crime & Pun- Beard of Avon, The Hollow Dimensions International. He ishment in Dalston (Arcola Lands, Search and Destroy, The has taught Lighting Design for Theatre); Search & Destroy Miser, The Misanthrope, Private 17 years, is currently Professor (New End Theatre, Hamp- Lives, Death of a Salesman, Ah, and Head of the Design pro- stead); Phaedra, Three Sisters, Wilderness! and Tartuffe. gram at UCSD, and owns his The Shaughraun, Writer's Other highlights include 24 own entertainment and archi- Cramp (Royal Lyceum, Edin- productions for the Royal tectural lighting design and burgh); and The Whore's

P14 SOUTH COAST REPERTORY • Hitchcock Blonde Dream (RSC Fringe, Edin- Dance, specializing in Stage sistant Stage Manager for SCR’s burgh). Management, at UCI in 1994. annual production of A Christ- Earlier this season he stage mas Carol. Previous credits at IAN GALLOWAY for MESMER managed The Caucasian Chalk SCR include the world pre- (Video Realization) is a graph- Circle, Bunnicula and his third mieres of Mr. Marmalade, Get- ics designer and video editor. season of La Posada Mágica. ting Frankie Married—and Af- He has worked as part of Mes- Last season he stage managed terwards, Making It and Nos- mer in various technical and A View from the Bridge, The talgia and productions of Born design roles on Measure for Clean House, The Retreat from Yesterday, Pinocchio, The Little Measure, A Minute Too Late, Moscow and assisted on A Prince, Intimate Exchanges, La Battleship Potemkin (Com- Naked Girl on the Appian Way. Posada Mágica, Anna in the plicite), Julius Caesar (Barbi- Previously he stage managed Tropics and Proof. She has can), The Woman in White Anna in the Tropics, Lovers also had the pleasure of work- (West End and Broadway), and Executioners, Intimate Ex- ing on Clutter: The True Story Miss Saigon (UK Touring), His changes and Mr. Marmalade. of the Collyer Brothers (world Dark Materials, The Permanent He also stage managed the premiere) at The Colony The- Way, Jumpers, The UN Inspec- world premiere of Richard atre; La Perichole and Seven tor (National Theatre), Wagn- Greenberg’s The Violet Hour, Small Operas at Long Beach er's Ring Cycle, 1984 (Royal the West Coast premiere of Opera; The Spitfire Grill at La- Opera House), Blood (Royal Horton Foote’s The Carpetbag- guna Playhouse; and The King Court) and the West End ver- ger’s Children, Relatively and I, Chicago, Ragtime and sion of Hitchcock Blonde Speaking and the world pre- She Loves Me at Maine State (Apollo) among others. Mes- miere of Rolin Jones’ The Intel- Music Theatre. mer aspires to integrate projec- ligent Design of Jenny Chow. tion media into creative display He worked as SCR’s stage man- DAVID EMMES (Producing and performance environ- ager for the Second Stage pro- Artistic Director) is co-founder ments. Their ongoing principal ductions of The Dazzle, True of SCR. He has received nu- is to be fully involved in the West, Play Strindberg, the merous awards for productions design, image production and world premiere of But Not for he has directed during his SCR technical realisation of video Me and the Pacific Playwrights career, including a Los Angeles and projection related activi- Festival workshop production Drama Critics Circle Award for ties. www.mesmer. co.uk of Landlocked. He has worked the direction of George as assistant stage manager on Bernard Shaw’s The Philander- MAGDALENA ZIRA (Assistant the Mainstage productions of er. He directed the world pre- Director) has previously New England, Our Town and mieres of Amy Freed’s Safe in worked at SCR on The Cau- Arcadia and the Second Stage Hell, The Beard of Avon and casian Chalk Circle and The productions of BAFO and Freedomland, Thomas Babe’s Clean House as Assistant Direc- Three Days of Rain. Mr. Tuck- Great Day in the Morning, tor. She received a BA in Clas- er has worked at the Long Keith Reddin’s Rum and Coke sics from Oxford University Beach Civic Light Opera on No, and But Not for Me and Neal and an MA in Drama from No, Nanette, Can Can, A Cho- Bell’s Cold Sweat; the American King’s College London and the rus Line, The King and I and premiere of Terry Johnson’s Royal Academy of Dramatic Man of La Mancha. If you Unsuitable for Adults; the West Art. She has recently directed can’t find him in the theatre, he Coast premieres of C.P. Taylor’s The Seagull, Agamemnon, ’Tis is likely to be on the diamond Good and Harry Kondoleon’s Pity She’s a Whore and Vita or riding his bike down PCH. Christmas on Mars; and the and Virginia. Southland premiere of Top *CHRISSY CHURCH (Assistant Girls (at SCR and the West- *JAMIE A. TUCKER (Stage Man- Stage Manager) just completed wood Playhouse). Other pro- ager) completed his MFA in her second tour of duty as As- ductions include the West

Hitchcock Blonde • SOUTH COAST REPERTORY P15 Coast premieres of Three View- The Drawer Boy; and the West San Francisco State University. ings by Jeffrey Hatcher, The Se- Coast premieres of Peter cret Rapture by David Hare Hedges’ Good As New and Mar- PAULA TOMEI (Managing Di- and New England by Richard tin McDonagh’s The Lonesome rector) is responsible for the Nelson; and Arcadia by Tom West. He has won accolades overall administration of South Stoppard, The Importance of for his direction of five major Coast Repertory and has been Being Earnest by Oscar Wilde, works by George Bernard Managing Director since 1994. Ayckbourn’s Woman in Mind Shaw, including the Los Ange- A member of the SCR staff and You Never Can Tell by les Drama Critics Circle since 1979, she has served in a George Bernard Shaw, which (LADCC) Award-winners Major number of administrative ca- he restaged for the Singapore Barbara, Misalliance and pacities including Subscriptions Festival of Arts. His producing Heartbreak House. Among the Manager, Business Manager responsibilities involve the numerous world premieres he and General Manager. She is overall coordination of SCR’s has directed are Tom Strelich’s the immediate past President of programs and projects. He has BAFO and Margaret Edson’s the Theatre Communications served as a theatre panelist and Pulitzer Prize-winning Wit, Group (TCG), the national ser- onsite evaluator for the Nation- which he also directed at Seat- vice organization for the pro- al Endowment for the Arts, on tle Repertory Theatre and the fessional not-for-profit theater the Executive Committee of the Alley Theatre in Houston. He and serves as a member of the League of Resident Theatres, has directed American classics Board. In addition, she has and as a panelist for the Cali- including Ah, Wilderness!, A served as Treasurer of TCG, fornia Arts Council. After at- Streetcar Named Desire, A Deli- Vice President of the League of tending Orange Coast College, cate Balance and A View from Resident Theatres (LORT) and he received his BA and MA the Bridge. Mr. Benson has has been a member of the from San Francisco State Uni- been honored with the LORT Negotiating Committee versity, and his PhD in theatre Drama-Logue Award for his di- for industry-wide union agree- and film from USC. rection of 21 productions and ments. She represents SCR at received LADCC Distinguished national conferences of TCG MARTIN BENSON (Artistic Di- Achievement in Directing and LORT; is a theatre panelist rector), co-founder of SCR with awards an unparalleled seven and site visitor for the National his colleague David Emmes, times for the three Shaw pro- Endowment for the Arts and has directed nearly one third of ductions, John Millington the California Arts Council; the plays produced here. He Synge’s Playboy of the Western served on the Advisory Com- has distinguished himself in the World, Arthur Miller’s The Cru- mittee for the Arts Administra- staging of contemporary work, cible, Sally Nemeth’s Holy Days tion Certificate Program at the including William Nicholson’s and Wit. He also directed the University of California, Irvine; The Retreat from Moscow, Hor- film version of Holy Days using and has been a guest lecturer ton Foote’s The Carpetbagger’s the original SCR cast. Along in the graduate school of busi- Children and the world pre- with Emmes, he accepted SCR’s ness at Stanford and University miere of Getting Frankie Mar- 1988 Tony Award for Outstand- of California, Irvine. She grad- ried—and Afterwards, the criti- ing Resident Professional The- uated from the University of cally acclaimed California pre- atre and won the 1995 Theatre California, Irvine with a degree miere of Nicholson’s Shadow- LA Ovation Award for Lifetime in Economics and pursued an lands, the Southern California Achievement. Mr. Benson re- additional course of study in premiere of Michael Healey’s ceived his BA in Theatre from theatre and dance.

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

P16 SOUTH COAST REPERTORY • Hitchcock Blonde