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Home , Allan Aynesworth, Carole Shelley, Circle Repertory Company, Des McAnuff, Fay Compton, Jules Irving

38th Season • 365th Production MAINSTAGE / AUGUST 31 THROUGH OCTOBER 7, 2001

David Emmes Martin Benson Producing Artistic Director Artistic Director

presents

by W. SOMERSET MAUGHAM

Scenic Design Costume Design Lighting Design RALPH FUNICELLO WALKER HICKLIN YORK KENNEDY Composer/Sound Design Production Manager Stage Manager MICHAEL ROTH TOM ABERGER *SCOTT HARRISON

Directed by WARNER SHOOK

AMERICAN AIRLINES, Honorary Producers

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

Elizabeth Champion-Cheney ...... *Nancy Bell Arnold Champion-Cheney, M.P...... *John Hines Footman ...... *John-David Keller Mrs. Anna Shenstone ...... *Rebecca Dines Teddie Luton ...... *Douglas Weston Clive Champion-Cheney ...... * Lady Catherine Champion-Cheney ...... * Lord Porteous ...... *William Biff McGuire Jr. Footman ...... Travis Vaden T.T...... Herself

SETTING The action takes place at Aston-Adey, Arnold Champion-Cheney’s house in Dorset, .

ACT I July. Early 1920s. Midday.

ACT II Afternoon. A few days later.

ACT III Later that same evening.

LENGTH Approximately two hours and 35 minutes, including two 10-minute intermissions.

ACKNOWLEDGEMENTS Millinery for Ms. Shelley and Ms. Dines by Arnold Levine, Inc. .

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

Official Airline

Media Partner Media Partner

P - 2 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK Director Warner Shook (with dog) and the cast of ‘The Circle.’ Back row, left to right, Travis Vaden, Dou- glas Weston, Nancy Bell, John Hines, Rebecca Dines and John-David Keller. Seated, Shook, Paxton White- head, Carole Shelley and William Biff McGuire.

PRODUCTION STAFF Assistant Stage Manager ...... *Randall K. Lum Casting Director ...... Joanne DeNaut Assistant to the Director ...... Teresa Pond Assistant to the Costume Designer ...... Linda Davisson Stage Management Intern ...... Collin Morrison Production Electrician ...... Christina L. Munich Additional Costume Staff ...... Jessica Barrios, Valerie Bart, Judith Bennett, Brownwen Burton, Yen Trang-Le, Stacey Nezda

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

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 3 Maugham on Theatre

W. Somerset Maugham, the prolific author of novels, short member of the cast and the cup of strong bitter tea, with stories, essays and travel books, earned his first success as a thick bread and butter, brought in by the charwoman at playwright. In the following passage from his autobiogra- four o’clock. I have never quite lost that little thrill of sur- phy, The Summing Up, Maugham describes his prised amusement I feelings about working in the theatre. felt when in my first play I heard grown was never stage struck. I have known men and women re- dramatists who wandered in every night to peat the lines that Ithe theatre in which their play was being had come so easily acted. They said they did it in order to see that to my pen. It has the cast was not getting slack; I suspect it was interested me to because they could never hear their own words watch the way in spoken enough. Their delight was to sit in a which a part grows dressing room during the intervals and talk over in the actor’s hands this scene or the other, wondering why it had from the first life- fallen flat that night or congratulating them- less reading of the selves on how well it had gone, and watch an typescript to some- actor make up. They never ceased to find the thing like the char- theatrical gossip of the day absorbing. They acter that I have loved the theatre and everything connected with seen in my mind’s it. They had grease-paint in their bones. eye. I have been di- verted by the im- portant discussions about the exact place where a piece of furniture should stand, the self-suffi- Above, Ethel Irving in the ciency of a director, final act of ‘Lady Freder- the tantrums of an ick’ when she forces her actress displeased young admirer to ob- serve her applying her with her positions, makeup. Left, ‘Mrs. Dot’ the artfulness of old with Lena Halliday, players determined and Fred Kerr in 1908. to get the centre of the stage for their scene, and the desultory talk about any subject that came to hand. But the consummation is the dress re- hearsal. There are half a dozen people in the front row of the dress circle. They are the I have never been like that. I like a theatre best dress makers, subdued as though they were in church, but when it is under dust-sheets, the auditorium in darkness, very business-like; they exchange short, sharp whispers with and the unset stage, with the flats stacked against the back one another during the performance and make little signifi- wall, is lit only by footlights. I have passed many happy cant gestures. You know that they are speaking of the hours at rehearsals; I have liked their easy camaraderie, the length of a skirt, the cut of a sleeve, or the feather in a hat; hurried lunch at a restaurant around the corner with a and the moment the curtain falls, the pins already in their

P - 4 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK tain is lowered to set the scene for the next act and the cast separate to their dressing rooms to change. The dressmak- ers vanish and the old actors slink round the corner to have a drink. The management despondently smoke gaspers, the wives and mothers of the cast talk to one another in undertones, and the author’s agent reads the racing news in the evening paper. It is all unreal and exciting. At last the dressmakers filter through the fireproof door and resume their seats, the representatives of rival firms at a haughty distance from one another, and the stage- manager puts his head round the curtain. "All ready, Mr. Thing," he says. "All right. Fire away. Curtain up."

mouths, they hurry through the door on to the stage. The director shouts "curtain up" and when it rises an actress snatches herself away from an agitated colloquy with two grim ladies in black. In the stalls are the photographers, the manage- ment and the man from the box-office, the mothers of the actresses in the cast and the wives of the actors, your own agent, a girl-friend of yours, and three or four old actors who haven’t had a part for twenty years. It is the per- fect audience. After each act the director reads out the re- marks he has jotted down. There is a row with the elec- trician, who, with nothing to do but attend to his switches, has turned on the wrong ones; and the author is indig- nant with him for being so careless and at the same time indulgent because he has a notion that the electri- cian only forgot his work be- cause he was so absorbed in the play. Perhaps a little scene is repeated; then the effective positions are ar- ranged and with sudden Above left, Kenneth Douglas, Estelle Winwood and Lawrence Grossmith in ‘Too Many Husbands’ blares of flash-light pho- in New York, 1919. Above, Bernard Partridge’s drawing in ‘Punch’ of an aggrieved Shakespeare surrounded by evidence of Maugham’s prodigious success as a playwright. tographs are taken. The cur-

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 5 Is n ’ t Love Awf u l ? Somerset Maugham’s Thoughts on Marriage, Women and Love Perfection is what American women expect to find in their husbands…but English women only hope to find in their but- lers. ❖❖

It is seldom that a man loves once and for all; it may only show that his sexual instincts are not very strong.

❖❖

She’s unmarried. She told me that in her o p i nion marriage was bound to be a failure if a woman could only have one husband at a time. ❖❖ ❖❖ It goes hard with a woman who fails to adapt herself to the prevalent No man in his heart is quite so cyni- masculine conception of her. cal as a well-bred woman.

❖❖ ❖❖

The three duties of women. The It’s awful, love, isn’t it? Fancy any- first is to be pretty, the second is to one wanting to be in love. be well-dressed, and the third is never to contradict. Pictured on this page the 1921 produc- ❖❖ tion of ‘The Circle.’ Above, clockwise from top, Tonie Edgar Bruce (Mrs. Shenstone), (Lady Cather- If it were possible to dissolve mar- ine), (Edward Luton) , E. Holman Clark (Clive) and riage during the first year not one in (Lord Porteous); fifty couples would remain united. (Elizabeth) and (Arnold); Venne and Comp- ton.

P - 6 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK LiveTheatre! THERE’S NOTHING LIKE IT IN THE WORLD. outh Coast Repertory’s exuberant new season will Sfeature performances by America’s most outstanding artists in productions illuminated by stunning sets and sumptuous costumes. Get set to be thrilled by: • CLASSIC PLAYS in fresh, exhilarating productions • MODERN MASTERPIECES by theatre’s most revered playwrights • WORLD PREMIERES by hot writers everyone’s talking about • LATEST HITS from the stages of London and New York SUBSCRIBERS GET EVEN MORE! • GreatPLAYS! • GreatSEATS! • GreatSAVINGS! 2001-02Season August 31, 2001 - May 5, 2002 M a i n s t a g e TheCircle by W. SOMERSET MAUGHAM Second Stage TheHomecoming by HAROLD PINTER HoldPlease WORLD PREMIERE TheSchoolforWives by ANNIE WEISMAN by MOLIERE Nostalgia LobbyHero WORLD PREMIERE WEST COAST PREMIERE by LUCINDA COXON by AnExcitingPremiere GettingFrankie Media Partner: Married—andAfterwards TheDazzle WORLD PREMIERE WEST COAST PREMIERE by HORTON FOOTE by RICHARD GREENBERG Subscriptions still available! Call (714)708-5555 or visit our website at www.scr.org

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PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 7 Cynicism and the of Life When The Circle premiered in 1921, critic Desmond struck me in human beings is their lack of consistency. I MacCarthy hailed it as “a decided step forward on the road have never seen people all of a piece. It has amazed me towards the creation of (Maugham’s) genuine cynical mas- that the most incongruous traits should exist in the same terpiece.” Over the years, the term “cynical” surfaced re- person and for all that yield a plausible harmony. I have peatedly as a means of often asked myself how describing Maugham’s characteristics, seem- response to the world ingly irreconcilable, can around him. Accord- exist in the same per- ing to MacCarthy, “In son. I have known the aquarium of life, he crooks who were capa- sees aristocratic sharks, ble of self-sacrifice, humble greedy pike, sneak thieves who were gorgeous octopuses, sweet-natured and har- fair drifting jelly-fish, lots for whom it was a and occasionally he no- point of honour to give tices a flat, good-na- good value for money. tured sole at the bottom The only explanation I of the tank who is con- can offer is that so in- tent to lie modestly in stinctive is each one’s the sand.” Unquestion- conviction that he is ably a delightful come- unique in the world, dy, The Circle remains and privileged, that he one of Maugham’s most feels that, however loved and performed wrong it might be for plays, and although others, what he for his the scandalous behav- part does, if not natural ior of its characters and right, is at last may not shock audi- venial. The ences today, Maugh- contrast that am’s special brand of I have cynicism still comes found in through loud and people clear. The following has inter- passage by Maugham ested me, from The Summing Up but I do discusses his own views not think I on cynicism and have unduly human nature.

have been called cynical. I have been accused of making men out worse empha- Ithan they are. I do not think I have done this. All I sized it. have done is to bring into prominence certain traits that The censure that many writers shut their eyes to. I think what has chiefly has from time to time been passed After the war, Maugham returned to the Villa Mauresque, where on me is due he is shown, above center, in white ducks and espadrilles, in perhaps to the 1951, a youthful 77. Right, H. Andrew Freeth’s etching of Maugh- am. fact that I

P - 8 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK the , and I am willing enough to shrug a tolerant shoulder at their wickedness. I am not my brother’s keep- er. I cannot bring myself to judge my fellows; I am content to observe them. My observation has led me to the belief that, all in all, there is not so much difference between the good and the bad as the moralists would have us believe.

Left, one of the earliest of Gerald Kelly’s portraits of Maugham. This one was painted in 1907. Below, Maugham, a life-long bridge addict, playing a hand at Crockford’s Club, as he ap- proached his eightieth birthday.

have not expressly condemned what is bad in the characters of my invention and praised what was good. It must be a fault in me that I am not gravely shocked at the sins of others unless they personally affect me, and even when they do I have learnt at last generally to excuse them. It is meet not to expect too much of others. You should be grateful when they treat you well, but unperturbed when they treat you ill. “For every one of us,” as the Athe- nian Stranger said, “is made pretty much what he is by the bent of his desires and the nature of his soul.” It is want of imag- ination that prevents people from seeing things from any point of view but their own, and it is unreasonable to be angry with them because they lack this faculty. I think I could be justly blamed if I saw only people’s faults and were blind to their virtues. I am not conscious that this is the case. There is nothing more beauti- ful than goodness, and it has pleased me very often to show how much of it there is in persons who by common standards would be relentlessly condemned. I have shown it because I have seen it. It has seemed to me sometimes to shine more brightly in them because it was surround- ed by the darkness of sin. I take the good- ness of the good for granted, and I am amused to discover their defects or vices; I am touched when I see the goodness of

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 9 NAN C Y BEL L REB E C C A DIN E S JOH N HIN E S Elizabeth Champion-Cheney Mrs. Anna Shenstone Arnold Champion-Cheney, M.P.

Ar tist Biographies

*NANCY BELL (Elizabeth Champi- p e a red at Edinburgh and Spoleto Nothing, Love’s Labour’s Lost and A o n - C h e n e y) a p p e a red at SCR as International Festivals. Her televi- Midsummer Night’s Dream at the Ann Deever in All My Sons and as sion credits include “Guiding Light,” Shakespeare Festi- Julia Craven in . “,” “Newsradio,” val. She earned Bay Area Theatre Most recently she appeared in the “Chicago Hope,” “Star Trek Vo y a g e r, ” Critics Circle Awards for her roles world pre m i e re of Polish Joke at A “Law and Order,” “Payne,” “The in The Homecoming, As Bees in Contemporary Theatre in Seattle. Journey of Alan Strange” and the Honey Drown a n d The Man Who Regional theatre credits include television films T h i r s t and A m e r i- Came to Dinner. She also re c e i v e d McCarter Theater, Berkeley Reper- can Tr a g e d y. Bay Area Theatre Critics Circle tory Theatre, Dallas Theatre Center, Award nominations for P r e s e n t Studio Arena Theatre, Baltimore *REBECCA DINES (Mrs. Anna Laughter and . H e r Center Stage, Berkshire Theatre S h e n s t o n e) is making her SCR film and television credits include Festival, Cincinnati Playhouse, Pa- debut. Her theatre credits include Death of a Soldier, The Dunera permill Playhouse, Repertory The- Love’s Labour’s Lost a n d Much Ado Boys, Going Sane, The Clean Ma- a t re of St. Louis and the Georgia about Nothing at the Lake Ta h o e chine, “Prisoner Cell Block H” and S h a k e s p e a re Festival. In New Yo r k , S h a k e s p e a re Festival, The Home- “ Te l e c l u b . ” she has appeared at the New Yo r k c o m i n g and Widowers Houses at Au- T h e a t re Workshop, Ensemble Stu- rora Theatre Company, As Bees in *JOHN HINES (Arnold Champi- dio Theatre, Waterline Theatre Honey Drown, Psychopathia Sexu- o n - C h e n e y, M.P.) is making his SCR C o m p a n y, Surf Reality, Grove Stre e t a l i s, Present Laughter, Once in a debut. His New York theatre cre d i t s T h e a t re, Tribeca Lab and Alice’s L i f e t i m e, The Man Who Came to include Labor Day at Manhattan Fourth Floor, variously as an ac- D i n n e r, As You Like It, La Bete a n d T h e a t re Club, Spring Aw a k e n i n g a t t ress, writer or dire c t o r. In Los An- Mrs. Klein at Theatre Wo r k s , New York Performance Wo r k s h o p geles, she has appeared with Stonewall Jackson’s House at the and Black Snow at the Judith An- Odyssey Theatre Ensemble, Echo E u reka Theatre, Old Times at ACT, derson. His regional theatre cre d i t s T h e a t re Company and Grindstone The Real Thing at the Marin The- include Way of the World, Betrayal, T h e a t re Company. Ms. Bell has ap- a t re Company and Much Ado about P e n t e c o s t and The Skin of Our Te e t h

P - 10 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK JOH N -D AV I D KEL L E R WIL L I A M BIF F MCGUI R E CAR O L E SHE L L E Y Footman Lord Porteous Lady Catherine Champion-Cheney

at Yale Repertory; Enchanted April He also narrates the fifth grade con- a (opposite Jessica Ta n d y at Hartford Stage; Richard II at the certs for the Orange County Phil- and directed by Hume Cronyn); Goodman Theatre; and The Invisible harmonic Society. His love of clas- Sean O’Casey’s Pound on Demand; M a n at the Cleveland Playhouse. sical music has afforded him the op- Bedtime Story (with Ms. Tandy and His film and television credits in- portunity to perform with the Na- M r. Cronyn); the 1973 revival of A clude The Devil and Daniel We b s t e r, tional Symphony Orchestra and the Streetcar Named Desire; C o n v e r s a- The Tao of Steve, 54, Best Man in Sydney Philharmonic when they tions with My Father, directed by Grass Creek (also writer), The t o u red in Orange County. Dan Sullivan; and the original En- Money Shot, “Spin City,” “Sex and semble Theatre production of the City” and “Law and Order. ” *WILLIAM BIFF McGUIRE (L o r d ’s The Last Ya n k e e. In P o r t e o u s) was born in America, but 1960, he met and married his co- * J O H N - D AVID KELLER (F o o t - made his theatrical debut in Lon- star Jeannie Carson when they ap- m a n) is a member of SCR’s re s i d e n t don under the leadership of Ty r o n e p e a red in and recorded the ac- acting company, and is often re- Guthrie in the original production claimed Broadway revival of F i n i- f e r red to as “the last of the barna- of William Saroyan’s The Time of an’s Rainbow. Seattle Repertory he cles.” He has been with the compa- Your Life, directed by Peter a p p e a red in She Stoops to Conquer, ny since 1973 working as both an Glenville. Mr. McGuire was a lead- The Real Inspector Hound, Dancing actor and dire c t o r. He has dire c t e d ing actor with the Guthrie Theatre , at Lughnasa, Strider, Enemy of the A Christmas Carol for its entire 21- C a n a d a ’s Stratford-on-Avon under People, Our Town, The Merry Wives year history. He is responsible for the direction of John Hirsch (cre a t- of Windsor, Moon for the Misbegot- d i recting SCR’s Educational To u r i n g ing the role of Hugh the schoolmas- ten, The Cherry Orchard, You Can’t Productions, and is working on ter in Brian Friel’s award-winning Take it With You, Conversations Power Play, which opens in January p re m i e re of Tr a n s l a t i o n s), New with My Father, Long Day’s Jour- 2002. Among his directing cre d i t s Yo r k ’s under the di- ney Into Night, Richard III, Mea- a re Godspell, Jacques Brel, In Fash- rection of Jules Irving, the Denver sure for Measure, , ion, The Real Inspector Hound Center under the direction of Ed- , Cat on a Hot Tin Roof, ( S C R ’s first Equity show), Peg O’ ward Payson Call. Mr. McGuire has , and the Rep’s My Heart a n d To m F o o l e r y, to name a p p e a red in leading roles in numer- own Inspecting Carol. Mr. a few. He has also acted in many ous original Broadway productions M c G u i re ’s films include S e r p i c o , shows at SCR. Last season Mr. including South Pacific; Dance Me a The Heart is a Lonely Hunter, The Keller appeared in Much Ado about Song; The Greatest Man Alive; Thomas Crown Affair, Station Six N o t h i n g and in the previous season Catonsville Nine; Father’s Day; Sahara, The Gary Powers Story, t o u red with the Educational To u r- ; A View from the Bridge; Nero Wo l f and M i d w a y. He has ing Production of My Mom’s Dad. Tower Beyond Tragedy; Portrait of been a leading actor on television

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 11 classic . Disney An- imated Features are Hercules, The A r i s t o c a t s and Robin Hood.

*DOUGLAS WESTON (Te d d i e L u t o n) is delighted to return to SCR. He played Will Shakespeare in the world pre m i e re of The Beard of Av o n h e re last season and was The Philanderer in 1999, for which he received the Drama Critics Circle Award. He was also nominated by the LADCC for his performance as Septimus in A r c a- d i a at The Mark Taper Forum. DOU G L A S WES T O N PAX T O N WHI T E H E A D Other theatre credits include B l o o d Teddie Luton Clive Champion-Cheney Brothers on Broadway, The Sleeping H i p p o and Working Title O f f - B r o a d- w a y, W h i t e s t o n e s (La Mama Etc.) from “the golden years” to the pre- S i m o n ’s , d i rected by and W h i t e w a t e r (The Performing sent. He served with the 80th Divi- Daniel Sullivan. Other Broadway Garage), Torvald in N o r a (The La sion 305 Combat Engineers in Wo r l d c redits include The Odd Couple ( N Y Jolla Playhouse), the title roles in War II, attended the Nuremberg tri- debut), The Miser, Stepping Out (Merrimack Rep.) and in als and helped to rebuild the We i s- ( Tony nomination), Noises Off, The Peter Pan (The Barter Theatre ) , baden Opera House. Mr. McGuire Elephant Man ( Tony Award, Best Mrs. Warren’s Profession ( Ya l e attended Massachusetts Stage Col- A c t ress), , The Norman Rep.), Don Juan (Center Stage) lege, Shrivenham University in Eng- Conquests (LADCC Award), A b s u r d and Rough Crossing ( M c C a r t e r land, and New Yo r k ’s Art Student’s Person Singular ( Tony nomination) Theater Center). Film and televi- League. As a writer, he adapted and Loot. National Tours include sion includes Six Days Seven Nights James Thurber’s Q u i l l o w and the , The Royal Fami- (Disney), Fools Rush In G i a n t for BBC-TV and served as ly (both LADCC Nominations) and (Columbia), Sex and the City staff writer for the NBC award-win- Noises Off. Repertory appearances (HBO), “Two Guys a Girl and a ning “Mr. Peepers.” Many of his include The Country Wife, , Pizza Place” (ABC), “The Hughlies” original dramas have been seen on Twelfth Night and (UPN), “Liberty” (PBS) and the NBC, BBC, and ITV television. On at Stratford, CT; The Club, Dear An- indie films Guardian, Quicksand, 7 Broadway he appeared in The Yo u n g toine a n d Waiting for the Parade i n Songs a n d The Rule of Three. He Man From Atlanta and received a London, , directed by Robin has recorded several Plays for Radio Tony nomination for best feature d Phillips; as a member of the Canadi- for LA Theatreworks on KCRW and a c t o r. an National Shakespeare Company he is the Artistic Director of The of Stratford, Ontario, tours of K i n g G reenlight Group for whom he pro- *CAROLE SHELLEY (Lady Cather- L e a r and Taming of the Shrew duced A Servant of 2 Masters a t ine Champion-Cheney) is making (Russia/Europe). Off Broadway ap- Bergamot Station. her SCR debut. She recently ap- pearances include Richard II p e a red on Broadway as Frau (NYSF), Later Life (Drama Desk * PAXTON WHITEHEAD (C l i v e Schneider in C a b a r e t. She was also Nomination), Ve r b o t e n , Champion-Cheney) p reviously ap- seen on Broadway in Hal Prince’s What the Butler Saw, Little Mur- p e a red at SCR as Frank Foster in critically acclaimed revival of S h o w ders, Twelve Dreams (Obie Aw a r d ) How the Other Half Loves a n d C a p- B o a t and starred in Alfred Uhry’s and Tartuffe. Her last appearance tain Shotover in Heartbreak House. Broadway production of The Last in the West End was as Lettice in M r. Whitehead has performed on Night of Ballyhoo. Prior to that, she Lettice and Lovage, d i rected by Broadway in , A Little a p p e a red in The Film Society by Jon . Her films in- Hotel on the Side, Lettice and Lo- Robin Baitz, directed by Roger Rees. clude Quiz Show, The Road to vage with , Artist De- She starred in New York in Neil Wellville, Jungle to Jungle and the scending a Staircase by Tom Stop-

P - 12 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK pard, Run For Your Wife, Noises Off, the son of a wealthy solicitor who (1915), was published. This was Camelot with , C r u- worked for the British Embassy in followed by another successful cifer of Blood as , France. Orphaned at 10, he went to book, Habeas Corpus, Candida, Beyond live with his uncle, the Rev. Henry (1919). Maugham also developed a the Fringe and The Affair by C.P. Maugham. While training to be a reputation as a fine short-story S n o w. An Associate Artist of the doctor Maugham worked as an ob- w r i t e r. One story, R a i n, which ap- Globe Theatres in San Diego, he has stetric clerk in the slums of Lam- p e a red in The Trembling of a Leaf just appeared there as in beth. He used these experiences to (1921), was also adapted into a sev- Twelfth Night and previously as T h e help him write his first novel, L i z a eral feature films. Popular plays M i s e r, Richard III, Sir Peter Te a z l e of Lambeth (1897). The book sold written by Maugham include T h e in School for Scandal, Sir Anthony well and he decided to abandon C i r c l e (1921), East of Suez ( 1 9 2 2 ) , Absolute in The Rivals, Benedick in medicine and become a full-time (1926) and the , and di- w r i t e r. Maugham achieved fame anti-war play rected and Beyond the with his play (1932). In his later years Maugham Fringe. M r. Whitehead has ap- (1907), a comedy about money and wrote his autobiography, The Sum- p e a red in Los Angeles in Woman in marriage. By 1908 Maugham had ming Up (1938) and works of fic- M i n d, How the Other Half Loves, four plays running simultaneously tion such as The Razor's Edge , Camelot in London. On the outbreak of the (1945), C a t a l i n a (1948) and Q u a r- and Noises Off. As Artistic Dire c t o r First World Wa r, Maugham, now t e t (1949). He died in 1965. of the , Niagara on the aged 40, joined a Red Cross ambu- Lake, Canada, he produced, dire c t- lance unit in France. While serving WARNER SHOOK (D i r e c t o r) di- ed and/or appeared in 27 produc- on the Western Front he met the 22 rected SCR’s productions of Yo u tions of plays year old American, Gerald Haxton. Can’t Take It with You, Frankie and between 1967-77, and was in the The two men became lovers and Johnny in the Clair de Lune a n d London production of H e a r t b r e a k lived together for the next 30 years. Beyond Therapy. He directed the House with and Diana During the war Maugham was invit- p re m i e re of the Pulitzer Prize-win- Rigg. His film credits include T h e ed by Sir John Wa l l i n g e r, head of ning The Kentucky Cycle on Broad- Adventures of Huck Finn, Back to Britain's Military Intelligence w a y, the Mark Taper Forum and the School, Baby Boom, Chips, the Wa r (MI6) in France, to act as a secre t Kennedy Center. He served as Dog and the upcoming Kate and service agent. Maugham agre e d Artistic Director of the Intiman L e o p o l d. His TV work includes and over the next few years acted T h e a t re in Seattle from 1992 to “Marblehead Manor” (series), as a link between MI6 in London 1999. While there he directed A n- “Simon” (series), “, ” and its agents working in Europe. gels in America, , “,” “Ellen,” “Mad About Yo u , ” In 1915, Syrie Wellcome, the daugh- , Who’s Afraid of “,” and ter of Dr. Thomas Barnardo, gave Virginia Woolf?, Faith Healer, Three “ Tales from the .” birth to his child. Her husband, Tall Women and Molly Sweeney Henry Wellcome, cited Maugham as among others. Other regional the- P L AY W R I G H T, c o - respondent in divorce proceed- a t re credits include the world pre- D I R E C T O R ings. After the divorce in 1916, m i e re of The Mandrake Root w r i t- & D E S I G N E R S Maugham married Syrie but contin- ten by and starring ued to live with Gerald Haxton. at the Long Wharf; The Man Who WILLIAM SOMERSET MAUGH- During the war, Maugham's best- Came to Dinner at Oregon Shake- A M (P l a y w r i g h t) was born in 1874, known novel, s p e a re Festival; Love! Valour! Com-

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PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 13 p a s s i o n ! at Berkeley Repertory; C a t s p e a rean Festival of Canada and the p a n i o n; Prelude to a Kiss with Alec on a Hot Tin Roof at American Con- Globe Theatres, where he is an As- Baldwin, Meg Ryan and Kathy servatory Theatre; Sister Mary Ig- sociate Artist. He has had a long as- Bates; R e c k l e s s starring Mia Farrow; natius Explains It All For Yo u a n d sociation with the Mark Ta p e r and the upcoming Foolish Hearts Brian Friel’s Tr a n s l a t i o n s at LA Forum and worked for 23 years with and Lily and Rose. Most re c e n t l y, Stage Company; Mrs. a t San Francisco’s American Conserva- M r. Hicklin designed Looking for the Mark Taper Forum, the Ameri- tory Theatre, where he was Dire c t o r N o r m a l, starring Beau Bridges, can pre m i e re of Breaking the Si- of Design. Mr. Funicello designed and Michael l e n c e and Bus Stop starring Lea the scenery for the acclaimed pro- Learned at the Geffen Playhouse T h o m p s o n at the Pasadena Play- duction of La Rondine for New Yo r k and A Moon for the Misbegotten f o r house. At Intiman he produced the City Opera and The Taming of the the Hangar Theatre where he is an world pre m i e res of Ellen McLaugh- S h r e w for PBS. He served on the associate artist. For Nadine. l i n ’s Tongue of a Bird, Chay Ye w ’s National Endowment for the Arts Red, Leslie Ay v a z i a n ’s Nine Armeni- t h e a t re panel, and his work is fea- Y O R K K E N N E D Y (Lighting De- ans, J e f f rey Hatcher’s S m a s h a n d t u red in the book American Set De- s i g n e r) returns to SCR having de- p resented in s i g n. He is currently the Powell signed productions for theatre s Twilight and Lynn Redgrave in Chair in Set Design at San Diego across the country including Berke- Shakespeare for My Father. He has U n i v e r s i t y. ley , San Francis- been honored with a Bay Area The- c o ’s ACT, , Seattle a t re Critics Best Director Award for WALKER HICKLIN (Costume De- Repertory Theatre, Alley Theatre , Love! Valour! Compassion! and a s i g n e r) has designed 27 Mainstage Yale Repertory Theatre, Indiana nomination for a Best productions, among them T h e R e p e r t o r y, Brooklyn Academy of D i rector Award for The Kentucky Beard of Avon, Much Ado about Music and the Whitney Museum in C y c l e . Next spring he will again di- Nothing, The Philanderer ( G a r l a n d New York. Designs for South Coast rect The Mandrake Root s t a r r i n g Aw a r d ), On the Jump, Ah, Wilder- Repertory include last season’s B o- Ms. Redgrave in New Yo r k . n e s s !, Arcadia, , soms and Neglect and previous pro- , The Cherry Or- ductions of All My Sons, The Nor- RALPH FUNICELLO (Scenic De- chard, Dancing at Lughnasa a n d man Conquests, Good as New, s i g n e r) is back at South Coast Great Day in the Morning (Los An- Hedda Gabler, Old Times and L i p s Repertory for his 18th season. geles Drama Critics Circle Aw a r d ) . To g e t h e r, Teeth Apart. He has re- Among his SCR credits are the de- He has designed more than 175 pro- ceived D r a m a - L o g u e, San Diego signs for The Education of Randy ductions for the theatre in New Yo r k Drama Critics Circle, Back Stage Newman, The Piano Lesson, (both On and Off-Broadway), and in We s t Garland, Arizona Theatre Crit- Ta r t u f f e, Private Lives, Old Times, leading resident theatres through- ics and Bay Area Theatre Critics , Six Degrees of out the country, including Hartford Circle awards for theatrical lighting S e p a r a t i o n, She Stoops to Folly, T h e Stage, Long Wharf Theatre, Tr i n i t y design. In the dance world, as a M i s a n t h r o p e, Dancing at Repertory Company, Baltimore Cen- stage manager and lighting design- L u g h n a s a, Hedda Gabler, T h e ter Stage, Arena Stage, New Yo r k e r, he has toured with the M i s e r, Twelfth Night, Happy End, S h a k e s p e a re Festival, The Kennedy Malaschock Dance and Co. in Amer- Kiss of the Spider Wo m a n, S p e e d - C e n t e r, New York Theatre Wo r k- ica and extensively throughout T h e - P l o w, Going for Gold, Misal- shop, Manhattan Theatre Club, the Poland, Romania and Macedonia. A l i a n c e, Highest Standard of Living, Alley Theatre, Berkeley Repertory graduate of the California Institute Buried Child, G o o d and D a. His T h e a t re and American Conservatory of the Arts and the Yale School of work has been seen On and Off- T h e a t re, among others. Mr. Hicklin Drama, he has lectured at numer- B r o a d w a y, and at many re s i d e n t was Associate Artist of New Yo r k ’s ous universities and served for two t h e a t res including the Lincoln Cen- famed Circle Repertory Company, years as head of lighting design at ter Theatre, Intiman Theatre, Seat- w h e re he designed more than 20 San Francisco State University. An tle Repertory Theatre, Denver Cen- productions including The Balti- a r c h i t e c t u re lighting designer and ter Theatre, Berkeley Repertory more Wa l t z (), T h e consultant with Gallegos Lighting T h e a t re, Guthrie Theater, McCarter Fiery Furnace starring Design, his current projects include Theater Center, The Oregon Shake- and The Size of the World with Rita the Lego Imagination Center at Dis- s p e a re Festival, Milwaukee Reper- M o reno. He designed costumes for neyland Chicago, the Port Colum- tory Theatre, Stratford Shake- the feature films Longtime Com- bus Civil War Naval Center in

P - 14 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK Columbus, Georgia, the Mississippi B o g a r t ’s The Wo m e n, collaborating *RANDALL K. LUM (A s s i s t a n t River Discovery Center in Dubuque, with Tom Stoppard and Care y Stage Manager) begins his 12th Iowa and numerous residential pro- Perloff on the American pre m i e re s season of stage managing shows at jects throughout Northern Califor- of Indian Ink and The Invention of SCR with The Circle. During his n i a . Love at ACT, Des McAnuff’s film long association he has had the Bad Dates, the independent feature p l e a s u re of working on over a dozen MICHAEL ROTH (C o m p o s e r / Holy Days and the s e c t i o n world pre m i e re s and as one of SCR’s Sound Designer), a composer and of Penny Marshall's The Renais- resident stage managers, he has sound designer for theatre, film, sance Man. The CD of Mr. Roth's been associated with more than 50 dance and chamber ensembles, is chamber opera “Their Thought and productions. In 1997, Mr. Lum pleased to be back at SCR, where he Back Again” is available through e- stage managed the AIDS Benefit was most recently co-conceiver, or- mail at [email protected]. “Help is on the Way III” at the chestrator and music director for Palace of Fine Arts in San Francis- The Education of Randy Newman. *S C O T T H A R R I S O N (Stage Man- co. Other stage managing cre d i t s Other collaborations with Mr. New- a g e r) returns for his 12th season include the American Conservatory man include orchestrating his with SCR. Last season he stage T h e a t re in San Francisco, the Globe F a u s t and editing two songbooks for managed Everett Beekin, A Christ- T h e a t res in San Diego, Berkeley Warner Bros. Mr. Roth’s work has mas Carol, Much Ado about Noth- Repertory Theatre, San Jose Civic been heard in more than 35 produc- i n g and The Beard of Avon. He has Light Opera, VITA Shakespeare Fes- tions at SCR, including Donald Mar- stage managed an additional 27 tival, Pacific Conservatory of the gulies’ Dinner with Friends ( d i re c t- shows on the Mainstage, as well as Performing Arts, Long Beach Ballet, ed by Dan Sullivan, also seen Off- the pre m i e re of La Posada Mágica S a n Francisco Convention Bure a u Broadway), Sight Unseen (also Off- and I Am Celso on the Second and Kawasaki Motorcycles. He Broadway), and the Culture Stage. He has previously served as would like everyone to take a mo- Clash/John Glore musical adapta- Assistant Stage Manager on more ment to remember all those who tion of The Birds (also at Berkeley than 33 Mainstage productions. have lost the battle and all those Rep). At , where Prior to joining SCR, he served for still suffering and fighting the AIDS he has been resident composer for two seasons as Stage Manager for epidemic. over 30 productions, he has been The Broadway Series at La Mirada pleased to work with Lee Blessing T h e a t re for the Performing Arts. D AVID EMMES (Producing Artis- (including A Walk in the Wo o d s, M r. Harrison is a graduate of Pep- tic Director) is co-founder and Pro- also on Broadway and PBS), perdine University, where he re- ducing Artistic Director of SCR, one Michael Greif, , Bill ceived his BA in Theatre Arts. He of the largest professional re s i d e n t Irwin, Peter Sellars, Jeff We i s s , has also stage managed at Intiman t h e a t res in California. He has re- Kate Whoriskey and many others. T h e a t re in Seattle, San Francisco’s ceived numerous awards for pro- Collaborations with Mac We l l m a n Palace of Fine Arts, Shakespeare ductions he has directed during include their music/theatre pre- Festival/Los Angeles, Highways Per- S C R ’s 37-year history, including a m i e re The Allegory of Whiteness formance Space and the St. Gene- 1999 Los Angeles Drama Critics Cir- (2001 Humana Festival, directed by sius Theatre. Mr. Harrison would cle Award for the direction of Lisa Peterson); the pre m i e res of like to take this opportunity to ac- George Bernard Shaw’s The Philan- Terminal Hip, Bad Penny and T h e knowledge and continuously sup- d e r e r. He directed the world pre- Lesser Magoo; and directing A l b a n i- port his friends and colleagues who m i e res of Amy Fre e d ’s The Beard of an Softshoe. Other projects: Anne a re battling the fight of AIDS. Av o n and Freedomland, T h o m a s

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 15 B a b e ’s Great Day in the Morning, colleague David Emmes. As one of Along with David Emmes, Mr. Benson Keith Reddin’s Rum and Coke a n d S C R ’s chief directors, Mr. Benson has accepted SCR’s 1988 Tony Award for But Not for Me and Neal Bell’s C o l d d i rected nearly one third of the plays Outstanding Resident Professional S w e a t; the American pre m i e re of produced here in the last 37 years. T h e a t re and won the 1995 Theatre Terry Johnson’s Unsuitable for He has distinguished himself in the LA Ovation Award for Lifetime A d u l t s; the West Coast pre m i e res of staging of contemporary work, most Achievement. Mr. Benson re c e i v e d C . P. Ta y l o r ’s Good and Harry Kon- notably Paul Osborn’s Morning’s at his BA in Theatre from California d o l e o n ’s Christmas on Mars; and the S e v e n, the critically acclaimed Cali- State University, San Francisco. Southland pre m i e re of Top Girls ( a t fornia pre m i e re of William Nichol- SCR and the Westwood Playhouse). s o n ’s S h a d o w l a n d s, Athol Fugard’s PAULA TOMEI (M a n a g i n g Recent productions include the We s t P l a y l a n d, Brian Friel’s Dancing at D i r e c t o r) is responsible for the over- Coast pre m i e res of Three Viewings b y L u g h n a s a, ’s O l e a n n a, all administration of the day-to-day J e f f rey Hatcher, The Secret Rapture the West Coast pre m i e re of Peter operations of South Coast Repertory. by David Hare and New England b y Hedges’ Good As New and David A member of the staff since 1979, she Richard Nelson; and A r c a d i a by To m H a re ’s S k y l i g h t. He has won acco- has served in a number of adminis- Stoppard, Six Degrees of Separation lades for his direction of five major trative capacities including Subscrip- by John Guare, The Importance of works by George Bernard Shaw, in- tions Manager, Business Manager Being Earnest by , Ay c k- cluding the Los Angeles Drama Crit- and, for six years, General Manager. b o u r n ’s Woman in Mind and Yo u ics Circle (LADCC) Aw a r d - w i n n e r s She currently serves as President of Never Can Tell by George Bernard Misalliance and Heartbreak House. T h e a t re Communications Group S h a w, which he restaged for the 1990 Among the numerous world pre- (TCG), the national service organiza- S i n g a p o re Festival of Arts. His pro- m i e res he has directed are Jon Bas- tion for theatre where she just com- ducing responsibilities involve the t i a n ’s Noah Johnson Had a Whore. . . , pleted a two-year term as Tre a s u re r, overall coordination of SCR’s pro- Tom Stre l i c h ’s B A F O , and Margare t and has served as the Vice Pre s i d e n t grams and projects. He has served as E d s o n ’s Pulitzer Prize-winning W i t , of the League of Resident Theatre s a consultant to the Orange County which he also directed at Seattle (LORT). In addition, she has been a Performing Arts Center and as a the- Repertory Theatre and the Alley The- member of the LORT Negotiating a t re panelist and onsite evaluator for a t re in Houston. He has dire c t e d Committee for industry-wide union the National Endowment for the Arts. American classics including A h , a g reements and re p resents SCR at He has served on the board of the W i l d e r n e s s !, A Streetcar Named De- national conferences of TCG and California Theatre Council, the Exec- sire, A Delicate Balance and All My L O R T; is a theatre panelist for the utive Committee of the League of S o n s. Mr. Benson has been honore d National Endowment for the Arts and Resident Theatres, and as a panelist with the Drama-Logue Award for his the California Arts Council (CAC), for the California Arts Council. After d i rection of 21 productions and re- and site visitor for the CAC; served attending Orange Coast College, he ceived LADCC’s Distinguished on the Advisory Committee for the received his BA and MA from Califor- Achievement in Directing awards an Arts Administration Certificate Pro- nia State University, San Francisco, unparalleled six times for the two gram at UC Irvine; and has been a and his PhD in theatre and film from Shaw productions, John Millington guest lecturer in the graduate school U S C . S y n g e ’s Playboy of the Western Wo r l d, of business at Stanford. She graduat- Arthur Miller’s The Crucible, Sally ed from UC Irvine with a degree in M A RTIN BENSON (Artistic Direc- N e m e t h ’s Holy Days and W i t . He also Economics and pursued an addition- t o r) shares co-founder credit and d i rected the film version of H o l y al course of study in theatre and artistic leadership of SCR with his Days using the original SCR cast. d a n c e .

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P - 16 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK