50th Season • 474th Production JULIANNE ARGYROS STAGE / OCTOBER 6-27, 2013

Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR

David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS

presents the world premiere of FAST COMPANY

by Carla Ching

Keith Mitchell Ann Closs-Farley Tom Ontiveros John Ballinger SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC/SOUNDSCAPE

Jason H. Thompson Kelly L. Miller Joshua Marchesi Jennifer Ellen Butler* PROJECTION DESIGN DRAMATURG PRODUCTION MANAGER STAGE MANAGER

Directed by Bart DeLorenzo

FAST COMPANY was workshopped and developed in the 2013 Pacific Playwrights Festival Commissioned with support from The Ensemble Studio Theatre/Alfred P. Sloan Foundation Science & Technology Project Developed in the Lark Play Development Center’s Playwrights Workshop

Fast Company • South Coast Repertory • P1 CAST OF CHARACTERS (In order of appearance) Blue ...... Jackie Chung* H ...... Nelson Lee* Francis ...... Lawrence Kao* Mable ...... Emily Kuroda*

SETTING Time: Now

LENGTH Approximately two hours, including one intermission.

PRODUCTION STAFF Casting ...... Joanne DeNaut, CSA Production Assistant ...... Kristen Coen Assistant Director ...... Peter J. Kuo Magic Consultant ...... Alfonso Aceituno Fight Consultant ...... Ken Merckx Assistant/Associate/Assistant to the Costume Designer ...... Adriana Lambarri Assistant Lighting Designer ...... Rebecca Bonebrake Assistant Sound Designer ...... Brian Svoboda Stage Management Intern ...... Marissa Putnick Light Board Operator ...... Sumner Ellsworth Sound Board Operator ...... Bryan Williams Automation Operator ...... Victor Mouledoux Projections Technician ...... Jon Hyrkas Dresser ...... Michelle McHale

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

Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. Video taping and/or recording of this performance by any means whatsoever are strictly prohibited. Cellular phones, beepers and watch alarms should be turned off or set to non-audible mode during the performance. Smoking is not permitted anywhere in the theatre.

This play is a recipient of an Edgerton Foundation New American Plays Award

Media Partner

P2 • South Coast Repertory • Fast Company A Real Life Comic Caper

ction Comics No. 1, which January 21, 2000, Cage reported featured the first appear- the rare comic stolen to the Los ance of Superman in June Angeles police, along with high- 1938, is the most valuable grade copies of Batman’s first A Glossary of Grift comic book on the market appearance in Detective Comics CONFIDENCE GAME, or CON: An attempt Atoday. No. 27 and Marvel Mystery No. 71. to defraud a person or group by gaining On November 30, 2011, actor According to a collector’s website, their confidence. Nicholas Cage’s nearly pristine Cage had the books displayed in CREW: A group of con artists. security frames mounted to the FAST COMPANY: Sophisticated players who wall of his home. are more capable of spotting the cruder The exact moment of the methods of cheating (or conning) and are, theft was unknown, but the therefore, more difficult to swindle. comic might have been missing THE FIXER: The crew member who provides for a week before Cage discov- back-up to the Inside Man and obtains ered the frames were empty. props, constructs the set, and manipulates The Marvel Mystery resurfaced people to set the stage for the con to take a few months later but the other place. two comics remained lost. GRIFT: To obtain goods or money illegally In April 2011, Cage’s copy by use of skill rather than violence. of Action Comics No. 1 was GRIFTER: One who lives by her wits instead discovered in a San Fernando of by force. One who grifts. Also known as Valley storage locker by a man a con artist. who had bought the contents of THE INSIDE MAN: The crew member in the abandoned locker. charge, who actually performs the con. Cage’s copy of Action Com- THE LURE: A crew member who seduces ics No. 1 was the first comic to the Mark to get what they need. sell for more than $2 million at THE MARK: The intended victim of a con. auction. At the time, Certified Also known as a sucker, chump, or patsy. Guaranty Company (CGC), the PIG-IN-A-POKE: A classic con that leading grader of the quality originated in the Late Middle Ages, when of collectible comics, assigned meat was scarce but cats and dogs were “The most important comic book in it a grade of 9.0, making it the not. A suckling pig was sold in a poke (or the history of comic books.” highest publicly-graded copy of bag), but when the victim opened it, they’d Superman’s first appearance, to ~ ComicConnection.com find the pork had been swapped with cat that date. or dog meat. Approximately 100 copies THE ROPER: The crew member who copy of Action Comics No. 1 sold of Action Comics No. 1 remain identifies and lures in The Mark. for a record $2,161,000 in an in existence, but experts believe THE SPANISH PRISONER: A classic con online auction—but that record– that only five others, all privately that originated in the late 19th century, breaking sale was only part of the owned, approach the quality of in which a con-man tells a victim he is newsworthy story. Cage’s copy. corresponding with a wealthy person More than a decade prior, on Source: The Hollywood Reporter who has been imprisoned in Spain. The con-man extorts the victim for money to ame Theory is the study of how people interact and make decisions help secure the release of the prisoner, promising that he’ll be financially rewarded Gin both cooperative and competitive environments. It is a branch of when the prisoner returns. Modern applied mathematics used to predict outcomes in economics, business, variants include the advance-fee fraud or political science, computer science and other disciplines—even poker. Nigerian money transfer scam.

Fast Company • South Coast Repertory • P3 Artist Biographies

Jackie Chung* Emily Kuroda* Blue Mable

is making her SCR debut. Her is thrilled to be back at SCR (Our off-Broadway and regional cred- Town, Ballad of Yachiyo and the its include Macbeth 1969 (Long Pacific Playwrights Festival reading Wharf Theatre), microcrisis, The of Dogeaters). She has performed Children of Vonderly (Ma-Yi The- in more than 25 shows and work- ater Company), You for Me for shops at . Other You (Woolly Mammoth Theatre/Ma-Yi), Mother Cour- theatres include Kirk Douglas Theatre, Mark Taper age and Her Children (The Public Theater/New York Forum, The Public Theater, La Jolla Playhouse, Seattle Shakespeare Festival) and Trickle, Japanoir (Ensem- Repertory Theatre, Singapore Rep, Berkeley Repertory ble Studio Theatre). Chung’s other New York cred- Theatre, The Doolittle Theater, Huntington Theatre its include After. (Partial Comfort Productions), The Company, Theatre Center, Zephyr Theatre, Sporting Life (Studio 42) and The Director (The Flea LA Women’s Shakespeare and The Shakespeare Center Theater). Her film, television and web credits include of Los Angeles. Her television credits include seven Going Local, 4 Dates, Pretty Precious Unicorns, “For- years as Mrs. Kim on “,” Suho in “Under tune Son” and the upcoming independent film Some- One Roof” with Flavor Flav, Margaret Cho’s mother in one Else. Chung recently workshopped Jackie Sibblies “” as well as appearances on “Medium,” Drury’s Really Really Really Really Really at the Sun- “Grey’s Anatomy” and “Bloodline.” Feature films in- dance Theatre Lab and Jiehae Park’s Hannah and the clude Red, Aussie & Ted, The Sensei, Minority Report, Dread Gazebo at the Ojai Playwrights Conference. She Stranger Inside, About Love (Emmy nominated), Peep is a member of Partial Comfort Productions, the En- World and the upcoming Justice Angel. She is the re- semble Studio Theatre and a proud volunteer with the cipient of five Drama-Logue awards, a Garland Award 52nd Street Project. for Outstanding Performance, an L.A. Ovation Award nomination for Best Lead Actress in a Play, Playwrights Lawrence Kao* Arena Award, the East West Players Award for Outstand- Francis ing Contribution to L.A. Theatre and the Entertainment Today Best Actress Award for Winter People. is making his SCR debut. He grew up in Hacienda Heights, Calif., as Nelson Lee* an only child left to his imagina- H tion. Playing Lysander in a high school production of A Midsum- is making his SCR debut. Most re- mer Night’s Dream furthered his cently, he reprised his role of Ryu interest in pretending. While studying theatre at UCI, in Maple and Vine at The City he began dancing with Kaba Modern, which led to his Theatre in Pittsburgh after hav- participation on MTV’s “America’s Best Dance Crew.” ing completed its West Coast pre- He played Norman Lee in East West Player’s Krunk Fu miere at A.C.T. in San Francisco. Battle Battle. You can also catch him on an episode Off-Broadway, he played David in the world premiere of “Franklin & Bash,” a recurring role as Tim on “The of Zayd Dohrn’s Outside People with Naked Angels at Walking Dead,” “Hawaii 5-0,” and non-union bootleg the Vineyard Theatre in New York. Other New York films he sells out of the back of his trunk. He is now theatre credits include 7 Stories and Hardly with Rock- roaming the mean streets of Hollywood, accompanied etship Theatre. His film and television credits include by his acting mentor, Stuart Rogers, and his manager, Virtuality, “Blade: The Series,” “Oz,” Traffic, “Covert Chris Roe, fending off Lawrence Kao unbelievers. He Affairs,” “Hawaii Five-O,” “Longmire,” “Bones,” “The is thrilled to finally be part of a production at SCR! Chicago Code,” “Law & Order,” “Law & Order: SVU,” youtube.com/iamLawrenceKao. Subscribe! “Law & Order: Criminal Intent,” Vacancy 2, About

P4 • South Coast Repertory • Fast Company Cherry, Bold Native, Ring of Death and HBO’s Strip An Entertainment, as well as Sarah Ruhl’s Dead Man’s Search, directed by Sidney Lumet. Lee trained at the Cell Phone. He is the founding artistic director of Evi- American Academy of Dramatic Arts in New York City dence Room theatre in Los Angeles, where he directed and received his degree from the University of To- many premieres over the last 18 years, including plays ronto. by David Greenspan, Naomi Wallace, Martin Crimp, Philip K. Dick, Gordon Dahlquist, Kelly Stuart, David Playwright, Director and Designers Edgar and Edward Bond. Recent Evidence Room cred- its include Sharr White’s Annapurna, Anton Chekhov’s Carla Ching (Playwright) is a Los Angeles native Ivanov, Len Jenkins’ Margo Veil and Adam Bock’s whose theatre career started when she stumbled into The Receptionist produced with the Odyssey Theatre New York City’s pan-Asian performance collective, Ensemble. Other directing credits include Donald Mar- Peeling, writing and performing with them for three gulies’ Coney Island Christmas (Geffen Playhouse), years-—her first theatre training. Since then, she has Shakespeare’s Cymbeline (A Noise Within), Justin written TBA (2g, directed by Denyse Owens, pub- Tanner’s Day Drinkers (Odyssey) and Voice Lessons lished in Out of Time and Place), The Sugar House at (Zephyr Theatre), Karen Zacarias’ Legacy of Light and the Edge of the Wilderness (Ma-Yi Theatre Company, Mark Brown’s Around the World in 80 Days (Cleve- directed by Daniella Topol), Dirty (finalist for the land Playhouse), King Lear (The Antaeus Company), Cherrylane Mentorship Project), Big Blind/Little Blind Michael Sargent’s The Projectionist (Kirk Douglas The- and The Two Kids That Blow Shit Up. Other produc- atre), Charles Mee’s bobrauschenbergamerica (Inside tion and/or development includes Ensemble Studio the Ford), and Caryl Churchill’s A Number (Odyssey). Theatre (First Light 2011 and 2012), The Lark Play He is on the faculty at CalArts. For his work, he has re- Development Center (Meeting of the Minds and Lark ceived six LA Weekly awards, three Backstage Garlands, Playwright’s Workshop), Partial Comfort, Desipina three Los Angeles Drama Critics Circle Awards, and is & Company, The Hegira, Vampire Cowboys and The the 2012 recipient of Theatre Communications Group’s Women’s Project (2008-10 Lab). She was a 2008 New Alan Schneider Director Award. York Urban Artists Initiative fellow and a 2009-10 Teachers and Writers Collaborative fellow. She has Keith Mitchell (Scenic Design) is delighted to return to been in residence at Voice and Vision, The Rockefeller SCR after last designing Anastasia Krupnick. Before Foundation’s Pocantico Center and New York Stage that, he designed two Junie B. Jones shows, Ship- and Film. She served as artistic director of the Asian wrecked! An Entertainment, Dead Man’s Cell Phone American theatre company 2g for three seasons. She’s and Ben and the Magic Paintbrush. By day, Mitchell is currently a proud member of the Ma-Yi Writers Lab, an Emmy Award-winning art director and works on a New Dramatists and the 2013-14 CTG Writers’ Work- variety of television and film projects. He has designed shop. Ching is currently working on a CrossRoads productions for A Noise Within, Kirk Douglas Theatre, commission for SCR. She thanks Bart, Kelly, Jackie, Center Theatre Group, Geffen Playhouse, Getty Villa, Emily, Lawrence, Nelson, Peter, the design and pro- Bootleg Theater, Evidence Room, Lewis Family Play- duction team and everyone at SCR, EST, Graeme, Lin- house, Odyssey Theatre Ensemble, The Matrix Theatre say, Val, ICM, Henry and her family. For Chris. Company, Artworks, Celebration Theatre, 24th Street Theatre and created a 24-hour installation for Glow Bart DeLorenzo (Director) returns to SCR where he di- at Venice Beach. He has designed over 20 shows for rected the world premieres of Roberto Aguirre-Sacasa’s The Falcon Theatre, including The Value of Names, Doctor Cerberus and Donald Margulies’ Shipwrecked! with the late Jack Klugman (Ovation Award for Scenic

Fast Company • South Coast Repertory • P5 Design). He was the principal developing artist for the Arts); Summertime, Wintertime and First Love (Magic Childsplay production Rock, Scissors, Paper, which Theatre); Most Wanted (La Jolla Playhouse); Placas, was awarded a Rockefeller Grant. He just concluded directed by Michael John Garcés (San Francisco Inter- his 10th season as scenic consultant for Los Angeles national Arts Festival); and Seed, Café Vida, Making Philharmonic’s Summersounds, Music and Art for Kids Paradise and On Caring for the Beast (Cornerstone at the Hollywood Bowl. Theatre). He also designed for venues including San Diego Museum of Art, Chicago Museum of Contem- Ann Closs-Farley (Costume Design) is making her porary Art, Mondavi Center, Joyce SoHo, Ontological- SCR debut. Her recent credits include ModRock: The Hysteric Theatre, Zellerbach Studio Theatre and The Musical, Annapurna, American Misfits, Coney Island Culture Project, New York City. Ontiveros is an assis- Christmas, Eric Idle’s What About Dick?, The Pee-wee tant professor of lighting design at USC. Herman Show (on Broadway), Disney’s Toy Story: The Musical, An Evening Without Monty Python, Gron- John Ballinger (Original Music and Soundscape) holm Method, Beat Goes On, Cabaret of Souls, Margo returns to SCR, where his previous shows include A Veil and Around The World in 80 Days. She has re- Midsummer Night’s Dream (composer/sound design/ ceived multiple Ovation Awards and the Center Theatre musical director) and The Borrowers (composer/sound Group’s Richard E. Sherwood Award for Emerging Art- design). He is an award-winning composer/sound de- ists. She is a long-time member of the Evidence Room signer/musical director and CalArts alumnus. He has and The Actors’ Gang theatre companies in Los Ange- recorded, toured or performed with Moira Smiley les. Closs-Farley also styles the World Poker Tour, de- and VOCO, Tracy Bonham, Rufus Wainwright, Van signs for Kaiser Permanente Theatricals, and is an art di- Dyke Parks and “Dancing With the Stars.” His work as rector for Big Machine Productions. annclossfarley.com a composer includes scores and songs for television, short films, theatre and live events. His notable col- Tom Ontiveros (Lighting Design) designs with light laborations include original music, design and musical and projection for theatre, dance and live music. His direction for the Joan Rivers Show and Coney Island credits include The Motherfucker with the Hat, Side- Christmas at Geffen Playhouse; Celebration of the Liz- ways Stories from Wayside School (SCR); The Exoner- ard (The Doors musical) at San Diego Repertory; Cym- ated (New York City premiere); The Tune In Festival beline at A Noise Within; Echo’s Hammer, 1001, and (Park Avenue Armory); Schick Machine (Hong Kong The Government Inspector at Theatre @ Boston Court; Cultural Centre); The Tyrant (Chicago Museum of and Annapurna at the Odyssey Theatre Ensemble. Contemporary Art); Garden of Deadly Sound (Hun- garian National Theatre Festival; Cluj, Romania); The Jason H. Thompson (Projection Design) returns to SCR Cabrillo Festival of Contemporary Music (with conduc- where he designed Ordinary Days (directed by Ethan tor Marin Alsop); Full Circle, Nada Que Declarar with McSweeny) and A Wrinkle in Time (directed by Shelley Allyson Green Dance (Danspace, NYC); Slide, directed Butler) Broadway and New York credits include Baby by Rinde Eckert (Ojai Music Festival); Enemy Slayer It’s You!, Venice (The Public Theater), Remember Me (Phoenix Symphony); Garden of Lila (Japan America (Parsons Dance Company, Joyce Theatre/national tour) Theatre); Candida, Indiscretions, My Old Lady and and This Beautiful City (Vineyard Theatre). Recent Visions of Kerouac (Marin Theatre Company); Conta- credits include Citizen Twain (Val Kilmer, national gion, Funnyhouse of a Negro, The Language of Angels tour); Tales from Hollywood (Guthrie Theater); Cage and Dr. Faustus Lights the Lights (Intersection for the Songbooks (San Francisco Symphony, Carnegie Hall,

P6 • South Coast Repertory • Fast Company New World Symphony); Heart of Darkness (The Ac- TheatreWorks, Perseverance Theatre, Spoleto Festival tor’s Gang, Los Angeles); Crescent City Opera (The USA and Shakespeare Santa Cruz. She has also stage Industry, Los Angeles); The Great Immensity (Kansas managed operas for Long Beach Opera and Pacific City Repertory, TED Conference); The Mountaintop, Repertory Opera. Butler has a BA in theatre arts from Distracted and Wheelhouse (TheatreWorks); No Good UC Santa Cruz and has been a member of Actors’ Eq- Deed (Furious Theatre Company, LADCC nomination); uity since 2007. Re:Union (Vancouver, Jessie Award nomination); Ven- ice (Kirk Douglas Theatre, Kansas City Rep, LA Ovation Marc Masterson (Artistic Director) is in his third Award); Bad Apples (Circle X Theatre Company); and season with SCR. His recent directing credits include Justin Love (Celebration Theatre, LA Weekly Award Death of a Salesman, Eurydice and Elemeno Pea nomination). Thompson has also designed video for at SCR, As You Like It for the Houston Shakespeare Stars on Ice for the last seven years. jasonhthomp- Festival and The Kite Runner at Actors Theatre of Lou- sondesign.com isville and the Cleveland Play House. He previously served for 11 years as artistic director of Actors Theatre Kelly L. Miller (Dramaturg) is the literary director of of Louisville and produced the Humana Festival of SCR and the co-director of the Pacific Playwrights Fes- New American Plays. During his tenure, he produced tival. Regionally, she has worked at Actors Theatre of more than 100 world premieres, expanded audiences Louisville, Williamstown Theatre Festival, and as the lit- and the repertoire, deepened arts education pro- erary manager of Long Wharf Theatre and Playscripts, grams, and spearheaded numerous community-based Inc. In 2008, she co-founded Creative Destruction, a projects. Other directing credits include A Midsum- company dedicated to the support of playwrights and mer Night’s Dream, Shipwrecked! An Entertainment, the development of new work. Her favorite dramatur- Glengarry Glen Ross, The Tempest, Mary’s Wedding, gy at SCR includes The Parisian Woman, The Whale, The Crucible, Betrayal, The Importance of Being Ear- How to Write a New Book for the Bible, The Prince nest and Macbeth in Louisville. Among the world pre- of Atlantis, Completeness, Circle Mirror Transforma- mieres he directed at the Humana Festival are works tion, Becky Shaw, Doctor Cerberus, Saturn Returns by Lisa Dillman, Wendell Berry, Craig Wright, Eric and Emilie; Big Love, War of the Worlds and Creditors Coble, Adam Bock, Gina Gionfriddo, Melanie Marnich, (Actors Theatre of Louisville); Hearts, Wintertime and Charles Mee and Rick Dresser. He served as artistic Going Native (Long Wharf Theatre). Miller has worked director of City Theatre in Pittsburgh for 20 years and as a freelance consultant and writer for The Play- was founder and chairman of the Greater Pittsburgh wrights’ Center, The Public Theater, Huntington The- Arts Alliance, a board member of the Citizens for the atre Company, New Dramatists, NEA/Arena Stage, Ac- Arts in Pennsylvania, and Leadership Pittsburgh. He tors Theatre of Louisville, Berkeley Repertory Theatre, served six years on the Board of the Theatre Commu- PlayPenn, Carnegie Mellon and The Kennedy Center. nications Group and as a theatre advisory panel mem- ber for the National Endowment for the Arts, as well as Jennifer Ellen Butler* (Stage Manager) has been a part numerous foundations. He won the Man of the Year of the stage management team at SCR for 11 seasons Vectors Award, and received the Lifetime Achievement and more than 40 productions, and is thrilled to be Award from the Pittsburgh New Works Festival. kicking off the 50th Season in the Argyros. Her other theatre credits include Laguna Playhouse, Utah Shake- Paula Tomei (Managing Director) is responsible for spearean Festival, California Shakespeare Theatre, the overall administration of SCR and has been man-

Fast Company • South Coast Repertory • P7 aging director since 1994. A member of the SCR staff David Emmes (Founding Artistic Director) is co-found- since 1979, she has served in a number of adminis- er of South Coast Repertory. In May 2008, he received trative capacities, including subscriptions manager, the Margo Jones Award for his lifetime commitment business manager and general manager. She was the to theatre excellence and to fostering the art and craft president of the board of Theatre Communications of American playwriting. In addition, he has received Group (TCG), the national service organization for the- numerous awards for productions he has directed atre, and served two terms as a board member. She has during his SCR career, including a Los Angeles Drama also served as treasurer of TCG, vice president of the Critics Circle Award for the direction of George Ber- League of Resident Theatres (LORT) and has been a nard Shaw’s The Philanderer. He directed the world member of the LORT Negotiating Committee for indus- premieres of Amy Freed’s Safe in Hell, The Beard of try-wide union agreements. In addition, she represents Avon and Freedomland, Thomas Babe’s Great Day in SCR at national conferences of TCG and LORT; is a the- the Morning, Keith Reddin’s Rum and Coke and But atre panelist for the National Endowment for the Arts Not for Me and Neal Bell’s Cold Sweat; the American (NEA) and the California Arts Council; site visitor for premieres of Terry Johnson’s Unsuitable for Adults the NEA; and has been a guest lecturer in the graduate and Joe Penhall’s Dumb Show; and the Southland school of business at Stanford and UC Irvine. She is on premiere of Top Girls (at SCR and the Westwood the board of Arts Orange County, the county-wide arts Playhouse). Other productions include New England council, and the board of the Nicholas Endowment. by Richard Nelson as well as Arcadia by Tom Stop- Tomei graduated from UC Irvine with a degree in eco- pard, The Importance of Being Earnest by Oscar nomics and pursued an additional course of study in Wilde, Ayckbourn’s Woman in Mind and You Never theatre and dance. She has taught a graduate classes in Can Tell by George Bernard Shaw, which he restaged nonprofit management at UC Irvine. for the Singapore Festival of Arts. He has served as a theatre panelist and onsite evaluator for the National Martin Benson (Founding Artistic Director), co- Endowment for the Arts, as well as a panelist for the founder of SCR, has directed nearly one-fourth of SCR’s California Arts Council. After attending Orange Coast productions. In 2008, he and David Emmes received College, he received his BA and MA from San Fran- the Margo Jones Award for their lifetime commitment cisco State University, and his PhD in theatre and film to theatre excellence and fostering the art and craft of from USC. American playwriting. They also accepted SCR’s 1988 Tony Award for Outstanding Resident Professional South Coast Repertory marks its 50th season in 2013-14 Theatre and won the 1995 Theatre L.A. Ovation Award and is widely recognized as one of the leading Tony for Lifetime Achievement. Benson has received the Los Award-winning professional theaters in the United Angeles Drama Critics Circle Award for Distinguished States. Founding Artistic Directors David Emmes and Achievement in Directing an unparalleled seven times Martin Benson inspired and led SCR for its first half- for George Bernard Shaw’s Major Barbara, Misalli- century and still direct productions each season. Ar- ance and Heartbreak House; John Millington Synge’s tistic Director Marc Masterson and Managing Director Playboy of the Western World; Arthur Miller’s The Cru- Paula Tomei lead SCR and continue the theatre’s com- cible; Sally Nemeth’s Holy Days; and Margaret Edson’s mitment to works that illuminate compelling personal Pulitzer Prize-winning Wit, which he also directed at and social issues of our time, not only onstage, but Seattle Repertory Theatre and Houston’s Alley Theatre. through active education and outreach programs. He has directed American classics such as A Streetcar Audiences enjoy productions that balance classic and Named Desire and has distinguished himself in staging modern offerings, and benefit from SCR’s renowned contemporary work, including the critically acclaimed and extensive new play development program, includ- California premiere of William Nicholson’s Shadow- ing the Pacific Playwrights Festival. SCR-developed lands. Most recently, he directed the world premiere works have garnered eight Pulitzer Prize nominations, of Julie Marie Myatt’s The Happy Ones, a revival of including Margaret Edson’s Wit in 1999 and David Misalliance, Horton Foote’s, The Trip to Bountiful and Lindsay-Abaire’s Rabbit Hole in 2007. Headquartered Samuel D. Hunter’s The Whale. Benson received his BA in Costa Mesa, Calif., SCR produces 13 shows and eight in theatre from San Francisco State University. public readings each season.

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 Manag- Artists Local USA-829, IATSE. labor union. ers in the United States.

P8 • South Coast Repertory • Fast Company