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Intimate Exchanges 40th Season • 388th Production JULIANNE ARGYROS STAGE / MARCH 7 - 28, 2004 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents INTIMATE EXCHANGES BY Alan Ayckbourn SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN James Youmans Angela Balogh Calin York Kennedy Drew Dalzell ASSISTANT DIRECTOR PRODUCTION MANAGER STAGE MANAGER Michael Ambrosio Jeff Gifford *Jamie A. Tucker DIRECTED BY Martin Benson HONORARY PRODUCERS: The Citigroup Private Bank Presented by special arrangement with Samuel French, Inc. Intimate Exchanges • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS Celia Teasdale, Sylvie Bell, Irene Pridworthy .................... *Kandis Chappell Toby Teasdale, Lionel Hepplewick, Miles Coombes ............. *Richard Doyle SCENES Act I. Scene 1. Celia and Toby Teasdale’s garden Scene 2. The Teasdales’ garden, five days later Intermission Act II. Scene 1. VIP tent on the school grounds, five weeks later Scene 2. A churchyard, five years later LENGTH Approximately two hours, including one 15-minute intermission. PRODUCTION STAFF Casting Director ............................................................... Joanne DeNaut Dramaturg ................................................................................ Jerry Patch Production Assistant ......................................................... Chrissy Church Assistant Set Designers .............................. Mark Copans, Jerome Martin Costume Design Assistant ........................................................ Julie Keen Stage Management Intern ...................................................... Nina Evans Additional Costume Staff ............................. Tracy Gray, Amber Johnson Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. The use of cameras and recorders in the theatre is prohibited. Smoking is not permitted anywhere in the theatre. Cellular phones, beepers and watch alarms should be turned off or set to non-audible mode during the performance. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. Official Airline Media Partner P2 SOUTH COAST REPERTORY • Intimate Exchanges Chance and Choice Alan Ayckbourn explores the roads not taken — 15 of them to be exact. bout 20 years ago, Alan Ayckbourn decided he plays, each with two possible endings, adding up to 16 wanted to write a play for two of the actors from different stories set at a small English prep school. his Scarborough theatre company. He had never The chart below shows the various ways the story Awritten a full-length play for a two-person cast, could unfold. At four points in each play, a character and it seemed like an interesting challenge. And any- makes a choice that steers the action in a new direc- one who has seen even a couple of the popular tion (see the following article, “A Turning Point,” British writer’s 39 plays knows that Ayckbourn for an illustration). The scenes below with titles thrives on challenges, the bigger, the better. Ay- HOW IT in black letters are those being presented in this ckbourn ended up writing not one but eight BEGAN production. –Lisa Wasserman A A VISIT GARDENER FROM A FIVE CALLS LATER FRIEND SECONDS A THE SELF DINNER CONFES- GARDENER IMPROVING ON THE SIONS IN A IN LOVE WOMAN GARDEN LATER PATIO SHED FIVE DAYS EVENTS ON A A A GAME LOVE IN HOTEL PAGEANT OF GOLF THE MIST TERRACE A AFFAIRS A A CRICKET IN A GARDEN ONE-MAN TENT FETE MATCH PROTEST FIVE WEEKS LATER A A A A TRIUMPH OF SIMPLE SERVICE OF WEDDING THANKS- FRIENDSHIP CEREMONY GIVING A A A HARVEST EASTER FUNERAL GREETINGS WEDDING FIVE YEARS LATER FESTIVAL A A A A FUNERAL CHRISTEN- SENTIMENTAL MIDNIGHT ING JOURNEY MASS RETURN A 50TH A A NEW OF THE CELEBRATION SCHOOL WOMAN PRODIGAL CELEBRATES Intimate Exchanges •SOUTH COAST REPERTORY P3 A Turning Point BY LISA WASSERMAN AND JERRY PATCH An ‘Intimate Exchange’ Interchange hroughout Intimate Exchanges are a number ‘A GARDENER IN LOVE’ of forks in the road, moments when the play CELIA: Toby, you say the most awful things to me. I don’t think you realize. could veer off in one of two very different di- TOBY: Really? Trections. The audience doesn’t recognize C: Really. I mean, that new dress I wore the other day for the school concert, these moments—the first one occurs less than a just as we were getting into the car, you said I looked like a baboon in drag. minute into the play, when Celia decides to (Toby laughs) No, it’s not funny, Toby. It’s very hurtful. I mean, it would be smoke a cigarette in the garden, thus ruling out very different if I was terribly glamorous and confident. Then perhaps I could half of the eight major story lines in Alan Ayck- take it but I’m not. I mean, some nights I get home, I look at myself and I bourn’s play with 16 versions. wonder if you’re right. The excerpts at right focus on one of the T: Now you know I didn’t mean that. You don’t look like a baboon. Not play’s many forks. When the scene entitled “A from this angle anyway. No, you don’t. Sorry. Anyway, that’s why I came Gardener in Love” concludes, the exchange goes back. To say I was sorry. And it’s quite the most marvelous day out there so I one of two ways. was going to ask you for a walk. If the production proceeds to “Events on a C: A walk. Hotel Terrace,” then Toby and Celia’s proposed T: Yes. holiday turns into a seaside rest cure after Toby C: Where to? keels over during a school assembly. Things are T: I don’t know. To the pub, if you like. (Seeing her face) No, not the pub. prickly as ever between Toby and Celia when Li- Just a walk. A totally publess walk. That way. There are no pubs at all that onel appears on the tea terrace. He has followed way. them to their hotel and obtained a job as a waiter. In a hilarious scene in which he repeatedly serves From here it’s . Or . tea to Celia to fool his supervisor, Lionel beautiful- ‘EVENTS ON A HOTEL TERRACE’ ‘AFFAIRS IN A TENT’ ly professes his love for Celia. She is moved, but which begins which begins her quandary is heightened when Toby suffers an- C: Toby, listen. C: Toby, listen. other, stronger heart attack. T: Uh-huh. T: Uh-huh. At the end of that scene, the final fork oc- C: I think you should know, Toby, C: I have something to say to you. curs. On the path titled “A Funeral,” Lionel ap- that this morning I came within a T: Fire ahead. pears in the graveyard at Toby’s memorial service, very inch of leaving you. C: I think I may have to go away for having taken a menial job with the church to be T: Oh, Celia. a little while, Toby. Away from you. near Celia. He proposes marriage again with the C: Yes, I know it’s something we’ve T: Ah. idea that he will study to become a vicar. Celia said before in the heat of the mo- C: I’ll take the kids. I won’t leave backs away from Lionel and his fecklessness, and ment but this time, it was quite con- you with them but—you see, I think begins her widowhood. On the other path, enti- sidered and—fairly calm. I do I’ve been walking along this path, tled “A Service of Thanksgiving,” Toby has sur- think if we carry on like we are, possibly of my own choosing, I don’t vived his attack and is nastier than ever. Lionel then I’ll probably collapse on you know, which has been getting gradu- appears at the service commemorating the or something. And that would be a ally narrower and narrower. In fact, school’s 50th anniversary. He is now a success, fat lot of use to either of us. And as I didn’t realize how quite how narrow running a transport company, and has married a for the children—well, I don’t think it had got till I nearly fell off it. Norwegian flight attendant. they’d enjoy it, seeing their mother T: What happened? For better or worse, Celia exempts herself carted off somewhere. C: It’s not important. The point is, if I from both of these fates. And, like all of us in the T: I think you’re being slightly stay here I’m probably going to finish real world, she’ll never know what might have melodramatic. up needing psychiatric treatment and been. that would be awful for all of us. If, on the other fork, the production pro- ceeds to “Affairs in a Tent,” one sees what SCR is presenting today! P4 SOUTH COAST REPERTORY • Intimate Exchanges KANDIS CHAPPELL RICHARD DOYLE Celia/Sylvie/Irene Toby/Lionel/Miles Artist Biographies *KANDIS CHAPPELL (Celia/Sylvie/ Sondheim and George Furth, and at Hale, She Stoops to Folly, Wit, Hos- Irene) appeared at SCR most recent- Lincoln Center in Pride’s Crossing. pitality Suite and Highest Standard ly in The Last Night of Ballyhoo, She has also performed at the Inti- of Living. Other credits include Major Barbara, A Delicate Balance man Theatre in Seattle, Milwaukee Much Ado About Nothing, A Deli- and Everett Beekin. Previously she Repertory, Pasadena Playhouse, cate Balance, Of Mice and Men, Ah, appeared in How the Other Half Berkeley Repertory Theatre, The Wilderness!, What the Butler Saw, Loves, Collected Stories (L.A. Drama Huntington in Boston, San Jose Pygmalion, Six Degrees of Separa- Critics Circle Award), A Streetcar Repertory and Hartford Stage. Ms. tion, Arms and the Man, The Cher- Named Desire, Lettice & Lovage, Chappell has appeared in the fea- ry Orchard, Waiting for Godot, Our Dancing at Lughnasa, Hay Fever, ture film Another You and televi- Country’s Good and Intimate Ex- Woman in Mind (LADCC Award), sion’s “L.A.
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