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Home , David Hare (playwright), David Mamet, George Furth, Neil Simon

40th Season • 383rd Production SEGERSTROM STAGE / AUGUST 29 - OCTOBER 5, 2003

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents THE LAST NIGHT OF BALLYHOO

by

SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN Michael Olich Frances Kenny Tom Ruzika

COMPOSER/SOUND DESIGN PRODUCTION MANAGER STAGE MANAGER Michael Roth Tom Aberger *Scott Harrison

DIRECTED BY Warner Shook

HONORARY PRODUCERS Mr. and Mrs. Roger B. Palley

Originally produced on Broadway by Jane Harmon, Nina Keneally and Liz Oliver. This play was commissioned by the Alliance and presented by the Atlanta Committee for the Olympic Games, Cultural Olympiad for the 1996 Olympic Arts Festival. The Last Night of Ballyhoo by Alfred Uhry is presented by arrangement with Dramatists Play Service, Inc., in .

The Last Night of Ballyhoo • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance)

Lala ...... *Blair Sams Reba ...... *Linda Gehringer Boo ...... *Kandis Chappell Adolph ...... *Richard Doyle Joe ...... *Nathan Baesel Sunny ...... *Debra Funkhouser Peachy ...... *Guilford Adams

SETTING December 1939, Atlanta, Georgia. The action takes place in Adolph Freitag’s house, except for two scenes, one in a compartment aboard the ‘Crescent Limited’ and one in the Standard Club.

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

PRODUCTION STAFF Assistant Stage Manager ...... *Randall K. Lum Casting Director ...... Joanne DeNaut Dramaturg ...... Linda Sullivan Baity Assistant to the Director ...... Vince Campbell Costume Design Assistant ...... Julie Keen Stage Management Intern ...... Heather McClain

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 theatre is prohibited. Smoking is not permitted anywhere in the theatre.

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

Official Airline Media Partner Media Partner

P2 SOUTH COAST REPERTORY • The Last Night of Ballyhoo Dixie : Living Large in the Land of Cotton tlanta’s upwardly mobile Re- people. Five of us went to Welles- hearts, so they did not believe God form Jews enjoyed a delight- ley. We’d come to each other’s would turn His face away simply ful and fulfilling and busy life houses for dinner. We’d get all because they were not huddled like on the narrow neck of land dressed—cocktail dresses. You’d their brethren over thin soup and between Protestant exclusivi- have drinks with hors d’oeuvres and yellowish candles. And even if the Aty and Jewish orthodoxy. They candy and nuts in little silver dishes. WASPs shuddered at their sudden lived almost like gypsies on the And we’d always get together on ubiquity in civic life and retreated to fringe of society, within their own New Year’s Eve. I think the Jewish their exclusive sanctums, these Jews circle of wagons. But they still created skyscrapers, de- lived handsomely, with signed stadiums, and laid rounds of fund-raisers, out a modern city. And opera performances, bridge after business hours they parties, golf games, tennis pulled back, returned to sets, and Christmas parties at their circle of wagons on the Standard Club. the fringe of accepted soci- They owned their own ety, and enjoyed one anoth- companies and employed er’s lively company. their sons-in-law and their The members kept up cousins (for success was not the appearance of perfect possible in gentile-owned contentment (and were, by firms). The Jewish-owned and large, perfectly content) clothing and department by insulating themselves stores, like Rich’s, Leon against the petty insults, Frohsin’s, and Regensteins, glass ceilings, and restric- were Atlanta’s finest, so the tive clauses of the outside people traveled to town and Costume Charade: young Ballyhoo ball-goers posing world. Like ants in an un- amidst the festivites. did their shopping (the store derground kingdom whose clerks greeted them by scouts lug home a crumb name) without leaving the magic lifestyle tried to copy the WASP of cupcake, leading to wild rejoicing circle. So great a success was Rich’s style, in their own way. People say up and down the tunnels, the Re- that descendants of the Jewish the Jewish clubs are exclusive, and form Jews of the South drew into founder would mingle with the best they sprang up as a result of not their secret worlds bits of WASP cul- Christians and die Episcopalian. being in the other.” ture—Christmas parties, golf cours- “Our social life was Jewish,” The Temple Jews were hand- es, New Year’s Eve balls—and cov- said Aline Uhry, a descendant of some, urbane, ambitious, and ener- ered them with their own interpreta- founders of Atlanta and mother of getic. They founded and funded or- tions and designs. “Even though my playwright Alfred. “We were a very phanages, hospitals, museums, husband’s father was president at tight little German-Jewish communi- schools, and university centers, and the Temple and all this stuff, they ty revolving around the Temple and they went out of the Jewish commu- had a Christmas tree,” one woman the Standard Club. It was an old nity into the Atlanta community as recalled. “His mother told me that colonial house and it had a ball- they became prosperous. Pious one time the rabbi came over, and room and people ate there. It was Jews would, from time to time, re- she wouldn’t let him in the front the center of social life. The young vile their secularism, but the Temple door. She yelled for her maid, and people had dancing class there, and members, bare-headed, in modern they pulled the tree back into anoth- do you know who taught the danc- suits, unbound by ancient restric- er room before they’d let him in.” ing class? Arthur Murray! tions, felt themselves to be like “We had a Saturday night young giants, with wealth and talent (Excerpted from Melissa Fay Greene’s bridge-playing group for over 45 and new ideas at their disposal. book, The Temple Bombing, published by Addison-Wesley in 1996.) years. At the height of it, we had 23 They did good works, with good

The Last Night of Ballyhoo •SOUTH COAST REPERTORY P3 Three Days in Atlanta

“Atlanta is the center of the world tonight!” Lala’s exclamation in the opening scene of The Last Night of Ballyhoo is an accurate reflection of the jubilant madness that seized the city of Atlanta for three historic days in mid-December 1939 during the star-studded world premiere of David O. Selznick’s Gone With the Wind at Loew’s Grand Theatre.

Atlanta Mayor William R. Harts- field sent a spe- cial engraved in- vitation to digni- taries and celebri- ties throught the country and Georgia Gover- nor E.S. Rivers in- vited the gover- nors of five southern states to be his special guest for all the premiere activities.

LALA: I was looking at the pictures they had over in the cor- ner. Scenes from the movie. And it looked like they were in frames. But they weren’t. They were just slid in slots that looked like frames. So I slid one out!... It’s Scarlett in her barbecue dress! It’s magnificent!

Tickets for the regular run went on sale 18th at a special box office in the theatre lobby. The line stretched out the door, up Peachtree Street and down the alley.

P4 SOUTH COAST REPERTORY • The Last Night of Ballyhoo A colorful 18-page Gone With the Wind movie program was given to every guest as they entered the lobby of Loew’s Grand. The program featured watercolor drawings of the four main players in the film by Dan Sayre Groesbeck, plus scenes from the movie. LALA: My God, Mama! Clark Gable is less than five miles from this house right this very second!

So great was the crush of fans waiting to see Clark Gable and his bride, Carole Lombard, that state troopers had to form a human barricade to protect them from the pushing throng.

Police estimated the downtown crowd at over 300,000, of whom about 200,000 were jammed into the intersection of Peachtree Street and Ponce de Leon Av- enue in front of the Georgian Terrace hotel, where celebri- ties were intro- duced to the crowd on a Confederate flag-draped plat- form.

BOO: You mean you’re planning to go down there and stand out in the street? LALA: Yes! BOO: Are you crazy? LALA: I want to feel the excitement of the crowd! To taste it! To smell it!

The Last Night of Ballyhoo •SOUTH COAST REPERTORY P5 GUILFORD ADAMS NATHAN BAESEL KANDIS CHAPPELL Peachy Joe Boo

Artist Biographies

*GUILFORD ADAMS (Peachy) mercials include Sprint, Mi- ously she appeared in How the made his SCR debut last season crosoft, Orbit Gum and Mer- Other Half Loves, Collected Sto- in Two Gentlemen of Verona. cedes Benz. ries (L.A. Critics Circle Theatre credits include Award), A Streetcar Named De- Amadeus at Theatrical Arts In- *NATHAN BAESEL (Joe) is mak- sire, Lettice & Lovage, Dancing ternational; Fleetwood MacBeth, ing his SCR debut. He ap- at Lughnasa, Hay Fever, A Christmas Carol King, All’s peared in The Countess Cotluby Woman in Mind (LADCC Kool that Ends Kool, Funky at Poland’s Gombrowicz Festi- Award), Intimate Exchanges, Punks w/Junk in Trunks at the val, The Mahabharata at The- The Extra Man, Heartbreak Troubadour Theatre Company; atre Mitu at The McCarter, and House, The Crucible and Shad- Love’s Labour’s Lost and Bus in a Classic Stage Company owlands (the last two also gar- Stop at A Noise Within; Romeo & workshop of Monster. He guest nering her LADCC Awards). Ms. Juliet at Will & Company; A starred on “The District” on Chappell is an Associate Artist Midsummer Night’s Dream at CBS. A graduate of The Juilliard of the Old Globe Theatre in San Grand Canyon Shakespeare; School, he has his BA in The- Diego, where her credits in- The Taming of the Shrew and atre from UCLA and began his clude Collected Stories, Private Taming of Pantalone at the college career at Fullerton Col- Lives, , The Merchant Kentucky Shakespeare Festival; lege. He is a proud husband, of Venice, The Snow Ball, And a and Twelfth Night at The Globe father and member of Group 31. Nightingale Sang, The Dining . Film credits include Room, Julius Caesar and Inti- Boys Don’t Cry, Shooting LA, *KANDIS CHAPPELL (Boo)ap- mate Exchanges (for which she Equinox Knocks, Mouth Gar- peared at SCR most recently in won a San Diego Theatre Critics den, Distinct Smell of Red and Major Barbara, A Delicate Bal- Circle Award). She appeared Natural Selection. Recent com- ance and Everett Beekin. Previ- on Broadway in ’s

P6 SOUTH COAST REPERTORY • The Last Night of Ballyhoo RICHARD DOYLE DEBRA FUNKHOUSER LINDA GEHRINGER Adolph Sunny Reba

Rumors, Getting Away with for Wives and The Homecoming. erend Hale in The Crucible. Murder by Additional appearances include “Cheers” fans will remember and George Furth, and at Lin- the world premieres of The him as Woody’s snooty father- coln Center in Pride’s Crossing. Beard of Avon, On the Jump in-law Walter Gaines. Other She has also performed at the (Robby Award), But Not for Me, film and television credits in- Intiman Theatre in Seattle, Mil- BAFO, The Interrogation of clude Air Force One, “NYPD waukee Repertory, Pasadena Nathan Hale, She Stoops to Blue,” “Sisters,” movies of the Playhouse, Berkeley Repertory Folly, Wit, Hospitality Suite and week, “The Practice” and guest Theatre, The Huntington in Highest Standard of Living. star appearances on “The Pre- Boston, San Jose Repertory and Other credits include Much Ado tender” and “The Lot.” He is a Hartford Stage. Ms. Chappell About Nothing, A Delicate Bal- voice-over actor in animation, has appeared in the feature film ance, Of Mice and Men, Ah, CD ROMS, television, radio Another You and television’s Wilderness!, What the Butler commercials, books on tape and “L.A. Law” and “Frasier.” She is Saw, Pygmalion, Six Degrees of documentaries, including the a member of the Antaeus Com- Separation, Arms and the Man, Emmy-winning series The Liv- pany in Los Angeles. , Waiting ing Edens, Impressions of Cali- for Godot, Our Country’s Good fornia and the recent documen- *RICHARD DOYLE (Adolph) is an and Intimate Exchanges, for tary reenactment The Bismark SCR Founding Artist. He ap- which he earned a Los Angeles and the soon to be released peared last season in Relatively Drama Critics Circle Award Green and Green, an architec- Speaking, Proof, Major Barbara nomination. He won LADCC tural documentary on the cre- and A Christmas Carol and the Awards for his roles in Sally ation of the craftsman design previous season in The School Nemeth’s Holy Days and as Rev- movement.

Don’t miss the rest of SCR's exciting 40th Season! Subscriptions are still available for great plays and great seats at great savings! Call (714) 708-5555 Be here when the magic begins!

The Last Night of Ballyhoo •SOUTH COAST REPERTORY P7 husband are the proud owners ous critical awards. Her televi- of the new bike line, NYCbikes. sion roles include four seasons as Fontana on “Evening Shade” *LINDA GEHRINGER (Reba) ap- and guest appearances on “The peared at SCR in The Intelligent West Wing,” “The Practice,” Design of Jenny Chow, Relative- “Ally McBeal,” “Providence,” ly Speaking, The Carpetbagger’s “Touched by an Angel,” “The Children, Getting Frankie Mar- Larry Sanders Show,” “Law and ried—and Afterwards, Hold Order, Criminal Intent,” “Boom- Please, A Delicate Balance, All town,” and a recurring role on My Sons, Arcadia, Good As New “The Division.” She also ap- and as Helen Gahagan Douglas peared in the film As Good as It in But Not for Me. Appearances Gets. at other Southern California the- atres include Be Aggressive and *BLAIR SAMS (Lala) is making BLAIR SAMS Light Up the Sky at the La Jolla her SCR debut. Theatre credits Lala Playhouse, The Poison Tree at include the Broadway produc- the and tion of Neil Simon’s The Dinner *DEBRA FUNKHOUSER (Sunny) Strange Snow at the Laguna Party, Blithe Spirit at the Indi- makes her SCR debut after ap- Playhouse. Ms. Gehringer has ana Repertory Theatre, Noises pearing as Catherine in Proof at worked at Washington’s Arena Off at the Paper Mill Playhouse, the Florida Studio Theatre. She Stage, Boston’s Huntington The- The Last Night of Ballyhoo at the appeared in The Last Night of atre, The Guthrie Theater, the Intiman Theatre, The Steward of Ballyhoo and Ambition Facing Berkshire Theatre Festival, The Christendom at the Huntington West at the Intiman Theatre Ojai Playwrights Conference, Theatre Company, Candida and under the direction of Warner New York Stage and Film and The Adventures of Amy Bock at Shook. She has spent two sea- spent seven seasons as a com- Yale Repertory, Alice in Bed and sons at the Oregon Shakespeare pany member at the Dallas The- The Island of Anyplace at the Festival. At the Alabama Shake- atre Center. Roles include American Repertory Theatre, speare Festival she originated Blanche in A Streetcar Named London Assurance at Theatre the role of Silvancy in Fair and Desire, Regina in The Little Three, A Christmas Carol at Ft. Tender Ladies, played Juliet in Foxes, Wanda in The Waiting Worth Shakespeare and Twelfth Romeo and Juliet and Anne in Room, Merteuil in Les Liaisons Night at Austin Shakespeare. The Diary of Anne Frank. Ms. Dangereuses, Bette in The Mar- She has also appeared in nu- Funkhouser has worked at the riage of Bette and Boo, Olga in merous productions at the George Street Playhouse, the The Three Sisters, Catherine in A.R.T. Institute including Cincinnati Playhouse, GEVA The Heiress, Edward/Betty in Richard III, Measure for Mea- Theatre, the Sacramento Theatre Cloud 9 and Ann Stanton in All sure, Overboard, Faith, Hope Company, Two Rivers Theatre the King’s Men. She holds an and Charity, The Balcony, Company and the Idaho Shake- MFA from the University of Min- Blood Wedding, Tales From the speare Festival. She and her nesota and has received numer- Vienna Woods, ‘Tis Pity She’s a

Experience all that is exciting and cutting edge in American theatre! READING DATES 2003-2004 Season November 10, January 12, February 23, April 5 7:30 p.m. SCRNewSCRipts Tickets $8 SCR’s Monday evening play reading series provides a forum for talented writers and a great opportunity for audiences to participate in the play development (714) 708-5555 process. 2003 PPF reading of Safe in Hell, with JD Cullum and John Vickery.

P8 SOUTH COAST REPERTORY • The Last Night of Ballyhoo Whore and Leonce and Lena. ford Stage Company. Mr Uhry fornia at the Mark Taper Television credits include “Ed,” serves on the council of the Forum, the American premiere “Law and Order SVU,” “Dead- Dramatists Guild and is Board of Breaking the Silence and Bus line” and “.” President of Young Playwrights Stop starring Lea Thompson at Inc, an organization founded by the Pasadena Playhouse. He PLAYWRIGHT, Stephen Sondheim to discover has been honored with a Bay DIRECTOR & DESIGNERS playwrights 18 years old and Area Theatre Critics Best Direc- under. tor Award for Love! Valour! ALFRED UHRY (Playwright) is Compassion! and a nomination the only playwright to win the WARNER SHOOK (Director) di- for a Helen Hayes Best Director “triple crown” - the Oscar, the rected SCR’s productions of The Award for The Kentucky Cycle. Tony and the . He Circle, You Can’t Take It with Most recently Mr. Shook was received a Tony nomination for You, Frankie and Johnny in the chosen by to di- his book for The Robber Bride- Clair de Lune and Beyond Ther- rect the West Coast premiere of groom in 1976. His play Driv- apy. He directed the premiere his Tony Award-winning The ing Miss Daisy won the 1988 of the Pulitzer Prize-winning Goat or Who is Sylvia? at ACT Pulitzer Prize, as well as the The Kentucky Cycle on Broad- Theatre in Seattle with Brian Outer Critics Circle Award. His way, the Mark Taper Forum and Kerwin and Cynthia Mace in the screenplay for Driving Miss the Kennedy Center. He served leading roles. Daisy won the 1989 Academy as Artistic Director of the Inti- Award as well as the Writers man Theatre in Seattle from MICHAEL OLICH (Scenic Design) Guild Award, and the film was 1992 to 1999. While there he is making his design debut at chosen best picture the same directed Angels in America, The South Coast Repertory. Mr. year. Other films include Mystic Little Foxes, The Royal Family, Olich has collaborated as a free- Pizza and Rich In Love. His Who’s Afraid of Virginia Woolf?, lance designer and director with next play, The Last Night of Bal- Faith Healer, Three Tall Women organizations and artists from lyhoo, won the 1997 Tony and Molly Sweeney among oth- coast to coast, among them the Award, as well as the Outer ers. Other regional theatre American Conservatory Theatre Critics Circle Award and the credits include the world pre- in , Houston’s American Theatre Critics Award. miere of The Mandrake Root Alley Theatre, The Guthrie The- His book for the musical Pa- written by and starring Lynn atre, Berkeley Repertory The- rade (music and lyrics by Jason Redgrave at the Long Wharf; atre, Intiman Theatre, Hartford Robert Brown, directed by The Man Who Came to Dinner Stage Company, Seattle Reperto- ) won the 1999 at Oregon Shakespeare Festival; ry Theatre, Pacific Northwest Tony Award, the Drama Desk Love! Valour! Compassion! at Ballet, Milwaukee Repertory Award and the New York Critics Berkeley Repertory; Cat on a Theatre, Seattle Opera, the Association Award. Two new Hot Tin Roof at American Con- Empty Space and A Contempo- plays had world premieres in servatory Theatre; Sister Mary rary Theatre of Seattle, New 2002—Without Walls at the Ignatius Explains It All For You Haven’s Long Wharf Theatre, Williamstown Theatre Festival and Brian Friel’s Translations at the Alliance Theatre Company, and Edgardo Mine at the Hart- LA Stage Company; Mrs. Cali- Children’s Theatre Company of

West Coast Premiere by September 28 - October 19 Exuberant humor and love of life give way to seduction, danger and betrayal among Cuban-American cigar makers in this 2003 Pulitzer Prize winner. Call (714) 708-5555 or buy online at www.scr.org

The Last Night of Ballyhoo •SOUTH COAST REPERTORY P9 Minneapolis, the San Jose in Seattle. Other credits include theme parks in six different Repertory Theatre, Pittsburgh’s La Jolla Playhouse, Seattle countries including Universal City Theatre and the Oregon Repertory Theatre, The Oregon Studios Hollywood, Japan, and Shakespeare Festival. In 1991, Shakespeare Festival, The Den- Orlando; Warner Bros. Movie he originated the scenic installa- ver Center, Actors Theatre of World Australia, Germany, and tion for the Pulitzer Prize-win- Louisville, Honolulu Theatre for Spain; Knott’s Berry Farm; and ning The Kentucky Cycle at the Youth, Seattle Children’s The- Disneyland. His architectural Intiman, a design that garnered atre and the Arizona Theatre lighting can be seen at SCR’s the 1992 Los Angeles Critics Cir- Company. She is also the resi- new Folino Theatre Center, cle Award at the Mark Taper dent costume designer for the Hard Rock Hotels and Casinos, Forum, and was produced at Pat Graney Dance Company. South Coast Plaza, Orange the Kennedy Center and on When not doing theatre, Ms. County Performing Arts Center, Broadway in 1993. A past resi- Kenney styles wardrobe for the Los Angeles Music Center, dent of Seattle, in 1999 he commercials, still shoots and re- Santa Monica Place, and many moved his home to Pittsburgh lated media. other retail centers, restaurants, and a new career as Associate churches, residences, and li- Professor of Design with TOM RUZIKA (Lighting Design), braries. Mr. Ruzika also serves Carnegie Mellon’s School of in 29 seasons with SCR, has cre- as the head of the Graduate Drama. He now serves on the ated award-winning lighting de- Lighting Design Program at U.C. City Theatre’s Board of Direc- signs for many of his more than Irvine. tors. 75 productions including A Del- icate Balance, The Beauty MICHAEL ROTH (Composer/ FRANCES KENNY (Costume De- Queen of Leenane, The Philan- Sound Design), is pleased to be sign) makes her design debut at derer, Of Mice and Men, Arca- back at SCR, where his work South Coast Repertory, but her dia, Six Degrees of Separation, has been heard in over 40 pro- umteenth collaboration with di- Holy Days, The Crucible, Sun- ductions and premieres, includ- rector Warner Shook. Some of day in the Park with George, ing ’ Dinner her favorite shows include the Amadeus, Jumpers, and 23 years With Friends (directed by Dan Pulitzer Prize-winning The Ken- of A Christmas Carol (with Sullivan, also seen Off-Broad- tucky Cycle which had produc- Donna Ruzika). He has de- way), Sight Unseen (also Off- tions on Broadway, the Mark signed 18 musical productions Broadway), and the Culture Taper Forum and the Kennedy for Reprise, and shows for the Clash/John Glore musical adap- Center; the West Coast premiere Mark Taper Forum, the Geffen tation of The Birds (also at of Edward Albee’s The Goat at Playhouse, Ford’s Theatre, the Berkeley Rep). Other recent ACT in Seattle; The Mandrake Coconut Grove Playhouse, La- projects: in New York, Talking Root written by and starring guna Playhouse, Berkeley Heads, currently Off-Broadway; , which pre- Repertory Theatre, Sacramento and The Persians (National Ac- miered at the Long Wharf The- Music Theatre, South Bay and tors Theatre); many collabora- atre and San Jose Repertory; Fullerton CLO’s, McCoy Rigby, tions with in- and the amazing Angels in and International City Theatre. cluding SCR’s The Education of America at the Intimate Theatre His designs can be seen at Randy Newman (orchestrator,

P10 SOUTH COAST REPERTORY • The Last Night of Ballyhoo music director, co-conceiver managed the world premiere of of Fine Arts in San Francisco. with Jerry Patch, also seen in La Posada Mágica, and previ- Other stage management credits Seattle), orchestrating his Faust, ously served as Assistant Stage include the American Conserva- and editing two songbooks for Manager on more than 36 addi- tory Theatre in San Francisco, Warner Bros.; at La Jolla Play- tional Mainstage productions. the Globe Theatres in San house, over 35 productions in- He has also stage managed at Diego, Berkeley Repertory The- cluding Tom Donaghy’s Eden The Laguna Playhouse, Seattle’s atre, San Jose Civic Light Opera, Land and Lee Blessing’s A Walk Intiman Theatre, San Francisco’s VITA Shakespeare Festival, Pa- in , also on Broadway Palace of Fine Arts, Shakespeare cific Conservatory of the Per- and PBS; with Mac Wellman, Festival/Los Angeles, La Mirada forming Arts, Long Beach Ballet, their music/theatre piece The Theatre for the Performing Arts, San Francisco Convention Bu- Allegory of Whiteness (2001 Hu- Highways Performance Space as reau and Kawasaki Motorcycles. mana Festival, directed by Lisa well as several other smaller He would like everyone to take Peterson), the premieres of Bit- theatres in the Los Angeles area a moment to remember all ter Bierce, Terminal Hip, Bad and is a graduate of Pepperdine those who have lost the battle Penny, and The Lesser Magoo, University. Mr. Harrison would and all those still suffering and and directing Albanian Softshoe; like to take this opportunity to fighting the AIDS epidemic. the musical, with acknowledge and continuously ; Anne Bogart’s support his friends and col- DAVID EMMES (Producing Artis- The Women; collaborating with leagues who are battling the tic Director) is co-founder of and Carey Perloff fight of AIDS. SCR, one of the largest profes- on the American premieres of sional resident theatres in Cali- Indian Ink and The Invention *RANDALL K. LUM (Assistant fornia. He has received numer- of Love at ACT; Des McAnuff’s Stage Manager) is pleased to be ous awards for productions he film Bad Dates; the independent part of SCR’s 40th Season. Last has directed during SCR’s 39- feature Holy Days, directed by season he stage managed Major year history, including a 1999 Martin Benson; with Quincy Barbara, Proof and Intimate Los Angeles Drama Critics Circle Long, People Be Heard, upcom- Apparel. Two seasons ago he Award for the direction of ing at Playwrights Horizons; and had the pleasure of working on ’s The a new opera with Nell Ben- Getting Frankie Married—and Philanderer. He directed the jamin. The CD of Roth’s cham- Afterwards, The School for world premieres of Amy Freed’s ber opera Their Thought and Wives, The Homecoming and The Beard of Avon and Free- Back Again, is available through The Circle. During his long as- domland, Thomas Babe’s Great e-mail at [email protected]. sociation as one of SCR’s resi- Day in the Morning, Keith Red- dent stage managers he has din’s Rum and Coke and But *SCOTT HARRISON (Stage Man- worked on more than a dozen Not for Me and Neal Bell’s Cold ager) returns for his 14th season world premieres and has been Sweat; the American premiere having most recently stage man- associated with over 65 produc- of Terry Johnson’s Unsuitable aged The Drawer Boy. He has tions. In 1997, Mr. Lum stage for Adults; the West Coast pre- stage managed more than 35 managed the AIDS Benefit Help mieres of C.P. Taylor’s Good and shows on the Mainstage, stage is on the Way III at the Palace Harry Kondoleon’s Christmas

by October 10 - November 16

Robert Falcon Scott races to the South Pole—toward a destiny that is doomed and yet, ultimately, life affirming.

Call (714) 708-5555 or buy online at www.scr.org

The Last Night of Ballyhoo •SOUTH COAST REPERTORY P11 on Mars; and the Southland pre- Children and the world pre- standing Resident Professional miere of Top Girls (at SCR and miere of his Getting Frankie Theatre and won the 1995 The- the Westwood Playhouse). Married—and Afterwards, the atre LA Ovation Award for Life- Other productions include the critically acclaimed California time Achievement. Mr. Benson West Coast premieres of Three premiere of William Nicholson’s received his BA in Theatre from Viewings by Jeffrey Hatcher, The Shadowlands, Athol Fugard’s California State University, San Secret Rapture by Playland, Brian Friel’s Dancing Francisco. and New England by Richard at Lughnasa, ’s Nelson; and Arcadia by Tom , ’s The PAULA TOMEI (Managing Direc- Stoppard, Six Degrees of Separa- Homecoming, David Hare’s Sky- tor) is responsible for the over- tion by , The Impor- light and the West Coast pre- all administration of South Coast tance of Being Earnest by Oscar mieres of Peter Hedges’ Good Repertory and has been Manag- Wilde, Ayckbourn’s Woman in As New and Martin McDonagh’s ing Director since 1994. A Mind and You Never Can Tell by The Lonesome West. He has member of the SCR staff since George Bernard Shaw, which won accolades for his direction 1979, she has served in a num- he restaged for the Singapore of five major works by George ber of administrative capacities Festival of Arts. His producing Bernard Shaw, including the Los including Subscriptions Manag- responsibilities involve the over- Angeles Drama Critics Circle er, Business Manager and Gen- all coordination of SCR’s pro- (LADCC) Award winners Major eral Manager. She currently grams and projects. He has Barbara, Misalliance and serves as President of the The- served as a consultant to the Heartbreak House. Among the atre Communications Group Orange County Performing Arts numerous world premieres he (TCG), the national service or- Center and as a theatre panelist has directed are Tom Strelich’s ganization for the professional and onsite evaluator for the Na- BAFO and ’s not-for-profit theater. In addi- tional Endowment for the Arts. Pulitzer Prize-winning Wit, tion, she has served as Treasur- He has served on the Executive which he also directed at Seattle er of TCG, Vice President of the Committee of the League of Repertory Theatre and the Alley League of Resident Theatres Resident Theatres, and as a pan- Theatre in Houston. He has di- (LORT) and has been a member elist for the California Arts rected American classics includ- of the LORT Negotiating Com- Council. After attending Orange ing Ah, Wilderness!, A Streetcar mittee for industry-wide union Coast College, he received his Named Desire, A Delicate Bal- agreements. She represents SCR BA and MA from California ance and All My Sons. Mr. Ben- at national conferences of TCG State University, San Francisco, son has been honored with the and LORT; is a theatre panelist and his PhD in theatre and film Drama-Logue Award for his di- and site visitor for the National from USC. rection of 21 productions and Endowment for the Arts and the received LADCC Distinguished California Arts Council; served MARTIN BENSON (Artistic Di- Achievement in Directing on the Advisory Committee for rector) shares co-founder credit awards an unparalleled seven the Arts Administration Certifi- and artistic leadership of SCR times for the three Shaw pro- cate Program at the University with his colleague David ductions, John Millington of California, Irvine; and has Emmes. As one of SCR’s chief Synge’s Playboy of the Western been a guest lecturer in the directors, Mr. Benson has direct- World, ’s The Cru- graduate school of business at ed nearly one third of the plays cible, Sally Nemeth’s Holy Days Stanford. She graduated from produced here in the last 39 and Wit. He also directed the the University of California, years. He has distinguished film version of Holy Days using Irvine with a degree in Eco- himself in the staging of con- the original SCR cast. Along nomics and pursued an addi- temporary work, including Hor- with David Emmes, he accepted tional course of study in theatre ton Foote’s The Carpetbagger’s SCR’s 1988 Tony Award for Out- 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.

P12 SOUTH COAST REPERTORY • The Last Night of Ballyhoo