SC 53rd Season • 505th Production SEGERSTROM STAGE / JANUARY 20 - FEBRUARY 19, 2017

Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS

in association with the Alliance Theatre and Arena Stage present The Lookingglass Theatre Company’s production of MOBY DICK adapted and directed by David Catlin from the novel by Herman Melville

Courtney O’Neill Sully Ratke William C. Kirkham Rick Sims SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN/COMPOSITION

Sylvia Hernandez-DiStasi Kathy Logelin Isaac Schoepp AERIAL/ACROBATIC CHOREOGRAPHY DIALECT COACH RIGGING DESIGN

Philip R. Smith Joshua Marchesi Mary Hungerford* CASTING PRODUCTION MANAGER STAGE MANAGER

Sandy Segerstom Daniels Carolyn and Bill Klein Honorary Producers

BNY Mellon Wealth Management Haskell & White LLP Corporate Honorary Associate Producers

MOBY DICK is produced through special arrangement with Bruce Ostler, Bret Adames, Ltd., 448 44th Street, New York, NY 10036 Originally produced by Lookingglass Theatre Company in association with Actors Gymnasium in Chicago, June 2015.

Moby Dick • South Coast Repertory • P1 CAST OF CHARACTERS (In order of appearance) Ishmael ...... Jamie Abelson* Fate/Innkeeper/Mother/Caroler/Nursing Whale ...... Kelley Abell* Fate/Sister/Mary Starbuck/Crone/Dying Whale/St. Elmo’s Fire ...... Cordelia Dewdney* Fate/Widow/The Sea/Caroler/Fate on Stilts ...... Kasey Foster* Queequeg ...... Anthony Fleming III* Cabaco/Captain of New Bedford Whaling Ship ...... Micah Figueroa* Starbuck/Father Mapple/Dr. Bunger ...... Walter Owen Briggs* Stubb/Captain Boomer/Captain Gardiner ...... Raymond Fox* Mungun ...... Javen Ulambayar* Ahab ...... Christopher Donahue* Understudy for Queequeg and Mungun ...... Adeoye* Understudy for Ahab/Ishmael/Stubb/Starbuck/Cabaco ...... Chris Mathews*

PRODUCTION STAFF Dramaturg ...... Kat Zukaitis Assistant Stage Manager ...... Sue Karutz* Circus Captain ...... Javen Ulambayar Costume Design Assistant ...... J. Wendy Wallace Associate Lighting Designer ...... Karyn D. Lawrence Stage Management Interns ...... Jennifer Franco, Elena Perez Light Board Operator ...... Andrew Stephens Sound Mixer ...... Danielle Kisner Sound Technician/A2 ...... Vincent Quan Automation and Rigging Operator ...... Emily Kettler Deck Crew ...... Isaac Jacobs Wardrobe Supervisor ...... Bert Henert Dresser ...... Lisa Leonhardt Hair and Makeup Supervisor ...... Gillian Woodson Additional Costume Staff ...... Kaitlyn Kaufman

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

P2 • South Coast Repertory • Moby Dick Anthony Fleming III, Christopher Donahue, Emma Cadd, and Jamie Abelson in Lookingglass Theatre Company’s production of Moby Dick. Photo by Liz Lauren. © Lookingglass Theatre Company and

SETTING Mid-19th century, New Bedford, Mass., and Nantucket Island.

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

The use of cameras, videotaping or other video or audio recording of this production is strictly prohibited. Electronic devices 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. Smoking is not permitted anywhere in the theatre.

Media Partner

Moby Dick • South Coast Repertory • P3 Here’s Why I Love Moby Dick

by David Catlin, adaptor and director of Moby Dick Director David Catlin “CALL ME ISHMAEL.”

So begins one of literature’s most famous stories. He doesn’t say, ‘My name is Ishmael,’ He says, ‘Call me Ishmael.’ The Ishmael of the Old Testament is the original outcast – the unborn bastard son of Abraham, cast out into the desert with his maidservant mother. To hunt down a most wretched white-whale And so our Ishmael is a self-proclaimed outcast – A white whale that smashed many whale-boats, A self-titled isolato. That killed many men and reaped away Ahab’s leg, He is unsettled, unconnected, unmoored Just as a mower reaps away a blade of grass. And rudderless. Ahab’s fateful quest becomes Ishmael’s. I think we have all felt that way at some point. Queequeg’s. The crew’s. Ours. Those feelings draw us to the water’s edge Where we meet other isolatoes – I understand Ahab’s passion – Unsettled, unconnected, unmoored and rudderless. With so much tugging at us for our attention, The idea of being swept away, lost, Consumed by a singular passion is ENTER QUEEQUEG – The savage. The other. Compelling, seducing. From the other side of the world. In this tattooed and terrifying “cannibal,” But such singular passion – however alluring – Ishmael finds unlikely connection. can knock us down. They both seek something more, Tip us beyond righting. Capsize and founder us. Something exciting and noble – We can drown in the darker contours of obsession. To risk the perils and monsters of the sea. And madness. To fetch home barrels of precious Light-bringing oil – light, to make our streets safer, Light, to allow us to read and better ourselves, ENTER STARBUCK – Brave, yet reasoned. Light, to warm and feed our families. We need Starbuck’s voice to bring balance They decide to go a-whaling! To remind Ahab of his own humanity – To turn the Pequod around and deliver us all Safely home… ENTER AHAB – wounded and vengeful With a fateful purpose Even more noble and more sacred – ENTER MOBY DICK – Ahab’s Fate. To slay the impossible beast – evil itself. Our Fate, too, and all who are tied to Ahab. To find a single massive and malicious creature – Summoning and seducing. A creature with a milky white head and hump, Exacting and unrelenting. Lurking beneath the surface Unconquerable, cruel and colliding. Somewhere in all the waters of the world… Swallowing us up and pulling us down to our doom.

P4 • South Coast Repertory • Moby Dick “A Most Provoking Book” –London Athenaeum review of Moby-Dick, 1851 by Kat Zukaitis 1851, virtually nobody took notice. At the time, Mel- ville was best known for Typee, an 1846 novel loosely et’s all agree: Moby-Dick is a terrible novel. If based on his own sojourn on the Polynesian Marque- you define a novel by plot and conflict, character sas Islands. His largely fabricated story of life among development and the craft of storytelling, Moby- the “cannibals”—and his romantic descriptions of ex- Dick fails most conventional tests. The otic, eroticized natives—brought his first burst primary psychological conflict of the of fame and made him into something of a Lbook, Ahab’s war with himself, is over nineteenth century literary sex symbol. long before the story begins. The plot, Melville’s background was unusu- already sparse, falls away for hundreds al. At the age of 21, having failed to of pages at a time while Melville in- find success in several other trades, dulges his fascination with the shape Melville signed on as a hand aboard of coiled rope or the meaning of the the whaling ship Acushnet, setting color white. His painstaking descrip- out on a three-and-a-half-year voy- tions of the practicalities of whaling, age that would see him jumping combined with his infamous (if mostly ship in the Marquesas Islands, whimsical) lists of whale species, have participating in a mutiny, working made the book unreadable for many. as a clerk in the Hawaiian Islands And yet this book just won’t go and finally joining the U.S. Navy. The away. Like the whale of its title, this breadth of perspective that his time in mammoth, elusive, frustrating, en- the Pacific afforded him is readily ap- trancing book lingers at the edges of parent in his concern for racial and our collective national imagination, re- cultural diversity, and his critique of surfacing year after year to domi- the Western idea of civiliza- nate school reading lists, tion. Through his pro- book club selections, tagonist Ishmael, Mel- best-of compila- ville pays tribute to tions and even the the education he re- occasional theatri- Herman Melville, ceived at sea, writing cal adaptation. 1861 that “a whale-ship was Why? my Yale College and my Before we get to this Harvard.” crucial, impossible question, let’s backtrack. When Melville published his magnum opus in “An ill-compounded mixture of romance and matter-of-fact…. Mr. Melville “What’s the use of elaborating what, has to thank himself only if his horrors and in its very essence, is so short-lived as a his heroics are flung aside by the general modern book? Though I wrote the Gospels reader, as so much trash belonging to the in this century, I should die in the gutter.” worst school of Bedlam literature. –Herman Melville to —London Athenaeum review Nathaniel Hawthorne, 1851 of Moby-Dick, 1851

Moby Dick • South Coast Repertory • P5 Melville drew liber- Left: the Harper and Brothers 1851 first edition ally upon history and and its title page. The initial run of 3,000 copies literature, as well as never sold out and all but 60 of the unsold cop- ies were destroyed in an 1853 warehouse fire. his own adventures, Today, first editions in good condition can fetch in his work. The upwards of $65,000. tale of a great white whale bent on de- struction is partly After returning based on the true to the United States story of Mocha and finding mild suc- Dick, a barnacle- cess with Typee and encrusted albino its sequel, Omoo, whale (named for Melville set to work the Mocha Island, on a picaresque off the western novel of the whaling coast of Chile) that industry—a light af- became notori- fair in which the infa- ous for the damage mous Captain Ahab it wreaked while did not appear. Then evading capture he met fellow au- in the early 1800s. thor Nathaniel Haw- Melville also eagerly thorne, who had re- devoured accounts cently published The of the whaleship Scarlet Letter, and Essex, which a sperm found both friend whale rammed and and idol. Inspired by sank in the middle of the Hawthorne’s ability South Pacific in 1820. The 20 crewmembers to conjure dark, dis- of the Essex declined to steer for the Mar- turbing truths about quesas, the nearest island chain, because human nature, Mel- of rumors of cannibals on those islands. (The terrible ville revised his project; when he re-embarked upon irony of their decision was not lost on the eight sur- the novel we now know as Moby-Dick, it was wildly vivors, who were eventually rescued with the bones different in tone and scope. He dedicated the book to of their shipmates in their hands.) Melville read the Hawthorne, “in token of my admiration for his genius.”

“Of all the extraordinary books from the “One of the strangest and most wonderful pen of Herman Melville this is out and out books in the world…. It moves awe in the the most extraordinary. Who would have soul.” looked for philosophy in whales, or for –D.H. Lawrence, “Herman Melville’s poetry in blubber…. It is not a mere tale of Moby Dick,” 1923 adventures, but a whole philosophy of life, that it unfolds. In 1851, Melville published Moby-Dick to mixed –London John Bull review reviews and little acclaim. Critics expressed confusion of Moby-Dick, 1851 at this rambling, genre-defying work. Melville, discour- aged, continued to write, but never recaptured the popular success of his first novel. He eventually took memoir of the Essex’s first mate in 1842, aboard the a job as a customs officer in New York City. Forty years Acushnet; unlike the crew of the Essex, he was in- after the publication of Moby-Dick, Melville died in trigued by the islands and their people, and promptly obscurity, with only 3,715 copies of the book sold dur- abandoned ship for a brief but formative stay on the ing his lifetime. His obituary, a mere six lines long, ap- Marquesas. peared in only one local newspaper.

P6 • South Coast Repertory • Moby Dick Decades passed and the world changed. A gener- ation scarred by the horrors of World War I found new “Despite the fact that some of the whale value in Melville’s eccentric, reckless imagination and, unlike the critics of the 1850s, adored his stubborn dis- anatomy chapters sapped my will to live, I’ve regard of the usual conventions of 19th-century fiction. not been sorry I read it. Whatever else can They saw in the tale of the Pequod a prescient parable be said about it, the book is a basic point of of a nation torn apart by its own sins (or indifferences) cultural reference and a source of jokes and allusions you otherwise won’t get. The very ideas of the white whale, the crazed captain, “It is better to fail in originality, than to suc- the voyage that really is a trip to crazy ... ceed in imitation. He who has never failed these things have passed into myth, and it’s somewhere, that man cannot be great.” good to know your own myths.” – Herman Melville, 1850 –Linda Holmes, NPR, 2011 and, in the White Whale, a symbol of the elusive yet in- to Melville as the writer they spent their lives trying to exorable forces that spell out doom. The novel became surpass. a litmus test of one’s literary bona fides, described by The floodgates opened and generations of Amer- one expatriate writer in the creative ferment of 1920s ican students and scholars have since grappled with Paris as “a sort of cunning test by which the genuine- the book. Part of the appeal of the novel is its slippery ness of another man’s response to literature could be symbolism: despite looming large over the narrative, proved.” Faulkner and Hemingway both paid homage Moby Dick himself remains an elusive creature. To some, he is the pure incarnation of all the evil in the world; to others, he is God, or fate, or merely an unlucky creature that becomes the unwitting focal point of a demagogue’s mad quest for power. The Pequod is at once the symbol of a nation di- vided, a cautionary tale and a satirical exercise in human classification. But independently of the work itself, Moby- Dick is a book on which we all love to have an opinion. Whether you worship it, loathe it, or couldn’t care less, you’ve probably spent more time talking about your relationship with the book than about its contents. It’s become a cultural touchstone, a marker of elitism or idiosyncrasy, intelligence or rebellion. It’s a curious reader’s treasure trove or exhibit A for those who find the American literary canon problematic. Melville’s novel has, over the decades, taken on some of the same slipperiness as the titular creature. It is, if you will, the White Whale of the American literary canon: a work onto which we are free to project longing, frustration and obsession. Like the great Moby Dick, this novel refuses to go away, and will keep sailing the tides of American culture long after it leaves us in its wide wake.

Left: An illustration by Rockwell Kent for the 1930 edition of Moby-Dick. Buoyed by a resurgence in Melville’s popularity, this three-volume limited edition sold out immediately. Kent’s striking pen-and-ink illustrations for the book are considered to be among his greatest artistic achievements.

Moby Dick • South Coast Repertory • P7 Through the Looking-Glass

by Kat Zukaitis robatic adaptations of classic works them long after they leave the the- of literature. atre. n 1988, eight theatre students at Lookingglass takes its name Even the company’s perfor- Northwestern University went and mission from the works of Lewis mance space reflects its dedication off script. Instead of auditioning Carroll. When Alice travels to Won- to the idea of transformation: lo- for the official department show, derland, she finds herself in a cated in a renovated public build- they banded together to create fantastical world ing, the historic Water Tower theirI own avant-garde interpreta- that surpasses Water Works on Chicago’s Mag- tion of Alice in Wonderland, a high- nificent Mile, the main stage is an ly physical, imaginative piece that unusually large black grew out of improvisational games and collaborative ensemble work. The next summer, the students took their production to the Edinburgh anything she could have Below left: Lookingglass Theatre Company Fringe Festival, and Lookingglass imagined. When she re- façade. Right: Lookingglass Alice, David Cat- lin’s celebrated adaptation of Lewis Carroll’s Theatre Company was born. turns, she is transformed by the ex- masterpiece, is a tribute to the earliest days Now, almost 30 years later, the perience. Taking a page out of Car- of Lookingglass Theatre. This circus-infused company is a mainstay on both the roll’s book, Lookingglass sets out show employs five multi-talented actors to Chicago and national scene. It has to push the boundaries of what is bring the world of Wonderland and its zany, premiered more than 50 new plays theatrically possible in order to im- troubled inhabitants to life. Since its creation in 2005, Lookingglass Alice has played and and is internationally known for merse its audiences in startling, em- toured across the country—as has Catlin’s boundary-pushing, spectacularly ac- powering worlds that will stay with latest adaptation, Moby Dick. © Lookingglass Theatre Company and Liz Lauren. Lookingglass production photos by Liz Lauren.

P8 • South Coast Repertory • Moby Dick Ensemble member Mary Zimmerman is a director who rose to national promi- nence for her work with Lookingglass. Her seminal 1998 adaptation of the poet Ovid’s Metamorphoses (pictured left), which takes place in and around a pool of water, has become one of the company’s signature pieces, and the play’s 2002 Broadway pro- duction won Zimmerman a Tony Award for Best Director. Her lyrical, innovative adap- tations of The Arabian Nights, The Odyssey, Treasure Island and The Jungle Book have also been produced across the country.

new work at Lookingglass remains a highly collaborative process, in which actors are often expected to contribute or even to create sec- tions of the work. Even in Chicago, the Ameri- box theatre, seating just under 250, theater without a net.” But, Catlin can stronghold of ensemble-based which allows Lookingglass to recon- insists, the stunts never upstage the theatre, Lookingglass stands out for figure the audience seating for each storytelling; every choice in the re- the nature and scope of its collabo- show. Many productions are immer- hearsal room is driven by the ques- rations, producing visceral, aestheti- sive, with actors appearing among tion of how to most powerfully tell cally driven works that engage audi- and behind the audience, opening the story. ences like no one else. In 2016, the doors in the walls and popping out Notwithstanding its soaring MacArthur Foundation concentrated of the grid high above before sliding success and national profile, the its arts-related grants in the Windy on silks or ropes down to the stage. company remains committed to its City, awarding more than $6.5 mil- Lookingglass performers fre- ensemble-driven ethos. The plays lion dollars in grants to 14 Chica- quently have both acting and circus in each season are selected by the go arts institutions that it identified training. Since 1994, the company has worked in close collaboration with The Actors Gymnasium in Evan- Did you know? The 1987 production of Alice in ston, Ill., where actors practice the Wonderland that launched Lookingglass Theatre Company circus skills that allow them to ex- periment with bold new forms of was directed by David Schwimmer, who would go on to find theatrical storytelling. fame playing Ross Geller on NBC’s hit TV show “Friends.” Founding ensemble member Schwimmer financed Alice with money saved from his bar David Catlin—the adaptor and di- mitzvah. Although he eventually moved to Los Angeles to rector of Moby Dick—describes the pursue television work, Schwimmer remains a committed Lookingglass aesthetic as “theatre Lookingglass ensemble member and has directed and acted without a net,” both literally and fig- uratively. “There’s always a level of in several of their plays over the years. risk and challenge and daring that we bring to every production,” Cat- lin says. “Sometimes that’s actual- entire company, rather than just as especially creative and effective. ly physical with a level of physical the artistic director. The Looking- The largest of the grants, $1 million, virtuosity and acrobatics and circus glass Ensemble now numbers 25 went to Lookingglass. stuff… But also I think it means that and ensemble members make it a South Coast Repertory is almost every work we do is a new practice to rotate in and out of posi- proud to partner with the Alliance work, is a world premiere and we tions of leadership. “We established Theatre in Atlanta and Washington, are giving it its first go in front of an very early on the notion that any- D.C.’s Arena Stage to bring the re- audience. So to a degree, every work one could be a leader,” says Andrew markable Lookingglass production we do, whether it involves physical White, a founding member and for- of Moby Dick to Southern California theatrics and circus stunts or not, is mer artistic director. The creation of audiences.

Moby Dick • South Coast Repertory • P9 Artist Biographies

Kelley Abell Menagerie (Mary-Arrchie Theatre, Jeff Award, support- Fate/Innkeeper/Mother/Caroler/ ing actor). His other Chicago credits include roles at Vic- Nursing Whale tory Gardens Theater, A Red Orchid Theatre, Steep The- ater and The House Theatre. His regional credits include makes her South Coast Repertory work at Alliance Theatre, Arena Stage, American Rep- debut. Her recent theatre credits ertory Theater, Actors Theater of Louisville, Brooklyn include Moby Dick (Arena Stage Academy of Music and Getty Villa. His film and television and Alliance Theatre), Peter Pan credits include “Chicago Med,” Jessica, A Good Person, (Lookingglass Theatre Company), Ballad and Older Children. Briggs is a founding mem- 42nd Street and Fiddler on the Roof (Paramount The- ber of The Inconvenience and is a community member atre), Mr. Burns: A Post-Electric Play (Theater Wit), with The Hypocrites. He is a graduate of the Chicago Dorian (The House Theatre of Chicago) and Bat Boy: College of Performing Arts at Roosevelt University. The Musical and Titanic (Griffin Theatre). She also has worked with Goodman Theatre, The Marriott Theatre Cordelia Dewdney and Chicago Children’s Theatre, and is a proud graduate Fate/Sister/Mary Starbuck/Crone/ of Northwestern University. Gratitude to Graham and Dying Whale/St. Elmo’s Fire the family. makes her South Coast Repertory Jamie Abelson debut. Last summer, she appeared Ishmael on “Chicago Med,” and is happy to be represented by Stewart Talent. is making his South Coast Reperto- She is a graduate of NorthWestern ry debut. His recent theatre credits University with degrees in theatre and English and a include Moby Dick and Peter Pan proud alum of British American Drama Academy. Many (Lookingglass Theatre Company), thanks to her mother, family and friends. Red Kite Blue Sky (Chicago Chil- dren’s Theatre), The Lieutenant Christopher Donahue of Inishmore (Northlight Theatre), Eurydice (Victory Ahab Gardens Theater), Scenes from the Big Picture (Irish Theatre of Chicago), As Told by the Vivian Girls (Dog makes his South Coast Repertory & Pony Theatre Co.), columbinus (Raven Theatre) and debut. His theatre credits include Hope Springs Infernal and Dorian (The House The- Dogeaters, Measure for Measure atre). Abelson received his BFA in drama from the Tisch (The Public Theater/NYSF), The School at New York University. Notebooks of Leonardo DaVinci (Second Stage Theatre), Monster Walter Owen Briggs (Classic Stage Company, Obie Award) and Metamor- Starbuck/Father Mapple/Dr. phoses (Circle in the Square). He also has performed Bunger at Alliance Theatre, Arden Theatre Company, American Repertory Theater, Berkeley Repertory Theatre, Boston makes South Coast Repertory Lyric Opera, Chicago Opera Theatre, City Theatre (Pitts- debut. He is a proud artistic as- burgh), Court Theatre, Courthouse Repertory Theatre, sociate of Lookingglass Theatre Felicia Foster Funhouse, Goodman Theatre, Hartford Company. His previous collabora- Stage, Huntington Theatre, La Jolla Playhouse, Looking- tions include Bengal Tiger at the glass Theatre Company, McCarter Theatre, Milwaukee Baghdad Zoo and The North China Lover. He appeared Repertory, Remains Theatre, Seattle Repertory Theatre, in the world premiere of Hit the Wall (with The Incon- The Smith Center (Las Vegas), Stories on Stage, Two venience) at Steppenwolf Theatre; All Our Tragic (The River Theatre Company, Weston Playhouse and Yale Hypocrites, Jeff Award, best ensemble) and The Glass Repertory Theatre.

P10 • South Coast Repertory • Moby Dick Micah Figueroa Theatre Company, Manual Cinema, Chicago Children’s Cabaco/Captain of New Theatre, Redmoon Theater, Trap Door Theatre, Theater Bedford Whaling Ship Wit and Oracle Theatre. Foster is an artistic associate at Lookingglass Theatre Company and is represented is making his South Coast Reper- by Gray Talent Group. She sings with Chicago bands tory debut. He is a Chicago-based Grood, Babe-alon 5, Old Timey and This Must be the actor, choreographer and director. Band. She has directed/choreographed more than 30 His select theatre credits include original works and produces an annual series called Moby Dick (Lookingglass Theatre “Dance Tribute.” She most recently was seen in Mary Company, Alliance Theatre, Arena Stage), Lookingglass Zimmerman’s Treasure Island (Berkeley Repertory Alice (Lookingglass Theatre Company), The Winter Pag- Theatre). Thanks to all for supporting the arts! They eant (Redmoon Theater), Distance to the Moon (First make everything better. kaseyfoster.com Floor Theater), The Farnsworth Invention and Wild Oats (Theatre Three), Coriolanus, Cyrano de Bergerac Raymond Fox and Macbeth (Shakespeare Dallas), Titus Andronicus Stubb/Captain Boomer/Captain (Kitchen Dog Theatre), Sense and Sensibility (Stolen Gardiner Shakespeare Guild) and In the Beginning and Henry IV (Dallas Theater Center). He earned a BFA from is making his South Coast Rep- Southern Methodist University and the British American ertory debut. His many notable Drama Academy. theatre credits include Meta- morphoses, a play he performed Anthony Fleming III on- and off-Broadway (Circle in Queequeg the Square, Second Stage Theatre) as well as numer- ous productions across the country: Simon Craig in is making his South Coast Rep- Blood and Gifts (TimeLine Theatre Company, 2013 ertory debut. His theatre credits Equity Jeff Award, Supporting Actor, Play), Prince Hal include a national tour of Looking- in Henry IV (Court Theatre) and Valentine Coverly in glass Alice (McCarter Theatre Cen- Arcadia (Meadow Brook Theatre). Fox is an ensemble ter, New Victory Theater, Arden member of Chicago’s Lookingglass Theatre Company, Theatre Company, Alliance The- where he co-adapted The Old Curiosity Shop with atre, Syracuse Stage), Clybourne Park (Arizona Theatre Laura Eason and Heidi Stillman (shared 2006 Joseph Company), Ma Rainey’s Black Bottom (Milwaukee Rep- Jefferson Award, New Adaptation). He was a member of ertory), Camino Real (Goodman Theatre), The Glass the Young Company of the Stratford Festival (Ontario, Menagerie (Steppenwolf Theatre), Denmark (Victory Canada) in 1996. Fox is a graduate of Northwestern Gardens Theater) and Fences (Court Theatre). His film University and the A.R.T. Institute for Advanced Theatre and television credits include “Chicago Fire” (NBC), Training at Harvard University. “Prison Break” (FOX) and Divergent (Summit). Flem- ing is an ensemble member with Lookingglass Theatre Javen Ulambayar Company and received the 2015 Jeff Award for Best Mungun/Circus Captain Supporting Actor in a Play for his portrayal of Queequeg in Moby Dick. is making his South Coast Rep- ertory debut. His circus career Kasey Foster has given him the opportunity to Fate/Widow/The Sea/Caroler/ work with companies including Fate on Stilts Lookingglass Theatre Company, The Actors Gymnasium and Mid- is making her South Coast Reper- night Circus. He attained his skills in a variety of per- tory debut. She has been perform- forming acts at Circus Juventus in St. Paul, Minn. Tum- ing, singing, directing and produc- bling, teeterboard, acro and Russian bar are among the ing in Chicago since 2004. She has skills he attained but, above all, he specializes in aerial worked with a variety of theatre straps and Chinese pole, performing with male and companies including Arena Stage (Washington, D.C.), female partners. He graduated from the University of Alliance Theatre (Atlanta, Ga.), Berkeley Repertory Minnesota in 2012, with a degree in kinesiology with Theatre and Chicago companies including Lookingglass emphasis on clinical movement and science.

Moby Dick • South Coast Repertory • P11 Adeoye (four Jeff Awards including Production, Large, and understudy, Queequeg/Mungun nominations for direction and adaptation) and Alliance Theatre. Additional Lookingglass credits include The is making his South Coast Rep- Little Prince, Icarus, The Idiot (Jeff Award, Adaptation), ertory debut. His theatre credits Black Diamond (co-direction), Kafka’s Metamorphosis, include The Little Prince, Peter The Master and Margarita (co-direction) and West. Pan, Icarus and Black Diamond Catlin teaches theatre at Northwestern University. (Lookingglass Theatre Company), The Magnificents (The House Sylvia Hernandez-DiStasi (Aerial/Acrobatic Cho- Theatre), The Unmentionables (Steppenwolf Theatre), reography) has been an artistic associate at Looking- The Lost Boys of Sudan (Victory Gardens Theater), glass Theatre Company since 1999, winning three of Lookingglass Alice (Lookingglass Theatre Company and her four Joseph Jefferson Awards for choreography with Denver Center for the Performing Arts), A Raisin in the company. Lookingglass credits include Baron in the the Sun (Guthrie Theater/Penumbra Theatre) and Inti- Trees (Jeff Award), Hard Times (Jeff Award), Looking- mate Apparel (Clarence Brown Theatre). His television glass Alice (Jeff Award), Icarus (Jeff nomination) and credits include “Detroit 1-8-7,” “Leverage” and “Prison Moby Dick (Jeff Award, Best Production). Other theatre Break.” His film credits include #Vengeance is Mine credits include All Night Strut (Marriott Theatre, Jeff and Chicago Overcoat. He earned his MFA at The Acad- Award), Steppenwolf Theatre and Chicago Shakespeare emy for Classical Acting with Shakespeare Theatre Com- Theater, among others. She is a recipient of the 3Arts pany/George Washington University. Love and gratitude Award for Design (2014) and the Illinois Theatre Associ- to his family. ations 2015 Award of Honor for Outstanding Contribu- tions. She was last seen on stage in Marney and Phil: A Chris Mathews Circus Love Letter at The Actors Gymnasium, where she understudy, Ahab/Ishmael/ serves as artistic director and the director of The Profes- Stubb/Starbuck/Cabaco sional Training Program.

is making his South Coast Reper- Courtney O'Neill (Scenic Design) is making her tory debut. He is a company mem- SCR design debut. Her design credits include Moby ber with The House Theatre of Dick and The Little Prince (Lookingglass Theatre Com- Chicago, where he regularly writes pany), Julius Caesar (Writers Theatre), The Burials, and performs. Mathews co-wrote Life and Limb, The Compass and Of Mice and Men The Sparrow (Jeff Award, New Work) and Rose and (Steppenwolf Theatre), Waiting for Godot (Court The- the Rime, as well as The Hammer Trinity (House The- atre), The Amish Project and Song Man Dance Man atre, Adrienne Arsht Center). He has also written and (Milwaukee Repertory), Fetch Clay Make Man (Marin directed original circus theatre plays for family friendly Theatre Company and Round House Theatre), When I audiences at The Actors Gymnasium. As an actor, he Come to Die (Kansas City Repertory), The Mountaintop has performed with House Theatre, Lookingglass The- (Virginia Stage Company), Our Town, Oedipus, The atre Company and The Actors Gymnasium, among oth- Bald Soprano and Mud (The Hypocrites) and Good for ers. Mathews provides motion capture performance for Otto, Bethany and Dirty (The Gift Theatre), among oth- video game maker Netherrealm Studios, having been ers. She was the associate designer for Fish in the Dark featured in the “Mortal Kombat” franchise titles (Johnny and This is Our Youth on Broadway. O’Neill received a Cage) and “Injustice: Gods Among Us” (Batman). Jeff Award for Mud. She holds an MFA from Northwest- ern University and a BFA from DePaul University and Playwright, Director and Designers currently teaches at both institutions. courtneyoneill. com David Catlin (Adaptor/Director) is a founding en- semble member of Chicago’s Lookingglass Theatre Sully Ratke (Costume Design) is grateful to be a part Company. His regional directing and writing credits of such an inspiring project. She is a recent graduate include Lookingglass Alice at Lookingglass Theatre, from the stage design MFA program at Northwestern McCarter Theatre, New Victory Theater, Arden Theatre University, with a fascination for all peoples and an in- Company, Actors Theatre of Louisville, Syracuse Stage tuition for connecting them, particularly through their (SALT Award, Production), Alliance Theatre (Suzi Bass common use of symbols, rituals and spiritual ideas. Award, Best Ensemble), Adrienne Arsht Center and She has been lucky to work with some fantastic theatre Denver Center, Moby Dick at Lookingglass Theatre companies in Chicago including Steppenwolf Theatre,

P12 • South Coast Repertory • Moby Dick Drury Lane Theatre, Lookingglass Theatre Compa- Our Own (Irish Theatre of Chicago), The Mutilated (A ny, Griffin Theatre, Northwestern University, Chicago Red Orchid Theatre), All the Way (TheatreSquared), Fringe Opera, The Gift Theatre and Two Pence Theatre Pygmalion (Oak Park Festival Theatre) and Persuasion Company. Gratitude to David and the team for includ- (Chamber Opera Chicago at the Edinburgh Festival ing her in this great work. Enjoy the show! sullyratke. Fringe). Logelin holds a BS in acting from Illinois State com University and is a company member of Rivendell The- atre Ensemble. William C. Kirkham (Lighting Design) is thrilled to be setting sail with Moby Dick at South Coast Reper- Isaac Schoepp (Rigging Design) is a rigging designer tory. His recent credits include Little Shop of Horrors whose credits include Moby Dick (Lookingglass Theatre (Portland Center Stage), Julius Caesar and Murder for Company, Alliance Theatre, Arena Stage) and Marnie Two (Utah Shakespeare Festival), Moby Dick and The and Phil: A Circus Love Letter, Circuscope and Magi- Little Prince (Lookingglass Theatre Company, 2014 Jeff cal Exploding Boy (The Actors Gymnasium). He serves Award, Lighting Design), Life and Limb (Steppenwolf as rigging designer for next spring’s The Year I Didn’t Theatre), United Flight 232 (The House Theatre), Stu- Go to School (Chicago Children’s Theatre). His work pid F-king Bird and Antigonick (Sideshow Theatre), as an assistant rigging designer to Lee Brasuell includes Three Sisters and The Tennessee Williams Project (The Lookingglass Alice, The Little Prince and Peter Pan: A Hypocrites Theater), Gidion’s Knot and From Prague Play (Lookingglass Theatre Company) and Cascabel (Contemporary American Theater Festival), Wonder- (Goodman Theatre, Lookingglass Theatre Company). ful Life (ArtsWest Playhouse), Bud, Not Buddy and A He did performer rigging for The Little Mermaid (Chi- Year with Frog and Toad (Chicago Children’s Theatre) cago Shakespeare Theatre) and Home of the Brave and Pete, the Return of Peter Pan and Girls Who Wear (Merrimack Repertory Theatre). He is the staff rigging Glasses (Childsplay Theatre). Kirkham earned his MFA specialist at The Actors Gymnasium, in Evanston, Ill. He in stage design at Northwestern University and is a received the 2015 Jeff Award for Artistic Specialization proud member of United Scenic Artists, Local 829. wck- for his rigging design for Moby Dick. He also coordi- irkham.com nates the Christ College Freshman Drama Workshop at Valparaiso University, where he received his BA in the- Rick Sims (Sound Design/Original Music) has com- atre and humanities. Much love to Claire. posed and designed sound for numerous Chicago-area theatres including Steppenwolf Theatre, Lookingglass Karyn D. Lawrence (Associate Lighting Design) is Theatre Company, Congo Square Theatre, Writers The- proud to be returning to South Coast Repertory after atre, Lifeline Theatre, Griffin Theatre, Chicago Chil- having designed the recent Theatre for Young Audi- dren’s Theatre, The Hypocrites Theater, The House ences productions of The Light Princess, A Year with Theatre, Court Theatre, ATC, Victory Gardens Theater, Frog and Toad and The Miraculous Journey of Edward Raven Theatre, Steep Theatre, Northlight Theatre and Tulane. Lawrence has earned two Los Angeles Ovation About Face Theatre. His additional credits include Getty Nominations for Best Lighting for Colony Collapse at Villa, Boston Playwrights’ Theatre, Arden Theatre Com- The Theatre @ Boston Court and The Gospel at Colo- pany, Playwrights Horizons, Actors Theatre of Louisville nus with Ebony Repertory Theatre. Her design for and Portland Playhouse. Sims won a Jeff Award for Fences with International City Theatre won an NAACP sound design for Moby Dick and Hepheastus (Looking- Theatre Award for Best Lighting. She also has designed glass Theatre Company), BTAA award for Brothers In for various regional theatres including the Wallis Annen- the Dust (Congo Square) and has received several nom- berg Center for the Performing Arts, East West Players, inations for both awards. He is an artistic associate with New Swan Shakespeare Festival and Great River Shake- Lookingglass Theatre Company, artistic affiliate with speare Festival. In addition to theatre, she is one of American Blues Theatre and associate designer with Radiance Lightworks’ lead lighting designers for Univer- Aria Music Designs (Ray Nardelli and Josh Horvath). sal Studios’ Halloween Horror Nights and she teaches Sims also wrote the book, music and lyrics for Hillbilly lighting design at Occidental College and California Antigone (Lookingglass Theatre Company). State University Los Angeles. KDLightingDesign.com

Kathy Logelin (Dialect Coach) is happy to return to Mary Hungerford (Stage Manager) is honored to coach Moby Dick, having previously coached the 2015 return to the Pequod with this amazing group of artists Lookingglass Theatre Company production. Her other after working on the original production at Looking- coaching credits include Treasure Island (Looking- glass Theatre Company in 2015. Her other Looking- glass Theatre Company), Spinning and Little World of glass credits include Blood Wedding, Treasure Island,

Moby Dick • South Coast Repertory • P13 Lookingglass Alice and Ethan Frome. In Chicago, she Like It for the Houston Shakespeare Festival, The Kite has worked with Chicago Shakespeare Theater, Step- Runner at Actors Theatre of Louisville and the Cleve- penwolf Theatre, TimeLine Theatre and Writers The- land Play House. He served for 11 years as artistic direc- atre. Most recently, she collaborated with the Globe tor of Actors Theatre of Louisville and produced the Theatre’s international touring production of The Mer- Humana Festival of New American Plays, where he pro- chant of Venice during its run at Chicago Shakespeare duced more than 100 world premieres, expanded audi- Theater. Hungerford is a proud member of Actors’ Eq- ences and the repertoire, deepened arts education pro- uity Association and an alumna of Northwestern Univer- grams and spearheaded numerous community-based sity. Endless thanks to Jeff and Kelley. projects. His other Louisville directing credits include A Midsummer Night’s Dream, Shipwrecked! An Enter- Sue Karutz (Assistant Stage Manager) has been part tainment, Glengarry Glen Ross, The Tempest, Mary’s of the stage management team at SCR for nearly 20 Wedding, The Crucible, Betrayal, As You Like It, The productions, with her favorite being last season’s One Importance of Being Earnest and Macbeth. The world Man, Two Guvnors. Elsewhere, she has toured with premieres he directed at the Humana Festival include Robert Wilson’s The Black Rider (London, San Fran- works by Lisa Dillman, Wendell Berry, Craig Wright, Eric cisco, Sydney, Los Angeles), Wicked (Chicago, L.A., San Coble, Adam Bock, Gina Gionfriddo, Melanie Marnich, Francisco), Les Misérables (U.S., Canada, China and Charles Mee and Rick Dresser. He served as artistic di- Korea), and Cirque du Soleil’s Corteo (Russia Belgium). rector of City Theatre in Pittsburgh for 20 years and was Off-Broadway, she earned her Equity card on Howard founder and chairman of the Greater Pittsburgh Arts Al- Crabtree’s When Pigs Fly. Karutz has stage-managed for liance. He has served as a theatre advisory panel mem- Center Theatre Group, Los Angeles Opera, Pasadena ber for the National Endowment for the Arts, as well as Playhouse, Falcon Theatre, Deaf West Theatre, Laguna numerous foundations. He won the Man of the Year Playhouse, American Conservatory Theater, La Jolla Vectors Award, and received the Lifetime Achievement Playhouse, Idaho Shakespeare Festival, Utah Shake- Award from the Pittsburgh New Works Festival. speare Festival, Alpine Theatre Project and The National Theatre of the Deaf. When not at SCR, she often runs Paula Tomei (Managing Director) is responsible for “Mickey and the Magical Map” at Disneyland. leading the overall administration of SCR. She has been managing director since 1994 and a member of SCR’s Marc Masterson (Artistic Director) is in his sixth staff since 1979. She is a past president of the board of season with SCR. Under his leadership, SCR has ex- Theatre Communications Group (TCG), the national panded community initiatives and world premieres service organization for theatre. In addition, she served including CrossRoads commissions with plays Vietgone as treasurer of TCG, vice president of the League of Res- and Orange and the Diálogos project in Santa Ana. In ident Theatres (LORT) and as a member of the LORT recent years, SCR productions have transferred to some Negotiating Committee for industry-wide union agree- of the leading theatres in the country including Manhat- ments. She represents SCR at national conferences of tan Theatre Club, Oregon Shakespeare Festival, Berke- TCG and LORT; is a theatre panelist for the National ley Repertory Theatre and The Shakespeare Theatre. Endowment for the Arts (NEA) and the California Arts His recent directing credits include All the Way, Going Council; site visitor for the NEA; and has been a guest to a Place where you Already Are, Zealot, Death of a lecturer in the graduate schools of business at Stanford Salesman, Eurydice and Elemeno Pea at SCR, As You and UC Irvine (UCI). She teaches a graduate class in

P14 • South Coast Repertory • Moby Dick nonprofit management at UCI and was appointed by the chancellor to UCI’s Community Arts Council. She is also on the board of Arts Orange County, the coun- ty-wide arts council, and the board of the Nicholas Honorary Producers Endowment. She graduated from UCI with a degree in economics and pursued an additional course of study Sandy Segerstrom Daniels is a lifelong and in theatre and dance. passionate supporter of the arts. Having enjoyed her debut involvement last season as an individual Martin Benson (Director/Founding Artistic Di- Honorary Producer for Amadeus, she is thrilled rector), co-founder of SCR, has directed nearly one- to be underwriting two productions this season, fourth of SCR’s productions. In 2008, he and David with her support of Moby Dick following that of Emmes received the Margo Jones Award for their Destiny of Desire (lauded as among the “best the- lifetime commitment to theatre excellence and fos- ater of 2016” by the LA Times.) Daniels has been tering the art and craft of American playwriting. They a First Nights subscriber since the 1980s, a Plati- also accepted SCR’s 1988 Tony Award for Outstand- num Circle donor since 2001 and a frequent Gala ing Resident Professional Theatre and won the 1995 underwriter, including the landmark 50th Season Theatre L.A. Ovation Award for Lifetime Achievement. Gala. Over the past three seasons, as a member of Benson has received the Los Angeles Drama Critics The Playwrights Circle, she has helped underwrite Circle Award for Distinguished Achievement in Direct- three world-premiere productions featured in the ing an unparalleled seven times for George Bernard Pacific Playwrights Festival. She is a member of Shaw’s Major Barbara, Misalliance and Heartbreak the Segerstrom family—philanthropic leaders in House; John Millington Synge’s Playboy of the West- Orange County, whose gift of land in the 1970s ern World; Arthur Miller’s The Crucible; Sally Ne- made it possible for SCR to relocate and build on meth’s Holy Days; and the world premiere of Marga- its present site. ret Edson’s Pulitzer Prize-winning Wit, which he also directed at Seattle Repertory Theatre and Houston’s Bill and Carolyn Klein are longtime support- Alley Theatre. He has directed American classics such ers of SCR with a particular interest in imaginative as A Streetcar Named Desire and has distinguished new work. The Kleins have been generous SCR himself in staging contemporary work including the donors and subscribers since the early 1990s, as critically acclaimed California premiere of William well as First Nights subscribers, Gala patrons and Nicholson’s Shadowlands. He directed revivals of Platinum Circle members since 2000. With their Beth Henley’s Abundance and Horton Foote’s The support of Moby Dick, this is the couple’s third Trip to Bountiful and Samuel D. Hunter’s The Whale time as Individual Honorary Producers, having pre- and Rest (world premiere); The Whipping Man by viously underwritten The Fantasticks in 2012 and Matthew Lopez and The Roommate by Jen Silverman tokyo fish story in 2015. Last year, Bill and Carolyn (west coast premiere). Benson received his BA in the- served, along with five other couples, as Honorary atre from San Francisco State University. Producers of the Pacific Playwrights Festival. Bill has been a member of SCR’s Board of Trustees David Emmes (Founding Artistic Director) is co- since 2010 and serves on the Finance Committee. founder of South Coast Repertory. He received the

Support for the exhibition is provided by the Alison Baker Frenzel Trust, Valaree Wahler, Anonymous, Pam and Jim Muzzy, Pamela Schmider, pop art and the Museum Council in honor of its 55th Anniversary. On view thru Apr. 2, 2017 OCMA design Orange cOunty museum Of art | Ocma.net WarhOl | Oldenburg | lichtenstein | ruscha | eames | nelsOn | sOttsass and mOre

Moby Dick • South Coast Repertory • P15 Margo Jones Award for his lifetime commitment to circus arts, physical theatre and multidisciplinary per- theatre excellence and to fostering the art of American formance; producing original and daring circus theatre, playwriting. In addition, he has received numerous often in collaboration; and providing innovative event awards for productions he has directed during his SCR entertainment. Actors Gymnasium is a co-founder of career. He directed the world premieres of Amy Freed’s Enrich Evanston: An Arts Equity Task Force. In addi- Safe in Hell, The Beard of Avon and Freedomland, tion to its longstanding partnership with Lookingglass, Thomas Babe’s Great Day in the Morning, Keith Red- collaborators include the Goodman Theatre, Chicago din’s Rum and Coke and But Not for Me and Neal Bell’s Children’s Theatre, Lucky Plush Productions and many Cold Sweat; the American premieres of Terry Johnson’s more. Artist development opportunities include weekly Unsuitable for Adults and Joe Penhall’s Dumb Show; classes, curriculum for five universities, master classes, a and the Southland premiere of Top Girls (at SCR and summer intensive and a nine-month professional train- the Westwood Playhouse). Other productions he has ing program. actorsgymnasium.org directed include Red, New England, Arcadia, The Im- portance of Being Earnest, Woman in Mind and You The Alliance Theatre founded in 1968, is the lead- Never Can Tell, which he restaged for the Singapore ing producing theatre in the Southeast, reaching more Festival of Arts. He has served as a theatre panelist and than 165,000 patrons annually. Under the leadership onsite evaluator for the National Endowment for the of Susan V. Booth, Jennings Hertz Artistic Director, the Arts, as well as a panelist for the California Arts Council. Alliance received the Regional Theatre Tony Award for After attending Orange Coast College, he received his sustained excellence in programming, education and BA and MA from San Francisco State University and his community engagement. The Alliance Theatre Acting PhD from USC. Program and Education Department reaches 50,000 stu- dents annually through performances, classes, camps, Lookingglass Theatre Company in Chicago was and in-school initiatives including the Palefsky Collision founded in 1988 by eight Northwestern University stu- Project and the Kathy & Ken Bernhardt Theatre for the dents. Lookingglass is home to a multidisciplined col- Very Young. The Alliance nurtures the careers of play- lective of artists who create original, story centered the- wrights and artists through programs like the Alliance/ atre through a physical and improvisational rehearsal Kendeda National Graduate Playwriting Competition process centered on ensemble. Lookingglass has staged and the Reiser Atlanta Artists Lab, and has developed 65 world premieres and earned numerous awards in and premiered important American musicals with a its mission to change, charge and empower audiences strong track record of Broadway, touring and subse- and artists alike. Lookingglass Education and Com- quent productions, including The Color Purple; Aida; munity programs encourage creativity, teamwork and Bring it On: The Musical; and Tuck Everlasting. alli- confidence with thousands of students and commu- ancetheatre.org nity members each year. In 2003, Lookingglass Theatre opened in Chicago’s landmark Water Tower Water Arena Stage at the Mead Center for American The- Works. In 2011, Lookingglass received the American ater, under the leadership of Artistic Director Molly TheatreWing’s Tony Award for outstanding regional Smith and Executive Director Edgar Dobie, is a national theatre. In February 2016, Lookingglass received the center dedicated to American voices and artists. Arena MacArthur Award for Creative and Effective Institutions. Stage produces plays of all that is passionate, profound, deep and dangerous in the American spirit, and pres- The Actors Gymnasium is one of the nation’s pre- ents diverse and ground-breaking work from some of mier circus and performing arts training centers. The the best artists around the country. Arena Stage is com- Actors Gymnasium was founded in 1995 by a lifelong mitted to commissioning and developing new plays circus performer from Ringling Bros., a co-founder of through the American Voices New Play Institute. Arena the Tony Award-winning Lookingglass Theatre, an arts Stage impacts the lives of more than 10,000 students journalist and a producer in order to bring new physi- annually through its work in community engagement. cality to the American theatre. Three primary programs Now in its seventh decade, Arena Stage serves a diverse expand creativity, community and courage: teaching annual audience of more than 300,000. arenastage.org

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

P16 • South Coast Repertory • Moby Dick