Bach at Leipzig

Home , Holzgerlingen, Itamar Moses, Stephen Caffrey (actor)

43rd Season • 411th Production JULIANNE ARGYROS STAGE / SEPTEMBER 24 - OCTOBER 15, 2006

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

presents BACH AT LEIPZIG

by Itamar Moses

Thomas Buderwitz Maggie Morgan Geoff Korf SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN

Tom Cavnar Darin Anthony Martin Noyes SOUND DESIGN ASSISTANT DIRECTOR FIGHT DIRECTOR

Megan Monaghan Jeff Gifford Erin Nelson* DRAMATURG PRODUCTION MANAGER STAGE MANAGER

DIRECTED BY Art Manke

Bach at Leipzig • SOUTH COAST REPERTORY P1

THE CAST (in order of appearance) Johann Friedrich Fasch ...... Stephen Caffrey* Georg Balthasar Schott ...... Tony Abatemarco* Georg Lenck ...... Jeffrey Hutchinson* Johann Martin Steindorff ...... Erik Sorensen* Georg Friedrich Kaufmann ...... John-David Keller* Johann Christoph Graupner ...... Timothy Landfield* The Greatest Organist in Germany ...... Sean H. Hemeon*

SETTING The narthex of St. Thomas Lutheran Church, Leipzig, Germany, 1722. Later, 1750.

LENGTH Approximately two hours and 20 minutes, including one 15-minute intermission.

PRODUCTION STAFF Casting ...... Joanne DeNaut Production Assistant ...... Ryan Neely Stage Management Intern ...... Jeffrey Whetstone Assistant to the Lighting Designer ...... Melinda Short Costume Design Assistant ...... Ela Jo Erwin Dresser ...... Kelly Marshall Costume Shop Assistants ...... Laurel Burton, Catherine Esera Iris Marshall, Peggy Oquist, Swantje Tuohino

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

P2 SOUTH COAST REPERTORY • Bach at Leipzig

Wilkommen nach Leipzig! Welcome to Leipzig! BY MEGAN MONAGHAN

f this article were one of the letters that begin of the Germanic languages) interacted with the Roman and end many of the scenes in our play, one Empire. Those early German tribes included the An- might expect it to begin: Leipzig, Germany, gles, Burgundians, Cibidi, Danes, Goths, Lombards, 1722. Saxons and Valagoths, among others. But in fact, there was no such thing as Since the Imperial Romans were excellent “Germany” in 1722. The geographic area that record-keepers and had a knack for durable materials, modern Germany occupies was in 1722 a enough information has survived to teach us that short- Iloosely confederated collection of small prin- ly after the beginning of the Common Era the Romans cipalities, duchies and city-states, all under the banner began teaching their methods of warfare to the German of the Holy Roman Empire of the German Nation. The tribes, by means of a series of invasions and counter- Holy Roman Empire consisted of a large collection of invasions that took the Germans and the Romans as far semi-independent states that were diverse in terms of as the Rhine and the Danube. In addition to periods of geography, population and wealth, while being unified outright war, the proto-Germans and the Romans also by a common language and political agreements. At engaged in complex trade negotiations, military al- the time the play begins, the Empire was still recover- liances and cultural exchanges. The German tribes ing from the Thirty Years’ War (1618-1648), a series of picked up the Romans’ military tips, but maintained very bloody and costly conflicts that had arisen over re- their perception of their own national identity (or iden- ligious disagreements. tities) rather than subsuming it to their temporary status as Roman subjects.

Where It All Came From Kingdoms of the Holy Roman Empire of the German Na- ery early, pre-Common-Era Germanic history is tion (CLXXXIIIIv - CLXXXVr) from The Nuremberg Chroni- mostly shrouded in mystery, except where the cle, by Hartmann Schedel (1440-1514), a native of Nuremberg, who first studied in Leipzig from 1456 to VGermanic tribes (grouped by their common use 1462.

Bach at Leipzig •SOUTH COAST REPERTORY P3 nation-state; many scholars have compared the Holy The Making of the Holy Roman Roman Empire to a patchwork quilt, with each part Empire easily distinguished from its neighbors. The constituent fter the fall of the Roman Empire near the end territories of the Empire were ruled by secular princes, of the fifth century some regions in present- ecclesiastical prince-bishops, imperial knights, and the day Germany saw a reversal, with the resident cases of the free cities, by the Emperor himself. The RomansA now under the jurisdiction of the local Ger- patchwork Empire was much less cohesive than the manic tribal kings. Each tribe identified itself as distinct modern nation-states that began to emerge around it. from all the others, with loyalty to its own tribal leader- ship, even though other tribes might share a common language and apparent ethnicity with it. As the Ger- Conflict and Corruption manic tribes converted to Roman Catholicism, in a very hat patchwork quilt once lay over a relatively slow and often bloody process, more and more power peaceful bunch of states, but it was seriously tat- concentrated in the hands of the leading Frankish tribe. tered by the end of the 17th century. The Refor- Ultimately near the end of the tenth century the Franks Tmation, starting in the mid-16th century, had led to the formed a new Germanic empire under the dynasties eruption of violent wars over religion and great erosion descended from the Merovingian dynasty, followed by of the bonds between the states in the Empire. Some the line of Charlemagne (the Carolingians). of those were civil wars; others were wars between the The empire they founded, the Holy Roman Em- various constituent domains of the Holy Roman Empire. pire of the German Nation, underwent several divi- Finally, at the end of the Thirty Years’ War, the Peace sions and reorganizations. It was never one unified of Westphalia granted near-complete sovereignty to all the Empire’s territories, breaking the formerly signifi- cant power of the Empire into dozens of tiny, inconse- quential kingdoms. Many thousands of people died during those wars, and the survivors sought more stable conditions and more effective protection from further violence. The stronger the head of a state, the better he could protect his people — therefore, the German states finally started following the rest of Europe towards central- ized monarchies and national governments. This progress was slowed somewhat by the unwillingness of the local dignitaries, nobles and churches to give up the power they had held for so long. Over time, those power holders were folded into the growing state bu- reaucracies, and power was funneled through the lay- ers of bureaucracy into the hands of monarchs.

At Home in Leipzig y the 18th century, when the action in Bach at Leipzig takes place, Leipzig and its surrounding state of Saxony were still part of the nominal Empire,B which also included most of modern Germany, the Czech Republic, Austria, Liechtenstein, Slovenia, Belgium and Luxembourg, as well as areas of Poland, the Netherlands and Croatia. Saxony was very powerful among the proto-German states, and was particular- ly noted for its cultural achievements. From its earliest days, Leipzig had been a highly regarded international

Conversion of Clovis, King of the Franks to Christianity and baptism of his sister, together with many other Franks.

P4 SOUTH COAST REPERTORY • Bach at Leipzig market town. It became a center of German law and of the nascent publishing industry, and home to one of the oldest universities in Europe. Leipzig valued and sup- ported arts and cultural work to a much greater degree than most other German cities.

Luther and Leipzig he Leipzig of the year 1722 had inherited almost 200 years’ worth of Protestant Tlegacy, and specifically that of Lutheranism. Martin Luther had been dead for nearly all of those

Johanna Park and Lutheran church, Leipzig, Saxony, Germany between 1890 and 1900. Saxony (CCLXXXIv) also from The Nuremberg Chronicle.

Luther’s interpretations of Scripture founded the Calvinist (later Presbyteri- an), Baptist, Congregational and Methodist churches. There were also di- visive movements within Lutheranism, most principally the Pietist subset which emphasized individual piety and a vigor- ous Christian life over habitual participa- tion in the rites of a communal church. It’s worth noting that “Pietist” was coined as a term of ridicule against those who held such beliefs.

The Future of Germany nly a century after the action of our play, the modern German nation was created. In 1848, Oan effort to unify Germany (and princi- 200 years, but his influence was still palpable. He was pally its two major constituent powers, Austria and the founder of the Lutheran faith in which the Prussia) by peaceful, constitutional means failed. Thomaskirche participated, and a passionate advocate Nearly twenty years later, after a brief but crushing for music as a part of worship, a part of education and war, Prussia triumphed over Austria. It took only a a part of life second only to theology. short time for Prussia to annex the remaining small, But almost as soon as Lutheranism was estab- relatively weak Germanic territories, and in January lished as a separate denomination from Roman Catholi- 1871 the new German Empire crowned its first Kaiser, cism in the 16th century, it was besieged by other who suddenly headed the most powerful country in emergent Protestant sects. Those who disagreed with continental Europe.

Bach at Leipzig •SOUTH COAST REPERTORY P5 Words from the Wise... “My heart, which is so full to overflowing, has often On Music been solaced and refreshed by music when sick and weary.” he riches of music are so excellent and – Martin Luther so precious that words fail me whenever I attempt to discuss and describe them.... “I think I should have no other mortal wants, if I could In summa, next to the Word of God, the always have plenty of music. It seems to infuse noble art of music is the greatest treasure strength into my limbs and ideas into my brain. Life in the world. It controls our thoughts, T seems to go on without effort, when I am filled with minds, hearts, and spirits... music.” A person who gives this some thought and yet – George Eliot, 1819-1880 does not regard music as a marvelous creation of God, must be a clodhopper indeed and does not deserve to “Among all men on the earth bards have a share of be called a human being; he should be permitted to honor and reverence, because the muse has taught hear nothing but the braying of asses and the grunting them songs and loves the race of bards.” of hogs.” – Homer, 800 BC - 700 BC The Odyssey – Martin Luther (1483-1546), in his foreword to “Music is the only language in which you cannot say a Georg Rhau’s Symphoniae iucundae mean or sarcastic thing.” – John Erskine, 1879-1951 “Music is a discipline, and a mistress of order and good “If music be the food of love, play on; manners, she makes the people milder and gentler, Give me excess of it, that, surfeiting, more moral and more reasonable.” The appetite may sicken, and so die. – Martin Luther That strain again! It had a dying fall: O, it came o’er my ear like the sweet sound That breathes upon a bank of violets, Stealing and giving odour!” – William Shakespeare, 1564-1616, Twelfth Night

“Take a music bath once or twice a week for a few seasons, and you will find that it is to the soul what the water bath is to the body.” – Oliver Wendell Holmes, 1809-1894

“Music has charms to soothe the savage breast To soften rocks, or bend a knotted oak.” – William Congreve, 1670-1729, The Mourning Bride

“The whole problem can be stated quite simply by ask- ing, ‘Is there a meaning to music?’ My answer would be, ‘Yes.’ And ‘Can you state in so many words what the meaning is?’ My answer to that would be, ‘No.’” – Aaron Copland, 1900-1990 Martin Luther

P6 SOUTH COAST REPERTORY • Bach at Leipzig “Ring out, ye crystal spheres, “Johann Sebastian Bach has done everything complete- Once bless our human ears ly, he was a man through and through.” (If ye have power to touch our senses so), – Franz Schubert, 1797-1828 And let your silver chime Move in melodious time, “Bach belongs not to the past, but to the future — And let the bass of heaven’s deep organ blow; perhaps the near future.” And with your ninefold harmony – George Bernard Shaw, 1856-1950 Make up full consort to the angelic symphony.” – John Milton, 1608-1674, “A benevolent god, to whom musicians should offer a “On the Morning of Christ’s Nativity” prayer before setting to work so that they may be preserved from mediocrity.” From the Man Himself – Claude Debussy, 1862-1918 “The aim and final end of all music should be none “Bach is like an astronomer who, with the help of other than the glory of God and the refreshment of the ciphers, finds the most wonderful stars...” soul.” – Frédéric Chopin, – Johann Sebastian Bach 1810-1849 1685-1750 “Music owes as much to “There’s nothing remarkable about Bach as religion to its [playing the organ]. All one has to founder.” do is hit the right keys at the right – Robert Schumann, time and the instrument plays itself.” 1810-1856 – Johann Sebastian Bach “Once I understood Bach’s “Music is an agreeable harmony for music, I wanted to be a con- the honor of God and the permissi- cert pianist. Bach made me ble delights of the soul.” dedicate my life to music.” – Johann Sebastian Bach – Nina Simone, 1933-1987

“I worked hard. Anyone who “Ah, Bach!” works as hard as I did can achieve – Corp. Radar O’Reilly, the same results.” M*A*S*H 4077 – Johann Sebastian Bach Johann “Why waste money on The continuo “should make a eu- Sebastian psychotherapy when you Bach phonious harmony for the glory of can listen to the [Bach] B God and the permitted delectation Minor Mass?” of the mind; and like all music its finis and final cause – Michael Torke, b. 1961 should never be anything else but the glory of God and the recreation of the mind. When this is not heeded, “If all the music written since Bach’s time should be there really is no music, but a hellish howl and clatter.” lost, it could be reconstructed on the foundation which – Johann Sebastian Bach Bach laid.” – Charles Gounod, 1818-1893

On Bach “In Bach the vital cells of music are united as the world “The most stupendous miracle in all music.” is in God.” – Richard Wagner, 1813-1883, speaking of J.S. Bach – Gustav Mahler, 1860-1911

“There is one God — Bach — and Mendelssohn is his “I don’t think a greater genius has walked the earth. prophet.” Of the three great composers Mozart tells us what it’s – Hector Berlioz, 1803-1869 like to be human, Beethoven tells us what it’s like to be Beethoven and Bach tells us what it’s like to be the “Study Bach, there you will find everything.” universe.” – Johannes Brahms, 1833-1897 – Douglas Adams, 1952-2001

Bach at Leipzig •SOUTH COAST REPERTORY P7 Vox Populi, Vox Dei: The Great Pipe Organ

BY MEGAN MONAGHAN

All one has to do is hit the right keys are much larger and farther apart than usual. The keys at the right time and the in- organist plays the pedals with his or her feet, while strument plays itself. manipulating the manuals with both hands. — Johann Sebastian Bach The Breath Behind the Voice ach’s modesty aside, the pipe organ is ar- guably one of the most complex instru- ipe organs are air-driven instruments, just as ments to play. A well-built pipe organ human voices are. The smallest early organs offers hundreds of shades of sound, tim- were fed air by hand-operated bellows, much bre and volume, and a well-trained or- likeP those used to pump oxygen into a fire. Some Re- ganist can deliver some of the richest naissance organs required an additional person to han- Bcompositions in Western music, created dle the air pumping, while the organist played from with this magnificent instrument’s great variety in the manuals. With the advent of electronics, organs’ mind. wind systems became much more efficient, or at least less demanding of human The Anatomy of an Organ elbow grease. In most pipe organs, the wind chest feeds he classic pipe organ is by air into holding chambers be- far the largest ordinary musi- neath the pipes. The stops cal instrument. The largest determine which pipes have pipeT organs include multiple con- open channels through soles, entire rooms’ worth of air which that air can flow, and pumping mechanisms, and more cause the pipes to speak. than 25,000 individual sounding The speaking pipes pipes. make up the third major Three major parts make up part of the organ. Hun- the pipe organ. The player sits at dreds or thousands of the console, which includes the pipes are organized into manuals and the stop controls ranks and tuned to the that determine which pipes will Western chromatic scale. “speak” when the player Most organ pipes are made presses the manuals’ keys. of wood or metal, but manu- The manuals look like piano facturers have also made keyboards — every pipe pipes out of glass, ceramic, organ has at least one manual, and plastic. The length of a but many have two or more pipe determines its pitch (how stacked one above the high or low a tone it sounds) other. Most pipe organs and the width of the pipe and also have a pedalboard the material used to build it deter- set at the bottom of the mine its timbre (what kind of voice the console. The pedal- pipe has). Stop settings that permit more board looks like a than one pipe to sound on a given keystroke cre- straight or fan-shaped ate combination sounds that can get eerily close to piano keyboard whose imitating the sounds of other instruments.

P8 SOUTH COAST REPERTORY • Bach at Leipzig A Grand and Mighty Sound or Leipzigers of Bach’s time, the tremendous sound of an organ with all stops In the Beginning... pulled out was probably the loudest BY MEGAN MONAGHAN thingF they ever heard outside of the field of battle. For comparative purposes, a twelve-inch he facts concerning the invention of the pipe organ cannon firing registers at 225 decibels when are lost to history. But where facts are incomplete, heard from a distance of twelve feet. The maxi- legend never hesitates to fill in the gaps. Roman mum volume of a large pipe organ has been Catholic legend measured at up to 130 decibels — that’s suffi- Tassociates the cient to cause hearing loss after short exposure. third-century C.E. mar- Fortunately, most organists and composers never tyr St. Cecilia with the in- approach the instrument’s maximum volume. vention of the organ. Cecilia, a convert to The Thomaskirche Organs then-illegal Christianity, was betrothed and married to a t. Thomas Church (Thomaskirche) in pagan man. The myth says Leipzig, the setting for our play, possess- that Cecilia prayed for God’s es two organs. Both were built more re- intervention to preserve the centlyS than 1722; the Thomaskirche organ Bach virginity she had vowed to played does not exist anymore. maintain, and that she creat- In the early 20th century, the ed a new musical instrument, Thomaskirche commissioned a new instrument the organ, to carry her for the church’s choir loft. Though that organ is prayer to God’s ear. This well suited to playing works from the Romantic story has inspired dozens of period (1820-1900), it was not friendly to the composers to develop mass- work of Thomaskirche’s most famous compos- es and hymns praising St. er, Johann Sebastian Bach. So, in the 1980s, the Cecilia, who became the church had a second organ built specifically for Catholic patron saint of the audience to hear Bach’s 18th century com- music. positions the way he intended for them to be The 20th-century British played. The new organ was made after a 300- poet W. H. Auden provided a set of three poems as a text for year-old design by Johann Christoph Bach, composer Benjamin Britten to set to music as the now-famous uncle of Johann Sebastian. “Hymn to St. Cecilia.” Auden begins the hymn with the following revision of the organ invention story: Great Local Instruments In a garden shady this holy lady uckily for us all, a trip to Leipzig isn’t re- With reverent cadence and subtle psalm, quired to see or hear wonderfully made Like a black swan as death came on pipe organs. Los Angeles’ Walt Disney Poured forth her song in perfect calm: LHall matches its striking architectural design And by ocean’s margin this innocent virgin with an equally striking organ co-designed by Constructed an organ to enlarge her prayer, Frank Gehry and master organ builder Manuel And notes tremendous from her great engine Rosales. First Congregational Church of Los Thundered out on the Roman air. Angeles houses one of the largest organs ever built, consisting of two consoles and three full Throughout the “Hymn to St. Cecilia,” Auden and Britten sets of pipes. Hollywood High School’s pipe return again and again to a cadence that celebrates St. Cecilia as organ was built by E. M. Skinner, the premier a Muse whose divine presence might be the most fervent desire organ builder of the 20th century. And the phi- of the characters you’ll meet in our play. lanthropist John D. Spreckels set a magnificent pipe organ in a charming outdoor setting in San Blessed Cecilia, appear in visions Diego’s Balboa Park. The voice of the pipe To all musicians, appear and inspire: organ can be heard all over the Southland. Translated Daughter, come down and startle Composing mortals with immortal fire.

Bach at Leipzig •SOUTH COAST REPERTORY P9 TONY ABATEMARCO STEPHEN CAFFREY SEAN H. HEMEON Georg Balthasar Schott Johann Friedrich Fasch The Greatest Organist in Germany

Artist Biographies

*TONY ABATEMARCO (Georg ICA-London. Film appearances wrecker at Evidence Room; 36 Balthasar Schott) is making his include A Day Without a Mexi- Views at Laguna Playhouse; SCR debut. Theatre credits in- can, I Am Sam, All Over the What You Get and What You Ex- clude Off-Broadway productions Guy, Clockstoppers, Auggie Rose, pect at New York Theatre Work- of Cologne at the Rattlestick Town and Country, Music from shop; I Hate Hamlet at Royal Theater, Kingfish at The Public Another Room, Sleeping with the George Theatre; The Scarlet Let- Theater, Camara Lenta (Slow Enemy, True Believer and Un- ter at the CSC Theatre; Jeffrey at Motion) at Cherry Lane Theatre faithfully Yours. Television Theatre on the Square; The and Diary of a Madman at The- credits include “The L Word,” Miser at Hartford Stage; Bar- atre of the Open Eye. He has “The Division,” Leap of Faith, gains at The Old Globe; The performed regionally in A Per- “The District,” “Citizen Baines,” Cost of Doing Business at The fect Wedding at Kirk Douglas “The Profiler,” “ER,” “Babylon 5,” Met Theatre; A Doll’s House and Theatre, The Ladies of the “The Watcher,” “Frasier,” “Civil The Normal Heart at the Hangar Camellias at The Colony The- Wars” and “Tales from the Theatre; The Fox at Westbeth atre, The Mystery of Irma Vep Crypt,” as well as several made- Theatre; and The Real Inspector (winner of 1998 Ovation for-television movies. Hound and Cosmetic Surgery at Awards, Best Actor) and Four the Immediate Theatre. Film Fathers at The Tiffany Theatre, *STEPHEN CAFFREY (Johann credits include Blowback, Long- Wonderful Town at Reprise, Friedrich Fasch) is making his time Companion and The Babe. Sylvia at Coronet Theatre, La SCR debut. Theatre credits in- Television credits include series Bête (LA premiere) at Stages, clude The Voysey Inheritance, regular roles on “Tour of Duty” Scenes from an Execution at The Real Thing, A Doll’s House and “Diagnosis Murder”; lead Mark Taper Forum, Minimata at and Singer’s Boy at American roles on “Buried Alive,” Colum- the Los Angeles Theatre Center Conservatory Theater and bo: Goes to College, Nothing Lasts and Plato’s Symposium at The Kansas City Repertory; Home- Forever, Virus, 919 Fifth Avenue,

P10 SOUTH COAST REPERTORY • Bach at Leipzig JEFFREY HUTCHINSON JOHN-DAVID KELLER TIMOTHY LANDFIELD Georg Lenck Georg Friedrich Kaufmann Johann Christoph Graupner

Murder of Innocence, Young In- Harvey at Steppenwolf; Richard both an actor and director. Most diana Jones and the Hollywood II, Black Snow, The Visit, Red recently he directed SCR’s The- Follies and Hard Knox; and Noses and The Beard of Avon at atre for Young Audiences series guest starring appearances on The Goodman Theatre; The productions of The Adventures “CSI: Miami,” “Alias,” “Judging Front Page and Romeo and Juli- of Pør Quinly, Pinocchio and Amy,” “Providence,” “The Prac- et at Seattle Repertory; Twelfth The Emperor’s New Clothes and tice,” “Chicago Hope,” “The Pro- Night and King Lear at the Strat- acted in The Wind in the Wil- filer” and “Seinfeld” among oth- ford Festival of Canada; Round- lows. He has directed A Christ- ers. ing Third at The Old Globe; mas Carol for its entire 26-year Master Harold... and the Boys history. He has directed SCR’s SEAN H. HEMEON (The Greatest and No Mercy at Actors Theatre Educational Touring Productions Organist in Germany) is making of Louisville; Cloud 9, As Is, for 32 years, and this year will his SCR debut after having re- Greater Tuna and The Marriage direct Bad Water Blues, which cently completed SCR’s Profes- of Bette and Boo at Cincinnati will begin touring in January sional Intensive Program. The- Playhouse in the Park; Three 2007. Among his other SCR di- atre credits include Take Me Out Days of Rain at Ensemble The- recting credits are Godspell, at The Studio Theatre and The atre of Cincinnati; and The Jacques Brel is Alive and Well Rivals, Bachelor Holiday, Across Grapes of Wrath at Ford’s The- and Living in Paris, In Fashion, the Jordan and Our Town at the atre in Washington, D.C. Film The Real Inspector Hound (SCR’s Virginia Commonwealth Univer- credits include Bad News Bears, first Equity show), Peg O’ My sity Theatre. On film he ap- The Ring Two, War of the Worlds Heart and Tomfoolery, to name a peared in Suites and on televi- and the upcoming The Hitcher. few. He has also acted in over sion in “As the World Turns.” Television credits include 100 plays at SCR. He has been “Freaky Links,” “CSI,” “ER,” the concert host for the fifth *JEFFREY HUTCHINSON (Georg “Ghost Whisperer,” “Charmed,” grade concerts for the Orange Lenck) appeared at SCR previ- “JAG,” “The Pretender,” County Philharmonic Society for ously in Cyrano de Bergerac. “Gilmore Girls,” “The Bernie 19 years. He has performed Theatre credits include the Off- Mac Show” and “NYPD Blue.” with the National Symphony Or- Broadway production of Sin at chestra and the Sydney Philhar- Second Stage and regional the- *JOHN-DAVID KELLER (Georg monic. He was part of the Sun- atre productions of Take Me Out Friedrich Kaufmann) is a mem- dance Playwrights Festival for at Geffen Playhouse; Dead End ber of SCR’s resident acting ten years. He tries to stay busy. at Ahmanson Theatre; Slaugh- company. He has been with the He is currently working towards terhouse Five, Secret Rapture and company since 1973 working as a cure for ennui.

Bach at Leipzig •SOUTH COAST REPERTORY P11 ERIK SORENSEN Johann Martin Steindorff

*TIMOTHY LANDFIELD (Johann win. Mr. Landfield has played Opera. He has also participated Christoph Graupner) is delighted major roles in regional theatres in several staged readings at to return to SCR, where he was across the country including Mark Taper Forum, MB Artists previously seen in A Christmas Phileas Fogg in 80 Days at La and Lark Theatre Company. Mr. Carol, Pinocchio, The Clean Jolla Playhouse. He is on the Sorensen is a Carnegie Mellon House, The Norman Conquests: faculty at The American Acade- graduate. Round and Round the Garden my of Dramatic Arts in Holly- and Hay Fever. He recently ap- wood. While in Africa filming PLAYWRIGHT, peared in A Midsummer Night’s Disney’s Cheetah, Mr. Landfield DIRECTOR & DESIGNERS Dream at the Hollywood Bowl met his wife, actress Breon Gor- with the LA Philharmonic, The man. They have two angels, Mi- ITAMAR MOSES (Playwright) is a Miser at A Noise Within and in randa and Bianca. playwright whose works for the the Broadway revivals of Com- stage include the full-length pany and The Sound of Music. *ERIK SORENSEN (Johann Mar- plays Outrage, Celebrity Row, He also appeared opposite his tin Steindorff) is making his SCR The Four of Us, the book for the Hay Fever co-star Kandis Chap- debut. On Broadway he ap- musical The Chromium Hook, pell in The Guardsman at Hunt- peared in The Sound of Music. and Bach at Leipzig which re- ington Theatre Company in Other theatre credits include ceived its New York premiere Boston. Mr. Landfield appeared Thief River (Drama Desk nomi- this past fall at New York The- on Broadway in Rumors, Ar- nation) and In the Absence of atre Workshop. His work has senic and Old Lace, Wild Honey, Spring at Signature Theatre; Sex been produced or workshopped The Crucifer of Blood and Parasite and The Molière Come- regionally by The Wilma The- Tartuffe. Off-Broadway, he was dies at Mark Taper Forum; M. ater, Milwaukee Repertory The- in the original production of Sis- Butterfly at East West Players; I ater, Hangar Theatre, Florida ter Mary Ignatius Explains It All Capture the Castle at El Portal Stage, Portland Center Stage and for You and The Actor’s Night- Theatre; Berliner Cabaret at American Conservatory Theater, mare, as well as the musical Tamarind Theatre; A Little Night and in New York by Manhattan Charlotte Sweet. Television and Music at the Kennedy Center; A Theatre Club, The Underwood film credits include “Bones,” “Six Midsummer Night’s Dream at Theater, New York Theatre Feet Under,” “Without a Trace,” The Shakespeare Theatre; Workshop, New York Stage and “Monk,” “Frasier,” “Boston Pub- Camelot at Berkshire Theatre Film, HERE Center for the Per- lic,” “CSI,” “Family Law,” “Law & Festival; Tommy at Byham The- forming Arts, and La Mama ETC. Order” and The Cooler with ater; and A Musical Christmas Awards for his writing include: William H. Macy and Alec Bald- Carol at Pittsburgh Civic Light Reva Shiner New Play Award;

P12 SOUTH COAST REPERTORY • Bach at Leipzig Portland Critics Circle Drammy The Old Globe, Chicago Shake- Alliance Ovation Award) at Award; NEA Residency Grant, speare Theater, Denver Center Court Theatre; and A Midsum- SWTA National New Play Award; Theatre Company, American mer Night’s Dream for PCPA Plays for the 21st Century Players Theatre, numerous Theaterfest/Westwood Play- Award; and Dramarama Long Shakespeare festivals, and most house. He received the 2005 Play Award. Bach at Leipzig recently, television sitcoms in- Los Angeles Drama Critics Circle was published by Faber and cluding “Eve” and “One on Career Achievement Award for Faber; and his ten-minute play One.” He is a frequent guest Scenic Design. Regional credits Men’s Intuition was published in lecturer at universities and con- include designs for A Noise Take Ten II: More Ten-Minute servatories throughout the coun- Within, International City The- Plays from Vintage. He is cur- try, is the recipient of multiple atre, PCPA Theaterfest, San rently at work on commissions awards from the Los Angeles Diego Repertory, Portland for the Manhattan Theatre Club, Drama Critics Circle, and holds Repertory, Denver Center The- The Wilma Theater, Berkeley an MFA from the American Con- atre Company, Acting Company Repertory and Playwrights Hori- servatory Theater. of Riverside (FL), Arizona The- zons. He holds an MFA in Dra- atre Company, Music Theatre of matic Writing from NYU, has THOMAS BUDERWITZ (Scenic Santa Barbara, La Mirada The- taught playwriting at Yale, is a Design) previously designed A atre, Apollo Theater in Chicago, member of MCC’s Playwriting Christmas Carol, Proof, A Deli- Queens Playhouse and the Coalition and is a New York cate Balance and But Not for Me Helen Hayes Center in New Theatre Workshop Usual Sus- for SCR. His scenic design of York. His television designs in- pect. He was born in Berkeley, Sinan Unel’s Pera Palas for The clude the current AMC channel CA. He lives in Brooklyn, NY. Theatre @ Boston Court and The hit “Sunday Morning Shootout”; Antaeus Company won this past National Geographic’s “Fight Sci- ART MANKE (Director). For season’s LA Drama Critics Circle ence”; “Mr. Show,” “Def Comedy SCR, Mr. Manke directed the Award, LA Stage Alliance Ova- Jam,” “HBO Comedy Hour” and world premiere musical version tion Award, LA Weekly Award “Sketch Pad” for HBO; “Battle- of The Wind in the Willows, has and the Backstage West Garland bots” and “The Hollow Men” for choreographed numerous pro- Award for best set design. Comedy Central; and specials ductions including last season’s Other recent designs include and series for ABC, CBS, NBC, The Further Adventures of Equinox for Judy Arnold Pro- PBS, MTV, ESPN, Fox, Disney, Hedda Gabler, the 1930s Holly- ductions at Odyssey Theatre En- USA, UPN, VH1, PAX, A & E, wood-musical-inspired Much semble; Pilgrim at Ricardo Mon- and Discovery. Ado about Nothing, and has di- talban Theatre; Mozart In the rected numerous workshops and House for the LA Philharmonic MAGGIE MORGAN (Costume readings including System Won- at the Disney Concert Hall; Design) is pleased to return to derland by David Wiener for the Sleuth for Falcon Theatre; Open SCR where she has designed the 2006 Pacific Playwrights Festival. Secrets and The Turn Of The costumes for Proof, Getting For Pasadena Playhouse, he di- Screw for Rubicon Theatre Frankie Married—and After- rected the American premiere of Company; I Do! I Do!, The Last wards, The Homecoming and Noel Coward’s Star Quality, the Five Years and Private Lives for The Countess. Her recent designs hit revival of Private Lives and Pasadena Playhouse; Light, include Sunset Boulevard at the will stage The Constant Wife in Romeo & Juliet and Summertime Hollywood Bowl, The Haunting 2007. Also scheduled for 2007 is for The Theatre @ Boston Court; of Winchester at San Jose Reper- David Rambo’s The Ice-Breaker and Twentieth Century for Inter- tory, The Clean House at The- for Laguna Playhouse. Mr. national City Theatre. Notable atreWorks, A Reckoning at the Manke was a co-founder and designs include Titanic for Civic Magic Theatre, and Dirty Blonde artistic director of A Noise With- Light Opera of South Bay Cities; at Sacramento Theatre Company. in (1991-2001) where he direct- Death of a Salesman for InterAct Other local designs include the ed the work of Shakespeare, Theatre Company; Under The Actors’ Fund benefit perfor- Molière, Wilde, Coward and Blue Sky for Geffen Playhouse; mances of Casablanca and Sun- Sophocles. Other credits in- Sunday in the Park with George set Boulevard at Pantages The- clude work with Seattle Reperto- for the West Coast Ensemble; atre; The Birthday Party and ry Theatre, Mark Taper Forum, Against the Glass (2000 LA Stage Waiting for Godot (Ovation

Bach at Leipzig • SOUTH COAST REPERTORY P13 Nomination) at Matrix Theatre; Vincent in Brixton, The Blue Room and Side Man at Pasadena What’s New in the Theatre Shop Playhouse; and Demonology and The Joy of Going Somewhere Def- inite (Drama-Logue Award) at JOHANN SEBASTIAN BACH: Mark Taper Forum. She has de- HIS LIFE IN PICTURES AND signed shows in New York at DOCUMENTS Soho Repertory, HB Playwrights, by Hans Conrad Fischer, English and NADA and also at New Jer- translation by Silvia Lutz sey Shakespeare Festival and (Holzgerlingen, Germany: Yale Repertory Theatre. Film Hänssler, 2000). projects include the independent features Sex and a Girl and The monumental work of J. S. Breathing Hard. Ms. Morgan Bach stands as a high-water has worked as an assistant cos- mark of Western civilization. tume designer on many feature Yet that work is only under- films including A Bronx Tale, standable in the light of Bach’s Apollo 13, Casino, Wag the Dog, profound Christian faith, asserts Men in Black, Mona Lisa Smile, Hans Conrad Fischer. This en- How the Grinch Stole Christmas grossing text, enhanced with and Murder by Numbers. She is dozens of portraits, photos of lo- a graduate of the Yale School of cales and artifacts, maps and Drama and is on the faculty at manuscripts, brings Bach, his faith and his achievements alive, as UC Davis. do the 17 key selections on the accompanying CD — a sampling of Bach’s best-known pieces from each genre and period of his life. GEOFF KORF (Lighting Design) designed lighting for the SCR BACH AT LEIPZIG by Itamar productions of The Further Ad- Moses ventures of Hedda Gabler, Lovers (New York: Faber and Faber, and Executioners, Two Gentle- 2005). men of Verona, The Dazzle, Making It, Hold Please, Art, En- Leipzig, Germany — 1722. Jo- tertaining Mr. Sloane, Amy’s hann Kuhnau, revered organist View, The Summer Moon, Refer- of the Thomaskirche, suddenly ences to Salvador Dali Make Me dies, leaving his post vacant. In Hot and Two Sisters and a Piano. an age where musicians depend Last spring he designed the on patronage from the nobility lights for David Greig’s Pyrenees or the church to pursue their at Kirk Douglas Theatre. Mr. craft, the post of organist at Korf is also a member of the en- Thomaskirche in the cultured semble of Cornerstone Theater city of Leipzig is a near guaran- Company where he has de- tee of fame and fortune. Based signed about 30 productions on actual persons and events — over the past 14 years. His de- twisted into something wholly signs have also appeared in pro- other — Bach at Leipzig imag- ductions at La Jolla Playhouse, ines with uncommon intelligence and insight how six little-known The Old Globe, Seattle Repertory musicians resort to bribery, blackmail and betrayal in an attempt to Theatre, ACT Theatre and Inti- secure the most coveted musical position in all of Europe. Moses man Theatre in Seattle, Long employs a brainy mix of high wit, low ribaldry and rich characteri- Beach Opera, San Francisco zation to explore the depths to which some will sink to pursue Opera, The Goodman Theatre, their calling. Trinity Repertory, Yale Repertory Theatre, Huntington Theatre

P14 SOUTH COAST REPERTORY • Bach at Leipzig Company, Actors Theatre of Theatre East, Tape at The ventures of Hedda Gabler and Louisville, Guthrie Theater, The Lounge Theatre, Comedy of Er- Dumb Show. Before coming to Children’s Theatre Company in rors at Shakespeare by the Sea, SCR, she was the Literary Direc- Minneapolis, and on Broadway. Mileage and In the Absence of tor of the Alliance Theatre in At- Mr. Korf is a graduate of Califor- Angels at Write Act Repertory lanta, GA, the Director of Play- nia State University, Chico and Company and Comedy with a wright Services at The Play- the Yale School of Drama. He Twist for The Colony Theatre wrights’ Center in Minneapolis, also serves as the Head of De- Company. Mr. Anthony was an MN, and the Director of New sign at the University of Wash- actor before embarking on his Play Development at Frontera @ ington in Seattle. directing career and worked Hyde Park Theatre in Austin, TX. with many companies including Her freelance dramaturgy work TOM CAVNAR (Sound Design) is SCR, A Noise Within, The has included the O’Neill National in his second season as staff Colony Theatre Company, Evi- Playwrights Conference, the New Audio Technician and designing dence Room, Shakespeare Santa Harmony Project, and the Bay his third production at South Barbara and Defiant Theatre. Area Playwrights Festival. She Coast Repertory. At SCR, he de- He holds a BFA from The The- has been a panelist for the Ful- signed sound for the Theatre atre School at De Paul Universi- ton County Arts Council, At- Conservatory Summer Players’ ty. lanta’s Bureau of Cultural Affairs, production of East of the Sun TCG, the O’Neill National Play- and West of the Moon and the *MARTIN NOYES (Fight Director) wrights Conference, NAMT, and workshop production of Leitmo- returns to SCR where he most Austin ScriptWorks, and a guest tif at the 2006 Pacific Playwrights recently fight directed Nothing dramaturg and teacher at the Festival. His other design credits Sacred, the American premiere Iowa Writers’ Workshop, the include After Juliet at The Coterie of Hitchcock Blonde (he also Yale School of Drama graduate Theatre; Bright Ideas at Unicorn played the Husband) and The programs, Brown University, Theatre; and numerous produc- Further Adventures of Hedda UCSD, and the Kennedy Center - tions for the University of Mis- Gabler. Other recent work in- American College Theatre Festi- souri - Kansas City’s Department cludes King Lear, As You Like It val. Her work has been pub- of Theatre, including Henry V. and Pygmalion at Shakespeare lished in American Theatre, The- Mr. Cavnar holds a MFA in The- Santa Cruz; I’m not Rappaport at atre Topics and The LMDA Re- atre Sound Design from UMKC, Little Fish Theatre Company; Big view. She has directed recent and a BA in Theatre from West- Love, Cabaret, Hot ‘N’ Throbbing, productions at Actor’s Express, ern Michigan University. A Christmas Story and Never in Horizon Theatre, and Theater My Lifetime at The Chance The- Emory. Ms. Monaghan earned *DARIN ANTHONY (Assistant ater; and The Grapes of Wrath at an MFA in directing from the Director) is most known for his Alabama Shakespeare Festival. University of Texas at Austin and direction of the runaway hit The Mr. Noyes received his BFA from a BA from Emory University. Book of Liz by David and Amy Southern Oregon University and Sedaris which ran at The Blank his MFA from the University of *ERIN NELSON (Stage Manager). Theatre Company for 11 months. Alabama, both in Theatre with SCR credits include The Studio, A At The Blank Theatre Company the emphasis in Acting. He is Christmas Carol, The Caucasian he also directed A Hole in the also a member of the Society of Chalk Circle, A View from the Dark, Castles Made of Sand, American Fight Directors. Bridge and the Theatre for Algor Mortis, Shock Therapy, Young Audiences productions of Good Thing and developed and MEGAN MONAGHAN (Dra- The Stinky Cheese Man, The Ad- directed American Way. He is maturg) is the Literary Manager ventures of Pør Quinly, Bunnic- the Artistic Director of the Living of South Coast Repertory, where ula, The Little Prince, The Hobo- Room Series for The Blank The- she contributes to the theatre’s ken Chicken Emergency, The atre Company, a new play work- new play commissioning and de- Wind in the Willows, Sideways shop series, where he has direct- velopment work and serves as Stories from Wayside School and ed numerous plays. Other work co-director of the Pacific Play- The Emperor’s New Clothes. Pre- includes Talley’s Folly for The wrights Festival. She was the vious credits include La Jolla Syzygy Theatre Group, a very dramaturg of SCR’s productions Playhouse, The Old Globe, well received revival of Loot for of The Studio, The Further Ad- Idaho Shakespeare Festival, Na-

Bach at Leipzig •SOUTH COAST REPERTORY P15 tional Playwrights Conference MA from San Francisco State ing Resident Professional Theatre and Theatre IV. University, and his PhD in the- and won the 1995 Theatre LA atre and film from USC. Ovation Award for Lifetime DAVID EMMES (Producing Artis- Achievement. Mr. Benson re- tic Director) is co-founder of MARTIN BENSON (Artistic Direc- ceived his BA in Theatre from SCR. He has received numerous tor), co-founder of SCR with his San Francisco State University. awards for productions he has colleague David Emmes, has di- directed during his SCR career, rected nearly one third of the PAULA TOMEI (Managing Direc- including a Los Angeles Drama plays produced here. He has tor) is responsible for the overall Critics Circle Award for the di- distinguished himself in the stag- administration of South Coast rection of George Bernard ing of contemporary work, in- Repertory and has been Manag- Shaw’s The Philanderer. He di- cluding William Nicholson’s The ing Director since 1994. A mem- rected the world premieres of Retreat from Moscow, the world ber of the SCR staff since 1979, Amy Freed’s Safe in Hell, The premiere of Horton Foote’s Get- she has served in a number of Beard of Avon and Freedom- ting Frankie Married—and Af- administrative capacities includ- land, Thomas Babe’s Great Day terwards and the critically ac- ing Subscriptions Manager, Busi- in the Morning, Keith Reddin’s claimed California premiere of ness Manager and General Man- Rum and Coke and But Not for Nicholson’s Shadow-lands. He ager. She served on the board Me and Neal Bell’s Cold Sweat; has won accolades for his direc- of Theatre Communications the American premieres of Terry tion of five major works by Group (TCG), the service organi- Johnson’s Unsuitable for Adults George Bernard Shaw, including zation for theatre, from 1998- and Joe Penhall’s Dumb Show; the Los Angeles Drama Critics 2006 and was its President for the West Coast premieres of C.P. Circle (LADCC) Award-winners four years. She has also served Taylor’s Good and Harry Kon- Major Barbara, Misalliance and as Treasurer of TCG, Vice Presi- doleon’s Christmas on Mars; and Heartbreak House. Among his dent of the League of Resident the Southland premiere of Top numerous world premieres is Theatres (LORT) and has been a Girls (at SCR and the Westwood Margaret Edson’s Pulitzer Prize- member of the LORT Negotiating Playhouse). Other productions winning Wit, which he also di- Committee for industry-wide include the West Coast premieres rected at Seattle Repertory The- union agreements. In addition, of Three Viewings by Jeffrey atre and the Alley Theatre in she represents SCR at national Hatcher, The Secret Rapture by Houston. He has directed Amer- conferences of TCG and LORT; David Hare and New England by ican classics including Ah, is a theatre panelist for the Na- Richard Nelson; and Arcadia by Wilderness!, A Streetcar Named tional Endowment for the Arts Tom Stoppard, The Importance Desire, A Delicate Balance and A and the California Arts Council of Being Earnest by Oscar Wilde, View from the Bridge. Mr. Ben- (CAC), and site visitor for the Ayckbourn’s Woman in Mind son has received the LADCC Dis- CAC; served on the Advisory and You Never Can Tell by tinguished Achievement in Di- Committee for the Arts Adminis- George Bernard Shaw, which he recting awards an unparalleled tration Certificate Program at the restaged for the Singapore Festi- seven times for the three Shaw University of California, Irvine; val of Arts. He has served as a productions, John Millington and has been a guest lecturer in theatre panelist and onsite evalu- Synge’s Playboy of the Western the graduate school of business ator for the National Endowment World, Arthur Miller’s The Cru- at Stanford and the University of for the Arts, on the Executive cible, Sally Nemeth’s Holy Days California, Irvine. She graduated Committee of the League of Res- and Wit. He also directed the from the University of California, ident Theatres, and as a panelist film version of Holy Days using Irvine with a degree in Eco- for the California Arts Council. the original SCR cast. Along nomics and pursued an addition- After attending Orange Coast with Emmes, he accepted SCR’s al course of study in theatre and College, he received his BA and 1988 Tony Award for Outstand- 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.

P16 SOUTH COAST REPERTORY • Bach at Leipzig