50th Season • 479th Production SEGERSTROM STAGE / MARCH 28 - APRIL 27, 2014

Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR

David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS

presents the world premiere of REST

by Samuel D. Hunter

John Iacovelli Angela Balogh Calin Donna Ruzika Michael Roth SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC/SOUNDSCAPE

John M. Baker Jackie S. Hill Sue Karutz* DRAMATURG PRODUCTION MANAGER STAGE MANAGER

Directed by Martin Benson

Mary Beth Adderley Olivia & A. Andrew Johnson Honorary Producers

REST was commissioned by South Coast Repertory.

Rest • South Coast Repertory • P1 CAST OF CHARACTERS (In order of appearance) Etta ...... Lynn Milgrim* Ken ...... Wyatt Fenner* Gerald ...... Richard Doyle* Jeremy ...... Rob Nagle* Ginny ...... Libby West* Faye ...... Sue Cremin* Tom ...... Hal Landon Jr.*

SETTING A retirement home of the outskirts of a town in northern Idaho. The present.

LENGTH Approximately one hour and 55 minutes, including one intermission.

PRODUCTION STAFF Casting ...... Joanne DeNaut, CSA Assistant Stage Manager ...... Jamie A. Tucker* Assistant Director ...... Travis Donnelly Assistant Scenic Designers ...... Travis Kerr, Christina McCollam-Martinez Assistant to the Costume Designer ...... Lalena Vigil Hutton Assistant Sound Designer ...... Melanie Chen Stage Management Intern ...... Samantha McCann Light Board Operator ...... Andrew Stephens Sound Board Operator ...... GW Rodriguez Wardrobe Supervisor/Dresser ...... Bert Henert

“Für Alina” - piano composition by Arvo Pärt, performed by Michael Roth

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

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

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

Segerstrom Stage Season Media Partner

P2 • South Coast Repertory • Rest American Misfits by John M. Baker

am Hunter’s plays take us down cans: big-box store employees, nurses, a Melville in The Whale or Estonian composer roads not frequently traveled on retired music professor, a former night Arvo Pärt in Rest. the American stage. Anchored in watchman, a missionary. “I think the prev- “Hunter’s characters live in an Idaho small towns and cities throughout alence of upper middle class and upper where the divine smacks up against the the landlocked state of Idaho, the class characters in our plays is surprising,” banal, where their expansive worldviews Splays are often set in unglamorous locations explains Hunter, “especially given the fact create a profound disconnection to their and populated by characters on the margins that the majority of America is not these quotidian surroundings,” writes Adam of society. From the tarnished evangelical in people.” More specifically, Hunter is fasci- Greenfield, director of New Play Devel- A Bright New Boise seeking employment at nated by the people living on the fringes opment at NYC’s Playwrights Horizons. a Hobby Lobby craft store to the 600-pound of acceptability in these small towns. “The “They’re as lost within Idaho’s suburban online teacher in The Whale eating himself stories my dad told me about people from sprawl as they are within the cosmos, each to death in his apartment, Hunter’s charac- his hometown were just incredible,” he ex- one struggling with a fundamental part ters find themselves in simultaneously ordi- plained to David Rooney of The New York of his or her self—whether it’s religion, nary and extraordinary circumstances, navi- Times. “Like the guy who used to go to my sexuality, ethics, or a cocktail of all these gating big questions of modern life. With grandpa’s grocery store: My dad had to de- things—that doesn’t fit into their surround- his growing body of work, Hunter is slowly liver food to him, and his house was full of ings or daily lives.” mapping what he calls “a quotidian America dead cats. You hear about somebody like American culture is certainly a part that is often hidden behind curtains and that, and you think, ‘What is the story of of the topography Hunter is mapping, but doors.” In the process, he’s capturing the that person?’” he’s not writing “issue” plays. Although he beauty and ugliness, the fragility and rug- While a closeted gay teen in northern weaves topics like obesity, the Rapture, and gedness, the banality and spirituality of liv- Idaho, Hunter attended a fundamentalist gay conversion therapy into his scripts, as ing in America in the 21st century. Christian high school and worked part-time Literary Manager Douglas Langworthy of Though New York City is Hunter’s at the local Walmart, which informs why so The Denver Center Theatre Company puts home now, his roots are firmly planted in many of his plays center on characters living it, “they are never about these issues.” Rath- Idaho. Born and raised in the state’s pan- in quiet desperation, hungering for some- er, at the forefront of Hunter’s plays are his handle, Hunter can trace his family’s lineage thing greater. “Most of my plays are about emotional and spiritual misfits—drawn with back six generations to the region’s first seeking hope and meaning,” says Hunter, sensitivity—mirroring back to us their expe- homesteaders. This deep-seated connec- “and religion is the eternal well of hope and rience of Middle America today. tion to the Northwest—like Horton Foote meaning for most Americans. It so shaped The past few years have been a and the South—is only part of why Hunter my childhood growing up in Idaho and homecoming of sorts for Hunter. For the frequently sets his plays in his home state. going to a religious school, and so I see it first time in his career, his plays have been “Idaho has become a useful landscape,” he in the larger cultural dialogue a lot.” Even mounted up and down the West Coast, explains, “because people don’t have a lot when nonbelievers populate the plays, from Seattle to San Diego. Last season, of preconceived notions about it.” You’ve they still “point to the di- South Coast Repertory’s production of The probably never set foot in the towns of vine,” as Hunter says, Whale was directed by one of Hunter’s big- Hunter’s plays, but there’s still something whether it’s by way of gest champions, Martin Benson, and the recognizable about the one-bedroom apart- two have reunited for the world premiere ment in The Whale and the lobby of of Rest. Fittingly, as a part of the 50th an- the assisted living home in Rest. niversary season at SCR, Rest brings “Which is really helpful,” he together different generations of art- continues, “because it al- ists—both onstage and off—to lows me to make some- share a 21st-century pan-American thing pan-American.” story that looks to the past and the Within these famil- future. iar and foreign landscapes, Hunter places characters Matthew Arkin and Blake from a particular walk of Lindsley in SCR’s 2013 life. They’re Middle Ameri- production of The Whale.

Rest • South Coast Repertory • P3 Artist Biographies

Sue Cremin* Faye Modjeska Cultural Legacy Award and is now known for his live show narration of The Pageant Of The Masters in most recently appeared in the Stu- Laguna Beach. dio SCR production of Neva, co- produced with The Kirk Douglas Wyatt Fenner* Theatre and La Jolla Playhouse. Her Ken New York credits include Honey Brown Eyes (Clurman Theatre), appeared at SCR previously in Killing The Boss (Cherry Lane Theatre), On Naked Soil The Whale, Misalliance, the Pa- (Theater for the New City), A Part of The Story (MCC cific Playwrights Festival readings Theatre) and Dinosaur Dreams (New York Stage and of The Few and Happy Face, the Film). Regionally, she has appeared in world premieres NewSCRipts reading of Spirit Con- at the Mark Taper Forum, Baltimore’s CenterStage, Ac- trol and the Theatre for Young Au- tors Theatre of Louisville and Yale Repertory, as well as diences productions of James and the Giant Peach and Twelfth Night (The Old Globe), Candida (Two River The Borrowers. His recent credits include Bailey in the Theater), Rabbit Hole (Premiere Stages) and God of world premiere of Pluto at Actor’s Express Theatre, Carnage (Virginia Stage Company). Her film credits Puck in A Midsummer Night’s Dream with the Shake- include Homeland, Can’t Miss Nick, Broken, The Good speare Center of Los Angeles, Slipping with Rattlestick War, Dream Hackers and The Tao of Steve. On televi- West and performances at the Geffen Playhouse, Ah- sion, she has guest-starred on “NCIS,” “The Good Wife,” manson Theatre, Ford’s Theatre, Folger Theatre, The “Unforgettable,” “Nurse Jackie,” “Hawthorne,” “The Shakespeare Theatre Company, Arena Stage, The The- Shield,” “Law & Order,” “Monk,” “NYPD Blue,” “Spin atre@Boston Court, A Noise Within and The Antaeus City,” and others. She earned her MFA from the Yale Company, among many others. His television credits School of Drama. include “Veronica Mars” and “Bones.” He is a graduate of USC. Richard Doyle* Gerald Hal Landon Jr.* Tom is an SCR Founding Artist celebrat- ing—with SCR—his 50th year as is an SCR Founding Artist who has an actor. He has appeared in some appeared in The Fantasticks, The 200 SCR productions. He was last Trip to Bountiful, A Midsummer seen in A Christmas Carol as The Night’s Dream, Hamlet, Nothing Ghost of Christmas Past (a role he Sacred, Man from Nebraska, Born has reprised some 30 times); Earthworm in James and Yesterday, The Caucasian Chalk The Giant Peach; Henry in The Fantasticks (nomi- Circle, A View from the Bridge, Habeas Corpus, Cyrano nated for a special ensemble Los Angeles Drama Critics de Bergerac, Antigone, The Drawer Boy (Los Angeles Circle Award); Roy in The Trip to Bountiful; Jack in The Drama Critics Circle Award nomination), Major Barba- Weir; and Lord Summerhays in Misalliance. He won ra and Tartuffe. His other credits include Arcadia, Our an LADCC award for Holy Days, was nominated for the Town, Sidney Bechet Killed a Man, BAFO, Six Degrees of Reverend Hale in The Crucible and for his work in Inti- Separation, An Ideal Husband, A Mess of Plays by Chris mate Exchanges (2004). He has made many television Durang, Faith Healer, Green Icebergs, The Miser, Our and film appearances and was featured in the recurring Country’s Good and Waiting for Godot. He created the role of Mr. Gaines on the series “Cheers.” He is a busy role of Ebenezer Scrooge in SCR’s A Christmas Carol, voice actor in video/motion capture games (Odin for and has performed it in all 34 productions. He appeared Marvel) and animated films and series such as Clutch in Leander Stillwell (Mark Taper Forum) and in Henry V Powers and Ben Ten. Doyle is a recipient of the Helena (The Old Globe in San Diego). Among his television and

P4 • South Coast Repertory • Rest film credits are “The Closer,” “My Name is Earl,” “CSI: tle,” “Major Crimes,” “NCIS,” “Harry’s Law,” “Mad Men,” NY,” “Mad Men,” The Artist, Trespass, Pacific Heights, “Cold Case,” “Studio 60 on the Sunset Strip,” “Without Bill & Ted’s Excellent Adventure and Playing by Heart. a Trace,” “Everwood,” “The Guardian” and “Buffy the Vampire Slayer.” robnagle.com Lynn Milgrim* Etta Libby West* Ginny appeared at SCR previously in The Trip to Bountiful, The Heiress, The appeared at SCR previously in Lov- Caucasian Chalk Circle, Bosoms ers and Executioners, In The Next and Neglect, The Countess, Death Room or the vibrator play, and of a Salesman and Pygmalion. On the NewSCRipts reading of People Broadway, she was seen in Other- be Heard. She has appeared off- wise Engaged, directed by Harold Pinter; Bedroom Broadway at The Public Theater Farce, directed by Sir Peter Hall; Charley’s Aunt; and and The Promenade Theatre; regionally at The Old in the international tour of Brighton Beach Memoirs, Globe, American Conservatory Theater, The Shake- directed by Gene Saks. Her off-Broadway appearances speare Theatre Company, Actors Theatre of Louisville, include Win/Lose/Draw, Echoes, Macbeth, Crimes of Denver Center Theatre Company, Paper Mill Playhouse, Passion, City Scene, Talking With and Ribcage at Man- Intiman Theatre, The Wilma Theater, Pasadena Play- hattan Theatre Club; and Close of Play and Museum at house, Mark Taper Forum, Playmakers Repertory Com- New York Shakespeare Festival. She has played leading pany, Cincinnati Playhouse in the Park and many others; roles in regional theatres nationwide, including the Los in New York at The Actors Studio, Soho Rep, Perfor- Angeles productions of The Marriage of Bette and Boo, mance Space 122, and many others. In Los Angeles, she Harvey, Eastern Standard (Robby Award), Treasure appeared in numerous productions, including perfor- Hunt (Robby nomination), Accelerando and Brush mances at The Theatre @ Boston Court, A Noise Within, Strokes. She has guest-starred on numerous television Odyssey Theatre Ensemble and Sacred Fools Theater shows, most recently “Franklin and Bash” and “South- Company. Her film and television credits include A land” and has been a series regular in pilots for CBS Life, Taken, Helen Keller Had a Pitbull, One Too Many and ABC. Her recent film credits include Employee of Mornings (Sundance), Jason’s Big Problem, Fraktalus, the Month with Matt Dillon. She is a member of The An- Two Weeks Notice, Transcendence, Zombie Holocaust taeus Company, where she appeared in The Malcontent, and You, A Midsummer Night’s Re-Write, Divorce Be (StageSceneLA Award for outstanding performance by a Gone, Iceman, “Jericho,” “Six Feet Under,” “As The featured actress). World Turns,” “One Life to Live,” “All My Children,” etc. She holds an MFA from New York University, a BA from Rob Nagle* the University of Chicago, was a Fox Foundation Fellow, Jeremy and earned a Dean Goodman Choice Award.

last performed at SCR in Taking Playwright, Director and Designers Steps. His regional credits include productions at Portland Cen- Samuel D. Hunter (Playwright). His plays include ter Stage, Denver Center Theatre The Whale (2013 Drama Desk Award, 2013 Lucille Lortel Company, Mark Taper Forum, The Award for Outstanding Play, 2013 GLAAD Media Award, Old Globe, CenterStage, San Jose Drama League and Outer Critics Circle nominations for Repertory and the Shakespeare Theatre Company in Best Play), A Bright New Boise (2011 Obie Award for Washington, D.C. In Los Angeles, he is a proud mem- Playwriting, 2011 Drama Desk nomination for Best Play), ber of the Troubadour Theatre Company and The An- and his newest plays, The Few, A Great Wilderness and taeus Company, where he serves as a co-artistic direc- Rest. His plays have been produced by theaters such tor alongside Bill Brochtrup and John Sloan. His film as Playwrights Horizons, SCR, The Old Globe, Seattle appearances include Boost, Fishing Naked, New Year’s Repertory, Victory Gardens Theater, Woolly Mammoth Eve, Life As We Know It, The Soloist, Fun with Dick and Theatre Company, Denver Center Theatre Company, Jane, Cellular and American Wedding. His television Clubbed Thumb and Page 73 Productions. His work has credits include recurring roles on “Lincoln Heights,” “Eli been developed at the O’Neill Playwrights Conference, Stone” and “Dawson’s Creek,” as well as guest appear- the Ojai Playwrights Conference, Seven Devils, and else- ances on “Mistresses,” “Criminal Minds,” “Touch,” “Cas- where. Hunter is the winner of a 2012 Whiting Writers

Rest • South Coast Repertory • P5 Award, the 2013 Otis Guernsey New Voices Award, the Angela Balogh Calin (Costume Design) returns to 2011 Sky Cooper Prize, and the 2008-09 PONY Fellow- SCR where she has designed costumes and/or sets for ship. He is a member of New Dramatists, an Ensemble more than 40 productions, including The Whale, The Playwright at Victory Gardens, a Core Member of The Trip to Bountiful, The Weir, Circle Mirror Transforma- Playwrights’ Center, a member of Partial Comfort Produc- tion, Crimes of the Heart, Ordinary Days and The Happy tions, and was a 2013 Resident Playwright at Arena Stage. Ones. She has designed more than 60 productions for A native of northern Idaho, Hunter lives in New York Milwaukee Repertory Theater, Denver Center Theatre City. He holds degrees in playwriting from New York Uni- Company, The Old Globe, Pasadena Playhouse, Georgia versity, the Iowa Playwrights Workshop and the Juilliard Shakespeare, A Noise Within and many local theatres. School. She has worked extensively in film and television in the U.S. and Romania, and has design credits with I.R.S. Martin Benson (Director/Founding Artistic Direc- Media, Cannon Films, PBS, Full Moon Entertainment tor), co-founder of SCR, has directed nearly one-fourth and Romanian Films. Calin is a resident artist at A Noise of SCR’s productions. In 2008, he and David Emmes Within Theatre. She graduated with an MFA in set and received the Margo Jones Award for their lifetime com- costume design from the Academy of Arts in Bucharest, mitment to theatre excellence and fostering the art and Romania. craft of American playwriting. They also accepted SCR’s 1988 Tony Award for Outstanding Resident Professional Donna Ruzika (Lighting Design) returns to SCR where Theatre and won the 1995 Theatre L.A. Ovation Award her credits include Tomfoolery, Ashes, Coming Attrac- for Lifetime Achievement. Benson has received the Los tions, more than 20 children’s plays for the Young Con- Angeles Drama Critics Circle Award for Distinguished servatory Players and with her husband Tom, co-designs Achievement in Directing an unparalleled seven times for The Whale, The Trip to Bountiful, Collected Stories for George Bernard Shaw’s Major Barbara, Misalliance and A Christmas Carol. During the past 16 years, Ru- and Heartbreak House; John Millington Synge’s Playboy zika has designed more than 56 productions for The of the Western World; Arthur Miller’s The Crucible; Sally Utah Shakespeare Festival, working both in the outdoor Nemeth’s Holy Days; and Margaret Edson’s Pulitzer Prize- Adams Shakespeare Theatre and the indoor Randall winning Wit, which he also directed at Seattle Repertory Theatre. Her recent work with International City Theatre Theatre and Houston’s Alley Theatre. He has directed in Long Beach includes Flyin’ West, Let’s Misbehave and American classics such as A Streetcar Named Desire and Red. She has also designed for Laguna Playhouse, The has distinguished himself in staging contemporary work, Colony Theatre, The Alabama Shakespeare Festival and including the critically acclaimed California premiere Fullerton Civic Light Opera, where she designed more of William Nicholson’s Shadowlands. Most recently, he than 100 musicals as resident designer. For the past eight directed the world premiere of Julie Marie Myatt’s The summers, Ruzika has been associate lighting designer Happy Ones, a revival of Misalliance, Horton Foote’s, for the Los Angeles Philharmonic’s summer musical at The Trip to Bountiful and Samuel D. Hunter’s The Whale. the world-famous Hollywood Bowl. Her award-winning Benson received his BA in theatre from San Francisco lighting has also been seen in Barcelona, Spain; Bogota, State University. Colombia; and Cairo, Egypt.

John Iacovelli (Scenic Design) designed the world Michael Roth (Original Music/Soundscape) returns premiere of Wole Soyinka’s Oedipus at Colonus for the to SCR where his work has been heard in more than 50 Cultural Olympiad in Delphi, Greece, and the world productions. His recent projects include Christopher premiere of a full-length dance based on the classic film Plummer’s one-man show, A Word or Two, recently in Casablanca at the Great Hall of the People in Beijing. He Los Angeles, and The Tempest (Stratford Festival, Bravo); designed the acclaimed recent productions of Waiting many collaborations with Randy Newman including musi- for Godot and Joe Turner’s Come and Gone at the Mark cal direction/arrangements for Disney’s The Princess and Taper Forum. His memorable designs at SCR include the Frog, Faust, and editing five songbooks; at SCR, The Silent Sky, Noises Off, Talley’s Folly, The Philanderer, Whale, world premieres of Mr. Marmalade, Wit, Brook- Heartbreak House (LADCC) Oleanna, The Company of lyn Boy (also Broadway), Dinner with Friends (also off- Heaven, Shadowlands, Frankie and Johnny In the Clair Broadway); and Jews and Baseball (a documentary for de Lune, Faith Healer, and 12 others. He has designed PBS); many productions as La Jolla Playhouse’s resident more than 300 plays and musicals at most major theatres composer; collaborations with, among others, Culture in the United States. Iacovelli received a prime time Clash, Dan Sullivan, Des McAnuff, Sarah Ruhl, Mac Well- Emmy Award for the A&E broadcast of the Broadway man, Anne Bogart, the United Nations and Tom Stoppard production of Peter Pan, starring Cathy Rigby. He has an (including the American premieres of Indian Ink, Inven- MFA in scenic design from NYU Tisch School of the Arts. tion of Love); accompanying singers from Alicia Keyes to www.iacovelli.com Alice Ripley; and a 2011 Sundance film composer fellow-

P6 • South Coast Repertory • Rest Mary Beth Adderley (Honorary Producer) has a life- ship. His opera Their Thought and Back Again is avail- long passion for the stage and gives generously to help able via iTunes. Among upcoming projects are his cham- ensure that her fellow theatre-goers can enjoy the best in ber music/theatre treatment of Beckett’s Imagination live theatre. Mary Beth has served as Honorary Producer Dead Imagine and Fats November, a piano sonata. For a remarkable eight times, helping to underwrite the last more information: http://rothmusik.wix.com/rothmusik six plays directed by Martin Benson, including Samuel D. Hunter’s The Whale last season, The Trip to Bounti- ohn aker (Dramaturg) is the artistic associate J M. B ful (2011), Misalliance (2010), The Happy Ones (2009), at the Williamstown Theatre Festival and associate pro- A Feminine Ending (2008) and Nothing Sacred (2006), ducer of Partial Comfort Productions (New York City). as well as The Caucasian Chalk Circle (2005) and Terra He is the former literary manager at Woolly Mammoth Nova (2004). She is a longtime Platinum Circle member Theatre Company. As a dramaturg, Baker has developed and major Gala table underwriter for nearly a decade. new work at Boise Contemporary Theatre, Clubbed She was an Honorary Producer for SCR’s 2009 Pacific Thumb, The Juilliard School, The Kennedy Center, Ma-Yi Playwrights Festival and contributed generously to SCR’s Theater Company, Partial Comfort Productions, Page 73 “Next Stage” campaign. Mary Beth rejoined the Board Productions, PlayPenn, Seattle Repertory, Seven Devils of Trustees last summer, having previously served three Playwrights Conference, SPF, Woolly Mammoth, among terms from 2003-12. She also holds the unique distinc- others. He has spent seven summers as a dramaturg at tion as the only Board member who is also a former SCR The O’Neill National Playwrights Conference. Baker has actor with appearances in many memorable productions taught at Fordham and Rutgers universities and at Mary- in the 1970s. mount Manhattan College and has recently been a guest artist in the graduate playwriting programs of NYU’s Tisch Olivia and A. Andrew Johnson (Honorary Pro- School of the Arts Asia, the University of Texas at Austin, ducers) are among SCR’s most enthusiastic, dedicated and the University of Iowa. He holds a BA from Boston and generous supporters, who have been passionate University and an MFA from the University of Iowa. subscribers since the early 1970s. In addition to being major donors to all of SCR’s capital campaigns through ue arutz (Stage Manager) has stage-managed or as- S K * the years, they are charter members of Platinum Circle, sisted on more than a dozen productions at SCR and looks longtime Gala supporters and have been First Nighters forward to more. She has toured with The Black Rider on both stages for more than 30 years. Olivia served on (London, San Francisco, Sydney, Los Angeles), Wick- SCR’s Board of Trustees for 18 years, and today enjoys ed (Chicago, L.A., San Francisco), Les Misérables (U.S., the status of Emeritus Trustee. She chaired the 1997 Canada, China and Korea) and Cirque du Soleil’s Corteo Gala and continues as an active member of the Gala (Russia and Belgium.) Off-Broadway, she earned her Eq- Committee each year. This is Olivia and Andy’s third turn uity card on Howard Crabtree’s When Pigs Fly. Karutz is as Honorary Producers, having previously underwritten a graduate of El Camino College, U.C. Irvine and U.C. San Margaret Edson’s Pulitzer Prize-winning Wit in 1994 and Diego and has stage-managed for Center Theatre Group, John Guare’s Six Degrees of Separation in 1996. Olivia Los Angeles Opera, Pasadena Playhouse, Falcon The- captures their passion for SCR in her words, “Andy and atre, Deaf West, American Conservatory Theater, La Jolla I feel very blessed to have this opportunity to support Playhouse, Idaho Shakespeare Festival and The National the magic that we see on the SCR stages as 50th Season Theatre of the Deaf, and she also spends some of her time Honorary Producers. We love being just a small, but vital, running the show Fantasmic! at Disneyland Resort. piece of the huge effort put forth by SCR’s talented art- ists and gifted artisans, as they mold the words of a bril- amie ucker (Assistant Stage Manager) is excited J A. T * liant young playwright into a true visual work of art. One to be in his 12th season at SCR. Tucker completed his that simultaneously moves, enlightens and entertains MFA in dance, specializing in stage management, at the our SCR audiences. WOW! What a thrill! “

Rest • South Coast Repertory • P7 University of California, Irvine in 1994. Since coming to ing director since 1994. A member of the SCR staff since SCR, he has stage-managed or assisted on 64 produc- 1979, she has served in a number of administrative tions. Some of his favorites have been the world pre- capacities, including subscriptions manager, business mieres of Richard Greenberg’s Three Days of Rain, The manager and general manager. She was the president Violet Hour and The Dazzle; Rolin Jones’ The Intelligent of the board of Theatre Communications Group (TCG), Design of Jenny Chow; and Noah Haidle’s Mr. Marma- the national service organization for theatre, and served lade. Other favorites include Elemeno Pea, Jitney, A two terms as a board member. She has also served as Midsummer Night’s Dream, Crimes of the Heart, Fences, treasurer of TCG, vice president of the League of Resi- Anna in the Tropics, The Trip to Bountiful, A View from dent Theatres (LORT) and has been a member of the the Bridge, Chinglish, Death of a Salesman, Hamlet and LORT Negotiating Committee for industry-wide union The Light in the Piazza. He has had the pleasure of work- agreements. In addition, she represents SCR at national ing seven seasons on La Posada Mágica and six seasons conferences of TCG and LORT; is a theatre panelist for at the helm of A Christmas Carol. If you can’t find him in the National Endowment for the Arts (NEA) and the the theatre, he is likely to be riding his bike through the California Arts Council; site visitor for the NEA; and has canyons of South Orange County. He is a proud member been a guest lecturer in the graduate school of business of Actors’ Equity. at Stanford and UC Irvine. She is on the board of Arts Orange County, the county-wide arts council, and the Marc Masterson (Artistic Director) is in his third board of the Nicholas Endowment. Tomei graduated season with SCR. His recent directing credits include from UC Irvine with a degree in economics and pursued Death of a Salesman, Eurydice and Elemeno Pea at an additional course of study in theatre and dance. She SCR, As You Like It for the Houston Shakespeare Festival, teaches a graduate class in nonprofit management at UC The Kite Runner at Actors Theatre of Louisville and the Irvine. Cleveland Play House. He previously served for 11 years as artistic director of Actors Theatre of Louisville and David Emmes (Founding Artistic Director) is co-found- produced the Humana Festival of New American Plays. er of South Coast Repertory. In May 2008, he received During his tenure, he produced more than 100 world the Margo Jones Award for his lifetime commitment to premieres, expanded audiences and the repertoire, deep- theatre excellence and to fostering the art and craft of ened arts education programs, and spearheaded numer- American playwriting. In addition, he has received nu- ous community-based projects. Other directing credits merous awards for productions he has directed during include A Midsummer Night’s Dream, Shipwrecked! his SCR career, including a Los Angeles Drama Critics An Entertainment, Glengarry Glen Ross, The Tempest, Circle Award for the direction of George Bernard Shaw’s Mary’s Wedding, The Crucible, Betrayal, As You Like The Philanderer. He directed the world premieres It, The Importance of Being Earnest and Macbeth in of Amy Freed’s Safe in Hell, The Beard of Avon and Louisville. World premieres directed at the Humana Fes- Freedomland, Thomas Babe’s Great Day in the Morn- tival include works by Lisa Dillman, Wendell Berry, Craig ing, Keith Reddin’s Rum and Coke and But Not for Me Wright, Eric Coble, Adam Bock, Gina Gionfriddo, Melanie and Neal Bell’s Cold Sweat; the American premieres of Marnich, Charles Mee and Rick Dresser. He served as Terry Johnson’s Unsuitable for Adults and Joe Penhall’s artistic director of City Theatre in Pittsburgh for 20 years Dumb Show; and the Southland premiere of Top Girls and was founder and chairman of the Greater Pittsburgh (at SCR and the Westwood Playhouse). Other produc- Arts Alliance, a board member of the Citizens for the Arts tions he has directed include New England by Richard in Pennsylvania and Leadership Pittsburgh. He served Nelson, Arcadia by Tom Stoppard, The Importance of six years on the Board of the Theatre Communications Being Earnest by Oscar Wilde, Alan Ayckbourn’s Woman Group and as a theatre advisory panel member for the in Mind and You Never Can Tell by George Bernard National Endowment for the Arts as well as numerous Shaw, which he restaged for the Singapore Festival of foundations. He won the Man of the Year Vectors Award, Arts. He has served as a theatre panelist and onsite evalu- and received the Lifetime Achievement Award from the ator for the National Endowment for the Arts, as well as Pittsburgh New Works Festival. a panelist for the California Arts Council. After attending Orange Coast College, he received his BA and MA from Paula Tomei (Managing Director) is responsible for San Francisco State University, and his PhD in theatre the overall administration of SCR and has been manag- and film from USC.

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

P8 • South Coast Repertory • Rest