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Home , Candida (play), Heartbreak House, JD Cullum, John Cullum, John Rubinstein, LA Weekly

39th Season • 374th Production SEGERSTROM STAGE / OCTOBER 11 THROUGH NOVEMBER 17, 2002

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

presents

by

Scenic Design Costume Design Lighting Design RALPH FUNICELLO SHIGERU YAJI CHRIS PARRY

Composer Dialect Coach Production Manager Stage Manager KARL FREDRIK LUNDEBERG PHILIP THOMPSON TOM ABERGER *RANDALL K. LUM

Directed by MARTIN BENSON

Honorary Producers BARBARA AND WILLIAM ROBERTS

AMERICAN AIRLINES

Major Barbara • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance)

Lady Britomart ...... *Kandis Chappell Stephen Undershaft ...... *John Hines Morrison ...... *Don Took Barbara Undershaft ...... *Nike Doukas Sarah Undershaft ...... Shian Velie Adolphus Cusins ...... *JD Cullum Charles Lomax ...... *Daniel Blinkoff Andrew Undershaft ...... *Dakin Matthews Rummy Mitchens ...... *Jane Macfie Snobby Price ...... *Michael Louden Jenny Hill ...... Denise Tarr Peter Shirley ...... *Richard Doyle Bill Walker ...... *Leo Marks Mrs. Baines ...... *Martha McFarland Bilton ...... *Hal Landon Jr.

SETTING London, 1906.

Act 1 Scene 1: Library in Lady Britomart’s house, Wilton Crescent Scene 2: Salvation Army Shelter, West Ham Act 2 Scene 1: Lady Britomart’s Library Scene 2: Undershaft and Lazarus Cannon Works, Perivale St. Andrews

LENGTH Approximately two hours and 55 minutes, including one 15-minute intermission.

ACKNOWLEDGEMENT Special thanks to Shaw scholar Sidney P. Albert, Professor Emeritus of Philosophy at State University , and to Richard Soto.

Official Airline Media Partner Media Partner

P2 SOUTH COAST REPERTORY • Major Barbara “The oftener my plays are performed the more popular they become, acquiring Shavian congregations which can always be relied on.”

PRODUCTION STAFF Assistant Stage Manager ...... *Scott Harrison Casting Director ...... Joanne DeNaut Dramaturg ...... Linda Sullivan Baity Fight Coordinator ...... Jamison Jones Assistant Director ...... Joshua Hsu Assistant to the Set Designer ...... Jeff Stander Assistant to the Lighting Designer ...... Shirley Halahmy Stage Management Intern ...... Heather McClain Additional Costume Staff ...... Bronwen Burton, Tracy Gray, Diane Lucas, Peg Oquist, Stacey Nezda, Natalie Retzlaff, Cynthia Shaffer, Swantje Tuohino

Cellular phones, beepers and watch alarms should be turned off or set to non-audible mode during the performance. Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. The use of cameras and recorders in the theatre is prohibited. Smoking is not permitted anywhere in the theatre.

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

The Scenic, Costume, Lighting and The Director is a member of the Society Sound Designers in LORT theatres are of Stage Directors and Choreographers, represented by United Scenic Artists Inc., an independent national labor Local USA-829, IATSE. union.

Major Barbara •SOUTH COAST REPERTORY P3 Photos of the original production at the Royal Court The- atre, clockwise from left: Annie Russell and Oswald , and Granville Barker, Clare Greet and Dorothy Minto. Barbara’s Premiere: A Hugely Successful Disaster OPENING NIGHT CAST he first performance of Major Barbara took place at the Court Lady Britomart . . . . . Rosina Filippi Theatre in London on November 28, 1905. The original six Stephen Undershaft Hubert Harben matinees proved so popular that the play was quickly trans- T Morrison ...... C. L. Delph ferred to the theatre’s evening bill, where it continued to run until Barbara Undershaft . . Annie Russell mid-February 1906. Shaw himself directed a cast that included Sarah Undershaft . Hazel Thompson Louis Calvert as Andrew Undershaft and Annie Russell as Major Charles Lomax . . Dawson Milward Barbara. According to Ms. Russell, her co-star’s failure to remem- Adolphus Cusins . Granville Barker ber his lines nearly ruined their opening night, which prompted Andrew Undershaft . . Louis Calvert this letter from the disgruntled director: Rummy Mitchens . . . . . Clare Greet Snobby Price ...... Arthur Laceby 29th November 1905 Jenny Hill ...... Dorothy Minto My dear Calvert, Peter Shirley ...... F. Cremlin I see with disgust that the papers all say that your Under- Bill Walker ...... Oswald Yorke shaft was a magnificent piece of acting, and Major Barbara a rot- Mrs. Baines . . . E. Wynne Matthison tenly undramatic play, instead of pointing out that Major B. is a Bilton ...... Edmund Glenn masterpiece and you the most infamous amateur that ever dis- graced the boards. [. . .] I have taken a box for Friday and had a hundred-weight of cabbages, dead cats, eggs, and gingerbeer bot- tles stacked in it. Every word you fluff, every speech you unact, I will shy something at you. Before you go on the stage I will in- sult you until your temper gets the better of your liver. You are an imposter, a sluggard, a blockhead, a shirk, a malingerer, and the worst that ever lived or ever will live. I will apologize to the public for engaging you. I will tell your mother of you. [. . .] If you do not recover yourself next time a thunderbolt will end you. If you are too lazy to study the lines, I’ll coach you in them. That last act MUST be saved, or I’ll withdraw the play and cut you off with a shilling. Yours, G.B.S.

P4 SOUTH COAST REPERTORY • Major Barbara Shaw and the Salvation Army haw had shared pitches with the Salvation Army when he went speaking in the East End streets. SWhen a newspaper described a noise as “worse than a Salvation Army band,” he wrote to complain, vouching for the bands’ excellence on his authority as a well-known music critic. As a result, General Booth invited him to a mass meeting at the Albert Hall and he was seated among the Army leaders. “I led the singing in my crowded box with tremendous gusto. A tribute to my performance came from a young Salvation lass who, her eyes streaming with tears, grasped both my hands and cried ‘Ah! We know, don’t we?’” The next day Shaw wrote to the manager at the Court Theatre, J.E. Ve- drenne, “When the roll is called up yonder — I’LL BE THERE. I stood in the middle of the grand tier cen- tre box and sang it as it has never been sung before. The Times will announce my conversion tomorrow. What other author would do that for his manage- ment?” When the play opened Shaw persuaded a box- full of Army commissioners to attend in full uniform, although they had never been to a theatre before. The Army had refused his invitation actually to take part in the second act, but had lent the uniforms for the production. They came to his aid when the play was treated by some critics as a jibe at the Army on the ground that the Salvationists were too light-heart- ed and took money from the whisky distiller. “The Army received this with the scorn it de- served, declaring that Barbara’s The production of ‘Major fun was perfectly Barbara’ in 1915, above, and left, correct Wyndham’s Theatre in 1929. and characteristic. The only inci- dent that seemed incredible to them was her refusal to accept the money. Any good Salva- tionist, they said, would, like the Commissioner in the play, take money from the devil himself and make so good use of it that he would per- haps be converted, for there is hope for every- body.”

(Excerpt from an essay by Peter Lewis entitled “George Bernard Shaw and the World of Major Barbara,” which appeared in the program for the 1982 National Theatre production.)

Major Barbara •SOUTH COAST REPERTORY P5 To Audiences of Major Barbara

Shaw circulated this note to the press when Major Bar- audience but the demands were conceded. The audi- bara first appeared in America in 1915 and 1916. The ence left the theatre exhausted, but felt the better for it note was purportedly written by “a playwright whose and came again. The second act, the Salvation Army work is well known in this country, in Eng- act, was a play in itself. land, and in . He prefers to keep Regarded in that way, it his identity a secret, but it may be said with- may be said to be the out betrayal of confidence that he knows in- most successful of all the timately and admires greatly Bernard author’s plays. Shaw.” The possibility of using the wooing of a ajor Barbara is the third of a man’s soul for his salva- group of three plays of exceptional tion, as a substitute for the Mweight and magnitude on which hackneyed wooing of a the reputation of the author as a serious handsome young gentle- dramatist was first established, and still man for the sake of mar- mainly rests. [. . .] It made demands on the rying him had occurred to Bernard Shaw many years before, when, in the course of his campaigns for socialism, he had often found himself on Sunday mornings addressing a So- cialist meeting in the open air in London or in the provinces while the Salvation Army was at work on the same ground. He had frequently, at the conclusion of his own meeting, joined the crowd round the Salvation lasses and watched their work and studied their methods sympa- thetically. … Bernard Shaw was not at this time a playwright, but such scenes were not lost on him; the future dramatist was collecting material everywhere. Many years afterward when he had ac- quired a considerable reputation as a critic of music, Bernard Shaw saw in a daily paper a silly remark describing some horrible noise as being almost as bad as a Salvation Army band. He im- mediately wrote to the paper pointing out that the Salvation Army bands were mostly good, and that some of them were of very conspicu- ous excellence. This compliment from an unex- pected quarter made quite a commotion at the Army’s headquarters in London. The general quoted it again and again in public, and the au- thor was invited to attend one of the musical

Bernard Shaw’s hands, top, and left, Shaw taking notes at rehearsal.

P6 SOUTH COAST REPERTORY • Major Barbara festivals of the Army. He did so and wrote an elaborate critical report on the bands. Shaw took advantage of the relations thus established to ask the Army staff why they did not develop the dra- matic side of their ritual by performing plays. He even offered to write a short play as a model of what might be done. The leaders of the Army, though interested and not themselves hostile to the proposal, could not venture to offend the deep prejudices against the theatre that still form part of the English evan- gelism. They could only say rather doubtfully that if the author of a play could guaran- tee that everything in it had actually happened, that “it

was all true,” it might be possible to reconcile the stricter Salvationists to it. Shaw put forward that para- bles were allowable; but he was met with assurance that the Salvationists believed the parables to be records of facts as well as vehicles of instruction. Major Barbara raises larger issues than those of popular Salvationism. Undershaft, with his terrible trade—so grimly flourishing just now—and his doc- trine that money comes first, and that poverty is the worst of crimes and the only unbearable crime, strikes the deepest note in the play as Barbara sounds the highest. It was the allusions to Nietzsche which he provoked that elicited from the author the well-known preface in which he protested against the habit of the English critics of referring every trace of intellect in the English drama to Norwegian and German writers when all the doctrines which so surprised them were to be found in the literature of the English language. It is curious that ten years should have elapsed between the production of Major Barbara in London and its first appearance on the American stage. It has been the subject of many proposals, but until today the artistic conditions have never seemed to the author favorable enough to warrant him in venturing on an authorization [to stage the play abroad]. Miss Grace George’s appearance in London has doubtless had its weight in his decision. But Shaw has always said that for plays of this class, the great question is whether the audience will be a failure or a success.

Shaw making a public address at Portsmourth, 1910, top, and Shaw at the rehearsals for ‘’ in 1913.

Major Barbara •SOUTH COAST REPERTORY P7 The World According to GBS • A government that robs Peter to pay Paul can always depend on the support of Paul. • Alcohol is the anesthesia by which we endure the operation of life. • All great truths begin as blasphemies. • Dancing: The vertical expression of a horizontal desire legalized by music. • and America are two countries divided by a common language. • Even the youngest of us may be wrong sometimes. • Few people think more than two or three times a year; I have made an in- ternational reputation for myself by thinking once or twice a week. • I often quote myself; it adds spice to my conversation. • If all the economists in the world were laid end to end, they wouldn’t reach any conclusion. • Life does not cease to be funny when people die any more than it ceases to be serious when people laugh. • Take the utmost trouble to find the right thing to say, and then say it with the utmost levity. • The worst sin toward our fellow creatures is not to hate them, but to be indifferent to them: that’s the essence of inhumanity. • The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man. • The power of accurate observation is commonly called cynicism by those who have not got it. • We learn from experience that men never learn anything from experience. • We don’t stop playing because we grow old; we grow old because we stop playing ! • When a man teaches something he does not know to somebody else who has no aptitude for it, and gives him a certificate of proficiency, the latter has complet- ed the education of a gentleman. • My reputation grows with every failure. • You see things; and you say “Why?” But I dream things that never were; and I say “Why not?” • Youth is a wonderful thing. What a crime to waste it on children. • Which painting in the National Gallery would I save if there was a fire? The one nearest the door of course.

Clockwise from the top: Drawing of GBS by Gal; GBS by Einer Nerman; GBS by Alick P.F. Ritchie; and Punch cartoon by E.T.: design for a statue in Leicester Square, after certain hints by GBS.

P8 SOUTH COAST REPERTORY • Major Barbara DANIEL BLINKOFF KANDIS CHAPPELL JD CULLUM Charles Lomax Lady Britomart Adolphus Cusins Artist Biographies

*DANIEL BLINKOFF (Charles Lomax) received his MFA from the Yale heim and , and at Lin- appeared at SCR last season in Nos- School of Drama. coln Center in Pride’s Crossing. She talgia and The School for Wives. has also performed at the Intiman Other theatre credits include The *KANDIS CHAPPELL (Lady Britomart) Theatre in Seattle, Pasadena Play- Imaginary Invalid and A Kiss for Cin- appeared at SCR most recently in A house, Berkeley Repertory Theatre, derella at the Cleveland Playhouse, Delicate Balance and Everett Beekin. The Huntington in , San Jose Are We There Yet? at Williamstown Previously she appeared in How the Repertory and Hartford Stage. Ms. Theatre Festival, Stepping Out with Other Half Loves, Collected Stories Chappell has appeared in the feature Mr. Markham at Ensemble Studio (L.A. Drama Critics Circle Award), A film Another You and television’s Theatre’s Octoberfest, A Christmas Streetcar Named Desire, Lettice & Lo- “L.A. Law” and “.” She is a Carol at the McCarter Theatre, The vage, Dancing at Lughnasa, Hay member of the Antaeus in Summer in Gossensass directed by Fever, Woman in Mind (LADCC Los Angeles. Maria Irene Fornes at Theatre Row, Award), Intimate Exchanges, The Beyond the Horizon at Chain Light- Extra Man, , The *JD CULLUM (Adolphus Cusins) ap- ning Theatre, Dinosaur Dreams and Crucible and Shadowlands (the last peared at SCR last season in Making The Last 60 of 99 at New York Stage two also garnering her LADCC It and The Dazzle. Originally from and Film, The Beaux Strategem and Awards). Ms. Chappell is an Associ- , he has performed on at Yale Repertory The- ate Artist of the Old Globe Theatre in and Off-Broadway alongside distin- atre, Flesh and Blood at Chicago’s San Diego, where her credits include guished performers such as Geraldine Bailiwick Theatre (Joseph Jefferson Collected Stories, , King Page, Uta Hagen, , Nomination – Best Actor), and in the Lear, , The , Victor Garber and his title role in Leander Stillwell at Chica- Snow Ball, And a Nightingale Sang, father, actor . Recent L.A. go’s Stage Left (Joseph Jefferson The Dining Room, and appearances include Murdering Mar- Award – Best Ensemble). His film Intimate Exchanges (for which she lowe and The Lady’s Not for Burning and television credits include With won a San Diego Theatre Critics Cir- at Malibu Stage, Joe Louis Blues at the Honors, Crossing the Bridge, Rock- cle Award). She appeared on Broad- Tiffany Theatre and Side Man at abye, “NYPD Blue,” “Law and Order” way in ’s Rumors, Getting Pasadena Playhouse. Other notable and “Missing Persons.” Mr. Blinkoff Away with Murder by Stephen Sond- productions include Waiting for

Major Barbara •SOUTH COAST REPERTORY P9 NIKE DOUKAS RICHARD DOYLE JOHN HINES Barbara Undershaft Peter Shirley Stephen Undershaft

Godot at the Matrix Theatre, Affliction and VITA Shakespeare Festivals, and for his roles in Sally Nemeth’s Holy of Glory at the Getty Center, The Liar Shakespeare Santa Cruz. Television Days and as Reverend Hale in The at the Secret Rose Theatre and The credits include “NYPD Blue,” “. “Cheers” fans will remem- Cripple of Inishmaan at the Geffen Guardian,” “Judging Amy,” “Diagnosis ber him as Woody’s snooty father-in- Playhouse. Recent on camera work Murder,” “Caroline in the City,” a re- law Walter Gaines. Other film and includes “Frasier,” “Judging Amy,” curring role on “Almost Perfect,” the television credits include Air Force “NYPD Blue,” “Dead Last” and *61. movie of the week Little Girls in Pret- One, “NYPD Blue,” “Sisters,” movies Mr. Cullum is a member of the An- ty Boxes and the feature film Seven of the week, “” and guest taeus Company. Girlfriends. Ms. Doukas has an MFA star appearances on “The Pretender” from the American Conservatory The- and “The Lot.” He is a voice-over *NIKE DOUKAS (Barbara Undershaft) atre and is a member of the Antaeus actor in animation, CD ROMS, televi- most recently appeared at SCR in Company. sion commercials and documentaries , Everett including the Emmy-winning docu- Beekin and The Beard of Avon. Other *RICHARD DOYLE (Peter Shirley) is an mentary series “The Living Edens.” SCR credits are Round and Round the SCR Founding Artist. He appeared Garden, Pygmalion, How the Other last season in The School for Wives *JOHN HINES (Stephen Undershaft) Half Loves, , Blithe and The Homecoming and the previ- made his SCR debut last season in Spirit and the world premiere of ous season in The Beard of Avon, The Circle. His New York theatre Green Icebergs on the Mainstage and Much Ado about Nothing, A Delicate credits include Labor Day at Manhat- in Loot and Company of Heaven on Balance and A Christmas Carol. Ad- tan Theatre Club, Spring Awakening the Second Stage. She appeared at A ditional appearances include the at New York Performance Workshop Contemporary Theatre in Seattle as world premieres of On the Jump and Black Snow at the Judith Ander- Sara in the world premiere of Donald (Robby Award), But Not for Me, son. His regional theatre credits in- Margulies’ God of Vengeance and as BAFO, The Interrogation of Nathan clude Way of the World, Betrayal, Ruella in Communicating Doors. Hale, She Stoops to Folly, Wit, Hospi- Pentecost and The Skin of Our Teeth at Prior to that, she played Sarah Sid- tality Suite and Highest Standard of Yale Repertory; Enchanted April at dons in the world premiere of The Af- Living. Other credits include Of Mice Hartford Stage; Richard II at the fliction of Glory, a joint project of the and Men, Ah, Wilderness!, What the Goodman Theatre; and The Invisible and the Getty Mu- Butler Saw, Pygmalion, Six Degrees of Man at the Cleveland Playhouse. His seum. She has also appeared at the Separation, Arms and the Man, The film and television credits include The Old Globe Theatre, the Mark Taper Cherry Orchard, Waiting for Godot, Devil and Daniel Webster, The Tao of Forum, the Doolittle Theatre and Our Country’s Good and Intimate Ex- Steve, 54, Best Man in Grass Creek Shakespeare Festival L.A. In the Bay changes, for which he earned a Los (also writer), The Money Shot, “Spin Area she performed at the American Angeles Drama Critics Circle Award City,” “Sex and the City” and “Law Conservatory Theatre, the California nomination. He won LADCC Awards and Order.”

P10 SOUTH COAST REPERTORY • Major Barbara HAL LANDON JR. MICHAEL LOUDEN JANE MACFIE Bilton Snobby Price Rummy Mitchens

*HAL LANDON JR. (Bilton) is an SCR Amadeus, in Twelfth Night Angeles, he was most recently in Founding Artist who recently ap- and Gordon Miller in Room Service. Gatsby In Hollywood at the Met The- peared in Getting Frankie Married— Among his film credits are Trespass, atre and Pentecost at The Evidence and Afterwards, The School for Wives, Pacific Heights, Almost an Angel, Bill Room. He played The Gipper in the Much Ado about Nothing, Entertain- and Ted’s Excellent Adventure and new musical Rockne and Count Carl ing Mr. Sloane, The Hollow Lands, Playing by Heart. Television credits Magnus in Interact’s long-running hit True West, Play Strindberg, Tartuffe include a recent episode of “Frasier.” production of , di- and Ah, Wilderness! Other credits in- rected by . Other LA clude Arcadia, , Sidney *MICHAEL LOUDEN (Snobby Price) theatre roles include Posthumus in Bechet Killed a Man, BAFO, Six De- made his SCR debut as the ‘Cagney- and Henry in The Skin Of grees of Separation, An Ideal Hus- esque’ Borachio in Much Ado about Our Teeth for A Noise Within and the band, A Mess of Plays by Chris Du- Nothing. He made his New York title role in Timon of Athens for Sa- rang, The Things You Don’t Know, debut as the Dauphin in cred Fools. Television includes three Faith Healer, Ghost in the Machine, for the New York Shakespeare Festi- years starring as Duke on “As The Green Icebergs, Morning’s at Seven, val in Central Park. Other New York World Turns,” Kenny Reed on “An- Dancing at Lughnasa, The Miser, Our appearances include Below The Belt other World,” and appearances on Country’s Good and Waiting for at the , The White “.” Guest star roles Godot. He created the role of Rose at the WPA, Atlantic Theatre include “New York Undercover,” Ebenezer Scrooge in SCR’s A Christ- Company, EST and Playwrights Hori- “Arli$$” and “City Guys.” His recent mas Carol, and has performed it in all zons. Regionally, he has appeared in film work includes Space Cowboys, 22 annual productions. He appeared The Little Foxes and Another Part of directed by Clint Eastwood, in Leander Stillwell at the Mark Taper The Forest at Cleveland Playhouse, Spikedriver, the straight-to-video Bike Forum and in at the Globe Galileo at Center Stage Baltimore and Brigade and the just completed Gar- Theatres in San Diego. Other resi- Below The Belt at the Old Globe and den Of Eden. He is a graduate of dent theatre roles include Salieri in Utah Shakespeare Festival. In Los Juilliard.

Major Barbara •SOUTH COAST REPERTORY P11 LEO MARKS DAKIN MATTHEWS MARTHA MCFARLAND Bill Walker Andrew Undershaft Mrs. Baines

*JANE MACFIE (Rummy Mitchens) is Times. Productions with Evidence quently in major roles at the Globe happy to return to SCR where she Room include Edward Bond’s Saved Theatres (most recently as Falstaff in previously appeared in How the Other (Garland Award, Outstanding Ensem- The Merry Wives of Windsor, Toby Half Loves and Hay Fever. Other the- ble), Charles Mee’s Berlin Circle (Best Belch in Twelfth Night, and Baptista in atre credits include Long Day’s Jour- Production, LA Weekly Awards), The Taming of the Shrew), the Ameri- ney Into Night and Ah, Wilderness! on Richard Greenberg’s Three Days of can Conservatory Theatre, and the Broadway with and Rain and David Edgar’s Pentecost. In Center Theatre Group, where he Colleen Dewhurst; and in New York he is a founding member played Brutus in Julius Caesar at the Hamlet, Ruth in Blithe Spirit, Viola in of Elevator Repair Service, called “one Taper and Capulet in Sir ’s Twelfth Night, Truvy in Steel Magno- of the decade’s best new theatre com- Romeo and Juliet at the Ahmanson, lias and Rosalind in As You Like It at panies” by InTheatre Magazine. Film among many others. He has pub- the Grove Theatre Center. She has and television credits include Meet Joe lished four verse translations of 17th- appeared at the Oregon Shakespeare Black, “Frasier,” “Gilmore Girls,” Century Spanish plays, three of which Festival/Portland, Yale Repertory The- “Homicide: Life on the Street” and have had world premieres in the last atre, Berkeley Repertory Theatre and “Law and Order.” two years. His 40 films include The in Sir Peter Hall’s Romeo and Juliet at Siege, The Muse, Nuts, Clean and the Ahmanson. She is a founding *DAKIN MATTHEWS (Andrew Under- Sober, And The Band Played On, member of the Pasadena Shakespeare shaft) appeared at SCR as Arnolphe in White Mile and Thirteen Days. He Company. Film and television credits Molière’s The School for Wives and as also appears frequently on TV, with include “Daddy’s Little Angel” on C. S. Lewis in Shadowlands with Kan- regular or recurring roles in 11 differ- HBO, “Frasier,” “Strong Medicine,” dis Chappell, which earned both of ent series; this season he has so far “Get Real” and the award-winning them L.A. Drama Critics Circle guested on “Gilmore Girls,” “Judging short film High Water. She is a Yale Awards. He is currently the Artistic Amy” and “Providence.” School of Drama graduate. Director of The Antaeus Company, an Associate Artist of the Globe Theatres *MARTHA McFARLAND (Mrs. Baines) *LEO MARKS (Bill Walker) is delight- of San Diego, and an Emeritus Profes- is an SCR Founding Artist who served ed to be making his SCR debut. He sor of English from Cal State Hay- as the theatre’s Casting Director for 11 has performed at theatres including ward. He was Artistic Director of the years. Most recently she appeared as Playwrights Horizons, Actors Theatre Berkeley Shakespeare Festival and Georgette in The School for Wives, Ur- of Louisville, the American Place The- the California Actors Theatre, a sula in Much Ado about Nothing, atre, Yale Repertory, La Mama, P.S. founding member of John House- Mom in True West, Alice in Play 122 and on tour in the U.S., Europe man’s Acting Company and a Juilliard Strindberg and reprised her role as and Russia. He is a member of Evi- Drama instructor. He is also a play- Norah in Ah, Wilderness! Other roles dence Room, “L.A.’s most valuable wright, director, translator, and Shake- at SCR include appearances in Our rising theatre,” according to the LA speare scholar. He has appeared fre- Town, Pygmalion, Private Lives, An

P12 SOUTH COAST REPERTORY • Major Barbara DENISE TARR DON TOOK SHIAN VELIE Jenny Hill Morrison Sarah Undershaft

Ideal Husband, as Dr. Charlotte Wal- DENISE TARR (Jenny Hill) is making Our Town, Arcadia, BAFO (for which lace in Beyond Therapy and as part of her SCR debut. Theatre credits in- he won a Drama-Logue Award), She the Drama-Logue Award-winning en- clude The Three Musketeers at Sierra Stoops to Folly, Three Viewings, A sembles of TomFoolery and Side by Repertory Theatre, Pericles, Hamlet on Streetcar Named Desire, The Misan- Side by Sondheim. She also appeared Trial, Cymbeline, A Christmas Carol, thrope and Pterodactyls. He also ap- as Pope Joan and Louise in both the The Skin of Our Teeth, Cyrano de peared in the world premiere of Hos- Second Stage and Westwood Play- Bergerac and The Taming of the Shrew pitality Suite and the revival of The house engagements of Top Girls. She at A Noise Within, Love’s Labour’s Lost Philadelphia Story. Mr. Took is proud has appeared in 17 of the 22 produc- at the O’Mally Theatre, The Diary of to be an SCR Founding Artist with 37 tions of A Christmas Carol, having Anne Frank at American Eagle and years of experience in a wide variety missed the first year when she was Peter Pan and Brilliant Traces at Cen- of roles. He enjoyed playing the role on a U.S. tour with James Mason in A ter Theatre Studio. Film and television of Greg in a record-breaking run of Partridge in a Pear Tree. Ms. McFar- credits include Unwritten Rules, The A.R. Gurney’s Sylvia at the Laguna land is also a director, having staged Real Deal and “Madison Heights.” Playhouse; and his latest venture is Sly Fox and The Foreigner at the Lagu- Shakesperience – a high school tour- na Playhouse and the world premiere *DON TOOK (Morrison) is an SCR ing production he conceived and co- of City with the Circle X Company in Founding Artist who recently ap- authored with Hal Landon Jr., SCR’s Los Angeles. She is a teacher with peared in The School for Wives, The resident Scrooge – somewhat loosely the SCR Professional Conservatory Beard of Avon, Much Ado about Noth- based on the Carl Reiner-Mel Brooks and privately in the L.A./Orange ing and The Countess. In previous “2000 Year-Old Man” concept; Don County area. Ms. McFarland is also a seasons, he was seen in The Hollow interviews Hal as Shakespeare and in- popular voice-over artist, a published Lands, A Christmas Carol and The vites the students on stage to partici- poet and the Southern California Cast- Philanderer. Other recent SCR pro- pate in scenes from the Bard’s works. ing Director with the Oregon Shake- ductions include Play Strindberg, Television credits include appearances speare Festival in Ashland. Tartuffe, Ah, Wilderness!, Pygmalion, on “Roseanne,” “Cheers,” “General

Major Barbara •SOUTH COAST REPERTORY P13 Hospital,” “ER,” and he can currently MARTIN BENSON (Director/Artistic RALPH FUNICELLO (Scenic Designer) be seen in his recurring role as the Director) shares co-founder credit is back at SCR for his 19th season. evil Agent Grey in the ABC spy series, and artistic leadership of SCR with Among his SCR credits are the designs “Alias.” his colleague David Emmes. As one for The Circle, The Education of of SCR’s chief directors, Mr. Benson Randy Newman, The Piano Lesson, SHIAN VELIE (Sarah Undershaft)is has directed nearly one third of the Tartuffe, Private Lives, Old Times, making her SCR stage debut after hav- plays produced here in the last 38 Death of a Salesman, Six Degrees of ing recently completed SCR’s Profes- years. He has distinguished himself Separation, She Stoops to Folly, The sional Conservatory program. Theatre in the staging of contemporary work, Misanthrope, Dancing at Lughnasa, credits include On the Road to Easy most notably Paul Osborn’s Morn- Hedda Gabler, The Miser, Twelfth Street at Primary Stages, Ma, Natural ing’s at Seven, the critically acclaimed Night, Happy End, Kiss of the Spider History, Bare Bones and Sex, Animals California premiere of William Woman, Speed-The-Plow, Going for & Baseball at the Ensemble Studio Nicholson’s Shadowlands, Athol Fu- Gold, , Highest Standard Theatre and N.Y. Quarters and Dimes gard’s Playland, Brian Friel’s Danc- of Living, Buried Child, Good and Da. at the Orenda Theatre. ing at Lughnasa, David Mamet’s His work has been seen On and Off- Oleanna, Harold Pinter’s The Home- Broadway, and at many resident the- PLAYWRIGHT, DIRECTOR coming, the West Coast premiere of atres including the & DESIGNERS Peter Hedges’ Good As New and Theatre, Intiman Theatre, Seattle David Hare’s Skylight. He has won Repertory Theatre, Denver Center GEORGE BERNARD SHAW (Play- accolades for his direction of five Theatre, Berkeley Repertory Theatre, wright) was born in Dublin, Ireland. major works by George Bernard Guthrie Theater, McCarter Theater In 1876 he left office-work in Ireland Shaw, including the Los Angeles Center, The Oregon Shakespeare Fes- and moved to London. In 1882 he Drama Critics Circle (LADCC) Award tival, Milwaukee Repertory Theatre, turned to socialism, joined the com- winners Misalliance and Heartbreak Stratford Shakespearean Festival of mittee of the Fabian Society, and be- House. Among the numerous world Canada and the Globe Theatres, came known as a journalist, writing premieres he has directed are Jon where he is an Associate Artist. He music and drama criticism, and pub- Bastian’s Noah Johnson Had a has had a long association with the lishing critical essays. He began to Whore..., Tom Strelich’s BAFO, and Mark Taper Forum and worked for 30 write plays in 1885, and among his Margaret Edson’s Pulitzer Prize-win- years with San Francisco’s American early successes were Arms and the ning Wit, which he also directed at Conservatory Theatre, where he was Man (1894), (1897), and The Seattle Repertory Theatre and the Director of Design. Mr. Funicello de- Devil’s Disciple (1897). There fol- Alley Theatre in Houston. He has di- signed the scenery for the acclaimed lowed (1905), rected American classics including production of La Rondine for New Major Barbara (1905), The Doctor’s Ah, Wilderness!, A Streetcar Named York City Opera and The Taming of Dilemma (1906), and several others, Desire, A Delicate Balance and All the Shrew for PBS. He served on the displaying an increasing range of sub- My Sons. Mr. Benson has been hon- National Endowment for the Arts the- ject matter. Later plays include the ored with the Drama-Logue Award atre panel, and his work is featured in “religious pantomime” Androcles and for his direction of 21 productions the book American Set Design. He is the Lion (1912), and the “anti-roman- and received LADCC Distinguished currently the Powell Chair in Set De- tic” comedy Pygmalion (1913), adapt- Achievement in Directing awards an sign at San Diego University. ed as the musical play in unparalleled six times for the two 1956 (filmed 1964). After Shaw productions, John Millington SHIGERU YAJI (Costume Designer) is followed Heartbreak House (1919), Synge’s Playboy of the very pleased to enter his 21st season (1921), and Saint World, ’s The Crucible, with more than 45 productions at Joan (1923). Shaw wrote over 40 Sally Nemeth’s Holy Days and Wit. SCR. Over more than 20 years, he plays, and continued to write them He also directed the film version of has designed for 25 theatres on the even in his 90s. Passionately interest- Holy Days using the original SCR West Coast, creating costumes for ed in the question of spelling reform, cast. Along with David Emmes, he more than 110 productions. He is the he wrote most of his own work in accepted SCR’s 1988 Tony Award for recipient of numerous awards and shorthand and left money in his will Outstanding Resident Professional recognitions, including five Los Ange- for the devising of a new English al- Theatre and won the 1995 Theatre les Drama Critics Circle Awards and a phabet on phonetic principles (which LA Ovation Award for Lifetime Bay Area Theatre Critics Circle Award. came to be called Shavian). In 1935 Achievement. Mr. Benson received His most recent entertainment designs he was awarded the Nobel Prize for his BA in Theatre from California have been for a spectacle show, Mys- Literature. State University, San Francisco. tic Rhythms, at Tokyo Disney Sea in

P14 SOUTH COAST REPERTORY • Major Barbara Japan, and the A&E Broadcasting of Midsummer Night’s Dream (RSC, scores for the American Repertory Cathy Rigby’s Peter Pan, for which he Broadway & World Tour - Olivier Theatre (King Stag co-composed with received a 2000-01 Emmy Award Award nomination); and Translations Elliot Goldenthal, Jacques and His nomination following the production’s (Boston, Broadway). Other work in- Master and The Changeling); the Broadway engagement and national cludes a section of the movie Renais- Brooklyn Academy of Music (Power tour. Mr. Yaji is a member of the sance Man and the KPBS Television Project with Bob Berky); the Seattle United Scenic Artists Local 829 and Arts program “Center Stage.” Mr. Repertory (A Flaw in the Ointment); the UC Irvine Drama Department fac- Parry also received the Lighting De- Center Stage (In a Pig’s Valise); ulty. signer of the Year Award (1994) from Odyssey Theatre (Imperceptible Mus- Lighting Dimensions International. abilities, Goose Amid the Revolt); the CHRIS PARRY (Lighting Designer) is He is currently Professor and Head of Arizona Theatre Company (The Old originally from England. He has de- the Lighting Design program at Matador); the Colorado Shakespeare signed theatre and opera internation- U.C.S.D., and owns his own entertain- Festival (Four Seasons); the Pan Asian ally for 26 years, earning 24 major ment and architectural design compa- Repertory Theatre, New York; the awards and nominations. He has pre- ny, Axiom Lighting Inc, in Beverly Mark Taper Forum (Death and the viously designed The Beard of Avon, Hills. Maiden, Skylight, The Poison Tree, The Hollow Lands, Search and De- Closer directed by Robert Egan, Ban- stroy, The Miser, The Misanthrope, Pri- KARL FREDRIK LUNDEBERG dido! directed by Jose Luis Valen- vate Lives, Death of a Salesman, Ah, (Composer) composed the music and zuela, Hysteria directed by Phyllida Wilderness! and Tartuffe for SCR. sound for SCR’s productions of The Lloyd, Enigma Variations directed by Highlights include 24 productions for Dazzle and The Company of Heaven. Daniel Roussel and The Molière Come- the Royal Shakespeare Company He is a CBS/Sony recording artist who dies directed by ); and (RSC) and has recorded four albums with his the Ahmanson Theatre (Midsummer (RNT) in England, as well as work for jazz/world music group Full Circle. Night’s Dream, Measure for Measure many of this country’s regional theatre He has performed extensively and Romeo and Juliet directed by Sir and opera houses. Notable produc- throughout the , Canada, Peter Hall). Film and television scores tion credits include: The Who’s Scandinavia, continental Europe, include works for PBS, Chal Produc- Tommy (Broadway and worldwide) Japan and Brazil. As a composer of tions (, New York), The directed by Des McAnuff, which gar- contemporary classical music, his American Film Institute, NRK Norwe- nered him the Tony Award, Olivier works have been performed by a vari- gian State Television, Imagine Films Award (London), Dora Award (Cana- ety of orchestras, among them the Entertainment, CBS/Sony Television, da), New York , Boston Symphony, Sinfa Nova and Japan, Paramount Pictures and United New York Outer Critics Circle Award, the National Radio Orchestra of Swe- Paramount Network. He is composer Los Angeles Drama Critics Circle den. He composed a clarinet concer- in residence at the Mark Taper Forum Award and several other nominations; to for Richard Stolzman to be record- and served as musical director for the the musical The Secret Garden (RSC, ed with the Leningrad Philharmonic. Shakespeare repertory directed by Sir West End London); the musical Jane His compositions have been featured Peter Hall at the Ahmanson Theatre. Eyre (Mirvish Co. Toronto, La Jolla at such prestigious international festi- Playhouse); Not About Nightingales vals as the Mitsui Festival (Tokyo), the *RANDALL K. LUM (Stage Manager) (RNT, London and Broadway) direct- Perugia Festival (Italy), the Biennale had the pleasure of working on Get- ed by Trevor Nunn (Tony Award Festival (Venice), Teatro Espanol ting Frankie Married—and After- nomination, N.Y. Drama Desk (Spain), the Next Wave Festival (New wards, The School for Wives, The Award); Les Liaisons Dangereuses York), the Castle Hill Festival (Essex) Homecoming and The Circle last sea- (RSC, Broadway - Tony Award nomi- and the San Sebastian Festival (Spain). son. During his long association as nation, N.Y. Drama Desk Award); A Theatre and ballet music includes one of SCR’s resident stage managers

Discover the Arts in October! October is National Arts & Humanities Month. In Orange County, there is a full slate of visual arts, dance, theatre, music, literature and family events. Check out Arts Orange County’s website, www.ocartsource.org, for details.

Coordinated by Arts Orange County. Sponsored by an economic development grant from the County of Orange

Major Barbara •SOUTH COAST REPERTORY P15 he has had the pleasure of working University. Mr. Harrison would like Center and as a theatre panelist and on more than a dozen world pre- to take this opportunity to acknowl- onsite evaluator for the National En- mieres and has been associated with edge and continuously support his dowment for the Arts. He has served over 50 productions. In 1997, Mr. and colleagues who are bat- on the board of the California Theatre Lum stage managed the AIDS Benefit tling the fight of AIDS. Council, the Executive Committee of “Help is on the Way III” at the Palace the League of Resident Theatres, and of Fine Arts in San Francisco. Other DAVID EMMES (Producing Artistic Di- as a panelist for the California Arts stage managing credits include the rector) is co-founder and Producing Council. After attending Orange American Conservatory Theatre in Artistic Director of SCR, one of the Coast College, he received his BA San Francisco, the Globe Theatres in largest professional resident theatres and MA from California State Univer- San Diego, Berkeley Repertory The- in California. He has received numer- sity, San Francisco, and his PhD in atre, San Jose Civic Light Opera, VITA ous awards for productions he has di- theatre and film from USC. Shakespeare Festival, Pacific Conser- rected during SCR’s 38-year history, vatory of the Performing Arts, Long including a 1999 Los Angeles Drama PAULA TOMEI (Managing Director) is Beach Ballet, San Francisco Conven- Critics Circle Award for the direction responsible for the overall administra- tion Bureau and Kawasaki Motorcy- of George Bernard Shaw’s The Phi- tion of the day-to-day operations of cles. He would like everyone to take landerer. He directed the world pre- SCR. A member of the staff since a moment to remember all those who mieres of Amy Freed’s The Beard of 1979, she has served in a number of have lost the battle and all those still Avon and Freedomland, Thomas administrative capacities including suffering and fighting the AIDS epi- Babe’s Great Day in the Morning, Subscriptions Manager, Business Man- demic. Keith Reddin’s Rum and Coke and ager and General Manager. She cur- But Not for Me and Neal Bell’s Cold rently serves as President of Theatre *SCOTT HARRISON (Assistant Stage Sweat; the American premiere of Communications Group (TCG), the Manager) spent this summer’s hiatus Terry Johnson’s Unsuitable for Adults; national service organization for the- in Laguna Beach working on the the West Coast premieres of C.P. Tay- atre where she also served a two-year stage crew for the Pageant of the lor’s Good and Harry Kondoleon’s term as Treasurer, and has served as Masters and most recently stage man- Christmas on Mars; and the Southland the Vice President of the League of aged the world premiere of Jon premiere of Top Girls (at SCR and the Resident Theatres (LORT). In addi- Maran’s Jumping for Joy at the Laguna Westwood Playhouse). Other pro- tion, she has been a member of the Playhouse. As a resident Stage Man- ductions include the West Coast pre- LORT Negotiating Committee for in- ager, Mr. Harrison returns to SCR for mieres of Three Viewings by Jeffrey dustry-wide union agreements and his 13th season on the stage manage- Hatcher, The Secret Rapture by David represents SCR at national confer- ment staff. He has stage managed Hare and New England by Richard ences of TCG and LORT; is a theatre over 32 shows on the Mainstage and Nelson; and Arcadia by Tom Stop- panelist for the National Endowment has previously served as Assistant pard, Six Degrees of Separation by for the Arts and the California Arts Stage Manager on more than 35 addi- John Guare, The Importance of Being Council (CAC), and site visitor for the tional Mainstage productions. He has Earnest by Oscar Wilde, Ayckbourn’s CAC; served on the Advisory Commit- also stage managed at Seattle’s Inti- Woman in Mind and You Never Can tee for the Arts Administration Certifi- man Theatre, San Francisco’s Palace Tell by George Bernard Shaw, which cate Program at UC Irvine; and has of Fine Arts, Shakespeare Festival/Los he restaged for the 1990 Singapore been a guest lecturer in the graduate Angeles, La Mirada Theatre for the Festival of Arts. His producing re- school of business at Stanford. She Performing Arts, Highways Perfor- sponsibilities involve the overall coor- graduated from UC Irvine with a de- mance Space as well as several other dination of SCR’s programs and pro- gree in Economics and pursued an smaller theatres in the Los Angeles jects. He has served as a consultant additional course of study in theatre area and is a graduate of Pepperdine to the Orange County Performing Arts and dance.

P16 SOUTH COAST REPERTORY • Major Barbara