The Real Thing

Home , In the Native State, The Real Thing (play)

42nd Season • 409th Production SEGERSTROM STAGE / MAY 19 - JUNE 25, 2006

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

Ralph Funicello Angela Balogh Calin Peter Maradudin Karl Fredrik Lundeberg SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN COMPOSER/SOUND DESIGN

Nicholas C. Avila Jeff Gifford Jamie A. Tucker* ASSISTANT DIRECTOR PRODUCTION MANAGER STAGE MANAGER

DIRECTED BY Martin Benson

Jean and Tim Weiss The Citigroup Private Bank HONORARY PRODUCERS CORPORATE PRODUCER

Presented by special arrangement with Samuel French, Inc.

The Real Thing • SOUTH COAST REPERTORY P1

THE CAST (in order of appearance) Max ...... Martin Kildare* Charlotte ...... Pamela J. Gray* Henry ...... Bill Brochtrup* Annie ...... Natacha Roi* Billy ...... David Barry Gray* Debbie ...... Amanda Cobb* Brodie ...... McCaleb Burnett*

SETTING London. Mid 1980s.

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

PRODUCTION STAFF Assistant Stage Manager ...... Chrissy Church* Casting ...... Joanne DeNaut Dramaturg ...... Linda Sullivan Baity Dialect Coaches ...... Philip D. Thompson, Cynthia Bassham Stage Management Intern ...... Jon Winans Assistant to the Scenic Designer ...... Jeff Stander Deck Crew ...... E.J. Brown, Andrew Strain, Bobby Weeks Costume Design Assistant ...... Peg Oquist

ACKNOWLEDGEMENT The Old Globe Scenery and Prop Shops.

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 Media Partner

P2 SOUTH COAST REPERTORY • The Real Thing Finding the Real

BY JERRYRealPATCH Thing

hree confrontational scenes give rise to the action of The Real Thing. All three begin the same way: a man sits alone in a room just as his wife arrives home from a journey. Has anything happened while she was away? Each man has his fears, his suspicions—even his evidence. But how is he to know for sure the character, the nuances, or even the facts about what, if anything, has occurred? T Finding the reality in a given situation has been a primary concern of Tom Stoppard’s characters during “Drawing Hands” his many years as a playwright. His first staged play, (1948) by M.S. Escher Rosencrantz and Guildenstern Are Dead (produced at SCR in 1970), placed the title characters in an existen- images in mirrors reflecting one another, it is difficult tial dilemma at Hamlet’s Elsinore. What, they won- to tell where the original, genuine image lies. dered, was the nature of this world they moved in, and The scenes from the plays within Stoppard’s play what was their role in it? Stoppard has continued to tend to predict what will happen to the “real” charac- search for “the real thing” in politics, philosophy, reli- ters Stoppard has created, outlining their circumstances gion and art in his subsequent plays. more deftly and purely than do Stoppard’s own scenes. Determining truth from illusion is a theme which In turn, Stoppard’s play gets closer to the truths about began to occupy playwrights during the Renaissance. real life—both knowing what they are and in depicting Machiavelli’s The Prince, a book which pointed out them—than does real life itself. that appearances were often otherwise and people This leads one to wonder about the age-old con- were seldom as they seemed, influenced both Cer- troversy over whether art imitates life or the reverse. vantes’ Don Quixote and Shakespeare. Hamlet has to Henry the idealist (the “last Romantic” according to decide whether to believe his uncle or a ghost; Mac- Charlotte), wants life to imitate art, especially his own beth, pondering whether or not to believe the predic- Romantic values. Stoppard agrees with Henry that life tion of the three witches, dissembles to advance his ought to strive for the same pure expressions of values own duplicity—“False face must hide what the false found in art. They also know the Pirandellian truth heart doth know.” And Othello, like Max in The Real Henry learns at the end of The Real Thing: that the task Thing, must assess his wife’s fidelity on the circumstan- may be impossible because we cannot distinguish reali- tial evidence of a handkerchief. ty from illusion. In his play, Stoppard gives his audience turn after Contemporary audiences tend towards books turn of reality-made-illusion, as well as the reverse. His and plays which deal with actual events, believing that characters all work in the theatre, where illusion is a what happens in life is “real” and what an artist creates way of life and Stoppard’s intermingling of their work is not. In doing so, they fail to recognize how much and their “real” lives points out the difficulty in recog- more valuable than the real thing the unreal thing can nizing the genuine. As critic Robert W. Corrigan has be if it tells us the truth about that thing. noted, Stoppard’s theatrical world in The Real Thing is a house of self-reflective mirrors using the unreality of (This article is reprinted from the program for SCR’s 1987 production of The Real Thing. Jerry Patch, who was SCR’s Resident Dra- performance to reveal the deeper reality which is the maturg for more than 30 years, is now Resident Artistic Director basis for all of art. As happens when one looks at the at The Old Globe in San Diego.)

The Real Thing •SOUTH COAST REPERTORY P3 Reflections on Love, Marriage and Other Illusory Realities Is it an earthquake or simply a shock? Y Y Y Is it the good turtle soup or merely the mock? Is it a cocktail, this feeling of joy? I’ve wrestled with reality for 35 years, Doctor, and Or is what I feel the real McCoy? I’m happy to state I finally won out over it. – Cole Porter – Elwood P. Dowd in Mary Chase’s Harvey

Y Y Y Y Y Y

I love you in my dreams, but not in real Love is an ideal thing, mar- life. riage a real thing; a confu- – Mason Cooley sion of the real with the ideal never goes unpun- Y Y Y ished. – Goethe Him that I love, I wish to be free— Y Y Y even from me. – Anne Morrow Everything you can Lindbergh imagine is real. – Pablo Picasso Y Y Y Y Y Y When someone loves you, the way they say Reality is that which, your name is different. when you stop be- You just know that your lieving in it, doesn’t name is safe in their go away. mouth. – Phillip K. Dick – Billy, age 4 Y Y Y Y Y Y Love is like a poi- Reality is merely an illu- soned mush- sion, albeit a very persistent room—you don’t know if one. it’s the real thing until it’s too late. – Albert Einstein – Anonymous

Y Y Y Y Y Y

I believe in looking reality straight in the eye and Reality leaves a lot to the imagination. denying it. – John Lennon – Garrison Keillor

P4 SOUTH COAST REPERTORY • The Real Thing Y Y Y When two people decide to get a divorce, it isn’t a sign that they “don’t understand” one another, but a When you love somebody, your eyelashes go up sign that they have, at last, begun to. and down and little stars come out of you. – Helen Rowland – Karen, age 7 Y Y Y Y Y Y There are four stages in a marriage. Love, the quest; marriage, the First there’s the conquest; divorce, the in- affair, then the quest. marriage, then – Helen Rowland children and finally the fourth Y Y Y stage, without which you cannot Where there’s marriage know a woman, without love, there will be the divorce. love without marriage. – Norman Mailer – Benjamin Franklin Y Y Y Y Y Y I loved you when A successful marriage re- you were unfaithful; quires falling in love what would I have many times, always with done if you were true? the same person. – Racine’s – Mignon McLaughlin Andromache

Y Y Y Y Y Y

Love is when a girl You can find women puts on perfume and who have never had an a boy puts on shav- affair, but it is hard to ing cologne and they find a woman who has go out and smell each other. had just one. – Karl, age 5 – Le Rouchefoucauld

Y Y Y Y Y Y

One advantage of marriage, it seems to me, is that When my husband is late for dinner, I know he’s ei- when you fall out of love with him, or he falls out of ther having an affair or is lying dead in the street. I love with you, it keeps you together until you maybe always hope it’s the street. fall in again. – Jessica Tandy – Judith Viorst Y Y Y Y Y Y To keep your marriage brimming It may have been observed that there is no regular With love in the loving cup path for getting out of love as there is for getting in. Whenever you’re wrong, admit it Some people look upon marriage as a short cut that Whenever you’re right, shut up. way, but it has been known to fail. – Ogden Nash – Thomas Hardy

Facing page, Love by Robert Indiana and above The Lovers by Pablo Y Y Y Picasso.

The Real Thing •SOUTH COAST REPERTORY P5 “Clever Tom” Strikes Again nlike many of Stoppard’s other plays, The Real Thing is not inextricably linked to a sin- gle source—or as the playwright puts it, “No coattails.” That does not mean, however, that the play owes no debt to outside works or writers. On the contrary, The Real Thing pays homage to a vast array of literary texts in ways that are sometimes obvi- ous, sometimes not. UIn stark contrast to Einstein’s adage that the secret to creativitiy is “knowing how to hide your sources,” Stoppard makes no attempt to disguise his imaginative pilfering, which is most apparent in his re- François Giroday as Victor Prynne and Lynnda Ferguson as Amanda Prynne in SCR’s 1998 production of Private Lives. peated use of the “play-within-a-play” technique. While two of the scripts he incorporates in this manner the role of Annabella opposite Billy, the hunky young are “fictitious,” having been written by characters in actor playing Annabella’s brother, Giovanni. Stoppard The Real Thing, two are from “real” plays. The first ap- twice uses dialogue from the scene in Ford’s text that pears as Henry is somewhat reluctantly helping his immediately precedes the pair’s incestuous encounter. wife, Annie, learn her lines for an upcoming produc- In the first case, Billy uses Giovanni’s words to plight tion of Miss Julie, Strindberg’s canonical text that cen- his own troth, which Annie pretends to resist, while at ters upon the sexually frustrated title character’s fatal a later rehearsal, it quickly becomes apparent that attraction to Jean, her father’s lusty valet: Billy/Giovanni’s seduction of Annie/Annabella has suc- ceeded: JEAN: You flatter me, Miss Julie. JULIE: Flatter? I flatter? BILLY: ‘And here’s my breast; strike home! JEAN: I’d like to accept the compliment, but modesty forbids. Rip up my bosom; there thou shalt behold And of course, my modesty entails your insincerity. A heart in which is writ the truth I speak.’ Hence, you flatter me. ANNIE: You daft idiot. JULIE: Where did you learn to talk like that? Do you spend a BILLY: ‘Yes, most earnest. You cannot love?’ lot of time at the theatre? ANNIE: Stop it. JEAN: Oh, yes. I get about, you know. BILLY: ‘My tortured soul Hath felt affliction in the heat of death. What Stoppard intends to achieve by this refer- Oh, Annabella, I am quite undone!’ ence is not immediately clear, but Henry’s dry reading ANNIE: Billy! of Jean’s dialogue—as well as the emotionless wit of his own play, House of Cards—are in marked contrast Both Charlotte and Annie point out that Annie is to the highly-charged circumstances of his real life ro- almost too old to be playing the role of Annabella. mance with Annie. It is also interesting to note that When Annie says to Billy, “I could be your mother,” Henry’s first wife, Charlotte, stars in the premiere of her Stoppard gives their relationship the taint of something husband’s play just as Strindberg’s first wife, Siri von forbidden. Not only is Annie committing adultery, but Essen, was the original Miss Julie in 1888. she compounds her husband’s heartache by taking a Another passage from an extant dramatic text is much younger man as her lover. John Ford’s salacious 1633 classic, ‘Tis Pity She’s a The Real Thing also contains a variety of lesser Whore. Annie is traveling by train to Glasgow to work literary allusions that range from direct quotation to on a regional production of the play in which she takes subtle hint. Shakespeare pops up twice in Henry’s dia-

P6 SOUTH COAST REPERTORY • The Real Thing logue. In the first case, he loosely paraphrases In a more contemporary vein, it has been suggest- Romeo’s “moon” speech to Juliet while struggling to ed that Charlotte and Annie’s wearing of Henry’s too- write a play about love for Annie: large dressing gown is taken from John Osborne’s Look Back in Anger, in which the two women in Jimmy’s life, ROMEO: Arise, fair sun, and kill the envious moon, wife Alison and lover Helena, wear one of his shirts. Who is already sick and pale with grief What’s more, Stoppard duplicates Osborne’s purposeful That thou her maid art far more fair than she. use of this device: both wives appear in an article of clothing that clearly belongs to their husbands, then a A second time, Henry bids farewell to his own depart- few scenes later, the women who have replaced them ing daughter by echoing a famous line from Hamlet: in their husbands’ affection do the same thing. Stoppard turned to a short story by Henry James POLONIUS: The wind sits in the shoulder of your sail, for both the title of his play and at least partial inspira- And you are stay’d for. There, my blessing with tion for Henry’s character James’s hero is a painter thee! rather than a playwright, but like Henry he encounters And these few precepts in thy memory the deceptive boundaries between reality and illusion See thou character. when creating his art. When an English lady and gen- tleman who are down on their luck arrive to model for Stoppard borrows a key plot device from a third the artist, he finds that although they are “the real Shakespearean play when Annie’s husband, Max, ex- thing” by virtue of breeding and background, they are poses her illicit affair by finding Henry’s soiled handker- inadequate representatives of their class, whereas his chief between the seats of Annie’s car, à la Othello. Not servants are able to create an illusion of the upper class only does Stoppard employ the same prop to condemn that seems more real, even though they are simply pre- Annie that Shakespeare used to seal Desdemona’s fate, tending. but for a moment at least, Max’s rage seems every bit as The literary tributes just keep coming. In one brutal as the Moor’s: way or another, Stoppard ingeniously tips his hat to James Joyce, Karl Marx, Anton Chekhov, Henrik Ibsen, OTHELLO: By heaven, I saw my handkerchief in’s hand! John Webster, P.G. Wodehouse, John Keats, Duke O perjured woman! thou dost stone my heart, Ellington, Oscar Hammerstein and George Gershwin. And mak’st me call what I intend to do How many can you spot? A murder, which I thought a sacrifice. I saw the handkerchief. (Portions of the preceding are used with permission from the Court Theatre.) On a lighter note, Stoppard pays homage to Noël Coward’s Private Lives throughout The Real Thing, not only with stretches of similarly snappy patter, but also with more direct references. Henry reminisces with Charlotte about a trip they once took to “someplace like Bournemouth or Deauville,” and about the Norfolk “flats,” both of which are snatched from Private Lives. Henry further recalls an open-air dance floor outside their window and “this bloody orchestra which kept coming back to the same tune every twenty minutes”— sentiments closely echoed by Coward’s feuding exes:

ELIOT: Nasty insistent little tune. AMANDA: Extraordinary how potent cheap music is. ELIOT: What exactly were you remembering at that moment? AMANDA: The Palace Hotel Skating Rink in the morning, bright strong sunlight, and everybody whirling round in vivid colours, and you kneeling down to put on my skates for me.

Tom Harrison and Monique Fowler in SCR’s Romeo and Juliet in 1987.

The Real Thing •SOUTH COAST REPERTORY P7 Music Makes His World Go Around hen Tom Stoppard was once asked how defend his own predilection for golden oldies from the directly autobiographical The Real Thing is, 50s and 60s, Stoppard declared, “Of course I’m perfect- he responded, “It’s a kind of game. You ly aware of how fatuous and write about a parallel world. You write inane nearly all the lyrics are. truthfully about a parallel possibility. That’s the game. They’re beneath contempt. I This is how it might be if it would be.” just like the noise.” The mere fact that the play’s main character, The Real Thing is replete Henry, is an eminent middle-aged playwright who with musical references not Wmanages his words much more deftly than his women only in the dialogue but also in makes it irresistible to view the character as Stoppard’s the stage directions. Many are alter ego. Moreover, these two share an eclectic general, such as “A radio plays (some might even say plebian) taste in music. pop music quietly” or “Opera “I don’t like artists, I like singles,” Henry pro- (Verdi) is playing on the record claims, freely admitting that he is moved by pop music player.” However, Stoppard’s “the way people are supposed to be moved by real script identifies six music.” When pushed to songs that are integral

P8 SOUTH COAST REPERTORY • The Real Thing songs, one book, and one luxury they’d want to take with them. Several years after his play opened, Stop- pard’s life imitated his art when he was a guest on “Desert Island Discs” and made the following musical selections: “Careless Love” by Bessie Smith; “Jump for Joyce” by the Avon Cities Jazz Band; “Love Me Do” by the Beat- les; “Graceful Ghost,” a piano rag by William Bol- com; “America” from West Side Story by Leonard Bernstein; André Previn’s

elements of the onstage action of the play, helping to establish mood, devel- op characters, and tell the story:

“Skater’s Waltz” (“Les Patineurs” Op. 183) by Emil Waldteufel

“I’m Into Something Good” written by Carole King and Gerry Gof- fin, recorded by Herman’s Hermits in 1964

“You’ve Lost That Lovin’ Feelin’” score from Stoppard’s Every written by Barry Mann and Cynthia Good Boy Deserves Favour; Ralph Weil, recorded by the Righteous Broth- Vaughan Williams’ “Fantasia on a ers in 1964 Theme” by Thomas Tallis; and “The Köln Concert” by improvi- “Air for the G String” sational pianist Keith Jarrett. from “Orchestral Suite No. 3 in D” by Only one “real” pop tune in the Johann Sebastian Bach bunch …imagine that!

“A Whiter Shade of Pale” Pictured on the facing page clockwise written and recorded by Procol Harum from top right are Dame Janet Baker, in 1967 Johann Sebastian Bach, setting for Act II of the Metropolitan “I’m A Believer” Opera’s production written by Neil Diamond, recorded by the Mon- of Puccini’s Madame Butterfly, Giuseppe kees in 1966 Verdi and Richard Strauss. On this Act One, Scene 3 of The Real Thing finds page from top to bottom are Herman’s Henry desperately trying to select appropriate Hermits, The Righ- music for his upcoming appearance on “Desert teous Brothers, Elvis Island Discs,” an actual BBC radio program that Presley, Procol Harum, The Monkees invites celebrity “castaways” to share eight and Pink Floyd.

The Real Thing •SOUTH COAST REPERTORY P9 BILL BROCHTRUP MCCALEB BURNETT AMANDA COBB Henry Brodie Debbie

Artist Biographies

*BILL BROCHTRUP (Henry) is can be seen in the feature mal Heart at The Public The- making his SCR debut. The- films Duck, Ravenous, Man of ater, Wintertime at the Mc- atre credits include David Mar- the Year and Space Marines; Carter Theatre, Under the Blue shall Grant’s Snakebit (Off- the television movies Betrayed Sky at the Geffen Playhouse, Broadway and L.A.), Richard and Two Small Voices; and on The Winter’s Tale at the Dallas Kramer’s Theater District television shows as varied as Shakespeare Festival, All’s Well (Boston and L.A.), Jonathan “Without a Trace,” “The Wild that Ends Well at the Texas Tolin’s If Memory Serves Thornberrys” and Bravo’s Shakespeare Festival and (Pasadena Playhouse), James “Celebrity Poker Showdown” Henry IV, Part I and Henry IV, Duff’s A Quarrel of Sparrows, (where he suffered a humiliat- Part II at the Colorado Shake- Peter Hunt’s production of ing defeat). He is a frequent speare Festival. Film and tele- Death Takes a Holiday and Joe guest host of the PBS news- vision credits include If I Had Pintauro’s Raft of the Medusa, magazine “In the Life” and has Known I Was a Genius, An- as well as some Marivaux (Tri- been a series regular on three napolis, Graduation Day, umph of Love), Strindberg (A Steven Bochco shows, CBS sit- “Ed,” “Presidio Med,” “Philly,” Dream Play) and D.H. com “Public Morals,” ABC “Citizen Baines” and “CSI: New Lawrence (The Fox), and most drama “Total Security” and York.” Mr. Burnett holds an recently WordTheatre’s Hearts seven seasons as P.A.A. John MFA from NYU Tisch School Aflame and Sinan Unel’s epic Irvin on “NYPD Blue.” of the Arts and received his Pera Palas a co-production of BA from Brown University. The Theatre @ Boston Court *McCALEB BURNETT (Brodie) and The Antaeus Company, of is making his SCR debut. The- *AMANDA COBB (Debbie) is which he is a member. He atre credits include The Nor- making her SCR debut. The-

P10 SOUTH COAST REPERTORY • The Real Thing DAVID BARRY GRAY PAMELA J. GRAY MARTIN KILDARE Billy Charlotte Max

atre credits include Eurydice *DAVID BARRY GRAY (Billy) S.F.W., Cops & Robbersons, Mr. and The Stonewater Rapture at made his SCR debut last sea- Wonderful and One Good Cop. the Williamstown Theatre Fes- son in A View from the Bridge. Television appearances in- tival; Richard II at Milwaukee Theatre credits include Side clude series regular roles on Shakespeare; Cyrano at the Man and Fellow Traveler at “Crossbow: The Legend of Weston Playhouse; The Impor- Malibu Stage Company, Ob- William Tell,” “The Client,” “21 tance of Being Orson at The serve the Sons of Ulster March- Jump Street” and “Dream Eugene O’Neill Theater Cen- ing Towards the Somme at Lin- Street”; guest starring roles on ter; Coat-hanger at the Long coln Center Theater, A View “Touched by an Angel,” “JAG,” Wharf Theatre; and The Black from the Bridge at the Round- “The Division,” “The X-Files” Dahlia, The Lonesome West, about Theatre Company, Abso- and “Chicago Hope”; and star- The Black Monk, Medea/Mac- lution at the Court Theatre, ring roles in the mini-series beth/Cinderella and The Com- Finnegan’s Funeral Parlor & Blind Faith and the made for edy of Errors at Yale Reperto- Ice Cream Shop at Playwrights television movie The Port ry. Film credits include The Horizons and Thursday is To- Chicago Munity. Mr. Gray is a House of Bernarda Alba and morrow at the John Houseman graduate of NYC’s High School The Confidant. Ms. Cobb Theatre. Film credits include of Performing Arts. holds an MFA from the Yale Why Do Fools Fall in Love, School of Drama. Lawn Dogs, Soldier Boyz, *PAMELA J. GRAY (Charlotte) Nixon, Dead Presidents, is making her SCR debut. Re-

Live Theatre Great Savings! for your Group Group buyers save up to 30% Personalized Service! As easy as 1-2-3 Including show information, promotional materials and 1 Choose a Play dining/reception recommendations. 2 Call (714) 708-5569 or E-mail [email protected] Free Tickets! Group leader receives one free ticket 3 Book your group today! for every 15 tickets purchased

The Real Thing •SOUTH COAST REPERTORY P11 Broadway he appeared in The in international fellowships at Lion King, A Raisin in the Sun, Theatre des Amandiers in Paris The Herbal Bed, The Govern- and at Shakespeare’s Globe in ment Inspector and Timon of London. Athens and Off-Broadway in Pride’s Crossing, Candida, *NATACHA ROI (Annie) made Three More Sleepless Nights, her SCR debut last season in Honor and the River and Labor Vesuvius. On Broadway she Day. Regional theatre credits appeared in Sixteen Wounded, include Henry Higgins in My Closer and Wait Until Dark. Fair Lady at Portland Center Her Off-Broadway and region- Stage and Dallas Theater Cen- al theatre credits include Fic- ter where he also appeared in tion at Roundabout Theatre The Real Thing; the world pre- Company; Uncle Vanya at the NATACHA ROI miere of The Lake’s End at the McCarter Theatre and La Jolla Annie Adirondack Theatre Festival; Playhouse; Twelfth Night at Essex (opposite Michael Long Wharf Theatre; Othello at Learned) in Elizabeth the The Public Theater; Passion cent: Francy in the Ahman- Queen at the Folger Theatre; Play at Minetta Lane Theatre; son’s production of Dead End, Sleuth at Studio Arena Theatre; Closer at Berkeley Repertory directed by Nicholas Martin; Dancing at Lughnasa at Mis- Theatre; The Game of Love premiere of Orange Flower souri Repertory Theatre; and Chance at Seattle Reperto- Water by Craig Wright; Bone Charley’s Aunt at Indiana ry Theatre; A Doll’s House and Songs by Andre Gregory; and Repertory Theatre; True West The Notebook of Trigorin at Simon Gray’s Butley with at Nebraska Repertory Theatre; Cincinnati Playhouse in the Nathan Lane. New York: Sec- Betrayal at Two River Theatre Park; The House of Bernarda ond Stage, Manhattan Theatre Company; and Saint Joan at Alba and Change of Heart at Club, The National, Women’s the American Conservatory the McCarter Theatre; Hamlet Project, Theatre for a New Au- Theater. Classical roles in- at Huntington Theatre Compa- dience and Edge Theatre Com- clude the title role in Hamlet ny; Six Characters in Search of pany. Regional: The Old and Iago in Othello at the Utah an Author, King Stag and The Globe, Center Stage, George Shakespearean Festival, the Oresteia at American Reperto- Street Playhouse, New Jersey title role in Henry V and Hot- ry Theatre; Three Birds Alight- Shakespeare, Portland Stage, spur in Henry IV, Part I at the ing on a Field at the Manhat- Dallas Theater Center and five California Shakespeare Festival tan Theatre Club; and The seasons at The Eugene O’Neill and Bertram in All’s Well that Merchant of Venice at Hartford Theater Center. Film and tele- Ends Well at the Alabama Stage. Film and television vision: Michael Clayton, Her Shakespeare Festival. Televi- credits include Express, Leav- Lover, Corn, I’ll Take You sion credits include “CSI: New ing the Post, “Bones,” “The There, The Devil’s Advocate, York,” “Without a Trace,” “Law Unit,” “Without a Trace,” Fish in the Bathtub, Com- & Order,” “Ed,” “Deadline,” “Hack,” “Ed,” “Law & Order,” mandments, The ‘M’ Word, “Law & Order: SVU,” “Beverly “Law & Order: SVU” and the Dogs, Sudden Manhattan, The Hills, 90210,” “Melrose Place,” PBS special “Benjamin Stranger, St. Maybe, “Sex and “All My Children,” “One Life to Franklin.” the City,” “Law & Order” and Live” and “As the World “Law & Order: Criminal In- Turns.” Raised in nearby Seal PLAYWRIGHT, tent.” Beach, he received his BA DIRECTOR & DESIGNERS from Stanford University, MFA *MARTIN KILDARE (Max) is from the American Conservato- TOM STOPPARD (Playwright), making his SCR debut. On ry Theater and has participated a reporter and free-lance jour-

P12 SOUTH COAST REPERTORY • The Real Thing nalist in England, began his guished himself in the staging of 21 productions and re- theatrical career writing radio of contemporary work, includ- ceived LADCC Distinguished and television plays, but his ing William Nicholson’s The Achievement in Directing first international success came Retreat from Moscow, Horton awards an unparalleled seven with the prize-winning Rosen- Foote’s The Carpetbagger’s times for the three Shaw pro- crantz and Guildenstern Are Children and the world pre- ductions, John Millington Dead (1966). Stoppard’s in- miere of Getting Frankie Mar- Synge’s Playboy of the Western ventiveness has continued ried—and Afterwards, the crit- World, Arthur Miller’s The Cru- through a long series of ically acclaimed California pre- cible, Sally Nemeth’s Holy plays—including The Real In- miere of Nicholson’s Shadow- Days and Wit. He also direct- spector Hound (1968), Traves- lands, the Southern California ed the film version of Holy ties (1974), Night and Day premiere of Michael Healey’s Days using the original SCR (1979), The Real Thing (1982), The Drawer Boy; and the West cast. Along with Emmes, he In the Native State (1991), Ar- Coast premieres of Peter accepted SCR’s 1988 Tony cadia (1993) and The Inven- Hedges’ Good As New and Award for Outstanding Resi- tion of Love (1997). In addi- Martin McDonagh’s The Lone- dent Professional Theatre and tion to his work for the stage, some West. He has won acco- won the 1995 Theatre LA Ova- Stoppard has written a number lades for his direction of five tion Award for Lifetime of screenplays including The major works by George Achievement. Mr. Benson re- Human Factor (1979), Empire Bernard Shaw, including the ceived his BA in Theatre from of the Sun (1987), and Billy Los Angeles Drama Critics Cir- San Francisco State University. Bathgate (1991). His screen- cle (LADCC) Award-winners play for Brazil (1985), which Major Barbara, Misalliance RALPH FUNICELLO (Scenic De- he coauthored with Terry and Heartbreak House. sign) returns for his 22nd sea- Gilliam and Charles McKeown, Among the numerous world son at SCR. He began his 21st was nominated for an Acade- premieres he has directed are last year with Brooklyn Boy my Award in 1985, and in Tom Strelich’s BAFO and Mar- and finished with A View from 1999, he won an Oscar for garet Edson’s Pulitzer Prize- the Bridge. Among his other Best Screenplay for Shake- winning Wit, which he also di- SCR credits are the designs for speare in Love (1998) which he rected at Seattle Repertory Safe in Hell, Major Barbara, co-authored with Marc Nor- Theatre and the Alley Theatre The Circle, The Education of man. in Houston. He has directed Randy Newman, The Piano American classics including Lesson, Tartuffe, Private Lives, MARTIN BENSON (Director/ Ah, Wilderness!, A Streetcar Old Times, Death of a Sales- Artistic Director), co-founder Named Desire, A Delicate Bal- man, Six Degrees of Separa- of SCR with his colleague ance and A View from the tion, She Stoops to Folly, The David Emmes, has directed Bridge. Mr. Benson has been Misanthrope, Dancing at nearly one third of the plays honored with the Drama- Lughnasa, Hedda Gabler, The produced here. He has distin- Logue Award for his direction Miser, Twelfth Night, Happy

SCR’s THEATRE CONSERVATORY presents the Summer Players in

The Summer Players, advanced students in SCR’s Theatre Conservatory Youth/Teen Program, take the stage in this lyrical new adaptation of a Norwegian folk tale — reminiscent of Beauty and the Beast. Tove is a poor young girl, sold by her evil step-mother to a mysterious white bear and taken away to live in a cave of ice. When Tove overhears a beautiful song, echoing from deep within their cave, she falls in love with the bear, who is really a prince under a terrible troll spell. Now she must search east of by Tina Howe directed by Hisa Takakuwa the moon and west of the sun for a way to save her beloved prince.

Performances: August 12, 13, 19, 20 at 1:00pm and 4:00pm

The Real Thing • SOUTH COAST REPERTORY P13 End, Kiss of the Spider Woman, Young Audiences productions es for the Falcon Theatre. She Speed-The-Plow, Going for of The Adventures of Pør has worked extensively in film Gold, Misalliance, Highest Quinly, Bunnicula, The Little and television in the U.S. and Standard of Living, Buried Prince, The Hoboken Chicken Romania, having 16 design Child, Good and Da. His Emergency, The Wind in the credits with I.R.S. Media, Can- work has been seen On and Willows, The Emperor’s New non Films, PBS, Full Moon En- Off-Broadway, and at many Clothes and Sideways Stories tertainment and Romanian resident theatres including the from Wayside School. Her pre- Films. She graduated with an Lincoln Center Theater, Inti- vious SCR credits include set MFA in set and costume de- man Theatre, Seattle Repertory and costume design for The sign from the Academy of Arts Theatre, Denver Center The- Carpetbagger’s Children, Mak- in Bucharest. atre, Berkeley Repertory The- ing It and The Lonesome West; atre, Guthrie Theater, McCarter set design for Play Strindberg; PETER MARADUDIN (Lighting Theatre Center, The Oregon and sets and costumes for Design) is pleased to return to Shakespeare Festival, Milwau- SCR’s Educational Touring Pro- SCR, where he has designed kee Repertory Theatre, Strat- ductions from 1998 to present. over 30 productions including ford Shakespearean Festival of She is a resident designer at A The Studio, A Naked Girl on Canada and The Old Globe, Noise Within where her cos- the Appian Way, Princess Mar- where he is an Associate tume designs include The jorie, Safe in Hell, The Piano Artist. He has had a long as- Matchmaker, The Price, Bus Lesson, Hurrah at Last, Great sociation with the Mark Taper Stop, The Imaginary Invalid, Day in the Morning and Pre- Forum and has worked for 34 The Skin of Our Teeth, The lude to a Kiss. On Broadway years with San Francisco’s Misanthrope, Cyrano de Berg- he designed the lighting for American Conservatory The- erac, Another Part of the Forest Ma Rainey’s Black Bottom and ater, where he was Director of (Los Angeles Drama Critics the Pulitzer Prize-winning The Design. He has been nomi- Circle Award and Garland Kentucky Cycle, and Off- nated for N.Y. Drama Desk, Award), Little Foxes (Garland Broadway Hurrah at Last, Outer Critics Circle, Lucille Award), The Seagull, A Win- Ballad of Yachiyo and Bounc- Lortel and Tony Awards. He ter’s Tale, The Threepenny ers. Mr. Maradudin has de- has received The Merritt Opera (Drama-Logue Award) signed over 300 regional the- Award for Excellence In De- and Twelfth Night (Drama- atre productions for such com- sign and Collaboration, and Logue Award). Ms. Calin has panies as The Kennedy Center, his designs have been recog- designed over 50 productions Guthrie Theater, American nized by the Area Theatre Crit- for local theatres and in her Conservatory Theater, Berke- ics’ Circle, the L.A. Drama Crit- native Romania. Some of ley Repertory Theatre, Mark ics Circle, Drama-Logue Maga- those productions are: The Taper Forum, La Jolla Play- zine, Back Stage West and the Cherry Orchard at Georgia house, Seattle Repertory The- United States Institute for The- Shakespeare, A Midsummer atre, The Old Globe, Hunting- atre Technology. He is cur- Night’s Dream at The Holly- ton Theatre Company, Actors rently the Powell Chair in Set wood Bowl, The Winter’s Tale Theatre of Louisville, Steppen- Design at San Diego State Uni- at The Old Globe, The Last of wolf and the Oregon Shake- versity. Mr. Lincoln at El Portal, Dia- speare Festival. He is a blogues at the Tiffany Theatre, Founding Principal of First Cir- ANGELA BALOGH CALIN (Cos- The Sunshine Boys and Harvey cle, a lighting design consul- tume Design) designed Dumb for La Mirada Center for the tancy for architecture and Show, A View from the Bridge, Performing Arts, Ivona, themed environments, and is Princess Marjorie, The Retreat Princess of Burgundia for the the author of the plays Eugene from Moscow, Mr. Marmalade, Odyssey Theatre, Blood Poetry Onegin, The Woman in White Intimate Exchanges, Terra (Drama-Logue Award) for and The Blackamoor of Peter Nova and the Theatre for Theatre 40 and Ancestral Voic- the Great.

P14 SOUTH COAST REPERTORY • The Real Thing KARL FREDRIK LUNDEBERG dor); the Colorado Shake- nity to work with Martin Ben- (Composer/Sound Design) speare Festival (As You Like It, son and a wonderful cast and composed the music and A Midsummer Night’s Dream, crew on this magnificent play. sound for SCR’s productions A Winter’s Tale); the Pan of The Studio, A View from the Asian Repertory Theatre, New *JAMIE A. TUCKER (Stage Bridge, The Retreat from York; the Mark Taper Forum Manager) completed his MFA Moscow, The Drawer Boy, The (Death and the Maiden, Sky- in Dance, specializing in Stage Dazzle and The Company of light, Weights, The Poison Management, at UCI in 1994. Heaven. He is a CBS/Sony Tree, Closer, 10 Unknowns di- Earlier this season he stage recording artist who has rected by Robert Egan, Bandi- managed The Caucasian recorded four albums with his do! directed by Jose Luis Chalk Circle, Bunnicula, jazz/world music group Full Valenzuela, Hysteria directed Hitchcock Blonde and his Circle. He has performed ex- by Phyllida Lloyd, Enigma fourth season of La Posada tensively throughout the Unit- Variations directed by Daniel Mágica. Last season he stage ed States, Canada, Scandi- Roussel and The Molière managed A View from the navia, continental Europe, Comedies directed by Brian Bridge, The Clean House, The Japan and Brazil. As a com- Bedford); and the Ahmanson Retreat from Moscow and as- poser of contemporary classi- Theatre (A Midsummer Night’s sisted on A Naked Girl on the cal music, his works have Dream, Measure for Measure Appian Way. Previously he been performed by a variety and Romeo and Juliet directed stage managed Anna in the of orchestras, among them the by Sir Peter Hall). Film and Tropics, Lovers and Execution- Boston Symphony, Sinfa Nova television scores include ers, Intimate Exchanges and and the National Radio Or- works for PBS, Chal Produc- Mr. Marmalade. He also chestra of Sweden. His com- tions (Al Pacino, New York), stage managed the world pre- positions have been featured The American Film Institute, miere of Richard Greenberg’s at such prestigious interna- NRK Norwegian State Televi- The Violet Hour, the West tional festivals as the Mitsui sion, Imagine Films Entertain- Coast premiere of Horton Festival (Tokyo), the Perugia ment, CBS/Sony Television, Foote’s The Carpetbagger’s Festival (Italy), the Biennale Japan, Paramount Pictures and Children, Relatively Speaking Festival (Venice), Teatro Es- United Paramount Network. and the world premiere of panol (Spain), the Next Wave He is composer in residence Rolin Jones’ The Intelligent Festival (New York), the Cas- at the Mark Taper Forum and Design of Jenny Chow. He tle Hill Festival (Essex) and served as musical director for worked as SCR’s stage manag- the San Sebastian Festival the Shakespeare repertory di- er for the Second Stage pro- (Spain). Theatre and ballet rected by Sir Peter Hall at the ductions of The Dazzle, True music includes scores for the Ahmanson Theatre. West, Play Strindberg, the American Repertory Theatre world premiere of But Not for (The King Stag co-composed NICHOLAS C. AVILA (Assistant Me and the Pacific Playwrights with Elliot Goldenthal, Director) is a recent graduate Festival workshop production Jacques and His Master and of the Directing Program at of Landlocked. He has The Changeling); the Brook- the Yale School of Drama. worked as assistant stage lyn Academy of Music (Power Most recent credits include manager on the Mainstage Project with Bob Berky); the Measure for Measure, The productions of New England, Seattle Repertory Theatre (A Real Thing, Mirror, Mirror by Our Town and Arcadia and Flaw in the Ointment); Center Sarah Treem, Romeo and Juli- the Second Stage productions Stage (In a Pig’s Valise); et and Muke the Inquisitive by of BAFO and Three Days of Odyssey Theatre (Impercepti- Victor Kaufold. A long time Rain. Mr. Tucker has worked ble Musabilities, Goose Amid admirer of SCR and its mis- at the Long Beach Civic Light the Revolt); the Arizona The- sion, Mr. Avila is both thrilled Opera on No, No, Nanette, atre Company (The Old Mata- and grateful for this opportu- Can Can, A Chorus Line, The

The Real Thing • SOUTH COAST REPERTORY P15 King and I and Man of La Philanderer. He directed the PAULA TOMEI (Managing Di- Mancha. If you can’t find him world premieres of Amy rector) is responsible for the in the theatre, he is likely to Freed’s Safe in Hell, The overall administration of South be on the diamond or riding Beard of Avon and Freedom- Coast Repertory and has been his bike down PCH. land, Thomas Babe’s Great Managing Director since 1994. Day in the Morning, Keith A member of the SCR staff *CHRISSY CHURCH (Assistant Reddin’s Rum and Coke and since 1979, she has served in Stage Manager) is pleased to But Not for Me and Neal Bell’s a number of administrative ca- be finishing out this season Cold Sweat; the American pre- pacities including Subscrip- with one of her favorite play- mieres of Terry Johnson’s Un- tions Manager, Business Man- wrights, Tom Stoppard. Previ- suitable for Adults and Joe ager and General Manager. ous credits at SCR include the Penhall’s Dumb Show; the She is the immediate past world premieres of Mr. Mar- West Coast premieres of C.P. President of the Theatre Com- malade, Getting Frankie Mar- Taylor’s Good and Harry Kon- munications Group (TCG), the ried—and Afterwards, Making doleon’s Christmas on Mars; national service organization It and Nostalgia, productions and the Southland premiere of for the professional not-for- of Hitchcock Blonde, A Christ- Top Girls (at SCR and the profit theater and serves as a mas Carol, Born Yesterday, Westwood Playhouse). Other member of the Board. In ad- Pinocchio, The Little Prince, productions include the West dition, she has served as Trea- Intimate Exchanges, La Posa- Coast premieres of Three surer of TCG, Vice President da Mágica, Anna in the Trop- Viewings by Jeffrey Hatcher, of the League of Resident The- ics and Proof and the Pacific The Secret Rapture by David atres (LORT) and has been a Playwrights Festival workshop Hare and New England by member of the LORT Negoti- of Tough Titty. She has also Richard Nelson; and Arcadia ating Committee for industry- had the pleasure of working by Tom Stoppard, The Impor- wide union agreements. She on Clutter: The True Story of tance of Being Earnest by represents SCR at national the Collyer Brothers (world Oscar Wilde, Ayckbourn’s conferences of TCG and premiere) at The Colony The- Woman in Mind and You LORT; is a theatre panelist and atre; La Perichole and Seven Never Can Tell by George site visitor for the National En- Small Operas at Long Beach Bernard Shaw, which he dowment for the Arts and the Opera; The Spitfire Grill at La- restaged for the Singapore California Arts Council; served guna Playhouse; and The King Festival of Arts. He has on the Advisory Committee and I, Chicago, Ragtime and served as a theatre panelist for the Arts Administration She Loves Me at Maine State and onsite evaluator for the Certificate Program at the Uni- Music Theatre. National Endowment for the versity of California, Irvine; Arts, on the Executive Com- and has been a guest lecturer DAVID EMMES (Producing mittee of the League of Resi- in the graduate school of busi- Artistic Director) is co-founder dent Theatres, and as a pan- ness at Stanford and Universi- of SCR. He has received nu- elist for the California Arts ty of California, Irvine. She merous awards for produc- Council. After attending Or- graduated from the University tions he has directed during ange Coast College, he re- of California, Irvine with a de- his SCR career, including a Los ceived his BA and MA from gree in Economics and pur- Angeles Drama Critics Circle San Francisco State University, sued an additional course of Award for the direction of and his PhD in theatre and study in theatre and dance. George Bernard Shaw’s The 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 Man- Artists Local USA-829, IATSE. labor union. agers in the United States.

P16 SOUTH COAST REPERTORY • The Real Thing