50th Season • 473rd Production SEGERSTROM STAGE / August 30 - September 29, 2013

Marc Masterson Paula Tomei Artistic Director Managing Director

David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS

presents by

Michael B. Raiford Holly Poe Durbin Brian J. Lilienthal SCENIC DESIGN Costume DESIGN Lighting Design

Jim Ragland Joshua Marchesi Jamie A. Tucker* COMPOSER/SOUNDSCAPE Production Manager Stage Manager

Directed by Marc Masterson

Sophie and Larry Cripe Alan and Olivia Slutzky Honorary Producers Honorary Producers

Corporate Producer

DEATH OF A SALESMAN is presented by special arrangement with Dramatists Play Service, Inc., New York.

Death of a Salesman • South Coast Repertory • P1 CAST OF CHARACTERS (In order of appearance) ...... Charlie Robinson* Linda ...... Kim Staunton* Happy ...... Larry Bates* biff ...... Chris Butler* bernard ...... Tobie Windham* The Woman ...... Tracey A. Leigh* Charley ...... James A. Watson, Jr.* uncle Ben ...... Gregg Daniel* Howard Wagner ...... Tyler Pierce* Jenny ...... Georgina E. Okon* Stanley ...... Christopher Rivas* Miss Forsythe ...... Celeste Den* Letta ...... Becca Lustgarten*

PRODUCTION STAFF Casting ...... Joanne DeNaut, CSA Dramaturg ...... Kimberly Colburn Dialect Coach ...... Andrea Caban Assistant Stage Manager ...... Sue Karutz* Assistant Dramaturg ...... Andy Knight Production Assistant ...... Amber Caras Assistant to the Director ...... Sarah Figoten Costume Design Assistant ...... Haleh Risdana Assistant to the Composer ...... Will Daniel Stage Management Intern ...... Sara Beaman Light Board Operator ...... Andrew Stephens Sound Board Operator ...... G.W. Rodriguez Wardrobe Supervisor/Dresser ...... Bert Henert Additional Costume Staff ...... Brandy de Aguero, Mary Bergot, Jessica Brown Gwenyth Conaway Bennison, Adriana Lambarri, Iris Marshall Deona Offield, Peggy Oquist, Virginia Thorne, Sarah Timm, Swantje Tuohino Costume Shop Interns ...... Kaitlyn Kauffman, Helen Ton

MUSICIANS Eyvind Kang (Violin, viola and euphonium); Will Daniel (Saxophone, clarinet, flute); Susan Pascal (Vibraphone); Jim Ragland (Guitar, piano and synthesizers); Randy Burgeson (Trumpet); David Pascal (Bass); Chris Monroe (Drums)

Recorded at Avast Studio, Seattle

P2 • South Coast Repertory • Death of a Salesman THE CAST: (top row, left to right) Christopher Rivas, Charlie Robinson, Gregg Daniel, Chris Butler, James A. Watson, Jr, Tobie Windham, Larry Bates and Tyler Pierce; (bottom row) Tracey A. Leigh, Becca Lustgarten, Kim Staunton, Georgina E. Okon and Celeste Den.

SETTING The late . Various places in New York City and Boston.

LENGTH Approximately two hours and 40 minutes, including one intermission.

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

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

Segerstrom Stage Season Media Partner Media Partner

Death of a Salesman • South Coast Repertory • P3 Universal Reach “You have to describe the country in terms of what you passionately hope it will become, as well as in terms of what you know it to be now.” Richard Rorty, Achieving Our Country, 1998

by Kimberly Colburn to ‘life, liberty, and the pursuit of happiness’ which were vouchsafed to us in the past in vision and on parchment.” he origin of the phrase “American dream” is Although the term wasn’t in our vernacular yet, the often credited to U.S. Historian James Trus- concept of the American dream has roots in the very gen- low Adams, who used it 33 times in his 1931 esis of our modern country, from the seventeenth cen- book The Epic of America. He posited that it tury Puritans fleeing persecution in hopes of religious was the “dream of a land in which life should freedom to the entrepreneurs who trekked to the new be better and richer and fuller for everyone, world and established colonies like Jamestown in 1607. with opportunity for each according to ability Capitalism has intertwined with the idea of freedom or achievement,” regardless of what circum- throughout America’s history, and in Death of a Sales- stancesT one was born into. He also specified that achieve- man Willy Loman continues to espouse the virtues of a ment should not solely be defined in monetary prosper- capitalist system even when he finds himself failing to ity but also by the strength of one’s character. Writing just live up to the triumphs of his own past. Willy can’t help after the Great Depression had wreaked havoc on many but reach for more to maintain his status as a “big shot.” people’s material wealth, Adams cautioned that “possibly This persistent pursuit of success defines the the greatest of these struggles lies just ahead of us at this American dream and makes Willy’s character instantly present time—not a struggle of revolutionists against the identifiable. Willy believes that one can attain success established order, but of the ordinary man to hold fast through sheer force of will and personality, and after 30

P4 • South Coast Repertory • Death of a Salesman years of working the same his first 13 years of life, way, can’t quite grasp that to a clapboard hovel in both he and the times Brooklyn. Miller has cited may have changed. Willy the Depression as a for- is emblematic of any per- mative experience and son who has tried to make in his writing he often re- a great life and to pass that turned to themes of both life on to their children. questioning a capitalist Willy tries to instill system and exploring the his lessons for victory nature of the father/son in his sons, so that they relationship. Miller him- may find success as Willy self vacillated between defines it—through con- boasting of his father’s crete evidence such as a large business and cri- home you own and a good tiquing his choices. Tell- job with a generous salary. ingly, he once wrote: The parent/child relation- “One rarely hears of any ship in Death of a Sales- American writer whose man is relatable across father was to be regarded many socio-economic as in any way adequate and geographic lines, as or successful. The Ameri- generations of children can writer is supplanting have either embraced or somebody, correcting rejected following in their him, making up for his parents footsteps. Biff and errors or failures…He is Happy have intangible the power that the father needs in their search for lost.” happiness that Willy just Today we find our- can’t or won’t under- Norman Rockwell’s 1943 painting “Freedom from Want.” selves a few years out of stand, and each son tries what has been dubbed his best to please or pla- the Great Recession, cate Willy and his dreams for them. and Willy’s struggle resonates more than ever. President Libraries are full of books about the “American Barack Obama, in a 2009 speech to Congress a month dream”, and the mass media has embraced the term. It after he was sworn in, addressed the state of the country continues to be seen as a pursuit, and subsequent gen- from the perspective of the average person: erations have either pursued it differently than their par- ents or even called the entire concept into question. The “You don’t need to hear another list of statistics to cyclical nature of our family and society mirrors the cycli- know that our economy is in crisis, because you live cal nature of our economy. it every day. It’s the worry you wake up with and When Arthur Miller was growing up, he keenly felt the source of sleepless nights. It’s the job you thought the impact of the Great Depression. All of his family’s you’d retire from but now have lost; the business you money was invested in the stock market, so despite his built your dreams upon that’s now hanging by a father’s successful suit and coat business, on October 24, thread; the college acceptance letter your child had to put back in the envelope. The impact of this recession is real, and it is everywhere.” “While Death of a Salesman remains the definitive fa- thers-and-sons drama, its social themes are universal These lean years, when so many have and painfully timely” lost what they once believed to be right- ~Variety review of 2012 Broadway production fully earned, force us to reexamine the very tenants of this precious and elusive dream: What is success and how do we define it? 1929, their entire life savings were wiped out. His family How can you find the American dream in an ever-chang- was forced to move from the luxurious New York City ing and faster moving world? And how do you keep what apartment overlooking Central Park where he’d spent you find?

Death of a Salesman • South Coast Repertory • P5 Post-War America “Beginning during the war and with great fervor after it, business leaders, labor unions, govern- ment agencies, the mass media, advertisers, and many other purveyors of the new postwar order conveyed the message that mass consumption was not a personal indulgence. Rather, it was a civic responsibility designed to improve the living standards of all Americans, a critical part of a prosperity producing cycle of expanded consumer demand fueling greater production.” ~Lizabeth Cohen, in her book A Consumers’ Republic: The Politics of Mass Consumption in Postwar America

eath of a Salesman premiered in 1949, at the end of a decade in which the United States underwent striking social, eco- nomic and political changes. The play’s setting—a victorious, postwar America enjoying a strong economy and insatiable consumers—was quite different from the America just 10 years before: a country stillD wounded by the scars of the Great Depression. Despite 1939’s weak economy and staggering 17.9 percent unemployment rate, the World’s Fair in New York that year—with its theme of “Building the World of Tomorrow”—suggested that the Ameri- can population refused to be anything but optimistic about the future. Industries demonstrated that tech- nology and innovation would lead to progress and a robust economy; the fair was a celebration of capital- ism’s promise. However, the heyday of the consumer

P6 • South Coast Repertory • Death of a Salesman was derailed by global politics and the subsequent outbreak of war. The United States entered World War II on De- cember 8, 1941, one day after the Japanese attack on Salesman Around the World Pearl Harbor. When American companies switched n 1983, Arthur Miller directed a production of Death of a to manufacturing war supplies, domestic productiv- Salesman in China, with Chinese actors. He worked with ity skyrocketed, and the national unemployment rate a translator, both for the text and to help facilitate com- plummeted—falling to a remarkably low 1.9 percent Imunication with his actors. He kept a journal about his in 1943. experiences, which was later published under the title Sales- After the war’s end in 1945, companies re- man in Bejing. In the beginning, he expresses trepidation at turned to manufacturing their normal products, and the task—how will these Chinese actors and audiences react Americans were eager to buy. Technology, no longer to what Miller, theatre critics, scholars, and most of the rest a thing of the future, was available for purchase: the of the English-speaking world defined as a quintessentially number of Americans who owned televisions, for ex- American play? ample, rose from around eight thousand in 1946 to Miller’s fears were set aside as he began to work and one million in 1949. But seemingly limitless resourc- the cast made connections to the similarities in Chinese cul- ture. The actor play- ing Happy was quoted as saying “one thing about the play that is very Chinese is the way Willy tries to make his sons successful. The Chinese father al- ways wants his sons to be ‘dragons.’” Miller details his many discoveries and struggles during his process. By the time they reached opening night, Miller observes, “I know the audiences laugh in just about the es made bigger purchases possible, as well, and the same places as we do in the West, and I had seen many of middle class could now afford to be homeowners. them weeping for Willy.” As the suburbs expanded, the growing demand for Miller’s experience in China is far from the only ex- homes gave birth to the mass-produced housing de- ample of Death of a Salesman’s universal appeal. Since it velopment. was written in 1949, Death of a Salesman has been trans- Despite the rapid suburbanization, America’s lated into countless languages and performed in countries cities remained a driving economic force. By the late around the world. A sampling of some of the languages in 1940s, New York City was not only the world’s largest which it has been performed include Arabic, Spanish, Dutch, manufacturer and wholesaler but also an internation- Portuguese, Turkish, Italian, South Korea, French, German, al hub for and fashion. At that time, Brooklyn was Japanese, Hebrew, Russian and Swedish. the city’s most populated borough and known for its diverse, working-class neighborhoods. It is in one of these neighborhoods during that postwar boom that Arthur Miller sets this play about the American dream.

Photos on facing page: Grand Central Terminal in New York City, 1947; A Studebaker ad from 1948; above, a map of Brooklyn Heights published for the Downtown Brooklyn Association circa 1940s; below, from left to right, a Death of a Salesman in Arabic and in Japanese, a Spanish poster for the 1951 movie.

Death of a Salesman • South Coast Repertory • P7 Remembering Miller’s Life and Work

rthur Miller found commercial and “The American Dream is the largely un- effect on American drama and drama critical success acknowledged screen in front of which worldwide is something we’re going to with the 1949 all American writing plays itself out. be recognising for centuries to come... Broadway produc- Whoever is writing in the United States He was simultaneously a playwright of tion of Death of is using the American Dream as an iron- enormous humanity and enormous a Salesman. The ical pole of his story. People elsewhere politics.” playA won the Pulitzer Prize, tend to accept, to a far greater degree ~ Howard Sherman, director of the the New York Drama Critics’ anyway, that the conditions of life are American Theatre Wing Circle Award and a Tony hostile to man’s pretensions.” for Best Play. His numerous ~ Arthur Miller “I think the tragic feeling is evoked in plays and awards earned us when we are in the presence of a him a place in the theatri- “[Miller] has looked with compassion character who is ready to lay down his cal canon. His personal life, into the hearts of some ordinary Ameri- life, if need be, to secure one thing— including a brief marriage cans and quietly transferred their hope his sense of personal dignity. From Or- to , ce- and anguish to the theatre.” estes to Hamlet, Medea to Macbeth, the mented his celebrity status. ~ Brooks Atkinson, underlying struggle is that of the indi- He made a well-publicized New York Times critic vidual attempting to gain his ‘rightful’ refusal to comply with the position in his society.” House Un-American Activi- “His work teaches us a lot about how to ~Arthur Miller ties Committee after being fight evil.” called to testify following ~ Edward Albee, playwright “To find beauty in the sad, hope in the the premiere of his play The midst of loss, and dignity in failure is Crucible. Miller also loudly “Arthur Miller continued to ex- great poetic art. Arthur Miller’s wonder decried the Vietnam War. amine American values and moral de- at his country and his time will redound While his public cay with extraordinary structure and to America’s credit when the stances of moral judgments riveting dialogue—right to his last supposed accomplishments were clear, Miller’s personal months.” of the enthusiastic are long life was more complicated. ~ Kevin Spacey, actor forgotten. His work and He was married three the example of a life lived times—and was engaged to “There was quite a pack to break with quiet dignity are each a fourth woman but passed out of. He was a contemporary of an inspiration.” away before they wed—and , who was ~ David Mamet, had four children, includ- also writing at this time. He playwright ing a son born in 1966 with quickly leapt into this pan- Down’s syndrome. As was theon of great American common at that time, the writers. There is no ques- family institutionalized the tion that Arthur son. Later in his life, Miller Miller’s reconciled with him. Media speculate it was at the urg- ing of his daughter Rebecca and son-in-law, actor Daniel Day-Lewis. Miller died of heart failure at the age of 89 on February 10, 2005, the 56th anniversary of Death of a Salesman’s Broadway debut.

P8 • South Coast Repertory • Death of a Salesman Artist Biographies

Larry Bates* Stephanie’s Image, Cradle 2 The Grave and The Little Happy Death. Butler holds an MFA in theatre (University of California at San Diego) and a BA in dramatic arts (Uni- appeared at SCR as Ralph D in versity of North Carolina at Chapel Hill). The Motherf**ker with the Hat. Other notable SCR credits include Gregg Daniel* Booth in Topdog/Underdog, Cory Uncle Ben in , Cactus in Mr. Marma- lade and Youngblood/Darnell in returns to SCR after appearing in SCR and Pasadena Playhouse’s production of , both August Wilson’s Jitney and for which he won the Los Angeles Drama Critics Circle Fences. He recently appeared in Award for Best Featured Actor. Other theatre credits in- the Mark Taper Forum’s produc- clude You Can’t Take it with You at The Antaeus Com- tion of Joe Turner’s Come and pany and most recently Martin King, Jr. in The Gone. Other SCR appearances Mountaintop directed by Roger Guenveur Smith at San include (Jacob Marley) and The- Diego Repertory. Film and television credits include atre for Young Audiences production of James and the upcoming Veronica Mars Movie, Lions for Lambs, the Giant Peach. Other regional credits include Jit- “Dark Blue,” “The Unit,” “Bones,” “CSI: Miami,” “Num- ney (Pasadena Playhouse) Much Ado About Nothing b3rs,” “Huff,” “The District,” “NYPD Blue,” “Boston (Shakespeare Santa Barbara), Cyrano de Bergerac Public” and “JAG,” among others. Bates is a graduate of (Milwaukee Repertory Theater) A Midsummer Night’s The Theatre School, DePaul University. larrybates.me Dream, Taming of The Shrew, Merry Wives of Wind- sor and Two Gentlemen of Verona (The Shakespeare Center of Los Angeles) Master Harold and the Boys Chris Butler* Biff (Cape May Stage and Actors Theatre of Louisville) Peer Gynt (Hartford Stage) and Mother Courage and Her is making his SCR debut. He is a Children (CenterStage). Film credits include Hancock, two-time Ovation, NAACP, Los An- Spiderman 3, Evan Almighty and Hollywood Homi- geles Drama Critics Circle and Gar- cide. Television credits include a recurring role in the land Award winner for his work in HBO series “True Blood” (Reverend Daniels) and guest Yellowman (The Fountain The- starring roles in “Harry’s Law,” “Castle,” “Parenthood,” atre) and Stick Fly (The Matrix “Weeds,” “The Sarah Silverman Show,” “Saving Grace” Theatre Company). Other theater includes the Broad- and Disney’s “Good Luck Charlie,” “Austin & Ally” and way revival of 110 In The Shade (Roundabout Theatre “Kickin It.” Daniel is a founding member and artistic Company); Race (A.C.T.); Julius Caesar (Shakespeare director of Lower Depth Theatre Ensemble (LowerDep- Santa Cruz); Gem Of The Ocean, One Flew Over The thTheatreEnsemble.org). Cuckoo’s Nest (Rubicon Theatre); , (Oregon Shakespeare Festival); Celeste Den* Much Ado About Nothing, Romeo and Juliet (Shake- Miss Forsythe speare Center LA); Blue (Pasadena Playhouse); A Mid- summer Night’s Dream (The Globe Theatre); and The returns after appearing in the School For Wives (). On television, Broadway International Tour of he can regularly be seen as FBI Agent Darius Carter in Chinglish at SCR, Berkeley Reper- the new TNT series, “King & Maxwell.” Other televi- tory Theatre and the 2013 Hong sion credits include “The Good Wife,” “Castle,” “Major Kong Arts Festival. Her other the- Crimes,” “NCIS: Los Angeles,” “True Blood,” “Shame- atre credits include the world pre- less,” “Bones,” “Criminal Minds,” “Law & Order: SVU,” mieres of Wild Swans at American Repertory Theater “Rizzoli & Isles,” “iCarly,” “Private Practice,” “Harry’s and in ; Between Two Friends and Law” and “24.” Film credits include Rescue Dawn, Island at Actors Theatre of Louisville; 11 Septembre

Death of a Salesman • South Coast Repertory • P9 2001 and Peach Blossom Fan with Center for New received her BFA in theatre arts from Boston Univer- Performance; Spit, Shine, Glisten! with Cotsen Center sity and studied at the Accademia dell’Arte in Arezzo, for Puppetry; and Laws of Sympathy with Playwrights’ Italy. She is a graduate of the South Coast Repertory Arena. Regional credits include Conjunto at Border- Acting Intensive Program class of 2013. She would lands Theatre, at The Theatre @ Boston Court, like to express her profound thanks to her family, The Joy Luck Club at East West Players, The Waste Land friends, and classmates for their support, and to with Filament Theatre Ensemble, The Merchant of Ven- Joanne DeNaut for this amazing opportunity. ice with Los Angeles Women’s Shakespeare Company, and Attrapee with Poor Dog Group. Film and television Georgina E. Okon credits include “Castle” (ABC), “Criminal Minds” (CBS), Jenny “The Doctor” (WB) and Larry Crowne (NBC Universal). Den received her BFA in theatre from the University of grew up in Lagos, Nigeria, and Florida and MFA in acting from the California Institute Essex, England. She moved from of the Arts. She is a proud member of Actors’ Equity As- the UK to attend the American sociation and SAG-AFTRA. celesteden.com Academy of Dramatic Arts and “live” out a dream. She recently Tracey A. Leigh* performed in To Be or Not at Ac- The Woman tors Art Theatre, and The Changeling at Long Beach Playhouse. One of her favorite roles was Matilde from has appeared at SCR previous- Clean House, which she performed in the SCR show- ly in In the Next Room (or the case after completing its Acting Intensive Program. vibrator play), Safe in Hell, the Other roles include The Snake in The Little Prince NewSCRipts reading of The St. and Esther in Amazing Grace. She was also thrilled James Infirmary and the Pacific to play a Death Eater in and the Deathly Playwrights Festival readings of Hallows. Happy Face and Tough Titty. She recently appeared as Titania in Shakespeare Center Los Angeles’ A Mid- Tyler Pierce* summer Night’s Dream, in Lower Depth Theatre Howard Wagner Ensemble’s Elmina’s Kitchen, and in The Many Mis- tresses of Martin Luther King at Ensemble Studio The- is happy to be back at SCR where atre/LA. Other theatre credits include her Obie Award- his credits include How to Write winning performance in Tale of 2Cities: An American a New Book for the Bible and Joyride in Multiple Tracks at New York’s Performance Death of the Author (NewS- Space 122; the national tour of The Vagina Mono- CRipts). He has appeared in logues; and off-Broadway productions at Soho Rep, tours of Legends with Joan Col- Primary Stages, New York Theatre Workshop, Signa- lins and Linda Evans, Barriers and A Midsummer ture Theatre and La Mama ETC. Regionally, she has Night’s Dream. His selected regional theatre credits appeared at The Old Globe, La Jolla Playhouse, Arena include I’ll Be Back Before Midnight (The Colo- Stage, A Contemporary Theatre and Intiman Theatre, ny Theatre Company); How to Write a New Book among others. She has narrated numerous audio- for the Bible (Berkeley Repertory Theatre and Se- books and was honored with an Audie Award nomina- attle Repertory Theatre); Good People (Geffen Play- tion for her narration of Not Easily Broken. Television house); Gronholm Method (Falcon Theatre); Death credits include “Grey’s Anatomy,” “Criminal Minds,” of a Salesman (The Old Globe); A Streetcar Named “Strong Medicine,” “Law and Order” and “.” Desire (); The Night Is a Child (Mil- waukee Repertory Theater and Pasadena Playhouse); Becca Lustgarten Crime and Punishment (Berkeley Repertory The- Letta atre); , A Christmas Carol (Actors Theatre of Louisville); Macbeth, Pericles, A Midsummer Night’s is thrilled to be making her South Dream, Lorenzaccio, The Tempest (The Shakespeare Coast Repertory debut. Past cred- Theatre Company); Youth Inc. (McCarter Theatre its include work at the William- Center); and Fat Pig, The Internationalist (The Stu- stown Theatre Festival, Primary dio Theatre). Pierce’s New York theatre includes Stages, Hangar Theatre, and the work at Theatre at St. Clement’s, Circle East, New Actor’s Studio NYC. Lustgarten York Classical Theatre, HERE Arts Center, Atlantic

P10 • South Coast Repertory • Death of a Salesman Theater Company, Atlantic Theatre Studio, Theatre known for his television credits, as a series regular for a New Audience, Lark Play Development Center, in “,” “Buffalo Bill,” “Love & War” and New Dramatists and New Georges. He is a proud “Buddy Faro.” He has had recurring television roles member of Actors’ Equity. in “Home Improvement,” “The Secret Life of an American Teenager,” and presently in “Hart of Dixie.” Christopher Rivas* Among his guest roles include “House,” “Big Love” Stanley and “Cold Case.” He is the CAMIE Award winner for the made-for-television movies Miss Lettie and Me was born and raised in New York and Secret Santa. He is also heard on Los Angeles City and is very proud to be a Theatre Centre radio productions, such as Black part of this production. He re- Betty. His feature film credits are Apocalypse Now, cently finished a great run and The River, Gray Lady Down, Beowulf, Set It Off, An- romp in The Assassination of twone Fisher, Even Money, Jackson, Steam, Natural Leon Trotsky, A Comedy at the Disasters, Sweet Kandy and House Bunny. See him Odyssey Theatre Ensemble. Other stage credits in- soon in the feature film, Hoovey, to be released this clude Helen at the Getty Villa, Songs of Bilitis with year. Rogue Artists Ensemble at the Bootleg, and Camino Real at The Theatre@Boston Court. His Indie film Kim Staunton* Public Law is making the festival circuit now, and Linda he’s just shot a pilot titled “Clandestine” by Thousand Pounds Action Company. Next to acting, Rivas lives last appeared at SCR as Berniece creatively through his poetry. See more at Chris- in The Piano Lesson. She has topherrivas.com. He wants to thank his manager, been a guest company member Sandy, and his family for being more than amazing. at the Denver Center Theatre Company (DCTC) for the past 13 Charlie Robinson* seasons. She represented DCTC Willy Loman as an inaugural Lunt-Fontanne Fellow at the Ten Chimneys Foundation. Staunton has also appeared is a well-known face regionally at Ebony Repertory Theatre, Center The- on SCR stages. His work at SCR atre Group/Kirk Douglas Theatre, Syracuse Stage, includes The Piano Lesson; My Berkeley Repertory Theatre, Arizona Theatre Com- Wandering Boy; Fences, which pany, Virginia Stage Company, Pittsburgh Public The- earned him a 2006 Ovation atre, Colorado Shakespeare Festival, Folger Theatre, Award for his portrayal of Troy; , Hartford Stage Company and the O’Neill and Jitney, which earned him a Los Angeles Drama Theatre Center. She has performed in numerous pro- Critics award nomination for his portrayal of Beck- ductions off-and-on Broadway. Film credits include er. He is additionally proud of his NAACP’s Theatre First Sunday, Changing Lanes, Heat, Dragonfly, Image Award for Best Actor in a Play for The Old Bark, Holy Man, Deceived and Amos and Andrew. Globe’s The Whipping Man. Another theatre home Television appearances have included guest starring has been the Oregon Shakespeare Festival. He is best roles on “Eleventh Hour,” “Army Wives,” “The Nine,”

Death of a Salesman • South Coast Repertory • P11 “Bones,” “Strong Medicine,” “Judging Amy,” “Law and Marcus; Or the Secret of Sweet and Two Coons. He Order,” “City of Angels,” “New York Undercover,” and has performed on the stages of The American Conser- TNT’s original movie, Glory & Honor. Staunton is a vatory Theater, Magic Theater, California Shakespeare native of Washington, D.C., and a graduate of The Theater, Chalk Repertory Theatre, South City Theater Juilliard School. Company, City Equity Theater and Birmingham Park Players. A native of Birmingham, AL, Windham earned his BA in theater from the University of Alabama at James A. Watson Jr.* Charley Birmingham and is a graduate of the American Con- servatory Theater. appeared in last season’s SCR and Pasadena Playhouse produc- Playwright, Director and Designers tion of August Wilson’s Jitney. He trained at the Royal Academy of Arthur Miller (Playwright) was born in New York Dramatic Arts (U.S. Extension), City and studied at the University of Michigan. His and from his television and film plays include The Man Who Had All the Luck, All work, he was nominated for an Emmy, and NAACP My Sons, Death of a Salesman, , A View Image Award. Other theatre work has included Na- from the Bridge, , After tional Pastime (The Fremont Centre Theater, Pasa- the Fall, , , The Creation dena) Dream on Monkey Mountain (Mark Taper of the World and Other Business, The Archbishop’s Forum) Lemon Meringue Façade (Best Supporting Ceiling, and Playing for Time. Actor nomination, San Fernando Valley Awards), In Later plays include The Ride Down Mt. Morgan, The White America, Room Service (A.C.T., ), Last Yankee, , Mr. Peters’ Connections, and Rashomon/Outrage, Golden Boy, Calculated and . Other Risk (Marla Gibbs Theater). In his 44 years as a pro- works include , a novel, The Misfits, a screen- fessional actor, he has been fortunate to co-star or play, and the texts for In Russia, In the Country and work in a variety of feature films, more than 90 com- Chinese Encounters, three books in collaboration mercials and television shows with Edward G. Robin- with his wife, photographer . His mem- son, Leslie Caron, , Renee Valente, oirs include Salesman in Beijing and Timebends, an Jamie Foxx, Tom Selleck and Redd Foxx. His films autobiography. Miller was awarded the Avery Hop- include Halls of Anger with Jeff Bridges, The Orga- wood Award for Playwriting at University of Michi- nization with , Golden Girl with James gan in 1936. He twice won the New York Drama Coburn and Airplane II. His television work has Critics Circle Award, received two Emmy awards included “Love American Style,” “Kojack,” “Quincy,” and three for his plays, as well as a “The Jeffersons,” Back Stairs at The White House Tony Award for Lifetime Achievement. He also won (mini-series), “Columbo,” “,” “The an Obie award, a BBC Best Play Award, the George Rockford Files,” “,” “Gimme A Break,” Foster Peabody Award, a Gold Medal for Drama “The District,” “Strong Medicine” and “Medium.” Wat- from the National Institute of Arts and Letters, the son has directed his own theatre company, been a Literary Lion Award from the New York Public Li- choreographer and is currently developing film, stage brary, the John F. Kennedy Lifetime Achievement and TV projects. jamesawatson.com Award, and the Algur Meadows Award. He was named Jefferson Lecturer for the National Endow- ment for the Humanities in 2001. He was awarded Tobie Windham* Bernard the 2002 Prince of Asturias Award for Letters and the 2003 Jerusalem Prize. He received honorary degrees has appeared at SCR in A Mid- from Oxford University and Harvard University and summer Night’s Dream and is was awarded the Prix Molière of the French theatre, excited to be here again with this the Dorothy and Lillian Gish Lifetime Achievement amazing cast. He was last seen in Award and the Pulitzer Prize. The Whipping Man at Marin The- ater Company. His other credits Marc Masterson (Director/Artistic Director) is in include Seven Guitars(San Francisco Bay Area Critics his third season with SCR. He previously served for Circle nominee for best actor), Blues for an Alabama 11 years as artistic director of Actors Theatre of Lou- Sky, American Buffalo, Balm in Gilead, Slither, The isville and produced the Humana Festival of New Brothers Size (SFBATCC nominee for best actor), American Plays. During his tenure, he produced

P12 • South Coast Repertory • Death of a Salesman more than 100 world premieres, expanded audi- a dozen world premiere productions at The Hu- ences and the repertoire, deepened arts education mana Festival of New American Plays. In Austin, he programs, and spearheaded numerous community- has designed at Ballet Austin, Austin Lyric Opera, based projects. Recent directing credits include Rude Mechanicals, ZACH Theatre and Hyde Park/ Eurydice and Elemeno Pea at SCR, As You Like Chick and an Dude Productions. In addition Rai- It for the Houston Shakespeare Festival, The Kite ford works as a creative consultant in many fields Runner in Louisville and the Cleveland Play House, including architecture, interiors, advertising and and A Midsummer Night’s Dream, Shipwrecked! An yes, even marching band/DCI and WGI. Raiford re- Entertainment, , The Tempest, ceived his MFA from University of at Austin Mary’s Wedding, The Crucible, Betrayal, As You where he also taught design for 10 years. He is a Like It, The Importance of Being Earnest and Mac- member of United Scenic Artists Local 829. To see beth in Louisville. World premieres directed at the more of his work visit flickr.com/photos/michael- Humana Festival include works by Lisa Dillman, raiford/sets. Wendell Berry, Craig Wright, Eric Coble, Adam Bock, Gina Gionfriddo, Melanie Marnich, Charles Holly Poe Durbin (Costume Design) is pleased Mee and Rick Dresser. Previously he served as ar- to return to SCR; she most recently designed Three tistic director of City Theatre in Pittsburgh for 20 Days of Rain. She designed Chekhov’s The Wood years. He was founder and chairman of the Greater Demon on London’s West End, the UK tour of Miss Pittsburgh Arts Alliance, a board member of the Evers’ Boys and the world tour of a new opera, Don Citizens for the Arts in Pennsylvania, and Leader- Juan Flamenco, premiering at the Flamenco Bien- ship Pittsburgh and served six years on the Board nale in Seville. Recent work includes Shipwrecked of the Theatre Communications Group. He has for the Cincinnati Playhouse, Opus for Portland served as a theatre advisory panel member for the Center Stage, Much Ado About Nothing starring National Endowment for the Arts as well as numer- Helen Hunt, Tom Irwin and Lyle Lovett; and Top ous foundations. He won the Man of the Year Vec- Secret for New York Theater Workshop, featured tors Award, and received the Lifetime Achievement on NPR’s “All Things Considered.” Durbin has de- Award from the Pittsburgh New Works Festival. signed costumes for regional theaters, such as the Mark Taper Forum, Huntington Theatre in Boston, Michael B. Raiford (Scenic Design) is a scenic Pasadena Playhouse, St. Louis Repertory Theater, and costume designer based in Austin, Texas. This Missouri Repertory Theatre, The Old Globe and is his debut at South Coast Repertory. National and Geffen Playhouse. Her themed entertainment de- regional theatre and opera credits include work at signs include Universal Studios Japan and Legend of GEVA Theatre, The Cleveland Play House, Opera the Ice Princess in San Diego. Her independent film Boston, Kansas City Repertory Theatre, Central City work includes the Emmy Award winning historical Opera, Aurora Theatre Company, PlayMakers Rep- docu-drama Coronado: Building the Dream. Follow ertory Company, Maltz Jupiter Theatre, Ford’s The- her work on her blog pomo2k.wordpress.com. atre in Washington D.C., The New Victory Theater in NYC and Actors Theatre of Louisville. At Actors Brian J. Lilienthal (Lighting Design) returns to Theatre, Raiford designed over 20 shows including SCR after previously designing Jitney. He has de-

Death of a Salesman • South Coast Repertory • P13 Honorary Producers

Sophie and Larry Cripe (Honorary Produc- the Argyros Stage, seeking the best cultural ers) made their first donation to SCR in 1995 experience our region has to offer. Alan has and have never looked back. They have been served on the Board of Trustees since 2010, Platinum Circle members since 1999 and First and he and Olivia generously support SCR’s Nights subscribers on both stages for the past Gala every year. Last season, as members of five seasons. The Cripes joined The Playwrights The Playwrights Circle, they helped underwrite Circle in 2007-08, helping to underwrite the the world premiere of The Parisian Woman. world premiere of Kate Robin’s What They “SCR is an asset to our community and, on a Have, and have increased their support of new personal level, an additive to our lives,” Alan work by serving as Honorary Producers of the says. “For us one of the great things about SCR Pacific Playwrights Festival every spring since is experiencing the variety of works; whether 2009. Death of a Salesman marks their first a classic or a new play—it’s an opportunity to time as Individual Honorary Producers. They stretch your brain.” are also Gala underwriters and major donors to SCR’s Legacy Campaign, including the Emmes/ U.S. Bank (Corporate Producer) adds Death Benson Founders Endowment. Sophie was ap- of a Salesman to its history of underwriting pointed to the Board of Trustees in 2008 and for SCR, which includes the 30th anniversary currently serves as Vice President for the Devel- production of A Christmas Carol, along with opment Committee. In 2010, she chaired SCR’s last season’s opener, Absurd Person Singular. It Gala Ball, The Play’s the Thing, and today is also has underwritten ’s Pride and one of a trio of Vice Chairs for our 50th Season Prejudice, ’s Misalliance, Gala. the Stephen Sondheim classic , Beth Henley’s Ridiculous Fraud and the Alan and Olivia Slutzky (Honorary Produc- Theatre for Young Audiences production of ers) are second-generation SCR supporters who The Stinky Cheese Man and Other Fairly Stupid served as Honorary Producers of Suzan-Lori Tales. U.S. Bank is the fifth-largest commercial Parks’ Topdog/Underdog in 2012. Alan was in- bank in the United States, with 3,087 banking troduced to SCR at a young age by his parents, offices located in 25 states, 668 of which are Joel and Judy Slutzky, who became involved in California. U.S. Bank and its employees are during the Second Step days in the late 1960s. dedicated to improving the communities they After returning to Orange County from Chi- serve, for which the company earned the 2011 cago in 2009, Alan and Olivia joined Platinum Spirit of America Award, the highest honor be- Circle and became First Night subscribers on stowed on a company by United Way.

P14 • South Coast Repertory • Death of a Salesman signed over 200 productions across the country, Show and Etta Jenks at The Empty Space Theatre; including 60 productions (20 for the Humana Fes- Djinn and Sub Rosa with House of Dames; and The tival of New American Plays) at Actors Theatre Tooth of Crime at New City Theater. His other cred- of Louisville as the resident lighting designer. His its around the country include work there includes The Tempest, Glengarry Glen at Mark Taper Forum and on Broadway, Electra Ross, Shipwrecked! An Entertainment, Mary’s Wed- at Hartford Stage, Reckless at Berkeley Repertory ding, The Kite Runner (all directed by Marc Mas- Theatre, Jitney at and the Hartford/ terson), The Elaborate Entrance of Chad Deity and Dallas/Portland production of Fences. In 2005, he BOB. At other theatres, he has designed 20 produc- received Theater Puget Sound’s annual Gregory tions at Trinity Repertory Company, seven seasons Falls Award. He is currently a busy Austin singer/ with the Eugene O’Neill Theatre Center’s National songwriter and guitarist. Playwrights’ Conference (where he is currently a resident designer), The Evidence Room, Merrimack Jamie A. Tucker* (Stage Manager) is excited to Repertory Theatre, Cleveland Playhouse, Pasadena be in his 12th season at SCR. Tucker completed his Playhouse, Milwaukee Repertory, Arizona Theatre MFA in dance, specializing in stage management, Company, Capital Repertory, The Kennedy Center, at the University of California, Irvine in 1994. Since Arden Theatre Company, Pig Iron Theatre, New coming to SCR, he has stage-managed or assisted Paradise Labs, La MaMa E.T.C., Cherry Lane The- on 60 productions. Some of his favorites have been atre, GEVA, Capital Repertory Theatre, Pig Iron the world premieres of ’s Three Theatre, New Paradise Labs, Bard SummerScape, Days of Rain, The Violet Hour and The Dazzle; Long Beach Opera, amongst many. He holds an Rolin Jones’ The Intelligent Design of Jenny Chow; MFA from the California Institute of the Arts, and and Noah Haidle’s Mr. Marmalade. Other favor- received a 2005 Los Angeles Ovation Award for ites include Elemeno Pea, Jitney, A Midsummer the lighting design of Echo’s Hammer by Ken Roht Night’s Dream, , Fences, Anna at the Theatre @ Boston Court. Lilienthal currently in the Tropics, The Trip to Bountiful, A View from teaches lighting design at Tufts University. the Bridge, Chinglish and Hamlet. He has had the pleasure of working seven seasons on La Posada Jim Ragland (Composer/Soundscape) returns to Magica and five seasons at the helm of A Christ- SCR for his fifth show, having worked on The Weir, mas Carol. If you can’t find him in the theatre, he In the Next Room (or the vibrator play), Crimes of is likely to be riding his bike down PCH. Tucker is the Heart and Fences. Ragland was based in Seattle a proud member of Actors’ Equity. for many years, where his 100-plus credits included , The Kentucky Cycle, Hamlet, Sue Karutz* (Assistant Stage Manager) has pre- Ghosts, Molly Sweeny and at In- viously stage managed or assisted at SCR on The timan Theatre; Seven Guitars, Julius Caesar and Parisian Woman, Chinglish, A Christmas Carol, The The Beauty Queen of Leenane at Seattle Repertory Night Fairy, Junie B. in Jingle Bells, Batman Smells!, Theatre; Alice in Wonderland at Seattle Children’s The Hoboken Chicken Emergency and Oleanna. Theatre; Fuddy Mears and Our Country’s Good at She toured with The Black Rider (London, San A.C.T.; Marisol at The Group; The Rocky Horror Francisco, Sydney, L.A.), Wicked (, L.A.,

Death of a Salesman • South Coast Repertory • P15 San Francisco), Les Misérables (U.S., Canada, Shang- Critics Circle Award for Distinguished Achievement hai, Seoul) and Cirque du Soleil’s Corteo (Moscow, in Directing an unparalleled seven times for George Brussels.) Off-Broadway, she earned her Equity Bernard Shaw’s Major Barbara, Misalliance and card on Howard Crabtree’s When Pigs Fly. Ka- Heartbreak House; John Millington Synge’s Playboy rutz has stage-managed for , of the Western World; Arthur Miller’s The Crucible; Los Angeles Opera, Pasadena Playhouse, Falcon Sally Nemeth’s Holy Days; and ’s Pu- Theatre, Deaf West Theatre, American Conserva- litzer Prize-winning , which he also directed at Se- tory Theater, La Jolla Playhouse, Idaho Shakespeare attle Repertory Theatre and Houston’s Alley Theatre. Festival and The National Theatre of the Deaf, and He has directed American classics such as A Street- she also spends some of her time running the show car Named Desire and has distinguished himself in “Fantasmic!” at Disneyland Resort. staging contemporary work, including the critically acclaimed California premiere of William Nicholson’s Paula Tomei (Managing Director) is responsible Shadowlands. Most recently, he directed the world for the overall administration of SCR and has been premiere of Julie Marie Myatt’s The Happy Ones, a managing director since 1994. A member of the revival of Misalliance, ’s, The Trip to SCR staff since 1979, she has served in a number of Bountiful and Samuel D. Hunter’s The Whale. Ben- administrative capacities, including subscriptions son received his BA in Theatre from San Francisco manager, business manager and general manager. State University. She was the president of the board of Theatre Com- munications Group (TCG), the national service orga- David Emmes (Founding Artistic Director) is co- nization for theatre, and served two terms as a board founder of South Coast Repertory. In May 2008, he member. She has also served as treasurer of TCG, received the Margo Jones Award for his lifetime com- vice president of the League of Resident Theatres mitment to theatre excellence and to fostering the (LORT) and has been a member of the LORT Nego- art and craft of American playwriting. In addition, he tiating Committee for industry-wide union agree- has received numerous awards for productions he ments. In addition, she represents SCR at national has directed during his SCR career, including a Los conferences of TCG and LORT; is a theatre panelist Angeles Drama Critics Circle Award for the direc- for the National Endowment for the Arts (NEA) and tion of George Bernard Shaw’s The Philanderer. He the California Arts Council; site visitor for the NEA; directed the world premieres of ’s Safe in and has been a guest lecturer in the graduate school Hell, The Beard of Avon and Freedomland, Thomas of business at Stanford and UC Irvine. She is on the Babe’s Great Day in the Morning, Keith Reddin’s board of Arts Orange County, the county-wide arts Rum and Coke and But Not for Me and Neal Bell’s council, and the board of the Nicholas Endowment. Cold ; the American premieres of Terry John- Tomei graduated from UC Irvine with a degree in son’s Unsuitable for Adults and Joe Penhall’s Dumb economics and pursued an additional course of Show; and the Southland premiere of Top Girls study in theatre and dance. She teaches a graduate (at SCR and the Westwood Playhouse). Other pro- class in nonprofit management at UC Irvine. ductions include New England by Richard Nelson as well as Arcadia by , The Impor- Martin Benson (Founding Artistic Director), co- tance of Being Earnest by Oscar Wilde, Ayckbourn’s founder of SCR, has directed nearly one-fourth of Woman in Mind and You Never Can Tell by George SCR’s productions. In 2008, he and David Emmes Bernard Shaw, which he restaged for the Singapore received the Margo Jones Award for their lifetime Festival of Arts. He has served as a theatre panelist commitment to theatre excellence and fostering and onsite evaluator for the National Endowment the art and craft of American playwriting. They also for the Arts, as well as a panelist for the California accepted SCR’s 1988 Tony Award for Outstanding Arts Council. After attending College, Resident Professional Theatre and won the 1995 he received his BA and MA from San Francisco State Theatre L.A. Ovation Award for Lifetime Achieve- University, and his PhD in theatre and film from ment. Benson has received the Los Angeles Drama 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 • Death of a Salesman