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Home , Ahmanson Theatre, Amy Freed, A Little Night Music, Being Alive, Center Theatre Group, Craig Zadan

46th Season • 437th Production Segerstrom STAGE / September 11 - october 11, 2009

David Emmes Martin Benson Producing Artistic Director Artistic Director

presents

words and music by devised by Stephen Sondheim and Julia McKenzie

Thomas Buderwitz Soojin Lee Steven Young Drew Dalzell Scenic Design Costume Design Lighting design Sound Design Joshua Marchesi Jamie A. Tucker* Production Manager Stage Manager

Musical Direction by Dennis Castellano

Directed by Nick DeGruccio

Dr. S.L. and Mrs. Betty Eu Huang Huang Family Foundation Honorary Producers CORPORATE PRODUCER

Putting It Together is presented through special arrangement with Music International (MTI). All authorized performance materials are also supplied by MTI. 421 West 54th Street, New York, NY 10019; Phone: 212-541-4684 Fax: 212-397-4684; www.MTIShows.com

Putting It Together• So u t h Co a s t Re p e r t o r y P1 THE CAST (in order of appearance)

Matt McGrath* * Niki Scalera* Dan Callaway* Mary Gordon Murray*

MUSICIANS Dennis Castellano (conductor/keyboards), John Glaudini (synthesizer), John Reilly (woodwinds), Louis Allee (percussion)

SETTING A New York penthouse apartment. Now.

LENGTH Approximately two hours including one 15-minute intermission.

PRODUCTION STAFF Casting ...... Joanne DeNaut, CSA Dramaturg ...... Linda Sullivan Baity Assistant Stage Manager ...... Chrissy Church* Stage Management Intern ...... Katherine McCarthy Assistant Sound Designer...... Jeff Polunas Assistant Lighting Designer ...... Adam Levine Additional Costume Staff ...... Iris Marshall

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

Media Partner Segerstrom Stage Media Partner Season Media Partner

P2 So u t h Co a s t Re p e r t o r y • Putting It Together Harry Groener, Mary Gordon Murray, Matt McGrath, Dan Callaway, Niki Scalera and director Nick DeGruccio.

ACKNOWLEDGEMENT Yamaha piano provided courtesy of Keyboard Concepts Inc. of Tustin, CA.

Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. 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-audible mode during the performance. Smoking is not permitted anywhere in the theatre.

Putting It Together • So u t h Co a s t Re p e r t o r y P3 Putting it Together Song List ACT I

1. Invocation and Instructions to the Audience...... Matt [from ] 2. Putting It Together...... [from Sunday in the Park with George] 3. Rich and Happy #1...... Company [from Merrily We Roll Along] 4. Merrily We Roll Along #1...... Matt [from Merrily We Roll Along] Lovely...... Niki [from A Funny Thing Happened on the Way to the Forum] 5. Everybody Ought to Have a Maid...... Harry, Dan, Matt, Niki [from A Funny Thing Happened on the Way to the Forum] 6. Sequence...... Company Sooner or Later [from ] I’m Calm [from A Funny Thing Happened on the Way to the Forum] Impossible [from A Funny Thing Happened on the Way to the Forum] Ah, But Underneath [from , 1987] 7. Hello, Little Girl...... Dan, Niki [from ] 8. My Husband the Pig: Every Day a Little Death...... Mary, Niki [from ] 9. Merrily We Roll Along #2...... Matt Have I Got a Girl for You...... Harry, Dan [from Company] 10. Pretty Women...... Dan, Harry [from ] 11. Now...... Matt, Dan [from A Little Night Music] 12. Bang!...... Dan, Niki [cut from A Little Night Music] 13. Country House ...... Mary, Harry [from Follies, 1987] 14. Merrily We Roll Along #3...... Matt Could I Leave You?...... Mary [from Follies]

P4 So u t h Co a s t Re p e r t o r y • Putting It Together ACT II

1. Back in Business...... Company [from Dick Tracy] 2. Rich and Happy #2...... Harry, Dan, Niki, Mary 3. Night Waltzes...... Company Love Takes Time Remember? In Praise of Women Perpetual Anticipation The Sun Won’t Set [from A Little Night Music—stage and film] 4. Game Sequence #1: What Would We Do Without You?...... Company [from Company] Gun Song...... Company [from ] 5. Game Sequence #2: A Little Priest...... Company [from Sweeney Todd] 6. The Miller’s Son ...... Niki [from A Little Night Music] 7 Live Alone and Like It...... Dan [from Dick Tracy] 8. Sorry-Grateful...... Harry [from Company] 9. Sweet Polly Plunkett...... Mary [from Sweeney Todd] 10. I Could Drive a Person Crazy...... Matt and Company [from Company] 11. Getting Married Today...... Mary and Company [from Company] 12 Marry Me a Little...... Dan [from Company] 13. Merrily We Roll Along #4...... Matt ...... Harry, Dan, Niki, Mary [from Company] 14. ...... Mary [from Merrily We Roll Along] 15. Old Friends...... Harry [from Merrily We Roll Along] Merrily We Roll Along #5...... Company

Putting It Together • So u t h Co a s t Re p e r t o r y P5 Music and Lyrics by Stephen Sondheim

vast majority of the COMPANY songs heard in Putting It Book by Together were originally Opened 1970, Alvin Theatre, composed for these 690 performances, 6 Tony six iconic Sondheim Awards (including Best Musical), musicals. Here are Sondheim’s first two Tonys (Best someA facts about each show’s original Music and Best Lyrics) and first Broadway production, followed by Grammy (Best Score) brief synopses and insights from their inimitable composer. What began as a series of unre- lated dramatic vignettes morphed A FUNNY THING HAPPENED into a free-flowing and essentially ON THE WAY TO plotless musical held together by THE FORUM Robert, the unattached outsider Book by who observes and comments on and the lives of his coupled friends while confronting Based on three plays by his own gloomy ambivalence on the subject of Plautus marriage. Opened 1962, Alvin Theatre, 964 “Up until Company, I thought musicals had to have performances, 6 Tony very strong plots. One of the things that fascinated Awards (including Best me about the challenge of the show was to see if a Musical) musical could be done without one. Many of the people who disliked the show disliked it for that Young, brainless Hero reason. […] The second reason has fallen in love at first was that people were mistaking sight with young, brain- our saying that relationships are less Philia, a courtesan new to the difficult for saying that relationships brothels. His family slave Pseudolus are impossible. What we clearly offers to secure Hero’s virgin for said […] was two is difficult but one him in exchange for freedom. The is impossible. We said it over and problem is that Philia has already over again and yet a lot of people been spoken for by Miles Gloriosus, missed it.” who is returning to claim her. FOLLIES “I think that the book is vastly un- Book by derrated. It’s brilliantly construct- Opened 1971, Winter Garden ed. We worked on the show over Theatre, 522 performances, 7 a period of four years. It took Larry (included Best Music and Burt eleven complete and dis- and Lyrics) tinct separate drafts, and everybody thinks that it was whipped up over a Arriving at a Ziegfeld Follies re- weekend because it plays so easily. union, two former stage door […] It’s almost a foolproof piece—it Johnnies and the chorus girls can be done by any high school cast they married use the occasion to or a group of vaudevillians and the contemplate what has happened holds up.” to their lives over the last thirty years. Periodically, their younger

P6 So u t h Co a s t Re p e r t o r y • Putting It Together selves materialize as silent SWEENEY TODD memories of the way they Book by all were. Opened 1979, Uris Theatre, 557 performances, 7 Tony Awards (including Best Musical) “The reason that Jim chose the Follies as a metaphor Based on one of the most popular melodramas was that the Follies repre- in British theatre history, the story concerns a sented a state of mind of falsely imprisoned barber who escapes and re- America between the two turns to with a new identity, determined world wars. Up until 1945, to exact justice from the judge who wronged America was the good guy, him. In partnership with the owner of a floun- everything was idealistic dering pie shop, his bloody revenge quickly esca- and hopeful and America lates into mindless rampant carnage. was going to lead the world. Now […] the dream has “What I wanted to write was a horror movie. collapsed, everything has The whole point […] is that it’s a background turned to rubble underfoot, score for a horror film, which is what I intended and that’s what the show to do and what it is. All those chords and the was about—the collapse of whole kind of harmonic structure … the use of the dream.” electronic sounds and the loud crashing organ had a wonder- A LITTLE NIGHT MUSIC ful Gothic feeling. It had to Book by Hugh Wheeler be unsettling, scary, and very Suggested by the film “Smiles of a romantic.” Summer Night” by Opened 1973, Shubert Theatre, 601 MERRILY WE ROLL performances, 5 Tony Awards (including ALONG Best Musical) Book by George Furth Opened 1981, Alvin Theatre, This light-hearted comedy of sexual mu- 16 performances sical chairs played by the upper class is set in turn-of-the-20th-century : a An episodic tale of artistic cor- middle-aged actress tries to discard one ruption that begins in 1980 lover in order to marry the other. The and works its way backward fact that both men are already married in time to 1957. The central complicates matters somewhat, while as- characters are a songwriting sorted sons, daughters, wives, and ser- duo and an author whose ide- vants add their stories to the elegant yet alistic, hope-filled dreams of oh-so-civilized romantic mix. showbiz success come true, but at a terrible cost. The “Night Music was a show that final scene ends with three gave me pleasure for different high school friends singing of an optimistic future. reasons than the other musicals I’ve written. I like writing ele- “Since Merrily We Go Along is about friendship, the gant stuff sometimes, although score concentrates on the friendship of Mary, Frank and I generally like to write shows Charley by having all their songs interconnected through that are more openly emo- chunks of melody, rhythm and accompaniment. And tional because they are more since the story moves backwards in time, […] if the score satisfying to me personally. I is listened to in reverse order—although it wasn’t written also don’t think the show was that way—it develops traditionally.” as great a departure for me as some have said it was. It’s all All quotes are excerpted from Craig Zadan’s Sondheim and Com- of a fabric—just another seg- pany (Harper & Row, 1989) and Joanne Gordon’s Art Isn’t Easy: The ment of my work.” Achievement of Stephen Sondheim (Southern Illinois UP, 1990).

Putting It Together• So u t h Co a s t Re p e r t o r y P7 Putting Putting it Together Together By song from the score of Sun- first met Stephen Sondheim in 1976 over a show day in the Park which most theatre pundits thought would close with George. during previews — a compilation of his songs With a first-rate called . The gods of cast headed by the theatre were kind. Side by Side became an , we Iovernight smash hit, bringing Stephen’s extraordi- tried the show nary talent to a wide London audience for the first out in Oxford, time, and subsequently around the world. England, in Jan- While Side by Side was being performed every- uary 1992. where and Stephen continued writing new scores, Despite requests to “update” Side by Side with the latest its success, I material steadily increased. But it was not until couldn’t find a after my production of Stephen’s Follies opened in theatre of the London in 1987 that he and I started to talk about right size in Lon- fashioning a second compilation. don to transfer With Julia McKenzie, one of the original cre- to and asked ators of Side by Side by Sondheim, on board as di- Lynne Meadow rector, the idea of characters at a dinner party was Cameron Mackintosh (Artistic Direc- born, a framework which would provide continuity tor of the Man- for songs from many different shows and still allow hattan Theatre Club) if she would like to have the their emotional content to be properly realized. American premiere of the show. She was more By the autumn of ’91 they had put together a than happy to, and so we set about assembling the fairly comprehensive draft of the new show, which personnel for a production to open in March of by now I had christened Putting It Together — a 1993. As we traded fantasies about ideal performers, heading the list was . An inquiry was made. Yes, she was possibly free and she wasn’t saying an immediate “No.” Luckily, the combina- tion of Stephen’s material and my relentless court- ing proved irresistible, and she said “Yes.” Meanwhile, we had found a wonderful group of /singers to make up our ensemble: Christo- pher Durang, one of New York’s favorite writers and performers; Tony Award-winner Michael Ru- pert, who left his leading role in to join us; the delicious , fresh from her Broadway debut in , and subsequent triumph as Fantine in Les Misérables; and making his surprise singing debut, one of television and theatre’s most popular leading men, Stephen Collins. Despite the joy of doing the show at the Man- hattan Theatre Club, it entailed the problem that very few tickets were available to the general pub- lic, as the regular M.T.C. subscription audience filled the majority of seats. This scarcity led to the

P8 So u t h Co a s t Re p e r t o r y • Putting It Together “Putting It Together” Words and Music by Stephen Sondheim Originally written for Sunday in the Park with George (1984)

Bit by bit Putting it together. . . Piece by piece— Only way to make a work of art. Every moment makes a contribution. Every little detail plays a part. Having just the vision’s no solution. Everything depends on execution: Putting it together— That’s what counts.

Ounce by ounce, Putting it together. . . Small amounts, Adding up to make a work of art. First of all, you need a good foundation, Otherwise it’s risky from the start. Takes a lot of earnest conversation— But without the proper preparation— Sondheim working on a score Having just the vision’s no solution— Everything depends on execution. extraordinary sight, heartening but disheartening, of hundreds of people lining up for tickets the day Art isn’t easy. the box office opened in the middle of a New York Every word, every line, winter, with a wind-chill factor of 20 degrees below Every glance, every movement freezing. Heavily clad audiences slid, skated, and You improve and refine, even skied to the box office, rewarding our frozen Then refine each improvement. . . cast with some of the most ecstatic receptions of the season! Putting It Together is neither a revue nor a dra- Is putting it together. . . matic musical but a mixture of the two, a sequence Bit by bit, of songs from many different shows and in many dif- Part by part. ferent styles. It charts the relationships of five char- Fit by fit, acters during a dinner party which begins lightheart- Start by start, edly enough but eventually reaches an emotional Stride by stride, climax. I cannot think of any other songwriters who Kick by kick, could rearrange their material the way he has done. Glide by glide, Perhaps his much-written-about love of puzzles has Schtik by schtik, enabled him to create such a cohesive piece, pulling Side by side songs from so many sources without betraying their By side origins and yet putting them together in an acces- By side sible new form which has its own identity. By side None of us who worked on Putting It Together By side— will ever forget the experience! And that is the start of the art! Excerpted from liner notes accompanying the 1993 RCA Victor Original of Putting It Together.

Putting It Together • So u t h Co a s t Re p e r t o r y P9 Artist Biographies

Da n Ca l l a w a y * nominations), (Tony Award nomination), Harrigan and Hart with is making his SCR debut. He Mark Hamill (Drama Desk Award nomination), Oh played Raoul in the Broadway Brother!, Is there Life After High School, Sleight of National Tour of The Phantom Hand, George in Sunday in the Park with George, of the Opera, Frederic in The Imaginary Friends, and in 2006, King Arthur Pirates of Penzance at the in . He appeared at Lincoln Center in and William Twelve Dreams by and Off-Broadway in the Broadway-bound in Picasso at the Lapin Agile by Steve Martin, and musical The Girl Who Would Be King, written If Love Were All with . His more than 60 by Rob Sternin and Pru Fraser (creators of TV’s television credits include the Mayor in “Buffy the “The Nanny” and “Who’s the Boss?”). Other Vampire Slayer,” Ralph in “Dear John,” episodes of credits include at the St. “: The Next Generation” (“Voyager” and Louis MUNY, Cinderella at Arkansas Repertory “Enterprise”), “Medium,” “Bones,” “Las Vegas,” Theatre, The Caucasian Chalk Circle at the “CSI,” “,” “” and “The Hangar Theatre, at Sacramento Music West Wing.” Film credits include About Schmidt Circus and Paradise Lost: Shadows and Wings with Jack Nicholson, Road to Perdition with Tom at the Theatre@Boston Court in Pasadena. He Hanks, Amistad, Dance with Me with Vanessa performed in Linda Eder’s Broadway Concert at the Williams, Patch Adams with Robin Williams, Gershwin Theatre, televised on the Bravo Network, Brubaker with Robert Redford, Manna from and he appeared in ’s One Touch of Heaven, Role of a Lifetime with Scott Bakula, and Venus at the Royal Opera House in London. Most The Day the World Ended. He is an Associate recently, he completed a run of as the Artist of the The Old Globe in San Diego. He is Voice of Charlemagne at the in also a proud member of The Antaeus Company in conjunction with Deaf West Theatre. Mr. Callaway and is happily married to his wife of 31 teaches classes in Los Angeles at years, Dawn Didawick. Our Learning Spot (www.ourlearningspot.com). He is also co-founder of Ciao Bella Productions, which he owns and operates with his wife, Tony- Ma t t McGr a t h * nominated producer Heather Provost. As always, this performance is for her. appeared previously at SCR in the Pacific Playwrights Festival reading of Doctor Ha r r y Gr o e n e r * Cerberus, the NewSCRipts reading of House to Half and was last seen at SCR in 1996 as the productions of Ridiculous Bluntschli in George Bernard Fraud and R a i s e d i n Shaw’s Arms and the Man and Captivity. He most recently appeared in Bell, in 1989 as George in Sunday Book and Candle at Bay Street Theatre Festival in the Park with George by and Caroline in Jersey at Williamstown Theatre Stephen Sondheim. Mr. Festival. Mr. McGrath starred in The Black Rider at Groener’s Broadway credits ’s in Los include: (Tony nomination), Angeles; Barbican Theatre in London; American Oklahoma! (, Tony and Conservatory Theater in and in

P10 So u t h Co a s t Re p e r t o r y • Putting It Together Sydney, garnering a Helpmann Award nomination. was nominated for the San Francisco Bay Area On Broadway he appeared in Cabaret (Emcee) Theatre Critics Circle Award. and . Off-Broadway appearances include Hedwig and the Angry Inch and A Fair Country at Lincoln Center Theater and Ni k i Sc a l e r a * Minutes from the Blue Route, The Dadshuttle, Fat Men in Skirts, The Old Boy, Life During Wartime, is a native of Connecticut Amulets Against the Dragon Forces and Dalton’s who began her career at Back (Drama Desk Award nomination). Regional age five starring in national theatre credits include Japes at Bay Street Theatre commercials and regional Festival; Mother of Invention at Williamstown theater. At age eight, Theatre Festival; Loot at Williamstown Theatre she starred in the Emmy- Festival and ; Distant Fires (LA nominated ABC after school Weekly Award) and Snakebit. Film credits include special, “Don’t Touch,” directed by Beau Bridges, Full Grown Men (Tribeca Film Festival), The where she played a sexually abused child. Other Notorious Bettie Page, The Anniversary Party, daytime drama work includes Loving, All My The Broken Hearts Club, Boys Don’t Cry, The Children and Another World. She made her Impostors, The Substance of Fire, Bob Roberts, The Broadway debut at age 12 in ’s Jake’s Dadshuttle and Desperate Hours. On television he Women. Shortly after, she performed Off-Broadway appeared in “Law & Order: Criminal Intent,” “Little in ’s Vanishing Act, at Long Britain U.S.A.” and “Cruel Doubt.” Wharf Theatre in with Hal Holbrook and alongside James Naughton and in the industrial musical The American Dream at Ma r y Go r d o n Mu r r a y * Century City’s Shubert Theatre. After receiving her BA from NYU’s Tisch School of the Arts, she is making her SCR debut. toured the country as the rebellious preacher’s She most recently appeared daughter, Ariel, in the Broadway musical Footloose. as Mrs. Lovett in Stephen She was also an original company member of Sondheim’s Sweeney Todd at Queen’s We Will Rock You at the Paris, Las Vegas. Sacramento Music Circus. Her Her Broadway credits include the original cast of Broadway credits include Into Disney’s Tarzan as cover for Jane Porter, and, most the Woods as the Baker’s Wife, recently, ’s Penny Lou Pingleton. She for which she received a best actress Tony is thrilled to be making her SCR debut in Putting nomination, Footloose, Coastal Disturbances, it Together and thanks her family, friends, and The Robber Bridegroom, Grease and Play Me a wonderful husband, Fritz! www.nikiscalera.com Country Song. Off-Broadway, Ms. Murray was in the original casts of A My Name is Alice, The Co m p o s e r /Lyricist, Di r e c t o r a n d De s i g n e r s Knife, and The Spitfire Grill. She has worked at many regional around the country, St e p h e n So n dh e i m (Composer/Lyricist), one of including , The Old Globe, La Jolla the most influential and accomplished composer/ Playhouse and The Cleveland Play House, as well lyricists in Broadway history, was born in New York as playing Gussie in two of Stephen Sondheim’s City and raised in New York and Pennsylvania. As re-worked productions of Merrily We Roll Along. a teenager he met Oscar Hammerstein II, who She has worked extensively in television, recently became his mentor. Sondheim graduated from starring on “Nip/Tuck,” “CSI,” “Bones,” “Numb3rs” Williams College, where he received the Hutchinson and “Cold Case.” She was Laura Bush opposite Prize for Music Composition. After graduation Timothy Bottoms in the Showtime movie DC/9- he studied music theory and composition with 11: Time of Crisis and spent many years as Becky Milton Babbitt. He worked for a short time in on ABC’s “One Life to Live.” Her feature film the 1950s as a writer for the television show work includes Born Yesterday, Poison Ivy and “Topper”; his first professional musical theatre Junior. Ms. Murray has won the Drama-Logue job was as the songwriter for the unproduced Award, the Philadelphia Critics Circle Award and musical . He wrote the lyrics for

Putting It Together • So u t h Co a s t Re p e r t o r y P11 (1957), (1959) and Do I Hear the West Coast premiere of The Andrews Brothers A Waltz? (1965), as well as additional lyrics for at Musical Theatre West (LA Ovation Award for (1973). Musicals for which he has written Ensemble, nomination for Direction) as well as Kiss both music and lyrics include A Funny Thing of the Spider Woman (four LADCC nominations) Happened On The Way To The Forum (1962), and the L.A. premieres of Thrill Me (two LA Ovation (1964), Company (1970 - nominations, LADCC nomination) and Dog Sees 1971 Tony Award Music and Best Lyrics), Follies God (two LADCC nominations, three LA Weekly (1971 - 1972 Tony Award Score and New York nominations, GLAAD Media nomination) for Havok Drama Critics Circle Award; revised in London, Theatre Company’s inaugural season. His other 1987), A Little Night Music (1973 - Tony Award productions and Ovation-nominated works include Score), The Frogs (1974), (1976 Side By Side By Sondheim for The Rubicon Theatre - New York Drama Critics’ Circle Award), Sweeney and ; the L.A. premiere of Side Todd (1979 - Tony Award Score), Merrily We Roll Show (Colony Theatre); The Last Five Years in Along (1981), Sunday In The Park With George rep with I Do! I Do! (Pasadena Playhouse); The (1984 - New York Drama Critics Circle Award; Spitfire Grill (Laguna Playhouse/OC Weekly Award 1985 ), Into The Woods Best Musical); and La Cage Aux (1987 - Tony Award Score), Assassins (1991) and Folles (Musical Theatre West); The Full Monty (1994 - Tony Award Score). He composed (San Diego Music Theatre); Zanna, Don’t! at West the songs for the television production Evening Coast Ensemble (LADCC Award for Direction); Primrose (1966), co-authored the film The Last Bad Apples, a world premiere play for The Rubicon of Sheila (1973) and provided incidental music Theatre Company; Beehive at the El Portal Theatre; for The Girls of Summer (1956), Invitation to a I Left My Heart...a tribute to Tony Bennett (Welk March (1961) and Twigs (1971). Side By Side By Resort); My Way (La Mirada PAC); and Altar Boyz Sondheim (1976), Marry Me A Little (1981), You’re for The Welk Resort. For Musical Theatre Guild, Gonna Love Tomorrow (1983; originally presented he directed the L.A. premiere of A Man Of No as A Stephen Sondheim Evening) and Putting It Importance (GLAAD Media Award nomination), Together (1993) are anthologies of his work. He Andrew Lippa’s The Wild Party and How Now has written scores for the films Stavisky (1974) and Dow Jones. Other directing credits include: Reds (1981), and composed songs for the film Dick Basic Training (2nd Stage/NAACP nomination Tracy (1990 - Academy Award for Best Song). He is for Direction), (Performance on the Council of the Dramatists Guild, the national Riverside), Pippin (BCLO) and Happily Ever association of playwrights, composers and lyricists, After…After All with voice overs by having served as its president from 1973 until 1981, ( 9 O’clock Players). Mr. DeGruccio is an alumnus and in 1983 was elected to the American Academy of the Lincoln Center Theatre Director’s Lab West. of Arts and Letters. In 1990 he was appointed the www.nickdegruccio.com first Visiting Professor of Contemporary Theatre at Oxford University. He was also recipient of a De n n i s Ca s t e l l a n o (Musical Director) has Kennedy Center Honor in 1993. musically directed the SCR productions of An Italian Straw Hat, A Little Night Music, A Christmas Ni c k DeGr u c c i o (Director) is a three-time Carol, , Sunday in the Park with recipient of the LA Ovation Award for Direction George and A Chorus of Disapproval. Recent and received the 2008 Los Angeles Drama Critics credits include The Full Monty and the American Circle Joel Hirschhorn Award for Outstanding premiere of Twice Upon a Time for Civic Light Achievement in Musical Theatre as well as the Opera of South Bay Cities; Me and My Girl and A 2009 BackStage Garland Award for Direction for an Chorus Line for The Music Theatre of Wichita; My Outstanding Season of Work. He is elated to return Fair Lady, The Unsinkable Molly Brown, Guys to SCR, having directed A Year With Frog and Toad and Dolls and Get Your Gun for McCoy last season. He received Ovation Awards for his Rigby Entertainment; , A Funny direction of The Laramie Project at the Colony Thing Happened On the Way to the Forum and Theatre and Laguna Playhouse, 1776 at Performance Thoroughly Modern Millie for Musical Theatre Riverside and most recently for Jekyll & Hyde at West; Lil Abner for the Musical Theatre Guild; and Cabrillo Music Theatre. Recent credits include just this past summer conducted Guys and Dolls

P12 So u t h Co a s t Re p e r t o r y • Putting It Together and for the Sacramento Music Wings (Ovation nominee), Othello and God Save Circus, where he has conducted for the past 20 Gertrude at Theatre@Boston Court; The Taming seasons. Mr. Castellano serves as the Head of the of the Shrew, Rehearsal, Oliver Twist, Henry IV Music Theatre Program at UC Irvine and is very Part I, The Winter’s Tale, Dear Brutus, Man of La proud of his many students performing in New Mancha and A Touch of the Poet at A Noise Within; York and around the country. Touch the Water at Cornerstone Theater; Dawn’s Light and Voice from Okinawa at ; Th o m a s Bu d e r w i t z (Scenic Design) previously Invisible Glass at REDCAT; Cabaret at ICT; La designed Collected Stories, The Heiress, Doubt, a Ronde at Zephyr theater and FringeNYC; and others parable, Pig Farm, Bach at Leipzig, , A Deli- including Book of Tink, Skin, The Masque of the cate Balance, A Christmas Carol, But Not for Me, Red Death, Marriage, Fire Disease, herStory, Back and the 2007, 2008 and 2009 Galas for SCR. Other to Heaven, Dusk, , Faust and Believe It. Theaters: Geffen Playhouse, Pasadena Playhouse, Education/Training: MFA in theatre design from Laguna Playhouse, Denver Center Theatre Com- California Institute of the Arts. www.soojinlee.com pany, Reprise Theatre Company, Arizona Theatre Company, Rubicon Theatre Company, El Portal St e v e n Yo u n g (Lighting Design). Design credits Theater, Civic Light Opera of South Bay, Theatre@ include Boulevard of Broken Dreams at Coconut Boston Court, A Noise Within, Riverside Theater Grove Playhouse, A Time for Love at Studio Arena (FL), PCPA Theaterfest, San Diego Repertory, Port- Theatre, The Laramie Project and Forever Plaid land Repertory, The Colony Theatre, International at Laguna Playhouse, Side by Side by Sondheim City Theatre, Court Theatre, Coast Playhouse, In- and Showtune for Pasadena Playhouse, My Way terAct Theatre Company, Pacific Resident Theatre, and Swing! for McCoy Rigby Entertainment, plus West Coast Ensemble, McCoy Rigby/La Mirada The- productions in Long Beach, Vista, Winnipeg and atre, Odyssey Theatre Ensemble, Havok Theatre, Cincinnati. Other designs include Thrill Me: The Falcon Theatre, Apollo Theater (), Queens Leopold & Loeb Story (LADCC Award); Paradise Playhouse and the Helen Hayes Center in New Lost: Shadows and Wings (Ovation Award, Garland York. Mr. Buderwitz has received three Los Ange- Award, LA Weekly Award) for Theatre@Boston les Stage Alliance Ovation Awards (12 nominations) Court; JOB: The Hip-Hopera at the Stella Adler and three Los Angeles Drama Critics Circle Awards. and the New York Musical Theatre Festival 2006; His television designs include specials and series Jekyll and Hyde (Ovation Award) at Cabrillo Music for HBO, ABC, NBC, CBS, PBS, FoxSports, AMC, Theatre; Side Show (Garland Award, Robby Award) National Geographic, Comedy Central, MTV, ESPN, for The Colony Theatre; and No Fox, Disney, USA, UPN, VH1, PAX, A&E and Discov- Strings for Reprise!; Hot Mikado (Garland Award) ery. He has been honored with three Emmy Award for Musical Theatre West; A Picture of Dorian Gray nominations and an Art Directors Guild Award and Summertime for Theatre@Boston Court; and nomination. www.tombuderwitz.com Letting Go of God with Julia Sweeney. Mr. Young was honored in 2004 with the Angstrom Lifetime So o j i n Le e (Costume Design) returns to SCR after Achievement Award by the LADCC. For more designing A Year with Frog and Toad last season. information visit www.syoungld.com. Mr. Young Other designs include Paradise Lost: Shadow and currently serves as a Senior Project Designer for

Putting It Together • So u t h Co a s t Re p e r t o r y P13 Visual Terrain, Inc., an international design firm Ja m i e A. Tu c k e r * (Stage Manager) completed his specializing in lighting design, theatre consulting MFA in Dance, specializing in Stage Management, and production design for the architectural, at UC Irvine in 1994. Since coming to SCR, Mr. entertainment and television markets. Tucker has stage managed or assisted on over 37 shows in addition to seven seasons of La Posada Dr e w Da l z e l l (Sound Design) is happy to be back Mágica. Some of his favorites have been the world at SCR, having previously designed An Italian Straw premieres of Richard Greenberg’s Three Days of Hat, Imagine, A Little Night Music, A Christmas Rain, The Violet Hour and The Dazzle; Rolin Jones’ Carol, Bunnicula, The Hoboken Chicken The Intelligent Design of Jenny Chow; and Noah Emergency, Intimate Exchanges and Sideways Haidle’s Mr. Marmalade. Other favorites include Stories from Wayside School. Other design work , A View from the Bridge and includes Toy Story: The Musical for Disney Cruise Hamlet. If you can’t find him in the theatre, he is Lines; The Laramie Project at Laguna Playhouse; likely to be riding his bike down PCH. Mr. Tucker is Los Illegals with the Cornerstone Theater Company; a proud member of Actors’ Equity. Fen (Garland Award), The Mound Builders, The Cosmonaut’s Last Message to a Woman He Ch r i s s y Ch u r c h * (Assistant Stage Manager) is Loved in the Former Soviet Union and As I Lay excited to be embarking on an adventurous 9th sea- Dying (Ovation Award nomination) at Open Fist; son here at SCR. A proud member of Actors’ Equity, A Time for Love, Songs for a New World (Ovation previous credits include last season’s Collected Sto- Award) and Tick, Tick...Boom at Rubicon Theatre; ries, Our Mother’s Brief Affair, Noises Off, A Christ- and Side Show (Ovation Award nomination), Billy mas Carol and The Heiress; the world premieres of Bishop Goes to War (Ovation Award nomination), Mr. Marmalade, Getting Frankie Married — and No Way to Treat a Lady, , The Afterwards, Making It and Nostalgia; productions Laramie Project, Fuddy Meers, Around the World of Taking Steps, What They Have, Charlotte’s Web, in 80 Days and The Grand Tour with The Colony Doubt, a parable, My Wandering Boy, The Real Theatre Company. The Lee Strasberg Theatre, Thing, Hitchcock Blonde, Born Yesterday, Pinoc- Shakespeare Festival/LA, The Sacred Fools Theater chio, The Little Prince, Intimate Exchanges, La Pos- Company, and The Evidence Room are just a few ada Mágica, Anna in the Tropics, Proof, and the of the many theatres where his designs have been Pacific Playwrights Festival workshop of Tough Titty. heard. He is an Associate Artistic Director for The Echo Theatre Company and has just completed Da v i d Emm e s (Producing Artistic Director) is work as the Technical Director for the Nickelodeon co-founder of SCR. In May 2008, he and Martin Family Cruise. He owns Diablo Sound, a design Benson received the Margo Jones Award for their and production company that works with Disney, lifetime commitment to theatre excellence and to Universal Studios, Nickelodeon, The City of Los fostering the art and craft of American playwriting. Angeles and The City of Beverly Hills. He won In addition, he has received numerous awards for the 1998 USITT Clear Com Sound Achievement productions he has directed during his SCR career, Award and holds an MFA in Sound Design from including a Los Angeles Drama Critics Circle Award Cincinnati Conservatory of Music at the University for the direction of George Bernard Shaw’s The of Cincinnati. Philanderer. He directed the world premieres

Sep 27 - Oct 18, 2009 Julianne Argyros Stage Orange County, California, 1975. The happiest place on earth for family man Walter Wells. by Julie Marie Myatt Until fate intervenes.

Honorary Producer: MARY BETH ADDERLY by Julie Marie Myatt Media Partner: OC METRO scr.org • (714) 708-5555

P14 So u t h Co a s t Re p e r t o r y • Putting It Together of ’s Safe in Hell, The Beard of Avon and Freedomland, Thomas Babe’s Great Day in Dr. S.L. a n d Mr s . Be t t y Eu Hu a n g and the Morning, Keith Reddin’s Rum and Coke and Th e Hu a n g Fa m i l y Fo u n d a t i o n (Honorary But Not for Me and Neal Bell’s Cold Sweat; ) are enjoying their fourth time as American premieres of Terry Johnson’s Unsuitable underwriters. They were Honorary Producers for Adults and Joe Penhall’s Dumb Show; the West of Hamlet (2007), and Tom Walker and Coast premieres of C.P. Taylor’s Good and Harry Lovers and Executioners during the 2001 Kondoleon’s Christmas on Mars; and the Southland and 2003 seasons respectively. They belong premiere of Top Girls (at SCR and the Westwood to SCR’s Platinum Circle, subscribe to First Playhouse). Other productions include the West Nights on both stages and were donors to Coast premieres of Three Viewings by Jeffrey the $50 million Next Stage Campaign. S.L. Hatcher, The Secret Rapture by David Hare and currently serves as a member of the SCR Board New England by Richard Nelson; and Arcadia by of Trustees; Betty was elected an Emeritus Tom Stoppard, The Importance of Being Earnest Trustee at the July 2009 Annual Meeting. In by Oscar Wilde, Ayckbourn’s and 2007, while serving her final year as a Trustee, You Never Can Tell by George Bernard Shaw, which Betty chaired the Gala “Affair in Shanghai,” he restaged for the Singapore Festival of Arts. He and previously chaired the Corporate Circle has served as a theatre panelist and onsite evaluator and Audience Development committees. for the National Endowment for the Arts, as well The Huang’s children have also participated as a panelist for the California Arts Council. After in SCR’s Theatre Conservatory Program. attending College, he received his BA “Underwriting shows at SCR has provided and MA from San Francisco State University, and his wonderful experiences for us,” Betty said. PhD in theatre and film from USC. “I encourage everyone to join the ranks of Honorary Producers.” Ma r t i n Be n s o n (Artistic Director), co-founder of SCR, has directed nearly one fourth of the plays Ha s k e l l & Wh i t e LLP (Corporate Producer) produced here. In May 2008, he and David Emmes has now underwritten eleven SCR productions received the Margo Jones Award for their lifetime — from A Christmas Carol in 2001 to last commitment to theatre excellence and to fostering season’s An Italian Straw Hat and now the art and craft of American playwriting. He has opening the 2009-2010 season with Putting it distinguished himself in the staging of contempo- Together — placing them among the Theatre’s rary work, including William Nicholson’s The Re- most dedicated corporate patrons. With treat from Moscow, the world premiere of Horton offices in Irvine and San Diego, Haskell & Foote’s Getting Frankie Married — and Afterwards White LLP is a leading provider of assurance, and the critically acclaimed California premiere of tax and consulting services to middle-market Nicholson’s Shadowlands. He has won accolades private and public companies. The firm is one for his direction of five major works by George of Orange County’s largest local accounting Bernard Shaw, including the Los Angeles Drama and consulting firms, and its culture promotes Critics Circle (LADCC) Award-winners Major Bar- supporting the nonprofit community. bara, Misalliance and Heartbreak House. Among

Oct 23 - Nov 22, 2009 Segerstrom Stage Saturn Endearingly grumpy, 88-year-old Gustin steps back— into the echoes of his life—and takes the audience by Julie Marie Myatt with him, bending time and surprising at every turn. Returns Honorary Producers: WYLIE & BETTE AITKEN by Noah Haidle Media Partners: KOCE-TV • OC BUSINESS JOURNAL scr.org • (714) 708-5555

Putting It Together • So u t h Co a s t Re p e r t o r y P15 his numerous world premieres is ’s So u t h Co a s t Re p e r t o r y , founded in 1964 and Pulitzer Prize-winning , which he also directed continuing today under the leadership of Artistic Di- at Seattle Repertory Theatre and the rectors David Emmes and Martin Benson, is widely in Houston. He has directed American classics in- regarded as one of America’s foremost producers of cluding Ah, Wilderness!, A Streetcar Named Desire, new plays. In its three-stage Folino Theatre Center A Delicate Balance and A View from the Bridge. in Costa Mesa, California, SCR produces a five-play Mr. Benson has received the LADCC Distinguished season on its Segerstrom Stage, a four-play season Achievement in Directing awards an unparalleled on its Argyros Stage, plus two annual holiday pro- seven times for the three Shaw productions, John ductions. SCR also offers a three-play Theatre for Millington Synge’s Playboy of the Western World, Young Audiences series, and year-round programs Arthur Miller’s The Crucible, Sally Nemeth’s Holy in education and outreach. SCR’s extensive new Days and Wit. He also directed the film version of play development program consists of commis- Holy Days using the original SCR cast. Along with sions, residencies, readings, and workshops, from Emmes, he accepted SCR’s 1988 Tony Award for which up to five world premieres are produced Outstanding Resident Professional Theatre and won each season. Among the plays commissioned and the 1995 Theatre LA Ovation Award for Lifetime introduced at SCR are ’ Sight Un- Achievement. Mr. Benson received his BA in The- seen and Brooklyn Boy; Richard Greenberg’s Three atre from San Francisco State University. Days of Rain, Everett Beekin and The Violet Hour; ’s , Jose Rivera’s Pa u l a To m e i (Managing Director) is responsible References to Salvador Dali Make Me Hot, Lynn for the overall administration of South Coast Reper- Nottage’s Intimate Apparel, ’ Prelude tory and has been Managing Director since 1994. A to a Kiss, Amy Freed’s The Beard of Avon, Marga- member of the SCR staff since 1979, she has served ret Edson’s Pulitzer Prize-winning Wit and David in a number of administrative capacities, including Lindsay-Abaire’s Pulitzer Prize-winning . Subscriptions Manager, Business Manager and Gen- Most of these plays were developed through its Pa- eral Manager. She served on the board of Theatre cific Playwrights Festival, an annual workshop and Communications Group (TCG), the national service reading showcase for up to eight new plays. Over organization for theatre, from 1998- 2006, and was forty percent of the plays SCR has produced have its President for four years. She has also served as been world, American or West Coast premieres. Treasurer of TCG, Vice President of the League of In 1988, SCR received the Regional Theatre Tony Resident Theatres (LORT) and has been a member Award for Distinguished Achievement, particularly of the LORT Negotiating Committee for industry- in the area of new play development. wide union agreements. In addition, she represents SCR at national conferences of TCG and LORT, is a Mu s i c Th e a t r e International is one of the world’s theatre panelist for the National Endowment for the leading dramatic licensing agencies, protecting Arts (NEA) and the California Arts Council, and site the rights and legacy of composers, lyricists and visitor for the NEA; served on the Advisory Commit- book writers. Our core business is issuing licenses tee for the Arts Administration Certificate Program and supplying scripts, musical materials, and other at UC Irvine; and has been a guest lecturer in the theatrical resources to schools and theatres, both graduate school of business at Stanford and UC amateur and professional around the world. With Irvine. She is on the board of Arts Orange Coun- nearly 300 titles in the MTI catalogue including ty, the county wide arts council, and she recently hits from the Broadway and London stage, musical joined the board of the Nicholas Endowment. Ms. revues, the Broadway Junior Collection and other Tomei graduated from UC Irvine with a degree in youth musicals, MTI shows have been performed Economics and pursued an additional course of by 60,000 amateur and professional theatrical study in theatre and dance. She also teaches a grad- organizations throughout the US and in over 60 uate class in nonprofit management at UC Irvine. countries around the world.

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

P16 So u t h Co a s t Re p e r t o r y • An Italian Straw Hat: A Vaudeville