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Home , ACT Theatre, Ahmanson Theatre, Athol Fugard, Baby the Rain Must Fall, David Mamet, Eva Le Gallienne

38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002

David Emmes Martin Benson Producing Artistic Director Artistic Director

presents the World Premiere of

by

Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM

Directed by MARTIN BENSON

Honorary Producers JEAN AND TIM WEISS,

AT&T: ONSTAGE ADMINISTERED BY COMMUNICATIONS GROUP

PERFORMING ARTS NETWORK / P - 1 CAST OF CHARACTERS (In order of appearance)

Constance ...... *Annie LaRussa Laverne ...... *Jennifer Parsons Mae ...... *Barbara Roberts Frankie ...... *Juliana Donald Fred ...... *Joel Anderson Georgia Dale ...... *Linda Gehringer S.P...... *Hal Landon Jr. Mrs. Willis ...... *Nan Martin Isabel ...... *Kristen Lowman Helen Vaught ...... *Sarah Rafferty Bill Simmons ...... Jason Guess Carlton Gleason ...... *Randy Oglesby

SETTING The living room of the Willis .

Act 1 Scene 1: Late spring/early summer, 1985 Scene 2: The next day. Scene 3: A day later. Act 2 Scene 1: Three months later. Scene 2: Four months later. Scene 3: One year later.

LENGTH Approximately two hours and 20 minutes, including one 15-minute intermission.

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

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

Official Airline

P - 2 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK PRODUCTION STAFF Assistant Stage Manager ...... *Scott Harrison Casting Director ...... Joanne DeNaut Production Assistant ...... Karen Cecilio Dialect Coach ...... Phil Thompson Assistant to the Set Designer ...... Yu Ming Chien Assistant to the Costume Designer ...... Julie Keen Assistant to the Lighting Designer ...... Shawn Fidler Stage Management Intern ...... Chrissy Church Additional Costume Staff ...... Tracy Gray, Leslie Kharma, Kelly Marshall, Stacy Nezda, Peggy Oquist, Jennifer Rogers

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 3 Horton Foote: A Legendary Life

March 14, 1916 1966-76 ★ Born in Wharton, Texas, the first of three boys, to Albert ★ Commissioned work in film adaptation: Hurry Horton and Hallie Brooks Foote. Sundown, The Chase, revisions for ’s screenplay, . 1933-35 ★ HB Playwrights Foundation production of ★ Studied acting at Pasadena , adapted from a short story by Playhouse in . . ★ Adaptation of Gone with the Wind as stage 1936-44 musical. ★ Worked as an actor in New York, ★ Film production of Tomorrow. trained at Tamara Daykarhanova ★ Wrote The Orphans’ Cycle. school. ★ HB Playwrights Foundation production of A ★ First plays written for American Young Lady of Property. Actors under direction of Mary Hunter, including 1977-89 Wharton , Texas Town, ★ Adaptations for PBS of Flannery O’Connor’s and Only the Heart. short story “The Displaced Person” and Faulkner’s short story “Barn Burning.” June 4, 1945 ★ Worked with Herbert Berghof at HB ★ Married Lillian Vallish. Playwrights Foundation. ★ Taught acting at HB 1945-49 Studio. ★ Moved to DC, ★ Academy Award, where he wrote and directed Writers Guild of Homecoming, People in the America Award and Show, Themes and Horton Foote at three Christopher Award Variations, and Goodbye in and fourteen. The for original Richmond. latter taken in front screenplay of Tender of a house his father ★ Returned to in sold in order to send Mercies. 1949. him to drama school. ★ Ensemble Studio Theatre Founders 1951-54 Award. ★ Wrote for television, including “The Gabby Hayes ★ Academy Award Show.” nomination for ★ Wrote ballet-with-words for musical screenplay of The Two’s Company. Trip to Bountiful. ★ Wrote for stage: The Chase, , ★ The Traveling Lady. Award. ★ Luminas Award. 1955-65 ★ Beginning of ★ Continued working in television, mostly commissioned independent film projects. production: 1918, On ★ Moved to Nyack, New York, in 1956. Valentine’s Day, ★ First screenplay: Storm Fear. Courtship. These films re-edited for PBS as The Story of a ★ Academy Award and Writers Guild of America Award for Marriage. his adaptation of ’s novel . ★ Compostela Award. ★ Screenplay for Baby, The Rain Must Fall from his ★ Achievement Award. The Traveling Lady. ★ Evelyn Burkey Award, Writers Guild East. ★ Moved to New Hampshire in 1966.

P - 4 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK 1990-1999 ★ Ian Hunter McLellan Award for Lifetime Achievement ★ Convicts, the film of Orphans’ Home Cycle play, released from Writers Guild East. starring and . ★ Great Lakes Theater Festival of Foote works for theatre, 2000 to present film and television, including production of Dividing the ★ Master American Dramatist Award of the PEN American Estate. Center. ★ , film adaptation of ★ The Last of the Thorntons, New York’s Signature Theatre novel, starring and . Company. ★ Habitation of Dragons (TNT teleplay for ★ National Medal of the Arts Award conferred by President Productions). Clinton for the entire body of his dramatic work. ★ ACT Theatre () productions of Convicts, ★ Carpetbagger’s Children, , Houston; Courtship and 1918. , Minneapolis; Hartford Stage, ★ Death of Lillian Vallish Foote, August 1992. . ★ Laurel Award, Writers Guild West. ★ Beginnings: A Memoir, an autobiographical chronicle of his early writing life, published by Scribner in October 2001. 1994-99 ★ American Press Association Award for ★ Signature Theatre Series: Best Play for Carpetbagger’s Children. Talking Pictures, ★ Carpetbagger’s Children currently Night Seasons, Young onstage at Lincoln Center, directed by Man from Atlanta and , starring , Laura Dennis. Roberta Maxwell and Hallie Foote. ★ Brigham Young Adapted from the chronology prepared by Gerald C. University Festival of Wood for his book, Horton Foote: A Casebook (New films and plays. York: Garland, 1998) ★ Award. ★ for Drama. ★ Outer Critics Circle— Special Achievement Award. ★ Lily Dale, film version of play from Orphans’ Horton Foote receiving Home Cycle, on his Pulitzer Prize from Columbia University Showtime, starring Mary President George Rupp; Stuart Masterson, Sam and in front of Radio City Shepard and Stockard Music Hall in 1962. Channing. ★ Induction into Theatre Hall of Fame. ★ Young Man from Atlanta restaged: Alley Theatre, Houston; Goodman Theatre, ; Longacre Theatre, New York. ★ Death of Papa, Playmakers , Chapel Hill, North Carolina, starring , and Hallie Foote. ★ Alone, original teleplay for Showtime, starring , James Earl Jones and . ★ Emmy Award for Hallmark Hall of Fame dramatization of Faulkner’s Old Man. ★ Elected to membership in the American Academy of Arts and Letters, from which he received the Gold Medal in Drama for his life’s work. ★ Farewell: A Memoir of a Texas Childhood, a chronicle of Foote’s early life, published by Scribner in May 1999. ★ Death of Papa, Hartford Stage, Connecticut.

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 5 Beginnings: A Memoir

The second volume of Horton Foote’s memoirs, entitled Be- string trio in the orchestra pit that played when the lights in ginnings, was published late last year by Scribner. It is a the auditorium were lowered and before the curtain was treasury of homespun recollections about his life after leav- raised. The orchestra played, as I remember, “Valse Triste.” ing home at the tender age of 17 to study acting at the When they quit playing, the audience applauded and the mu- . Although Foote’s literary style is fre- sicians left and there was silence. I had never seen or read quently described as Chekhovian, the young writer’s emerg- an Ibsen play before. I didn’t know what to expect, and I was ing dramatic aesthetic was profoundly influenced by three in no way prepared for the reaction I had. The curtain was Ibsen plays performed by Eva La Gallienne’s repertory com- raised and there was a living room and Tessman’s Aunt Julia, pany at the Biltmore Theatre in in March 1933. and a maid telling us about the newly married Tessmans. These plays affected him more deeply than any he had ever Then Hedda Tessman, Miss Le Gallienne, appeared. She was seen or read before. “Most plays,” he realized after seeing wearing a short skirt, smoking, as I remember, her hair in a Ibsen, “were thin gruel, of little substance.” short bob and the audience applauded as she entered. I watched ody Schwartzberg announced no one else from in early March that Eva Le then on whenev- JGallienne was coming to the she was on Biltmore Theater in Los Angeles to the stage. It do three Ibsen plays. She advised was impossible, everyone to go and see it seemed to me, not to watch her. She was compelling and brought a kind of restless ener- gy to the part that at times could be fright- eningly cruel and at other times she seemed so vul- them all, but nerable and frightened. I have never forgotten the way she if you could only said the word bored, or how she insulted her husband’s aunt see one, make it by pretending she thought the aunt’s new bonnet belonged to […] the maid, how she manipulated her friend Thea, how she The the- threatened to burn her hair, how she destroyed Eilert’s atre was manuscript, how she reacted to the news of Eilert’s death, packed. and how she took the threats of Judge Brock to blackmail There her and use her. How I felt, not knowing what was going to was a happen, when I heard the pistol shot offstage and learned she had killed herself. Mind you it is 67 years since I saw this production, and yet parts of her performance are as vivid to me now as when I first saw them. In a very funda- mental way it changed my life. What I saw on the stage that night made me determined from then on to somehow spend my life in the theatre.

Eva Le Gallienne and the Pasadena Playhouse

P - 6 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK Remembering Wharton, Texas

The following is excerpted from an essay written by Horton events of the past were constantly being reorganized and Foote scholar Marion D. Castleberry, in which he explores the shaped by the storyteller’s imagination: “I’ve learned that you playwright’s uncanny ability to “fashion the history and sto- can hear the same story told by six or seven people, and even ries of the region—coastal southeast Texas—into plays with though they think it’s the same story, it’s not. Every version is both personal and universal resonance.” Castleberry’s essay is personal, subjective, and all of them are telling the truth as published in Horton Foote: A Casebook, edited by Gerald C. they see it.” In such multiple narratives Foote discovered a Wood (Garland, 1998). way to reveal the inner lives of his characters and the drama between speakers. . . he first-born son of Albert Horton Foote, Sr., and Harriet At the end of the war, Horton Foote had been a play- Gautier (Brooks) Foote, Albert Horton Foote is descend- wright for more than five years. He had seen his dreams of be- Ted from two of the oldest and best-known families in coming a Broadway actor give way to the truth that his genius Texas. came from writing, not acting. He had written a half dozen His maternal great-grandfather was John Brooks, whose plays, most of them produced in Off-Broadway , and he aristocratic ancestors immigrated to America from Gloucester, had begun experimentation with various theatrical forms. Over England, in the 1600s, where they had been affluent mer- the years, he had learned his craft from varied and unexpected chants, doctors, and lawyers. His maternal great-grandmother sources—from his Russian acting teachers, from Mary Hunter was Harriet Gautier Brooks, whose parents (Peter William and and the American Actors Company, from great choreographers Elizabeth Gautier) were among the first settlers of the Texas like , , and Valerie Bettis, from Gulf Coast as well as the region’s most prominent land-owning other writers, and from productions of his own plays. Each of family. Although John Brooks, a businessman and community his experiences played an important part in his early career leader, prospered until the Civil War, the post-war drop in cot- and influenced all his subsequent writing. ton prices threw him into bankruptcy. He died on October 4, Yet no matter how diverse his writing has become, the 1870, leaving his wife and five children alone and penniless. source of his creativity has always been Wharton, Texas. Foote Fortunately, Harriet Brooks was a strong matriarch who kept was fascinated at an early age by the people around him—liv- her children fed and instilled in them a deep respect for their ing and dead—how they lived and died, loved and , pre- familial heritage. Her courage and resourcefulness became vailed and endured. The dramatic tension between their inner legend in the family stories passed down to Horton Foote. . . lives and their appearance of decorum and calm made pro- From his father as well as the other members of his ex- found impressions on him. Today, his homeplace still inspires tended family in Wharton, Texas, Foote inherited his home- his writing. The cotton fields, the pecan trees, the front porch place’s greatest resource: storytelling. A quiet and polite swings, the cemeteries, the dwindling towns—images of his child, he intently observed everything around him, especially youth—move poignantly through his plays. They testify to the narratives about the past: “My father loved to speculate about brutality, beauty, and mystery of life, to the universals the past, what might have happened if this had happened or discovered in the particular re- why did this happen this way. I know that’s where I got my ality of a small Texas town and own curiosity and speculative nature.” No truth or specula- its people. tion, he remembers, was withheld from him: “I was never told to leave no matter how gruesome or unhappy the tale and so early on I learned to accept the tragic events as part of life. I heard in lurid detail of feuds, hurt feelings, suicide, jealousies, passions, scoundrels of all kinds and descriptions.” Beyond the stories themselves, Foote was fascinated with how the

Horton Foote’s birthplace

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 7 Linda’s Luscious Lone Star Gumbo

hould you find yourself coming away from Getting Frankie Married—and Afterwards with an urge to sample some authentic seafood gumbo that’s also delicious (unlike the dubious concoction served up by Georgia Dale Ratliff in S the play), here’s a version guaranteed to please even the pickiest palate.

1 1/2 cups lard or vegetable oil 1 tsp. dried leaf thyme 1 1/2 cups all-purpose flour 1 tsp. freshly ground black pepper 1 large onion, chopped 1/2 tsp. cayenne pepper 1 medium green bell pepper, chopped Salt to taste 1/2 cup chopped celery 1 1/2 lbs. lump crabmeat 4 medium garlic cloves, finely minced 1 lb. skinned white-fleshed fish 4 qts. seafood stock* fillets, cut into bite-sized chunks 2 lbs. uncooked heads-on shrimp, peeled, 1/2 lb. tiny bay scallops heads and shells reserved 5 cups hot cooked rice 2 bay leaves 3 1/2 tsp. filé powder 1/2 medium lemon, seeds removed Chopped green onions 1 Tbsp. minced flat-leaf parsley Minced parsley

Melt lard or oil in heavy Dutch oven or 12” skillet over medium heat. When fat is hot, add flour all at once; stir or whisk quickly to combine. If necessary, use back of wooden spoon to smooth out any lumps of flour. Reduce heat to low. Cook, stirring or whisking constantly, until roux is a dark mahogany color, about 55 minutes. (Don’t rush this step. Scorched roux has a bitter flavor and should be discarded.)

Add onion, bell pepper, celery and garlic to skillet; cook for about 5 minutes until onion is transparent. Meanwhile, bring stock (or clam juice and water, if you insist) to a rolling boil in a large saucepan or stockpot. Tie reserved shrimp heads and shells and bay leaves in a cheesecloth bag. Add bag and lemon half to boiling stock. Slowly whisk roux into boiling stock until all has been added. Add parsley, thyme, black pepper, cayenne, and salt. Reduce heat; simmer 1 hour. Re- move and discard cheesecloth bag and lemon half. Add shrimp, crabmeat, fish, and scallops. Cook over medium heat 15 minutes. Taste and adjust seasoning as needed. To serve, spoon gumbo over 1/2 cup cooked rice. Add about 1/4 tsp. filé powder to each serving and sprinkle with chopped green onions and parsley. Makes 8-10 servings.

*There is nothing comparable to the flavor of real, honest-to-goodness seafood stock, which is made by slowly simmering 5 lbs. of mixed fish bones and carcasses with onions, cloves, celery, garlic, lemon, peppercorns, and a box of shrimp and crab boil for several hours. If you don’t think you can handle that, try substituting 8 (8-oz.) bottles of clam juice and 2 qts. water.

P - 8 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK MAINSTAGE • WORLD PREMIERE

GETTING FRANKIE MARRIED — AND AFTERWARDS by Horton Foote directed by Martin Benson March 29 - May 5, 2002 Just because an elderly Southern matriarch is on her death bed doesn’t mean she’s going to die—not when her only son is still a bachelor!

SECOND STAGE • WEST COAST PREMIERE

THE DAZZLE by Richard Greenberg directed by Mark Rucker March 26 - April 28, 2002

America’s most famous eccentrics live in relative obscurity BE HERE WHEN THEATRICAL HISTORY IS MADE! among the clutter in their New York mansion until a beautiful young socialite disrupts their lives. Tickets: $8

Playwrights will be in residence for one week of rehearsal for these script-in-hand readings. save the dates 99 HISTORIES by Julia Cho April 26 at 1 pm • directed by Chay Yew HISPANIC PLAYWRIGHTS PROJECT • August 2 & 3 A box of photos and a book of poetry entangle a young woman in the past, Four staged readings of new works where memory and fantasy converge. by emerging Latino writers EXPOSED by April 26 at 3 pm • directed by Mark Rucker CALIFORNIA SCENARIOS • July 25 - August 4 It’s the winter solstice, a silvery night in L.A., and from the streets of Five short plays by Latino writers to Pacific Palisades, lives connect, unravel and change forever. performed under the stars at Noguchi Garden INTIMATE APPAREL by Playwrights: April 27 at 10:30 am • directed by Kate Whoriskey Luis Alfaro, Richard Coca, Joann Farías, Esther creates lingerie for other women and falls in love through the mail Anne García-Romero and José Cruz González with a man who is far away, lonely—and big trouble. Directed by Juliette Carrillo Tickets $10 - $15 TRUTH AND BEAUTY by Steven Drukman April 27 at 2 pm • directed by Douglas C. Wager CommonWealth Partners Management Services, LP Honorary Producer When one of their group falls in love, four friends are forced to sort out past events that bound them irrevocably to each other. The Pacific Playwrights Festival is made possible by a generous OUR BOY by Julia Jordan grant from The Andrew W. Mellon Foundation with additional April 28 at 11 am • directed by Lisa Peterson support from The James Irvine Foundation, The Shubert One summer, when he thinks life can’t get any better, tragedy catapults a Foundation, and Mellon Private Wealth Management. young man out of his world forever. So u h o t eper o For tickets and information call (714) 708-5555 SC Visit our website at www.scr.org

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 9 JOEL ANDERSON JULIANA DONALD LINDA GEHRINGER Fred Frankie Georgia Dale

Artist Biographies

*JOEL ANDERSON (Fred) is a member George Street Playhouse and Pennsylva- Catholic University and began her profes- of the late, great Circle Repertory Compa- nia Stage Company, respectively. He was sional life as a ballet dancer, studying ny and The Actor’s Studio in New York seen at the Pioneer Theatre in Utah in with New York’s School of American Bal- City. He is a member of the Interact The- and Scapino at let and performing with the Washington atre Company in Los Angeles, where he the Actors Studio as Yasha in The Cherry Ballet. After moving to Los Angeles, Ms. won a Drama-Logue Award for The Root, Orchard and on Broadway in The Best Lit- Donald worked extensively in both televi- and played Lopakhin in The Cherry Or- tle Whorehouse in Texas. Some of Mr. An- sion and film. In film, she starred in The chard, which won the LA Drama Critics derson’s television and film credits in- Muppets Take Manhattan and Brain Circle Award for Best Production of 1999. clude “Judging Amy,” “NYPD Blue,” Donors with John Turturro, and had roles Most recently, he appeared as Charlie “Boston Public,” “All About Us,” “Desper- in ’s Purple Rose of Cairo, Now in at the Globe Theatres in San ate Measures,” “The Client,” “Dr. Quinn, , For Love of the Game, The Gen- Diego, as Gene in at the Ari- Medicine Woman,” “Charmed,” “7th Heav- eral’s Daughter and many others. Among zona Theatre Company and in The Deal at en,” “Family Matters,” “,” “Cheers,” her many television appearances are roles ITC in Long Beach. For Circle Rep he Curse of the Starving Class, Angus, Blood on “Family Law,” “The X-Files,” “Chicago played Eddie in ’s Fool for Red, Night Game and The Return of Hope,” “Murder One” and “Touched by an Love, as well as the premiere of John Hunter. Angel.” Television audiences know Ms. Bishop’s Empty Hearts and Florida Donald most recently as ’s Crackers. For the Globe Theatres he per- *JULIANA DONALD (Frankie) is de- love interest on “NYPD Blue,” where she formed in Dancing at Lughnasa and the lighted to return to SCR, reuniting with has recurred for the past three seasons. premiere of Jim Geoghan’s Light Sensi- Martin Benson, having previously per- tive; and for the Alley Theatre in Houston, formed under his direction in the Second *LINDA GEHRINGER (Georgia Dale) Cyrano de Bergerac. Mr. Anderson Stage production of David French’s two- appeared at SCR in Hold Please, A Deli- played Pale in ’s person play Salt-Water Moon. Ms. Don- cate Balance, All My Sons, , Good at New Mexico Rep. Other shows include ald’s other theatre credits include numer- As New and as Helen Gahagan Douglas in the original production of Horton Foote’s ous Off-Broadway productions and many But Not for Me. She was recently seen in The Widow Claire at New York’s Circle in starring roles as a member of the V.E.T. the world premiere of Annie Weisman’s the Square, the premieres of The Engage- Company in New York. A native of Be Aggressive at La Jolla Playhouse where ment and Taking Care of Business at the McLean, Virginia, she is a graduate of she also performed in Light Up the Sky.

P - 10 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK JASON GUESS HAL LANDON JR. ANNIE LARUSSA Bill Simmons S.P. Constance

Ms. Gehringer has worked at the Mark JASON GUESS (Bill Simmons) is mak- Morning’s at Seven, Dancing at Lugh- Taper Forum, The Arena, Boston’s Hunt- ing his SCR debut. Theatre credits in- nasa, The Miser, Our Country’s Good and ington Theatre, The Guthrie Theater, the clude The Last of Mrs. Lincoln and A . He created the role of Berkshire Theatre Festival, New York Thurber Carnival at the El Portal The- in SCR’s A Christmas Stage and Film and spent seven seasons atre; Dogg’s /Cahoots at Carol, and has performed it in all 22 an- as a company member at the The- Knightsbridge Theatre; Beyond Therapy, nual productions. He appeared in Lean- atre Center. Roles include Blanche in A The Sea Gull and The Baby Dance at der Stillwell at the Streetcar Named Desire, Regina in The AADA and The Hotel Room Trilogy at and in Henry V at the Globe Theatres in Little Foxes, Wanda in The Waiting Room, Theatre 3. Film and television credits in- San Diego. Other resident theatre roles Merteuil in Les Liaisons Dangereuses, clude Invisible Enemies and “Wishbone.” include Salieri in , Malvolio in Bette in The Marriage of Bette and Boo, He would like to thank Art Manke for this and Gordon Miller in Room Olga in The , Catherine in opportunity. Service. Among his film credits are Tres- The Heiress, Edward/Betty in Cloud 9 and pass, Pacific Heights, Almost an Angel, Ann Stanton in All the King’s Men. She *HAL LANDON JR. (S.P.) is an SCR Bill and Ted’s Excellent Adventure and holds an MFA from the University of Min- Founding Artist who recently appeared in Playing by Heart. Television credits in- nesota and has received numerous criti- The School for Wives, Much Ado about clude a recent episode of “Frasier.” cal awards. Her television roles include Nothing, Entertaining Mr. Sloane, The four seasons as Fontana on “Evening Hollow Lands, , Play Strind- *ANNIE LaRUSSA (Constance)ap- Shade.” Among her guest appearances berg, Tartuffe and Ah, Wilderness! Other peared at SCR last summer in the Pacific are “,” “,” “Ally credits include Arcadia, , Sid- Playwrights Festival reading of Getting McBeal,” “Providence,” “Touched by An ney Bechet Killed a Man, BAFO, Six De- Frankie Married—and Afterwards. She Angel,” “The Larry Sanders Show,” “Dal- grees of Separation, An Ideal Husband, A also appeared as Polly in Freedomland, las,” and “Law and Order, Criminal In- Mess of Plays by Chris Durang, The Beth in Green Icebergs, Ginette in Odd tent.” She also appeared in the film As Things You Don’t Know, Faith Healer, Jobs and Gloria in At Long Last Leo. Good as It Gets. Ghost in the Machine, Green Icebergs, Other theatrical credits include Jar the

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 11 KRISTEN LOWMAN NAN MARTIN RANDY OGLESBY Isabel Mrs. Willis Carlton Gleason

Floor at the Oregon Shakespeare Festival; the productions of Battery, Heartstopper, ney in New York City and Dividing the Es- The Wedding, Tongue of the Bird and Better Days and Martin Caslla’s Beautiful tate by Horton Foote at the Great Lakes Nothing Sacred at the Mark Taper Forum; Dreamer. Back East, Ms Lowman began Festival. She began her career in New Cinders at the New York Shakespeare her career as a member of John House- York with JB, Great God Brown, The Con- Festival; Spring Awakening, Romeo and man’s The Acting Company. Other East stant Wife, Lysistrata, Henry IV, Under Juliet and Here Lies Lucy Clough at the Coast credits include Hay Fever at the the Yum-Yum Tree, The Slave, Camino Kenyon Festival Theatre; Welcome Signs GeVa, Dracula on Broadway, the national Real, Summer Brave, Taming of the and Coyote Ugly for the Canyon Theatre tour of Daisy Mayme and a season at The Shrew and Eccentricities of a Nightingale. Ensemble; and Dusa, Fish, Stas and Vi at Barter. On television she has been seen She and George C. Scott opened the the New Vic Theatre. Her film credits in- in “Frasier,” “Picket ,” “Murphy Shakespeare Theatre in Central Park in clude For the Love of May, Nuts, The Brown,” “Designing Women” and “Hearts Merchant of Venice followed by Much Ado Changeling, and The Road to Las Vegas. Afire.” Ms. Lowman created The Chil- about Nothing, Hamlet and Richard III. Ms. LaRussa recently played Arlene in the dren’s Acting Workshop in Sherman Oaks, She has appeared in numerous regional “Arlene’s Choice” episode of “Family Law.” which is now in its third year. Recently theatre productions including Uncle Her other television credits include “In- she had the pleasure of seeing her play Vanya, Sparks Fly Upward, The Visit, dictment” and “Smooth Operator” (movies Time Will Tell produced as part of the ’night Mother, Macbeth, Queen and the of the week), “Judging Amy,” “Any Day Newburyport Theatrefest in Mas- Rebels, Orpheus Descending and The Sub- Now,” “Frasier,” “Pacific Palisades,” “Life’s sachusetts. ject Was Roses. In , she starred in Work,” “High Incident,” “,” Hughie and Others and Three Sisters. Ms. “Murphy Brown,” and the pilot “Just in *NAN MARTIN (Mrs. Willis) returns to Martin’s film credits include Shallow Hal, Time.” She graduated from NYU Tisch SCR having previously appeared in Road Big Eden, Cast Away, Goodbye Colum- School of the Arts. to Mecca, Aunt Dan and Lemon, Once in bus, Other Side of the Mountain and All of Arden, The Show-Off, and Me to name a few. Her extensive televi- *KRISTEN LOWMAN (Isabel) last per- Odd Jobs. Other California appearances sion credits include a recurring role on formed on the SCR stage in Morning’s at include All My Sons, Sarcophagus, The “The Drew Carey Show,” as well as ap- Seven. Other SCR appearances include Sea Gull and Lady of the House at LATC, pearances on “Crossing Jordan,” “The All in Favour Said No, Boy Meets Girl, Marriage of Mr. Mississippi and Grown Michael Richards Show,” “Tucker,” “Invisi- The Imaginary Invalid, Major Barbara, Ups at the Mark Taper Forum, Jules Feif- ble Man,” “Curb Your Enthusiasm,” The Show-Off, Life and Limb and As You fer’s Hold Me at the Westwood Playhouse, “Gideon’s Crossing,” “The Practice,” Like It. Some of her favorites of the many Thursday’s Girls at the Coronet, Design “,” “Six Feet Under” and shows she has done on the West Coast are for Living at the Ahmanson, The Man “The Agency.” A Mad World, My Masters at the La Jolla Who Came to Dinner at the Long Beach Playhouse, Taking Steps at the Globe The- Theatre and Hamlet with Nicol *RANDY OGLESBY (Carlton Gleason) atres, Noises Off at La Mirada, The Boys Williamson at the Doolittle. Ms. Martin studied theatre at the University of Vir- Next Door at the Pasadena Playhouse, and also appeared in The Old Boy by A.R. Gur- ginia in Charlottesville and at The Ameri-

P - 12 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK JENNIFER PARSONS SARAH RAFFERTY BARBARA ROBERTS Laverne Helen Vaught Mae

can Conservatory Theatre in San Francis- and “The X-Files.” He will soon be seen as sey” (recurring). Recent film credits in- co where he also spent six years in the Senator John Stennis in the HBO film clude Never Been Kissed and Dragonfly. acting company performing such roles as Path to War directed by John Franken- Belyaev in A Month in the Country and heimer. *SARAH RAFFERTY (Helen Vaught)is Orin in . He making her SCR debut. Off-Broadway has performed at the Globe Theatres in *JENNIFER PARSONS (Laverne)ap- credits include Gemini at Second Stage San Diego, the Denver Theatre Center for peared at SCR last summer in the Pacific and You Never Can Tell at the Round- the Performing Arts, the Westport Play- Playwrights Festival reading of Getting about Theatre Company. She has ap- house, the PaperMill Playhouse, the Pacif- Frankie Married—and Afterwards. She peared in numerous regional theatre pro- ic Conservatory for the Performing Arts also appeared in Our Town, She Stoops to ductions including Collected Stories, and seven shows at the Mark Taper Folly, The Importance of Being Earnest, Globe Theatres; A Midsummer Night’s Forum, most recently The Poison Tree. Buried Child and . Re- Dream, Huntington Theatre Company; It He was a cast member of The Kentucky cent stage credits include How I Learned Pays to Advertise and The Beaux Cycle from its workshop beginning at the to Drive at San Diego Repertory and Tal- Strategem, Yale Repertory Theatre; Mark Taper Forum through its run at the ley’s Folly at the Long Beach Civic Cen- Sylvia, Philadelphia Theatre Company Intiman, the Kennedy Center and the ter. In New York she appeared on Broad- and Delaware Theatre Company; A Royal Theatre on Broadway. At SCR he way and Off-Broadway in several produc- , Berkshire Theatre Fes- has appeared as CC Showers in The Divin- tions including Quilters, Steel Magnolias, tival; and The Moonstone, Williamstown ers, Jerry in Betrayal, Jay in All the Way Smoke on the Mountain, Native Speech Theatre Festival. Her television credits Home and Nick in Sight Unseen. His nu- and Unchanging Love. Other regional include “Law and Order,” “Trinity,” and merous film and television appearances theatre credits span from the Mark Taper “Walker, Texas Ranger.” She is a graduate include Pearl Harbor, We Were Soldiers, Forum to Ireland’s Abbey Theatre. Among of the Yale School of Drama. Independence Day, Liar Liar, a recurring her most current television credits are role on “Boston Public,” and guest appear- guest-star roles on “Philly” (recurring), *BARBARA ROBERTS (Mae) is making ances on “Ally McBeal,” “The Practice” “The X-Files,” “NYPD Blue” and “The Jer- her SCR debut. She appeared in the na-

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PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 13 tional tour of The Goodbye Girl and co- and an Academy Award in Literature from ment. Mr. Benson received his BA in The- wrote and starred in two one woman the American Academy of Arts and Let- atre from California State University, San shows, Ain’t Nobody’s Blues But ters. In 1996 he was elected to the The- Francisco. Mine: The Life and Times of Bessie Smith atre Hall of Fame. In 2000, he received and Juke Joint Jammin’. Other theatri- the New York State Governor’s Arts Award MICHAEL DEVINE (Scenic Designer) is cal credits include To Kill a Mockingbird, and was presented with the National one of SCR’s five Associate Artists. His Shakin the Mess Outa Misery, Raisin, Medal of Arts Award by President Clinton designs include the settings for The Beau- Endgame, A Bright Room Called Day, in a ceremony at the . ty Queen of Leenane, The Norman Con- , , The Winter’s quests, , Lettice Tale, The Colored Museum, Ain’t Misbe- MARTIN BENSON (Director/Artistic Di- & Lovage, Morning’s at Seven, Waiting havin’ and Wedding Band. Television rector) shares co-founder credit and for Godot, Boundary Waters, A Chorus of and film credits include Sacred is the artistic leadership of SCR with his col- Disapproval, Emerald City and The Road Flesh, Commitments, When Billie Beat league David Emmes. As one of SCR’s to Mecca. He has received numerous de- Bobby, Runningmates, Gridlocked, Dear chief directors, Mr. Benson has directed sign awards including a Los Angeles God, The 60s, “ER,” “The Practice,” “NYPD nearly one third of the plays produced Drama Critics Circle Award for The Road Blue,” “Anyday Now,” “General Hospital,” here in the last 37 years. He has distin- to Mecca. He designed SCR’s world pre- “Cracker” and “Son of a Beach.” Ms guished himself in the staging of contem- miere of Dog Logic and She Also Dances, Roberts is the founder and director of porary work, most notably Paul Osborn’s the American premieres of Unsuitable for Real Images an organization that devel- Morning’s at Seven, the critically ac- Adults and Salt-Water Moon, the West ops and nurtures the voices of African claimed California premiere of William Coast premiere of Allan Havis’ Morocco, American women writers. Ms. Roberts Nicholson’s Shadowlands, ’s as well as Amadeus. He worked in Paris has an MFA in acting from California In- Playland, Brian Friel’s Dancing at Lugh- as a company member of Theatre du stitute of the Arts and is a member of The nasa, ’s , Harold Soleil and has designed for the Mark Company Rep Theatre. She is thrilled to Pinter’s ,the West Coast Taper Forum, Huntington Hartford, Mil- be a part of the world premiere of Mr. premiere of Peter Hedges’ Good As New waukee Repertory Theatre, Cincinnati Foote’s newest play – “one of life’s won- and ’s . He has won Playhouse in the Park and Broadway. Mr. drous joys.” accolades for his direction of five major Devine has art directed for PBS, CBS and works by , including NBC, and has served as production de- PLAYWRIGHT, the Los Angeles Drama Critics Circle signer for 15 feature films. He has de- TRANSLATOR, DIRECTOR (LADCC) Award-winners Misalliance and signed concert staging for artists as di- & DESIGNERS Heartbreak House. Among the numerous verse as the Rolling Stones and the late world premieres he has directed are Jon Miles Davis. He has served as design con- HORTON FOOTE (Playwright) is an Bastian’s Noah Johnson Had a Whore..., sultant for various companies, including award-winning writer for the stage, film Tom Strelich’s BAFO, and Margaret Imagineering, and television whose career spans six Edson’s Pulitzer Prize-winning Wit, which Productions, MCA/Universal and Fox Stu- decades. His most recent plays include he also directed at Repertory The- dios, . He was chosen to design The Last of the Thorntons, which had a atre and the Alley Theatre in Houston. the new venue for “Top of the World” at highly acclaimed run at New York’s Signa- He has directed American classics includ- the World Trade Center in New York, the ture Theatre, and The Carpetbagger’s ing Ah, Wilderness!, A Streetcar Named Artists Journey exhibit within the new Children, which opened at Houston’s Desire, A Delicate Balance and All My -designed Experience Music Alley Theatre and is currently onstage at Sons. Mr. Benson has been honored with Project in Seattle, the Sears Tower Sky Lincoln Center. He has won Academy the Drama-Logue Award for his direction Deck in Chicago and has been honored Awards for his adaptation of To Kill A of 21 productions and received LADCC with a Thea Award for his design work on Mockingbird and his screenplay Tender Distinguished Achievement in Directing the New Jersey State Aquarium. He cur- Mercies and the awards an unparalleled six times for the rently is creative director at the Museum for The Young Man from Atlanta. He re- two Shaw productions, John Millington of Science and Industry in Chicago. ceived the William Inge Lifetime Achieve- Synge’s Playboy of the Western World, ment Award and was presented with both ’s , Sally MAGGIE MORGAN (Costume the Evelyn Burkey Award and the Screen Nemeth’s Holy Days and Wit. He also di- Designer) is pleased to be returning to Laurel Award from the Writers Guild of rected the film version of Holy Days using SCR where she designed the costumes for America. He was awarded the Lucille the original SCR cast. Along with David The Homecoming earlier this season. Lortel Award for Outstanding Achieve- Emmes, he accepted SCR’s 1988 Tony Last season she designed The Countess, ment Off-Broadway, the Outer Critics Cir- Award for Outstanding Resident Profes- directed by Juliette Carrillo. Her recent cle Special Achievement Award for the sional Theatre and won the 1995 Theatre designs include The Birthday Party and Signature Theatre’s Series of his plays LA Ovation Award for Lifetime Achieve- Waiting for Godot (Ovation Nomination)

P - 14 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK both at the Matrix Theatre, The Blue Berry Farm, and Las Vegas casino hotels. JENNIFER KIGER (Dramaturg) joined Room, Side Man, Visiting Mr. Green and His architectural lighting can be viewed the SCR staff in 1999 and became Literary The Presentment at the Pasadena Play- at Santa Monica Place, South Coast Plaza, Manager in 2000. In that capacity she house and Demonology and The Joy of Orange County Performing Arts Center, screens scripts for development and pro- Going Somewhere Definite (Drama- the and many duction and serves as dramaturg on half Logue Award) at the Mark Taper Forum. other shopping malls, restaurants, SCR’s workshops and productions each She has designed shows in New York at churches, and residences. Other profes- season. Recent projects include Lucinda SOHO Rep, HB Playwrights, and NADA sional associations include the Buenos Coxon’s Nostalgia, The School for Wives, and also at New Jersey Shakespeare Fes- Aires Metropolitan Theatre, Opera Santa Amy Freed’s The Beard of Avon and the tival and Yale Repertory. Film projects Barbara, Berkeley Repertory Theatre, and site-specific Pacific Playwrights Festival include the independent features Sex and Sacramento Music Theatre. Mr. Ruzika project, California Scenarios, directed by a Girl and Breathing Hard. Ms. Morgan also serves as the head of the Graduate Juliette Carrillo. Previously, she worked has worked as an assistant costume de- Lighting Design Program at UC Irvine. as dramaturg at the American Repertory signer on many feature films including A Theatre in Cambridge, MA for several pro- Bronx Tale, Apollo 13, Casino, Wag the DENNIS McCARTHY (Composer) has ductions, including In the Jungle of Cities Dog, Men in Black, Life, The Grinch and been writing music for television for more directed by Robert Woodruff, Phaedra di- the upcoming Murder by Numbers. She than 20 years. His career began as a con- rected by Liz Diamond, the world pre- is a graduate of the Yale School of Drama ductor/arranger for , whose mieres of Robert Coover’s Charlie in the and is teaches costume design at FIDM in concert tours took him to every state in House of Rue and Mac Wellman’s Hypatia Los Angeles, Columbia College of Chicago the nation and overseas. Once based directed by Bob McGrath, and Robert “Semester in L.A.,” and UC Davis. back in Los Angeles, he worked as musi- Brustein’s adaptation of The Master cal director on several television variety Builder directed by Kate Whoriskey. She TOM RUZIKA (Lighting Designer), in productions such as “The Barbara Man- completed her professional training as a his 27 seasons with SCR, has created drell Show.” He then became an orches- dramaturg at the ART Institute at Har- award winning lighting designs for over 75 trator for film composer and vard and taught acting and dramatic arts productions including A Delicate Balance, began composing for episodic television. at . Six Degrees of Separation, Holy Days, The Over the years he has written music for Crucible, Sunday in the Park with numerous television films and many se- LINDA S. BAITY (Dramaturg) received George, Amadeus, , and 22 years ries: “V,” the long-running “MacGyver,” her PhD in Humanities-Aesthetic Studies of A Christmas Carol. He recently de- “Parker Lewis Can’t Lose,” “Star Trek: The from the University of Texas at Dallas, signed the acclaimed production of Six Next Generation,” “Deep Space Nine” and with concentrations in dramatic litera- Dance Lessons in Six Weeks at the Geffen “Voyager,” among others. Most recently, ture, literary translation, and creative Playhouse. Other noted productions in- Mr. McCarthy has written music for “Star writing. Her dissertation on translating clude fifteen musicals for Reprise! includ- Trek: Enterprise” “Project Green Light,” French drama for American actors in- ing the 20th anniversary production of the movie-of-the-week Having Our Say cludes her own adaptation of Jean Sweeney Todd at the Ahmanson Theatre and “Dawson’s Creek.” He has won two Cocteau’s Les Parents terribles. While at and the Los Angeles revival of Hair at the for his work on “Star Trek: UT Dallas, she was the primary research Wadsworth. At the Mark Taper Forum his The Next Generation” and composed the assistant in the Center for Translation designs include Children of a Lesser God, music for the series’ first feature, Genera- Studies and was an editor for Translation Julius Caesar, and A Christmas Carol. tions. He is a 12-time winner of ASCAP’s Review. Previous theatre training in- His lighting can be seen at theme parks in Most Performed Composer Award. He is a cludes a BFA in Acting from UT Austin Japan, Korea, Australia, Spain, and Ger- Southern California native, the father of and an MA in Drama from the University many, including Universal Studios Holly- three and proud grandfather of three of North Texas. In addition to many years wood, Orlando, and Japan. His lighting beautiful grandchildren with another on of teaching, acting, directing, and writing can also be seen at Disneyland, Knott’s the way. for the stage, she created and managed a

PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 15 series of professional performing arts perdine University, where he received his ducing responsibilities involve the overall events for young audiences that is now in BA in Theatre Arts. He also stage man- coordination of SCR’s programs and pro- its 17th year of operation. aged at Seattle’s Intiman Theatre, San jects. He has served as a consultant to Francisco’s Palace of Fine Arts, Shake- the Orange County Performing Arts Cen- *RANDALL K. LUM (Stage Manager) speare Festival/Los Angeles, La Mirada ter and as a theatre panelist and onsite began his 12th season at SCR with The Theatre for the Performing Arts, High- evaluator for the National Endowment Circle, and most recently stage managed ways Performance Space and the St. Gen- for the Arts. He has served on the board The Homecoming and The School for esius Theatre. Mr. Harrison would like to of the California Theatre Council, the Ex- Wives. During his long association as one take this opportunity to acknowledge and ecutive Committee of the League of Resi- of SCR’s resident stage managers he has continuously support his family, friends dent Theatres, and as a panelist for the had the pleasure of working on over a and colleagues who are battling the fights California Arts Council. After attending dozen world premieres and has been as- of AIDS and cancer. Orange Coast College, he received his BA sociated with over 50 productions. In and MA from California State University, 1997, Mr. Lum stage managed the AIDS DAVID EMMES (Producing Artistic Di- San Francisco, and his PhD in theatre Benefit “Help is on the Way III” at the rector) is co-founder and Producing and film from USC. Palace of Fine Arts in San Francisco. Artistic Director of SCR, one of the Other stage managing credits include the largest professional resident theatres in PAULA TOMEI (Managing Director) is American Conservatory Theatre in San California. He has received numerous responsible for the overall administration Francisco, the Globe Theatres in San awards for productions he has directed of the day-to-day operations of SCR. A Diego, Berkeley Repertory Theatre, San during SCR’s 37-year history, including a member of the staff since 1979, she has Jose Civic Light Opera, VITA Shake- 1999 Los Angeles Drama Critics Circle served in a number of administrative ca- speare Festival, Pacific Conservatory of Award for the direction of George pacities including Subscriptions Manag- the Performing Arts, Long Beach Ballet, Bernard Shaw’s The Philanderer. He di- er, Business Manager and General Man- San Francisco Convention Bureau and rected the world premieres of Amy ager. She currently serves as President Kawasaki Motorcycles. He would like ev- Freed’s The Beard of Avon and Freedom- of Theatre Communications Group eryone to take a moment to remember all land, Thomas Babe’s Great Day in the (TCG), the national service organization those who have lost the battle and all Morning, Keith Reddin’s Rum and Coke for theatre where she also served a two- those still suffering and fighting the AIDS and But Not for Me and Neal Bell’s Cold year term as Treasurer, and has served as epidemic. Sweat; the American premiere of Terry the Vice President of the League of Resi- Johnson’s Unsuitable for Adults; the West dent Theatres (LORT). In addition, she *SCOTT HARRISON (Assistant Stage Coast premieres of C.P. Taylor’s Good and has been a member of the LORT Negoti- Manager) has most recently worked on Harry Kondoleon’s Christmas on Mars; ating Committee for industry-wide union Lobby Hero and earlier this season he and the Southland premiere of Top Girls agreements and represents SCR at na- stage managed The Circle and A Christ- (at SCR and the Westwood Playhouse). tional conferences of TCG and LORT; is a mas Carol and was Assistant Stage Man- Recent productions include the West theatre panelist for the National Endow- ager on The Homecoming. He recently Coast premieres of Three Viewings by Jef- ment for the Arts and the California Arts worked on his 11th A Christmas Carol, frey Hatcher, The Secret Rapture by Council (CAC), and site visitor for the making that the seventh time he has David Hare and New England by Richard CAC; served on the Advisory Committee been Stage Manager. He has stage man- Nelson; and Arcadia by , for the Arts Administration Certificate aged an additional 30 shows on the Main- Six Degrees of Separation by , Program at UC Irvine; and has been a stage, as well as the world premiere of La The Importance of Being Earnest by guest lecturer in the graduate school of Posada Mágica on the Second Stage. He Oscar Wilde, Ayckbourn’s Woman in business at Stanford. She graduated previously served as Assistant Stage Man- Mind and You Never Can Tell by George from UC Irvine with a degree in Eco- ager on more than 34 Mainstage produc- Bernard Shaw, which he restaged for the nomics and pursued an additional course tions. Mr. Harrison is a graduate of Pep- 1990 Singapore Festival of Arts. His pro- of study in theatre and dance.

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P - 16 SOUTH COAST REPERTORY / PERFORMING ARTS NETWORK