52nd Season • 498th Production SEGERSTROM STAGE / MARCH 25 - APRIL 24, 2016

Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR

David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS

presents the world premiere of FUTURE THINKING

by Eliza Clark

Dane Laffrey Melissa Trn Lap Chi Chu Stowe Nelson SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN

Kimberly Colburn Joshua Marchesi Joanne DeNaut, csa Kathryn Davies DRAMATURG PRODUCTION MANAGER CASTING STAGE MANAGER

Directed by

The Playwrights Circle Susan Bowman and Freddie Greenfield • Mary Ann Brown and Rick Reiff • Dr. Robert F. and Julie A. Davey • Mr. Brian Drake and Dr. Diane A. Drake Patricia Ellis • Valerie and Geoff Fearns • Don and Sue Hecht • Lisa and Richard de Lorimier • Sarah and Thom McElroy • Carl Neisser Talya Nevo-Hacohen and Bill Schenker • Barbara Roberts • Olivia and Alan Slutzky • Laurie Smits Staude •Linda and Tod White Honorary Producers

Future Thinking was commissioned by South Coast Repertory and workshopped and developed in the 2014 Pacific Playwrights Festival. This play is a recipient of an Edgerton Foundation New American Plays Award.

Future Thinking • South Coast Repertory • P1 CAST OF CHARACTERS (In order of appearance) Peter Ford ...... Arye Gross Jim Barnard ...... Enver Gjokaj Chiara Farrow ...... Virginia Vale Crystal Farrow ...... Heidi Dippold Sandy Mills ...... Jud Williford

SETTING Comic Con. San Diego.

LENGTH Approximately two hours, including one intermission.

PRODUCTION STAFF Assistant Stage Manager ...... Leia Crawford Assistant Director ...... Clint Foley Costume Design Assistant ...... Kaitlyn Kaufman Assistant Lighting Designer ...... Sherrice Mojgani Stage Management Intern ...... Cathy Hwang Light Board Operator ...... Andrew Stephens Sound Board Operator ...... Jesus Rivera Automation Operator ...... Isaac Jacobs Wardrobe Supervisor ...... Bert Henert

The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the .

Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. Videotaping and/or recording of this performance by any means whatsoever are strictly prohibited. Electronic devices should be turned off or set to non-audible mode during the performance. Smoking is not permitted anywhere in the theatre.

Media Partner

P2 • South Coast Repertory • Future Thinking A Fantasy Within Reach “Everybody wants to be inside of something they don’t get to be. That’s kind of the way life works, right?” – Chiara in Future Thinking by Kimberly Colburn than they are. This capacity to imag- ine ourselves as another character is a uture Thinking takes place near fundamental cognitive function of hu- a large comic convention, of- manity—even small children will play ten referred to as a Comic Con. make-believe. It requires a powerful San Diego Comic Con is one sense of imagination and even non- of the largest and best-known, role-playing people will recognize the Fbut there are also conventions in Long profound significance when they be- Beach and Los Angeles. In fact, there come engrossed in a novel, game or are comic conventions all over the drama. world. Over time, as some of these The vast majority of people conventions have grown larger, they who dress up as their favorite fictional showcase many art forms, like mov- characters have a firm grasp on the ies, television shows, or video games, difference between that fantasy world that have a comic book origin, fantasy and the reality they live in. It’s like a or science-fiction element. At these better version of real-life, or opens a kind of manifestation of this. conventions, it is common for people window to what life could be, or sim- The trouble comes if the fantasy to dress as their favorite characters—a ply provides a mechanism for escap- subsumes a person’s ability to discern cultural phenomenon that has become ing the doldrums of the quotidian. what is real and what is imaginary. more widespread, as fans now often More broadly, imagining ourselves as Think of those few gamers whose vid- dress up for their favorite movies such someone else plays a role in our cul- eo game becomes their whole life, an as Harry Potter, Lord of the Rings, or ture and our economy. If this seems ex-lover who can’t face the reality of Star Wars. implausible, envision people buying a recent break-up or actors who can’t Role-playing can be aspiration- products or services they believe will drop character and leave a role they al—those who engage in this behavior improve their lives—the potential for are playing. In these rare instances, the assume an identity that allows them transformation drives most marketing line between fantasy and reality is de- to imagine themselves to be greater campaigns, and role-playing is another cidedly blurry.

Future Thinking • South Coast Repertory • P3 Artist Biographies Heidi Dippold Crystal Farrow Affair, Screwball, Let’s Play Two and Brooklyn Boy, a role he reprised on Broadway. His recent Los Angeles- first appeared at SCR in the area productions include Parfumerie (the inaugural world premiere of Noah Haid- production at The Wallis Annenberg Center in Beverly le’s Mr. Marmalade, later in Joe Hills) and the world premieres of ’ Penhall’s Dumb Show and most Coney Island Christmas at Geffen Playhouse and recently in the world premiere Above The Fold at Pasadena Playhouse, playing oppo- of Noah Haidle’s Smokefall. Last site Taraji P. Henson. His other recent credits include year, she played Marilyn Monroe opposite Geoffrey the West Coast premiere of Stupid F**king Bird at Arend and Ed Asner in the L.A. Theatre Works pro- The Theatre @ Boston Court, where he previously duction of – A Life. She also played Mrs. had performed in Julia Cho’s Winchester House and Robinson in the L.A. Theatre Works national tour of (adapted by ) for The Antae- The Graduate. Dippold received a Big Easy Award us Company, where he also was seen in the world pre- for her work as Olivia in Twelfth Night at The New miere of Chekhov X 4. His film and television credits Orleans Shakespeare Festival. She also has appeared include Harvest (with Victoria Clark), Grey Gardens, at Berkeley Repertory Theatre, Long Wharf Theatre, Minority Report, Big Eden, “The Riches” (with Eddie Signature Theatre (NYC) and Cleveland Play House, Izzard), “Law & Order” and the recurring role of Dr. to name a few. Her favorite television roles include a Sidney Perlmutter on ABC’s “Castle.” Gross is a 1978 recurring role on HBO’s “The Sopranos,” serial-killing graduate of SCR’s Professional Actor Training Program identical twins on “NCIS” and Jeffrey Tambor’s love and previously worked with Lila Neugebauer on After interest on the sitcom “20 Good Years.” She has ap- the Revolution at Center Stage in Baltimore, Md. peared in numerous commercials and survived the horrible horror film, House. Dippold is an MFA gradu- Virginia Vale ate of Rutgers University Mason Gross School of the Chiara Farrow Arts and is certified in Fitzmaurice Voicework®. is thrilled to return to SCR after Enver Gjokaj previously appearing in the West Jim Barnard Coast premiere of Adam Rapp’s The Purple Lights of Joppa Illi- previously appeared at SCR in nois. She is a graduate of The the Pacific Playwrights Festival Juilliard School Drama Division reading of Future Thinking. His and winner of the John Houseman Award for excel- other theatrical credits include lence in the classics. Her credits include Barefoot in Arms and the Man at The Old the Park (Bucks County Playhouse) and “The Myster- Globe and The Cherry Orchard ies of Laura” on NBC. with Kate Burton. Gjokaj’s recent television and film work includes “,” “The Walking Dead,” Jud Williford “Community,” “Dexter” and Marvel’s The Avengers. Sandy Mills

is happy to make his SCR debut. Arye Gross Peter Ford Some of his recent credits in- clude the first two national tours returns to SCR having appeared of Wicked, Scapin (with Bill most recently in Circle Mirror Irwin), Twelve Angry Men (di- Transformation. He also ap- rected by Frank Galati) and Mac- peared here in The Time of Your beth (title role). He has performed at numerous re- Life, Wild Oats and the world gional theatres around the country including The premieres of Our Mother’s Brief American Conservatory Theater (four years as a com-

P4 • South Coast Repertory • Future Thinking pany member), Asolo Repertory Theatre (two seasons alumna of the Drama League, Soho Rep Writer/Di- as a company member) People’s Light Theatre, Aurora rector Lab, Center Directors Lab, Ensemble Theatre Company, Shakespeare Theater, Studio Theatre member, New Georges Affiliated Artist The Echo Theater Company and International City and a Princess Grace Award recipient. Her upcoming Theatre in Long Beach. His select television and film projects include Sarah Delappe’s The Wolves (New credits include “Angel from Hell” (, 2105), The York Stage and Film); The Sandbox, Drowning and Tripper (directed by David Arquette) and And Two Funnyhouse of a Negro (as an evening); Branden From the Line (short). Williford received his master’s Jacobs-Jenkins’ Everybody; and Annie Baker’s The An- degree from The American Conservatory Theatre. tipodes (all at Signature Theatre).

Playwright, Director and Designers Dane Laffrey (Scenic Design) is making his SCR design debut. On Broadway, he designed set and Eliza Clark (Playwright) has had her plays devel- costumes for Deaf West’s Spring Awakening and the oped at , the Studio at Cherry set for Fool For Love. His recent off-Broadway cred- Lane Theatre, Page 73 Productions, Ensemble Studio its include set and/or costumes for The Christians, Theatre, Provincetown Playhouse, The New York Indian Summer and Iowa (); International Fringe Festival and Yale University. She The Glory of the World (BAM Harvey Theater); Cloud has received commissions from SCR and Yale Univer- 9 (); Bad Jews and Tigers sity’s O’Neill Studio. Clark was a member of Ensemble Be Still (Roundabout Theatre Company); Arlington Studio Theatre’s emerging writers group, Young- (Vineyard Theatre); King Liz, American Hero and blood and was the 2010 Page 73 Playwriting Fellow. The Talls (2econd Stage Theatre); (Lincoln Her play, Edgewise, was co-produced by Page 73 and Center Theater); The Maids (Red Bull Theater); I The Play Company in 2010 and her play, Recall, was Remember Mama and The Patsy (Transport Group); produced by Colt Coeur at The Wild Project in 2012. and The Few (Rattlestick Playwrights Theater). He has Both Edgewise and Recall are published by Samuel worked regionally at Actors Theatre of Louisville’s Hu- French. Clark also has written for television including mana Festival of New American Plays, Center Theatre AMC’s “Rubicon” and “The Killing” as well as “Extant,” Group/Mark Taper Forum, Williamstown Theatre Fes- produced by Steven Spielberg on CBS. She is a writer/ tival, The Old Globe, Huntington Theatre Company, producer on a new show, “Animal Kingdom,” airing Goodspeed Musicals, Denver Center Theatre Compa- this summer on TNT. She currently is developing ny, The Wallis Annenberg Center, Center Stage, Dallas Margaret Atwood’s “Maddaddam” trilogy with Darren Theatre Center, New York Stage & Film and others. Aronofsky for HBO. He has worked internationally in Tokyo, Oslo, Osaka and throughout Australia. He has been nominated for Lila Neugebauer (Director) is a New York-based a and four American Theatre Wing director whose recent work includes Kill Floor (Lin- Henry Hewes Awards. coln Center Theater); The Wayside Motor Inn (Drama Desk nomination, Signature Theatre); Mike Bartlett’s Melissa Trn (Costume Design) is making her SCR An Intervention and The Valley of Fear (Williamstown design debut. She is a Los Angeles-based designer Theatre Festival); Amy Herzog’s After the Revolution whose New York credits include Trojan Women (After and 4000 Miles (Baltimore Center Stage); ’s Euripides) at BAM and SITI Company; Antigone at Trudy and Max in Love (SCR); Lucas Hnath’s Red SITI Company; From The Fire (composed by Eliza- Speedo (Studio Theatre); Dan LeFranc’s Trouble- beth Swados); My Sweet Charlie at Abingdon Theatre maker (Berkeley Repertory Theatre); Partners and Company; The Screens and Baal at Columbia Stages; O Guru Guru Guru (2014, 2013 Humana Festivals); and The Sporting Life, The Erotic Diary of Anne Frank Annie Baker’s (San Francisco Playhouse, and Spacebar at Studio 42. Her regional credits in- Studio Theatre); Eliza Clark’s Edgewise (Cherry Lane clude Antigone at Getty Villa; The Recommendation Studio); Snow Day (Drama League); and associate- at IAMA Theatre Company; The 39 Steps at Triad Stage; directing Karen O’s Stop The Virgens (St. Ann’s Ware- Roller Disco at American Repertory Theater’s Oberon; house, Opera House). As co-artistic director Richard II at Yale Repertory Theatre; The Me Nobody of The Mad Ones, Neugebauer conceives and directs Knows at St. Louis Black Repertory Company; and ensemble-devised work including Samuel & Alasdair: Hands on a Hardbody, Cataclysm, Con, Little Shop of A Personal History of the Robot War (Ars Nova, The Horrors, A Midsummer Night’s Dream and Wake Up! Brick Theater, New Ohio Theatre) and The Essential at Telluride Theatre where she is also an associate art- Straight & Narrow (New Ohio Theatre). She is an ist. She earned her MFA at Yale School of Drama.

Future Thinking • South Coast Repertory • P5 Lap Chi Chu (Lighting Design) has designed region- tors Theatre of Louisville, where she was the drama- ally for SCR, Mark Taper Forum, Geffen Playhouse, turg for the world premieres of Partners by Dorothy Oregon Shakespeare Festival, La Jolla Playhouse, The Fortenberry, The Roommate by Jen Silverman and Dot Old Globe, Berkeley Repertory Theatre, Goodman by Colman Domingo, among others. Formerly, as the Theatre, American Repertory Theater, Arena Stage, associate literary director at SCR, she was the drama- Dallas Theater Center, Portland Center Stage and turg for world premieres of The Long Road Today by Evidence Room. His New York design credits include José Cruz González, Zoe Kazan’s Trudy and Max in The Public Theater, New York Theatre Workshop, Love, and A Wrinkle in Time adapted by John Glore, Signature Theatre, Second Stage Theatre, Performance among dozens of other productions and readings. Space 122 and Kitchen Theatre Company. His awards She has worked with companies including Los Ange- have included the Los Angeles Drama Critics Circle les Opera, Sledgehammer Theatre, Oregon Contem- Angstrom Award for Career Achievement in Lighting porary Theatre, Critical Mass Ensemble, Artists at Play Design, an Ovation Award, multiple Bay Area Theatre and Native Voices at the Autry. She earned a BA from Critics Circle Awards, a “Drammy” for best lighting, as University of California, Riverside, and MA from the well as a Lucille Lortel Award nomination for The Good University of Oregon. Negro at The Public Theater. Chu is on the lighting de- sign faculty at California Institute of the Arts. Kathryn Davies (Stage Manager) previously stage- managed Red, Vietgone, OZ 2.5, The Whipping Man, Stowe Nelson (Sound Design) is making his SCR Tartuffe, Reunion, Trudy and Max in Love, Ivy+Bean: design debut. His New York credits include Indian the Musical, The Motherf**ker with the Hat, How to Summer (Playwrights Horizons, upcoming), Iphige- Write a New Book for the Bible, Sight Unseen, Topdog/ nia in Aulis (Classic Stage Company), The Painted Underdog, Sideways Stories from Wayside School, In Rocks at Revolver Creek and The Wayside Motor the Next Room or the vibrator play, Doctor Cerberus, Inn (Signature Theatre) and Buyer & Cellar (Barrow Ordinary Days, Our Mother’s Brief Affair, The Injured Street Theatre, national tour). Regionally, he has de- Party, The Brand New Kid and Imagine at SCR. Her signed Ropes (Two River Theatre); Tinker to Evers to favorite credits include Dividing the Estate at Dallas Chance (Merrimack Repertory Theatre); 4000 Miles Theater Center, La Bohème at Tulsa Opera, The Mys- (Actors Theatre of Louisville); Clarkston (Dallas The- tery of Irma Vep at The Old Globe, Daddy Long Legs atre Center); An Iliad (Hudson Valley Shakespeare); at Laguna Playhouse, Tosca and La Fille du Régiment and Under the Skin, Blithe Spirit and Ghosts (Every- at Opera Ontario, Of Mice and Men at Theatre Calgary/ man Theatre). As a company member of The Mad CanStage/Neptune Theatre, The Dresser at Manitoba Ones, he has designed sound for The Tremendous Theatre Centre, Skylight at Tarragon Theatre, To Kill Tremendous, The Essential Straight & Narrow and a Mockingbird at Citadel Theatre/Manitoba Theatre Samuel & Alasdair (New York Innovative Theatre Centre/Theatre Calgary and The Designated Mourner Award, Drama Desk nomination). Find more informa- at Tarragon Theatre and the Edinburgh Fringe Festival. tion at wingspace.com/stowe. Davies also has worked as head theatre representative at the Toronto International Film Festival, Dubai Inter- Kimberly Colburn (Dramaturg) is the literary direc- national Film Festival, AFI Fest (part of the American tor and co-director of the Pacific Playwrights Festival Film Institute), Los Angeles Film Festival and as team at SCR. Recently, she was the literary manager at Ac- leader at Sundance.

P6 • South Coast Repertory • Future Thinking Leia Crawford (Assistant Stage Manager) started her professional career at SCR and The Playwrights Circle consists of avid playgoers is happy to be back. At SCR, she worked on who help underwrite a world premiere production each James and the Giant Peach, The Whale, The spring. Its individual members include long-time sub- Motherf**ker With the Hat, The Importance of scribers, major annual fund donors, endowment sup- Being Earnest, A Little Night Music, dead man’s porters and trustees. Since its inception in 2004, The cell phone and An Italian Straw Hat, to name Playwrights Circle has underwritten works by writers a few. Previously, Crawford wrapped up L.A. including Rajiv Joseph (Mr. Wolf), Beau Willimon (The Theatre Works’ national tour of Bram Stoker’s Parisian Woman), Rachel Bonds (Five Mile Lake), Amy Dracula. She worked on Massoud: The Lion of Freed (Safe in Hell), Richard Greenberg (A Naked Girl Panjshir and Neva at Center Theatre Group; on the Appian Way and Our Mother’s Brief Affair), Chris- and Murder For Two, Switzerland, The Gospel topher d’Amboise (The Studio), Julie Marie Myatt (My According to Thomas Jefferson, Charles Dickens Wandering Boy), Kate Robin (What They Have), Julia and Count Leo Tolstoy: Discord, The Pianist of Cho (The Language Archive), Lauren Gunderson (Silent Willesden Lane, Play Dead, The Judy Show, Miss Sky) and Octavio Solis and Adam Gwon (Cloudlands). Julie, Build, The Break of Noon and Ruined at SCR is especially grateful to The Playwrights Circle for its Geffen Playhouse. She also enjoys her work with leadership and dedication to helping bring new plays to the Los Angeles Contemporary Dance Company. Orange County audiences—and to the American theatre. Her other theatre credits include The Surgeon and Her Daughters by Chris Nunez and Permis- sion by Robert Askins at Ojai Playwrights Confer- The 2015-16 Playwrights Circle ence, Story Pirates, The Antaeus Company, Clas- Susan Bowman and Freddie Greenfield sic and Contemporary American Plays, Shake- speare Center of Los Angeles and REDCAT. Her Mary Ann Brown and Rick Reiff film credits include of Diani & Devine Meet the Dr. Robert F. and Julie A. Davey Apocalypse, Rap Battle 4: Cinderella vs. Belle, Mr. Brian Drake and Dr. Diane A. Drake Princess Rap Battle 5: Maleficent vs. Daenerys Patricia Ellis and Princess Rap Battle 6: Hermione vs. Katniss. Valerie and Geoff Fearns Don and Sue Hecht Marc Masterson (Artistic Director) is in Lisa and Richard de Lorimier his fifth season with SCR. His recent directing Sarah and Thom McElroy credits include Going to a Place where you Carl Neisser Already Are, Zealot, Death of a Salesman, Eu- Talya Nevo-Hacohen and Bill Schenker rydice and Elemeno Pea at SCR, As You Like It Barbara Roberts for the Houston Shakespeare Festival, The Kite Olivia and Alan Slutzky Runner at Actors Theatre of Louisville and the Cleveland Play House. He served for 11 years Laurie Smits Staude as artistic director of Actors Theatre of Lou- Linda and Tod White isville and produced the Humana Festival of New American Plays. During his Actors Theatre

Future Thinking • South Coast Repertory • P7 tenure, he produced more than 100 world premieres, mitment to theatre excellence and fostering the art expanded audiences and the repertoire, deepened and craft of American playwriting. They also accepted arts education programs and spearheaded numerous SCR’s 1988 Tony Award for Outstanding Resident community-based projects. His other Louisville di- Professional Theatre and won the 1995 Theatre L.A. recting credits include A Midsummer Night’s Dream, Ovation Award for Lifetime Achievement. Benson has Shipwrecked! An Entertainment, Glengarry Glen received the Los Angeles Drama Critics Circle Award Ross, The Tempest, Mary’s Wedding, The Crucible, Be- for Distinguished Achievement in Directing an unpar- trayal, As You Like It, The Importance of Being Ear- alleled seven times for George Bernard Shaw’s Major nest and Macbeth. The world premieres he directed Barbara, Misalliance and Heartbreak House; John at the Humana Festival include works by Lisa Dillman, Millington Synge’s Playboy of the Western World; Ar- Wendell Berry, Craig Wright, Eric Coble, Adam Bock, thur Miller’s The Crucible; Sally Nemeth’s Holy Days; Gina Gionfriddo, Melanie Marnich, Charles Mee and and ’s Pulitzer Prize-winning Wit, Rick Dresser. He served as artistic director of City which he also directed at Seattle Repertory Theatre Theatre in Pittsburgh for 20 years and was founder and Houston’s Alley Theatre. He has directed Ameri- and chairman of the Greater Pittsburgh Arts Alliance, can classics such as A Streetcar Named Desire and has and as a theatre advisory panel member for the Na- distinguished himself in staging contemporary work, tional Endowment for the Arts as well as numerous including the critically acclaimed California premiere foundations. He won the Man of the Year Vectors of William Nicholson’s Shadowlands. He directed Award, and received the Lifetime Achievement Award revivals of ’s Abundance; ’s from the Pittsburgh New Works Festival. The Trip to Bountiful; Samuel D. Hunter’s The Whale and Rest (world premiere); and The Whipping Man Paula Tomei (Managing Director) is responsible by Matthew Lopez. Benson received his BA in theatre for leading the overall administration of SCR. She has from San Francisco State University. been managing director since 1994 and a member of SCR’s staff since 1979. She is a past president of the David Emmes (Founding Artistic Director) is co- board of Theatre Communications Group (TCG), the founder of South Coast Repertory. He received the national service organization for theatre. In addition, Margo Jones Award for his lifetime commitment to she served as treasurer of TCG, vice president of the theatre excellence and to fostering the art of Ameri- League of Resident Theatres (LORT) and as a member can playwriting. In addition, he has received numer- of the LORT Negotiating Committee for industry-wide ous awards for productions he has directed during his union agreements. She represents SCR at national SCR career. He directed the world premieres of Amy conferences of TCG and LORT; is a theatre panelist Freed’s Safe in Hell, The Beard of Avon and Freedom- for the National Endowment for the Arts (NEA) and land, Thomas Babe’s Great Day in the Morning, the California Arts Council; site visitor for the NEA; Keith Reddin’s Rum and Coke and But Not for Me and has been a guest lecturer in the graduate schools and Neal Bell’s Cold Sweat; the American premieres of business at Stanford and UC Irvine (UCI). She of Terry Johnson’s Unsuitable for Adults and Joe teaches a graduate class in nonprofit management Penhall’s Dumb Show; and the Southland premiere at UCI and was appointed by the chancellor to UCI’s of Top Girls (at SCR and the Westwood Playhouse). Community Arts Council. She is also on the board of Other productions he has directed include Red, New Arts Orange County, the county-wide arts council, and England, , The Importance of Being Earnest, the board of the Nicholas Endowment. She graduated Woman in Mind and You Never Can Tell, which he from UCI with a degree in economics and pursued an restaged for the Singapore Festival of Arts. He has additional course of study in theatre and dance. served as a theatre panelist and onsite evaluator for the National Endowment for the Arts, as well as a Martin Benson (Founding Artistic Director), co- panelist for the California Arts Council. After attend- founder of SCR, has directed nearly one-fourth of ing Orange Coast , he received his BA and MA SCR’s productions. In 2008, he and David Emmes re- from San Francisco State University and his PhD in ceived the Margo Jones Award for their lifetime com- theatre and film from USC.

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

P8 • South Coast Repertory • Future Thinking