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Home , Intimate Apparel (play), Kate Whoriskey, Pure Rubbish, South Coast Repertory, Spunk (play)

39th Season • 380th Production SEGERSTROM STAGE / APRIL 11 - MAY 18, 2003

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

presents the World Premiere of

by

Scenic Design Costume Design Lighting Design Sound Design WALT SPANGLER CATHERINE ZUBER SCOTT ZIELINSKI LINDSAY JONES

Composer Arranger/Piano Coach Dramaturg Associate Production Dramaturg REGINALD ROBINSON WILLIAM FOSTER MCDANIEL JERRY PATCH RHONDA ROBBINS

Production Manager Stage Manager Casting TOM ABERGER *RANDALL K. LUM JOANNE DENAUT/JUDY DENNIS

Directed by

Honorary Producers JEAN AND TIMOTHY WEISS

Intimate Apparel is produced in association with Center Stage Irene Lewis, Artistic Director; Michael Ross, Managing Director

Produced in association with administered by Theatre Communications Group

Intimate Apparel • P1 CAST OF CHARACTERS (In order of appearance)

Esther ...... *Shané Williams Mrs. Dickson ...... *Brenda Pressley George Armstrong ...... *Kevin Jackson Mrs. Van Buren ...... *Sue Cremin Mr. Marks ...... *Steven Goldstein Mayme ...... *Erica Gimpel

SETTING Manhattan, 1905

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

PRODUCTION STAFF Assistant Stage Manager ...... *Vanessa J. Noon Dialect Coach ...... Sarah Felder Assistant to the Set Designer ...... Hector Fernandez Assistant to the Lighting Designer ...... Heather Gilbert Costume Design Assistant ...... Julie Keen Stage Management Intern ...... Amber Thomas Deck Crew ...... Jeff Ham, Bobby Weeks

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

P2 SOUTH COAST REPERTORY • Intimate Apparel The Panama Canal: A Hard Road to an Easy Route

he labor force came from one could see a “certain and unjus- would be no difference in the effi- every part of the world—97 tified cruelty” in forcing “poor half- ciency of one group as compared countries according to the fed fellows” to work eight to ten to another. records—but the unskilled hours in such heat, wrote an ob- “The West Indian, while slow, pick-and-shovel workers server in Outlook magazine. “Until has learned many of the trades were nearly all black men, you have tried to do a good 15 and many of them have developed andT it was Barbados that supplied minutes work with a pick and into first-class construction men,” the majority…. shovel during the rainy season, wrote Robert Wood in his final of- All workers were given a con- you can have no idea of the ex- ficial report. “The bulk of the tract by which they received free haustion that tropical heat brings building work on the Canal has passage to Colon, Panama, and even to the laborer who is used to been done by West Indian carpen- were guaranteed free repatriation, it.” ters, masons and painters, and to- if they so chose, after 500 working ward the end of the construction days (roughly a year and eight period the West Indian remained The Panama Canal was officially opened months). The total number of men on the job as steadily as… the from Barbados was nearly 20,000. on August 15, 1914, by the passing of the American.” Wages were ten cents an hour, SS Ancon. At the time no single effort in For the first ten months of 1906 ten hours a day, six days a week. American history had exacted such a price the actual death rate among white Segregation by color, long an un- in dollars or in human life. The American employees was 17 per thousand. written rule on the railroad as well expenditures from 1904 to 1914 totaled But among the black West Indians as in Panamanian society in gener- it was 59 per thousand. Black la- $352,000,000, far more than the cost of al, became established policy. borers, those understood to be There were separate mess halls for anything built by the U.S. Government to suited to withstand the poisonous blacks. Housing, schools, hospi- that time. climate, were dying three times as talization were separate and by no Together the French and American fast as the white workers … the means equal…. costs totaled $639,000,000. It took 34 chief killer among black people Work of any kind was extreme- years from the initial effort in 1880 to ac- was pneumonia. Malaria, the sec- ly scarce on the vastly overpopu- ond worst killer, took 186 lives, all tually open the Canal. Over 80,000 per- lated island of Barbados. The but 12 of whom were West Indian mass of the populace, black and sons took part in the construction, and Negroes…. desperately poor, survived primari- over 30,000 lives were lost in both French Generally, the West Indian ly on a few months of planting and and American efforts. worker was soft-spoken, courte- harvest on the sugar plantations, ous, sober, very religious, as near- when an able-bodied man could ly everyone came to appreciate. earn 20 cents a day, the same Records show the crime rate, as earned in Panama in two hours. The West Indians did become well as the incidence of alcoholism So for every man who was picked increasingly proficient with tools and venereal disease among the to go to Panama there were five or and at working in unison and in black employees was abnormally more others eager for the chance. association with heavy machinery, low during the construction years. The comparative inefficiency as many of them would recount af- Approximately 80 percent of the and technical ignorance of the terward with pride. The replace- black workers were illiterate. West Indian workers became a ment of their traditional high- source of aggravation for American starch, low protein diet (chiefly This article is taken from David engineers and foremen, prone to rice and yams) with more nourish- McCullough’s The Patch Between scoff at any black man who had a ing meals improved the output of the Seas (Simon & Schuster, 1977). singsong British accent…. Still, the West Indians. In time there

Intimate Apparel •SOUTH COAST REPERTORY P3 Rags to Riches: Black Musicians Improvise a Way to Independence

agtime, the first black music and in Europe, through new theater Syncopation is the continuous of the United States to achieve forms by and Kurt superimposition of an irregular wide commercial popularity, Weill, among others. rhythm overtop of a regular one… was a pervasive and profound Ragtime, as a written and pub- Although syncopation is essentially of influence on the shape of lished musical form, communicated African origin, its combination with American music, changing the both black folk styles of playing and the European musical system ac- Rconcept of the popular song and black conceptions of art music. counts for the essential uniqueness of popular dance styles. It was dissemi- Whereas earlier forms of black ragtime. nated and thoroughly appreciated in music—work songs, plantation This was the first significant Europe, directly influencing such gi- songs, spirituals, and minstrel ants of modern music as Claude De- tunes—existed essentially in perfor- bussy, Erik Satie, mance, ragtime was conceived and An Intimate Glossary Igor Stravinsky, executed as a written piano form. Appliqué – a sewing technique in which fabric Darius Mil- It was possible, in the ragtime patches are layered on a foundation fabric, haud, and years of 1895-1915, to hear ragtime then stitched in place by hand or machine. Paul Hin- performed by Scott Joplin, Louis Barbados – West Indies island nation in the Chauvin or Tom Turpin, and it was Caribbean, situated about 100 miles east of also possible to obtain full and accu- the Windward Islands. Also known as rate scores of classic ragtime. Rag- Bimshire. time effected a total musical revolu- tion, the first great impact of black Cambric – a fine, thin, white linen fabric. folk culture on the dominant white Chiffon – a sheer fabric, especially of silk. middle-class culture of America. William J. Schafer and Crepe de Chine – a soft fine or sheer clothing Johannes Riedel, The Art of crépe, especially of silk. Ragtime, LSU Press, 1973 Duppy – a ghost or spirit. ❂ ❂ ❂ Above, Flamboyant tree – a showy tropical tree widely planted for its immense racemes of scarlet Scott Joplin rag, strictly speaking, is about 1904 and orange flowers. and Louis Chau- an instrumental, synco- vin about 1906. pated march and follows Heliotrope – a variable color of moderate to A reddish purple. the same formal conventions demith—just as it as the march. Ragtime, how- Mangroves – tropical maritime trees or shrubs influenced a genera- ever, is a much more eclectic that send out many roots and form dense tion of American com- term and could be said to masses important to coastal land building. posers, beginning with apply to almost any music that Charles Ives. is syncopated. To rag a number Mulatto – half Negro, half white. It inspired a new is to play it in a syncopated Nainsook – a soft, lightweight muslin. direction in the musi- style. cal theater, both in The term “to rag” at one Tenderloin – a district of a city largely devoted America, through the time meant “to tease,” and the to vice, depravity or corruption. work of Irving Berlin, music does just that—teases the Cole Porter, and listener. It’s full of surprises— Tulle – a sheer, often stiffened silk, rayon or other masters of the unexpected rhythmic shifts and nylon net used primarily for veils or ballet costumes. Broadway musical, harmonies through syncopation.

P4 SOUTH COAST REPERTORY • Intimate Apparel musical innovation to evolve from the cultural interchange brought about by slavery in the United States. Ragtime is, at least in its inception, Afro-American music. It is composed within the Euro- The Northern Migration pean written framework—a notational system based on measures and divisions he Negro populations of the states of New Jersey, Pennsylvania and Illinois increased some of measures stipulating specific notes of two and a half times between 1890 and 1910, and that of New York almost tripled. In 1910, specific duration played to a specific time TNew York City was the second largest Negro urban center in America (just behind Washington, signature (how many beats will be in a D.C.). measure and what kind of note receives The majority, like all migrant populations, were young people, generally unskilled and one beat). unmarried, the earliest Negro generations born in freedom. W. E. B. DuBois described them as African music is based on an en- “the Southern freedman’s sons and daughters,” “untrained and poorly educated countrymen, tirely different frame of reference. It is rushing from the hovels of the country or the cottages of the country towns.” not notated. It is transmitted aurally— The migration was not so much a flight from racial violence as it was a desire for expand- learned by hearing. Second, it is ed opportunity—the attempt “to better my condition.” People moved North in search of a better polyrhythmic, giving emphasis to rhythm and more fulfilling life. over melody and harmony. The majority of those who came to New York City ended in the ranks of the poor and Terry Waldo, This Is Ragtime, swelled the slum populations of the Tenderloin, San Juan Hill or Harlem. To many northern Ne- Hawthorn Books, 1976 groes who had never known or had since forgotten the restrictive conditions in the South, the life of the typical migrant seemed no great improvement on his former condition. Ragtime music is written for the piano. While the average Negro migrant found life harsh and difficult in New York City, condi- The tension in ragtime arises from a po- tions in the North did offer a measure of self-respect and the possibility for future advancement larity between two basic ingredients: a that was generally denied the Negro in the South. “boom-chick bass” as it is called by jazz Gilbert Osofsky, Harlem: The Making of a Ghetto (Negro New York 1890-1930), musicians in the left hand, and its melod- Harper and Row, NY, 1996 ic, syncopated counterpart in the right hand. Schafer and Riedel, Ibid.

❂ ❂ ❂

octurnal Main Street of Sedalia, Mis- souri (where Scott Joplin and Louis NChauvin played), in 1896 was the town “sporting belt.” The wooden side- walks were thronged with jostling gam- blers, sports, pimps, hip-swaying girls, and the male citizenry out for a high time. From the doors of open clubs and the discreetly closed ones of the bordel- los came laughter that mixed like a cock- IN THE GILDED CITY tail with the rippling, infectious, synco- On a July day in 1906, Giulia Morosini invited the New York Herald’s society reporter to a private pated strains of ragtime. Ragtime was ev- showing of the $2 million wardrobe she had readied for the upcoming social season. erywhere. Morosini was not only “famous for her wonderful gowns” but was also admired for hav- Rudi Blesh and Harriet Janis, They All ing perfectly achieved the stunning pigeon-breasted and wasp-waisted body shape of the moment. Played Ragtime, Alfred A. Knopf, 1950 For the Herald reporter Morosini explicated, one piece at a time, the dresses, lingerie, and coats that her maid silently held up for viewing. The “famous gowns” made to her own de- “The argument that ragtime is good-time signs in silk, chiffon, satin, and lace were both fragile and heavy, hand-embroidered, beaded, rib- music that belongs in saloons and broth- boned, and encrusted with diamonds. She expected to wear most of the gowns but once. els is pure rubbish. Ragtime grew up in She put a price on each and every item. “One must pay,” she announced, “for the name those places, but Scott Joplin was not of an artist in gowns quite the same as in painting,” and she summed up the overall effect of her writing for those places. He was writing bejeweled wardrobe as artistic. a consciously stylized music for concert M. H. Dunlop, Gilded City: Scandal and Sensation in Turn-of-the-Century New York, performance.” Harper Collins, NY 2000. --Joshua Rifkin

Intimate Apparel •SOUTH COAST REPERTORY P5 SUE CREMIN ERICA GIMPEL STEVEN GOLDSTEIN Mrs. Van Buren Mayme Mr. Marks

Artist Biographies

*SUE CREMIN (Mrs. Van Buren) ers.” Her film credits include An role as Adele Neuman in the New York credits include A Part Evident Kiss, The Tao of Steve, Emmy Award-winning series “ER.” of the Story at Manhattan Class Texas ’46 with Roy Scheider and Her other television credits include Company, the title role in The Ad- Leave No Trace. Ms. Cremin is a “The District,” “Touched by an ventures of Amy Bock at Ensemble graduate of the Yale School of Angel,” “Law & Order,” “New York Studio Theatre, Dinosaur Dreams Drama. Undercover,” “Santa and Pete” op- and The Last 60 of 99 at New York posite James Earl Jones and the Stage & Film, A Wrinkle in Time at *ERICA GIMPEL (Mayme) makes miniseries “North & South.” Her Lincoln Center Institute and the her South Coast Repertory stage film credits include David Mamet’s world premiere of A Stone Carver debut after appearing in the 2002 Homicide, Wayne Wang’s Smoke, at Belmont Italian American Play- Pacific Playwrights Festival work- Abel Ferrara’s The King of New house. Regionally, she has ap- shop reading of Intimate Apparel. York, Hal Hartley’s Amateur, Flirt peared in Twelfth Night at The Her New York credits include Sam and No Such Thing opposite Helen Globe Theatres, The Poison Tree at Shephard’s States of Shock oppo- Mirren, the Oscar-nominated short the Mark Taper Forum, School for site John Malkovich, José Rivera’s Tuesday Morning Ride and the Wives at South Coast Repertory, Each Day Dies with Sleep and Ned soon to be released Mark Waters Mrs. Warren’s Profession and The Eisenberg’s Soulful Scream of a film, Freaky Friday. She is cur- Marriage of Figaro/Figaro Gets a Chosen Son. Her regional credits rently developing and writing her Divorce at , include Dusky Sally, Agnes of God own projects as well as composing and the title roles in both Leoca- at Crossroads Theater and June- music. Ms. Gimpel is also an ac- dia at New Jersey Shakespeare teenth in May at the Mark Taper tive member of the world peace Festival and Sabina at Carnegie Forum. She has worked exten- organization, The SGI-USA. Mellon’s New Play Series. Her sively in film and television where television credits include “ER,” she is best known for her role of *STEVEN GOLDSTEIN (Mr. Marks) “Strong Medicine,” “Spin City,” Coco in the international hit series, makes his South Coast Repertory “Boy Meets World,” “Guiding “Fame.” She also played Angel in debut with this production. He Light” and the pilot, “Dream Hack- “The Profiler” and has a recurring has appeared on Broadway in Our

P6 SOUTH COAST REPERTORY • Intimate Apparel KEVIN JACKSON BRENDA PRESSLEY SHANÉ WILLIAMS George Armstrong Mrs. Dickson Esther

Town and at Lincoln Center in The of Games, Homicide, Things Sin Kitchen, and the upcoming Lights, Oh Hell and Boys’ Life. He Change and The Spanish Prisoner. MVP and Brother to Brother. has also appeared in many pro- ductions as a founding member of *KEVIN JACKSON (George Arm- *BRENDA PRESSLEY (Mrs. Dickson) Atlantic Theater Company, includ- strong) makes his South Coast makes her South Coast Repertory ing The Water Engine, Shaker Repertory debut with this produc- debut with this production. She Heights, Nothing Sacred and Three tion. He has appeared on Broad- appeared on Broadway in the Sisters. His New York concert ap- way in Topdog/Underdog, Mule original production of Dreamgirls, pearances include Sweet Adeline Bone and Fences. Other New later playing the role of Michelle for City Center Encores! and York credits include References to Morris, as well as in Cats and The Gershwin’s Girl Crazy at Alice Salvador Dali Make Me Hot, Mac- Moony Shapiro Songbook. Her Tully Hall. His other Off-Broad- beth, Dancing on Moonlight, The Off-Broadway credits include way and regional credits include Caucasian Chalk Circle and Goodwill, Marvin’s Room, And the Glengarry Glen Ross, The Sand- Spunk () for The Pub- World Goes ‘Round–The Songs of man, Harmony and Marathon lic Theater/NYSF. His regional Kander & Ebb (Outer Critics Circle Dancing. An accomplished opera credits include The Tempest and Award) and Blues in the Night. singer, he has performed in Le Joe Turner’s Come and Gone at Her regional credits include The Nozze di Figaro (New York City Center Stage, The Piano Lesson at Old Settler at McCarter Theatre Opera, Vancouver Opera, and Denver Center Theatre Company, (world premiere), Freedom Reper- Cleveland Opera); Billy Budd and Playboy of the West Indies at Yale tory Theatre (Barrymore Award), Salome (Los Angeles Opera and Repertory Theatre and Spunk and and ; Blues for Seattle Opera); Die Tote Stadt and The Cider House Rules (Garland an Alabama Sky at Cincinnati Rigoletto (New York City Opera); Award, Ovation nomination) at Playhouse in the Park and The Die Zauberflöte (Los Angeles Mark Taper Forum. His television Globe Theatres; Jar the Floor at Opera); the world premiere of Eric credits include The Colored Muse- Syracuse Stage and The Globe Hermannson’s Soul (Opera um, “ER,” “Will and Grace,” Theatres; A Raisin in the Sun at Omaha); and Les Mamelles de “Chicago Hope,” “Living Single,” Ford’s Theatre; and To Be Young Terésias, Die Entführung aus dem “One Life to Live,” “Loving” and a Gifted and Black at the Kennedy Serail, Street Scene, and Susannah recurring role on “Hangin’ with Center. Ms. Pressley’s film and (New Israeli Opera, Tel Aviv). Mr. Mr. Cooper.” Mr. Jackson’s film television credits include Tim Rob- Goldstein’s television and film credits include Hero, The Walking bins’s Cradle Will Rock, Twisted, credits include “Law & Order;” Dead, Spy Hard, Bogus, Rosewood, City Hall, It Could Happen to You, “Guiding Light;” The Untouch- Conspiracy Theory, A Thin Line Daddy’s Girl, “Law & Order,” “Law ables; The Night We Never Met; and Between Love and Hate, Brown’s & Order: SVU,” “Deadline,” “New four films by David Mamet: House Requiem, Cement, Stanley’s Gig, York Undercover,” “Educating

Intimate Apparel •SOUTH COAST REPERTORY P7 Matt Waters,” “Harambee,” and a PLAYWRIGHT, long residency at Freedom Reper- co-starring role with Oprah Win- DIRECTOR & DESIGNERS tory Theatre in Philadelphia. Ms. frey on the series “Brewster Nottage is a member of New Place.” LYNN NOTTAGE (Playwright) re- Dramatists and a graduate of turns to South Coast Repertory, Brown University and the Yale *SHANÉ WILLIAMS (Esther) makes where the West Coast premiere of School of Drama. “This play is her South Coast Repertory debut her Crumbs from the Table of Joy dedicated to Tony, my love.” with this production. Most recent- earned two NAACP Theatre ly, she was seen in the world pre- Awards for performance. Ms. Not- KATE WHORISKEY (Director) re- miere of Clint Holmes’s musical, tage was at SCR in 2002 for the Pa- turns to South Coast Repertory, Comfortable Shoes at Royal George cific Playwrights Festival workshop where she directed the Pacific Theatre. Her theatrical credits in- reading of Intimate Apparel. Her Playwrights workshop reading of clude the world premieres of plays include the children’s musi- Intimate Apparel last summer. She Drowning Crow, Black Star Line cal, A Walk Through Time; Mud, has served as Associate Director at (Jefferson nomination, Black The- River, Stone (Blackburn Prize final- and is currently atre Alliance Nomination, Best Ac- ist); Por’knockers; Poof! (Heideman Artistic Associate at Intiman The- tress), and Ties That Bind (Jeffer- Award); and Las Meninas. Her atre through a TCG New Genera- son nomination, Black Theatre Al- plays have been produced Off tions Grant. Her regional credits liance Nomination, Best Actress), Broadway and regionally by The include The Rose Tattoo and the as well as The Visit (Jefferson Acting Company, Actors Theatre of world premiere of Drowning Crow nomination), Spunk and From the Louisville, Alliance Theatre Compa- at ; The Master Mississippi Delta at Goodman The- ny, Center Stage in Baltimore Builder at American Repertory atre; The Mystery Cycle, Othello, (where this world premiere co-pro- Theatre; Lady from the Sea and The and Fuente Ovejuna at Court The- duction of Intimate Apparel Chairs at Intiman Theatre; Desire atre; Bee-Luther-Hatchee and the opened in February 2003), Cross- Under the Elms at Perseverance world premiere of My Other Heart roads Theatre, Freedom Repertory Theatre; and Stop Kiss at Geva The- at Northlight Theatre; and Good Theatre, Playwrights Horizons, San atre. She has worked with writers Night Desdemona, Good Morning Jose Rep, Second Stage, Steppen- and Michael Ondaat- Juliet and Hamlet at San Diego wolf Theatre Company, Studio je. Upcoming projects include Repertory Theatre among other Arena Theatre, , Heartbreak House at the Goodman productions. She is perhaps best Yale Repertory Theatre and many Theatre, Blue Orange at the Inti- known for her four seasons as others. She is working on a com- man and Antigone at SCR. Ms. Marissa on “Early Edition.” Her panion piece to Intimate Apparel, Whoriskey is a graduate of NYU- other television credits include set 100 years later, for Playwrights Tisch School of the Arts and ART's “Gabriel’s Fire,” “Missing Persons,” Horizons. She has been awarded Institute for Advanced Theatre and “Howard Beach: Making a playwriting fellowships from Man- Training, has been a recipient of Case for Murder.” Her film credits hattan Theatre Club, New Drama- an NEA/TCG Director's Fellowship, include Uncle Nino, Life Sentence, tists, and the New York Founda- and was named one of Vogue’s The Croquet Game, Hell Cab and tion for the Arts. She is also the “Women to Watch.” With Honors. Ms. Williams is a recipient of a Playwrights Horizons graduate of The Goodman School Amblin/Dreamworks commission WALT SPANGLER (Set Design) of Drama at DePaul University. and an NEA/TCG grant for a year- makes his SCR debut with Intimate

World Premiere Announced for the Argyros Stage! by Rolin Jones April 29 - May 18

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P8 SOUTH COAST REPERTORY • Intimate Apparel Apparel. Broadway credits include can Repertory Theatre, Guthrie many others. Internationally, his Hollywood Arms. Off-Broadway Theater, New York Shakespeare designs have been seen at Royal credits include sets for Boston Festival, Manhattan Class Compa- National Theatre of Great Britain, Marriage, Twelfth Night and Blue ny, Playwrights Horizons, Glim- Lyric Theatre Hammersmith (Lon- Surge (The Public Theater/NYSF); merglass Opera, Grand don), Edinburgh Festival (Scot- Dublin Carol, The Water Engine, Opera, and the Canadian Opera land), Adelaide Festival (Australia), The Hothouse, Mojo, and An Adult Company, among others. She de- Theatre Neumarkt (Zurich), Som- Evening of Shel Silverstein (Atlantic signed 6,000 period costumes for mertheater Festival (Hamburg), IN- Theater Company) and; The Wax La Fête des Vignerons in 1999 in TRANSIT (Berlin), TheatreWorks (Playwrights Horizons). Regional Vevey, Switzerland. Ms. Zuber is (Singapore), and Fukuoka (Japan). credits include designs for The Pa- the recipient of the 1997 Obie His designs for dance include the jama Game, Short Plays by Thorn- Award for sustained achievement Joyce Theater, Kennedy Center ton Wilder and for colored girls... in design and is a graduate of the Modern Dance Festival, and Ameri- at Center Stage; Ghosts, The Win- Yale School of Drama. can Dance Festival (with Twyla ter’s Tale, The Duchess of Malfi, Tharp); American Ballet Theatre; Hedda Gabler, and Coriolanus for SCOTT ZIELINSKI (Lighting Design) National Ballet of Canada; and the The Shakespeare Theatre, as well returns to SCR where he designed , Boston, and Kansas as productions at The Goodman the world premiere of On The City ballets. Mr. Zielinski’s opera Theatre, Long Wharf Theatre, Ac- Jump. He designed Topdog/Under- credits include Brooklyn Academy tors Theatre of Louisville, Yale dog for Broadway. Other New of Music, Houston Grand Opera, Repertory Theatre, Dallas Theater York credits include productions at Minnesota Opera, Pittsburgh Center, Hartford Stage Company, Lincoln Center, Public Theater, Opera, Spoleto Festival USA, and Music Theater, Goodspeed Theatre for a New Audience, Man- others. Opera. Mr. Spangler is a graduate hattan Theatre Club, Playwrights of the Yale School of Drama. Horizons, New York Theatre LINDSAY JONES (Sound Design) is Workshop, Ontological-Hysteric glad to be making his SCR debut. CATHERINE ZUBER (Costume De- Theater (with Richard Foreman), His Off-Broadway credits include sign) makes her SCR debut with Signature Theatre Company, Clas- Beautiful Thing at Cherry Lane this production. She has designed sic Stage Company and others. Theatre and Closet Land at New costumes for the Broadway pro- Highlights of his extensive regional York Performance Works. Region- ductions of The Red Shoes, The credits include Baltimore’s Center al credits include productions at Rose Tattoo, Philadelphia, Here I Stage, , Mark Taper Center Stage, The Globe Theatres, Come!, The Sound of Music, Lon- Forum, Goodman Theatre, Step- Alliance Theatre Company, Step- don Assurance, Triumph of Love, penwolf Theatre Company, Arena penwolf Theatre Company, Mead- Ivanov, Twelfth Night (Tony nomi- Stage, Hartford Stage Company, ow Brook Theatre, Indiana Reper- nation), Dinner at Eight and the American Repertory Theatre, The tory Theatre, Milwaukee Repertory upcoming Dracula, The Musical. Shakespeare Theatre, Berkeley Theater, Geva Theatre, Chicago Her work has been seen at Center Repertory Theatre, The Globe The- Shakespeare Theater, American Stage, Hartford Stage Company, atres, Seattle Repertory Theatre, Players Theatre, and Human Race The Shakespeare Theatre, New Actors Theatre of Louisville, Hunt- Theatre Company. Current and York Theatre Workshop, Goodman ington Theatre Company, upcoming shows include Bee- Theatre, La Jolla Playhouse, Ameri- Williamstown Theatre Festival, and Luther-Hatchee at Repertory The-

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Intimate Apparel •SOUTH COAST REPERTORY P9 atre of St. Louis, O Jerusalem at the bie Hancock for Vice President Al JERRY PATCH (Dramaturg) has Flea, The Romance Cycle at Court Gore. The Chicago native learned been affiliated with South Coast Theatre, Once In A Lifetime at Peo- to play by ear at age 13 after being Repertory since 1967. He has ple’s Light and Theatre Company, exposed to ragtime through the served as dramaturg on more than Sky Girls at Northlight Theatre, Urban Gateways program. In ad- 125 new plays seen here since Dinner With Friends at Goodman dition to composing, recording, 1980, including the world pre- Theatre, and three shows at the and playing live, Mr. Robinson cur- mieres of Abundance, Freedom- Utah Shakespearean Festival. In rently teaches symposia on African land, , Search and the last four years, he has received rhythms in American music at Destroy, , Three Days two Joseph Jefferson Awards and schools throughout Illinois. of Rain and . His dramatic seven nominations for his work in writing has been produced at SCR Chicago, and was the first sound WILLIAM FOSTER MCDANIEL (Ar- and other theatres and on televi- designer to win the Michael Mag- ranger/Piano Coach) makes his sion. Most recently he co-con- gio Emerging Designer Award. SCR debut with this production. ceived The Education of Randy Mr. Jones and his wife, Jamie He began his musical theater ca- Newman with Michael Roth and Pachino, are currently writing their reer as conductor/pianist for the Mr. Newman (SCR, 2000). For first musical, Hubbin’ It: On the original New York production of seven years he was Artistic Direc- Road with Bob Wills and The Texas The Fantasticks. Other conducting tor of the theatre program of the Playboys, which will premiere in credits include Ain’t Misbehavin’, Sundance Institute. He now Chicago this September; their Timbuktu!, Bubblin’ Brown Sugar, serves as project director of SCR’s much more exciting collaboration, Sophisticated Ladies, House of annual Pacific Playwrights Festival however, is the recent birth of Flowers, Once on this Island, Big and as consulting dramaturg for their first child, Huck. River, Stringbean, Fiddler on the the Roundabout Theatre Company Roof, Nunsense II, Lady Day at in New York. REGINALD ROBINSON (Composer) Emerson’s Bar & Grill, Guys & makes his SCR debut with this pro- Dolls, A Funny Thing Happened on RHONDA ROBBINS (Associate Pro- duction. One of the world’s lead- the Way to the Forum, Hello Dolly, duction Dramaturg) has served as ing performer/composers of con- Dream Girls, Damn Yankees, Associate Production Dramaturg of temporary ragtime music, he has Showboat, Dinah Was, Will Rogers Ain’t Misbehavin’ and as Assistant recorded three albums for Bob Follies, Crazy for You, Storyville, Production Dramaturg of No For- Koester’s Delmark Records: The Smokey Joe’s Café, A Wonderful eigners Beyond This Point at Cen- Strongman, Sounds in Silhouette, Life, Always Patsy Cline, and Call ter Stage. She has also dra- and Euphonic Sounds; his latest, the Children Home. His classical maturged A Doll House, The Mis- Man Out of Time, will be released compositions have been per- anthrope, and for colored girls later this year. He has composed formed by the Philharmonia of who have considered suicide/when music for Frank Galati’s Each One Greensboro, Savannah Symphony, the rainbow is enuf at the State As She May at Goodman Theatre Harvard Mozart Society Orchestra, University of New York at Stony and the independent film, Com- and Brooklyn Philharmonic. Mr. Brook. She has written a number pensation by Zeinabu Irene Davis McDaniel is a graduate of Capital of plays, including The Photo (which can be seen on Black Stars University and Boston University Album, The Real Deal Coffeehouse, and The Sundance Channel) and and was a Fulbright Scholar in and The Fourth of February: A was asked to play alongside Her- Paris. Play?, which was staged at The

SCR’S TEEN P L AY ER S PRESENT THEATRE FOR KIDS—AND YOUNG ADULTS F lorence, David andArt World Premiere by Greg Atkins In the Nicholas Studio A group of American high school students spend the summer at an art school in Florence, Italy. Through their studies and their personal experiences, they get a new perspective on life, love and — ultimately — who they are. Tickets $5 May 31 - June 1Call (714) 708-5555 June 6 - June 8

P10 SOUTH COAST REPERTORY • Intimate Apparel Staller Center for the Arts. Ms. ment to remember all those who The Philanderer. He directed the Robbins received a W. Burghardt have lost the battle and all those world premieres of ’s Turner Fellowship to pursue her still suffering and fighting the The Beard of Avon and Freedom- MFA in Dramaturgy from State AIDS epidemic. land, Thomas Babe’s Great Day in University of New York at Stony the Morning, Keith Reddin’s Rum Brook, earned her BA in African *VANESSA J. NOON (Assistant and Coke and But Not for Me and American Studies and Comparative Stage Manager) has been the As- Neal Bell’s Cold ; the Ameri- Arts and Cultures from University sistant Stage Manager on A Christ- can premiere of Terry Johnson’s of California at Berkeley, and is mas Carol, Proof and Two Gentle- Unsuitable for Adults; the West Center Stage’s Dramaturgy Fellow men of Verona this season. Previ- Coast premieres of C.P. Taylor’s for the 2002-03 season. ously at SCR she stage managed Good and Harry Kondoleon’s Making It, Nostalgia, The Lone- Christmas on Mars; and the South- *RANDALL K. LUM (Stage some West and The Countess. Be- land premiere of Top Girls (at SCR Manager) is pleased to be associ- sides working at SCR, she has and the Westwood Playhouse). ated with Lynn Nottage on another stage managed for the Mark Taper Other productions include the of her plays. This season he has Forum’s New Works Festival and West Coast premieres of Three stage managed Major Barbara and P.L.A.Y. Tour, Shakespeare Santa Viewings by Jeffrey Hatcher, The Proof. Last season he had the Cruz, Shakespeare Festival/L.A., A Secret Rapture by David Hare and pleasure of working on Getting Noise Within, Buena Vista Special New England by Richard Nelson; Frankie Married—and Afterwards, Events at The El Capitan Theater and Arcadia by Tom Stoppard, The School for Wives, The Home- and Universal Studios Hollywood. Six Degrees of Separation by John coming and The Circle. During She has also worked on the Guare, The Importance of Being his long association as one of Academy Awards, the Primetime Earnest by Oscar Wilde, Ayck- SCR’s resident stage managers he Emmy Awards, “America: A Trib- bourn’s Woman in Mind and You has worked on more than a dozen ute to Heroes” telethon, the Pearl Never Can Tell by George Bernard world premieres and has been as- Harbor movie premiere onboard Shaw, which he restaged for the sociated with over 60 productions. the USS John C. Stennis in Hawaii 1990 Singapore Festival of Arts. In 1997, Mr. Lum stage managed and the Anaheim Angels World His producing responsibilities in- the AIDS Benefit Help is on the Series Victory Celebration at Edi- volve the overall coordination of Way III at the Palace of Fine Arts son Field. SCR’s programs and projects. He in San Francisco. Other stage has served as a consultant to the management credits include the DAVID EMMES (Producing Artistic Orange County Performing Arts American Conservatory Theatre in Director) is co-founder and Pro- Center and as a theatre panelist San Francisco, the Globe Theatres ducing Artistic Director of SCR, and onsite evaluator for the Na- in San Diego, Berkeley Repertory one of the largest professional res- tional Endowment for the Arts. Theatre, San Jose Civic Light ident theatres in California. He He has served on the board of the Opera, VITA Shakespeare Festival, has received numerous awards for California Theatre Council, the Ex- Pacific Conservatory of the Per- productions he has directed dur- ecutive Committee of the League forming Arts, Long Beach Ballet, ing SCR’s 38-year history, includ- of Resident Theatres, and as a San Francisco Convention Bureau ing a 1999 Los Angeles Drama panelist for the California Arts and Kawasaki Motorcycles. He Critics Circle Award for the direc- Council. After attending Orange would like everyone to take a mo- tion of George Bernard Shaw’s Coast College, he received his BA

Intimate Apparel •SOUTH COAST REPERTORY P11 and MA from California State Uni- tions, John Millington Synge’s sued an additional course of study versity, San Francisco, and his Playboy of the Western World, in theatre and dance. PhD in theatre and film from USC. Arthur Miller’s The Crucible, Sally Nemeth’s Holy Days and Wit. He CENTER STAGE (Co-producer) Bal- MARTIN BENSON (Artistic Direc- also directed the film version of timore’s nationally recognized not- tor) shares co-founder credit and Holy Days using the original SCR for-profit producing theater, Cen- artistic leadership of SCR with his cast. Along with David Emmes, ter Stage is currently celebrating colleague David Emmes. As one he accepted SCR’s 1988 Tony its 40th Anniversary Season. of SCR’s chief directors, Mr. Ben- Award for Outstanding Resident Under the leadership of Artistic son has directed nearly one third Professional Theatre and won the Director Irene Lewis and Manag- of the plays produced here in the 1995 Theatre LA Ovation Award ing Director Michael Ross, the the- last 38 years. He has distin- for Lifetime Achievement. Mr. ater has earned its reputation for guished himself in the staging of Benson received his BA in Theatre artistic excellence, in the process contemporary work, most notably from California State University, cultivating a diverse and engaged Paul Osborn’s Morning’s at Seven, San Francisco. audience. Center Stage’s program- the critically acclaimed California ming includes bold interpretations premiere of William Nicholson’s PAULA TOMEI (Managing of the classic world repertory, Shadowlands, Athol Fugard’s Director) is responsible for the music theater pieces, and chal- Playland, Brian Friel’s Dancing at overall administration of the day- lenging new works for the Ameri- Lughnasa, David Mamet’s Olean- to-day operations of SCR. A mem- can stage. Long recognized as an na, Harold Pinter’s The Homecom- ber of the staff since 1979, she has artist-centered theater, Center ing, the West Coast premiere of served in a number of administra- Stage has nurtured the careers of Peter Hedges’ Good As New and tive capacities including Subscrip- dozens of actors, directors, design- David Hare’s Skylight. He has tions Manager, Business Manager ers, and playwrights over its four won accolades for his direction of and General Manager. She cur- decades; current Center Stage As- five major works by George rently serves as President of The- sociate Artists include director Bernard Shaw, including the Los atre Communications Group Marion McClinton, Deaf theater Angeles Drama Critics Circle (TCG), the national service organi- artist Willy Conley, and play- (LADCC) Award winners Major zation for theatre where she also wright/performer Danny Hoch. Barbara, Misalliance and Heart- served a two-year term as Treasur- The theater’s First Look work- break House. Among the numer- er, and has served as the Vice shop/playreading series provides ous world premieres he has direct- President of the League of Resi- both a laboratory for new play de- ed are Jon Bastian’s Noah Johnson dent Theatres (LORT). In addi- velopment and a forum for audi- Had a Whore..., Tom Strelich’s tion, she has been a member of ences to share in the creative pro- BAFO, and ’s the LORT Negotiating Committee cess. Recently commissioned Pulitzer Prize-winning Wit, which for industry-wide union agree- playwrights include Hoch, Lisa he also directed at Seattle Reperto- ments and represents SCR at na- Kron, Warren Leight, and Lynn ry Theatre and the tional conferences of TCG and Nottage. The current season in- in Houston. He has directed LORT; is a theatre panelist and site cludes World Premieres by both American classics including Ah, visitor for the National Endow- Leight and Nottage. Center Stage’s Wilderness!, A Streetcar Named ment for the Arts and the Califor- Theater for a New Generation pro- Desire, A Delicate Balance and All nia Arts Council (CAC); served on gram has been a national model My Sons. Mr. Benson has been the Advisory Committee for the for the cultivation of young audi- honored with the Drama-Logue Arts Administration Certificate Pro- ences, and Shugoll Research re- Award for his direction of 21 pro- gram at UC Irvine; and has been a cently named Center Stage an in- ductions and received LADCC Dis- guest lecturer in the graduate dustry leader in patron satisfac- tinguished Achievement in Direct- school of business at Stanford. tion. For more information about ing awards an unparalleled seven She graduated from UC Irvine with Center Stage’s productions or pro- times for the three Shaw produc- a degree in Economics and pur- grams, go to www.centerstage.org.

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

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