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Home , Alec Mapa, Dan Butler, Diana Rigg, Jeff Whitty, Joe Spano, Mel Gussow

42nd Season • 404th Production JULIANNE ARGYROS STAGE / JANUARY 8 - 29, 2006

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

presents the world premiere of The Further Adventures of

BY Jeff Whitty

Christopher Acebo Shigeru Yaji Geoff Korf Paul James Prendergast SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN COMPOSER/SOUND DESIGN

Art Manke Brian J. Sivesind Megan Monaghan Jeff Gifford Randall K. Lum* CHOREOGRAPHY ASSISTANT DIRECTOR DRAMATURG PRODUCTION MANAGER STAGE MANAGER

DIRECTED BY Bill Rauch

Pam and Jim Muzzy HONORARY PRODUCERS

The Further Adventures of Hedda Gabler was commissioned and developed by .

The Further Adventures of Hedda Gabler • SOUTH COAST REPERTORY P1

THE CAST (in order of appearance) Hedda Gabler ...... Susannah Schulman* George Tesman ...... Christopher Liam Moore* Their Servant ...... Kimberly Scott* Their Neighbor and Others ...... Kate A. Mulligan* Woman in Pink and Others ...... Bahni Turpin* Patrick and Others ...... Dan Butler* Steven and Others ...... Patrick Kerr* Eilert Lovborg and Others ...... Preston Maybank*

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

PRODUCTION STAFF Casting ...... Joanne DeNaut Production Assistant ...... Mia Osherow Stage Management Intern ...... Cristin Downs Fight Consultant ...... Martin Noyes Costume Design Assistants ...... Merilee Ford, Katie Wilson Additional Costume Staff ...... Bronwen Burton, Catherine Esera Kathleen Hotmer, Patte Moon, Mai Nguyen, Peggy Oquist Deck Crew ...... Geno Franco Sound Operator ...... Chris Deckner

ACKNOWLEDGEMENT Jonathan Del Arco, Hamish Linklater, Alec Mapa, Joan MacIntosh, Jennifer Kiger, Dara Weinberg, Gladis Esquivel, Steven Argila

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. Cellular phones, beepers and watch alarms should be turned off or set to non-audible mode during the performance.

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

Official Airline Media Partner

P2 SOUTH COAST REPERTORY • The Further Adventures of Hedda Gabler A Long Love Affair with Hedda Welcoming Words from Jeff Whitty ’ve always longed to play the role of Henrik brilliant designers and, one hopes, a shrewd and Ibsen’s Hedda Gabler, ever since I played her generous director. On this project I’ve been blessed husband, George Tesman, in graduate school by all of the above. a decade ago. In my more grandiose mo- Like I said, I’m obsessed with Ibsen’s play. ments, I feel that no one in the world could under- But I’m no longer bitter that I’ll never play Hedda. stand her better than me: her mercurial shifts of Because, though I never donned a bustle and picked mood, her willful destructiveness, the volatility she up the pistols, I feel I’ve been able to play her—my hides beneath a convincing sophistication. But due version of her, at least. I don’t want to give too to the unreasonable limitations presented by casting much away, but writing this play has been a treat directors and artistic directors at theatres across the because I’ve been able to explore all manner of Icountry, I suspect I will never have the chance. roles for which I’ll never get an Actors’ Equity con- As Fate moved me from a career in acting to a tract. writing career, I’ve discovered that, for me at least, If you don’t the creative process is much the same. Both acting know Ibsen’s origi- and writing require the artist to discover the emo- nal Hedda Gabler, tional arithmetic that drives character. This requires it’s a magnificent “Like I said, I’m a lot of pleasurable time spent inside someone else’s read, and it’s a cap- obsessed with Ibsen’s head. I’m still not sure which craft I prefer. tivating evening of As an actor, one faces the audience head-on. theatre (even with play. But I’m no It’s a preposterous leap, pretending to be somebody someone else play- else in front of a group of people willing to suspend ing the role). And longer bitter that I’ll their belief. No matter how advanced stage technol- if you don’t know never play Hedda.” ogy becomes, it will always retain the brutal, primi- the play, you may tive thrill of a game of pretend. In theatre more miss a few nuances than any other art form, the audience gets to play, in tonight’s show, Jeff Wbitty too. It’s a jungle-gym exercise of imagination when but I’ve written it it works. carefully so all you Writing is several steps removed from the really need to actor’s chutzpah. When my writing goes well, I love know is this: driven the easy, comfortable bounce between points of into a corner at view. Some days I get so absorbed, I’m often com- play’s end, unable pletely surprised when a moment of humor or to balance her own pathos emerges. When I hit a block, as I have many limited world-view times when writing this play, it’s a challenge to repli- and the confines of cate the easy and comfortable feeling of happier the world in which writing days. But what a gratifying feeling when, she finds herself, after much chipping away, a moment emerges that Hedda Gabler takes feels easy, that flows—that doesn’t stick out! her father’s gun The nail-biting question for the playwright is and kills herself. whether the fireworks in one’s head can be replicat- And now, ed when recreated by a slew of brave actors and here’s the sequel.

The Further Adventures of Hedda Gabler •SOUTH COAST REPERTORY P3 Full of Stuff and Opportunity BY MEGAN MONAGHAN ctors cultivate their chameleon qualities. finitely perverse,” but she is also “various and sinuous The best among them convince skepti- and graceful, complicated and natural; she suffers, she cal critics and adoring audiences alike struggles, she is human, and by that fact exposed to a of their versatility, their capability to dozen interpretations.” Ibsen, James predicted, was bring such an infinite variety of believable characters “destined to be adored by the ‘profession.’ He will re- to life that they could populate a small city all on their main intensely dear to the actor and the actress. He own. But there are a handful of roles in the Western cuts them out work to which the artistic nature in theatre tradition that almost any actor would give an them joyously responds—work difficult and interest- eyetooth to play—the parts against which performers ing, full of stuff and opportunity.” measure their best mettle, often the most difficult but Well, who could resist such an opportunity, or also the most rewarding work in their careers. Shake- such a challenge? The great ladies of Western the- Aspeare contributed Hamlet, , and Lady Mac- atre have risen to the occasion of Hedda Gabler, in beth to that list, while his contemporary Christopher dozens of languages over nearly a dozen decades. Marlowe gave us Tamburlaine and Doctor Faustus; Only one can claim the honor of being the first to gave us Blanche DuBois, Tony embody Hedda’s contradictory qualities: Frau Clara Kushner provided his version of Roy Cohn, and Ed- Heese Conrad-Ramlo, who played the title role in ward Albee added the memorable George and the first public performance at Munich’s Königliches Martha. , still widely recognized as Nor- way’s greatest playwright more than a century after his death, added several memorable roles to the list we are building; but none more memorable than the title role in his 1890 masterpiece Hedda Gabler. Hedda shows the wide range of emotional pos- sibilities that actors nurture in themselves. The char- acter can be seen as witty and charming; idealistic and romantic; capable of great intelligence, even wisdom; but she is also banal, materialistic, haughty, and delib- erately, persistently cruel. Both victim and victimizer, she is at the heart of our ongoing fascination with the play. It is easy to understand why so many of the great actresses of the nineteenth and twentieth cen- turies, and now beginning the new millennium, choose to tackle this ever-challenging, ever-fascinating role. Henry James, whose own work reflects con- cerns that resonate with the oppressive bourgeois world Ibsen represents in Hedda Gabler, wrote an essay in 1891 entitled “On the Occasion of Hedda Gabler” in which he described the character as “in-

Miss Elizabeth Robins as Hedda Gabler in 1891.

P4 SOUTH COAST REPERTORY • The Further Adventures of Hedda Gabler Residenz-Theater on January 31, 1891. Ibsen was in famous pistol at individual members of the audience. the audience, seeing for the first time in the flesh the At the same time, rivalry raged between touring character who had occupied his imagination for many productions of Hedda Gabler crisscrossing England, months before. Produc- with Stanislavsky protegée Alla Nazimova delivering tions of Hedda Gabler smoldering sexuality in one production while the followed in quick succes- American Minnie Maddern Fiske (remembering well sion in Copenhagen with the stunning performance she saw Elizabeth Robins Fru Hennings playing give) endowed her Hedda with an icy reserve and Hedda, and in Christia- Machiavellian sensibilities. Nazimova returned to the nia, Norway, with Froken role more than thirty years later, adapting the play to Constance Brunn in the emphasize its opportunities for sexual subtext and title role. casting Hedda as a mentally troubled older woman married to a much younger graduate student. Hedda enjoyed a run of popularity through the 1920s. first took on the role in 1928, and through her long career became one of the fore- most translators, directors and advocates not just of this play but of all of Ibsen’s work. Her eloquent de- Ibsen already scription of the character graces the introduction to an had a foothold in En- anthology of six Ibsen plays. “Hedda Gabler is the glish theatre, but psychological study of a woman. A fascinating, trag- Hedda took the ic, hateful woman; a woman of the world—well-bred, British by storm of subtle intellect, cultivated, exquisite... The two when the American principal motivating factors in the pattern of Hedda’s actresses Miss Eliza- behavior are her environment—the stuffy middle-class beth Robins and Miss Marion Lea, both living in Lon- atmosphere in which she finds herself trapped—and don, produced the play later in 1891 at the Vaudeville her pregnant condition—which her fastidious, twisted Theatre (a lease which was financed by the sale of a nature finds unbearably offensive. In different cir- family heirloom by each woman). Robins directed the cumstance, surrounded by beauty and wealth... play and portrayed Hedda in , then took the Hedda might have been quite a different person. It is lead role in the first U.S. production of Hedda Gabler her spiritual poverty that generates the boredom that in 1898. As the twentieth century com- menced, Hedda appeared on stages all over the world, played by a string of luminaries. Two London produc- tions vied for popular attention and critical plaudits: the great Italian-born actress Eleonora Duse brought a pow- erful sense of Hedda’s fatigue and pre- occupation with morbid thoughts to the role, which she was widely report- ed to have studied for ten years be- fore she brought it before the public in 1905. Mrs. Patrick Campbell, visibly pregnant during the 1907 run of the play, imbued Hedda with a degree of malice that extended so far as to begin each performance by firing Hedda’s

Alla Nazimova, above left, and Kate Burton as Hedda. Right, Minnie Mad- dern Fiske with George Arliss in the 1903 production.

The Further Adventures of Hedda Gabler •SOUTH COAST REPERTORY P5 the big screen as Hedda. Interestingly, Dame Rigg also did a Tony-winning turn as in 1994. Hedda has lost none of her allure as the 21st century dawns. Kate Burton played Hedda on Broad- way in 2001, matching her pedigree as daughter of acting royalty Richard Burton with the opportunity for arch nobility in the role. One reviewer noted that “Even in the play’s last moments, the final image is not one of a defeated woman, but of a great queen at ease on her throne.” During the same season, Martha Plimpton played Hedda at Chicago’s Steppenwolf The- atre, and Judith Light approached Hedda with sympa- thy at The Shakespeare Theatre in Washington, DC. In an L.A. Times article published in May 2002, Light described Hedda as “not monstrous or evil... For me she was a woman caught in the web of her own nar- cissism, her own inability to have found a way to stop causes her to destroy others and herself… Perhaps in operating as a child. She never got beyond that neu- no other play has Ibsen’s craftsmanship been so rosis and was ashamed of being in so much emotional unerring… the play gradually builds in tempo as the pain. I also see her as a extremely courageous, in- tension mounts. One feels as if one were climbing a credibly intelligent, and with an incredible life force.” spiral—faster and higher, faster and higher—until the Earlier this year, Isabelle Huppert triumphed in final pistol shot, with its sense of release.” the role in Paris, in a deconstructed production that The 1930s and 1940s represented a long dip in won great audience response. At the same time, Eliz- interest in Hedda and her play, but the brought abeth Marvel drew great acclaim for her portrayal of fresh interpretations by a new generation of great Hedda at New York Theatre Workshop. Marvel and artists. played Hedda in 1962 in Paris director Ivo van Hove explored every physical and and Ingmar Bergman directed a seminal production of emotional possibility the role seemed to contain. And the play in 1964, first in his native Sweden and then in in 2006, Australia sends its best to the Brooklyn Germany and England. Academy of Music, with Cate Blanchett starring in the Dianne Wiest made a splash as Hedda in the Sydney Theatre ’s production for a four- Yale Repertory production in 1981, inspiring New week New York run. Hedda will continue to amuse, York Times critic Mel Gussow to declare that “This is intrigue, infuriate and mystify well into the coming Hedda in a fever. We can feel her about to deto- century, attracting the best that actresses have to give, nate... a force of nature confined in an airless exis- and delighting audiences with the best our theatrical tence.” towered in the role at Dublin’s tradition has to offer. Clearly, the role is “full of stuff Abbey Theatre in 1991, making a lasting impression and opportunity” for us all. on this nascent dramaturg who happened to be working in the Abbey’s second space that summer. There have been more than fifteen adaptations of Hedda Gabler to television and film media, the earliest a silent film made in 1917 and the most re- cent a 2004 version that relocated the story to a community of young academics in Washington State. Brown University-trained playwright Kristin Newbom crafted the screenplay, and Heidi Shreck, a frequent player on New York stages, essayed the title role. Diana Rigg, best known as The Avengers’ Mrs. , was an accomplished Shakespeare- an before she ever appeared on the small screen, or

Above, Ingrid Bergman in the 1963 film version of Hedda Gabler. Heidi Schreck as Hedda and Tricia Rodley as Thea, right, in 2004 film version.

P6 SOUTH COAST REPERTORY • The Further Adventures of Hedda Gabler Yours Most Sincerely, Henrik Ibsen ount Moritz Prozor served as the major translator of Ibsen’s plays into the French language during The manuscript went off to Ibsen’s lifetime. The two carried on a regular Copenhagen the day before correspondence, in which Ibsen supplied key yesterday... It produces a information that would influence Prozor’s translations. Below are two excerpts from letters Ibsen addressed to curious feeling of emptiness Prozor concerning Hedda Gabler, giving us a glimpse into to be thus suddenly this playwright’s relationship with his most intriguing character. separated from a work which has occupied one's time and C thoughts for several months, to the exclusion of all else. Hedda But it is a good thing, too, to The title of the play is have done with it. The Gabler. My intention in giving it constant intercourse with the this name was to indicate that fictitious personages was Hedda as a personality is to be beginning to make me quite regarded rather as her father's nervous. daughter than as her husband's wife... It was not really my - November 20, 1890 intention to deal in this play with so-called problems. What I principally wanted to do was to depict human beings, human emotions, and human destinies, upon a groundwork of certain of the social conditions and principles of the present day. When you have read the whole, my fundamental idea will be clearer to you than I can make it by entering into further explanations. - December 4, 1890

The Further Adventures of Hedda Gabler •SOUTH COAST REPERTORY P7 Authors and Authority: Who's Really Running the Show? BY MEGAN MONAGHAN reativity. Creation. Putting elements in a The Further Ad- particular order, combining ingredients in ventures of Hedda “The creation very an intentional way, building and shaping a Gabler begins with new thing into being. Whether that thing one of Western the- quickly takes on a is an office building, a new medicine, a website or a atre’s great creations. life of its own. I have wedding cake, it begins with the creator’s intent. In For more than a centu- one’s mind’s eye one can see the white-coated experi- ry, audience after audi- no idea why: it’s just menter at his orderly lab table, or the master marionet- ence has watched tist who knows exactly which string to pull next. The General Gabler’s beau- words on paper.” finished creation will emerge, matching in every detail tiful daughter ricochet Cthe creator’s intended design. off the walls of the Many authors, however, describe their experi- house her new hus- ences differently. Perhaps this is partly due to the un- band, a gentle scholar, ruly raw material they’re working with: other human has provided when beings, characters who happen to be sprung fully they return from their grown from the author’s mind like Athena from the honeymoon. Breaths head of Zeus. Human beings, even fictional ones, are have been held and notoriously difficult to corral and bend to one’s will— programs squeezed in but they are fascinating when let run free. Authors anxious hands while often find they follow their characters down unexpect- Hedda’s tale unfolded ed paths, rather than dictating where those paths will in dozens of languages go and how fast the characters will travel them. The since its initial produc- relationship between author and character, between tion in 1891. Hedda creator and creation, can be much more mutual than stands out in Ibsen’s one of simple, absolute authority. canon. Turning from his practice of present- ing social problems as the focus of his plays, the author made Hedda Gabler a psychological portrait of its title character. His ex- periment has been a gift to generations of leading ac- tresses, up to and including Eve Best, whose interpre- tation of the role lit up the West End this year. But how much control did Ibsen have over the process of Hedda’s birth? Who led that dance, and who followed? In a 1984 interview, Pulitzer Prize win- ning playwright and screenwriter David Mamet said of his creative process, “There’s a curious phenomenon that happens when you compose a play or movie.

Joe Spano, Kamella Tate and Gregg Henry in SCR’s 1990 production of Mamet’s Speed the Plow.

P8 SOUTH COAST REPERTORY • The Further Adventures of Hedda Gabler The creation very quickly takes on a life of its own. I have no idea why: it’s just words on paper. But the art I can compare it to in my experience is carving wood. You start to carve wood, and very quickly the thing takes on a life of its own. Part of the wisdom of wood carving is to realize when the wood is telling you where it wants to go.” It seems possible that head- strong Hedda had a hand in her own carving, as many other top authors describe with their own characters. They describe those characters as if they were com- pletely independent beings, with free will and inten- tions of their own, capable of surprising their authors as completely as any flesh-and-blood human being could. Some authors relate a nearly literal process of lis- tening to their characters speak to them. Discussing the genesis of one of his plays, author Mark Medoff pinpoints a moment when “Stephen [who would be- come the main character] literally started talking to me William Cain, Patricia Wettig, Jordan Charney and Tony Shultz in SCR’s 1984 production of Lanford Wilson’s An- one day, in my head, he just started talking. He was gels Fall. talking about the movies, and I truly started writing what I heard him saying in my head, and that became with her intention to commit suicide, had to figure it the first act of The Heart Outright.” Playwright Marsha out for herself. Norman notes that “You begin to hear the way some- These independent characters’ choices some- body talks... I’ll begin to hear lines of dialogue. And times provoke passionate response from their authors. the question gets to be, ‘Who’s speaking?’...And then The great American playwright reports you begin to get it ‘voiced,’ once you know how little patience with some of his characters’ choices, es- the characters talk, the pecially their choices not to do something about their writing can begin.” situations. “The majority of my plays are about people “I very nearly went This process isn’t al- who are deluded—consciously or unconsciously, in ways a speedy one for one way or another. And I want to say, ‘Do it!’ Shake crazy writing it. I Norman. Sometimes ‘em. ‘Stop it! Do it!’” Maria Irene Fornes, an iconic the characters cease to playwright/director who shaped future generations of kept losing it and I speak and a breathless artists by her teaching, would be disappointed if her must have been in pause stretches out just characters were too docile. She says, “I experience my at the crucial moment. characters as real people. I don’t think they are so some very bad While Norman was strange. They may be unfamiliar, but I don’t see this writing ’night Mother, as being strange. Most characters in dramatic literature place.” which ultimately won are unusual... When my characters start behaving in a the Pulitzer Prize for one-key or automatic manner, I feel that I have lost Lanford Wilson Drama, there was such touch with them and that the play has gone flat.” a pause. She says, “At The process of creating, or listening to those that moment when characters, waiting out their decisions and carving the Mama says, ‘You are resulting material into the shape of a play, can be as my child,’ I wrote that exhilarating as a great conversation or as demanding down and then I liter- as a rigorous hike. Lanford Wilson, several of whose ally walked the streets plays have been produced at SCR, described the pro- for three days until cess of writing Serenading Louie in an interview with Jessie figured out what Esther Harriott: to say back.” It wasn’t “I very nearly went crazy writing it. I kept losing Marsha figuring out it and I must have been in some very bad place. I what Jessie should say kept damn near going crazy because I kept discover- back. Jessie, who was ing things that I didn’t want to know, and once I dis- confronting her mother covered them I didn’t want to deal with it. [Harriott: is

The Further Adventures of Hedda Gabler •SOUTH COAST REPERTORY P9 ing.” And Ntozake Shange describes a creative process that works backwards. Her interviewer, Neal A. Lester, asked her “how do you start? Do you start with an idea, a message, or— Shange: I never start with a message. It’s very peculiar. Usually I know the last lines of things, or I know the last scene of something, and then I have to figure out how that happened.” Much as had to wait three days till her character Jessie was ready to reveal her next choice, waited nearly a decade for the next revelation in the process of writing one of his best- known, best-loved plays. “What happened with Brighton Beach [Memoirs] was interesting. I wrote thirty-five pages and stopped and put it away for nine years. And when I came back to it, somehow the play had been written in my head Kandis Chappell, Linda Gehringer and Nicholas Hor- mann in Edward Albee’s A Delicate Balance at SCR in over those nine years 2001. without thinking of it, so I wrote it completely this one of the cases where the characters started to from beginning to end take over?] Oh, God, yeah! I started examining, ‘Why without stopping. But do you do that? Why do you feel that?’ ... I was work- that’s only the begin- ing this way on that play, and it led into some areas ning of the process. that I hadn’t really intended to go into—all those You can never say any weird, dark, black areas of Carl [a mass murderer].” play is written easily, Some authors surround their creative processes because you write it with discipline, such as A Soldier’s Story author Charles once, and then you Fuller describes. “It’s a very steady, long process. Not write it again, and then that it’s long in terms of days, but all day every day you write it again...” until the work is finished. It’s like the Army. When I So the elements was in the Army, they trained you for six months, but are gathered: character they trained you every day... And that method seems voices, events whose very practical. It works.” Mark Medoff uses routine to mysteries the author “The majority of my keep his creative muscles and his physical self in must trace to their be- shape, though it means starting work before the cock ginnings or follow to plays are about crows. Medoff says, “I have gotten into a very, very their ends, the necessi- rigid routine over the years, where I start writing very ty of waiting out the people who are early in the morning, usually between five and six in moments or years of si- deluded— the morning, and quit usually between ten and eleven lence on a play, and and then invariably, invariably, go exercise.” the writer’s shaping consciously or Edward Albee reports a more intuitive, less rou- will. But the real tinized process for the birth of his plays in his inter- alchemy arises when unconsciously, in one view with Jeffrey Goldman. “Everything starts coming the author and charac- way or another.” into focus at the same time—the environment, and the ters labor together, in characters, their relationship to each other—it just harmony or creative starts coming into focus. [Goldman: Do you use an tension, and the play Edward Albee outline?] No. I will think about a play for quite a begins taking shape in the living audience’s eyes and while before I start writing it down... I rely upon the ears. Whether the process is methodical or dionysian, unconscious mind for creativity, just as most people whether the characters are willful or submissive to do. And the conscious mind is a kind of translator.” their author’s bidding, whether the writer sees the Fornes agrees with him, saying “There is always an el- whole story clearly or discovers its contours by intu- ement of chance. Once a writer starts writing, it all ition in the dark, all the work leads to the moment happens. It happens, rather than the writer making it when the audience joins in the fun, coming to know happen... solutions come by inspiration, not by reason- and love the characters the way their creators do.

P10 SOUTH COAST REPERTORY • The Further Adventures of Hedda Gabler DAN BUTLER PATRICK KERR PRESTON MAYBANK Patrick and Others Steven and Others Eilert Lovborg and Others

Artist Biographies

*DAN BUTLER (Patrick and Playhouse, Lisbon Traviata at the Mr. Butler is currently collaborat- Others) is making his SCR debut. Mark Taper Forum and the Santa ing with Bill Rauch on a new play He has performed on Broadway Fe Stages production of Copen- and finishing up his film Karl in Biloxi Blues and The Hothouse. hagen. Film credits include Fix- Rove, I Love You. Off-Broadway credits include Old ing Frank, Enemy of the State, Money at Lincoln Center; The The Fan, I Love Trouble, Silence *PATRICK KERR (Steven and Oth- Only Thing Worse You Could of the Lambs, The Long Walk ers) appeared at SCR most recent- Have Told Me… at Actors Play- Home, Longtime Companion and ly in the Pacific Playwrights Festi- house (which he also wrote, Manhunter. Television credits in- val reading of The Further Adven- Drama Desk and Outer Drama clude series regular Bulldog on tures of Hedda Gabler, last season Critics Circle Nominations); the “,” “House,” “Without a in Habeas Corpus and previously Theatre Club’s Lisbon Trace,” “American Dreams,” in The Triumph of Love and A Traviata; Emerald City and “Touched by an Angel,” “Ally Christmas Carol. Other local Domino at the New York Theatre McBeal,” “From the Earth to the stage work includes The Under- Workshop; The Widow Claire at Moon,” “The X-Files,” “Hey pants at the Geffen Playhouse; Circle in the Square Downtown; Arnold!,” “The Assassination File” Dealer’s Choice at the Mark Taper True West at the Cherry Lane The- and “.” Mr. Butler Forum and Light Up the Sky at the atre; Early One Evening at the wrote the book and lyrics for The Pasadena Playhouse. New York Rainbow Bar & Grill at WPA and Case of the Dead Flamingo appearances include The Devils at Much Ado about Nothing at The Dancer. He is a graduate of the New York Theatre Workshop, New York Shakespeare Festival. American Conservatory Profes- Mabou Mines’ The Warrior Ant at He has appeared regionally in sional Training Program and an the Brooklyn Academy of Music Light Up the Sky at the Pasadena Irene Ryan Scholarship recipient. and Jeffrey at the Minetta Lane

The Further Adventures of Hedda Gabler •SOUTH COAST REPERTORY P11 CHRISTOPHER LIAM MOORE KATE A. MULLIGAN SUSANNAH SCHULMAN George Tesman Their Neighbor and Others Hedda Gabler

Theatre. He has guest starred on tin), Pudd’nhead Wilson, Long- in Small Town X” and played the many television programs but is time Companion, Wed Lock, War recurring role of Ian Jankowski probably best known for his re- of the Colossal Beast, “Every Knee on “Judging Amy.” He recently curring roles on “Frasier” and Shall Bow,” “Tony and Tina’s completed a pilot for TBS, “Ten “.” Film Wedding,” “Abductions,” “Cybill,” Items or Less.” Other film and work includes the recently re- “Suddenly Susan,” “Matlock,” television credits include leased Domino. “Pride and Joy,” “Days of Our “,” “3rd Rock from the Lives,” “Ryan’s Hope” and “A.J.’s Sun,” “Star Trek: Voyager,” Mem- *PRESTON MAYBANK (Eilert Time Travelers.” ron, The Cherokee Kid and Si- Lovborg and Others) returns to mone. SCR after having appeared in A *CHRISTOPHER LIAM MOORE View from the Bridge, The Little (George Tesman) appeared at SCR *KATE A. MULLIGAN (Their Prince, Cyrano de Bergerac, The last season in Habeas Corpus and Neighbor and Others) made her Hoboken Chicken Emergency, the previous season in Lovers SCR debut last season in Habeas Terra Nova, Two Gentlemen of and Executioners. New York the- Corpus. Theatre credits include Verona and Much Ado about atre credits include The Video Embedded at The Joseph Papp Nothing. Other theatre credits in- Store Owner’s Significant Other, A Public Theater in New York, Liv- clude The Foreigner at La Mirada California Seagull and Too Noble ing Out at the Mark Taper Forum; Playhouse; Liars at The Joseph Brothers. Regional theatre credits M/M/C at Yale Repertory Theatre; Papp Public Theater; Sour Springs include Nickel and Dimed at the Fall at Taper, Too; Bunny Bunny at Theater for the New City; A Guthrie Theater, Medea/Mac- at New York Stage and Film; and Marriage Proposal at Rapp Art beth/Cinderella at Yale Repertory numerous shows during her 15 Center; Romeo and Juliet at Pur- Theatre (CT Drama Critics Circle years with the Actors’ Gang. Film chase; Family Affairs at Dorsett Nomination), The Good Person of credits include Embedded, written Theatre Festival; Justice at Padua New Haven at Long Wharf The- and directed by Tim Robbins, The Hills Playwrights Festival; School atre, As You Like It at The Old Zeroes, Camera Obscura, Being for Scandal (Drama-Logue Globe, at Taper, John Malkovich and Dead Presi- Award), The Three Sisters, Major Too (Ovation Award), A Commu- dents. On television she had re- Barbara and Tartuffe (Robby nity Carol at Arena Stage and The curring roles on “It’s Garry Shan- Award, Drama-Logue Award) at King Stag at the American Reper- dling’s Show” and “The Boys” A Noise Within and the European tory Theatre. He is also a found- and most recently guest starred tour of Hucksters of the Soul. Se- ing member of Cornerstone The- on “Judging Amy,” “NYPD Blue,” lect film and television credits in- ater Company. On television he “Strong Medicine,” “The Practice” clude Novocaine (with Steve Mar- was a series regular on “Murder and “ER.”

P12 SOUTH COAST REPERTORY • The Further Adventures of Hedda Gabler “Touched by an Angel,” “NYPD Blue,” “Any Day Now,” “Sister, Sister” and “ER.”

*BAHNI TURPIN (Woman in Pink and Others) made her first SCR appearance last spring in the Pa- cific Playwrights Festival reading of The Further Adventures of Hedda Gabler. Theatre credits include Slide Glide the Slippery Slope at The Ivy Substation; House Arrest, Mules, Love is Blind and Preface to the Alien Garden at the Mark Taper Forum; The KIMBERLY SCOTT BAHNI TURPIN Owl Killer at the Melrose Theatre; Their Servant Woman in Pink and Others Taking Control at ; Ground People at the American Place Theatre; Ties that Bind at Yale Repertory Theatre; *SUSANNAH SCHULMAN (Hedda Marin Theatre Company and the All’s Well that Ends Well at the Gabler) appeared at SCR last national tour of ’s Pi- New York Renaissance Festival spring in the Pacific Playwrights casso at the Lapin Agile. and The Rabbit Foot at Crossroads Festival reading of The Further Theatre. Film credits include Adventures of Hedda Gabler, last *KIMBERLY SCOTT (Their Servant) Crossroads, Brokedown Palace, season as Sarah in On the Moun- appeared at SCR previously in the Psalms from the Underground, tain and previously as Roxane in Pacific Playwrights Festival read- Getting In, The Saint of Fort Cyrano de Bergerac, Milly in The ings of The Further Adventures of Washington, Daughters of the Dazzle, Buddug in Nostalgia, Hedda Gabler and Safe in Hell, in Dust, Rain Without Thunder and Bianca in The Taming of the the NewSCRipts reading of Anon Theory of Achievement. On tele- Shrew, Elizabeth in Six Degrees of and in the production of Our vision her credits include leading Separation and Belle in A Christ- Town. She appeared on Broad- roles on MTV’s “Undressed,” mas Carol. Other appearances way in Joe Turner’s Come and “Chicago Hope,” “,” “In include the world premiere of Gone (Tony nomination), and the House” and “Girls in Prison;” David Edgar’s Continental Divide Off-Broadway in Lear and A recurring roles on “Cold Case,” at the Oregon Shakespeare Festi- Girl’s Guide to Chaos. Her re- “Crossing Jordan,” “Star Trek: val and the Barbican Theatre in gional appearances include Voir Voyager” and “The Jeff Foxwor- London; The House of Blue Leaves Dire at The Old Globe, Julius thy Show;” and guest starring at Berkeley Repertory Theatre; Caesar at the Mark Taper Forum roles on “Girlfriends,” “Soul and Nicholas Nickleby, The Im- and The Comedy of Errors at Food,” “The Parkers,” “NYPD portance of Being Earnest, The Shakespeare and Co. She also Blue,” “Judging Amy,” “The Steve Seagull, A Midsummer Night’s appeared in The Gospel at Harvey Show,” “Strong Medicine,” Dream and Romeo & Juliet at the Colonus at the Gorky Art Theatre “Dharma & Greg,” “Family Law,” California Shakespeare Festival. in Moscow. Among her film “ER” and “Law & Order.” Her Shakespeare Santa Cruz cred- credits are September, Guess Who, its include Cymbeline, Love’s I am Sam, K-PAX, The Brothers, PLAYWRIGHT, Labour’s Lost, King Lear, The The Abyss, In Quiet Night, Bat- DIRECTOR & DESIGNERS Tempest, The Merchant of Venice, man and Robin, Batman Forever, All’s Well that Ends Well, Damn Drop Zone, The Client, Falling JEFF WHITTY (Playwright) is the Yankees and . Other Down and The Water Dance. author of The Hiding Place, productions include The Two Television credits include “Will which was presented at the 2003 Gentlemen of Verona at Geva and Grace,” “Soul Food,” “Every- Pacific Playwrights Festival; Sui- Theatre, The Comedy of Errors at body Loves Raymond,” “Family cide Weather; Balls and The the Aurora Theatre, Picnic at Law,” “Strong Medicine,” Plank Project. He received a

The Further Adventures of Hedda Gabler • SOUTH COAST REPERTORY P13 2004 Tony Award for writing the half of the N.E.A. Mr. Rauch is a San Jose Repertory Theatre and book to the Broadway musical Claire Trevor Professor of Drama the Oregon Shakespeare Festival, , which is also running at UC Irvine and is proud to be as well as the current Broadway- at the Wynn Hotel in Las Vegas one of Liam and Xavier’s two bound, national touring produc- and will open in London in June dads. tion of Cathy Rigby’s Peter Pan, 2006, produced by Cameron for which he previously received Mackintosh. Companies present- CHRISTOPHER ACEBO (Scenic De- an Emmy Award nomination. He ing his work include the Atlantic sign) designed Habeas Corpus is the recipient of numerous Theater Company, Vineyard The- last season; the world premieres awards and recognitions includ- atre, The New Group and New of The Beard of Avon, Hold ing six Los Angeles Drama Critics York Stage and Film/Vassar. Please and California Scenarios; Circle Awards and a Bay Area Screenplays include Zora, a fea- the West Coast premiere of The Theatre Critics Circle Award. Mr. ture for Warner Brothers, and an Countess; and this season’s pro- Yaji is a member of the United untitled musical project for duction of La Posada Magica at Scenic Artists Local 829 and the Paramount with music by Andre SCR. Recent productions include UC Irvine Drama Department fac- 3000 of Outkast. As an actor, the world premieres of The Clean ulty. he’s worked Off-Broadway, re- House at Yale Repertory Theatre, gionally, and in film and televi- Electricidad at The Goodman GEOFF KORF (Lighting Design) sion. Theatre and Living Out and designed lighting for the SCR pro- Chavez Ravine at the Mark Taper ductions of Lovers and Execu- BILL RAUCH (Director) is co- Forum. Other regional design tioners, Two Gentlemen of founder and artistic director of work includes productions for the Verona, The Dazzle, Making It, the Los Angeles-based Corner- Guthrie Theater, La Jolla Play- Hold Please, Art, Entertaining Mr. stone Theater Company, and has house, The Goodman Theatre, Sloane, Amy’s View, The Summer directed over 40 of the compa- Denver Center Theatre Company, Moon, References to Salvador ny’s productions, many of them The Children’s Theatre Company Dalí Make Me Hot and Two Sisters collaborations with diverse com- in Minneapolis, Portland Center and a Piano. Last spring he de- munities across the nation. He Stage, East West Players, Great signed the lights for Luis Valdez’s has also directed at the Mark Lakes Theater Festival, The Electricidad at the Mark Taper Taper Forum, the Oregon Shake- Kennedy Center and Missouri Forum. Mr. Korf is also a mem- speare Festival, the Guthrie The- Repertory, among others. He is ber of the ensemble of Corner- ater, Long Wharf Theatre, Great designing upcoming productions stone Theater Company where he Lakes Theater Festival, Arena at Berkeley Repertory Theatre, has designed more than 20 pro- Stage and Yale Repertory Theatre Oregon Shakespeare Festival and ductions in the past 11 years. where he is an Associate Artist. La Jolla Playhouse. Mr. Acebo is His designs have also appeared He is also an Associate Artist at an ensemble member of Corner- in productions at La Jolla Play- SCR, where he staged last sea- stone Theater Company in Los house, The Old Globe, Seattle son’s Habeas Corpus, the previ- Angeles. He received his MFA in Repertory Theatre, ACT Theatre ous season’s Lovers and Execu- design at the University of Cali- and Intiman in Seattle, Long tioners, and Walking Off the Roof fornia, San Diego and is a past Beach Opera, for the inaugural Pacific Play- recipient of the NEA/TCG fellow- Opera, The Goodman Theatre, wrights Festival. This fall Mr. ship for designers. He is a mem- Trinity Repertory, Yale Repertory Rauch will stage Sarah Ruhl’s The ber of the faculty at Cal State Uni- Theatre, Huntington Theatre, Ac- Clean House at Lincoln Center. versity, Los Angeles. tors Theatre of Louisville, The He has won , Gar- Children’s Theatre Company in land, LA Weekly, Drama-Logue, SHIGERU YAJI (Costume Design) Minneapolis and on Broadway. and Connecticut Critics Circle has designed costumes for over Mr. Korf is a graduate of Califor- Awards for his direction, and was 50 SCR productions including nia State University, Chico and the only artist to win the inaugu- most recently Habeas Corpus, the Yale School of Drama. He ral Leadership for a Changing Cyrano de Bergerac, Lovers and also serves as the Head of Design World Award. He served on the Executioners and Major Barbara. at the University of Washington in board of Theatre Communica- His other recent work has been Seattle. tions Group from 1992-1998 and seen at Yale Repertory Theatre, has testified to Congress on be- Cornerstone Theater Company, PAUL JAMES PRENDERGAST

P14 SOUTH COAST REPERTORY • The Further Adventures of Hedda Gabler (Composer/Sound Design) is very Much Ado about Nothing, Romeo lege Theatre Festival. Her work pleased to be back at SCR and and Juliet, Hamlet, A Midsummer has been published in American among old friends. Previous SCR Night’s Dream, The Merchant of Theatre, Theatre Topics and The productions include Lovers and Venice and Julius Caesar. In LMDA Review. She directed re- Executioners, Habeas Corpus and 2003, he founded The Empty cent productions at Actor’s Ex- The Little Prince. Other theatre Space, a donation-only theatre press, Horizon Theatre and The- credits include productions at the dedicated to opening the experi- ater Emory. She serves on the Mark Taper Forum, Long Wharf ence of live theatre to a younger Board of LMDA (Literary Man- Theatre, Great Lakes Theater Fes- audience by not charging admis- agers and Dramaturgs of the tival, Florida Stage, Geffen Play- sion while providing local Bak- Americas). house, Oregon Shakespeare Festi- ersfield artists an opportunity to val, East West Players, dozens of explore and hone their craft. At *RANDALL K. LUM (Stage Manag- 99 seaters and 20 productions UC Irvine, he has served as assis- er) began his 16th season with with Cornerstone Theater Compa- tant director to Eli Simon on his SCR stage managing Born Yester- ny. His work has been featured adaptation of A Flea in Her Ear day. Last season he worked on at theme parks, in feature films, and to Robert Cohen on his pro- Brooklyn Boy, Habeas Corpus, on recordings and in music duction of Shakespeare’s Timon Vesuvius, Princess Marjorie and venues nationwide. He also of Athens. He will be directing made his Argyros Stage Managing works as a vocalist, actor, direc- Our Town at UCI this spring. debut with On the Mountain. tor, production designer, and is The previous season he stage knee deep in the world of alter- MEGAN MONAGHAN (Dra- managed Safe in Hell, Antigone, native (natural) house building. maturg) is the Literary Manager Terra Nova and The Last Night of He lives in Los Angeles and of SCR, where she contributes to Ballyhoo. During his long associ- Joshua Tree. the theatre’s new play commis- ation as one of SCR’s resident sioning and development work, stage managers, he has worked ART MANKE (Choreography). For serves as production dramaturg on more than a dozen world pre- SCR, Mr. Manke directed the and helps to produce the Pacific mieres and has been associated world premiere musical The Playwrights Festival. Before com- with over 75 productions. In Wind in the Willows, and won a ing to SCR, she was the Literary 1997, Mr. Lum stage managed the Los Angeles Drama Critics Circle Director of the AIDS Benefit Help is on the Way Award for his choreography in in , GA. She was that the- III at the Palace of Fine Arts in Much Ado About Nothing. Recent atre’s senior dramaturg and direc- San Francisco. Other stage man- work includes Private Lives at tor of new play development, as agement credits include the Pasadena Playhouse, The School well as serving as program direc- American Conservatory Theater in for Scandal at the Mark Taper tor of the Collision Project and San Francisco, The Old Globe in Forum, Restoration Comedy at the Kendeda Graduate Playwrit- San Diego, Berkeley Repertory Seattle Repertory Theatre and the ing Competition. She has also Theatre, San Jose Civic Light upcoming world premiere of The served as Director of Playwright Opera, VITA Shakespeare Festi- Ice-Breaker for the Magic Theatre Services at The Playwrights’ Cen- val, Pacific Conservatory of the in San Francisco. He was a co- ter in Minneapolis, MN, and the Performing Arts, Long Beach Bal- founder and, for ten years, artistic Director of New Play Develop- let, San Francisco Convention Bu- director of A Noise Within. For ment at Frontera @ Hyde Park reau and Kawasaki Motorcycles. television he currently directs the Theatre in Austin, TX. She has He would like everyone to take a UPN’s hit sitcoms “Eve” and “One been a panelist for the Fulton moment to remember all those on One.” County Arts Council, Atlanta’s Bu- who have lost the battle and all reau of Cultural Affairs, TCG, the those still suffering and fighting BRIAN J. SIVESIND (Assistant Di- O’Neill National Playwrights Con- the AIDS epidemic. rector) is a second-year MFA Di- ference, NAMT, and Austin Script- recting student at UC Irvine. He Works, and a guest dramaturg DAVID EMMES (Producing Artis- received his BA in English from and teacher at the Iowa Writers’ tic Director) is co-founder of SCR. CSU Bakersfield in 1997. He is Workshop, the Yale School of He has received numerous the founder of the Shakespeare Drama graduate programs, Brown awards for productions he has di- troupe Illusions of Grandeur with University, UCSD, and the rected during his SCR career, in- which he has directed Othello, Kennedy Center - American Col- cluding a Los Angeles Drama

The Further Adventures of Hedda Gabler • SOUTH COAST REPERTORY P15 Critics Circle Award for the direc- plays produced here. He has dis- SCR’s 1988 Tony Award for Out- tion of ’s tinguished himself in the staging standing Resident Professional The Philanderer. He directed the of contemporary work, including Theatre and won the 1995 The- world premieres of ’s William Nicholson’s The Retreat atre LA Ovation Award for Life- Safe in Hell, The Beard of Avon from Moscow, ’s The time Achievement. Mr. Benson and Freedomland, Thomas Babe’s Carpetbagger’s Children and the received his BA in Theatre from Great Day in the Morning, Keith world premiere of Getting San Francisco State University. Reddin’s Rum and Coke and But Frankie Married—and After- Not for Me and Neal Bell’s Cold wards, the critically acclaimed PAULA TOMEI (Managing Direc- Sweat; the American premiere of California premiere of Nichol- tor) is responsible for the overall Terry Johnson’s Unsuitable for son’s Shadowlands, the Southern administration of South Coast Adults; the West Coast premieres California premiere of Michael Repertory and has been Manag- of C.P. Taylor’s Good and Harry Healey’s The Drawer Boy; and the ing Director since 1994. A mem- Kondoleon’s Christmas on Mars; West Coast premieres of Peter ber of the SCR staff since 1979, and the Southland premiere of Hedges’ Good As New and Martin she has served in a number of Top Girls (at SCR and the West- McDonagh’s The Lonesome West. administrative capacities includ- wood Playhouse). Other produc- He has won accolades for his di- ing Subscriptions Manager, Busi- tions include the West Coast pre- rection of five major works by ness Manager and General Man- mieres of Three Viewings by Jef- George Bernard Shaw, including ager. She is the immediate past frey Hatcher, The Secret Rapture the Los Angeles Drama Critics President of the Theatre Commu- by and New England Circle (LADCC) Award-winners nications Group (TCG), the na- by Richard Nelson; and Arcadia Major Barbara, Misalliance and tional service organization for the by , The Impor- . Among the professional not-for-profit theater tance of Being Earnest by Oscar numerous world premieres he and serves as a member of the Wilde, Ayckbourn’s Woman in has directed are Tom Strelich’s Board. In addition, she has Mind and You Never Can Tell by BAFO and Margaret Edson’s served as Treasurer of TCG, Vice George Bernard Shaw, which he Pulitzer Prize-winning Wit, which President of the League of Resi- restaged for the Singapore Festi- he also directed at Seattle Reper- dent Theatres (LORT) and has val of Arts. His producing re- tory Theatre and the Alley The- been a member of the LORT Ne- sponsibilities involve the overall atre in Houston. He has directed gotiating Committee for industry- coordination of SCR’s programs American classics including Ah, wide union agreements. She rep- and projects. He has served as a Wilderness!, A Streetcar Named resents SCR at national confer- theatre panelist and onsite evalu- Desire, A Delicate Balance and A ences of TCG and LORT; is a the- ator for the National Endowment View from the Bridge. Mr. Ben- atre panelist and site visitor for for the Arts, on the Executive son has been honored with the the National Endowment for the Committee of the League of Resi- Drama-Logue Award for his di- Arts and the California Arts Coun- dent Theatres, and as a panelist rection of 21 productions and re- cil; served on the Advisory Com- for the California Arts Council. ceived LADCC Distinguished mittee for the Arts Administration After attending Orange Coast Col- Achievement in Directing awards Certificate Program at the Univer- lege, he received his BA and MA an unparalleled seven times for sity of California, Irvine; and has from San Francisco State Univer- the three Shaw productions, John been a guest lecturer in the grad- sity, and his PhD in theatre and Millington Synge’s Playboy of the uate school of business at Stan- film from USC. Western World, ’s ford and U.C. Irvine. She gradu- The Crucible, Sally Nemeth’s Holy ated from the University of Cali- MARTIN BENSON (Artistic Direc- Days and Wit. He also directed fornia, Irvine with a degree in tor), co-founder of SCR with his the film version of Holy Days Economics and pursued an addi- colleague David Emmes, has di- using the original SCR cast. tional course of study in theatre rected nearly one third of the Along with Emmes, he accepted and dance.

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

P16 SOUTH COAST REPERTORY • The Further Adventures of Hedda Gabler