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IN the NEXT ROOM Or the Vibrator Play

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IN the NEXT ROOM Or the Vibrator Play 47th Season • 447th Production JULIANNE ARGYROS STAGE / SEPTEMBER 26 - OCTOBER 17, 2010 David Emmes Martin Benson PRODUCING aRTISTIC DIRECTOR aRTISTIC DIRECTOR presents IN THE NEXT ROOM or the vibrator play BY Sarah Ruhl John Arnone David Kay Mickelsen Daniel Ionazzi Jim Ragland SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINaL MUSIC/SOUND DESIGN Philip D. Thompson Jackie S. Hill Kathryn Davies* DIaLECT COaCH PRODUCTION MaNaGER STaGE MaNaGER DIRECTED BY Casey Stangl Jean and Tim Weiss HONORaRY PRODUCERS Original Broadway Production by Lincoln Center Theater, New York City, 2009. IN THE NEXT ROOM or the vibrator play was originally commissioned and produced by Berkeley Repertory Theatre, Berkeley, CA, Tony Taccone, Artistic Director/Susan Medak, Managing Director. IN THE NEXT ROOM or the vibrator play was developed at New Dramatists. IN THE NEXT ROOM or the vibrator play is presented by special arrangement with SAMUEL FRENCH, INC. In the Next Room • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Catherine Givings .......................................................................... Kathleen Early* Dr. Givings ...................................................................................... Andrew Borba* Annie ...................................................................................................... Libby West* Sabrina Daldry ................................................................................. Rebecca Mozo* Mr. Daldry ........................................................................................... Tom Shelton* Elizabeth ........................................................................................ Tracey A. Leigh* Leo Irving ............................................................................................. Ron Menzel* SETTING A prosperous spa town outside of New York City, late 1880s. LENGTH Approximately two hours and 30 minutes with one 15-minute intermission. PRODUCTION STAFF Casting .................................................................................. Joanne DeNaut, CSA Dramaturg ................................................................................. Kimberly Colburn Assistant to the Director ....................................................................... Colby Peck Associate Set Designer ............................................................ Adam Karavatakis Assistant to the Costume Designer ............................................ Kathryn Poppen Assistant to the Lighting Designer ............................................... Pablo Santiago Production Assistant ................................................................. Jennifer Sherman Stage Management Intern ............................................................... Sarah Chanis Light Board Operator ........................................................................... Lois Bryan Dresser .................................................................................................. Alma Reyes Wig Technician ................................................................................. Gieselle Blair Sound Operator ................................................................................... Sam Lerner Additional Costume Staff ..................................... Melody Brocious, Bert Henert, Peg Oquist, Swantje Tuohino * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. 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. South Coast Repertory is a participant in the New Generations Program, funded by Doris Duke Charitable Foundation/ The andrew W. Mellon Foundation and administered by Theatre Communications Group, the national organization for the american Theatre. P2 SOUTH COAST REPERTORY • In the Next Room Love and Intimacy Marriage is an alliance entered into by a man who can’t sleep with the window shut, and a woman who can’t sleep with the window open. Historical Hysteria ~ George Bernard Shaw arah Ruhl’s comedy is based on historical fact: in the 1880s, the vibrator was seen as no Sometimes I wonder if men and women really suit each Snaughtier than a stethoscope. Doctors and other. Perhaps they should live next door and just visit patients perceived no connection between sex and now and then. the “paroxysm” that the ~ Katharine Hepburn vibrator generated in women. The paroxysm The many faces of intimacy: the was viewed as a release Victorians could experience it and restoration of the bal- through correspondence, but not ance of fluids in the uter- through cohabitation; contempo- us, which had caused the rary men and women can experi- symptoms of hysteria. ence it through fornication, but not through friendship. ~ Thomas Szasz in we unveil our bodies, we The Second Sin, 1973 also disclose our persons. ~ Dr. Thomas Moore in INTIMACY, n. A relation into which Psychology Today, 1994 fools are providentially drawn for their mutual destruction. No one can keep up with ~ Ambrose Bierce in me not even Dr. Givings— The Devil’s Dictionary, 1911 that is how he fell in love with me, he said he was de- The intimacy in sex is never only termined to keep up with physical. In a sexual relationship we me—he only saw the back may discover who we are in ways of my head before we mar- otherwise unavailable to us, and at ried because I was always the same time we one step ahead. He said he allow our part- had to marry me to see my ner to see and face. know that in- ~ Mrs. Givings, in In the dividual. As Next Room We owe a lot to Thomas Edison—if it wasn’t Let There be Light for him, we’d be watching television by candlelight. homas Edison patented the first system for ~ Milton Berle distributing electricity in 1880, in part to Tsupport his commercial improvements to Is it a fact—or have I dreamt it—that, by the electric light bulb. In 1882, Edison switched means of electricity, the world of matter has on the first electric utility and began distributing become a great nerve, vibrating thousands electricity to 59 customers in lower Manhattan. A of miles in a breathless point in time? ready source of electric current in the home pre- ~ Nathaniel Hawthorne in sented endless possibilities for how it could be The House of the Seven Gables, 1851 harnessed. In the Next Room • SOUTH COAST REPERTORY P3 Artist Biographies ANDREW BORBA* Theatre) and Only a Bird in a Gilded Cage (Actors The- Dr. Givings atre of Louisville). Film and television: The Assistants, Across the Universe, Trip in a Summer Dress (Bev- appeared at SCR in Dead Man’s erly Hills Film Festival Outstanding Female Performance Cell Phone, Lovers and Execu- Award), “Grey’s Anatomy,” “Medium,” “Guiding Light” tioners and the Pacific Playwrights and “All My Children.” Festival reading of Extraordinary Chambers. Stage appearances in- TRACEY A. LEIGH* clude the title role in Richard III Elizabeth (Shakespeare Festival of St. Louis); The Constant Wife, Private Lives, It’s a Wonderful Life (Pasadena Play- appeared at SCR previously in Safe house); Pericles, The Countess (The Old Globe); Closer in Hell, the NewSCRipts reading (Berkeley Repertory Theatre); Tranced (Laguna Play- of The St. James Infirmary and the house); Arcadia, The Just, All My Sons, Every Good Pacific Playwrights Festival read- Boy (Chautauqua Theatre Company); four seasons with ings of Happy Face and Tough Oregon Shakespeare Festival; Dallas Theater Center; Titty. Theatre credits include her Portland Stage Company; Long Wharf Theatre; Delaware Obie Award-winning performance in Tale of 2Cities: Theatre Company; Hudson Valley Shakespeare Festival; An American Joyride in Multiple Tracks at New York’s Hangar Theatre; and others. Film and television credits Performance Space 122; the national tour of The Va- include the upcoming “Answers to Nothing” and “Lure,” gina Monologues; and the Off-Broadway productions recurring roles on “Modern Family,” “The Shield,” “Jeri- of Attempts on Her Life at Soho Rep, Krisit at Primary cho,” “Lincoln Heights,” “E-Ring,” “Enterprise” and many Stages, Up Against the Wind at New York Theatre Work- guest appearances. He is a graduate of the NYU Gradu- shop, A Lesson Before Dying at Signature Theatre and ate Acting Program and Brown University. Proud mem- Le Menage at La MaMa E.T.C. Regional credits include ber of A.E.A. productions at The Old Globe, La Jolla Playhouse, Arena Stage, A Contemporary Theatre and Intiman Theatre, among others. She has narrated numerous audiobooks KATHLEEN EARLY* Catherine Givings and was honored with an Audie Award nomination for her narration of the book Not Easily Broken. Televi- is thrilled to be making her SCR sion credits include “Criminal Minds,” “Jake in Progress,” debut. She was most recently “Strong Medicine,” “Law and Order,” “Under Suspicion” seen recurring as Nurse Kathy on and “Charmed.” Ms. Leigh recently completed filming “Miami Medical.” Broadway: na- on Ken Roht’s vampire-zombie musical The Bloody In- tional tour of Who’s Afraid of Vir- dulgent. ginia Woolf? with Kathleen Turner and Bill Irwin (The Kennedy Center, Ahmanson Theatre) RON MENZEL* and Steel Magnolias (Shelby standby). Off-Broadway: Leo Irving Treason (Perry Street Theatre), Outward Bound (Keen Company), Peg O’My Heart (Irish Repertory Theatre), is making his
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