43rd Season • 414th Production SEGERSTROM STAGE / FEBRUARY 2 - MARCH 11, 2007

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

presents Pedro Calderón de la Barca’s LIFE IS A DREAM translated and adapted by Nilo Cruz original music by Rob Milburn and Michael Bodeen

Walt Spangler Ilona Somogyi Scott Zielinski Rob Milburn and SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN Michael Bodeen SOUND DESIGN Warren Adams John Glore Jeff Gifford Erin Nelson* CHOREOGRAPHY DRAMATURG PRODUCTION MANAGER STAGE MANAGER

DIRECTED BY Kate Whoriskey

Jean and Tim Weiss HONORARY PRODUCERS CORPORATE PRODUCER

This adaptation was commissioned by South Coast Repertory.

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THE CAST (in order of appearance) Rosaura, noble lady ...... Lucia Brawley* Clarín, servant ...... Matt D’Amico* Segismundo, Prince ...... Daniel Breaker* Clotaldo, jailer ...... Richard Doyle* Basilio, King ...... John de Lancie* Astolfo, Duke ...... Jason Manuel Olazábal* Estrella, Princess ...... Jennifer Chu* Revolutionary Leader/Lead Servant ...... Luis Vega* Ensemble ...... Michael Irish, Ary Katz, Ceilidh Lamont, Lovelle Liquigan, Tara Louise, Andrew Scott, Luis Vega*

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

PRODUCTION STAFF Assistant Stage Manager ...... Nina K. Evans* Casting ...... Joanne DeNaut Assistant to the Director ...... Benjamin Pohlmeier Production Assistant ...... Jennifer Ellen Butler Fight Consultant ...... Martin Noyes Stage Management Intern ...... Jason Landers Music Chart Preparation ...... Gregory Nicolet Deck Crew ...... Brian Coil, Emily Kettler, Andrew Strain Additional Costume Staff ...... Valerie Bart, Bronwen Burton Swantje Tuohino, Bich Vu, Katie Wilson

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.

Media Partner Official Airline

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A Superpower in Decline to a profound sense of manifest stylized syntax… and a heavy de- destiny. By the seventeenth centu- pendence on greatly exaggerated ry, however, national pride was metaphors and wordplay…. The- coming under increasing strain. An matically, Baroque writers came to ominous portent was the catas- terms with their disappointment trophic defeat of the Invincible Ar- over Spain’s political decline by mada by the English Navy in 1588. emphasizing the deception and un- More important, the shiploads of certainty of earthly existence, hark- hen Calderón was born in 1600, gold and silver that flooded into ing back to the biblical view of life Spain was the most powerful coun- the country from the New World, as a walk through ‘the valley of the try in the world, but the seeds had much to the envy of Spain’s Euro- shadow of death’; such a life was a already been planted of a decline pean enemies…. were not nearly mere illusion that could be shat- that would take it, by the time of enough to finance the staggering tered only through the liberating Whis death in 1681, to the humiliat- military expenditures of the Span- embrace of death. To emphasize ing status of a second-tier power. ish crown against those same Euro- the illusory nature of this existence, The story of Spain’s rise and fall is pean enemies on the continent…. the Spanish Baroque relied on the sobering tale of a country that “By Calderón’s time, Spanish three central metaphors: life as art, collapsed under the burden of its literature had assumed a set of life as theatre, and, most important own achievements…. I will begin characteristics that later critics, bor- for Calderón, life as a dream.” with three salient general features rowing from art history, termed of early modern Spanish society: Baroque. Formally speaking, the — Michael Kidd, religious intensity, inequality before Spanish Baroque in all literary gen- Hispanic Studies, the law, and a deep sense of na- res employed elaborate or highly Macalester College tional pride that suffered serious blows throughout the seventeenth century…. “In most people’s minds, the year 1492 is associated with Columbus’s maiden voyage to the Indies. Although Columbus… died insisting he had reached India, it soon became apparent that he had come upon two great continents previously unknown to Europeans. Spain’s primary claim to those con- tinents and to whatever riches and natural resources they contained catapulted it almost immediately from its traditional, Mediterranean sphere of influence onto the center stage of European politics, forever changing the course of its histo- ry…. Columbus’s voyage, together with other momentous events of 1492 and several that soon fol- lowed, cemented in Spaniards’ identity a proud nationalism bound

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The Light of Reason Critics Comment on ‘Life is a Dream’ ers may say life is a dream; Segis- toms, no passions or tragic dignity, mundo must find out whether this no comic charm. The doctrine of is true or not by living his own fate which it represents is that of life. Moslems and a few gentiles. In — Edwin Honig short this detestable play is a mon- strosity. Life Is a Dream is Calderón’s best — Cándido María Trigueros (1788) ife Is a Dream is not so much the known play, and also the most story of a prince who recovers his universally celebrated in the histo- What is the role of the stars in throne as of a man who discovers ry of the Spanish theatre. Its main this picture? Far from being an ar- both himself and the true nature of theme, the transience of human cane theological matter, the thrust life, who emerged from the dark- life, ancient as man himself, is still of this question is one that, in nessL of ignorance and animal-pas- proverbial in the schoolchildren’s slightly different terms, continues sion into the light of reason and round which ends, “Life is but a to spark fierce debate today and understanding. In doing so, more- dream.” Fascinated scholars have whose definitive answer continues over, he embodies one of the traced the theme to earliest Orien- to elude us — at least as of yet. play’s central themes that man’s tal philosophy and religion, to the Simply put, the issue is this: to will is free and that his destiny lies Taoist ethic and Buddhist thought, what extent is human choice medi- ultimately in his own hands, not in to appropriate passages in Job, Isa- ated — by genetics, by environ- the hands of others or the caprices iah, and Ecclesiastes, to Heraclitus, mental factors, or, yes, even by the of fate. And he learns too, in the Plato, and Roman Stoicism, and fi- stars (the widespread existence of process of discovering and master- nally to Christian ethics and apolo- astrology columns in the twenty- ing himself, that those things in life getics — the tradition closest to first century necessitates inclusion which are the objects of men’s de- Calderón’s thinking as a deeply re- of the latter term)? In short, to sire — power, wealth, pleasure — ligious seventeenth-century man in what extent is free will free? are fleeting and insubstantial in a militant Catholic country whose — Michael Kidd comparison to the permanence of empire had begun to dissolve. spiritual values. — Edwin Honig As seen at work in Spanish — Gwynne Edwards drama, the honor code represents Love, dishonor, vengeance. certain prepossessions and obliga- The ambiguous creature wearing Kingship, loyalty, rebellion. tions. First, there is pride in one’s animal pelts and lying chained in Knowledge, control, choice. class, family, good name, blood, or the tower is the prince of Dreams, illusion, reality. These heritage. Secondly there is the mankind. This is how Segismundo are the themes that haunt Life Is a safeguarding against sexual assault begins. Thereafter we are obliged Dream and make it the peer of of female members of the family to judge the moral and psychologi- such plays as Oedipus and Hamlet. — wife, sister, and daughter. cal distance he traverses in the — Michael Kidd There is the articulation and de- course of the play in order to be- fense of the principle of the free- come consciously human. He The detestable play Life is a dom of individual conscience. must go from the lowest form of Dream, so unjustly esteemed by Then there is the obligation to re- human life, the equivalent of the some, is written in such a bombas- dress an offense of insult, usually cave man, to the highest — the tic style that from its first line it involving a woman, by secretly human being who learns to be civ- turned my stomach. The subject murdering the wrongdoer and dis- ilized by responding to everything and plan are the most improbable patching the implicated woman to around him while doubting it all absurdity that can be imagined. a convent for the rest of her life or and believing in nothing…. Oth- There are no characters, no cus- killing her on the spot. Finally

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there is the need to be vindicated for such actions by the highest prevailing authority, usually the paternalistic king. Top Scientist Asks: Is Life All Just A Dream? — Edwin Honig rofessor Sir ourselves the creations within When we have a dream, we Martin Rees is this simulation.” just accept it at the time. Amazing to suggest that The idea that life, the uni- things happen, and we just let “life, the universe and verse and everything in it could ourselves be amazed. It’s only af- everything” may be be an illusion dates back more terwards that, if we choose, we no more than a giant computer than 2,000 years. Chuang Tzu, can think about what happened in Psimulation with humans reduced the Chinese philosopher, who our dream and sometimes find to bits of software. died in 295BC, wondered ways of relating it to what is hap- Rees, Royal Society profes- whether his entire life might be pening in our lives. sor of astronomy at Cambridge no more than a dream. It is the same with this play: University, will say that it is now René Descartes, the 17th the weirdest things happen. possible to conceive of comput- century French philosopher, There’s a father so afraid of the ers so powerful that they could raised similar questions. But he power of his son that he locks build an entire virtual uni- famously came down in favour him up in a tower the minute he verse…. of existence, saying: “I think, is born. There’s a man who falls In a television documen- therefore I am.” asleep in a prison and wakes up tary, “What We Still Don’t The idea was resurrected in a palace. He doesn’t know Know,” to be screened on Chan- last century, notably by Bertrand whether he’s awake or still dream- nel 4 next month, [Rees] will say: Russell, who suggested that hu- ing and throws someone out of a “Over a few decades, computers mans could simply be “brains in window to try to find out. There’s have evolved from being able to a jar” being stimulated by chemi- a woman who’s so angry with her simulate only very simple pat- cals or electrical currents — an lover for cheating on her that she terns to being able to create vir- idea that was quickly taken up dresses as a man and rides [from tual worlds with a lot of detail. and developed by science fiction one country to another] just to try “If that trend were to con- writers such as Isaac Asimov. to get even with him…. tinue, then we can imagine com- However, some academics And all these extraordinary puters which will be able to sim- pour cold water on the notion of events add up to something that’s ulate worlds perhaps even as a machine-created universe. Seth funny, exciting, moving and complicated as the one we think Lloyd, professor of quantum me- strange… and when we think we’re living in. chanical engineering at the Mas- about them afterwards maybe “This raises the philosophi- sachusetts Institute of Technolo- we’ll find that they have some- cal question: could we ourselves gy, said such a computer would thing to say about the way parents be in such a simulation and have to be unimaginably large… treat their children, or the way could what we think is the uni- Excerpted from an article men and women relate together, verse be some sort of vault of by Jonathan Leake, or the extent to which we are re- heaven rather than the real The Sunday Times of London, ally able to control the events of thing. In a sense we could be November 14, 2004 our lives…. Basilio is a king who tries to foretell and influence events. As I write, presidents and prime minis- ters gather for yet another world summit: with their bodyguards and their limousines they present an imposing spectacle. But the spectacle of power is an illusion, a dream. — John Clifford

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Verities and Realities And every Tomorrow a Vision of For once you have tasted flight you Hope. will walk the earth with your eyes Look well therefore to this Day! turned skywards, for there you Such is the Salutation of the Dawn! have been and there you will long — Kalidasa to return. — Leonardo da Vinci Judge of your natural character by what you do in your dreams. We are not hypocrites in our sleep. ow can you prove whether at this — Ralph Waldo Emerson — William Hazlitt moment we are sleeping, and all our thoughts are a dream; or Yet it is in our idleness, in our People’s dreams are made out of whether we are awake, and talking dreams, that the submerged truth what they do all day. The same to one another in the waking state? sometimes comes to the top. way a dog that runs after rabbits H— Plato — Virginia Woolf will dream of rabbits. It’s what you do that makes your soul, not Your vision will become clear only I’ve dreamt in my life dreams that the other way around. when you look into your heart. have stayed with me ever after, — Barbara Kingsolver Who looks outside, dreams. Who and changed my ideas: they’ve looks inside, awakens. gone through and through me, Those who have compared our life — Carl Jung like wine through water, and to a dream were perhaps more altered the color of my mind. right than they thought. When we Obviously one must hold oneself — Emily Brontë dream, our soul lives, acts, exercis- responsible for the evil impuls- es all her faculties, neither es of one’s dreams. In what more nor less than when she other way can one deal with is awake ... Sleeping we are them? Unless the content of awake, and waking asleep … the dream rightly understood is Since our reason and our soul inspired by alien spirits, it is accept the fancies and opin- part of my own being. ions which arise in it while — Sigmund Freud sleeping, and authorize the actions of our dreams with Listen to the Exhortation of the the same approbation as they Dawn! do those of the day, why do Look to this Day! we not consider the possibili- For it is Life, the very Life of ty that our thinking, our act- Life. ing, may be another sort of In its brief course lie all the dreaming, and our waking Verities and Realities of your another kind of sleep? Existence. — Michel de Montaigne, The Bliss of Growth, Essays, 1580 The Glory of Action, The Splendor of Beauty; What if nothing exists and For Yesterday is but a Dream, we’re all in somebody’s And Tomorrow is only a Vision; dream? Or what’s worse, But Today well lived makes what if only that fat guy in Every Yesterday a Dream of the third row exists? Happiness, — Woody Allen

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Ah, love, let us be true I had a dream that I was awake geous palaces, To one another! For the world, and I woke up to find myself The solemn temples, that great which seems asleep. globe itself, To lie before us like a land of — Stan Laurel Yea, all which it inherit, shall dis- dreams, solve So various, so beautiful, so new, All that we see or seem is but a And, like this insubstantial pageant Hath really neither joy, nor love, dream within a dream. faded, nor light, — Edgar Allan Poe Leave not a rack behind. We are Nor certitude, nor peace, nor help such stuff for pain; When the reasoning and human As dreams are made on, and our And we are here as on a darkling and ruling power is asleep; then little life plain the wild beast within us, gorged Is rounded with a sleep. Swept with confused alarms of with meat or drink, starts up and — Shakespeare’s Tempest struggle and flight, having shaken off sleep, goes forth Where ignorant armies clash by to satisfy his desires… The point Our life is twofold: Sleep hath its night. which I desire to note is that in all own world, — Mathew Arnold, A boundary between the Dover Beach things misnamed Death and existence: Sleep The world, indeed, is like a hath its own world, dream and the treasures of And a wide realm of wild re- the world are an alluring ality. mirage! Like the apparent — Byron distances in a picture, things have no reality in We are placed in this world, themselves, but they are as in a great theatre, where like heat haze. the true springs and causes of — Buddha every event are entirely con- cealed from us; nor have we He was part of my dream, either sufficient wisdom to of course — but then I was foresee, or power to prevent, part of his dream too. those ills with which we are — Lewis Carroll continually threatened. We hang in perpetual suspense If a man could pass between life and death, through Paradise in a health and sickness, plenty dream, and have a flower and want, which are distribut- presented to him as a ed amongst the human pledge that his soul had re- species by secret and un- ally been there, and if he known causes, whose opera- found that flower in his tion is oft unexpected, and al- hand when he awake — Aye, of us, even in good men, there is a ways unaccountable. what then? lawless wild-beast nature, which — Hume — Samuel Taylor Coleridge peers out in sleep. — Plato Row, row, row your boat, If an artisan were sure to dream Gently down the stream every night for twelve hours’ dura- Our revels now are ended. These Merrily, merrily, merrily, merrily tion that he was a king, I believe our actors Life is but a dream. he would be almost as happy as a As I foretold you, were all spirits — Traditional king, who should dream every and night for twelve hours on end that Are melted into air, into thin air, Pictured on previous page, Pablo Picasso’s he was an artisan. And, like the baseless fabric of this The Dream (1932). This page, Salvador — Pascal vision, Dali’s Dream Caused by the Flight of a Bum- blebee around a Pomegranate a Second Be- The cloud-capp’d towers, the gor- fore Awakening (1944).

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Translating Calderón of going to ‘hear a play’ rather of light, it shines forth, bathing than to see it, demonstrating the the hilltops with brilliance, paint- great gulf that separates them ing the edges of the foam. So from present-day patrons of the- may you, O radiant sun of ater.” Poland, dawn on the world as on Here’s how one of this unhappy woman, who today Rosaura’s speeches begins, as throws herself at your feet.” Fol- rendered in a more-or-less literal lowing that opening salvo, lthough Life Is a Dream is ac- translation: “Generous Segis- Rosaura’s speech goes on unin- knowledged as one of the mundo, whose heroic majesty terrupted for a full three-and-a- crowning achievements of the rises from a night of shadows half densely packed pages. Spanish Golden Age, it isn’t often into a day of deeds and dawns Fortunately for SCR audi- Aproduced in the contemporary like the sun which, in the arms of ences, Nilo Cruz begins the same American theatre. One reason is Aurora, returns shining to plants speech with much greater econo- the difficulty of finding a transla- and roses, over mountains and my but still mindful of its poetry: tion that remains true to the spirit seas. Crowned with flashing rays “Noble Prince Segismundo, who of the original without un- emerges from his dark duly taxing the patience of night like the sun, and in today’s theatre-goers. the arms of dawn restores Conventions of the light upon hills, trees and theatre in Calderón’s day roses: May you protect (1600-1681) were vastly an unhappy woman who different from our own. kneels before you.” His Partly influenced by film version of the rest of the and television, we like our speech dispatches its pur- dialogue quick-paced, and pose with similar conci- snappy. Calderón (and sion and eloquence. presumably his audiences) Nowadays we like favored long speeches our dramas to begin dra- overflowing with compli- matically — that is to say, cated imagery, and seemed without a lot of set-up to believe that anything and with something excit- worth saying once was ing already in progress worth repeating several (the technical term is in times with variations. media res —“in the mid- “Tellingly,” writes critic dle of things”). Calderón, Michael Kidd, “playwrights on the other hand, knew of Calderón’s period were that his audiences expect- known as poets rather ed to be given a long than dramatists; conse- preamble consisting of in- quently, all poetic figures, formation about the char- including many of the ex- acters and their past lives cesses of Baroque poetry, prior to the beginning of were incorporated into the conflict. Cruz has set drama … Furthermore, au- out to handle all neces- diences were accom- sary exposition as con- plished listeners and spoke cisely as possible, moving

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each scene quickly to the onset cated pattern of rhyming verse of its action. (see accompanying box). Even The art of translation might if a translator were able to find seem a simple matter of finding an English equivalent to that word-for-word equivalents be- rhyme scheme, it simply tween two languages and untan- wouldn’t have the same effect gling the occasional idiomatic on our ears — it would in- expression. But a good transla- evitably lose its intended musi- tion must inevitably become an cality. Cruz has chosen to aban- act of creative adaptation, mak- don any attempt at rhyme, opt- ing comprehensible a story, ing instead for a kind of free characters and ideas from one verse that has an easy, active culture for another whose poli- flow while retaining imagistic tics, religion and social mores richness. The goal is to make may be radically different. For the verse speakable (and example, the word “honor” is actable) by the performers and the same in both Spanish and pleasing to listeners. English; but the concept of The result in this case is a honor in Calderón’s Spain was play that has taken the stage for precisely circumscribed and centuries but that SCR theatre- enormously important in a way goers will be hearing for the first that most contemporary Ameri- time on any stage in this particu- cans simply could not appreci- lar form — a form that we be- ate. To translate a cultural pre- lieve Calderón, were he around cept so that it becomes gras- today, would have found satisfy- pable for audiences of an alto- ing. gether different culture is part of — John Glore the translator’s challenge. Complicating the task faced by a translator of this par- Pictured on previous page, engraving of ticular play is the fact that it was Pedro Caldrón de la Barca by Mariano Brandi (1791). This page, playwright originally rendered in a compli- Nilo Cruz.

n Life Is a Dream Calderón em- is based on an eight-syllable line with asso- ploys six typical measures: silva, nantal rhymes of alternating vowels…. The decima, romance, quintilla, re- quintilla, like the decima, is framed on set dondilla, octava. The silva is made line-units; its five lines are octosyllabic but Iup of rhymed couplets with alternat- only two lines may rhyme, and no three con- ing lines of seven and eleven sylla- secutively. The measure is used for compli- bles; the tone is lyric and the measure can be mentary dialogues. The redondilla is a qua- used for dialogue… The decima, as the term train form of octosyllabic lines rhyming abba implies, is a ten-line stanzaic form in irregu- and employed to incorporate fast-moving larly rhymed patterns; it is reserved for dramatic action. Octavas are eight-line oc- speeches involving complaints or arguments, tosyllabic units, used to mark off portentous and is used here only for significant solilo- events or speeches; the lines rhyme abababcc, quies by Segismundo. Romance, the com- like a little sonnet. monest measure, used mainly for narration, — Edwin Honig

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LUCIA BRAWLEY DANIEL BREAKER JENNIFER CHU Rosaura Segismundo Estrella

Artist Biographies

*LUCIA BRAWLEY (Rosaura) is casian Chalk Circle last season. Breaker is a graduate of The Juil- making her SCR debut. Theatre Theatre credits include the liard School BFA program. credits include Fuente at Barring- Broadway production of Well; ton Stage Company, Private Fit- Fabulation at Playwrights Hori- *JENNIFER CHU (Estrella) is de- tings at La Jolla Playhouse, Boise zons; The Comedy of Errors lighted to return to SCR, where at Rattlestick Playwrights The- (Helen Hayes Nomination), The she was most recently seen as ater, Notebooks of Leonardo da Tempest (Helen Hayes Nomina- Belle in A Christmas Carol. Vinci at Second Stage Theatre, tion), A Midsummer Night’s Other SCR appearances include Buicks at The Underwood The- Dream, Silent Woman and The the NewSCRipts reading of ater, The Winter’s Tale at New Rivals at The Shakespeare The- Happy Valley and the TYA pro- York Shakespeare Festival, The atre; H.M.S. Pinafore at Berk- duction of The Stinky Cheese Foundling at La Mama E.T.C., shire Theatre Festival; Black- Man and Other Fairly Stupid And Then went Down the Ships sheep at Barrington Stage Com- Tales — adapted by SCR’s own at Lincoln Center Theater Direc- pany; and Pericles at Culture John Glore. Other theatre in- tor’s Lab and The Tempest at Project. Other productions in- cludes Nuevo California (world Shakespeare & Co. Film and clude How to Act Around Cops at premiere, San Diego Repertory television credits include Lora, the Edinburgh Fringe Festival Theatre), The Triumph of Isabel- World Trade Center, Sweet Home, and SoHo Theatre in London la (Geffen Playhouse), Grand Opening, “The Bedford and Blue Door and Passing Rashomon (Sierra Repertory The- Diaries,” “The Jury,” “Law & Strange at Sundance Theatre In- atre), Medea (The Theatre @ Order,” “Law & Order: SVU” stitute. Upcoming productions Boston Court), Gretty Good Time “Guiding Light” and “Brush up include Passing Strange at The (Falcon Theatre), Model Citizen Your Shakespeare.” Public Theater and Oroonoko at (National Repertory Theatre), Theatre for a New Audience. On The Merchant of Venice (LAWS @ *DANIEL BREAKER (Segismundo) television he appeared in “Law the Ivy Substation), The Con- made his SCR debut in The Cau- & Order: Criminal Intent.” Mr. quest of the South Pole (Odyssey

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MATT D’AMICO JOHN DE LANCIE RICHARD DOYLE Clarín Basilio Clotaldo

Theatre) and A Little Night Music (Colorado Shakespeare Festival). with Adam Sandler. He has ap- (Edison Theatre, St. Louis, MO). Other credits include Fizz (The peared in numerous television Film and television include Ohio Theatre), The Duchess of shows and mini-series including “Heartland,” “E-Ring,” “Six Feet Malfi and Hamlet (Kings County “The West Wing,” “Sports Night,” Under,” “The Late, Late Show Shakespeare Company), and “Hill Street Blues,” “The Closer,” with Craig Kilborn,” The Astro- Macbeth and The Last Days of “Star Trek,” “Legend,” “LA Law,” naut Farmer, The Terminal, The Don Juan (as a guest artist at “Picket Fences,” “Civil Wars,” Shift (LA Film Festival), Beyond The Juilliard School). He is cur- “The Practice,” The Thornbirds, the Ring, The Gene Generation. rently on the artistic board of the Little Women and “Touched by Originally from Boston, Ms. Chu multi-disciplinary ensemble an Angel.” In the world of received her MFA in acting from *Some Assembly Required. Tele- music Mr. de Lancie has per- UCLA and is currently working vision appearances include “Law formed with a number of major on her first full-length play. She & Order.” Training: The Juil- orchestras including: Kurt Masur, would like to thank everyone at liard School. For Sarah and Sir Colin Davis and the New SCR for another wonderful artis- Addy. York Philharmonic; Esa Pekka tic opportunity. Salonen and the Los Angeles *JOHN DE LANCIE (Basilio) ap- Philharmonic; Charles Dutoit and *MATT D’AMICO (Clarín) is peared at SCR previously in A the Philadelphia Orchestra and happy to return to SCR after Naked Girl on the Appian Way, The Montreal Symphony. His playing The Fat Prince, Yussup Art, Childe Byron, Man and Su- repertoire includes Peer Gynt, and many other characters in perman and Going for Gold. He King David, The Bourgeois Gen- The Caucasian Chalk Circle last has been a member of the Amer- tleman, The Lincoln Portrait, St. season. Regional credits include ican Shakespeare Festival, Seattle Joan, Midsummer Night’s Dream, Camille (Bard Summerscape); Repertory Company and Mark Oedipus Rex, Young People’s Richard II (The Shakespeare Taper Forum. His film credits in- Guide to the Orchestra, The Sol- Theatre of NJ); As You Like It (In- clude The Hand that Rocks the dier’s Tale, The Nightingale and, diana Repertory Theatre); Inherit Cradle, The Fisher King, Bad In- of course, Peter and the Wolf. the Wind and Death of a Sales- fluence, The Onion Field, Taking Mr. de Lancie was the host of man (Geva Theatre Center); Care of Business, Fearless, Multi- the L.A. Philharmonic “Sym- Dive, Thief of Man and Zealot plicity, Woman on Top, Good phonies for Youth” for four (Guthrie Theater); Othello, Drac- Advice, Nicholas, The Big Time, years. In addition, he’s written ula and Acorn (Actors Theatre of Patient 14, Teenius and the soon and directed ten Symphonic Louisville); and The Tempest to be released Reign Over Me Plays: these ninety-minute pro-

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JASON MANUEL OLAZABAL´ LUIS VEGA Astolfo Revolutionary Leader/Servant

grams are fully-staged produc- The Juilliard School and Kent “Cheers” fans will remember him tions with orchestra; titles in- State University. as Woody’s snooty father-in-law clude: Romeo and Juliet, Mid- Walter Gaines. He has many summer Night’s Dream (Korn- *RICHARD DOYLE (Clotaldo) is other film and television credits. gold score), Bourgeois Gentle- an SCR Founding Artist. He ap- As a voice-actor, Mr. Doyle has man and The Abduction from peared earlier this season as become a familiar voice in com- the Seraglio. He was also the Nikolai in Nothing Sacred and in mercial advertisements, CD-Rom writer/director/ host of “First A Christmas Carol; last season in games, documentaries and ani- Nights,” an adult concert series The Adventures of Pør Quinly, mated series. He can be heard at Disney Hall with the L.A. Phil- Born Yesterday and The Cau- on two series for the Cartoon harmonic which explored the casian Chalk Circle; and previ- Network, “Ben Ten” and the life and music of Stravinsky, ously in Habeas Corpus, as soon to be seen “Wolverine.” Beethoven, Mahler, Schumann Eddie in A View from the Bridge, Visit the new Lincoln Library in and Prokofiev. Mr. de Lancie has Intimate Exchanges, The Last Springfield, IL and Mr. Doyle is performed and directed for L.A. Night of Ballyhoo and the world your holographic host in the Theatre Works, the producing premieres of The Beard of Avon, Union Theatre. arm of KCRW-FM and National On the Jump, But Not for Me, Public Radio, where the series, BAFO, The Interrogation of *JASON MANUEL OLAZABAL “The Plays the Thing,” origi- Nathan Hale, She Stoops to Folly, (Astolfo) is making his SCR nates. He recently returned Wit, Hospitality Suite and High- debut. Broadway credits include from a national tour of the est Standard of Living. Other Julius Caesar and Anna in the “Scopes Monkey Trial.” He was credits include Relatively Speak- Tropics. Off-Broadway credits co-owner, with Leonard Nimoy, ing, Proof, Major Barbara, Much include Massacre: Sing to your of Alien Voices; a production Ado about Nothing, A Delicate Children and Guinea Pig Solo company devoted to the drama- Balance, Of Mice and Men, Ah, (LAByrinth Theater Company/ tization of classic science fiction Wilderness! and Intimate Ex- The Public Theater), El Paso for both audio and TV. Mr. de changes, for which he earned a Blue (Kirk Theatre), The Phan- Lancie has recently entered the Los Angeles Drama Critics Circle tom Lady (The Pearl Theatre world of opera direction: La Award nomination. He won an Company) and Where’s My Cenerentola, Tosca with The At- LADCC Award for his´ role in Money (Manhattan Theatre lanta Opera Company with La Sally Nemeth’s Holy Days and Club). Film and television ap- Traviata and Cold Sassy Tree was nominated for his role as pearances include Inside Man coming up. He is a graduate of Reverend Hale in The Crucible. (Universal), Bad Boys II

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(Columbia), the upcoming inde- Tropics received the Pulitzer by Harold Prince. Off-Broad- pendent film This is Not a Test, Prize and the American Theatre way: My Life As a Fairytale, di- “Numb3rs” (CBS), “Charmed” Critics/Steinberg Award. He is a rected by Chen Shi-Zheng (Lin- (WB), “Law & Order” (NBC), New Dramatists alum. coln Center Theater Festival); “Law & Order: Criminal Intent” Twelfth Night in Central Park di- (NBC), “Law & Order: SVU KATE WHORISKEY (Director) re- rected by Brian Kulick and Blue (NBC) and “The Education of turns to SCR, where she directed Surge directed by Robert Falls Max Bickford” (CBS). He is a The Caucasian Chalk Circle, The (The Public Theater/NYSF); and member of New York City’s Clean House, Antigone and the Addicted, directed by Bob Bala- LAByrinth Theatre Company. world premiere of Intimate Ap- ban, Night Heron, Dublin Carol, Mr. Olazábal dedicates this per- parel. She is an SCR Associate The Water Engine, The Hothouse, formance to Soraya. Artist and has served as an Artis- Mojo and An Adult Evening of tic Associate at Intiman Theatre Shel Silverstein (Atlantic Theater *LUIS VEGA (Revolutionary through a TCG New Generations Company). Regional credits in- Leader/Lead Servant/Ensemble) is Grant. Her credits include Fab- clude designs for Center Stage, making his SCR debut. Theatre ulation at Playwrights Horizons; The Shakespeare Theatre, The credits include Cloud Tectonics Vigils, Heartbreak House, The Goodman Theatre, Long Wharf at Culture Project, The Crease Rose Tattoo and the world pre- Theatre, Actors Theatre of Question at Michael Chekhov miere of Drowning Crow at The Louisville, Ahmanson Theatre, Theatre Company, Fuente Oveju- Goodman Theatre; The Master Yale Repertory Theatre, Dallas na (reading) at Epic Theatre Builder at American Repertory Theater Center, Hartford Stage Company, and Romeo and Juliet, Theatre; The Tempest at The Company, Prince Music Theater Action, The Maids, The Tempest Shakespeare Theatre in Washing- and Goodspeed Opera, Boston and Baal at Columbia University. ton, DC; Lady from the Sea and Ballet and others. Mr. Spangler The Chairs at Intiman Theatre; is a graduate of the Yale School PLAYWRIGHT, and Desire Under the Elms at of Drama. DIRECTOR & DESIGNERS Perseverance Theatre. She has worked with writers Regina Tay- ILONA SOMOGYI (Costume De- NILO CRUZ (Translator and lor, Sara Ruhl, Lynn Nottage and sign) made her SCR debut last Adapter) was born in Cuba and Michael Ondaatje. At the Sun- season with The Caucasian lives in New York. He returns to dance Theatre Institute she Chalk Circle. She has worked SCR following the West Coast workshopped New York is Bleed- extensively in New York and re- premieres of Anna in the Tropics ing. Ms. Whoriskey is a gradu- gional theatres across the coun- and Two Sisters and a Piano and ate of NYU-Tisch School of the try including Arena Stage in readings of Hortensia and the Arts and American Repertory Washington DC, Dallas Theater Museum of Dreams and The Theatre’s Institute for Advanced Center, Long Wharf Theatre, Beauty of the Father. His other Theatre Training. A recipient of Williamstown Theatre Festival, plays include A Park in Our an NEA/TCG Director’s Fellow- Westport County Playhouse, Bay House, Night Train to Bolina, A ship, she has also acted as a vis- Street Theatre, Center Stage in Bicycle Country and Dancing on iting professor at UC Davis, and Baltimore and Weston Playhouse her Knees. Some of the theatres is currently a visiting lecturer at in Vermont. Her New York that have developed and per- Princeton University. Upcoming credits include The American formed his works include The projects include The Piano Pilot at Manhattan Theatre Club, Public Theater, New York The- Teacher by Julia Cho at SCR. The Controversy at Vallalodid atre Workshop, McCarter The- and F**king A at The Public The- atre, Oregon Shakespeare Festi- WALT SPANGLER (Set Design) re- ater, Hot n’ Throbbin’ at Signa- val, Florida Stage, Alliance The- turns to SCR, having previously ture Theatre, Cavedweller at atre Company, The Studio The- designed The Caucasian Chalk New York Theatre Workshop, atre, New Theatre, Coconut Circle, Antigone and Intimate Tabletop at The American Place Grove Playhouse and The Chil- Apparel, directed by Kate Who- Theatre, Savannah Bay at Clas- dren’s Theatre Company of Min- riskey. Broadway credits in- sic Stage Company, The World neapolis. His play Anna in the clude Hollywood Arms, directed Over at Playwrights Horizons,

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Swimming with Watermelons, holm, Oslo, Goteborg, Adelaide, ington Theatre Company in Unwrap Your Candy and Brutal Tokyo, Hong Kong, Singapore, Boston; Manhattan Theatre Club, Imagination at Vineyard The- Luang Prabang, Fukuoka, Toron- The Public Theater, Circle in the atre, Innocents and The Secret of to and Ottawa. For dance his Square, Second Stage Theatre, Steep Ravines with Ripe Time designs have been seen at The Union Square Theatre, The New Productions and Wit, which also Joyce Theater, Kennedy Center, Victory Theater, Minetta Lane played at Geffen Playhouse. American Dance Festival (all Theatre and Playwrights Hori- She just designed the touring with Twyla Tharp), American zons in New York; Brooklyn Disney on Ice production of Ballet Theatre, National Ballet of Academy of Music; Alley Theatre Princes Wishes. She served as Canada, Centre National de la in Houston; The Old Globe in Associate Designer for the cur- Danse, San Francisco Ballet, San Diego; Alliance Theatre rent Broadway hit Spamalot. Boston Ballet and Kansas City Company in Atlanta; McCarter She has also served as Associ- Ballet. His opera designs in- Theatre in Princeton; Center ate on the Broadway produc- clude work for New York City Stage in Baltimore; Dallas The- tions of The Crucible, Vincent in Opera, The English National ater Center; Hartford Stage Com- Brixton, Closer and Art, which Opera, Houston Grand Opera, pany; La Jolla Playhouse; Rhode also toured the West Coast as Minnesota Opera, Toronto Island’s Trinity Repertory Com- well as the Ringling Brothers, Opera, Pittsburgh Opera, Ari- pany; Berkeley Repertory The- Barnum and Bailey Circus for zona Opera, Gotham Opera, atre; Seattle Repertory Theatre; Colleen Atwood. In Europe, she Berkshire Opera, Opera Col- Arizona Repertory Theatre; Mil- designed costumes at the Nor- orado, Spoleto USA, and BAM. waukee Repertory Theater; Mis- wegian National Ballet and for souri Repertory Theatre; Reper- the Dutch production of Satur- ROB MILBURN and MICHAEL tory Theatre of St. Louis; Long day Night Fever. Ms. Somogyi BODEEN (Music Composition/ Wharf Theatre in New Haven; earned her MFA in design at the Music Direction/Sound Design) Pittsburgh Public Theater; Yale School of Drama and cur- return to SCR where they com- Philadelphia Theatre Company; rently serves as a lecturer there. posed music and sound for The American Conservatory Theatre Caucasian Chalk Circle, The in San Francisco; Mark Taper SCOTT ZIELINSKI (Lighting De- Clean House and Antigone, di- Forum and Ahmanson Theatre in sign) returns to SCR where he rected by Kate Whoriskey. L.A.; Comedy Theatre in Lon- has designed The Clean House, Broadway credits include music don’s West End; The Barbican Mr. Marmalade and Antigone compositions and sound for One Centre; Royal National Theatre; and the world premieres of Inti- Flew Over the Cuckoo’s Nest, My Cameri Theatre in Tel Aviv; Sub- mate Apparel and On the Jump. Thing of Love, The Speed of aru Acting Company in Japan; In New York he has designed Darkness and sound designs for and festivals in Toronto, Canada, the Broadway production of A Year with Frog and Toad, Ma Dublin and Galway, Ireland, and Topdog/Underdog as well as for Rainey’s Black Bottom, King Sydney and Perth, Australia. productions at Lincoln Center Hedley II, Buried Child, The Rise Recent projects include original Theater, The Public Theater, and Fall of Little Voice, The Song music and sound for The Pillow- Theatre for a New Audience, of Jacob Zulu and The Grapes of man at Steppenwolf Theatre Manhattan Theatre Club, Play- Wrath. Off-Broadway includes Company, Vigils at The Good- wrights Horizons, New York music composition and sound man Theatre, Mrs. Warren’s Pro- Theatre Workshop, Signature for Space, Boy Gets Girl and fession at Alliance Theatre Com- Theatre and Classic Stage Com- Marvin’s Room and its produc- pany, Camille for Bard Summer- pany, among others. He has tions in Chicago, Boston, L.A., scape in Avondale on Hudson, also designed extensively at D.C. and London’s West End. N.Y., King Lear at Milwaukee most regional theatres through- Regionally, they have composed Repertory Theater, sound for The out the U.S. Internationally his music or designed sound at the Unmentionables at Steppenwolf work includes productions in Kennedy Center and Arena Stage Theatre Company, The Pain and London, Paris, Edinburgh, Rot- in Washington, DC; Guthrie The- the Itch at Playwrights Horizons, terdam, Hamburg, Berlin, ater and The Children’s Theatre The Birthday Party at McCarter Stuttgart, Zurich, Vienna, Stock- Company in Minneapolis; Hunt- Theatre, the national tour of

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Maurice Sendak and Tony Kush- Clash’s Chavez Ravine, Lisa ner’s Comedy on the Bridge & Loomer’s Living Out and Jessica AMERICAN AIRLINES (Hon- Brundibar and the national tour Goldberg’s Sex Parasite. Prior to orary Producer) has partnered of The Importance of Being his time at the Taper, he was lit- with SCR through the years Earnest directed by Sir Peter erary manager for 16 years at and has been an underwriter Hall. SCR, where he served as dra- since 1992 with its support of maturg on dozens of produc- Odd Jobs, followed by Green WARREN ADAMS (Choreogra- tions, workshops and readings. Icebergs, New England and The pher) was born and raised in From 1981-84 he was literary Triumph of Love. In recent South Africa. He won the Lin- manager at Washington D.C.’s seasons, AA has helped pro- bury/Mandela scholarship to Arena Stage, and he has also duce classic theatre, including study at the Rambert Ballet in served as a dramaturg for Mid- The Circle, All My Sons, Our London. A graduate of Brunel west PlayLabs in Minneapolis. Town, Of Mice and Men and A University, London. Nominated His own plays have been pro- View from the Bridge. Last for the FNB Vita Award for Best duced at SCR, Actors Theatre of year American Airlines was Choreographer. Mr. Adams has Louisville, Berkeley Repertory Honorary Producer of The Stu- twice received the Rudolf Theatre and other theatres across dio, the world premiere by Nureyev Award. Theatre credits the country and internationally. Christopher d’Amboise. Amer- ican Airlines is the world’s include Camille (Richard Fisher In 1997-98 he teamed with Cul- largest airline, servicing over Center), World Drummers (Hong ture Clash to write a new adap- 250 cities in 40 countries. Ac- Kong Disney), Dreaming White tation of Aristophanes’ The Birds, cording to Debbie Pat-tillo, City (Salomon Arts/Tribeca), which was co-produced by SCR Manager, Sales Promotion and Festival of the Lion King (Associ- and Berkeley Repertory Theatre. Community Relations, “Ameri- ate, Hong Kong Disney) Deep His adaptation of The Stinky can Airlines is proud to sup- Song (Associate, Intar), Flight of Cheese Man, by Jon Scieszka and port SCR and our longstanding the Lawnchair Man (Assistant Di- Lane Smith, was seen on the Ar- relationship with the theatre.” rector NYMF) and The Man in gyros Stage last June, as part of My Head (Assistant Director SCR’s 2005-06 TYA season. He NYMF). Television and film has taught playwriting and relat- or’s New Clothes. Previous cred- credits include “Windrush Gala” ed subjects at Pomona College its include La Jolla Playhouse, (BBC), “Top Billing” (SABC), and UCLA and has contributed The Old Globe, Idaho Shake- Sportsbank Documentary (BBC) articles to such publications as speare Festival, National Play- and Bewitched starring Nicole Theater and American Theatre. wrights Conference and Theatre Kidman (Assistant Choreogra- He received his MFA degree in IV. pher). Ballet and modern works dramaturgy from the Yale School include Worlds Apart, A Bit of of Drama. *NINA K. EVANS (Assistant Stage BACH (Ballet Theatre Afrikan), Manager) is returning to SCR for Nervous Energy (International *ERIN NELSON (Stage Manager) her fourth season. She served as Arts Festival), Cornered (Phoenix is delighted to be part of this in- the Assistant Stage Manager on Dance Co.), Organized Chaos, novative production. Other SCR Ridiculous Fraud, The Studio, The Deer, Sextet (Rambert Ballet credits include A Christmas Bunnicula and The Adventures School) and Prayers from the Carol, Bach at Leipzig, The Stu- of Pør Quinly. In addition, she Edge (Assistant Choreographer dio, The Caucasian Chalk Circle, was the Production Assistant on Alvin Ailey) . A View from the Bridge and The- Dumb Show, Vesuvius, On the atre for Young Audiences pro- Mountain and The Retreat from JOHN GLORE (Dramaturg) re- ductions of The Stinky Cheese Moscow. Ms. Evans also served turned to SCR as Associate Artis- Man, The Adventures of Pør as Company Manager and Audi- tic Director in 2005, after five Quinly, Bunnicula, The Little ence Services Director for the years as the resident dramaturg Prince, The Hoboken Chicken Colorado Shakespeare Festival. for the Mark Taper Forum, Emergency, The Wind in the She has a BFA in Technical The- where projects included Luis Al- Willows, Sideways Stories from atre from the University of Col- faro’s Electricidad, Culture Wayside School and The Emper- orado at Boulder.

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DAVID EMMES (Producing Artis- his PhD in theatre and film from Theatre LA Ovation Award for tic Director) is co-founder of USC. Lifetime Achievement. Mr. Ben- SCR. He has received numerous son received his BA in Theatre awards for productions he has MARTIN BENSON (Artistic Direc- from San Francisco State Univer- directed during his SCR career, tor), co-founder of SCR with his sity. including a Los Angeles Drama colleague David Emmes, has di- Critics Circle Award for the di- rected nearly one third of the PAULA TOMEI (Managing Direc- rection of George Bernard plays produced here. He has dis- tor) is responsible for the overall Shaw’s The Philanderer. He di- tinguished himself in the staging administration of South Coast rected the world premieres of of contemporary work, including Repertory and has been Manag- Amy Freed’s Safe in Hell, The William Nicholson’s The Retreat ing Director since 1994. A mem- Beard of Avon and Freedom- from Moscow, the world premiere ber of the SCR staff since 1979, land, Thomas Babe’s Great Day of Horton Foote’s Getting Frankie she has served in a number of in the Morning, Keith Reddin’s Married — and Afterwards and administrative capacities includ- Rum and Coke and But Not for the critically acclaimed California ing Subscriptions Manager, Busi- Me and Neal Bell’s Cold Sweat; premiere of Nicholson’s Shadow- ness Manager and General Man- the American premieres of Terry lands. He has won accolades for ager. She served on the board of Johnson’s Unsuitable for Adults his direction of five major works Theatre Communications Group and Joe Penhall’s Dumb Show; by George Bernard Shaw, includ- (TCG), the service organization the West Coast premieres of C.P. ing the Los Angeles Drama Critics for theatre, from 1998-2006 and Taylor’s Good and Harry Kon- Circle (LADCC) Award-winners was its President for four years. doleon’s Christmas on Mars; and Major Barbara, Misalliance and She has also served as Treasurer the Southland premiere of Top Heartbreak House. Among his of TCG, Vice President of the Girls (at SCR and the Westwood numerous world premieres is League of Resident Theatres Playhouse). Other productions Margaret Edson’s Pulitzer Prize- (LORT) and has been a member include the West Coast pre- winning Wit, which he also di- of the LORT Negotiating Commit- mieres of Three Viewings by Jef- rected at Seattle Repertory The- tee for industry-wide union frey Hatcher, The Secret Rapture atre and the Alley Theatre in agreements. In addition, she rep- by David Hare and New Eng- Houston. He has directed Ameri- resents SCR at national confer- land by Richard Nelson; and Ar- can classics including Ah, Wilder- ences of TCG and LORT; is a the- cadia by Tom Stoppard, The Im- ness!, A Streetcar Named Desire, atre panelist for the National En- portance of Being Earnest by A Delicate Balance and A View dowment for the Arts and the Oscar Wilde, Ayckbourn’s from the Bridge. Mr. Benson has California Arts Council (CAC), Woman in Mind and You Never received the LADCC Distin- and site visitor for the CAC; Can Tell by George Bernard guished Achievement in Directing served on the Advisory Commit- Shaw, which he restaged for the awards an unparalleled seven tee for the Arts Administration Singapore Festival of Arts. He times for the three Shaw produc- Certificate Program at the Univer- has served as a theatre panelist tions, John Millington Synge’s sity of California, Irvine; and has and onsite evaluator for the Na- Playboy of the Western World, been a guest lecturer in the grad- tional Endowment for the Arts, Arthur Miller’s The Crucible, Sally uate school of business at Stan- on the Executive Committee of Nemeth’s Holy Days and Wit. He ford and the University of Califor- the League of Resident Theatres, also directed the film version of nia, Irvine. She graduated from and as a panelist for the Califor- Holy Days using the original SCR the University of California, nia Arts Council. After attending cast. Along with Emmes, he ac- Irvine with a degree in Eco- Orange Coast College, he re- cepted SCR’s 1988 Tony® Award nomics and pursued an addition- ceived his BA and MA from San for Outstanding Resident Profes- al course of study in theatre and Francisco State University, and sional Theatre and won the 1995 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.

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