44th Season • 420th Production JULIANNE ARGYROS STAGE / SEPTEMBER 23 - OCTOBER 14, 2007

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

presents the world premiere of SHIPWRECKED! AN ENTERTAINMENT THE AMAZING ADVENTURES OF LOUIS DE ROUGEMONT (AS TOLD BY HIMSELF)

BY

Keith E. Mitchell Candice Cain Rand Ryan Steven Cahill SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC/SOUND DESIGN

Christine Marie John Glore Jeff Gifford Erin Nelson* SHADOW SCENIC DESIGN DRAMATURG PRODUCTION MANAGER STAGE MANAGER

DIRECTED BY Bart DeLorenzo

Laurie Smits Staude, HONORARY PRODUCER

This play was commissioned and developed by .

Shipwrecked! An Entertainment • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance) Louis de Rougemont ...... Gregory Itzin* Player 1 ...... Melody Butiu* Player 2 ...... Michael Daniel Cassady*

LENGTH Approximately 90 minutes with no intermission.

PRODUCTION STAFF Casting ...... Joanne DeNaut Production Assistant ...... Jennifer Sherman Dialect Coach ...... David Nevell Assistant to the Director ...... Eric Czuleger Stage Management Intern ...... Lesley Wheland Assistant Lighting Designer ...... Christopher Kuhl Assistant to the Costume Designer ...... Katie Wilson

Please refrain from text messaging, 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 Media Partner

P2 SOUTH COAST REPERTORY • Shipwrecked! An Entertainment Dreams of Adventure and Deeds of Empire

BY JOHN GLORE

he historical Louis de Rougemont ow when I was a little chap I had a (1847-1921) returned to England in the passion for maps. I would look for hours waning days of the Victorian era with a at South America, or Africa, or Australia, story that briefly made him a superstar Nand lose myself in all the glories of exploration. At among a long line of adventurers both actual that time there were many blank spaces on the and fictional. This must have delighted earth, and when I saw one that looked particularly de Rougemont, who had been weaned, like most inviting on a map… I would put my finger on it and Tboys in 19th-century England, on stories of heroic say, When I grow up I will go there. sailors, fortune seekers and geographical and scien- – Joseph Conrad tific explorers who traveled to the far corners of the British Empire to pursue their dreams. In fact the his fateful region of both treasure and danger very notion of empire among the Victorian British [the “zone unknown” of adventure] may be vari- was embodied in those intrepid travelers who ously represented: as a distant land, a forest, a T risked their lives to stretch territorial bound- kingdom underground, beneath the waves, or aries, establish new outposts and bring above the sky, a secret island, lofty mountain- home the spoils of their explorations. top, or profound dream state; but it is al- Adventure and travel writing prolifer- ways a place of strangely fluid and poly- ated with the expansion of the morphous beings, unimaginable tor- empire, and if anything it seemed ments, superhuman deeds, and impossi- to escalate when that empire ble delight. began to decline. – Joseph Campbell In an 1891 essay, critic Andrew Lang wrote: “There has, tories are powerful. They are a indeed, arisen a taste for exotic lit- journey and a joining. In a tale we erature: people have become alive meet new places, new people, new to the strangeness and fascination of ideas.S And they become our places, our the world beyond the bounds of people, our ideas. Europe and the United States. But that – Jane Yolen is only because men of imagination and lit- erary skill have been the new conquerors — the right is the ring of words Corteses and Balboas of India, Africa, Australia, When the right man rings them Japan, and the isles of the Southern Seas. All Fair the fall of songs such conquerors… have seen new worlds for BWhen the singer sings them themselves; have gone out of the streets of the Still they are caroled and said - over-populated lands into the open air; have On wings they are carried - sailed and ridden, walked and hunted; have After the singer is dead escaped from the fog and smoke of towns. New And the maker buried strength has come from fresher air into their – Robert Louis Stevenson brains and blood, hence the novelty and buoyancy of the stories which they tell.” There’s an almost plaintive quality to Lang’s commentary, a sense … ecause the story of our life that England’s urbanization has weakened it, and Bbecomes our life … that perhaps only the fresh air of faraway climes –from “Why We Tell Stories,” can save it from its own slow degeneration. by Lisel Muelle

Above, Louis de Rougemont.

Shipwrecked! An Entertainment •SOUTH COAST REPERTORY P3 That fresh air found its way to the average Briton footnotes and meticulous descriptive detail, they strove by way of the fictions of such authors as Daniel Defoe, for an unprecedented level of authenticity; while non- Robert Louis Stevenson and Rudyard Kipling, as well as fiction narratives were “shaped in large part by official non-fiction accounts epitomized by the journals of Cap- thought and prevailing ideologies,” according to critic tain James Cook. Their writing has stood the test of Andrea White, “and in turn shaped the attitudes of read- time, with Defoe’s novel, Robinson Crusoe, serving as ers towards the English presence in the outposts of “the single most famous, representative and influential Empire.” The distinction adventure story of the time,” between reality and according to scholar realism became slip- Richard Phillips. Originally pery, then, as fiction published in 1719, Defoe’s claimed the objectivity story of the castaway of truth and non-fiction Crusoe was adapted, acquired the burnished abridged, simplified, ren- sheen of romanticized dered into verse and other- myth. wise reissued throughout None of this is the 19th century and likely to have mat- remains popular to the tered much to the present day. Defoe wide-eyed men and inspired many lesser women, boys and authors who enjoyed girls who devoured extraordinary popularity in these accounts of their time, even if their lit- journeys to terra erary reputations have not incognita. As long as endured. One scholar the illusion of truth has compiled a list of (or the truth of the more than 500 “desert illusion) was main- island” stories published tained, they thrilled in England between 1788 to each new story and 1910; and the adven- and eagerly awaited ture books of such popu- the next. lar writers as R.M. Ballan- Nowadays we tyne, H. Rider Haggard are fed a steady diet of and G.A. Henty were the stories about the best-sellers of their time, escapades of celebu- with sales reaching into tantes, the exploits of the millions. sports heroes (and More than mere anti-heroes) and the escapist entertainments, amazing accomplish- such books (and similar ments of actual people stories in serialized publi- eating actual insects on cations like Wide World an actual island on real- Magazine) celebrated ity TV: perhaps one qualities of character long more reason to look back held to be essential to the British identity: pluck, forti- with nostalgia on a time when it was tude, good humor, curiosity, and benevolence to all still possible to dream the dreams of true adventurers, (but especially to those “noble savages” who had not facing dangers and wonders in the farthest reaches of had the advantage of a British upbringing). Reaffirming the real world. such ideals became increasingly important as the empire felt itself beginning to ebb. The title of this article is borrowed from a book by Martin Because Victorian travel and adventure writing Green. found favor in both fiction and non-fiction forms, the boundary between the two blurred. Novels were often Map illustration showing Robert Louis Stevenson’s presented as factual accounts and, by employing maps, Treasure Island (1883).

P4 SOUTH COAST REPERTORY • Shipwrecked! An Entertainment Artist Biographies

MELODY BUTIU* New Play Festival; The Seagull, Gross Indecency: The Player 1 Three Trials of Oscar Wilde at E.C. Mabie Theatre; Aloha Say the Pretty Girls, Agamemnon and appeared at SCR previously in Marat/Sade at David Thayer Theatre. Comedy credits The Intelligent Design of Jenny include Comedy Death Ray, The Idiots and Before Chow, the Hispanic Playwrights They Were Giants at Upright Citizens Brigade Theatre. Project reading of The Adven- He can be seen performing comedy, rock and roll and tures of Barrio Grrrl! and the Pa- other entertainments regularly at many venues in Los cific Playwrights Festival readings Angeles including Upright Citizens Brigade Theatre of The Piano Teacher, 99 Histories, Scab and Do- LA, Largo and Steve Allen Theater. geaters. Theatre credits include reprising the role of Jennifer Marcus in The Intelligent Design of Jenny GREGORY ITZIN* Chow for Actors Theatre in Phoenix (AriZoni Theatre Louis de Rougemont Award nomination for Outstanding Performance); Hippolytos at The Getty Villa; The Break Up Notebook: appeared at SCR previously in The Lesbian Musical at Hudson Backstage; Long Sea- the NewSCRipts reading of Lin- son at Perseverance Theatre in Juneau, AK; 36 Views at colnesque, productions of Cyra- Laguna Playhouse, Portland Center Stage and Geva no de Bergerac, Romeo and Juli- Theatre Center; Growing with Ghosts and Splendor: A et and Beyond Therapy and the 99-Cents Only Stores Wonderama with Orphean Cir- Hispanic Playwrights Project cus; Golden Child and Leilani’s Hibiscus at East West reading of Bang Bang Blues, which he also performed Players; The Theory of Everything at East West Players at The Public Theater in New York. He has appeared and Singapore Repertory; Hair with Reprise!; The in numerous theatrical venues across the country, and Woman Who Forgot Her Sweater with Overtone In- is a proud member of The Matrix Theatre Company in dustries; Celebration of the Lizard at San Diego Los Angeles, where he has acted in award-winning Repertory; and Dogeaters and Boy at La Jolla Play- productions of , house. Television credits include “Cold Case,” “With- and The Birthday Party (each earning him an L.A. out a Trace,” “L.A. Dragnet,” “Scrubs,” “General Hospi- Drama Critics Circle Award for performance). For his tal,” “Strong Medicine,” “Threat Matrix” and “The Prac- work in the Pulitzer Prize-winning tice.” She received her MFA from UC San Diego. (which he performed in the world premiere at the In- timan Theatre, , the Kennedy Cen- MICHAEL DANIEL CASSADY* ter and on Broadway), he received Tony and Drama Player 2 Desk nominations. Itzin’s numerous television cred- its include series regular roles on “24” (for which he is making his SCR debut, follow- received an Emmy nomination for his portrayal of ing his work earlier this year in President ), “Murder One,” “The Nutt the Pacific Playwrights Festival. House” and “Something Wilder”; recurring roles on Theatre credits include the tour “Judging Amy,” “Navy NCIS,” “,” “Eerie, Indi- of his solo play Catalpa, which ana,” “Profiler” and “L.A. Law”; and guest star roles on included runs at the Evidence such shows as “Without a Trace,” “CSI,” “NYPD Blue” Room, Alliance Repertory Company (LA Weekly “,” “” and five roles on vari- Award, Best Solo Performance) and the Edinburgh ous “Star Treks.” Movie appearances include Air- Fringe Festival (Five Stars, Fringe First Award); The plane!, I Know Who Killed Me, Evolution, Life or Cherry Orchard and Killers at Evidence Room; Shy- Something Like It, Original Sin and Fear and ness is Nice (Entertainment Today, Best Male Actor Loathing in Las Vegas, among others. Itzin has two 2003) and The Hostage at Alliance Repertory Compa- children, Julia and Wilke, and resides in Los Angeles ny; 800 Words: The Transmigration of Phillip K. Dick, with his wife Judie, his faithful dog Bogey, and some Ghost of Romance and Republic of Lizard at the Iowa cats.

Shipwrecked! An Entertainment •SOUTH COAST REPERTORY P5 Playwright, Director and Designers stitute for Advanced Theatre Training at Harvard Uni- versity.

DONALD MARGULIES (Playwright) is the author of CANDICE CAIN (Costume Design) has designed cos- three previous plays that, like Shipwrecked!, were com- tumes for SCR’s The Violet Hour, Everett Beekin, Din- missioned and premiered by SCR: the Obie Award-win- ner with Friends, Collected Stories and Three Days of ning Sight Unseen (1991) and the Los Angeles Drama Rain. She has been the costume director at the Center Critics’ Circle Award-winner, Collected Stories (1996), Theatre Group for 13 seasons where she designed both of which were finalists for the Pulitzer Prize for Nightingale with Lynn Redgrave, “13,” , Drama; and Brooklyn Boy (2004). Dinner with Living Out, Stones in his Pockets, The Body of Bourne, Friends, which originated at Actors Theatre of Enigma Variations with Donald Sutherland, Tongue of Louisville, went on after its West Coast premiere at SCR a Bird, Dealer’s Choice, Neat, Mules and Blade to the to win numerous awards, including the 2000 Pulitzer Heat (Ovation Award nomination) at the Mark Taper Prize, long runs Off-Broadway and in Paris, and produc- Forum; Solomania (Kirk Douglas Theatre); Black But- tions all over the United States and around the world. terfly, The Square Root of Terrible and Bocon! God of Vengeance, adapted from the classic Yiddish (P.L.A.Y.); and The Affliction of Glory in co-production drama by Sholem Asch, was presented at PPF in 1999 with the J. Paul Getty Museum. Toronto and London: and produced at ACT Theatre in and the Enigma Variations with Donald Sutherland (Royal Williamstown Theatre Festival. His other plays include Alexandra, Savoy Theatre). New York: Tongue of a The Model Apartment (Obie Award), The Loman Fami- Bird, A Line Around the Block (Public Theater) and ly Picnic, Found a Peanut and Luna Park. What’s Three Days of Rain (Manhattan Theatre Club). Region- Wrong With This Picture? was produced on Broadway al credits include Tongue of a Bird (Intiman Theatre); in 1994; Sight Unseen and Brooklyn Boy received their The Beauty Queen of Leenane (Berkeley Repertory Broadway premieres in 2004 and 2005, respectively, at Theatre); Antony and Cleopatra, Joe Turner’s Come Manhattan Theatre Club’s Biltmore Theatre. The recipi- and Gone and Playboy of the Western World, among ent of the 2000 Sidney Kingsley Award for outstanding others (Oregon Shakespeare Festival); The Immigrant achievement in the theatre by a playwright, Margulies (Cincinnati Playhouse in the Park); The Life of Stuff, was honored in 2005 by the American Academy of Arts Three Days of Rain, Delirium Palace (Evidence and Letters with an Award in Literature. He is a mem- Room), Urban Folk Tales (The Coast Playhouse), and ber of the council of the Dramatists Guild of America The Job (Hudson Guild); and over 30 productions as and teaches playwriting at Yale University. resident designer at Virginia Stage Company. Other theatres include La Jolla Playhouse, Portland Stage BART DELORENZO (Director) is founding artistic direc- Company, Empty Space Theatre and Oregon Cabaret tor of the Evidence Room in Los Angeles where he has Theatre. directed many local and world premieres over the last 12 years including plays by David Greenspan, Kelly Stu- KEITH E. MITCHELL (Scenic Design) is delighted to have art, Philip K. Dick, Gordon Dahlquist, , washed up on board Shipwrecked!, his first project at Charles L. Mee, Naomi Wallace and Edward Bond. He SCR. He got his start doing community theatre in his has also directed his own adaptations of Hard Times, native Thousand Oaks, and broke into television while The Cherry Orchard and Don Carlos, among many oth- designing student films at USC. He now works on a va- ers. For SCR, he has directed readings of plays by riety of television, film and theatre projects. This sum- Roberto Aguirre-Sacasa, Anthony Clarvoe, and an earlier mer he designed two feature films, an adaptation of version of Shipwrecked! for the 2007 Pacific Playwrights Johnny Got His Gun starring the “The OC’s” Ben Festival. He recently directed the Center Theatre MacKenzie and Killer Moves, a werewolf-comedy- Group’s kick-off premiere event of Suzan-Lori Parks’ thriller. He also finished his fifth season as a scenic con- 365 Days/365 Plays outdoors at the Los Angeles Music sultant for Summer Sounds, Music for Kids at the Holly- Center plaza and on the steps of Walt Disney Hall; and wood Bowl, for the LA Philharmonic. He has numerous the world premiere of Sandra Tsing Loh’s long-running Broadcast Design Awards for television main titles and Mother on Fire at the 24th Street Theater, with subse- network branding packages for most major networks quent revivals at the Pasadena Playhouse, the Sundance and was awarded an Emmy for NBC’s 1986 Barcelona Film Festival, and the Women’s Building in San Francis- Olympics coverage. Other plays include: Lilly Plants a co. For his work, he has received five LA Weekly awards Garden, The Very Persistent Gappers of Frip, Animal and three Back Stage Garland awards. He is a graduate Logic for Center Theatre Group and two seasons at of Yale University and American Repertory Theatre’s In- Garry Marshall’s Falcon Theatre including, The Value of

P6 SOUTH COAST REPERTORY • Shipwrecked! An Entertainment Names, Happy Days: The Musical, Wrong Turn at Lungfish, Golf With Alan Shepard, Johnnyboy and Dar- LAURIE SMITS STAUDE (Honorary Producer). SCR win in Malibu. He is a member of Ken Roht’s Orphean Trustee Staude, calls herself a “theater-holic.” She Circus and has designed four of the annual 99¢ Cent sees plays all around the country, but — happily Only Extravaganzas for Evidence Room. Special thanks for SCR — keeps her support close to home. And to Candice and Bart for hauling him up. she’s starting the 2007-08 Season with a bang as Honorary Producer of Shipwrecked!. Staude has at- RAND RYAN (Lighting Design), a Southern California tended theatre at SCR since the late ’70s when she native, returns to SCR after having designed On the had subscriptions with her sons. Later she turned Mountain. He lit last year’s Nighthawks at the Kirk their subscriptions into “student subscriptions” and Douglas Theater, Stones in His Pocket at Mark Taper brought students from Valley College, where she Forum, and numerous Taper, Too, Next Step and New was a professor. Now a subscriber to First Nights as Works Festival shows. He has provided lighting for sev- well as the NewSCRipts series, Laurie attends the eral theatrical evenings at Disney Concert Hall for the Pacific Playwrights Festival (PPF) each season. She LA Philharmonic, and has done similar work at the said, “After seeing Donald Margulies’ wonderful Dorothy Chandler Pavilion and the Pasadena Sympho- new play at PPF in May, I jumped at the chance to ny. He is a member of the Evidence Room, where he help underwrite it. I feel just-plain-lucky to be part has designed a dozen productions, including Dog of the SCR family as Honorary Producer — an expe- Mouth (LA Weekly Award) and Chuck Mee’s Berlin Cir- rience I recommend to everyone.” cle. His collaboration with other local companies in- cludes productions for the East West Players, The Ac- tors’ Gang, International City Theater, Long Beach Angel,” East Side Story, “Situation Comedy,” “The Five Opera, Deaf West Theatre, Padua Playwrights, A Noise Mrs. Buchanans” and numerous commercials. Within and a dozen musicals for the Cabrillo Music The- www.stevencahill.com atre. He designed four local/touring shows for the late director Reza Abdoh, including Bogeyman at LATC. CHRISTINE MARIE (Shadow Scenic Design) is excited to Elsewhere, he has designed for Seattle Opera, City The- be making her Southern California design and puppetry ater in Pittsburgh, Madison Repertory Theatre, Seattle debut at SCR. She has performed extensively through- Repertory Theatre, Opera Omaha and productions in out the Bay Area: Legong (Zellerbach New York, Montreal, San Francisco and throughout Eu- Hall), 7 Visions of Encarnacion, written by Octavio rope. He is a recipient of a TCG/NEA Design Fellowship Solis (Brava Theatre), The Tempest (Cowell Theatre) and lives in Eagle Rock. and Coyote’s Journey (Yerba Buena Center). She is a ten-year member of award-winning ShadowLight The- STEVEN CAHILL (Original Music/Sound Design) is atre and cofounder of The Big Ta Do traveling theatre. thrilled to help originate this project with its imagina- She has studied puppetry in Bali. Currently, Marie is di- tive creative team. Cahill returns for his third play at recting her own shadow/video performance installa- SCR where he composed and designed the World Pre- tions and writing for an animated series. She is earning miere of A Naked Girl on the Appian Way and Cyrano an MFA from the California Institute of the Arts in The- De Bergerac (directed by Mark Rucker). He is recipient atre and Integrated Media. of three L.A. Ovation nominations for Driving Miss Daisy, and Defying Gravity JOHN GLORE (Dramaturg) has been South Coast at Rubicon Theatre Company. Recent credits include Repertory’s Associate Artistic Director since 2005, after The Constant Wife, Private Lives (L.A. Times Critics’ having served as the company’s literary manager from Choice), Doubt (West Coast premiere & Pulitzer Prize), 1985 to 2000. From 2000 to 2005 he was resident dra- As Bees In Honey Drown and Bicoastal Woman (world maturg for the Mark Taper Forum in Los Angeles. He premiere) at Pasadena Playhouse; The Ice-Breaker co-directs SCR’s annual Pacific Playwrights Festival and (world premiere) at the Magic Theatre and Laguna Play- has served as dramaturg on dozens of productions, house; All My Sons (L.A. Ovation Award for Best Play) at workshops and readings. He enjoys an ongoing collab- the Rubicon; Backwards in High Heels at the Road oration with Culture Clash, which has included co-writ- Theatre; Four at the Celebration Theatre; and Much ing a new adaptation of Aristophanes’ The Birds (co- Ado about Nothing and Twelfth Night at Chautauqua produced by SCR and Berkeley Repertory Theatre in Theatre Company. Television and film credits include 1998) and serving as dramaturg on Chavez Ravine and “Til Death,” “,” “Six Feet Under,” “Desper- Water & Power at the Taper. His own plays have been ate Housewives,” “Guiding Light,” “Touched By An produced at SCR, Arena Stage, Actors Theatre of

Shipwrecked! An Entertainment •SOUTH COAST REPERTORY P7 Louisville, Berkeley Repertory and other theatres across Moscow, the world premiere of ’s Getting the country. Frankie Married — and Afterwards and the critically acclaimed California premiere of Nicholson’s Shadow- ERIN NELSON* (Stage Manager) is delighted to be part lands. He has won accolades for his direction of five of this new work. Other SCR credits include A Christ- major works by , including the mas Carol, System Wonderland, Life is a Dream, Bach Los Angeles Drama Critics Circle (LADCC) Award-win- at Leipzig, The Studio, The Caucasian Chalk Circle, A ners Major Barbara, Misalliance and Heartbreak View from the Bridge and Theatre for Young Audiences House. Among his numerous world premieres is Mar- productions of The Stinky Cheese Man, The Only Child, garet Edson’s Pulitzer Prize-winning Wit, which he also The Adventures of Pør Quinly, Bunnicula, The Little directed at Seattle Repertory Theatre and the Alley The- Prince, The Hoboken Chicken Emergency, The Wind in atre in Houston. He has directed American classics in- the Willows, Sideways Stories from Wayside School and cluding Ah, Wilderness!, A Streetcar Named Desire, A The Emperor’s New Clothes. Previous credits include La Delicate Balance and A View from the Bridge. Benson Jolla Playhouse, The Old Globe, Idaho Shakespeare Fes- has received the LADCC Distinguished Achievement in tival, National Playwrights Conference and Theatre IV. Directing awards an unparalleled seven times for the three Shaw productions, John Millington Synge’s Play- DAVID EMMES (Producing Artistic Director) is co- boy of the Western World, ’s , founder of SCR. He has received numerous awards for Sally Nemeth’s Holy Days and Wit. He also directed the productions he has directed during his SCR career, in- film version of Holy Days using the original SCR cast. cluding a Los Angeles Drama Critics Circle Award for Along with Emmes, he accepted SCR’s 1988 Tony the direction of George Bernard Shaw’s The Philander- Award for Outstanding Resident Professional Theatre er. He directed the world premieres of Amy Freed’s and won the 1995 Theatre LA Ovation Award for Life- Safe in Hell, The Beard of Avon and Freedomland, time Achievement. Benson received his BA in Theatre Thomas Babe’s Great Day in the Morning, Keith Red- from San Francisco State University. din’s Rum and Coke and But Not for Me and Neal Bell’s Cold Sweat; the American premieres of Terry Johnson’s PAULA TOMEI (Managing Director) is responsible for Unsuitable for Adults and Joe Penhall’s Dumb Show; the overall administration of South Coast Repertory and the West Coast premieres of C.P. Taylor’s Good and has been Managing Director since 1994. A member of Harry Kondoleon’s Christmas on Mars; and the South- the SCR staff since 1979, she has served in a number of land premiere of Top Girls (at SCR and the Westwood administrative capacities including Subscriptions Man- Playhouse). Other productions include the West Coast ager, Business Manager and General Manager. She premieres of Three Viewings by Jeffrey Hatcher, The Se- served on the board of Theatre Communications Group cret Rapture by and New England by (TCG), the national service organization for theatre, Richard Nelson; and by , The Im- from 1998-2006, and was its President for four years. portance of Being Earnest by Oscar Wilde, Ayckbourn’s She has also served as Treasurer of TCG, Vice President and You Never Can Tell by George of the League of Resident Theatres (LORT) and has Bernard Shaw, which he restaged for the Singapore Fes- been a member of the LORT Negotiating Committee for tival of Arts. He has served as a theatre panelist and on- industry-wide union agreements. In addition, she rep- site evaluator for the National Endowment for the Arts, resents SCR at national conferences of TCG and LORT; on the Executive Committee of the League of Resident is a theatre panelist for the National Endowment for the Theatres, and as a panelist for the California Arts Coun- Arts (NEA) and the California Arts Council, and site visi- cil. After attending Orange Coast College, he received tor for the NEA; served on the Advisory Committee for his BA and MA from San Francisco State University, and the Arts Administration Certificate Program at the Uni- his PhD in theatre and film from USC. versity of California, Irvine; and has been a guest lectur- er in the graduate school of business at Stanford and MARTIN BENSON (Artistic Director), co-founder of SCR the University of California, Irvine. She recently joined with his colleague David Emmes, has directed nearly the board of Arts Orange County, the county wide arts one third of the plays produced here. He has distin- council. Ms. Tomei graduated from the University of guished himself in the staging of contemporary work, California, Irvine with a degree in Economics and pur- including William Nicholson’s The Retreat from sued an additional course of study in theatre 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.

P8 SOUTH COAST REPERTORY • Shipwrecked! An Entertainment