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Home , Alien Voices, Baghdad Zoo, Jon Robin Baitz, Jon Tenney, Rajiv Joseph

51st Season • 490th Production JULIANNE ARGYROS STAGE / APRIL 12 - MAY 3, 2015

Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR

David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS

presents the world premiere of Mr.

by

Nephelie Andonyadis Leah Piehl Lap Chi Chu Cricket S. Myers SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN

John Glore Joshua Marchesi Sue Karutz DRAMATURG PRODUCTION MANAGER STAGE MANAGER

Directed by David Emmes

The Circle Honorary Producer

MR. WOLF was commissioned by South Coast Repertory with a grant from the Elizabeth George Foundation and workshopped in the 2014 Pacific Playwrights Festival.

Mr. Wolf • South Coast Repertory • P1 CAST OF CHARACTERS (In order of appearance) Theresa ...... Emily James Mr. Wolf ...... Julie ...... Kwana Martinez Michael ...... Hana ...... Tessa Auberjonois

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

PRODUCTION STAFF Casting ...... Joanne DeNaut, CSA Assistant Director ...... Leah Cassella Production Assistant ...... Bradley Zipser Costume Design Assistant ...... Lydia Graboski Bauer Stage Management Intern ...... Amanda Short Light Board Operator ...... Sumner Ellsworth Sound Board Operator ...... Chad Dove Automation Operator ...... Vincent Quan Wardrobe Supervisor/Dresser ...... Jessica Larsen

The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the .

Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons. Videotaping and/or recording of this performance by any means whatsoever are strictly prohibited. Electronic devices should be turned off or set to non-audible mode during the performance. Smoking is not permitted anywhere in the theatre.w

P2 • South Coast Repertory • Mr. Wolf Who’s There? he first line in Rajiv Joseph’s Mr. are not really aimed at the ripped-from- Wolf is a question. So is the penul- the-headlines circumstance that propels timate line in the play. In between its plot—although Joseph does mine rich those two questions are more than dramatic material from the complicated 400 others. In one monologue psychologies of people whose lives have Talone, spoken by the play’s central char- been turned upside-down (twice) by that acter, 20 of the first 24 sentences are ques- circumstance. Instead, the play asks big- tions. The very word “question” is said 18 ger questions—the kind any of us might times in Mr. Wolf. (For the sake of com- ask in a moment of existential doubt: parison, another famously interrogatory “Who am I?” “What do I do now?” “Where play, Shakespeare’s Hamlet, also begins is God in all this?” Rajiv Joseph. with a question, after which 440 more are Questions of that kind tend not to asked; and the word “question” is spoken be answerable with anything approach- 17 times, much more frequently than in ing certainty; and it’s the unanswerable any other Shakespeare play—prompting question—or perhaps the unprovable The wise man doesn’t give the right one scholar to write an entire book called answer—that sometimes gives rise to answers, he poses the right questions. The Question of Hamlet.) faith. Whatever else it may be about, Mr. ~ Claude Levi-Strauss People have asked questions since Wolf looks at a group of characters who the dawn of humanity; in fact one could are situated in various places on a spec- say the species defines itself by its inquisi- trum that traverses from certainty to faith There are four questions of value in tive nature. It’s worth noting that the to doubt to hopeless disbelief, and every life... What is sacred? Of what is the first question recorded in the Bible is not character’s position on that spectrum spirit made? What is worth living for posed by Adam or Eve (or their all-know- changes at least once over the course of and what is worth dying for? The an- ing God), but by the serpent, who pro- the play. swer to each is the same. Only love. vokes Eve by asking, “Hath God said, Ye Hamlet, while discussing the play- shall not eat of every tree of the garden?” within-a-play he will use to probe the ~ Lord Byron In a sense that first question has given conscience of his father’s murderer, re- birth to all others, because it prompts fers to the “question of the play.” The Religion survives because it answers Eve and then Adam to sample the fruit of phrase is Shakespeare’s tacit acknowl- three questions that every reflective the tree of knowledge … which leads not edgement that one of drama’s primary person must ask. Who am I? Why am I to knowledge, but to the awareness of functions—perhaps its most basic—is to here? How then shall I live? its absence, and hence to a need for the pose questions; questions that are to be words “why,” “what,” “how,” “who” and considered, consciously or subliminally, ~ Jonathan Sacks their relatives. by both characters and audience. Questions become necessary when The inquisitive nature of Mr. Wolf Theater is there to search for ques- knowledge is lacking: the act of question- and its characters comes from Rajiv tions. It doesn’t give you instructions. ing indicates a desire to discover mean- Joseph’s own propensity to ask ques- ~ Vaclav Havel ing and truth. Questions can also be stra- tions—the reason he has chosen to write tegic. In the first scene of Mr. Wolf, the plays in the first place. “Right now I’m just Quite early on, and certainly since I title character teaches his young female very glad and grateful that I found my way student that the key to surviving in the to playwriting,” says Joseph, “and that started writing, I found that philo- world is inquiry: “Ask as many questions from what I can tell from audiences, I’m sophical questions occupied me more as you can. People are made uncomfort- not the only one interested in the ques- than any other kind. I hadn’t really able by questions, and then they will be tions in these plays.” thought of them as being philosophi- off-balance.” The student will go on to Mr. Wolf’s last question, in the clos- cal questions, but one rapidly comes use inquiry in just that way­—as a tactic— ing moment of the play, finally prompts to an understanding that philosophy’s but mostly, she asks questions because an answer … but the answer that ends she truly needs answers after her world the play can only elicit new questions, only really about two questions: ‘What has suddenly been split open by doubt which we in the audience are asked to is true?’ and ‘What is good?’ and uncertainty. ponder as we return to our own uncer- ~ Tom Stoppard The central questions in Mr. Wolf tain lives.

Mr. Wolf • South Coast Repertory • P3 Artist Biographies

Tessa Auberjonois of the L.A. Philharmonic’s “Symphonies for Youth,” Hana as well as writer/director/host of “First Nights,” an adult concert series at Disney Hall. He has directed previously appeared at SCR in operas including Tosca, Cold Sassy Tree, Madame Absurd Person Singular, Becky Butterfly, The Abduction from the Seraglio and La Shaw, Crimes of the Heart, A Cenerentola. He has performed and directed plays Wrinkle in Time, Lobby Hero, for L.A. Theater Works and was co-owner, with the Hold Please, Everett Beekin and late , of Alien Voices, a production numerous Pacific Playwrights company devoted to the dramatization of classic Festival and NewSCRipts readings. Her favorite . He has just finished producing a roles include Lady Macbeth (The Antaeus Compa- documentary on the wonderful phenomenon of ny); Lydia Languish in The Rivals, title roles in Lady Bronies. De Lancie recently completed a lifelong Windermere’s Fan and The Country Wife (The dream of sailing his boat to the South Seas and Shakespeare Theatre Company); Myra in Hay Fever back. (Westport Country Playhouse); Viola in Twelfth Night (Utah Shakespearean Festival); Leah in Bones Emily James (Kirk Douglas Theatre); Allison in Trainspotting Theresa (off-Broadway); and numerous other off-Broadway and regional appearances. She can be seen and is thrilled to be making her first heard frequently on television, film, radio, audio- appearance at South Coast Rep- books, music videos, web series and video games. ertory. Raised in Louisville, Ky., Auberjonois is a graduate of the London Academy she attended Youth Performing of Music and Dramatic Arts and the Yale School of Arts School where she began Drama. @TAuberjonois her journey in theatre. Upon graduation, she moved to to continue John de Lancie her training. She is currently in her final year in the Mr. Wolf BFA acting program at California State University, Fullerton. She was recently seen as Jane in CSUF’s returns to SCR, where he has production of Smash. Her other credits include appeared in a half-dozen pro- Nina in Hearts like Fists, Eliante in School for Lies ductions and readings includ- and Hero in Much Ado About Nothing. ing the NewSCRipts and Pacific Playwrights Festival readings Kwana Martinez of Mr. Wolf. His film credits in- Julie clude The Hand That Rocks the Cradle, The Fisher King, Bad Influence, The Onion Field, Taking Care is thrilled to be making her SCR of Business, Fearless, Multiplicity, Woman on Top, debut. She most recently por- Reign Over Me, Pathology, Crank 2 and The Mar- trayed Antigone in The Curse of riage Counselor. He has appeared in numerous Oedipus at The Antaeus Com- television shows including “Torchwood,” “Break- pany. Martinez is a Vassar and ing Bad,” “” and “.” He has Harvard graduate who began been a member of The American Shakespeare Fes- her career working at New York Theatre Workshop, tival, Seattle Repertory Theatre, Mark Taper Forum La MaMa Etc., New Dramatists and The Flea in New and The Old Globe. In the world of music, de York City. She has appeared on stages across the Lancie has performed with the New York, Chicago, country including Denver Center Theatre (Anne , Philadelphia, Dallas, Denver and Los Page in The Merry Wives of Windsor), Milwaukee Angeles philharmonic orchestras. He was the host Repertory (Delia in Blues for an Alabama Sky),

P4 • South Coast Repertory • Mr. Wolf Commonwealth Shakespeare Company (Helena in drew Nichols on ABC’s hit drama “Scandal,” and A Midsummer Night’s Dream, Juliet in Romeo and will next be seen opposite Ron Perlman and Dana Juliet and Miranda in The Tempest), Contemporary Delany on Amazon’s new original series “Hand of American Theatre Festival (Amy in Tape), as well God” and alongside Diane Keaton and Olivia Wilde as American Repertory Theatre, Arizona Theatre in the feature film Love the Coopers. Company, and Hartford Theater- Works. Her work on California stages includes San Playwright, Director and Designers Jose Repertory (Pilar in Sonia Flew), North Coast Repertory (Beth in String of Pearls), Ensemble The- Rajiv Joseph (Playwright) has written the plays atre of Santa Barbara (Sonia in Crime and Punish- Bengal at the Zoo, a 2010 finalist for ment), The Colony Theatre (Aouda in Around the the Pulitzer Prize; Gruesome Playground Injuries; World in 80 Days) and The Old Globe (Nell Gwynn Animals Out of Paper; The North Pool; The Lake in Compleat Female Stage Beauty), as well as the Effect; and Guards at the Taj. He is the book writer Laguna Playhouse, Center Theatre Group and Pasa- and co-lyricist for the new Peter Pan musical, Fly, dena Playhouse. Martinez is on television and film and the co-screenwriter of the recent Lionsgate re- in numerous commercials, HBO’s Imagine, and lease, Draft Day. Joseph received his BA in creative “Numb3rs.” kwanamartinez.com writing from and his MFA in play- writing from ’s Tisch School Jon Tenney of the Arts. He served for three years in the Peace Michael Corps in , West Africa.

appeared at SCR previously in David Emmes (Director/Founding Artistic Direc- the world premiere of Rich- tor) is co-founder of South Coast Repertory. He ard Greenberg’s Three Days of received the Margo Jones Award for his lifetime Rain. On stage, Tenney most commitment to theatre excellence and to foster- recently starred in the Los Ange- ing the art of American playwriting. In addition, he les premiere of David Lindsay- has received numerous awards for productions he Abaire’s Good People at the Geffen Playhouse (op- has directed during his SCR career. He directed the posite Jane Kaczmarek). Other Pacific Coast credits world premieres of Amy Freed’s Safe in Hell, The include David Mamet’s Speed-the-Plow (Geffen Beard of Avon and Freedomland, Thomas Babe’s Playhouse), Jon Robin Baitz’ The Substance of Fire Great Day in the Morning, Keith Reddin’s Rum (Mark Taper Forum) and Terrence McNally’s Up in and Coke and But Not for Me and Neal Bell’s Cold Saratoga and Romeo & Juliet (The Old Globe). His Sweat; the American premieres of Terry Johnson’s Broadway credits include the Tony Award-winning Unsuitable for Adults and Joe Penhall’s Dumb revival of The Heiress (opposite Cherry Jones), Show; and the Southland premiere of Top Girls (at Beth Henley’s Impossible Marriage (opposite Holly SCR and the Westwood Playhouse). Other produc- Hunter), Neil Simon’s Biloxi Blues and Brighton tions he has directed include New England, Arca- Beach Memoirs, A.R. Gurney’s Sweet Sue (oppo- dia, The Importance of Being Earnest, Woman in site Lynn Redgrave and Mary Tyler Moore), as well Mind and You Never Can Tell, which he restaged as the national tour of Tom Stoppard’s The Real for the Singapore Festival of Arts. He has served Thing, directed by . His off-Broadway as a theatre panelist and onsite evaluator for the credits include The Substance of Fire (Playwrights National Endowment for the Arts, as well as a panel- Horizons and Theater), John Patrick ist for the California Arts Council. After attending Shanley’s Beggars in the House of Plenty (Manhat- Orange Coast College, he received his BA and MA tan Theatre Club), and Jeffrey Hatcher and Mitch from San Francisco State University and his PhD in Albom’s Tuesdays with Morrie. His film credits theatre and film from USC. include You Can Count On Me, Tombstone, Fools Rush In, Looking for Comedy in the Muslim World Nephelie Andonyadis (Scenic Design) previously and Rabbit Hole, among others. His many televi- designed scenery at SCR for Charlotte’s Web, The sion credits include seven seasons opposite Kyra Motherf**ker with the Hat, The Summer Moon and Sedgwick on TNT’s award-winning “,” The BFG (Big Friendly Giant); costumes for Absurd reprising his role on its spin-off “Major Crimes,” as Person Singular, A Midsummer Night’s Dream, well as directing multiple episodes. Most recently, Sideways Stories from Wayside School, Saturn Re- Tenney has been seen playing Vice President An- turns, Emilie, The Importance of Being Earnest,

Mr. Wolf • South Coast Repertory • P5 Safe in Hell, The Dazzle; and both costumes and bergamerica, Tree (Inside the Ford); Boom, Men scenery for Relatively Speaking and The Stinky of Tortuga (Furious Theatre Company); Saudade Cheese Man. Andonyadis is member of Corner- (UCLA Live); and Full Still Hungry (Ford Amphi- stone Theater Company. Her recent projects there theater). She recently designed the feature film include scenic designs for Café Vida, Flor, The All Stars. Her work has been featured at MOMA, Unrequited (Between Two Worlds), Three Truths, Art Basel Miami and 2010 Whitney Biennial. Piehl Jason in Eureka, Los Illegals and California: The teaches at USC and CalArts; she has a BA from UC Tempest; and costume designs for Plumas Negras Berkeley and her MFA in costume design from Ca- and Boda de Luna Nueva. Her scenic or costume lArts. leahpiehl.com designs at other regional theatres include Oregon Shakespeare Festival, Portland Center Stage, Cen- Lap Chi Chu (Lighting Design) has designed re- ter Theatre Group, Guthrie Lab, Court Theatre, gionally for SCR, Mark Taper Forum, Geffen Play- Chicago Children’s Theatre, Great Lakes Theatre house, Oregon Shakespeare Festival, La Jolla Play- Festival, The Acting Company, Bloomsburg Theatre house, The Old Globe, Berkeley Repertory Theatre, Ensemble, Shakespeare Santa Cruz, Idaho Shake- Goodman Theatre, American Repertory Theater, speare Festival, Berkshire Theatre Festival and Yale Arena Stage, Dallas Theater Center, Portland Center Repertory Theatre. Andonyadis is a professor in the Stage and Evidence Room. His New York design Theatre Arts Department at the University of Red- credits include The Public Theater, New York The- lands. She is a graduate of Yale University School atre Workshop, Signature Theatre, Second Stage of Drama and Cornell University School of Archi- Theatre, Performance Space 122 and Kitchen The- tecture, and the recipient of an NEA/TCG design atre Company. His awards have included the Los fellowship. Angeles Drama Critics Circle Angstrom Award for Career Achievement in Lighting Design, an Ova- Leah Piehl (Costume Design) returns to SCR tion award, multiple Bay Area Theatre Critics Circle where she designed The Light in the Piazza, The Awards, a “Drammy” for best lighting, as well as a Motherf**ker with the Hat and the Theatre for Lucille Lortel nomination for The Good Negro at Young Audiences productions of Robin Hood and The Public Theater. Chu is on the lighting design The Borrowers. Her other select credits include faculty at California Institute of the Arts. Race (Kirk Douglas/Center Theater Group), Pyg- malion (Pasadena Playhouse), The Steward of Cricket S. Myers (Sound Design) is thrilled to re- Christendom (Mark Taper Forum/Center Theatre turn to SCR after designing Zealot, Trudy and Max Group); Twist Your Dickens (Kirk Douglas Theatre/ in Love, 4000 Miles, The Fantasticks, The Parisian Center Theatre Group); The Most Deserving (Den- Woman, Sight Unseen, Elemeno Pea, The Trip to ver Center Theater); Stardust (REDCAT); Intimate Bountiful and Three Days of Rain. On Broadway, Apparel (Pasadena Playhouse, Drama she earned a Tony nomination and a Drama Desk Critics Circle winner, Best Costume Design); The Award for her design of Rajiv Joseph’s Heiress (Pasadena Playhouse, Ovation nominated); at the Baghdad Zoo. Her designs off-Broadway The Doctor’s Dilemma and The Eccentricities of a include the 16-month run of The Marvelous Won- Nightingale (A Noise Within); Paradise Lost (Inti- derettes (Westside Arts, Upstairs). She also has man Theatre); Futura, The Pain and the Itch, Tar- designed regionally at the Ahmanson Theatre (Sun- tuffe (The Theatre @ Boston Court); bobrauschen- shine Boys), Mark Taper Forum (Steward of Chris-

P6 • South Coast Repertory • Mr. Wolf tendom, Joe Turner’s Come and Gone, Vigil, Bengal Tiger at the Baghdad Zoo, The Lieutenant of Inishmore), La Jolla Playhouse (Sideways, The Nightingale), Berkeley Repertory Theatre (In Honorary Producer the Wake), Arena Stage (Book Club Play), Kirk Douglas Theatre (Twist Your Dickens, The Little The Playwrights Circle consists of avid play- Dog Laughed), Pasadena Playhouse (Stoneface, goers who help underwrite a world premiere Above the Fold), La Mirada Theater (Carrie, Din- production each spring. Its individual members ner with Friends) and Geffen Playhouse (Play include long-time subscribers, major annual Dead, Wrecks, Some Girls, Emergency). Myers fund donors, endowment supporters and trust- has earned 16 Ovation nominations, and won the ees. Since its inception in 2004, The Playwrights Kinetic Award for Design Excellence, an Los An- Circle has underwritten works by writers includ- geles Drama Critics Circle and a Garland Award in ing Amy Freed (Safe in Hell), Richard Green- Los Angeles. cricketsmyers.com berg (A Naked Girl on the Appian Way and Our Mother’s Brief Affair), Christopher d’Amboise John Glore (Dramaturg) has been SCR’s as- (The Studio), Julie Marie Myatt (My Wandering sociate artistic director since 2005, following five Boy), Kate Robin (What They Have), Julia Cho years as resident dramaturg for L.A.’s Center The- (The Language Archive), Lauren Gunderson atre Group. He previously served as SCR’s liter- (Silent Sky) and Octavio Solis and Adam Gwon ary manager from 1985 to 2000. He has worked (Cloudlands). SCR is especially grateful to The as dramaturg on more than 100 SCR produc- Playwrights Circle for its leadership and dedica- tions, workshops and readings, including the tion to helping bring new plays to Orange Coun- Pacific Playwrights Festival world premiere of ty audiences—and to the American theatre. Cloudlands, book and lyrics by Octavio Solis and music and lyrics by Adam Gwon. His on- going collaboration with Culture Clash has in- The 2014-15 Playwrights Circle cluded co-writing new adaptations of two plays by Aristophanes, The Birds (co-produced by SCR Sophie Hall and Lawrence Arden Cripe and Berkeley Repertory Theatre in 1998) and Mary Ann Brown and Rick Reiff Peace (at the Getty Villa in 2009), and serving as Sandy Segerstrom Daniels dramaturg on four other Culture Clash produc- Patricia Ellis tions. His own plays have been produced at SCR, Don and Sue Hecht Arena Stage, Actors Theatre of Louisville, Berke- ley Repertory Theatre and other theatres across Tracy and Roger Kirwan the country. His adaptation of A Wrinkle in Time Sarah and Thom McElroy debuted at SCR in 2010 and has since moved on Carl Neisser to more than a dozen productions nationwide. Barbara Roberts Linda and Tod White Sue Karutz (Stage Manager) has been part of the stage management team on more than a dozen productions at SCR. Elsewhere, she has

Mr. Wolf • South Coast Repertory • P7 toured with The Black Rider (London, San Fran- of the board of Theatre Communications Group cisco, Sydney, Los Angeles), Wicked (Chicago, L.A., (TCG), the national service organization for the- San Francisco), Les Misérables (U.S., Canada, China atre. In addition, she served as treasurer of TCG, and Korea) and Cirque du Soleil’s Corteo (Russia vice president of the League of Resident Theatres and Belgium). Off-Broadway, she earned her Equity (LORT) and as a member of the LORT Negotiating card on Howard Crabtree’s When Pigs Fly. Karutz Committee for industry-wide union agreements. has stage-managed for Center Theatre Group, Los She represents SCR at national conferences of TCG Angeles Opera, Pasadena Playhouse, Falcon The- and LORT; is a theatre panelist for the National atre, Deaf West, American Conservatory Theater, La Endowment for the Arts (NEA) and the California Jolla Playhouse, Idaho Shakespeare Festival, Alpine Arts Council; site visitor for the NEA; and has been Theatre Project and The National Theatre of the a guest lecturer in the graduate schools of busi- Deaf, and she also spends some of her time run- ness at Stanford and UC Irvine (UCI). She teaches ning shows at Disneyland Resort. a graduate class in nonprofit management at UCI and was recently appointed by the chancellor to Marc Masterson (Artistic Director) is in his UCI’s Community Arts Council. She is also on the fourth season with SCR. His recent directing credits board of Arts Orange County, the county-wide arts include Zealot, Death of a Salesman, Eurydice and council, and the board of the Nicholas Endowment. Elemeno Pea at SCR, As You Like It for the She graduated from UCI with a degree in econom- Shakespeare Festival, The Kite Runner at Actors ics and pursued an additional course of study in Theatre of Louisville and the Cleveland Play House. theatre and dance. He served for 11 years as artistic director of Actors Theatre of Louisville and produced the Humana Martin Benson (Founding Artistic Director), co- Festival of New American Plays. During his Actors founder of SCR, has directed nearly one-fourth of Theatre tenure, he produced more than 100 world SCR’s productions. In 2008, he and David Emmes premieres, expanded audiences and the repertoire, received the Margo Jones Award for their lifetime deepened arts education programs and spearhead- commitment to theatre excellence and fostering ed numerous community-based projects. His other the art and craft of American playwriting. They also Louisville directing credits include A Midsummer accepted SCR’s 1988 Tony Award for Outstanding Night’s Dream, Shipwrecked! An Entertainment, Resident Professional Theatre and won the 1995 Glengarry Glen Ross, The Tempest, Mary’s Wed- Theatre L.A. Ovation Award for Lifetime Achieve- ding, The Crucible, Betrayal, As You Like It, The ment. Benson has received the Los Angeles Drama Importance of Being Earnest and Macbeth. The Critics Circle Award for Distinguished Achievement world premieres he directed at the Humana Festi- in Directing an unparalleled seven times for George val include works by Lisa Dillman, Wendell Berry, Bernard Shaw’s Major Barbara, Misalliance and Craig Wright, Eric Coble, Adam Bock, Gina Gion- Heartbreak House; John Millington Synge’s Play- friddo, Melanie Marnich, Charles Mee and Rick boy of the Western World; Arthur Miller’s The Cru- Dresser. He served as artistic director of City The- cible; Sally Nemeth’s Holy Days; and Margaret Ed- atre in Pittsburgh for 20 years and was founder and son’s Pulitzer Prize-winning Wit, which he also di- chairman of the Greater Pittsburgh Arts Alliance, rected at Seattle Repertory Theatre and Houston’s and as a theatre advisory panel member for the Alley Theatre. He has directed American classics National Endowment for the Arts as well as numer- such as A Streetcar Named Desire and has distin- ous foundations. He won the Man of the Year Vec- guished himself in staging contemporary work, in- tors Award, and received the Lifetime Achievement cluding the critically acclaimed California premiere Award from the Pittsburgh New Works Festival. of William Nicholson’s Shadowlands. He directed a revival of Horton Foote’s The Trip to Bountiful and Paula Tomei (Managing Director) is responsible Samuel D. Hunter’s The Whale and Rest (world pre- for leading the overall administration of SCR. She miere) and The Whipping Man by Matthew Lopez. has been managing director since 1994 and a mem- Benson received his BA in theatre from San Fran- ber of SCR’s staff since 1979. She is a past president cisco State University.

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 Manag- Artists Local USA-829, IATSE. labor union. ers in the United States.

P8 • South Coast Repertory • Mr. Wolf