52nd Season • 498th Production SEGERSTROM STAGE / MARCH 25 - APRIL 24, 2016 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents the world premiere of FUTURE THINKING by Eliza Clark Dane Laffrey Melissa Trn Lap Chi Chu Stowe Nelson SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN Kimberly Colburn Joshua Marchesi Joanne DeNaut, CSa Kathryn Davies DRAMATURG PRODUCTION MANAGER CASTING STAGE MANAGER Directed by Lila Neugebauer The Playwrights Circle Susan Bowman and Freddie Greenfield • Mary Ann Brown and Rick Reiff • Dr. Robert F. and Julie A. Davey • Mr. Brian Drake and Dr. Diane A. Drake Patricia Ellis • Valerie and Geoff Fearns • Don and Sue Hecht • Lisa and Richard de Lorimier • Sarah and Thom McElroy • Carl Neisser Talya Nevo-Hacohen and Bill Schenker • Barbara Roberts • Olivia and Alan Slutzky • Laurie Smits Staude •Linda and Tod White Honorary Producers Future Thinking was commissioned by South Coast Repertory and workshopped and developed in the 2014 Pacific Playwrights Festival. This play is a recipient of an Edgerton Foundation New American Plays Award. Future Thinking • South CoaSt RepeRtoRy • P1 CAST OF CHARACTERS (In order of appearance) Peter Ford ................................................................................................ Arye Gross Jim Barnard ........................................................................................ Enver Gjokaj Chiara Farrow ..................................................................................... Virginia Vale Crystal Farrow .................................................................................. Heidi Dippold Sandy Mills ........................................................................................... Jud Williford SETTING Comic Con. San Diego. LENGTH Approximately two hours, including one intermission. PRODUCTION STAFF Assistant Stage Manager ................................................................... Leia Crawford Assistant Director .................................................................................... Clint Foley Costume Design Assistant ............................................................ Kaitlyn Kaufman Assistant Lighting Designer .......................................................... Sherrice Mojgani Stage Management Intern .................................................................. Cathy Hwang Light Board Operator ................................................................... Andrew Stephens Sound Board Operator .......................................................................... Jesus Rivera Automation Operator ........................................................................... Isaac Jacobs Wardrobe Supervisor ............................................................................. Bert Henert 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 United States. 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. Media Partner P2 • South CoaSt RepeRtoRy • Future Thinking A Fantasy Within Reach “Everybody wants to be inside of something they don’t get to be. That’s kind of the way life works, right?” – Chiara in Future Thinking by Kimberly Colburn than they are. This capacity to imag- ine ourselves as another character is a uture Thinking takes place near fundamental cognitive function of hu- a large comic convention, of- manity—even small children will play ten referred to as a Comic Con. make-believe. It requires a powerful San Diego Comic Con is one sense of imagination and even non- of the largest and best-known, role-playing people will recognize the Fbut there are also conventions in Long profound significance when they be- Beach and Los Angeles. In fact, there come engrossed in a novel, game or are comic conventions all over the drama. world. Over time, as some of these The vast majority of people conventions have grown larger, they who dress up as their favorite fictional showcase many art forms, like mov- characters have a firm grasp on the ies, television shows, or video games, difference between that fantasy world that have a comic book origin, fantasy and the reality they live in. It’s like a or science-fiction element. At these better version of real-life, or opens a kind of manifestation of this. conventions, it is common for people window to what life could be, or sim- The trouble comes if the fantasy to dress as their favorite characters—a ply provides a mechanism for escap- subsumes a person’s ability to discern cultural phenomenon that has become ing the doldrums of the quotidian. what is real and what is imaginary. more widespread, as fans now often More broadly, imagining ourselves as Think of those few gamers whose vid- dress up for their favorite movies such someone else plays a role in our cul- eo game becomes their whole life, an as Harry Potter, Lord of the Rings, or ture and our economy. If this seems ex-lover who can’t face the reality of Star Wars. implausible, envision people buying a recent break-up or actors who can’t Role-playing can be aspiration- products or services they believe will drop character and leave a role they al—those who engage in this behavior improve their lives—the potential for are playing. In these rare instances, the assume an identity that allows them transformation drives most marketing line between fantasy and reality is de- to imagine themselves to be greater campaigns, and role-playing is another cidedly blurry. Future Thinking • South CoaSt RepeRtoRy • P3 Artist Biographies HEIDI DIPPOLD Crystal Farrow Affair, Screwball, Let’s Play Two and Brooklyn Boy, a role he reprised on Broadway. His recent Los Angeles- first appeared at SCR in the area productions include Parfumerie (the inaugural world premiere of Noah Haid- production at The Wallis Annenberg Center in Beverly le’s Mr. Marmalade, later in Joe Hills) and the world premieres of Donald Margulies’ Penhall’s Dumb Show and most Coney Island Christmas at Geffen Playhouse and recently in the world premiere Above The Fold at Pasadena Playhouse, playing oppo- of Noah Haidle’s Smokefall. Last site Taraji P. Henson. His other recent credits include year, she played Marilyn Monroe opposite Geoffrey the West Coast premiere of Stupid F**king Bird at Arend and Ed Asner in the L.A. Theatre Works pro- The Theatre @ Boston Court, where he previously duction of Arthur Miller – A Life. She also played Mrs. had performed in Julia Cho’s Winchester House and Robinson in the L.A. Theatre Works national tour of Uncle Vanya (adapted by Annie Baker) for The Antae- The Graduate. Dippold received a Big Easy Award us Company, where he also was seen in the world pre- for her work as Olivia in Twelfth Night at The New miere of Chekhov X 4. His film and television credits Orleans Shakespeare Festival. She also has appeared include Harvest (with Victoria Clark), Grey Gardens, at Berkeley Repertory Theatre, Long Wharf Theatre, Minority Report, Big Eden, “The Riches” (with Eddie Signature Theatre (NYC) and Cleveland Play House, Izzard), “Law & Order” and the recurring role of Dr. to name a few. Her favorite television roles include a Sidney Perlmutter on ABC’s “Castle.” Gross is a 1978 recurring role on HBO’s “The Sopranos,” serial-killing graduate of SCR’s Professional Actor Training Program identical twins on “NCIS” and Jeffrey Tambor’s love and previously worked with Lila Neugebauer on After interest on the sitcom “20 Good Years.” She has ap- the Revolution at Center Stage in Baltimore, Md. peared in numerous commercials and survived the horrible horror film, House. Dippold is an MFA gradu- VIRGINIA VALE ate of Rutgers University Mason Gross School of the Chiara Farrow Arts and is certified in Fitzmaurice Voicework®. is thrilled to return to SCR after ENVER GJOKAJ previously appearing in the West Jim Barnard Coast premiere of Adam Rapp’s The Purple Lights of Joppa Illi- previously appeared at SCR in nois. She is a graduate of The the Pacific Playwrights Festival Juilliard School Drama Division reading of Future Thinking. His and winner of the John Houseman Award for excel- other theatrical credits include lence in the classics. Her credits include Barefoot in Arms and the Man at The Old the Park (Bucks County Playhouse) and “The Myster- Globe and The Cherry Orchard ies of Laura” on NBC. with Kate Burton. Gjokaj’s recent television and film work includes “Agent Carter,” “The Walking Dead,” JUD WILLIFORD “Community,” “Dexter” and Marvel’s The Avengers. Sandy Mills is happy to make his SCR debut. ARYE GROSS Peter Ford Some of his recent credits in- clude the first two national tours returns to SCR having appeared of Wicked, Scapin (with Bill most recently in Circle Mirror Irwin), Twelve Angry Men (di- Transformation. He also ap- rected by Frank Galati) and Mac- peared here in The Time of Your beth (title role). He has performed at numerous re- Life, Wild Oats and the world gional theatres around the country including The premieres of Our Mother’s Brief American Conservatory Theater (four years as a com- P4 • South CoaSt RepeRtoRy • Future Thinking pany member), Asolo Repertory Theatre (two seasons alumna