Glen Hansard & Markéta Irglová Enda Walsh

Once • South CoaSt RepeRtoRy •

Ralph Funicello

SCENIC DESIGN

Leah Piehl

COSTUME DESIGN

Lap Chi Chu

LIGHTING DESIGN

Lindsay Jones

SOUND DESIGN

Kelly Todd

CHOREOGRAPHER

Philip D. Thompson

DIALECT COACH

Joshua Marchesi

PRODUCTION MANAGER

Joanne DeNaut, CSa

CASTING

Sue Karutz*

STAGE MANAGER

Laurie & Steve Duncan

Honorary Producers

Joan & Andy Fimiano

Honorary Producers

Corporate Honorary Producer

ONCE

Music and Lyrics by

Glen Hansard & Markéta Irglová

Based on the Motion Picture Written and Directed by

John Carney

Book by

Enda Walsh

54th Season • 511th Production

SEGERSTROM STAGE / SEPTEMBER 2-30, 2017

Marc Masterson Paula Tomei

ARTISTIC DIRECTOR MANAGING DIRECTOR

David Emmes & Martin Benson

FOUNDING ARTISTIC DIRECTORS

presents

Music Director

Andy Taylor

Directed by

Kent Nicholson

Originally Produced on Broadway by

Barbara Broccoli John N. Hart Jr. Patrick Milling Smith Frederick Zollo

Brian Carmody Michael G. Wilson Orin Wolf The Shubert Organization

Robert Cole, Executive Producer

in association with New York Theatre Workshop

Once was originally produced off-Broadway at the New York Theatre Workshop in December 2011,

Jim Nicola, Artistic Director, William Russo, Managing Director

Once was originally developed at the American Repertory Theater, Cambridge, Massachusetts, in April 2011,

Diane Paulus, Artistic Director, Diane Borger, Producer

Original production concept—John Tiffany (director)

Once is presented through special arrangement with Music Theatre International (MTI).

All authorized performance materials are also supplied by MTI, New York, NY • Phone: (212) 541-4684 • Fax: (212) 397-4684 • www.MTIShows.com

• South CoaSt RepeRtoRy • Once

CAST OF CHARACTERS

Eamon ................................................................................................ Scott Anthony*

Girl ........................................................................................... Amanda Leigh Jerry*

Ivonka ............................................................. Aoife McEvoy

†

/Jacqueline Vellandi

Billy ........................................................................... Nicholas Mongiardo-Cooper*

Andrej ......................................................................................................... Alex Nee*

Emcee ....................................................................................... Christian Pedersen*

Guy ............................................................................................. Rustin Cole Sailors*

Ex-Girlfriend ................................................................................... Marnina Schon*

Svec .................................................................................................... Zach Spound*

Reza .................................................................................................... Cassidy Stirtz*

Bank Manager ...................................................................................... Andy Taylor*

Baruska ....................................................................................... Diane King Vann*

Da ......................................................................................................... Scott Waara*

PRODUCTION STAFF

Dramaturg ................................................................................... Kimberly Colburn

Assistant Director .................................................................................. Kari Hayter

Assistant Stage Manager ................................................................ Kathryn Davies*

Assistant Scenic Designer ...................................................................... Emily Small

Assistant Lighting Designer ........................................................... Alexander Freer

Associate Sound Designer ............................................................. Andrea Allmond

Costume Design Assistant .............................................................. Megan Knowles

Music Direction Intern ............................................................................... Lex Leigh

Stage Management Interns ........................................ Amber Goebel, Lydia Runge

Acting Sound and Video Supervisor ...................................................... Jeff Polunas

Dance Captain ...................................................................................... Cassidy Stirtz

Light Board Operator .............................................................. Jacqueline Malenke

Follow Spot Operators ....................................................... Sean Deuel, RJ Romero

Mix Engineer .................................................................................... Danielle Kisner

A2 ...................................................................................................... Jaime Lupercio

Guitar Technician ............................................................................. Simon Chesney

Deck Crew ............................................................................................ Emily Kettler

Wardrobe Supervisor .............................................................................. Bert Henert

Dresser ............................................................................................... Jessica Larsen

Additional Costume Staff ........ Tessa Oberle, Alexis Riggs, Annette Platt Westerby

†

Please Note: Children are double cast. Actor with † appears Tuesday, Thursday, Saturday evening.

and Sunday at 2:30 p.m.. Other actor appears in balance of performances

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Once • South CoaSt RepeRtoRy •

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

MUSICAL NUMBERS

ACT ONE

“Leave” ......................................................................................................... Guy

“Song Without Words” ................................................................................ Girl

“Falling Slowly” ................................................................................ Guy & Girl

“North Strand” ................................................................................... Ensemble

“The Moon” .......................................................................... Andrej, Ensemble

“The Moon” (Reprise) ................................................................................. Guy

“Ej Pada Pada” .................................................................................... Ensemble

“If You Want Me” .......................................................... Girl, Reza, Ex-Girlfriend

“Broken Hearted Hoover Fixer Sucker Guy” ............................................ Guy

“Baruska’s Story” .................................................................................. Baruska

“Say It To Me Now” ...................................................................................... Guy

“Abandoned In Bandon” ........................................................... Bank Manager

“Satisfy Me” .................................................................................................. Reza

“Gold” ..................................................................................... Guy & Ensemble

ACT TWO

“Act 2 Opening” ................................................................................. Ensemble

“When Your Mind’s F***** Up” (Rehearsal) ......................................Guy, Girl,

Bank Manager, Billy, Svec, Andrej

“Sleeping” .................................................................................................... Guy

“When Your Mind’s Made Up” ......................................... Guy, Girl, Ensemble

“The Hill” ..................................................................................................... Girl

“Gold” (a capella) .............................................................................. Company

“The Moon” (Reprise) ....................................................................... Company

“Falling Slowly” (Reprise) ................................................ Guy, Girl, Ensemble

SETTING

Dublin, present day.

LENGTH

Approximately two hours, including one 15-minute intermission.

ACKNOWLEDGEMENTS

Special Thanks to Andrea Fecko.

• South CoaSt RepeRtoRy • Once

by Kimberly Colburn

n Once, Girl is from the Czech

Republic and she and her fam-

ily are living in Dublin, Ireland.

It may seem an unlikely setup,

but actually the relationship be-

tween the Czech and Irish is strong.

There’s a long history of links and

emigration between the two coun-

tries.

The Boii were a Celtic tribe that

was located to the north of the Alps

and east of the Rhine, in what became

eastern Germany and the western

Czech Republic in the first and sec-

ond centuries B.C. Although the ex-

tent of their territory is unknown, it

clearly formed part of a very powerful

and very extensive Celtic kingdom,

before the Boii migrated westward

and Celtic language and culture be-

came centered in Britain and Ireland.

Along their journey, they passed on

a rich heritage and even named both

countries, Bohemia and Éire, as well

as the Vltava River, which translates

to “wild water” in the old Germanic

language of those ancient tribes.

After the Renaissance, it was

Catholicism that provided one of

the strongest links between the two

countries. While Ireland had histori-

cally been Catholic, at the end of the

1630s the landowning elite shifted to

Protestant hands—although a large

percentage of the population of

Ireland remained Catholic. In 1637,

an order of Franciscan monks was

lured to Czech lands, due to their

staunch Catholicism and they estab-

lished a monastery in Prague—what

is known to this day as “Hybernská

ulice” or “the street of the Irish.” At

one point in the 18th century, the

monastery was the most important

Irish center in Europe.

In the modern era, Ireland

and then-named Czechoslovakia

both declared their independence

at roughly the same time. Czecho-

slovakia declared its independence

from the Austro-Hungarian Empire

in 1918. Some Irish press at the time

used Czech independence to fuel

their own nationalist movement.

The Irish Republican Army fought

British security forces from 1919

until a truce was declared in 1921

and an act of parliament established

Northern Ireland and an Irish free

state.

In the 1920s, Czechs helped

establish the sugar process-

ing industry in Ireland. In the 1940s,

Czech-born Karel Bacík immigrated

to Ireland and founded the Water-

ford Crystal factory. In the 1990s,

after the Velvet Revolution that

ended communist rule of what was

then Czechoslova-

kia, there was a

Czech Out Dublin

The O’Connell Bridge leading

onto O’Connell Street, Dublin’s

main thoroughfare. Above, the

James Joyce Irish Pub, Prague’s

oldest original Irish pub.

Once • South CoaSt RepeRtoRy •

wave of Irish immigrants that head-

ed to the Czech Republic to take

advantage of their growing econ-

omy that was remarkably stable.

In 2004, when the Czech Republic

joined the European Union, there

was another large wave of Czech

immigration to Ireland due to the

suddenly relaxed visas.

The two countries share

many similarities. They are roughly

the same geographic size, and it

is reported that business cultures

and negation styles are very similar

(and business meetings are gener-

ally held in English). A number of

Irish companies have established

operations in the Czech Republic

(where they see a gateway for sales

in central and eastern Europe), and

according to the Czech Statistical

Office, in 2015, Irish exports to the

Czech Republic exceeded one bil-

lion Euros for the first time. The

Czech Republic still lags behind

Ireland in employment and social

welfare, so the prevalence of Irish

culture in major Czech cities might

make the notion of immigration

seem easy—or at least possible.

WHAT’S A BUSKER?

ery simply, a busker is another name for a street performer.

Busking is famously popular in Dublin. Glen Hansard, one of

the creators of Once, spent a great deal of time jostling for

space on Grafton Street—he continues to occasionally busk in

Dublin, for a Christmas charity busking event along with U2 front

man Bono.

Busking became so popular, the Dublin city council enacted

laws in August 2016 to help regulate the heavy traffic (and hopefully

place the emphasis back on struggling musicians instead of glorified

karaoke performances). Among changes brought on by the new laws:

• Backing tracks are no longer permitted—this used to be common-

place and the amplification was disturbing to local businesses.

• Performers can only stay on Grafton Street for one hour before

moving.

• Performances must start and end on the hour mark.

• A two-week visitor permit has been introduced—to ensure peo-

ple are not immigrating without getting the proper work visa to

support themselves.

• New permits are subject to a six-week probation period.

• Acoustic performance is now possible in the Temple Bar prohib-

ited place, but the area where amplified busking is banned has

been extended. The Temple Bar area in Dublin refers to the city’s

cultural center and nightlife hotspot.

• A street performer who plays music and sings songs must have a

sufficient repertoire to play without repetition for at least 30 min-

utes—hopefully ensuring that buskers are musicians of a mini-

mum skill level (or at least with variety).

Even with the regulations, Dublin continues to enjoy a very active bus-

king community and tradition. It’s a must-see on any trip to Ireland!

The Czech Inn, Dublin.

A busker on Grafton Street.

• South CoaSt RepeRtoRy • Once

n 1969, just five years after SCR was founded, the the-

atre ambitiously took on The Threepenny Opera, the

musical collaboration between Bertolt Brecht and

Kurt Weill. SCR has produced a smattering of musi-

cals over the years, says Associate Artistic Director

John Glore, but has done so very selectively. “We choose

a musical the same way we choose a play—based on its

artistic merit.”

Director Kent Nicholson explains the draw of Once:

“It is subtitled ‘a musical romance.’ Which isn’t something

you see very often. Mostly, we think of musicals as com-

edies or dramas, but while they have romance in them,

it’s not the first thing one thinks of. But Once is extraor-

dinary for many reasons, incuding the fact that the actors

are the orchestra, the use of movement and the fact that

it’s a romance, but no one ever kisses. Many people are

experimenting these days with musical form, and how to

incorporate a sense of event into the form by blending

the energy and excitement of a concert, and the narrative

drive of a musical. Once does this better than any contem-

porary musical I can think of. It’s an extraordinary testa-

ment to the power of music and the power of story.” SCR

audiences may remember Nicholson, also the director of

musical theatre for Playwrights Horizons in New York,

from another musical he directed here—The Light in the

Piazza.

Here are some highlights of SCR’s musical history.

Can you name the show based on the photo?

Musicals at SCR

4 5 6

7 8 9

Once • South CoaSt RepeRtoRy •

10 11 12

13 14 15

16 17 18

1. Cloudlands (2012)

2. Ordinary Days (2010)

3. Anything Goes! (1981)

4. Putting It Together (2009)

5. A Chorus of Disapproval (1989)

6. The Light in the Piazza (2014)

An Italian Straw Hat: A Vaudeville (2008)

8. Marry Me a Little (1988)

9. A Funny Thing Happened on the Way to

the Forum (1969)

10. A Little Night Music (2007)

11. The Threepenny Opera (1969)

12. Godspell (1974)

13. In Fashion (1976)

14. Happy End (1991)

15. The Education of Randy Newman (2000)

16. La Posada Mágica (1995)

17. Sunday in the Park with George (1989)

18. Tintypes (1982)

19. Three Postcards (1987)

20. Side by Side by Sondheim (1980)

21. The Fantasticks (2013)

For information about the actors in each of

these photos, please see page 16.

20 21

• South CoaSt RepeRtoRy • Once

Once Upon a Time

January:

The film premieres

at the Sundance Film Festival,

winning the audience award.

February:

The film is shown at the Dublin Film

Festival, also wins the audience award.

May:

The film premieres in the United States,

to great critical and financial success (relative

to its indie budget)

April:

Once (the musical)

was originally developed at

American Repertory Theater

in Cambridge, Mass.

November:

A developmental run of Once (the

musical) at New York Theatre Workshop

began performances on Nov. 15, 2011, and

opened Dec. 6. The production broke box

office records and concluded a sold-out

engagement including a two-week extension

through Jan. 15, 2012.

February:

The song “Falling

Slowly” wins the Oscar for

Best Original Song.

March:

Once premieres on

Broadway.

April:

Nominated for 5 Drama

Desk awards (wins 4) and 7

Lucille Lortel Awards.

June:

Wins 8 Tony awards,

including Best Musical (it was

nominated for 11).

2012

2007

2011

January: Once closes on Broad-

way after 1,168 performances.

2015

2008

January:

he film Once is

made for $150,000, shot in 17

days and goes on to gross $20

million worldwide. Director John Carney uses

a long lens, making his non-actor leads more

comfortable and masking the filming in Dublin

done without permits.

July:

A rough cut of the film Once is shown at

the Galway Film Fleadh (Irish for “festival”)

2006

February 2014:

The U.S.

national tour launches,

followed by international

tours in places including Japan, Canada,

Sweden, Brazil and Thailand.

2014

Once • South CoaSt RepeRtoRy •

is making his South Coast Reperto-

ry debut. His favorite productions

include The Christians at Actors

Theatre of Louisville, Mark Taper

Forum and Alley Theatre; Jouét,

Love, Janis, Hedwig and the Angry

Inch and music-directing numerous Humana Festival of

New American Plays world premieres at Actors Theatre

of Louisville; The Aliens (Jasper), Broadsword (Nicky)

and The Stranger and Ludlow Quinn at Theatre [502];

Southern Crossroads, Ring of Fire, Happy Days (Fonz),

The Jungle Book, Awesome Allie: First Kid Astronaut

and A Fairy Tale Christmas at Derby Dinner Playhouse;

Lilly’s Purple Plastic Purse, Diary of a Worm, A Spider

and Fly and The House at Pooh Corner at StageOne

Family Theatre; Hedwig and the Angry Inch (Hedwig,

2010 LEO Reader’s Choice Award, Best Theatrical Pro-

duction) and Evil Dead the Musical (Ash) at Art Sanctu-

ary at the Alley Theatre; and The Normal Heart (Felix,

Actor Saturday). scottanthonysounds.com

is thrilled to make her SCR debut!

Her previous credits include Julie

Jordan in Carousel and Winifred

Banks in Mary Poppins at Musical

Theatre West and Dara Gurman in

MTV’s new series, “Sweet/Vicious.”

She graduated from Carnegie Mellon University in 2016

with a BFA in musical theatre. She feels blessed to be

making art in 2017. Follow her at IG: mandajerry and

Twitter: mandaleighjerry. Hear more of her music at

youtube.com/amandajerrymusic.

is thrilled to make his Segerstrom

Stage debut at South Coast Reper-

tory. He has appeared off-Broad-

way in Rothschild & Sons, Lone-

some Traveler and Julius Caesar.

His other New York credits include

SubUrbia, Iolanthe, Slavs!, Three Days of Rain, and Not

About Nightingales. His regional appearances include

Our Lady of 121st St., A Midsummer Night’s Dream and

La Jolla Playhouse’s Side Show. His North Coast Reper-

tory appearances include Side By Side By Sondheim,

Sherlock Holmes, Laughter on the 23rd Floor and the

world premiere of Words By: Ira Gershwin and the

Great American Songbook, for which he received a Crit-

ics Circle nomination for Best Actor. His nine Theatre

for Young Audiences appearances at SCR include Lucky

Duck, The Borrowers and The Miraculous Journey of

Edward Tulane. His television credits include “Fuller

House”(Netflix, WB) “Superstore”(NBCUniversal) and

“Casual”(Hulu). He attended LaGuardia High School of

The Performing Arts and received a BFA from NYU. He

has been a proud Equity member since 2003. nicholas-

mongiardocooper.com

is making his SCR debut and is

thrilled to return to this incredible

story and music after touring the

world as Andrej and understudy-

ing Guy in the first national tour of

Once. His other credits include the

U.K/U.S. tour of Green Day’s American Idiot (Johnny),

Love is a Battlefield, Vol. 2 (Romeo, Prospect Theatre)

and Beauty and the Beast (Lumière). Follow his adven-

tures at alexnee.net

is making his SCR debut. His recent

credits include Cloud Nine (Stu-

dio Theatre) directed by Michael

Kahn, Clybourne Park (Cleveland

Play House, Geva Theatre), The

Mousetrap (Repertory Theatre of

St. Louis), Flare Path (Theatre 40) and The 39 Steps

(Maltz Jupiter Theatre). In New York, he has performed

at the Pearl Theatre Company, Cherry Lane Theatre,

Barrow Street Theatre, 59E59 Theatres, Abingdon The-

atre Company, 3LD Art & Technology Center, Hudson

Guild Theatre and many others. His television credits

include “The Good Wife,” “Fringe,” “Damages,” “Royal

Pains” and recurring roles on soap operas that no longer

exist. As a composer and guitarist, he has written two

Scott Anthony

Eamon

AmAndA Leigh Jerry

Girl

Artist Biographies

nichoLAS mongiArdo-cooper

Billy

ALex nee

Andrej

chriStiAn pederSen

Emcee

P10

• South CoaSt RepeRtoRy • Once

full-length rock musicals, scored several short films and

played in many bars. Pedersen graduated from the Uni-

versity of Richmond in Virginia and the Conservatory of

Dramatic Arts in New York City. christianpedersen.com

is thrilled to make his SCR debut.

Sailors most recently starred as

the Pharaoh in Joseph and the

Amazing Technicolor Dreamcoat

at the Sierra Repertory Theatre.

His other credits include Rebel in

the Norwegian Cruise Line installment of For The Re-

cord: The Brat Pack, Drew in Broadway’s Rock of Ages

at the Venetian Las Vegas, Deaf West Theatre’s Los An-

geles production of Broadway’s revival of Spring Awak-

ening as Voice of Moritz, Hair at the Hollywood Bowl,

Rent (Roger) and Les Misérables (Marius). Sailors is

represented theatrically by KMR Talent. Thanks to dear

family, friends and his team, Evan, Ashley and Mark.

is honored to make her South

Coast Repertory debut in this

magical show. Her credits include

Tony Kushner and Maurice Sen-

dak’s Brundibar at Berkeley Rep-

ertory Theatre; Desire Under the

Elms with the UCLA Department of Theatre; and How

to Succeed in Business Without Really Trying (Rose-

mary), Fiddler on the Roof (Tzeitel), The Drowsy Chap-

erone (Chaperone) and Spring Awakening (Anna)

with Hooligan Theatre Company. Schon performs

at Upright Citizens Brigade and in the recurring site-

specific satire, “Drinks with Horrible People.” She also

records voice and violin on original songs, children’s

musicals and film scores. Schon started playing violin at

age four to keep up with her brother and thanks him,

along with the rest of her teachers, from the bottom of

her heart. marninaschon.com

is making his South Coast Rep-

ertory debut. He is a Los Ange-

les-native actor, writer and com-

poser. His theatre credits include

Floyd Collins (La Mirada Theatre

for the Performing Arts), Murder

For Two (Geffen Playhouse), A Class Act (Porchlight

Music Theatre), and Othello, Love’s Labour’s Lost and

La Ronde (Shakespeare Santa Cruz). As a composer,

he participated in the Johnny Mercer Songwriters Proj-

ect in Chicago, was a winner of the 2016 NMI/Disney

New Voices contest and is currently developing his

first musical, Leap. He is the music director, arranger

and orchestrator of Cruel Intentions: The Musical,

which has enjoyed successful runs at Rockwell Table &

Stage and the Prospect Theatre. He is a proud gradu-

ate of Northwestern University.

is an actor, musician and nomad

making her South Coast Reperto-

ry debut. She appeared in the first

national tour of Once. Her other

select theatre credits include

Cyrano de Bergerac (Chicago

Shakespeare), Much Ado About Nothing (Notre Dame

Shakespeare) and Pride & Prejudice (Lifeline The-

atre). Stirtz was honored to work with Shakespeare’s

Globe Theatre and Punchdrunk Theatre Company

in London. She performs with The Typsy Spyres and

Youth in a Roman Field, as well as solo on IG/You-

Tube @cassidyjams. cassidystirtz.com

originated three roles on Broad-

way: the cello-playing Bank Man-

ager in Once, J.H. Rodgers in

Titanic and Howard the nerdy

weatherman in Moon Over Buf-

falo, starring Carol Burnett. Also

on Broadway, he played Congressman Lockwood in

Roundabout Theatre Company’s revival of On the 20th

Century and Sheldrake in the 2017 revival of Sunset

Boulevard starring Glenn Close. His first national

tours include playing Leo Bloom in Mel Brooks’ The

Producers and Ernst in the Sam Mendes revival of

Cabaret. He originated roles in many major American

regional theatres, appearing at Goodman Theatre,

Guthrie Theater, ACT, SCR, Old Globe Theatre, Gef-

fen Playhouse and Mark Taper Forum. He has guest-

starred on “Elementary,” “CSI” and “Law and Order,”

appeared last holiday season in Collateral Beauty

starring Will Smith. He recently wrapped shooting the

upcoming Netflix original film The Week Of… starring

Adam Sandler and Chris Rock.

ruStin coLe SAiLorS

Guy

cASSidy Stirtz

Reza

Andy tAyLor

Bank Manager

mArninA Schon

Ex-Girlfriend

zAch Spound

Svec

Once • South CoaSt RepeRtoRy •

P11

is delighted to return to South

Coast Repertory in Once and make

her debut on the accordion. Vann

was SCR’s resident composer for

many years, along with musical di-

recting, performing and teaching.

Some of her favorite shows at SCR are Good, Side by Side

by Sondheim and Marry Me a Little; and her favorite role

was the whip-wielding pianist in Tomfoolery. She has

musical-directed for 3-D Theatricals, Laguna Playhouse

(first female pianist in Forver Plaid), Music Theatre West,

The Broadway Touring Company and others. She is a

published composer and lyricist, and won the Lee Korf

Award for her original work, Spellbound. She now adds

author to her creative skills, with her children’s book, Mr.

Prickle Bear. Her acting credits include Adah LeClerq

(Naughty Marietta), Susan (Company) HerSelf (White as

Snow) Louise (Gypsy) and her first-grade appearance as

the Little Red Hen. Find out more about her stories and

music at dianekingvann.com.

is thrilled to revisit both SCR (last

appearing here in The Fantas-

tiks and The Education Of Randy

Newman) and one of his all-time

favorites, Once, having been a part

of the first national Broadway tour.

He was awarded the Tony and Drama Desk awards

for The Most Happy Fella on Broadway, as well as ap-

peared in the original casts of City of Angels, Welcome

to the Club and Wind in the Willows. His off-Broadway

credits include DuBarry Was A Lady, Falsettoland,

The Dining Room and The Rise and Rise of Daniel

Rocket. His regional credits include title roles in Mack

and Mabel, Candide and Lucky Guy. Waara toured

in South Pacific, worked at the Berkshire Theatre Fes-

tival, Eugene O’Neill Theater Center and appeared

in Songs From The Tall Grass and Is There Life After

High School? (Ford’s Theatre). His Los Angeles theatre

credits include They’re Playing Our Song, The People

vs Mona, Sweeney Todd, The Boys From Syracuse, She

Loves Me, Company and as Mark Twain and Huck in the

Mark Taper Forum revival of Big River. His television

and film credits include “NCIS,” The Least Among You,

“Numb3rs,” “Without A Trace,” “Family Law,” “Crossing

Jordan,” “Providence,” 61*, “Gideon’s Crossing,” “Mud-

dling Through,” “Townies,” Indictment: The McMartin

Trial and Beethoven’s 2nd.

Aoife mcevoy

and

JAcqueLine veLLAndi

(Ivonka)

are students in South Coast Repertory’s Theatre Con-

servatory. Aoife lives with her family in Newport Beach

and attends Orange County High School of the Arts;

she has taken acting classes at SCR since 2013. Jacque-

line lives with her family in Ladera Ranch and attends

Orange County High School of the Arts; she has taken

acting classes since 2013. SCR’s Theatre Conservatory

offers a progressive program that enables students to

build upon their leaning and activities. Student en-

sembles present three shows each year in the Junior

Players, Teen Players and Summer Players ensembles.

Both Aoife and Jacqueline have been in several of these

productions. Find out more about acting classes for

kids, teens and adults at SCR: scr.org/classes.

pLAywright, director And deSignerS

endA wALSh

(Book) has written numerous works,

most recently including Arlington (Landmark, Gal-

way International Arts Festival); Lazarus (New York

Theatre Workshop, King’s Cross Theatre); The Last

Hotel (Landmark Productions, Wide Open Opera, Edin-

burgh International Festival, Dublin Theatre Festival,

Royal Opera House, St. Ann’s Warehouse New York);

three installation pieces: Kitchen, A Girl’s Bedroom and

Room 303 (Galway International Arts Festival); Bally-

turk (Landmark, Galway International Arts Festival, Irish

Tour, Royal National Theatre); and Misterman (Land-

mark, Galway International Arts Festival, Galway, Royal

National Theatre, St. Ann’s Warehouse). His other work

includes Once (New York Theatre Workshop, West End,

Broadway, world tours); Penelope (Druid, Irish Tour,

Edinburgh, London, New York St. Ann’s Warehouse);

The New Electric Ballroom (Kammerspiele, Munich,

Druid Ireland, London, New York St. Ann’s Warehouse,

L.A., Australia); The Walworth Farce (Druid Theatre,

Ireland, Edinburgh, Royal National Theatre, St. Ann’s

Warehouse, Australian and American Tour); Chatroom

(Royal National Theatre, British and Asian Tours); The

Small Things (Paines Plough, Menier Chocolate Fac-

tory); Bedbound (Dublin Theatre Festival Traverse,

Royal Court Theatre, New York’s Irish Repertory The-

atre); and Disco Pigs (Corcadorca Theatre Company,

world tour). His work has been translated into many

languages and has been performed internationally since

1996. In 2014, he received an honorary doctorate from

Galway University.

gLen hAnSArd

(Music & Lyrics) is an Irish songwriter,

actor, vocalist and guitarist. His films include The Com-

mitments and Once. His albums include Strict Joy, the

soundtrack of Once (Academy Award, Best Original

Song, “Falling Slowly”), The Swell Season, The Cost,

diAne King vAnn

Baruska

Scott wAArA

P12

• South CoaSt RepeRtoRy • Once

Burn the Maps, Set List: Live in Dublin, For the Birds,

Dance the Devil, Fitzcarraldo and Another Love Song.

mArKétA irgLová

(Music & Lyrics) is a Czech singer-

songwriter, musician and actress. Her films include

Once. Her albums include The Swell Season, the

soundtrack of Once (Academy Award, Best Original

Song “Falling Slowly”), Strict Joy and Anar.

John cArney

(Music & Lyrics) is a Dublin-based

writer-director who came to the world’s attention fol-

lowing the box office hit and critically acclaimed musical

feature film, Once, which garnered multiple Indepen-

dent Spirit, Sundance and Raindance awards. Previously,

Carney was a bassist in the Irish rock band, The Frames,

where he met Glen Hansard. These musical roots con-

tinue to be evident in his work with his latest produc-

tion, Can a Song Save Your Life?. His other projects

include Dogs of Babel, for David Heyman and Nathan

Kahane, starring Steve Carrell and a feature adaptation

of M.R. James’s Casting the Runes for Barbara Broccoli

and Michael G. Wilson.

Kent nichoLSon

(Director) returns to South Coast

Repertory after directing Amadeus, How to Write a

New Book for the Bible and The Light in the Piazza.

His directing credits include shows for Berkeley Reper-

tory Theatre, Seattle Repertory Theatre, Contemporary

American Theatre Festival, New York Musical Theatre

Festival, Weston Playhouse, Theatre Under the Stars,

TheatreWorks, Prospect Theatre Company, Rattles-

tick Playwrights Theatre and Actors Theatre of Louis-

ville Humana Festival of New American Plays. He has

directed critically acclaimed productions of Death of

a Salesman, All My Sons, Vincent In Brixton, Lizzie,

Saint Ex, Grey Gardens, Jacques Brel Is Alive and Well

and Living in Paris, Long Story Short, 9 Circles, Small

Tragedy, Satellites, Five Flights and Swimming in the

Shallows. A developer of both new plays and musicals,

Nicholson has worked as a director and producer on

world premieres including works by Liz Duffy Adams,

Adam Bock, Sheila Callaghan, Dave Eggers, Richard

Greenberg, Chris Miller and Nathan Tysen and Stephen

Schwartz. From 2001-08, he created and ran the New

Works Initiative at TheatreWorks in Palo Alto. He cur-

rently serves as the director of musical theatre at Play-

wrights Horizons in New York and co-creator of The

Uncharted Writers Group at Ars Nova.

Andy tAyLor

(Music Director) is a double-degree

graduate in cello performance and acting from the

Oberlin Conservatory of Music and Oberlin College.

He has performed at Carnegie Hall in two disciplines,

singing the lead role of Stephen Burton in Gershwin’s

Tip-Toes and playing cello in a chamber music recital

with guitarist James Keating. As an accomplished multi-

instrumentalist, he won all-state band honors on the

flute and played double bass with the Los Angeles Valley

Symphony. For two years, he was the musical captain

on Broadway for Once, where he co-wrote the Bank

Manager’s goofy song, “Abandoned in Bandon.” He is a

union member of American Federation of Music, Local

802; SAG-AFTRA; and Actors Equity Association.

rALph funiceLLo

(Scenic Design) returns for his 31st

season. Among his many SCR credits are designs for

All the Way, Red, Zealot, 4000 Miles, Elemeno Pea,

Misalliance, Hamlet, Brooklyn Boy, Major Barbara,

The Circle, Private Lives, Six Degrees of Separation,

She Stoops to Folly, Buried Child, Good and Da. His

work has been seen on- and off-Broadway and at many

resident theatres including Lincoln Center Theater,

Mark Taper Forum, The American Conservatory The-

ater, Huntington Theatre Company, Intiman Theatre,

Seattle Repertory Theatre, Denver Center Theatre Com-

pany, Berkeley Repertory Theatre, Guthrie Theater,

McCarter Theatre Center, Oregon Shakespeare Festival,

Milwaukee Repertory Theatre, The Shakespeare The-

atre, Stratford Shakespearean Festival of Canada, Royal

Shakespeare Company, Theatre Royal Bath and The

Old Globe, where he is an associate artist. He also has

designed for New York City Opera, L.A. Opera and San

Once • South CoaSt RepeRtoRy •

P13

Diego Opera. He has been nominated for New York

Drama Desk, Outer Critics Circle, Lucille Lortel and

Tony awards. He has received the Merritt Award for

Excellence in Design and Collaboration and his designs

have been recognized by the Bay Area Theatre Critics

Circle, the Los Angeles Drama Critics Circle, Drama-

Logue, Backstage West and the United States Institute

for Theatre Technology. Funicello is the Powell Chair in

Set Design at San Diego State University.

LeAh piehL

(Costume Design) returns to SCR where

she designed The Light in the Piazza, Mr. Wolf, The

Motherf**ker with the Hat and the Theatre for Young

Audiences productions of Pinocchio, Robin Hood

and The Borrowers. Her other select credits include

Romeo and Juliette (Oregon Shakespeare Festival),

Underneath the Lintel (Geffen Playhouse), The Stray-

horn Project (Brooklyn Academy of Music), Race (Kirk

Douglas Theatre, Center Theatre Group), Pygmalion

(Pasadena Playhouse), The Steward of Christendom

(Mark Taper Forum, Center Theatre Group); Twist

Your Dickens (Kirk Douglas Theatre, Center Theatre

Group); The Most Deserving (Denver Center Theater);

Stardust (REDCAT); Intimate Apparel (Pasadena Play-

house, Los Angeles Drama Critics Circle winner, Best

Costume Design); The Heiress (Pasadena Playhouse,

Ovation Award-nominated); Arcadia, The Doctor’s

Dilemma and The Eccentricities of a Nightingale (A

Noise Within); Paradise Lost (Intiman Theatre); Bars

and Measures, Futura, The Pain and the Itch, Tar-

tuffe (The Theatre @ Boston Court); Hedda Gabbler,

(Antaeus Theatre Company), bobrauschenbergamer-

ica, Tree (Inside the Ford); Boom, Men of Tortuga

(Furious Theatre Company); Saudade (UCLA Live); and

Full Still Hungry (Ford Amphitheater). She recently

designed the feature film, All Stars. Her work has been

featured at MOMA, Art Basel Miami and 2010 Whitney

Biennial. Piehl has a BA from UC Berkeley and an MFA

in costume design from CalArts. leahpiehl.com

LAp chi chu

(Lighting Design) recently worked on

the world premieres of Sarah DeLappe’s The Wolves

(Playwright’s Realm), Rajiv Joseph’s Archduke (Mark

Taper Forum) and Suzan-Lori Park’s Father Comes

Home From the Wars (The Public Theater). He has

designed regionally for Mark Taper Forum, Geffen Play-

house, Oregon Shakespeare Festival, La Jolla Playhouse,

The Old Globe, Berkeley Repertory Theatre, American

Contemporary Theater, Goodman Theatre, American

Repertory Theater, Arena Stage, Dallas Theater Cen-

ter, and Portland Center Stage. His New York design

credits include The Public Theater, New York Theatre

Workshop, Signature Theatre, Second Stage Theatre,

Performance Space 122 and Kitchen Theatre Company.

LAurie And Steve duncAn

(Honorary Pro-

ducers) are pleased to serve as Individual Hon-

orary Producers for the fifth consecutive sea-

son by underwriting SCR’s production of Once.

Along with being Platinum Circle members, First

Nights subscribers and major supporters of the

Gala, the Duncans have previously underwrit-

ten The Siegel, The Madwoman in the Volvo,

Tristan & Yseult and 4,000 Miles. Steve, who cur-

rently serves as Vice President of Advancement

on SCR’s board, states: “Laurie and I loved the

original film version of Once and are delighted

to assist SCR in presenting this Tony and

Grammy award-winning musical adaptation.”

JoAn And Andy fimiAno

(Honorary Produc-

ers) are dedicated philanthropists and com-

munity leaders who share a passion for great

theatre. Their support of Once represents the

sixth production they’ve underwritten at SCR,

having previously served as Honorary Produc-

ers of Orange; One Man, Two Guvnors; The

Tempest; The Light in the Piazza; and The Fan-

tasticks. Reflecting on their choice this season,

Joan says: “SCR’s productions are uniformly first-

rate and we are always excited when there are

musicals in the mix.” Season subscribers to both

the Segerstrom and Julianne Argyros stages, the

Fimianos also are major contributors to SCR’s

Legacy Campaign and have provided leadership

underwriting to the theatre’s Gala over the past

five years.

u.S. BAnK

(Corporate Honorary Producer)

adds Once to its impressive history of support-

ing SCR’s season-opening productions, which

includes last year’s All the Way and, in previous

seasons, One Man, Two Guvnors; The Tempest;

Death of a Salesman; Absurd Person Singu-

lar; Pride and Prejudice; Misalliance; and the

Sondheim classic, A Little Night Music. U.S. Bank

also has supported the Theatre for Young Audi-

ences production of The Stinky Cheese Man and

the 30th anniversary production of A Christmas

Carol. U.S. Bank is the fifth-largest commercial

bank in the United States, with 3,087 banking

offices located in 25 states, 668 of which are in

California. U.S. Bank and its employees are dedi-

cated to improving the communities they serve,

for which the company earned the 2011 Spirit of

America Award, the highest honor bestowed on

a company by United Way.

P14

• South CoaSt RepeRtoRy • Once

His awards include the Los Angeles Drama Critics Circle

Angstrom Award for Career Achievement in Lighting

Design, an Ovation Award, multiple Bay Area Theatre

Critics Circle Awards, a “Drammy” for best lighting, as

well as a Lucille Lortel Award nomination. Chu is on the

lighting design faculty at California Institute of the Arts.

LindSAy JoneS

(Sound Design) returns to SCR where

he previously designed The Madwoman in the Volvo;

One Man, Two Guvnors; Smokefall; and Vesuvius. He

designed and composed for the Broadway productions

of Bronx Bombers and A Time to Kill. His off-Broad-

way credits include Bella; Bootycandy (Playwrights

Horizons); Mr. Joy (LCT3); Privacy; Dry Powder; Bar-

becue (The Public Theater); Top Secret (New York

Theatre Workshop); and Discord (Primary Stages). His

regional credits include the Guthrie Theater, Hartford

Stage, Alliance Theatre, Goodman Theatre, American

Conservatory Theater, Chicago Shakespeare Theatre,

Steppenwolf Theatre Company, La Jolla Playhouse and

Arena Stage. His international work includes Stratford

Shakespeare Festival in Canada and Royal Shakespeare

Company in the U.K. He has received seven Joseph Jef-

ferson Awards and 24 nominations; two Ovation Awards

and three nominations; a Los Angeles Drama Critics

Circle Award; three Drama Desk Award nominations;

and two Helen Hayes Award nominations. His film scor-

ing credits include Magnolia Pictures’ The Brass Teapot

and HBO Films’ A Note of Triumph: The Golden Age of

Norman Corwin (2006 Academy Award for Best Docu-

mentary, Short Subject). lindsayjones.com.

phiLip d. thompSon

(Dialect Coach) teaches at UC

Irvine and works as a voice and dialect coach for pro-

fessional and university productions. He is certified as

a master teacher of Fitzmaurice Voicework, is the co-

founder of Knight-Thompson Speechwork and is the

past president of the Voice and Speech Trainers Associa-

tion. He is the head of voice and text at the Utah Shake-

spearean Festival and has served as resident coach there

for 15 seasons and more than 100 productions. He has

coached at Pasadena Playhouse, Denver Center Theatre

Company and Alabama Shakespeare Festival, among

others including numerous productions at Cincinnati

Playhouse in the Park. This is his 31st production at SCR.

KeLLy todd

(Choreography),

a UCLA theatre graduate,

has directed, choreographed and performed in musi-

cals in Los Angeles and New York. She is a proud resi-

dent artist at the Chance Theater, where some of her

favorite projects have been Lysistrata Jones, for which

she received the 2014 Ovation Award for Best Chore-

ography; West Side Story, for which she received the

Los Angeles Drama Critics Circle 2012 Special Award

for Fight Choreography; and Triassic Parq (2013) and

Jerry Springer: The Opera (2011), both of which won

the Ovation Award for Best Musical in an Intimate

Theatre and garnered Ovation Award nominations for

Best Choreography. She was named Southern Califor-

nia’s Choreographer of the Year in 2011 and 2012 by

StageSceneLA. Her other credits include Ivy + Bean:

The Musical, Absurd Person Singular and Seussical at

SCR; The Who’s Tommy at Segerstrom Center for the

Arts; and two world premieres, Keep Movin’ On, fea-

turing the music of Sam Cooke, and What’s Going On,

featuring the music of Marvin Gaye. She is currently

a professor in the Theatre Department at Pepperdine

University.

Sue KArutz

(Stage Manager) has been part of the

stage management team at SCR for more than 20 pro-

ductions, her favorites being Lookingglass Theatre Com-

pany’s Moby Dick in 2016 and One Man, Two Guvnors

in 2015. Elsewhere, she has toured with Robert Wil-

son’s The Black Rider (London, San Francisco, Sydney,

Los Angeles), Wicked (Chicago, L.A., San Francisco),

Les Misérables (more than 100 cities across the U.S.,

Canada, China and Korea) and Cirque du Soleil’s Corteo

(Russia and Belgium). She earned her Equity card off-

Broadway on Howard Crabtree’s When Pigs Fly. Karutz

has stage-managed for Center Theatre Group, Los Ange-

les Opera, Pasadena Playhouse, Falcon Theatre, Deaf

Once • South CoaSt RepeRtoRy •

P15

West Theatre, Laguna Playhouse, American Conserva-

tory Theater, La Jolla Playhouse, Idaho Shakespeare Fes-

tival, Utah Shakespeare Festival, Alpine Theatre Project

and The National Theatre of the Deaf, and is a staff stage

manager at Disneyland.

KAthryn dAvieS

(Assistant Stage Manager) previ-

ously stage-managed Tales of a Fourth Grade Noth-

ing, The Roommate, All the Way, Future Thinking,

Red, Vietgone, OZ 2.5, The Whipping Man, Tartuffe,

Reunion, Trudy and Max in Love, Ivy+Bean: the Musi-

cal, The Motherf**ker with the Hat, How to Write a

New Book for the Bible, Sight Unseen, Topdog/Under-

dog, Sideways Stories from Wayside School, In the Next

Room or the vibrator play, Doctor Cerberus, Ordinary

Days, Our Mother’s Brief Affair, The Injured Party, The

Brand New Kid and Imagine at SCR. Her favorite credits

include Dividing the Estate at Dallas Theater Center; La

Bohème at Tulsa Opera; The Mystery of Irma Vep at The

Old Globe; Daddy Long Legs at Laguna Playhouse; Tosca

and La Fille du Régiment at Opera Ontario; Of Mice

and Men at Theatre Calgary, CanStage, Neptune The-

atre; The Dresser at Manitoba Theatre Centre; Skylight

at Tarragon Theatre; To Kill a Mockingbird at Citadel

Theatre, Manitoba Theatre Centre, Theatre Calgary; and

The Designated Mourner at Tarragon Theatre and the

Edinburgh Fringe Festival. Davies also has worked as

head theatre representative at the Toronto International

Film Festival, Dubai International Film Festival, AFI Fest,

TCM Film Festival, Los Angeles Film Festival and as team

leader at Sundance.

muSic theAtre internAtionAL

(MTI) is one of the

world’s leading theatrical licensing agencies, granting

theatres from around the world the rights to perform

the greatest selection of musicals from Broadway and

beyond. Founded in 1952 by composer Frank Loesser

and orchestrator Don Walker, MTI is a driving force

in advancing musical theatre as a vibrant and engag-

ing art form. MTI works directly with the composers,

lyricists and book writers of these musicals to provide

official scripts, musical materials and dynamic theatri-

cal resources to over 70,000 professional, community

and school theatres in the U.S. and in over 60 coun-

tries worldwide. MTI is particularly dedicated to edu-

cational theatre, and has created special collections

to meet the needs of various types of performers and

audiences. MTI’s Broadway Junior™ shows are 30- and

60-minute musicals for performance by elementary and

middle school-aged performers, while MTI’s School Edi-

tions are musicals annotated for performance by high

school students. MTI maintains its global headquarters

in New York City with additional offices in London (MTI

Europe) and Melbourne (MTI Australasia).

mArc mASterSon

(Artistic Director) has expanded

the theatre’s community and artistic initiatives and

produced dozens of world premieres including A Doll’s

House, Part 2 by Lucas Hnath, Vietgone by Qui Nguyen,

Mr. Wolf by Rajiv Joseph and Office Hour by Julia Cho.

In recent years, SCR productions have transferred to

some of the leading theatres in the country including

Manhattan Theatre Club, Oregon Shakespeare Festival,

Berkeley Repertory Theatre and The Goodman The-

atre. His recent directing credits include All the Way,

Going to a Place where you Already Are, Zealot, Death

of a Salesman, Eurydice and Elemeno Pea at SCR;

Byhalia, Mississippi by Evan Linder at the Contempo-

rary American Theatre Festival; As You Like It for the

Houston Shakespeare Festival; and The Kite Runner

at Actors Theatre of Louisville and the Cleveland Play

House. He served for 11 years as artistic director of

Actors Theatre of Louisville and produced the Humana

Festival of New American Plays, where he produced

more than 100 world premieres, expanded audiences

and the repertoire, deepened arts education programs

and spearheaded numerous community-based proj-

ects. The world premieres he directed at the Humana

Festival include works by Charles Mee, Wendell Berry,

Craig Wright, Eric Coble, Adam Bock, Gina Gionfriddo,

Melanie Marnich, and Rick Dresser. His other Louis-

ville directing credits include A Midsummer Night’s

Dream, Shipwrecked! An Entertainment, Glengarry

Glen Ross, The Tempest, Mary’s Wedding and The Cru-

cible. He served as artistic director of City Theatre in

Pittsburgh for 20 years and was founder and chairman of

the Greater Pittsburgh Arts Alliance. He has served as a

theatre advisory panel member for the National Endow-

ment for the Arts, as well as numerous foundations. He

won the Man of the Year Vectors Award, and received

the Lifetime Achievement Award from the Pittsburgh

New Works Festival.

pAuLA tomei

(Managing Director)

is responsible

for the overall administration of SCR. She has been

managing director since 1994 and a member of SCR’s

staff since 1979. She is a past president of the board of

Theatre Communications Group (TCG), the national

service organization for theatre. In addition, she served

as treasurer of TCG, vice president of the League of

Resident Theatres (LORT) and as a member of the

LORT Negotiating Committee for industry-wide union

agreements. She represents SCR at national confer-

ences of TCG and LORT and served as a theatre panel-

ist and site visitor for the National Endowment for the

Arts (NEA) and the California Arts Council. Her teach-

ing background includes a graduate class in non profit

management at UC Irvine (UCI) and as a guest lecturer

in the graduate school of business at Stanford. She

P16

• South CoaSt RepeRtoRy • Once

was appointed by the chancellor to UCI’s Community

Arts Council, serves on the Dean’s Leadership Society

Executive Committee for the School of Social Sciences

at UCI and is a member of the College of Arts Dean’s

Task Force for California State University, Fullerton.

She is also on the board of Arts Orange County, the

county-wide arts council, and the board of the Nicholas

Endowment. She graduated from UCI with a degree in

economics and pursued an additional course of study

in theatre and dance. In March 2017, she received the

Mayor’s Award from the City of Costa Mesa for her con-

tributions to the arts community.

mArtin BenSon

(Founding Artistic Director), co-

founder of SCR, has directed nearly one-fourth of SCR’s

productions. In 2008, he and David Emmes received

the Margo Jones Award for their lifetime commitment

to theatre excellence and fostering the art and craft of

American playwriting. They also accepted SCR’s 1988

Tony Award for Outstanding Resident Professional The-

atre and won the 1995 Theatre L.A. Ovation Award for

Lifetime Achievement. Benson has received the Los

Angeles Drama Critics Circle Award for Distinguished

Achievement in Directing an unparalleled seven times

for George Bernard Shaw’s Major Barbara, Misalliance

and Heartbreak House; John Millington Synge’s Play-

boy of the Western World; Arthur Miller’s The Crucible;

Sally Nemeth’s Holy Days; and the world premiere of

Margaret Edson’s Pulitzer Prize-winning Wit, which he

also directed at Seattle Repertory Theatre and Hous-

ton’s Alley Theatre. He has directed American clas-

sics such as A Streetcar Named Desire and has distin-

guished himself in staging contemporary work including

the critically acclaimed California premiere of William

Nicholson’s Shadowlands. He directed revivals of Beth

Henley’s Abundance and Horton Foote’s The Trip

to Bountiful; and Samuel D. Hunter’s The Whale and

Rest (world premiere); The Whipping Man by Matthew

Lopez; and The Roommate by Jen Silverman (west coast

premiere). Benson received his BA in theatre from San

Francisco State University.

dAvid emmeS

(Founding Artistic Director) is co-

founder of South Coast Repertory. He received the

Margo Jones Award for his lifetime commitment to

theatre excellence and to fostering the art of American

playwriting. In addition, he has received numerous

awards for productions he has directed during his SCR

career. He directed the world premieres of Amy Freed’s

Safe in Hell, The Beard of Avon and Freedomland;

Thomas Babe’s Great Day in the Morning; Keith Red-

din’s Rum and Coke and But Not for Me; and Neal Bell’s

Cold Sweat; the American premieres of Terry John-

son’s Unsuitable for Adults; and Joe Penhall’s Dumb

Show; and the Southland premiere of Top Girls (at SCR

and the Westwood Playhouse). Other productions he

has directed include Red, New England, Arcadia, The

Importance of Being Earnest, Woman in Mind and You

Never Can Tell, which he restaged for the Singapore

Festival of Arts. He has served as a theatre panelist and

onsite evaluator for the National Endowment for the

Arts, as well as a panelist for the California Arts Council.

After attending Orange Coast College, he received his

BA and MA from San Francisco State University and his

PhD from USC.

Photos on pages 6 and 7: 1. Adam Kaokept and Addi McDaniel in the 2012

world premiere musical Cloudlands, photo by Henry DiRocco. 2. Nancy An

derson and David Burnham in SCR’s 2010 musical Ordinary Days, photo by

Henry DiRocco. 3. Ellen Travolta and Don Took in the 1981 production of

Anything Goes!, photo by Jay Thompson. 4. Dan Callaway and Niki Scalera in

the 2009 production of Putting It Together, photo by Henry DiRocco. 5. David

Schramm, center, in the 1989 production of A Chorus of Disapproval, photo

by Ron Stone. 6. David Burnham, Erin Mackey and John-David Keller in the

2014 production of The Light in the Piazza, photo by Debora Robinson. 7.

Alan Blumenfeld and Melissa van der Schyff in the 2008 world premiere of An

Italian Straw Hat: A Vaudeville, photo by Henry DiRocco. 8. Sarah Tattersal

in the 1988 production of Marry Me a Little, photo by Ron Stone. 9. Elaine

Bankston and Les Ingledue in the 1969 production of A Funny Thing Hap

pened on the Way to the Forum. 10. Stephanie Zimbalist and Mark Jacoby in

the 2007 production of A Little Night Music, photo by Henry DiRocco. 11.

The 1969 production of The Threepenny Opera. 12. The 1974 production of

Godspell, photo by Cheryl Grant. 13. Gary Bell, Richard Doyle, John-David

Keller and Morgan McKay in the 1976 production of In Fashion. 14.Christo

pher Allport and Patricia Ben Peterson in the 1991 production of Happy End,

photo by Cristofer Gross. 15. Jennifer Leigh Warren, Scott Waara and Allison

Smith in the 2000 production of The Education of Randy Newman, photo

by Cristofer Gross. 16. Crissy Guerrero, Jesus Mendoza and Teresa Velarde

in the 1997 production of La Posada Magica, photo by Henry DiRocco. 17.

Sally Spencer and Harry Groener in Sunday in the Park with George, photo

by Paul Kennedy. 18. Angelina Reaux, Andrea Frierson, Stanley Glover, Susan

Watson and Ken Jennings in the 1982 production of Tintypes, photo by Jay

Thompson. 19. Karen Trott, Jane Galloway and Maureen Silliman in the 1987

production of Three Postcards, photo by Cristofer Gross. 21. Martha McFar

land, Gary Dontzig and Teri Ralston in the 1980 production of Side by Side by

Sondheim, photo by Richard Kephart. 21. Anthony Carillo and Addi McDaniel

in the 2013 production of The Fantasticks, photo by Henry DiRocco.

The Actors and Stage Managers em-

ployed in this production are members

of Actors’ Equity Association, the Union

of Professional Actors and Stage Man-

agers in the United States.

The Scenic, Costume, Lighting and

Sound Designers in LORT theatres

are represented by United Scenic

Artists Local USA-829, IATSE.

The Director is a member of the Soci-

ety of Stage Directors and Choreogra-

phers, Inc., an independent national

labor union.