HAMLET - South Coast Repertory

Hamlet • SOUTH COAST REPERTORY P1

43rd Season • 418th ProductionSEGERSTROM STAGE / MAY 25 - JULY 1, 2007

David Emmes Martin BensonPRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

presents

HAMLETby William Shakespeare

Ralph Funicello Ilona Somogyi Pat CollinsSCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN

Obadiah Eaves Robin McFarquhar Cynthia Bassham AND

COMPOSER/SOUND DESIGN FIGHT DIRECTOR Philip ThompsonVOCAL COACHES

Armando Molina Jeff Gifford Jamie A. Tucker*ASSISTANT DIRECTOR PRODUCTION MANAGER STAGE MANAGER

DIRECTED BY

Daniel Sullivan

Dr. S.L. and Mrs. Betty Eu Huang/Huang Family Foundation

HONORARY PRODUCERS CORPORATE PRODUCER

THE CAST(in order of appearance)

Francisco/Player/Messenger ............................................. Andrew Matthews*Osric/Reynaldo/Bernardo/Fortinbras’ Army ............................. Louis Lotorto*Captain/Marcellus/Lord/Player ................................................ Matt D’Amico*Horatio ........................................................................................ Michael Urie*Ghost/Doctor/Fortinbras’ Army .............................................. Richard Doyle*Claudius ................................................................................ Robert Foxworth*Gertrude ............................................................................... Linda Gehringer*Polonius/Fortinbras’ Army ................................................... Dakin Matthews*Laertes ............................................................................... Graham Hamilton*Voltemand/Lucianus/Gravedigger/Fortinbras’ Army ...... Matthew Henerson*Fortinbras/Cornelius/Player Queen ..................................... David DeSantos*Hamlet ................................................................................. Hamish Linklater*Ophelia ..................................................................................... Brooke Bloom*Rosencrantz/Fortinbras’ Army .................................................. Henri Lubatti*Guildenstern/Fortinbras’ Army .................................................... Jeff Marlow*Player King/Gravedigger/Fortinbras’ Army ........................... Hal Landon Jr.*Ensemble ................................................................................... Dillon Tucker*Ensemble ................................................................................. Carrie Darrow*Ensemble ......................................................................... William Landsman*

SETTINGElsinore Castle in Denmark.

LENGTHApproximately three hours including one 15-minute intermission.

P2 SOUTH COAST REPERTORY • Hamlet

Official AirlineMedia Partner

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


PRODUCTION STAFFDramaturgs ................................................. John Glore, Dakin Matthews*Assistant Stage Manager ................................................... Nina K. Evans*Casting .............................................................................. Joanne DeNautAssistant to the Director ............................................. Amanda McRavenStage Management Intern ............................................ Jennifer ShermanAssistant to the Lighting Designer ...................... D.M. Wood, Jeff BrewerCostume Design Assistant ..................................................... Merilee FordAdditional Costume Staff ........................ Valerie Bart, Bronwen Burton,

Catherine Esera, Iris Marshall, Peggy Oquist, Ashley Rhodes, Swantje Tuohino, Katie Wilson

Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons.The use of cameras and recorders in the theatre is prohibited. Smoking is not permitted anywhere in the theatre.

Cellular phones, beepers and watch alarms should be turned off or set to non-audible mode during the performance.

Tony® Award winner Daniel Sullivan (seated) directs the cast of Hamlet (standing l. to r.) Robert Foxworth, Claudius; Hamish Lin-klater, Hamlet; Michael Urie, Horatio; Brooke Bloom, Ophelia; Dakin Matthews, Polonius; Graham Hamilton, Laertes, and LindaGehringer, Gertrude.

nless you’re well-schooled in Shake-speare’s work, you may not be awarethat the story of Hamlet has roots inhistory and legend dating back to the

seventh century A.D. The probable direct source for Shakespeare’s

tragedy was an earlier play from the 1580s, now referredto by scholars as the Ur-Hamlet (ur being a German pre-fix meaning proto- or original). Written accounts fromthe late sixteenth century refer to productions of this ear-lier play, but we know very little about it: no copy ofthe text has survived and even its authorship is un-known. Some scholars have suggested it was an earlierversion written by Shakespeare himself. Whoever wrotethe play in all likelihood found its source material inFrançois de Belleforest’s 1570book, Histoires tragiques, whichwas in turn a translation andadaptation of a 15th-century Ital-ian work.

But one of the earliest sur-viving versions of the story ofHamlet comes from a twelfth-century work of Danish historyby Saxo Grammaticus, which in-cludes the saga of Amleth, son ofHorwendil. As related by Saxo,Horwendil was governor of theDanish territory of Jutland duringthe seventh century. Upon re-turning from a Viking expeditionduring which he had slain theking of Norway, Horwendil mar-ried Gerutha, the daughter of theKing of Denmark, who bore hima son, Amleth. Years later, Hor-wendil’s jealous brother, Fengo,murdered Horwendil and con-vinced Gerutha to marry him, ar-guing that he had saved her froma husband who hated her.

Amleth, fearing for his ownlife, pretended to be feeble-minded, but Fengo was suspi-cious and enlisted a beautiful

woman to ensnare Amleth and expose his pretense. In-stead the woman, a childhood companion of Amleth’s,helped him to escape his uncle’s trap. Not to be de-terred, Fengo arranged for an advisor to hide inGerutha’s chambers and eavesdrop on a conversationbetween Amleth and his mother. Amleth discovered thespy and killed him. He berated his mother for her inces-tuous marriage to his father’s murderer, and convincedher to repent.

Fengo, his suspicions sharpened by the murder ofhis accomplice, dispatched Amleth to England with twoescorts who carried a letter enjoining the king to executeAmleth. But Amleth subsituted his own letter calling forthe death of the escorts, and made his way back to Den-mark. He confronted Fengo with his intention to avenge

his father, and then killed theusurper with his own sword.Amleth justified the killing in anoration to the people, whogreeted him as their rightfulruler.

Amleth lived on to under-take a series of heroic exploitsbefore finally being slain in bat-tle. One of his two wives re-peated Gerutha’s transgressionby agreeing to marry Amleth’skiller.

There’s no way to knowhow much of Saxo’s account hasa basis in historical fact and howmuch stems from oft-embel-lished legend. But it’s useful toremember that the troubled pro-tagonist of Shakespeare’s tragedyderives from a medieval saga ofmurderous Vikings and feudalwarlords. Amleth’s world wasvery much of the Dark Ages: ithad long since lost touch withthe civilized values of antiquity,and was many centuries distantfrom the renaissance of high cul-ture that would characterizeShakespeare’s own time.


BY JOHN GLORE

Out of the Dark Ages

U


f all poems, Hamlet is the most unlimit-ed. As a meditation upon humanfragility in confrontation with death, itcompetes only with the world’s scrip-tures. … The Tragical Historie of Ham-let, Prince of Denmarke stands apart

among Shakespeare’s thirty-eight plays, quite aside fromits universal fame. Its length and variety are matched byits experimentalism. After four centuries, Hamlet re-mains our world’s most advanced drama, imitated butscarcely transcended by Ibsen, Chekhov, Pirandello, andBeckett. You cannot get beyond Hamlet, which estab-lishes the limits of theatricality, just as Hamlet himself isa frontier of consciousness yet to be passed. I think itwise to confront both the play and the prince with aweand wonder, because they know more than we do.

Hamlet: Poem Unlimited by Harold Bloom

Hamlet is like a sponge. Unless it is produced in a styl-ized or antiquarian fashion, it immediately absorbs allthe problems of our time.

Shakespeare Our Contemporary by Jan Kott

Hamlet’s world is pre-eminently in the interrogativemood. It reverberates with questions, anguished, medi-tative, alarmed. There are questions that in this play, toan extent I think unparalleled in any other, mark thephases and even the nuances of the action, helping toestablish its peculiar baffled tone. There are other ques-tions whose interrogations, innocent at first glance, aresubsequently seen to have reached beyond their con-texts and to point towards some pervasive inscrutabilityin Hamlet’s world as a whole. Such is that tense seriesof challenges with which the tragedy begins: …“Who’sthere?” … “Who is there?” … “What art thou…?” Andthen there are the famous questions. In them the inter-rogations seem to point not only beyond the context butbeyond the play, out of Hamlet’s predicaments into ev-eryone’s: “What a piece of work is a man! … And yet tome what is this quintessence of dust?” “To be or not tobe, that is the question.” “Get thee to a nunnery. Whywouldst thou be a breeder of sinners?” … Thus the mys-teriousness of Hamlet’s world is of a piece. … It is builtin. It is evidently an important part of what the playwishes to say to us.

“The World of Hamlet” by Maynard Mack

Of the leading Renaissance English playwrights, it is onlyShakespeare who fully participates in the popular vogue

for presenting ghosts onstage. Indeed, “participates” isan inadequate term: Shakespeare’s celebrated ghostscenes — easily the greatest in all of English drama —are signs of a deep interest that continues through virtu-ally his entire career. He saw that he could draw upona range of traditions, including not only the classicalHades and the popular Hell but also the banished realmof Catholic Purgatory. … The richest and most complexexploitation of the theatrical capital Shakespeare foundin ghosts is in Hamlet. … With the doctrine of Purgatoryand the elaborate practices that grew up around it, thechurch had provided a powerful method of negotiatingwith the dead, or, rather, with those who were at oncedead and yet, since they could still speak, appeal, andappall, not completely dead. The Protestant attack onthe “middle state of souls” and the middle place thosesouls inhabited destroyed this method for most peoplein England, but it did not destroy the longings and fearsthat Catholic doctrine had focused and exploited. In-stead, … the space of Purgatory becomes the space ofthe stage where old Hamlet’s Ghost is doomed for a cer-tain term to walk the night.

Hamlet in Purgatory by Stephen Greenblatt

The essential subject of Hamlet, suggested by and fo-cused in the old story of a son’s revenge, is, then, as Isee it, the intermingling of good and evil in all life. Theworld to which the hero’s human destiny commits him isone in which Hyperion [the sun god, identified withHamlet’s father] and the satyr [half-human, half beast,identified with Claudius] are brothers, sprung from thesame stock, which also lives in him. Seeing the satyr ap-parently triumphant, he is possessed by a sense of theall too fertile viciousness of life in which his own lifeshares. It is a life in which he must yet is reluctant toparticipate. He longs for death, refuses marriage andprocreation, his nature resistant to what nature wills.This, I think, is the fundamental conflict the play exhibitsin Hamlet; and it is a conflict which accords with his ne-glect to perform his destined task. … In the last act,however, there comes a change. We find Hamlet in thechurchyard meditating on death. But death is not nowsomething to be longed for as a release from the ills ofthe flesh, nor something to be shunned from the dreadof what comes after. … For he now perceives in the uni-verse, embracing all its apparent good and evil, asupreme if mysterious design.

Introduction to the Arden edition of Hamletby Harold Jenkins

Critics on Hamlet

O


*BROOKE BLOOM (Ophelia) ismaking her SCR debut. Recentfilm appearances include Jake’sCloset, The Brothers Solomon,How I Met My Brother’s Dead Fi-ancee, All the Boys Love MandyLane and The Key Man. Recenttelevision guest starring roles in-clude “‘Til Death,” “WeddingBells,” “Without a Trace,” “Ever-wood,” “Jack and Bobby” and“Cold Case.” She has a recurringrole on “CSI: Miami.” She is amember of The Antaeus AcademyCompany. Theatre credits in-clude A Month in the Countrywith The Antaeus Company, PeraPalas at The Theatre @ BostonCourt with The Antaeus Compa-ny, the premiere of In Vitro writ-ten by Paula Christensen, A Ser-vant of Two Masters with Parson’sNose and the premiere of Robotsvs. Zombies by Jason Bernstein.

*MATT D’AMICO (Captain/Mar-cellus/Lord/Player) appeared at

SCR this season in Life is a Dreamand last season in The CaucasianChalk Circle. Regional credits in-clude Camille (Bard Summer-Scape); Richard II (The Shake-speare Theatre of New Jersey); AsYou Like It (Indiana RepertoryTheatre); Inherit the Wind andDeath of a Salesman (Geva The-atre Center); Dive, Thief of Manand Zealot (Guthrie Theater); Oth-ello, Dracula and Acorn (ActorsTheatre of Louisville) and TheTempest (Colorado ShakespeareFestival). Other credits includeFizz (The Ohio Theatre), TheDuchess of Malfi and Hamlet(Kings County Shakespeare Com-pany), and Macbeth and The LastDays of Don Juan (as a guestartist at The Juilliard School). Heis currently on the artistic boardof the multi-disciplinary ensemble*Some Assembly Required. Tele-vision appearances include “Law& Order.” Training: The JuilliardSchool. For Sarah and Addy.

*DAVID DeSANTOS (Fortinbras/Cornelius/Player Queen) is mak-ing his SCR debut. Theatre cred-its include Anna in the Tropics atTheatreWorks; King Lear and Lil-iom at Kansas City Repertory The-atre; King Lear, The Tempest andThe Merchant of Venice at Califor-nia Shakespeare Festival; Hamletat Ojai Shakespeare Festival;Dracula at Allied Artists; So it is IfSo it Seems to You and TwelfthNight at A Noise Within; TheThreepenny Opera and A Mid-summer Night’s Dream at The-atricum Botanicum; and Romeoand Juliet and The Taming of theShrew at The Pasadena Shake-speare Company. Film and tele-vision credits include Delta Farceand Face Value; co-starring roleson “Ugly Betty,” “CSI,” “House,”“CSI: Miami,” “Crossing Jordan”and Seven Days; a guest star ap-pearance “American Family” andrecurring roles on “General Hos-pital” and “Spyder Games.”

Artist Biographies

MATT D’AMICO

Captain/Marcellus/Lord/PlayerBROOKE BLOOM

OpheliaDAVID DESANTOS

Fortinbras/Cornelius/Player Queen


*RICHARD DOYLE (Ghost/Doctor/Fortinbras’ Army) is an SCRFounding Artist. He appearedearlier this season in My Wander-ing Boy, Life is a Dream, NothingSacred and A Christmas Carol;last season in The Adventures ofPør Quinly, Born Yesterday andThe Caucasian Chalk Circle; andpreviously in Habeas Corpus, asEddie in A View from the Bridge,Intimate Exchanges, The LastNight of Ballyhoo and the worldpremieres of The Beard of Avon,On the Jump, But Not for Me,BAFO, The Interrogation ofNathan Hale, She Stoops to Folly,Wit, Hospitality Suite and HighestStandard of Living. Other creditsinclude Relatively Speaking,Proof, Major Barbara, Much Adoabout Nothing, A Delicate Bal-ance and Intimate Exchanges, forwhich he earned a Los AngelesDrama Critics Circle (LADCC)Award nomination. He won anLADCC Award for his role in SallyNemeth’s Holy Days and wasnominated for his role as Rev-erend Hale in The Crucible.“Cheers” fans will remember himas Woody’s snooty father-in-lawWalter Gaines. He has manyother film and television credits.

As a voice-actor, Mr. Doyle hasbecome a familiar voice in com-mercial advertisements, CD-ROMgames, documentaries and ani-mated series. Listen for Mr.Doyle as Senator Kelly on“Wolverine,” the new X-Men se-ries. If you visit the new LincolnLibrary in Springfield, IL, Mr.Doyle is your holographic host inthe Union Theatre.

*ROBERT FOXWORTH (Claudius)is making his SCR stage debut.He made his Broadway debut inThe American Shakespeare Festi-val’s production of Henry V. Hewon the Theatre World Award forhis portrayal of John Proctor inThe Crucible at Lincoln CenterTheater. His stage work was in-terrupted for a period of time ashe appeared in several televisionseries including “StorefrontLawyers” and “Falcon Crest.” Hehas guest starred on countless se-ries episodes and MOWs over theyears. The most recent being atwo-year stint on “Six FeetUnder” and episodes of “Law andOrder” and “Law and Order:SVU.” Mr. Foxworth’s stage workhas most recently includedRobert in 12 Angry Men on

Broadway; the national Broadwaytour of Proof; Cyrano at GreatLakes Theater Festival; Iago andMacbeth at Guthrie Theater;George in Who’s Afraid of Vir-ginia Woolf at Hartford StageCompany; Brecht’s Galileo atCenter Stage in Baltimore; UncleVanya at Geffen Playhouse; andJulius Caesar, Private Lives andBelow the Belt at The Old Globe.On Broadway he was CountShabyelski in Ivanov at LincolnCenter Theater, starred with JaneAlexander in Honour at the Be-lasco Theatre and played theprosecuting attorney ColonelParker in Judgement at Nurem-berg at Longacre Theatre. Mr.Foxworth’s most recent film wasSyriana and he will soon beheard in The Transformers. He isa graduate of Carnegie MellonUniversity and a founding mem-ber of The Matrix Theatre Com-pany in Los Angeles. He and hiswife Stacey make their homethere with Max and Mabel.

*LINDA GEHRINGER (Gertrude)has appeared at SCR in The PianoTeacher, A Naked Girl on the Ap-pian Way, The Retreat fromMoscow, The Last Night of Bally-

ROBERT FOXWORTH

ClaudiusRICHARD DOYLE

Ghost/Doctor/Fortinbras’ ArmyLINDA GEHRINGER

Gertrude

hoo, A Delicate Balance, GettingFrankie Married — and After-wards, Relatively Speaking, All MySons, Hold Please, Arcadia andGood as New, among others. Sherecently appeared at the AtlanticTheater Company in the NewYork premiere of The IntelligentDesign of Jenny Chow, which hadits world premiere at SCR. Shehas played leading roles in the-atres across the country includingArena Stage, Huntington TheatreCompany, Center Stage, Berk-shire Theatre Festival, New YorkStage and Film, Mark TaperForum, La Jolla Playhouse, Lagu-na Playhouse, Ojai PlaywrightsFestival and seven seasons atDallas Theater Center. She holdsan MFA from the University ofMinnesota which she attended ona Guthrie Fellowship and haswon numerous critical awards.Her television roles includeFontana on “Evening Shade”;guest starring roles on “Without aTrace,” “Gilmore Girls,” “ColdCase,” “The West Wing,” “Frasier,”and “Law & Order: Criminal In-tent”; recurring roles on “AllyMcBeal,” “The Division” and“Dallas” and the film As Good asit Gets.

*GRAHAM HAMILTON (Laertes) ismaking his SCR debut. He ap-peared Off-Broadway in The TwoNoble Kinsmen at The PublicTheater and regionally in TitusAndronicus, Othello, A Midsum-mer Night’s Dream, Vincent inBrixton, Antony and Cleopatraand The Two Noble Kinsmen atThe Old Globe, Romeo and Julietat Folger Shakespeare Library,Two Gentlemen of Verona atShakespeare Festival/LA; andMozart’s Birthday at Disney Con-cert Hall. Film and televisioncredits include How I got Lost, TheAmerican Dream, “Cold Case”and “Guiding Light.” Mr. Hamil-ton received his BFA from TheJuilliard School. Proud memberof SAG, AEA. Love to the circle.

*MATTHEW HENERSON (Volte-mand/Lucianus/Gravedigger/Fortinbras’ Army) is making his SCRdebut. Theatre credits includeBrooklyn Boy, Romance andHamlet at San Diego RepertoryTheatre; Guys and Dolls atNorthern Stage; King Lear andMerchant of Venice at MarinShakespeare Company; AChristmas Carol at InternationalCity Theatre; M Butterfly at East

West Players; Lily Plants aGarden at Center Theatre GroupP.L.A.Y.; Romeo and Juliet at theAhmanson Theatre; The GoodPerson of Setzuan at La JollaPlayhouse; Cyrano de Bergerac atSan Jose Repertory Theatre;Indian Ink at AmericanConservatory Theater; Life ofGalileo at Grand CanyonShakespeare Festival; Macbeth atShakespeare Santa Cruz; TwelfthNight at Warehouse RepertoryTheatre; The Three Penny Operaat A Noise Within; The Lights atIntersection for the Arts andFirebugs at AmeRican CitiZeNs’TheatRE. Film and televisioninclude The Sit Down, Kardiac,Torn Apart, American 101, Nateand the Colonel, The Rake’sProgress, The Day AfterTomorrow, Marching Out ofTime, Perfume, “The Bernie MacShow” and “The Loner.”

*HAL LANDON JR. (Player King/Gravedigger/Fortinbras’ Army) isan SCR Founding Artist who re-cently appeared in Nothing Sa-cred, Man from Nebraska, BornYesterday, The Caucasian ChalkCircle, A View from the Bridge,Habeas Corpus, Cyrano de Berg-

MATTHEW HENERSON

Voltemand/Lucianus/OthersGRAHAM HAMILTON

LaertesHAL LANDON JR.Player King/Gravedigger/Army



erac, Safe in Hell, Antigone, TheDrawer Boy (LADCC Award nom-ination), Two Gentlemen ofVerona, Major Barbara, GettingFrankie Married— and After-wards and The School for Wives.Other credits include Arcadia,Our Town, Sidney Bechet Killed aMan, BAFO, Six Degrees of Sepa-ration, An Ideal Husband, A Messof Plays by Chris Durang, TheThings You Don’t Know, FaithHealer, Ghost in the Machine,Green Icebergs , Morning’s atSeven, The Miser, Our Country’sGood and Waiting for Godot. Hecreated the role of EbenezerScrooge in SCR’s A ChristmasCarol, and has performed it in all27 annual productions. He ap-peared in Leander Stillwell at theMark Taper Forum and in HenryV at The Old Globe in San Diego.Other resident theatre roles in-clude Salieri in Amadeus, Malvo-lio in Twelfth Night and GordonMiller in Room Service. Amonghis film credits are Trespass, Pa-cific Heights, Almost an Angel,Bill and Ted’s Excellent Adven-ture and Playing by Heart.

*HAMISH LINKLATER (Hamlet)made his SCR debut in The Violet

Hour and appeared in the PacificPlaywrights Festival reading ofThe Further Adventures of HeddaGabler and the NewSCRipts read-ing of Princess Marjorie. He hasappeared in New York in GoodThing at the New Group; TheSquare, Hamlet and Love’s Fire atThe Public Theater; The BusyWorld is Hushed, Recent TragicEvents and Chemistry of Change atPlaywrights Horizons; and Romeoand Juliet at The New VictoryTheater/The Acting Company.Regional theatre credits includeSinging Forest and Hamlet at LongWharf Theatre; Good Thing atTaper, Too; Measure for Measureand A Midsummer Night’s Dreamat the Center Theatre Group; Hy-driotaphia at Berkeley RepertoryTheatre; and Romeo and Juliet atPortland Stage Company. Filmand television credits include Fan-tastic Four, Groove, Live fromBaghdad, 5ive Days to Midnight,“Gideon’s Crossing,” “AmericanDreams” and “The New Adven-tures of Old Christine.” He is aPaul Green Foundation Award Re-cipient. All love to Jessica.

*LOUIS LOTORTO (Osric/Reynal-do/ Bernardo/Fortinbras’ Army)

previously appeared at SCR inCyrano de Bergerac and the The-atre For Young Audiences pro-ductions of James and the GiantPeach, Bunnicula, The Litt lePrince, Sideways Stories fromWayside School and The Emper-or’s New Clothes. Other theatrecredits include Laertes in Hamletwith Odyssey Theatre Ensemble;at Ahmanson Theatre in theRoyal National Theatre produc-tion of An Enemy of the Peoplewith Sir Ian McKellen; the L.A.Philharmonic; International CityTheatre; Taper, Too; six seasonswith A Noise Within, (earning anOvation Nomination for his por-trayal of Camille in A Flea in HerEar) as Berowne in Love’sLabour’s Lost, Pericles in Pericles,Prince of Tyre, both Dromios inThe Comedy of Errors and Vincein Buried Child (Garland Awardfor Best Ensemble), among oth-ers. A company member and onthe artistic advisory board of TheColony Theatre Company, he hasappeared there as Dr. Watson inSherlock’s Last Case, Tom in TheGlass Menagerie and most recent-ly as Simon in Stage Struck. Re-gional credits include two sea-sons at Oregon Shakespeare Fes-

LOUIS LOTORTO

Osric/Reynaldo/Bernardo/ArmyHAMISH LINKLATER

HamletHENRI LUBATTI

Rosencrantz/Fortinbras’ Army


tival, The Shakespeare TheatreCompany, four seasons at theCalifornia Shakespeare Festival,San Jose Repertory Theatre,Berkeley Repertory Theatre, Port-land Center Stage, PortlandRepertory Theatre (Drama CriticsAward for Rodolpho in A Viewfrom the Bridge), Artists Reperto-ry Theatre (Drama Critics Awardfor Ned Weeks in The NormalHeart), Sierra Repertory Theatre,Contemporary American TheaterFestival, A Contemporary Theatreand the Tacoma Actor’s Guild.Film and television credits in-clude Fire in the Sky, NowhereMan, Under Suspicion, Body Lan-guage, Fade to Black and TheMarla Hanson Story. He can beheard as the voice of Jesus in anew audio version of the KingJames Bible’s New Testament.He has been certified in StageCombat by the Society of Ameri-can Fight Directors and has beena proud member of Actors’ Equitysince 1988.

*HENRI LUBATTI (Rosencrantz/Fortinbras’ Army) appeared atSCR previously in Antigone. Hehas appeared at The Old Globein The Prince of L.A. and as the

Dauphin in Henry V, at the LosAngeles Philharmonic in FirstNights, at Mark Taper Forum inThe Talking Cure at SeattleRepertory Theatre, in An IdealHusband and An AmericanDaughter and at Intiman Theatrein Ghosts, among others. His filmand television work includes LastRide, Nowheresvil le and Pre-fontaine, as a series regular on“Sleeper Cell” and as a guest staron “The Unit,” “Standoff,” “TheO.C.,” “E-Ring,” “The Inside,”“Medical Investigation,” “House,”“CSI,” “Providence,” “24,” “DarkAngel,” “Spin City,” “The Prac-tice,” “ER” and “Strong Medicine.”

*JEFF MARLOW (Guildenstern/Fortinbras’ Army) made his SCRdebut earlier this season as Sit-nikov in Nothing Sacred. Theatrecredits include Where’s Poppa(Falcon Theatre), And the WinnerIs (Laguna Playhouse), You Can’tTake it With You (Geffen Play-house), The Sleeper (Laguna Play-house), Indoor/ Outdoor (TheColony Theatre Company),Medea (The Theatre @ BostonCourt, L.A. Drama Critics CircleAward nomination, Best FeaturedPerformance) and Around the

World in 80 Days (The ColonyTheatre Company, L.A. OvationAward nomination, Best Support-ing Actor). His television creditsinclude “Grey’s Anatomy,” “With-out a Trace,” “The Bernie MacShow,” “Strong Medicine,” “Judg-ing Amy” and “Passions.” Filmcredits include Akeelah and theBee with Laurence Fishburne, I-See-You.Com with Beau Bridgesand The Hebrew Hammer withAdam Goldberg. Brought up inBelgium, he is a graduate ofNorthwestern University and theLondon Academy of PerformingArts.

*DAKIN MATTHEWS (Polonius/Fortinbras’ Army/Dramaturg) ap-peared at SCR as Hitch inHitchock Blonde, Andrew Under-shaft in Major Barbara, Arnolphein Molière’s The School for Wives,and as C. S. Lewis in Shadow-lands with Kandis Chappell,which earned both of them L.A.Drama Critics Circle Awards. Hehas appeared frequently at TheOld Globe, most recently asCasca in Julius Caesar, Baptista inThe Taming of the Shrew, SirToby Belch in Twelfth Night andFalstaff in The Merry Wives of

DAKIN MATTHEWS

Polonius/Fortinbras’ ArmyJEFF MARLOW

Guildenstern/Fortinbras’ ArmyMICHAEL URIE

Horatio


Windsor; and at Center TheatreGroup, where he played Dick Ch-eney in Stuff Happens, Capulet inSir Peter Hall’s Romeo and Juliet,Brutus in Julius Caesar and mostrecently The Fixer in CultureClash’s Water and Power , forwhich he won an Ovation Awardand his second LADCC Award.On Broadway, he recently dra-maturged the Denzel WashingtonJulius Caesar and appeared in hisown adaptation of the TonyAward-winning production ofShakespeare’s Henry IV, winningthe Bayfield Award for acting anda Drama Desk Award for adapta-

tion. His 20 films include TheFighting Temptations, ThirteenDays, The Siege, The Muse, Nuts,And The Band Played On andClean and Sober. He has also ap-peared in over 200 televisionshows, including, most recently,recurring roles on “DesperateHousewives,” “The King ofQueens” and “Medium.” He iscurrently the Artistic Director ofAndak Stage Company, an Associ-ate Artist and resident dramaturgof The Old Globe and an Emeri-tus Professor of English from CalState East Bay. He was theFounding Artistic Director of The

Antaeus Company, the Artistic Di-rector of Berkeley ShakespeareFestival and California ActorsTheatre, a founding member ofJohn Houseman’s Acting Compa-ny and a Juilliard Drama Instruc-tor. He is also an award-winningplaywright and translator, a stagedirector and a Shakespeare schol-ar.

*MICHAEL URIE (Horatio) is mak-ing his SCR debut. His classicalcredits include Shakespeare (Oth-ello, Titus Andronicus and A Mid-summer Night’s Dream at TheOld Globe, Romeo and Juliet at

CARRIE DARROW (Ensemble) ismaking herSCR debut,after attendingthe Profession-al Conservatoryprogram in 2004. Theatre creditsinclude Time is a Gentleman atLittle Fish Theatre, a staged read-ing of The Piaggi Suite at LongBeach Playhouse and The Daysand Nights of Beebee Fenster-maker at Camino Real Play-house. Ms. Darrow appeared inthe films Shades of Blue andAva’s Curse. She was the assis-tant director on Lapin/Lapinovaat Greenway Court Theater.

WILLIAMLANDSMAN(Ensemble)made his SCRdebut duringthe 25th An-niversary sea-son of AChristmas

Carol. He is currently a memberof the East LA Classic TheaterCompany; he is also a foundingmember of an improv troupeknown as “Improvanopolis.”Some of his theatre credits in-clude Mortimer Brewster in Ar-senic and Old Lace at the CurtisTheater, Stennet in Rube atStages Theatre and Bob Acres inThe Rivals at The Insurgo The-ater Movement.

ANDREWMATTHEWS(Francisco/Player/Messen-ger) is makinghis SCR debut.Theatre creditsinclude Food-SexWorkSleepGod at Open FistTheatre Company; Don Juan,The Trickster of Seville, San FranScapin, The Prince of L.A. andSpite for Spite at Andak StageCompany; The Prince of L.A. atThe Old Globe; Merry Wives ofWindsor at the Kingsmen Shake-speare Festival; Mother Courage

at The Antaeus Company; Noraand Twelfth Night at The AntaeusAcademy Company; and TwelfthNight at Mount St. Mary’s Col-lege.

DILLON TUCKER (Ensemble)made his SCRdebut earlierthis season inA ChristmasCarol aftercompleting SCR’s ProfessionalIntensive Program. He graduat-ed from the American Academyof Dramatic Arts with the CharlesJehlinger Award for Acting andis currently a member of theircompany. At AADA he per-formed in Dear Friends, Dinnerwith Friends, Chekov in Yalta,Macbeth and One Flew Over theCuckoo’s Nest. Other shows in-clude The Laramie Project andTartuffe at Saddleback Collegeand Troilus and Cressida at theLondon Academy of PerformingArts.

ENSEMBLE


Washington, D.C.’s Folger Theatreand Love’s Labour’s Lost at JudithShakespeare Company), Jacobeandrama (The Revenger’s Tragedy atRed Bull Theater and The Roar-ing Girle at The Foundry) andcommedia del arte (The King Stagat Seattle Repertory Theatre). Healso appeared in the world pre-miere of Love and Happiness atBarrington Stage Company andOff-Broadway in Phenomenon atHERE performance space. Mr.Urie is a recipient of the 2002John Houseman Prize for excel-lence in classical theatre fromThe Juilliard School, from whichhe holds an acting degree, andThe Laura Pels award for a careerin the theatre. Film and televi-sion credits include WTC View,Uptown Girls and Kat Plus One,but he is best known for playingMarc St. James on the ABC series“Ugly Betty.”

PLAYWRIGHT,DIRECTOR & DESIGNERS

DANIEL SULLIVAN (Director) hasdirected in theatres both national-ly and abroad. On Broadway, hedirected Prelude to a Kiss, Brook-lyn Boy, Rabbit Hole, Julius Cae-sar, Sight Unseen, The Retreatfrom Moscow, Proof, Major Bar-bara, A Moon for the Misbegotten,I’m Not Rappaport, Conversationswith My Father, The Heidi Chron-icles and Lincoln Center’s produc-tions of Ah, Wilderness!, The Sis-ters Rosensweig, An AmericanDaughter and Morning’s atSeven. Off-Broadway credits in-clude Intimate Apparel, Dinnerwith Friends, London Suite, TheSubstance of Fire, An AmericanClock, In Real Life, PsychopathiaSexualis; and at Lincoln CenterTheater: Ten Unknowns, Far East,A Fair Country, Spinning IntoButter and Ancestral Voices .Most recent regional credits wereCymbeline and Romeo and Juliet

at The Old Globe. From 1981 to1997, Mr. Sullivan served as Artis-tic Director of Seattle RepertoryTheatre, where he directed morethan 60 productions. He estab-lished Seattle Rep’s New PlayProgram, developing new worksby Jon Robin Baitz, Herb Gard-ner, A. R. Gurney, William Mas-trosimone, Arthur Miller, WendyWasserstein and CharlayneWoodard, among others. Mr. Sul-livan’s film and television creditsinclude The Substance of Fire andFar East. He is the SwanlundProfessor of Theatre at the Uni-versity of Illinois, Champaign-Ur-bana.

RALPH FUNICELLO (ScenicDesign) returns for his 23rd sea-son at SCR. Among his SCR cred-its are the designs for The RealThing, A View from the Bridge,Brooklyn Boy, Safe in Hell, MajorBarbara, The Circle, The Educa-tion of Randy Newman, ThePiano Lesson, Tartuffe, PrivateLives, Old Times, Death of a Sales-man, Six Degrees of Separation,She Stoops to Folly, The Misan-thrope, Dancing at Lughnasa,Hedda Gabler, The Miser, TwelfthNight, Happy End, Kiss of the Spi-der Woman, Speed-The-Plow,Going for Gold, Misalliance,Highest Standard of Living,Buried Child, Good and Da. Hiswork has been seen on and Off-Broadway, and at many residenttheatres including Lincoln CenterTheater, Intiman Theatre, SeattleRepertory Theatre, Denver CenterTheatre Company, BerkeleyRepertory Theatre, Guthrie The-ater, McCarter Theatre Center,Oregon Shakespeare Festival, Mil-waukee Repertory Theatre, Strat-ford Shakespearean Festival ofCanada, Royal Shakespeare Com-pany and The Old Globe, wherehe is an Associate Artist. He hashad a long association with theMark Taper Forum and has

worked for 34 years with SanFrancisco’s American Conservato-ry Theater, where he was Direc-tor of Design. He has beennominated for N.Y. Drama Desk,Outer Critics Circle, Lucille Lorteland Tony® Awards. He has re-ceived The Merritt Award for Ex-cellence In Design and Collabora-tion, and his designs have beenrecognized by the Area TheatreCritics’ Circle, the L.A. DramaCritics Circle, Drama-Logue Mag-azine, Back Stage West and theUnited States Institute for TheatreTechnology. He is currently thePowell Chair in Set Design at SanDiego State University.

ILONA SOMOGYI (Costume De-sign) made her SCR debut lastseason with The Caucasian ChalkCircle and returned this season todesign Life is a Dream. She hasworked extensively in New Yorkand regional theatres across thecountry including Arena Stage inWashington, D.C., Dallas TheaterCenter, Long Wharf Theatre,Williamstown Theatre Festival,Westport County Playhouse, BayStreet Theatre, Center Stage inBaltimore and Weston Playhousein Vermont. Her New York cred-its include The American Pilot atManhattan Theatre Club, TheControversy at Vallalodid andF**king A at The Public Theater,Hot n’ Throbbin’ at SignatureTheatre, Cavedweller at NewYork Theatre Workshop, Tabletopat The American Place Theatre,Savannah Bay at Classic StageCompany, The World Over atPlaywrights Horizons, Swimmingwith Watermelons, Unwrap YourCandy and Brutal Imagination atVineyard Theatre, Innocents andThe Secret of Steep Ravines withRipe Time Productions and Wit,which also played at Geffen Play-house. She just designed thetouring Disney on Ice productionof Princes Wishes. She served as


Associate Designer for the currentBroadway hit Spamalot. She hasalso served as Associate on theBroadway productions of TheCrucible, Vincent in Brixton,Closer and Art, which also touredthe West Coast as well as the Rin-gling Brothers, Barnum and Bai-ley Circus for Colleen Atwood.In Europe, she designed cos-tumes at the Norwegian NationalBallet and for the Dutch produc-tion of Saturday Night Fever.Ms. Somogyi earned her MFA indesign at the Yale School ofDrama and currently serves as alecturer there.

PAT COLLINS (Lighting Design)designed Dinner with Friends forSCR. Other regional theatres in-clude The Public Theater, LincolnCenter Theater, Mark TaperForum, McCarter Theatre, TheOld Globe, Alley Theatre, Berke-ley Repertory Theatre, SeattleRepertory Theatre, Hartford StageCompany, Center Stage, LongWharf Theatre, Guthrie Theater,The Goodman Theatre, Steppen-wolf Theatre Company, AmericanRepertory Theatre, Trinity Reper-tory Company, George StreetPlayhouse, Pittsburgh Public The-ater and Actors Theatre ofLouisville. Broadway designs in-clude Proof and A Moon For TheMisbegotten at the Walter KerrTheatre; Once Upon a Mattress atBroadhurst Theatre; An AmericanDaughter at Lincoln Center at theCort Theatre; A Delicate Balanceat Lincoln Center at the Ply-mouth; and Death and the King'sHorseman, The Three PennyOpera (Tony® Nomination), TheFloating Lightbulb, Ten Un-knowns and Measure for Measureat Lincoln Center Theater. OtherBroadway credits include The Sis-ters Rosensweig, ConversationsWith My Father, The Heidi Chron-icles, I'm Not Rappaport (Tony®

Award), Execution of Justice

(Drama Desk Award), Arsenicand Old Lace, Sherlock's LastCase, Baby, Steaming, Stages,King of Hearts and Ain't Misbe-havin', both the original and the1988 revival. Off-Broadway de-signs include Doubt, Sight Un-seen, Rose’s Dilemma, Burn This,Occupant, Quartermaine's Terms,How I Got That Story and A Lifein the Theater. She also designedlights for Wagner's Ring Cycle atThe Royal Opera House, CoventGarden and over 100 productionsfor other companies includingThe Metropolitan Opera, Wash-ington Opera, Boston Opera,Houston Opera, L.A. Music Cen-ter Opera, Glyndebourne Festival,English National Opera, ScottishOpera, Opera North, The FlemishOpera, Lille Opera, NetherlandsOpera and The Bayerische Staat-soper in Munich.

OBADIAH EAVES (Composer/Sound Design) recently designedsound for Martin McDonagh’s TheLieutenant of Inishmore andConor McPherson’s The ShiningCity on Broadway, and he hascreated sound and music for theworld premieres of works bysuch playwrights as David Mamet(Romance), Woody Allen (A Sec-ond-Hand Memory), Suzan-LoriParks (F**king A) and Jon RobinBaitz (Chinese Friends). He wonthe 2005 Lortel Award for Out-standing Sound Design for hiswork on Nine Parts of Desire(Manhattan Ensemble Theaterand national tour), and an Audel-co Viv Award for F**king A (ThePublic Theater). Other work in-cludes My Name is Rachel Corrie(Seattle Repertory Theatre), TheAmerican Pilot, Moonlight andMagnolias (Manhattan TheatreClub), Mary Rose, The Argument,Beautiful Child, Stopping Traffic(all at Vineyard Theatre), Celebra-tion and The Room, The Bald So-prano/The Lesson (Atlantic The-

ater Company), Hamlet, Refer-ences to Salvador Dali Make MeHot (The Public Theater/NYSF),and Blues Clues Live (Radio Cityand tour). His music for televi-sion can be heard on HBO Fami-ly, Nickelodeon, Discovery andThe Learning Channel, and hehas appeared as a session violin-ist and mandolinist in numerousfilm and television scores. Hisband, Big Hair, has released twonationally distributed CDs.

*ROBIN MCFARQUHAR (FightDirector). His Broadway creditsinclude Julius Caesar with DenzelWashington and One Flew Overthe Cuckoo’s Nest with GarySinise. Regional credits include AClockwork Orange, A StreetcarNamed Desire, The Time of YourLife, The Royal Family and thepremieres of Lost Land, The Liber-tine, Time to Burn, The BerlinCircle, The Ballad of Little Jo andWendall Greene all for Steppen-wolf Theatre Company; As YouLike It, Richard II and the pre-mieres of Griller, All the Rage andAmong the Thugs for The Good-man Theatre; Hamlet, Life’s aDream and the premieres of FairLadies at a Game of Poem Cards,and In the Penal Colony for theCourt Theatre; Troilus and Cressi-da, The Two Noble Kinsmen,Julius Caesar, Antony andCleopatra, Romeo and Juliet, Oth-ello, King Lear, Henry IV Parts Iand II (Chicago, and on tour tothe Royal Shakespeare Company)and Pacific Overtures (Chicago,and the Donmar Warehouse, Lon-don) for the Chicago ShakespeareTheatre. Other credits includework at The Old Globe, LongWharf Theatre, American PlayersTheatre, the Idaho, Illinois, Utahand Virginia Shakespeare Festi-vals, the National Tour of TheColor Purple and Internationaltours to England, Japan, Cyprusand Hungary.


CYNTHIA BASSHAM (VoiceCoach) is pleased to be workingagain at South Coast Repertory,where she recently coached theWest Coast premiere of BethHenley’s Ridiculous Fraud. Inaddition to coaching profession-ally, she teaches voice, speechand acting at the University ofCalifornia, Irvine. She serves asvoice/dialect coach for many uni-versity productions, most recentlyworking on Charles Mee’s Fetesde la Nuit. Ms. Bassham is certi-fied as an associate teacher ofFitzmaurice Voicework.

PHILIP THOMPSON (Voice Coach)teaches voice and speech at theUniversity of California, Irvineand works as a voice and dialectcoach for professional and uni-versity productions. He is certi-fied as a master teacher of Fitz-maurice Voicework. This is hissixteenth production at SCR. Hehas served as resident coach forten seasons at the Utah Shake-spearean Festival. He hascoached at Madison RepertoryTheatre and Weathervane Play-house among others, includingnumerous productions at Cincin-nati Playhouse in the Park. He isthe president of the Voice andSpeech Trainers Association.

ARMANDO MOLINA (AssistantDirector). Recent directing cred-its include Hippie Mexicana byEvangeline Ordaz at BorderlandsTheater; Visitors Guide to Arivacaby Evangeline Ordaz at DenverCenter New Play Summit; LivingOut by Lisa Loomer at Theatre-Works; Conjunto by Oliver Mayerat Borderlands Theater and AnnaIn The Tropics by Nilo Cruz atPCPA Theaterfest. Other direct-ing credits include Magic Tricks,Mass Transit and Esther and theExodus and Freak: Saint Plays forCornerstone Theater Company;American Southwest Theater

Company’s production of LatinsAnonymous; Confessions of a ChaCha Feminist at Highways Perfor-mance Space; and The Case of theStrange Step Brother by Evange-line Ordaz for California YouthTheater. Mr. Molina is a recipientof the NEA/TCG Career Develop-ment Program for Directors. Heco-founded Latins Anonymous,the critically acclaimed LatinoComedy Group. He also co-founded The Platform, a politicalcabaret that explored post riotLos Angeles as a community incrisis.

*JAMIE A. TUCKER (Stage Manag-er) completed his MFA in Dance,specializing in Stage Manage-ment, at UCI in 1994. Since com-ing to SCR, Mr. Tucker has stagemanaged or assisted on over 26shows in addition to six seasonsof La Posada Mágica. Some ofhis favorites have been the worldpremieres of Richard Greenberg’sThree Days of Rain, The VioletHour and A Naked Girl on theAppian Way; Rolin Jones’ The In-telligent Design of Jenny Chow;and Noah Haidle’s Mr. Mar-malade. Other favorites includeAnna in the Tropics and A Viewfrom the Bridge. If you can’t findhim in the theatre, he is likely tobe on the diamond or riding hisbike down PCH.

*NINA K. EVANS (Assistant StageManager) is returning to SCR forher fourth season. She served asthe Assistant Stage Manager onLife is a Dream, RidiculousFraud, The Studio, Bunniculaand The Adventures of PørQuinly. In addition, she was theProduction Assistant on DumbShow, Vesuvius, On the Mountainand The Retreat from Moscow.Ms. Evans also served as Compa-ny Manager and Audience Ser-vices Director for the ColoradoShakespeare Festival. She has a

DR. S.L. AND MRS. BETTY EUHUANG and THE HUANGFAMILY FOUNDATION (Hon-orary Producers). While the2006-07 Season ends withSCR’s first-ever production ofHamlet, it’s not S.L. and BettyHuang/The Huang FamilyFoundation’s first time as un-derwriters. They were Hon-orary Producers of Tom Walk-er and Lovers and Execution-ers during the 2001 and 2003seasons respectively. Theybelong to SCR’s Platinum Cir-cle, subscribe to First Nightson both stages and weredonors to the $50 million NextStage Campaign. A memberof the SCR Board of Trusteessince 1997, Betty is Chair ofthe 2007 Gala “Affair in Shang-hai,” and has chaired the Cor-porate Circle and AudienceDevelopment Committees.“Underwriting shows at SCRhas provided wonderful expe-riences for us,” she said. “Iencourage everyone to jointhe ranks of Honorary Produc-ers.”

DEUTSCHE BANK PRIVATEWEALTH MANAGEMENT (Cor-porate Producer) was Hon-orary Producer of last season’sBlue Door, and in 2000, Hon-orary Associate Producer ofAmy’s View. Deutsche Bankhas been a supporter of theCorporate Circle EducationFund since 1992 and a sub-scriber since 1996. Accordingto Michael J. Davis, WestCoast Regional Market Manag-er, Deutsche Bank PrivateWealth Management and long-time member of SCR’s Boardof Trustees, “As ardent sup-porters of the arts worldwide,we share SCR’s commitment toa passion to perform.”

BFA in Technical Theatre fromthe University of Colorado atBoulder.

DAVID EMMES (Producing Artis-tic Director) is co-founder ofSCR. He has received numerousawards for productions he has di-rected during his SCR career, in-cluding a Los Angeles DramaCritics Circle Award for the direc-tion of George Bernard Shaw’sThe Philanderer. He directed theworld premieres of Amy Freed’sSafe in Hell, The Beard of Avonand Freedomland, ThomasBabe’s Great Day in the Morning,Keith Reddin’s Rum and Cokeand But Not for Me and NealBell’s Cold Sweat; the Americanpremieres of Terry Johnson’s Un-suitable for Adults and Joe Pen-hall’s Dumb Show; the West Coastpremieres of C.P. Taylor’s Goodand Harry Kondoleon’s Christmason Mars; and the Southland pre-miere of Top Girls (at SCR andthe Westwood Playhouse). Otherproductions include the WestCoast premieres of Three View-ings by Jeffrey Hatcher, The Se-cret Rapture by David Hare andNew England by Richard Nelson;and Arcadia by Tom Stoppard,The Importance of Being Earnestby Oscar Wilde, Ayckbourn’sWoman in Mind and You NeverCan Tell by George BernardShaw, which he restaged for theSingapore Festival of Arts. Hehas served as a theatre panelistand onsite evaluator for the Na-tional Endowment for the Arts,on the Executive Committee ofthe League of Resident Theatres,and as a panelist for the Califor-nia Arts Council. After attendingOrange Coast College, he re-

ceived his BA and MA from SanFrancisco State University, andhis PhD in theatre and film fromUSC.

MARTIN BENSON (Artistic Direc-tor), co-founder of SCR with hiscolleague David Emmes, has di-rected nearly one third of theplays produced here. He has dis-tinguished himself in the stagingof contemporary work, includingWilliam Nicholson’s The Retreatfrom Moscow, the world premiereof Horton Foote’s Getting FrankieMarried — and Afterwards andthe critically acclaimed Californiapremiere of Nicholson’s Shadow-lands. He has won accolades forhis direction of five major worksby George Bernard Shaw, includ-ing the Los Angeles Drama CriticsCircle (LADCC) Award-winnersMajor Barbara, Misalliance andHeartbreak House. Among hisnumerous world premieres isMargaret Edson’s Pulitzer Prize-winning Wit, which he also di-rected at Seattle Repertory The-atre and the Alley Theatre inHouston. He has directed Ameri-can classics including Ah, Wilder-ness!, A Streetcar Named Desire,A Delicate Balance and A Viewfrom the Bridge. Mr. Benson hasreceived the LADCC Distin-guished Achievement in Directingawards an unparalleled seventimes for the three Shaw produc-tions, John Millington Synge’sPlayboy of the Western World,Arthur Miller’s The Crucible, SallyNemeth’s Holy Days and Wit. Healso directed the film version ofHoly Days using the original SCRcast. Along with Emmes, he ac-cepted SCR’s 1988 Tony® Awardfor Outstanding Resident Profes-

sional Theatre and won the 1995Theatre LA Ovation Award forLifetime Achievement. Mr. Ben-son received his BA in Theatrefrom San Francisco State Univer-sity.

PAULA TOMEI (Managing Direc-tor) is responsible for the overalladministration of South CoastRepertory and has been Manag-ing Director since 1994. A mem-ber of the SCR staff since 1979,she has served in a number ofadministrative capacities includ-ing Subscriptions Manager, Busi-ness Manager and General Man-ager. She served on the board ofTheatre Communications Group(TCG), the service organizationfor theatre, from 1998-2006 andwas its President for four years.She has also served as Treasurerof TCG, Vice President of theLeague of Resident Theatres(LORT) and has been a memberof the LORT Negotiating Commit-tee for industry-wide unionagreements. In addition, she rep-resents SCR at national confer-ences of TCG and LORT; is a the-atre panelist for the National En-dowment for the Arts and theCalifornia Arts Council (CAC),and site visitor for the CAC;served on the Advisory Commit-tee for the Arts AdministrationCertificate Program at the Univer-sity of California, Irvine; and hasbeen a guest lecturer in the grad-uate school of business at Stan-ford and the University of Califor-nia, Irvine. She graduated fromthe University of California,Irvine with a degree in Eco-nomics and pursued an addition-al course of study in theatre anddance.

The Actors and Stage Managers em-ployed in this production are membersof Actors’ Equity Association, the Unionof Professional Actors and Stage Man-agers in the United States.

The Scenic, Costume, Lighting andSound Designers in LORT theatresare represented by United ScenicArtists Local USA-829, IATSE.

The Director is a member of the Soci-ety of Stage Directors and Choreogra-phers, Inc., an independent nationallabor union.



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PATRONSThe following donors have contributed $150 to $299 to the Annual Fund this season.

We gratefully recognize the vital role they play in supporting the highest quality of artistic production at SCR.

Documents

HAMLET - South Coast Repertory