presents TERRA NOVAAurora Australis – Translated as “great glowing of the sky,” the Southern Lights can be seen regular-ly where the earth’s magnetic field lines converge at

Terra Nova • SOUTH COAST REPERTORY P1

40th Season • 385th ProductionSEGERSTROM STAGE / OCTOBER 10 - NOVEMBER 16, 2003

David Emmes Martin BensonPRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

presents

TERRA NOVAby TED TALLY

SCENIC/COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC/SOUND DESIGNAngela Balogh Calin John Philip Martin Michael Roth

PRODUCTION MANAGER STAGE MANAGERTom Aberger *Randall K. Lum

DIRECTED BY

Martin Benson

HONORARY PRODUCERS

Mary and Elizabeth Adderley and American Airlines

Terra Nova by Ted Tally is presented by arrangement with Dramatists Play Service, Inc., in New York.

CAST OF CHARACTERS(In order of appearance)

Scott ........................................................................................ *Don ReillyAmundsen .................................................................. *Preston MaybankKathleen ............................................................................. *Nina LandeyBowers ............................................................................... *Chet GrissomWilson ..................................................................... *Michael James ReedOates ...................................................................... *Robert Curtis BrownEvans .................................................................................... *Tony Ward

SETTING The winter of 1911-12, Antarctica.

LENGTHApproximately two hours and 15 minutes, including one 15-minute intermission.

PRODUCTION STAFFAssistant Stage Manager ................................................ *Vanessa J. NoonCasting Director ............................................................... Joanne DeNautDramaturg ................................................................ Linda Sullivan BaityAssistant Director .................................................................... Jay LoudenDialect Coach ............................................................ Philip D. ThompsonFight Consultant ..................................................................... Ken MerckxCostume Design Assistant ........................................................ Julie KeenStage Management Intern ................................................. Tara de GraafNavigation Consultant ..................................................... Richard BarnesAdditional Costume Staff .................. Bronwen Burton, Catherine Esera,

Tracy Gray, Amber Johnson, Alicia Julian,Stacey Nezda, Peggy Oquist

ACKNOWLEDGEMENTSScott Polar Research Institute at the University of Cambridge.

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.

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

P2 SOUTH COAST REPERTORY • Terra Nova

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Official AirlineMedia Partner

This production is part of Eclectic Orange Festival 2003, a project of the Philharmonic Society of Orange County.


HENRY "BIRDIE" BOWERSBritish Naval Lieutenant

EDGAR "TAFFY" EVANSBritish Naval Petty Officer

LAWRENCE "TITUS" OATESBritish Cavalry Officer

EDWARD "BILL" WILSONBritish ZoologistKATHLEEN BRUCE

Scott’s Wife

ROBERT FALCON SCOTTLeader of the English Party

ROALD AMUNDSENLeader of the Norwegian Party

“In the winter of 1911-12, five Englishmen and five Norwegians raced each other to the bottomof the earth. Only the five Norwegians returned. This is the story of the Englishmen.”

Ted Tally, Terra Nova

The Players in Robert Scott’s Drama

Admiral Robert Peary – he planted the Americanflag at the North Pole on April 6, 1909

Aurora Australis – Translated as “great glowing ofthe sky,” the Southern Lights can be seen regular-ly where the earth’s magnetic field lines convergeat the South Magnetic Pole

Beardmore – One of the world’s largest valleyglaciers, 260 miles long, it was named by ErnestShackleton in 1908 after his patron and dubbed“the highway to the south.”

Belgravia – an elegant Regency residential districtin London

Boer War – Hostilities broke out in South Africa1899 between British troops and Dutch immigrantBoers (Dutch for “farmer”) who were fighting toprotect their hard-won independence. The Boers wereultimately defeated and the country was annexed backto the British Empire.

Capetown – legislative capital of Republic of SouthAfrica

Cheltenham – town in the county of Gloucestershire bor-dering Wales

East Grinstead – English town in West Sussex

Great Ice Shelf (also Great Ice Barrier and Ross Ice Shelf)– the lip of a gigantic glacier several hundred feet talland hundreds of miles long that rims Ross Bay and is thefirst obstacle for any Antarctic explorer to overcome

Great War – also “World War I” and “The War To EndAll Wars,” conflict that ushered in the 20th century, seen

by many as a “great cleansing fire” that would lead to abetter world

hoosh – one-pot meals consisting of pemmican (driedmeat and melted fat), often mixed with cheese and ex-tras such as oatmeal and “red ration” (pea flour andbacon)

King Haakon VII – first ruler of Norway after separationfrom Sweden in 1905

knocking shop – British slang for “brothel”

“Men of Harlech” – Every Welshman knows the tune ofthis military air that has come to symbolize the coun-try’s determination to retain its national identity. Theinhabitants of Harlech have famously defended theirtown’s medieval fortress against foreign invaders forcenturies.

One-Ton Depot – the last depot laid byScott’s party, where they deposited ap-proximately 2,000 pounds of food and oilfor use on their way back from the pole

Rhossily – Welsh town in the coastalcounty of Glamorgan


Glossary

Man-hauling on the polar plateau.

Royal Geographic Society – Founded in 1830 and dedi-cated to the advancement of geographical science, it hasalways been among the most active learned societies inthe world.

Serpentine – a lake in London’s Hyde Park popular forboating, sailing, and even swimming

sextant – navigational instrument used for measuringlongitude and latitude

Sussex – county at the southeastern tip of Great Britain.

theodolite – surveying instrument dating from the 16thcentury, early models of which are generally used formeasuring horizontal angles

Transvaal – a province of South Africa 1910-1994,founded by Boers in the mid-1850s as South African Re-public, annexed by Great Britain in 1877 and renamedCrown Colony of Transvaal (literally “beyond the VaalRiver” as seen from the Cape of Good Hope)


HYPOTHERMIA

Hypothermia can kill in only 30 minutes. Coldtemperatures along with strong winds cause

the body to lose heat rapidly. The body startsshivering in order to generate heat from the rapidmuscular shaking. If the body temperature dropsto 95°F, dizziness and disorientation sets in andthe shivering stops. The body now maintains tem-perature only around the major organs by shuttingdown blood supply to the arms and legs. At 86°F,the pulse is weak and slow. Blood vessels widenand a feeling of being hot leads to an overwhelm-ing urge to remove one’s clothing prior to slippinginto unconsciousness. At 75°F, the heartbeatstops. How fast the body temperature drops willdetermine how rapidly death will occur—30 min-utes in this state is more than enough time.

FROSTBITE

Frostbite occurs when skin tissue and blood ves-sels are damaged from exposure to tempera-

tures below 32°F. It most commonly affects thetoes, fingers, earlobes, chin, cheeks and nose—body parts that are often left uncovered in coldtemperatures. The speed with which frostbite pro-gresses depends upon temperature, wind, and du-ration of exposure.

Frostbite has three stages of progression:

Frostnip – A pins-and-needles sensation causingthe skin to turn very white and soft. No blisteringand no permanent damage.

Superficial Frostbite – Blistering may occur. Theskin feels numb, waxy and frozen. Ice crystalsform in the skin cells and the rest of the skin re-mains flexible.

Deep Frostbite – This is the most serious stage,when blood vessels, muscles, tendons, nerves andbone may freeze, leading to permanent damage,blood clots and gangrene. No feeling is experi-enced in the affected area and there is usually noblistering. Serious infection and loss of limbs fre-quently occur after frostbite reaches this stage.However, even with deep frostbite, some frozenlimbs can be saved if medical attention is obtainedas soon as possible.

The Cold, Hard Truth

The Terra Nova


On March 20, 1912, Scott, Wilson,and Bowers awoke to a raging bliz-zard which prevented them frompushing on any further, despitebeing only 11 miles from One-TonDepot. Despite being half-starvedand three-quarters frozen, Scottsomehow managed to find thestrength to write 12 completely legibleletters to Kathleen and others close tohim, as well as to Wilson’s wife andto Oates’ and Bowers’ mothers. Fi-nally he composed a Message to thePublic, in which he attempted to ex-plain the expedition’s tragic conclu-

sion.

The causes of the disaster are notdue to faulty organization but to

misfortune in all risks which had tobe undertaken.

1. The loss of pony transportin March 1911 obliged me to start

later than I had intended, andobliged the limits of stuff transportedto be narrowed.

2. The weather throughout theoutward journey, and especially thelong gale in 83° S., stopped us.

3. The soft snow in lowerreaches of glacier again reducedpace.

We fought these untowardevents with a will and conquered,but it cut into our provision reserve.Every detail of our food supplies,clothing and depots made on the in-terior ice-sheet and over that long

stretch of 700 miles to the Pole andback, worked out to perfection.

The Beardmore Glacier is notdifficult in fine weather, but on ourreturn we did not get a single com-pletely fine day; this with a sickcompanion enormously increased

our anxieties.But all the facts above enumer-

ated were as nothing to the surprisewhich awaited us on the Barrier. Imaintain that our arrangements forreturning were quite adequate, andthat no one in the world would haveexpected the temperatures and sur-faces which we encountered at thistime of the year. On the summer inlat. 85°, 86° we had -20°, -30°. Onthe Barrier in lat. 82°, 10,000 feetlower, we had -30° in the day, -47°at night pretty regularly, with contin-uous head wind during our day

marches. It is clear that these cir-cumstances came on very sud-denly, and our wreck is certainlydue to this sudden advent of se-vere weather, which does notseem to have any satisfactorycause. I do not think human be-ings ever came through such amonth as we have come through.

We are weak, writing isdifficult, but for my own sake Ido not regret this journey, whichhas shown that Englishmen canendure hardships, help one an-other, and meet death with asgreat a fortitude as ever in thepast. We took risks, we knewwe took them; things have comeout against us, and therefore wehave no cause for complaint, butbow to the will of Providence,determined still to do our best tothe last.

Had we lived, I shouldhave had a tale to tell of thehardihood, endurance, andcourage of my companionswhich would have stirred the

heart of every Englishman. Theserough notes and our dead bodiesmust tell the tale, but surely, surely,a great rich country like ours willsee that those who are dependenton us are properly provided for.

–R. Scott

Message to the Public

Edge of the ice shelf.

*ROBERT CURTIS BROWN (Oates)appeared at SCR most recently inthe NewSCRipts reading of Mon-tezuma. Other West Coast appear-ances include The Beard of Avon,How the Other Half Loves, GreenIcebergs and Night and Her Starsfor SCR and Present Laughter forthe Pasadena Playhouse. At theDoolittle Theatre he was seen asPeter Patrone in The Heidi Chroni-cles for which he received aDrama-Logue Award for BestActor. For the New York Shake-speare Festival he was seen inPlenty, Titus Andronicus andJulius Caesar with Al Pacino andMartin Sheen. Other New Yorkprojects include Hyde in Holly-wood at the American Place The-atre – subsequently filmed for thePBS series “American Playhouse.”He also has been seen as Algernonin The Importance of BeingEarnest at the Guthrie, Jack in TheImportance of Being Earnest at

Pasadena Playhouse, and Cecily inThe Importance of Being Earnestwith the Atlantic Theatre Compa-ny. Film projects include CatchMe if You Can, Red Dragon, Trad-ing Places and Bruce Almightywith Jim Carrey. Mr. Brown hasguest-starred in over 75 televisionprograms including “The Practice,”“Without a Trace,” “The WestWing,” “NYPD Blue,” “CrossingJordan,” and in TV movies such asThe Christmas Box, Three Secretsand as Robert Reed/Mike Brady inFox’s “Unauthorized: Brady Bunch,The Final Days.” Mr. Brown isthankfully married to a psy-chotherapist and, without a doubt,considers his children, Eli andEmma, to be his finest produc-tions.

*CHET GRISSOM (Bowers) is veryhappy to be making his SCRdebut. Los Angeles theatre creditsinclude The Taming of the Shrew at

the Orpheum Theatre, After theFall (Ovation Award Best Produc-tion), Summer and Smoke (Ova-tion Award Best Production), Cen-tral Avenue and Night of the Igua-na, all at the Fountain Theatre;Hamlet and Ecstasy at the OdysseyTheatre; and Xenogenesis at theEclectic Theatre. Chicago theatrecredits include Richard II at theGoodman Theatre, Hamlet at theChicago Shakespeare Company,The American Plan at the NationalJewish Theatre and dozens of oth-ers. Television and film credits in-clude appearances on “The Prac-tice,” “Buffy the Vampire Slayer,”“Kingpin,” “Robbery Homicide Di-vision,” “MD’s,” “The Guardian,”“CSI,” “Philly,” “Ally McBeal,” “TheX-Files,” “The Others,” “BrutallyNormal,” “The Untouchables,”“Port Charles” and the Emmy nom-inated HBO film Live from Bagh-dad. He received a BFA in Actingfrom The Theatre School/DePaul

Artist Biographies

CHET GRISSOM

BowersNINA LANDEY

KathleenROBERT CURTIS BROWN

Oates



University founded as the Good-man School of Drama.

*NINA LANDEY (Kathleen) is mak-ing her SCR stage debut. Shegraduated cum laude fromBarnard College and received anMFA from the Yale School ofDrama where she was awarded aFox Foundation Fellowship upongraduation. She has also studiedat LAMDA, with John Barton of theRSC, with Uta Hagen at HB Studioas well as with Stella Adler. The-atre credits include Death of aSalesman (Broadway, Ahmanson,Broadway tour), Merchant ofVenice (Public Theater), Skyscrap-er (Greenwich House), Dracula(Old Globe), Hedda Gabler (CastTheatre), Pentecost and As YouLike It (Yale Repertory), RichardIII (Great Lakes), Russian Ro-mance (Cleveland Playhouse) andUncle Vanya and School of Wives(Santa Fe Stages). Film and televi-sion credits include TreadingWater, “ER,” “24,” “Law andOrder,” “Crossing Jordan,” “Lawand Order: SVU” and “ThirdWatch.” Kathleen is for Jody.

*PRESTON MAYBANK (Amun-dsen) returns to SCR after havingappeared in Two Gentlemen of

Verona and Much Ado aboutNothing. New York theatre creditsinclude Liars (The Joseph PappPublic Theater), Sour Springs (The-atre for a New City), A MarriageProposal (Rapp Art Canter) andRomeo and Juliet (Purchase). Hisregional theatre appearances in-clude Family Affairs (Dorsett The-atre Festival); Justice (Padua HillsPlaywrights Festival); The Impor-tance of Being Earnest (LongBeach Studio Theatre); The Ele-phant Man (Knightsbridge The-atre); School for Scandal, TheThree Sisters, Major Barbara andTartuffe (A Noise Within); and theEuropean tour of Hucksters of theSoul. Television credits include“Every Knee Shall Bow,” “Cybill,”“Suddenly Susan,” “Pride and Joy,”“A.J. Time Travelers,” “Matlock,”“Tony and Tina’s Wedding,” “Ab-ductions,” “Shades of L.A.,” “Daysof Our Lives,” “One Life to Live”and “Ryan’s Hope.” Film appear-ances include Puddin’ Head Wil-son; Longtime Companion; Wed-lock and Nightmare Weekend; theHBO feature War of the ColossalBeast; and Novocaine, with SteveMartin, directed by David Atkins.

*MICHAEL JAMES REED (Wilson)appeared at SCR previously in

Nostalgia. New York theatre cred-its include La Bête (Broadway);Amphitryon (Classic Stage Co.);King Lear (Roundabout); A Forestin Arden (NY Theatre Workshop);and Twelfth Night, The Beaux’Strategem, and The VenetianTwins (Pearl Theatre Co.). Re-gional credits include Mark Antonyin the recently acclaimed JuliusCaesar (directed by Daniel Sulli-van) at the Old Globe, where hehas also appeared in TwelfthNight, The Trojan Women, and asthe title role in Pericles. Other re-gional credits include Angels inAmerica (Alley Theatre); The Lifeof Galileo and The Three Muske-teers (Repertory Theatre St. Louis);Great Expectations, A Tale of TwoCities and The Prisoner of Zenda(Papermill Playhouse); and workat the Asolo Theatre Co., SyracuseStage, Berkshire Theatre Festival,Great Lakes Theatre Festival, andShakespeare Santa Cruz. Los An-geles theatre credits include UncleVanya (Lillian Theatre), Shopping& Fucking (LA premiere at the Cel-ebration Theatre) and The Memo-randum (Odyssey Theatre). InBritain, he appeared in Richard III(starring Antony Sher) at the RSC,and in The Illusion with ActorsTouring Co. He appeared in the

MICHAEL JAMES REED

WilsonDON REILLY

ScottPRESTON MAYBANK

Amundsen

films Love Potion and The Dress-maker; and has been seen on TVin “Six Feet Under,” “24,” JAG,”“Ladies Man,” “That 70’s Show,”“Silk Stalkings” and numeroussoap operas. He is a graduate ofGuildhall School of Music &Drama in London.

*DON REILLY (Scott) appeared atSCR previously in Amy’s View.Last year he appeared in TheMolière Comedies at the MarkTaper Forum. He appeared inNew York in The Heiress and Ar-cadia at Lincoln Center; and Off-Broadway in Misalliance at theRoundabout, Hamlet and MuchAdo about Nothing at the NewYork Shakespeare Festival, Can-dida and Macbeth at the RiversideShakespeare, Lee Blessing’s Fort-inbras at Signature Theatre Com-

pany and Quincy Long’s The Vir-gin Molly at the Atlantic TheatreCompany. At the AmericanRepertory Theatre he appeared asPetruchio in Andrei Serban’sTaming of the Shrew and as JackTanner/Don Juan in Man and Su-perman (Boston Theatre CriticsAssociation Best Actor Award).Mr. Reilly also appeared in thepremiere of Fortinbras at La JollaPlayhouse. Other regional creditsinclude All’s Well That Ends Wellat Hartford Stage, The Philan-thropist at the Long Wharf The-atre and Romeo and Juliet andLove’s Labour’s Lost at the GreatLakes Theatre Festival. He playsa brief Henry V in Penny Mar-shall’s Renaissance Man, and hasappeared on “That’s Life,” “StarTrek: The Next Generation,” “ThePerry Mason Mysteries,” “AnotherWorld,” “As the World Turns” and“General Hospital.” As a director,his short film The Bottom Line re-cently premiered at The Danceswith Films Festival and will havescreened at four other festivals byyear’s end.

*TONY WARD (Evans) is pleasedto be making his SCR debut. Re-cent New York work includesWonder of the World directed byChris Ashley at Manhattan TheatreClub, The Two Orphans directedby Jayne Atkinson at the NewYork Shakespeare Festival, Mor-phic Resonance directed by JamesNaughton at the Westport CountryPlayhouse and The Elephant Man

and Beyond the Horizon directedby David Travis at the ConnellyTheatre and Four Summers at theLincoln Center Director’s Lab. Re-gional theatre credits include Ed-ward II and As You Like It (StanWojewodski) at Yale Repertory;The Wilder Plays and As You LikeIt (Tim Vasen and Irene Lewis) atBaltimore Center Stage; The Stew-ard of Christendom (EddieGilbert) at the Huntington The-atre; Arms and the Man (MarkRucker), Othello (Penny Metropu-los) and A Doll’s House (ZeldaFichandler) with The Acting Com-pany; and three summers at TheO’Neill Center’s Playwrights Con-ference. Film credits include Vir-ginia Woolf’s To the Lighthouse.Television credits include “Guid-ing Light.” Mr. Ward received hisMFA from the Yale School ofDrama.

PLAYWRIGHT,DIRECTOR & DESIGNERS

TED TALLY (Playwright) whoseComing Attractions received itsWest Coast premiere at SCR in1982, won the Oscar for BestAdapted Screenplay for The Si-lence of the Lambs, as well as theWGA Screen Award, Chicago FilmCritics Award and an Edgar fromthe Mystery Writers of America.In addition to Terra Nova, whichwon an Obie, and Coming Attrac-tions, which won the New YorkOuter Critics Circle Award, hisplays include Hooters, Little Foot-


TONY WARD

Evans

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steps and Silver Linings. His tele-vision scripts include The ComedyZone, Hooters, Terra Nova (BBC-TV) and The Father ClementsStory (Christopher Award). Bornin North Carolina, Tally was edu-cated at Yale College and theYale School of Drama, and hasalso taught at each of them. Hisother honors include fellowshipsfrom the NEA and the Guggen-heim Foundation. He lives withhis wife and two children inPennsylvania.

MARTIN BENSON (Director/Artis-tic Director) shares co-foundercredit and artistic leadership ofSCR with his colleague DavidEmmes. As one of SCR’s chief di-rectors, Mr. Benson has directednearly one third of the plays pro-duced here in the last 39 years.He has distinguished himself inthe staging of contemporarywork, including Horton Foote’sThe Carpetbagger’s Children andthe world premiere of his GettingFrankie Married—and After-wards, the critically acclaimedCalifornia premiere of WilliamNicholson’s Shadowlands, AtholFugard’s Playland, Brian Friel’sDancing at Lughnasa , DavidMamet’s Oleanna, Harold Pinter’sThe Homecoming, David Hare’sSkylight and the West Coast pre-mieres of Peter Hedges’ Good AsNew and Martin McDonagh’s TheLonesome West. He has won ac-colades for his direction of fivemajor works by George Bernard

Shaw, including the Los AngelesDrama Critics Circle (LADCC)Award winners Major Barbara,Misalliance and HeartbreakHouse. Among the numerousworld premieres he has directedare Tom Strelich’s BAFO and Mar-garet Edson’s Pulitzer Prize-win-ning Wit, which he also directedat Seattle Repertory Theatre andthe Alley Theatre in Houston. Hehas directed American classics in-cluding Ah, Wilderness!, A Street-car Named Desire, A DelicateBalance and All My Sons. Mr.Benson has been honored withthe Drama-Logue Award for hisdirection of 21 productions andreceived LADCC DistinguishedAchievement in Directing awardsan unparalleled seven times forthe three Shaw productions, JohnMillington Synge’s Playboy of theWestern World, Arthur Miller’sThe Crucible, Sally Nemeth’s HolyDays and Wit. He also directedthe film version of Holy Daysusing the original SCR cast.Along with David 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 California State University,San Francisco.

ANGELA BALOGH CALIN (Scenic/Costume Design) returns to SCRafter having designed The Carpet-bagger’s Children last season.

Her previous SCR credits includeset and costume design for Mak-ing It, The Lonesome West, designfor Play Strindberg, and sets andcostumes for SCR’s EducationalTouring Productions Power Play,Bad Water Blues, My Mom’s Dadand The Day after Evermore. Sheis a resident designer at A NoiseWithin where her designs includecostumes for The Imaginary In-valid, The Skin of Our Teeth, TheMisanthrope, Cyrano de Bergerac,Another Part of the Forest (LosAngeles Drama Critics CircleAward and Garland Award), LittleFoxes (Garland Award), The Sea-gull, A Winter’s Tale, The ThreePenny Opera (Drama-LogueAward) and Twelfth Night(Drama-Logue Award). Ms. Calinhas designed over 40 productionsfor local theatres and in her na-tive Romania. Some of thoseproductions are The Last of Mr.Lincoln at El Portal, Diablogues atthe Tiffany Theatre, The SunshineBoys and Harvey for the La Mira-da Center for the Performing Arts,Cabaret and Company for theWest Coast Ensemble, Ivona,Princess of Burgundia for theOdyssey Theatre, Blood Poetry(Drama-Logue Award) for The-atre 40, How to Teach the Historyof Communism for the Open FirstTheatre and Ancestral Voices forthe Falcon Theatre. She hasworked extensively in film andtelevision in the U.S. and Roma-nia, having 16 credits with I.R.S.Media, Cannon Films, PBS, Full

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Moon Entertainment and Romani-an Films. She graduated with anMFA in set and costume designfrom the Academy of Arts inBucharest. In her spare time sheworks at her fine arts career, hav-ing now participated in twodozen exhibitions.

JOHN PHILIP MARTIN (LightingDesign) designed The DrawerBoy and Nostalgia for SCR. Hisdesigns elsewhere includeCopenhagen and Art at IndianaRep; The Tempest at AlabamaShakespeare Festival; The LittleMermaid and Coppelia for InlandPacific Ballet; The Weir and 12Angry Men at the Geva Theatre;Chaps!, Carousel, Cinderella -The Musical, The Importance ofBeing Earnest and Greater Tunaat PCPA/Theatrefest; Happy Days(also at Mabou Mines - New YorkCity), The Swan, Flying Karamo-zov Brothers in Le Petomane andJosé Rivera’s Marisol (Drama-Logue Award) at La Jolla Play-house; The Merchant of Venice,Shylock, Hamlet (Drama-LogueAward), A Streetcar Named De-sire, A Christmas Carol, TurboTanzi, Burning Dreams andDeath and the Maiden at SanDiego Repertory; Candida andMeasure for Measure at Sacra-mento Theatre Company; Leonceand Lena and The House Guest atthe Evidence Room; Much Adoabout Nothing, Henry VIII, Othel-lo, Shoemaker’s Holiday, As YouLike It and Richard III at Utah

Shakespearean Festival; EachDay Dies with Sleep (Drama-Logue Award) at Wilton Project;Naomi Iizuka’s Carthage at The-atre E; Dirigible at Circle X The-atre Company; and War to EndWar at Sledgehammer. His de-signs at Universal Studios includesections of environmental lightingat Universal’s Islands of Adven-ture as well as Dr. Doom’s Fear-fall and The Incredible HulkRollercoaster. At Universal Stu-dios Japan he designed ET’s Ad-venture. In 1994 Mr. Martin re-ceived a TCG/NEA Young De-signer Fellowship.

MICHAEL ROTH (Composer/SoundDesign) is pleased to be back atSCR, where his work has beenheard in over 40 productions andpremieres, including The LastNight of Ballyhoo, Donald Mar-gulies’ Dinner With Friends (di-rected by Daniel Sullivan, alsoseen Off-Broadway), Sight Un-seen (also Off-Broadway), andthe Culture Clash/John Glore mu-sical adaptation of The Birds (alsoat Berkeley Rep). Other recentprojects: in New York, TalkingHeads (off-Broadway, also at theTiffany in LA), and The Persians(National Actors Theatre); manycollaborations with Randy New-man including SCR’s The Educa-tion of Randy Newman (orches-trator, music director, co-conceiv-er with Jerry Patch, also seen inSeattle), orchestrating his Faust,and editing two songbooks for

Warner Bros.; at La Jolla Play-house, over 35 productions in-cluding Tom Donaghy’s EdenLane and Lee Blessing’s A Walkin the Woods, also on Broadwayand PBS; with Mac Wellman, theirmusic/theatre piece The Allegoryof Whiteness (2001 Humana Festi-val, directed by Lisa Peterson),the premieres of Bitter Bierce,Terminal Hip, Bad Penny andThe Lesser Magoo, and directingAlbanian Softshoe; the HappyDays musical, with Garry Mar-shall; Anne Bogart’s The Women;collaborating with Tom Stoppardand Carey Perloff on the Ameri-can premieres of Indian Ink andThe Invention of Love at ACT; DesMcAnuff’s film Bad Dates; the in-dependent feature Holy Days, di-rected by Martin Benson; withQuincy Long, People Be Heard;and a new opera with Nell Ben-jamin. The CD of Michael’schamber opera “Their Thoughtand Back Again,” is availablethrough e-mail at [email protected].

*RANDALL K. LUM (Stage Manag-er) began his 14th season withThe Last Night of Ballyhoo and ispleased to be part of SCR’s 40thSeason. Last season he stagemanaged Major Barbara, Proofand Intimate Apparel. Two sea-sons ago he had the pleasure ofworking on Getting Frankie Mar-ried—and Afterwards, The Schoolfor Wives, The Homecoming andThe Circle. During his long asso-


ciation as one of SCR’s residentstage managers he has worked onmore than a dozen world pre-mieres and has been associatedwith over 65 productions. In1997, Mr. Lum stage managed theAIDS Benefit Help is on the WayIII at the Palace of Fine Arts in SanFrancisco. Other stage manage-ment credits include the AmericanConservatory Theatre in San Fran-cisco, the Old Globe Theatre inSan Diego, Berkeley RepertoryTheatre, San Jose Civic LightOpera, VITA Shakespeare Festival,Pacific Conservatory of the Per-forming Arts, Long Beach Ballet,San Francisco Convention Bureauand Kawasaki Motorcycles. Hewould like everyone to take a mo-ment to remember all those whohave lost the battle and all thosestill suffering and fighting theAIDS epidemic.

*VANESSA J. NOON (AssistantStage Manager) was the AssistantStage Manager on A ChristmasCarol, Proof, Two Gentlemen ofVerona, Intimate Apparel and TheDrawer Boy last season. Also atSCR she stage managed Making It,Nostalgia, The Lonesome West andThe Countess. Besides working atSCR, she has stage managed forthe Mark Taper Forum’s NewWorks Festival and P.L.A.Y. Tour,Shakespeare Santa Cruz, Shake-speare Festival/L.A., A Noise With-in, Buena Vista Special Events atThe El Capitan Theater and Uni-versal Studios, Hollywood. Shehas also worked on the AcademyAwards, the Primetime EmmyAwards, “America: A Tribute toHeroes” telethon, the Pearl Har-bor movie premiere onboard theUSS John C. Stennis in Hawaii and

the Anaheim Angels World SeriesVictory Celebration at EdisonField.

DAVID EMMES (Producing ArtisticDirector) is co-founder of SCR,one of the largest professional res-ident theatres in California. Hehas received numerous awards forproductions he has directed duringSCR’s 39-year history, including a1999 Los Angeles Drama CriticsCircle Award for the direction ofGeorge Bernard Shaw’s The Phi-landerer. He directed the worldpremieres of Amy Freed’s TheBeard of Avon and Freedomland,Thomas Babe’s Great Day in theMorning, Keith Reddin’s Rum andCoke and But Not for Me and NealBell’s Cold Sweat; the Americanpremiere of Terry Johnson’s Un-suitable for Adults; the West Coastpremieres of C.P. Taylor’s Goodand Harry Kondoleon’s Christmason Mars; and the Southland pre-miere of Top Girls (at SCR and theWestwood Playhouse). Other pro-ductions include the West Coastpremieres of Three Viewings byJeffrey Hatcher, The Secret Raptureby David Hare and New Englandby Richard Nelson; and Arcadiaby Tom Stoppard, Six Degrees ofSeparation by John Guare, TheImportance of Being Earnest byOscar Wilde, Ayckbourn’s Womanin Mind and You Never Can Tellby George Bernard Shaw, whichhe restaged for the Singapore Fes-tival of Arts. His producing re-sponsibilities involve the overallcoordination of SCR’s programsand projects. He has served as aconsultant to the Orange CountyPerforming Arts Center and as atheatre panelist and onsite evalua-tor for the National Endowment

for the Arts. He has served on theExecutive Committee of theLeague of Resident Theatres, andas a panelist for the California ArtsCouncil. After attending OrangeCoast College, he received his BAand MA from California State Uni-versity, San Francisco, and his PhDin theatre and film from USC.

PAULA TOMEI (ManagingDirector) is responsible for theoverall administration of SouthCoast Repertory and has beenManaging Director since 1994. Amember of the SCR staff since1979, she has served in a numberof administrative capacities includ-ing Subscriptions Manager, Busi-ness Manager and General Manag-er. She currently serves as Presi-dent of the Theatre Communica-tions Group (TCG), the nationalservice organization for the profes-sional not-for-profit theater. In ad-dition, she has served as Treasurerof TCG, Vice President of theLeague of Resident Theatres(LORT) and has been a member ofthe LORT Negotiating Committeefor industry-wide union agree-ments. She represents SCR at na-tional conferences of TCG andLORT; is a theatre panelist and sitevisitor for the National Endow-ment for the Arts and the Califor-nia Arts Council; served on theAdvisory Committee for the ArtsAdministration Certificate Programat the University of California,Irvine; and has been a guest lec-turer in the graduate school ofbusiness at Stanford. She graduat-ed from the University of Califor-nia, Irvine with a degree in Eco-nomics and pursued an additionalcourse 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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