Going Behind-the-Scenes, Building Deeper Audience Connections

Kimberly Colburn and Andrew Knight.

Knight interviews Sandra Tsing Loh at the Inside the Season for The Madwoman in the Volvo.

Knight speaks with actor Paige Lindsey White from Abundance.

Colburn interviews the authors of Images of America: Vietnamese in Orange County, Thuy Vo Dang, Tram Le and Linda Trinh Vo, during the Inside the Season for Vietgone.

Guests tour the set of Abundance.

On a select Saturday morning during each show's run, just a few hours before the first performance that day, an audience gathers as South Coast Repertory staff members prepare for them. Director’s chairs are set in place, microphones readied, special guests arrive and, by 10:30 a.m., it all begins. SCR’s Inside the Season offers a lively two-hour discussion with in-depth interviews featuring cast members, people from the creative team and artisans from SCR’s production staff. The program offers attendees an opportunity to directly converse with the artists behind the production. SCR’s Literary Director Kimberly Colburn and Associate Literary Director Andrew Knight share the responsibilities of organizing and hosting the discussion.

“It’s a little like being a journalist,” says Colburn. “The preparation generally includes identifying guests, thinking up the best questions and gathering information from people around SCR to see if there’s anything we’ve missed or didn’t know about.” Whether it’s learning how the props department created edible sushi for the stage or how rain is created on stage, no detail is too small.

Once prepped and armed with insider information, Colburn and Knight engage the audience in the discussion, fielding questions and interviewing special guests. All these efforts culminate in a deeper insight into the creative process.

“I love that Inside the Season is a very frank behind-the-scenes look at SCR’s productions,” says Knight. “It’s actually rare for artists to have a casual, but supportive environment to speak about their work. We joke that what happens in Inside the Season stays in Inside the Season!”

“I like the sense that anything could happen,” adds Colburn. “I’m always surprised by the questions from the audience. Sometimes they think of questions that are of interest to them that would never have occurred to me to ask. Like what a stage manager’s book looks like or what lighting instruments we used.”

“I also think that the length of the program allows Inside the Season patrons to develop a deeper connection to the production,” continues Knight. “With two hours for discussion, no question is too small and no detail is omitted. The conversation is richer and more surprising because of that.”

Inside the Season allows those seeking a closer look into SCR’s productions the opportunity to explore, question and learn more about the work, challenges and accomplishments of those involved.

“By getting this full picture I think the Inside the Season audiences can truly appreciate the ingenuity of artists,” says Knight.

Special benefit for donors: If you’re a Friend of SCR who has given a gift of $75 or more, one of the benefits is complimentary admission to Inside the Season. Please arrange for your complimentary Inside the Season tickets by visiting the box office or calling (714) 708-5599. These special tickets are not available for purchase online.

If you’d like to become a Friend of SCR and take advantage of this benefit (a $180 value), please call (714) 708-5590.

Bringing Clarity to Sound

Literary Associate Kat Zukaitis modeling receivers with built in and removable earbuds.

South Coast Repertory has made it even easier for patrons to hear what’s happening on stage. The
newly upgraded assisted listening system allows for crisper sound and is receiving great feedback already.

Powered by Listen Technologies, SCR’s assistive listening devices help bring clarity to sound and allows full enjoyment of every moment of the performance. The device delivers a rich, personalized sound from any seat in the house and can work in conjunction with a personal hearing device.

Kat Zukaitis modeling the ListenLoop.

SCR continues to offer headset receivers with built-in earbuds and receivers that allow you to plug in your own headphones. For added convenience, use the ListenLoop, which is able to plug directly and discreetly into any personal hearing device or cochlear implants that have telecoil technology. No extra equipment is needed!

How to Request a Device: Assisted listening devices may be checked out from the concession stand of the stage you are attending. For Nicholas Studio productions, check out a device from the Segerstrom concession area. There is no cost: a valid driver's license will be held until the unit has been returned.

The devices are simple to operate:  Plug in an earpiece, if necessary, then simply tap the power button to turn it on. The receiver is worn like a necklace. The knob on the top adjusts the volume.

Theatre: All in the Family

Editor’s Note: This is part of a recurring series that looks at the behind-the-scenes staff at South Coast Repertory.

SCR's General Manager Lori Monnier.

Lori Monnier’s twins were a few months away from being born when South Coast Repertory first produced A Year with Frog and Toad. It was 2009 and Monnier was two years into her job as SCR’s general manager.

Now six years old, Kate and Gigi finally will see A Year with Frog and Toad, along with their entire kindergarten class.

Monnier was seven or eight years old when she had her own introduction to theatre through a production of Annie. Her mother took her to see the show in Tampa, Fla., where the family lived at the time.

Kate and Gigi meet Larry Bates as Wilbur from Charlotte's Web.

“I loved going to that show because it was such a big event for me,” she says. Through junior high and high school, she came to realize that her love for theatre didn’t mean that she should be onstage, but rather in the backstage world—“I realized that there were many people who were better actors than I was, but I had much better organization and management skills, which are definitely needed in the theatre.”

Monnier earned her BA in theatre from Florida State University and then went to work: she assistant stage-managed at a variety of locations, did summer stock in Virginia and was in an apprenticeship program at a theatre in Philadelphia. Then she landed a job with The Shakespeare Theatre Company in Washington, D.C., where she worked several seasons as a production assistant and assistant stage manager and eventually joined the Actors Equity Association, the union for professional stage managers and actors.

But as much as she loved backstage work, she found the schedule wasn’t sustainable for one of her desires in life: to have a family.

So, she went to graduate school at Yale University, home to one of the nation’s top theatre program, where she earned an MFA in theatre management. In her final year at Yale, she met scenic design graduate student Fred Kinney, whom she married in 2003.

Following graduation, she was hired as general manager by the Shakespeare Theatre of New Jersey. She then received a two-year grant from the Theatre Communications Group, as part of its New Generations Mentorship program, to be associate managing director at Arizona Theatre Company and, after a short stint at a small classical-type theatre in Pittsburgh, she accepted the job at SCR and moved to California in 2007.

Gigi and Kate with Gander (Nicholas Mongiardo-Cooper) after a performance of Charlotte's Web.

Like Monnier, Kinney has found great creative and professional opportunities in California, including design work at South Coast Repertory, San Diego Repertory Theatre, Ensemble Theatre Company of Santa Barbara, The Chance Theatre and A Noise Within. He also is on the theatre faculty at California State University, Fullerton.

As general manager at SCR, Monnier negotiates contracts for each production and negotiates details for co-productions with producing partners (such as Berkeley Repertory Theatre for One Man, Two Guvnors). She also handles the theatre’s internal operations, including business and budgets, information technology, facilities and security, and the front of house staff.

“I think I was drawn to being a general manager because of the big picture view and the organizational aspect of what I do,” she says.

SCR has been a perfect fit for her in many ways.

“I love the vastness of what we do—the new plays, working with playwrights—and, of course, our history,” she adds. And, since 2009, she has an even greater appreciation for productions geared for younger audiences.

The first show that the family saw together was the 2013 Summer Players production of Seussical. Since then, they have brought the girls to see many of SCR’s Theatre for Young Audiences (TYA) shows including Ivy +Bean: The Musical, Charlotte’s Web, The Miraculous Journey of Edward Tulane and OZ 2.5, as well as the Summer Players Conservatory shows Annie, Peter Pan and Mary Poppins.

TYA productions are opportunities for Monnier and Kinney, whose mothers were librarians, to read the books with Kate and Gigi ahead of each show.

“Gigi especially will say something like ‘Oh, I remember that!’ or ‘That wasn’t in the book!’” Monnier says with a smile. “Having those conversations with the girls is fun.”

And this production of Frog and Toad is especially sweet for the family because Kinney designed the sets. The girls are even more excited to show off not only where Mom works, but what Dad designed.

Fred Kinney's set for the 2009 production of A Year with Frog and Toad.

Monnier wants the girls to grow up with a balance of experiences for a well-rounded education and life. They go to the symphony family series concerts, like to dance, take piano lessons, sing in the church choir and like to put on shows.

“We’re proud of them!” she says.

In her office, while Monnier has adorned the walls and windows with theatre memorabilia and with Kate- and Gigi-created art works, she remains much-focused on the business of SCR.

“It takes a lot of work in the background to make the theatre experience come to life for our audience members,” she says. The success of the theatre includes not only what is seen on the stage, but everything that happens just out of sight: the backstage work in the scene shop, costume shop, props, wigs, paint and more; the facilities crew; the front of house staff; marketing, development, administration and more.

“I feel blessed to work at SCR because it’s such a strong and solid organization,” she says. “As a non-profit, our community has the chance to invest in our work and we have great support from that community and from our Board of Trustees. We revere our long history, but we also work in a forward motion and we do innovative things. It’s exciting!”

Look for her, Kinney and the twins in the audience this month at A Year with Frog and Toad.

Learn more and buy tickets.

The Frontline Faces of South Coast Repertory

Volunteer ushers working at SCR's concession stand.

They’re the ones who scan your ticket as you enter the lobby. They help you find your seat. They sell you that cookie that you eyed. South Coast Repertory’s team of ushers is dedicated to making your experience as comfortable as possible. By day, they are doctors, teachers, ministers and retirees; by night, they’re dedicated volunteers. For SCR playgoers, they’re the familiar faces that have become part of a great night out at the theatre.

Why do they take on this role? Because they find a personal satisfaction in helping patrons. That’s what keeps them coming back to volunteer—some of them for nearly 20 years. A true love and appreciation for theatre—and SCR’s work in particular—adds to the satisfaction. Remember, ushers get to see the show for free!

For many of them, ushering began on a whim. “A veteran usher I met recommended I sign up, and I found the SCR team to be warm and accommodating,” says current usher John Nguyen. What starts off as quick conversation soon becomes an experience that flourishes through a love of theatre. Ushers begin to meet patrons who share the same appreciation for theatre and over time they begin to learn more about the patrons personally, which can quickly build connections that form a sense of community. Husband-and-wife ushers of 19 years, Stephen and Nanci Schrieber-Smith, see their roles in a specific way.

“We like to think that ushers are the ambassadors for SCR and that it can even be interesting for the patrons to meet us,” says Stephen. “We would encourage other people to stretch their horizons from ‘just their job’ lives and become ushers to see great plays and meet great patrons.” It fuels their work and brings both the ushers and patrons together. It’s an energy that can be electrifying.

Duane Legg has been ushering for nearly a year and can feel how this energy binds the team together, “There is an excitement that permeates the theatre as we prepare the programs, lobby and the house for patrons. When our team of ushers works together to help make a memorable and professional experience for the audience, we take satisfaction in knowing that we had a small part in making magic happen.”

That’s all they need. Meeting other theatre lovers, talking about each production and experiencing the unique response each audience member brings to every performance. That excitement and magic can be found in moments such as watching children experience a live performance for the first time through the Theatre for Young Audiences series or catching up with the regulars at SCR. Ushers discover that they become an important element in the productions at SCR.

John Nguyen, who began ushering on a whim, sums up his volunteer work as an experience that continually gives back. “Being an usher at SCR is one of the few great volunteer opportunities where you actually get something back the moment you show up to volunteer. And SCR is a wonderful place to meet new like-minded people. Whether you love theatre or simply like it, as an SCR volunteer usher, you are bound to learn more about the inner workings of this grand tradition.”

Interested in ushering? Go online to our website or email usher@scr.org to get details and volunteer your time.

A Salute to SCR’s Current Usher Team

South Coast Repertory extends a heartfelt thanks to the volunteer ushers* who love theatre, love SCR and love helping you have a great theatre experience!

Celeste Ames • Reyne Ames • Janice L. Amster • Kathy Anderson • Michelle Anthony • Leo Arko • Dorothy Arko • Charlotte Art • Stan Ashbaugh • Donna F. Ashbaugh • Catherine Aubert • Clara Baker • Elaine Barnard • Tamara Bazargan • Frank Beach • Carole Beach • Ginger Bengochea • Sandra Benson • Judith Berman • Annette Blaney • Dale Bohannon • Ann Marie Bown • Chie Bresnan • Shirley Bridwell • Toby Brown • Becky Bruno • Raquel T. Bruno • Jane C. Buck • Anne Budniewski • Mimi Buffington • Marilyn J. Bunton • Melissa Burgess • Nancy Burgess • Dona Burrell • Bob Byrd • Laurie Cable • Laura Cadieu • Mary Camarillo • Richard Cassiere • Judy Cawley • Tim Chin • Weiping Chu • Lisa Ciampa • Richard Clayton • Serene Clayton • Sandra Clement • June Cohen • Steven Cohen • Jean Cohn • Ellyn Cole • Mary Lou Coleman • Mary Collins • Sallie Coltrin • Ann Combs • Anna J. Combs • Bonnie Coons • Ron Craddick • Joanne Crane • Mary Jo Cumming • Lynda Daley • Jackie Davidson • Mary DeSloover • Pat Detro • Mario Divok • Arinda Dolter • Teri Drake • Kay Drysdale • Carol Ducommun • Marianne Duncan • Arlene E. Eckstein • Mary Ehrlich • Susan Faludi • Erika Faust • Ana Fluck • Karen Ford • Anita Ford • Fran Fordyce • Jan Fournier • John Franceschini • Erika Franceschini • Milli Fredricks • Jane Fretz • Ken Gaines • Christina Gaines • Gus Ganotis • Marion Garbatow • Janet Garrick • Don Garrick • Marlan Globerson • Darilyn Goffman • Anita Goldman • Leonard Goldman • Mary-Pat Gonzalez • Dan Gonzalez • Ken Gordon • Phillip Grange • Sandy Grange • Anita Greenberg • Lucie Greville • Lindee Gschwind • Sally Hall • Larry M. Halperin • Donna L. Halperin • Jean L Harduvel • Lori Harvey • John Hay • Carol Hay •  Janie Hemminger • Jan Hendricks • Mary Hendricks • Patricia A Henry • Margee Hills • Harriet Himmelstein • Harvey Himmelstein • Siddiqua Hirst • Susan Hodge • Joanne Hogan • Erna Hollerbach • Gail Holmes • Larry Holmes • Maria J. Hurban • Joan Ingram • Ethel G. Ison • Irene Iverson •  Greta Jacobs • William Jacobson • Elaine Janssen • K.C. Jimenez • Tanya Johnson • Edith Jones • Roman Jurenka • Mary Jurenka • John Kaufman • Roger Kempler • Ellen Kempler • Laurie Kluge • Mary Konrath • Donna Krebs • Kathie Kuehn • Alice W. Lahtela • Sheila M. Lane • Thu Le • Susan Lee • Duane Legg • Carol Legg • Kimberly Legg • Johanna Lemos • Barbara Leonard •  John D. Leonard • Judy Lerner • Mary Leshure • David Levy • Danice Limberg • David A. Limberg • Riva Lippincott • Fred Locarnini • Lisa Locke • Dianne Lundquist • Joan Lyons • Robert Lyons • Anne Mai • Marie A. March • Ken L. March • David March • Donna March • Rose Margulieux • Julia Marko • Cy Marsden • Tom Mason • Lisa Masterson • Sherry McCallon • Joan McDavid • Pam McDonald • Mary Pat McEnrue • Joan McMahan • Glenda Mercado • Jeanne Michaels • Tamar Morris • Christine Munoz • Joan Naideth • Mona Nassimi • Lynda (Muffy) Nelson • Gina Nessel • David Vien Nguyen • John D. Nguyen • David Nugyen • Yvette Nord • Joan Nortel • Jeanne A. Oelstrom • Edward Parr • Robert Pettis • Kay Phillies • Michele Phillips • Michael Plean • Marcia Plean • David Reaux • Glenda Reaux • Lori C. Redelsheimer • Ann Reiner • Kameel Renner • Serene Rhodes • John Riordan • Karen Robinson • Merry Rossini • Nancy Ryder • Ann Sabina • Joe I. Sandoval • Gay Geiser Sandoval • Shirley Saturensky • Jean Savage • Fran M. Sawyer • Mary Beth Schipke • Nanci Schrieber-Smith • Stephen Schrieber-Smith • Charlotte Schroeder • Maryam Sedadi • Joy Shaikh • Marcy Shapiro • Barbara Sherman • Blanche V. Sibner • Carolyn M. Simmons • Peter Simmons • Linda Simpson • Eileen Simpson • Raymond Simpson • Sarah Siskind • Paul Sochat • Judy Sochat • Stephanie Solomon • Anita Soriano • Amy Sosa • Marilyn Spielberg • Richard Spielberg • Christine Stadelmann • Bonnie Steele • Julie Stein • Sheila Stewart • Bibe Stockman • Lane Straley • Ann Tack-McClure • Sandra Tauber-Rosen • Christine Tfaye • Libby (Sally) Thomas • Will Tran • Lolita Trausch • Perle Tropp • Lee Van Dyke • Ita Vandenbroek • Elizabeth Varo • Patricia Vega • Kathleen Vogel • Richard Vogl • Jackie Vorona • Sandra Walker • Lynn Wallace • Suzanne M. West • Peter Wetzel • Marte Williams • Patricia Wittenberg • Sidney Wittenberg • Christina Wu • Susan Yada • Sheree Yang •  Ricci Zinger.

*Usher list current as of Jan. 7, 2015.

Memories Are Made of This: Friends of SCR Guilds

Martin Benson, Caroline LePlastrier and Norman A. Baker

In the early days, before South Coast Repertory moved from its home in a converted dime store on Newport Boulevard to the 4th Step Theatre in Costa Mesa, a group of arts-loving women started making noise.

End-of Season Auction

Not loud noise—they were too well-mannered for that.  But they wanted the rest of Newport Beach—and Orange County—to hear about the young theatre troupe that was producing exceptional work.

In 1974, fourteen of these enthusiasts banded together under the name Friends of SCR Guilds, working as volunteers and sponsoring fund-raising events.  By the end of the decade, membership was 180-strong with representatives from five local communities:  Costa Mesa, Newport Beach, Irvine, Inland Orange County and Huntington Valley.

And the End-of-Season Auction was in full swing.

Maureen DiDomenico, Catherine Thyen and Ann Mound.

Tana Sherwood, David Emmes and Rosemary Sieve

Daphne Walker and Doris Pascale

According to Ann Mound, an early Guilds chair, “The auction was a huge success because of the enthusiasm surrounding the event.  Everyone worked hard to get great items donated—from puppies to ponies to exotic trips, antique cars and motor boats—and we attracted so many people that we filled the Segerstrom Stage and overflowed onto the terrace.  A sound system was set up with mics so the outside crowd could bid!”

In 1980, that annual event—a variety show with silent and live auctions—raised $40,000.  “At first, we were the only game in town so everyone who was anyone attended the SCR auction,” said another early chair, Catherine Thyen.  “The event just kept on going—well into the ’80s.”

In fact, by 1985, under the leadership of Caroline LePlastier, the Guilds—which had grown to 265 members and added South County and Metro communities—threw a party to end all parties.  Titled “Calypso,” the End-of-Season Auction, featuring a steel band and limbo dancers, helped wrap up the Annual Fund Campaign with a record-breaking gift of over $110,000.

Through the years, volunteerism remained a strong arm of the Guilds.  In 1987 “Stagehand Docents” conducted tours for more than 1,800 people, Office Rescue volunteers provided over 750 hours of assistance to the SCR staff and hospitality committees hosted receptions for opening nights and seminars.

And the theatre-related parties continued—tennis tournaments and fashion shows co-sponsored with stores such as Saks Fifth Avenue; seasonal assemblies; an improv fund-raiser called “Theatre Tomorrow…Comedy Tonight,” chaired by Vickie de Reynal—events that added annually to SCR’s coffers.

During their more than 20-year span, the Guilds made a significant donation to SCR’s Annual Fund, but beyond that, Guild members added a heap of fun to everything they touched.  Who will ever forget that dynamic duo of twins, Daphne Walker and Doris Pascale, who were happy to kick up their heels onstage, singing and dancing at fund-raisers!

Some, like Doris and Daphne, are no longer with us; others have dispersed, joining donor groups like the Friends of SCR, Silver, Golden and Platinum Circles, the Gala Committee and the Board of Trustees.  Their enthusiasm still rings throughout the theatre, where they played such a big support role through its formative years and beyond.  SCR will be forever grateful.

Volunteering Today: Ushers

Today, South Coast Repertory has other volunteer opportunities, including service as an usher. More than 300 volunteer ushers assist SCR at shows by taking tickets, helping patrons to their seats, distributing programs and selling concession items and SCR merchandise. Volunteers see an entire season of theatre free-of-charge while mingling with theatregoers. Find out more information about ushering at SCR by emailing housemanager@scr.org or calling (714) 708-5068.

SCR’s 2014-15 Season: From the Mediterranean to Cornwall and Neverland

South Coast Repertory’s 2014-15 season moves from the Mediterranean island in Shakespeare’s The Tempest to Cornwall in a new take on the classic Tristan & Yseult, from Mecca in Zealot by Theresa Rebeck to an updated look at the Land of Oz in OZ 2.5 by Catherine Trieschmann. SCR will present classics and contemporary and new works, including Mr. Wolf by Rajiv Joseph, Of Good Stock by Melissa Ross and Peter and the Starcatcher by Rick Elice.

“This season features sparkling new productions by some of the most talented theatre-makers in the world. We have innovative re-imagined classics—Shakespeare’s The Tempest, seen through the magical lens of Teller (from Penn and Teller) and Kneehigh’s Tristan & Yseult—and fresh new plays that will soon move onto the world stage. This season will have something for everyone.” –Artistic Director Marc Masterson

On the Segerstrom Stage:

The Tempest
by William Shakespeare
adapted and directed by Aaron Posner and Teller
songs by Tom Waits and Kathleen Brennan
choreography by Matt Kent, Pilobolus
Aug. 29-Sept. 28
Transformed onstage into a travelling tent show, this is The Tempest unlike anything you—or the Bard—ever envisioned! As the wizard Prospero plots revenge on the enemies who banished him, the exuberant epic takes on a new life—thanks to the music (haunting ballads by the inimitable Tom Waits and Kathleen Brennan), the magic (by Teller, of the legendary Penn and Teller duo) and the movement (by Pilobolus, the dance troupe Newsday called “mind-blowing…wildly creative…and physically daring”). Produced in association with American Repertory Theater.

Zealot
by Theresa Rebeck
directed by Marc Masterson
Oct. 17-Nov. 16
Mecca, Saudi Arabia. The British consul pours tea for the American undersecretary of state, avoiding her questions—with answers to ones she hasn’t even asked. In the street below, a group of Saudi women set in motion a carefully-planned protest. The results are devastating enough to ignite a battle of wills and wits—now that a life hangs in the balance. This is a riveting story by a prolific Broadway veteran and Pulitzer Prize finalist.

Kneehigh’s Tristan & Yseult
adapted and directed by Emma Rice
writers: Carl Grose and Anna Maria Murphy
Jan. 23-Feb. 22
A cabaret band plays high above the stage as this classic myth about star-crossed lovers unfolds. King Mark is victorious in battle, and Yseult is destined to be his bride. But when he sends Tristan to bring her back, trouble begins. It’s played out with wild exuberance—and a touch of Tarantino—by Kneehigh, the English company that thrilled audiences with productions like The Wild Bride and Brief Encounter. This is the play that wowed critics (The Huffington Post: “Utterly timeless, delightful and engrossing”) and catapulted Kneehigh into the international spotlight.

Of Good Stock
by Melissa Ross
March 27-April 26
Part of the 18th Annual Pacific Playwrights Festival
Legendary novelist Mick Stockton left his three daughters a house in Cape Cod, control over his books, and a whole lot of issues. Years later, the men in their lives struggle to be part of this elusive family's legacy.  It’s not always easy keeping up with the whip smart and very funny Stockton Sisters, especially during a weekend filled with dramatic confrontations and surprising confessions.  But good scotch helps.  And, in the end, what matters most is family in this new play by the writer whose work Time Out New York called  “zesty, muscular and quick-witted.”

Peter and the Starcatcher
by Rick Elice
based on the novel by Dave Barry and Ridley Pearson
directed by Art Manke
May 8-June 7
They call him Boy, the orphan without a name. One day he’s whisked onto the good ship Neverland, and the century-old legend of Peter Pan gets its hilarious, exhilarating and wildly imaginative prequel. Sail with us across the seven seas as Boy becomes Peter in a swashbuckling tale of yesteryear, infused with pop culture imagery of today. Backstage called this winner of five Tony Awards “more fun than the proverbial barrelful of monkeys.”

On the Julianne Argyros Stage

Venus in Fur
by David Ives
directed by Casey Stangl
Oct. 5-26
Auditions are over for the day and Thomas still hasn’t found the perfect actress for his adaptation of a 19th-century erotic novel. Vanda stumbles into the bare rehearsal studio, soaking wet and hours late. She dons a white Victorian-era dress and mysteriously—hilariously—becomes the elusive leading lady. But the battle for sexual dominance that follows is not limited to the script in what The New York Times called “90 minutes of good, kinky fun.”

The Whipping Man
by Matthew Lopez
directed by Martin Benson
Jan. 4-25
The Civil War has ended, leaving destruction in its wake. As a raging storm illuminates what’s left of a once majestic plantation home, three Jewish men prepare for Passover—the owner’s son, and his family’s former slaves. Only one of them, Simon, remains strong in his faith, but it is threatened with truths about what happened in this house—and in their lives—during its antebellum days. Stage and television star Charlie Robinson plays Simon in this Obie Award-winning drama The New York Times proclaimed “haunting and powerful.”

To Be Announced
March 8-29
It might be a recent hit coming out of New York or London—or a world premiere by one of our commissioned playwrights. Stay tuned.

Mr. Wolf
by Rajiv Joseph
April 12-May 3
Part of the 18th Annual Pacific Playwrights Festival
Theresa is 17 years old, and she can map out the solar system. She understands the universe—how and why it came to be. She has a man named Mr. Wolf to thank for that. Now the only life she has ever known is coming to an end. She’s being taken away—turned over to people who are strangers to her. They can’t possibly understand her needs, when they seem to be lost, too. And they’re all asking the same questions: What is home? Where do I belong?

Theatre for Young Audiences

Charlotte’s Web
by E.B. White
adapted by Joseph Robinette
Nov. 7-23
The sounds of morning tell of something exciting that happened during the night. A pig was born. His name is Wilbur. And he’s destined to become tomorrow’s bacon—until a spider with amazing skills hatches a plan. This beloved children’s fable about love and friendship comes alive onstage—in a warm and witty production that helps young people understand the ever-changing cycle of life.

The Miraculous Journey of Edward Tulane
by Dwayne Hartford
adapted from the book by Kate DiCamillo
Feb. 6-22
Edward Tulane is a very dapper china rabbit—a birthday present for 10-year-old Abilene, who loves him almost as much as Edward loves himself. But when he gets lost at sea, Edward finds he has a lot to learn. Caught in a fisherman’s net, he lands in a garbage dump, travels with a happy hobo and comforts a sick child, bouncing along from person to person through decades until he discovers the transformative power of love.

OZ 2.5
by Catherine Trieschmann
inspired by The Wonderful Wizard of Oz by L. Frank Baum
May 22-June 7
Oz was never like this! That’s because it’s OZ 2.5: brighter, bolder, customized for every player, surprises around every corner—yes it’s a children’s classic set in a video game world! Dee’s moniker is Dorothy 14, and with the help of Scarecrow, Tin Man and Cowardly Lion, she gets through each level on her way to defeating the Witch of the Western Realm. But what happens when she wins the game and wants to go back to Kansas? Log on and find out.

Celebrate the 35th Anniversary Season of A Christmas Carol 

This is a special year for the Orange County holiday favorite, A Christmas Carol: for three-and-a-half decades, Hal Landon Jr. has portrayed Scrooge and John-David Keller has directed SCR’s beloved production. Don’t miss this special milestone year!

Check out the full lineup!

Season subscriptions are on sale now and may be purchased by phone at (714) 708-5555 or in person at the SCR box office. Packages range from $48 to $549. Single tickets will be available to the public on Aug. 1 and tickets for A Christmas Carol go on sale to the public in mid-to-late August. All dates and plays are subject to change.

Behind the Scenes With the Costume Shop

A Christmas Carol.

.

Part of the magic of theatre is what comes out of its costume shops. South Coast Repertory has a creative team of artisans who work to create the varied and beautiful costumes for characters in our plays. We sought out Amy Hutto, costume shop manager, with a few questions about the fabric arts.

How long have you been in theatre?
AH: I have been involved in theatre since 1978 and spent many of my early years at Monmouth College as faculty and as a designer/tech director. I have been making costumes since 1986 in Naples, Florida at a theatre that sadly doesn’t exist anymore. I’ve been at SCR for over 17 years.

What are costumes at SCR made from?
AH: Anything we can find. We primarily use natural fibers like cotton and wool. At some of the smaller theatres I’ve been at we had to use a lot of polyester which is not such a joy to work with.

How long to make a finished piece?
AH: That all depends of course on the show and what we are making. For a traditional gown that you would have seen in Pride and Prejudice it takes between 60 and 100 hours, but for a contemporary outfit like those in 4000 Miles it can only take between 20 and 40 hours. Between material and labor the gown probably costs around $1,200 to make. And whenever I meet our donors, I tell then that they are part of each dress or jacket we make because without their support the show would look very different.

How do you produce a costume?
AH: First there is the design process. Once the designs are finalized, we source the materials from what we have on stock and what needs to be ordered. I will say that sites such as Etsy online have made life easier when we don’t have the materials like antique handkerchiefs or the time to hand crotchet twenty pairs of gloves for example. Then of course there is construction and fittings and more construction and tweaking.

Tim Cummings and Carmela Corbett in Eurydice.

What’s your favorite piece?
AH: I really like the gowns for Fred’s party in A Christmas Carol. I think they are just beautiful.

What was the most difficult piece you’ve created?
AH: I think the 15-foot-tall costume in Eurydice. That was a tricky piece. There was a ton of structure and we had to coordinate between multiple departments to check to see if the doorway was big enough and the platform high enough so when it moves it won’t roll over itself. That piece took 80 yards of fabric. I also think that when there are a lot of pieces to be made like in Cyrano de Bergerac it can be scary for us. However, when we have time, even a project like Charlie’s padded suit in The Whale won’t cause heart palpitations. I think we started that one about a month earlier than we would normally start a project.

Love for Theatre Fuels a Lifetime

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Seated on the terrace at South Coast Repertory, Leonard and Fran Rich are brimming with anticipation. As they wait for the Tuesday evening chimes to sound the five-minute call to be seated in the theatre, they are passionate and animated about their love for theatre—the art in general and SCR in particular.  They’ve been audience members at SCR for more than 30 years.  For both, theatre is an avocation they “truly and deeply love.” One home to them is SCR. Leonard writes:

“I was fortunate to have been raised by parents who enjoyed the theater. Although St. Louis, Missouri lacked the quantity and variety of theaters found in New York or (now) in Los Angeles, we did have the renowned St. Louis Municipal Opera during the summers and the American Theater, a venue for travelling troupes during the fall, winter and spring seasons.

The Municipal Opera, recognized as the MUNY, allowed us to see the best of musical operetta under the stars. Recognized lead performers were cast for each show and supported by an annual repertory cast for singing, dancing and other supporting roles. An orchestra, largely populated by members of the St. Louis Symphony Orchestra during their off season, provided a classy musical background.

Starting at age 4, I was introduced to Rudolf Friml, George Gershwin, Oscar Hammerstein, Victor Herbert, Moss Hart, Sigmund Romberg, Cole Porter and many other fabulous composers and of the era via the MUNY. My grandfather was usually given tickets in exchange for his articles in the newspaper that he edited.

In 1943, my father’s wartime job led to my first visit to New York—at age 11—and the opportunity to see the original cast production of Oklahoma. Unfortunately, at the time of my attendance, Curley was played by an understudy, not Alfred Drake. Another memorable experience was the opportunity to see a special performance for the sale of war bonds, which included the number “Oh How I Hate to Get Up in the Morning” by the legendary Irving Berlin.

The theatrical exposure continued as I grew up in St. Louis, attending performances at both venues with my parents.

During a short military career, a brief trip to New York provided me with the opportunity to see the New Faces of 1953, with its fabulous cast of future stars of stage and screen. While in that same army career, largely stationed in Detroit, I had the opportunity to see a traveling performance of Kismet.

Fran and I married in 1956. She quickly became a kindred aficionado of the theater. In 1964, at the urging of my parents we visited New York and had the thrill of seeing The Sound of Music with Mary Martin and Theodore Bikel. Mary Martin was a magical performer! The room was electrified with the energy of a truly charismatic personality.

With the progression of time, additional theatrical venues appeared in St. Louis. These included the Loretto Hilton Theater at Webster College, the Edison Theater at Washington University and the Westport Playhouse, all of which provided quality theatrical entertainment.

In 1982, we moved to California and were immediately attracted to SCR. We were immediately impressed and delighted by the post performance discussions on Tuesday nights, now the “talk backs” We were further impressed by the current play dissertations in the “Subscriber” and the performance program. Add to that, the brilliant commentary from Jerry Patch and John Glore. Each provided a delightful and challenging perspective which often made a complex play theme understandable.

For more than 30 years, we have been subscribers to and attended performances at South Coast Repertory.

We have thoroughly enjoyed the members of the repertory company present when we first became attendees. Now, as we enjoy current performances by Richard Doyle and Hal Landon, Jr., We also appreciatively remember the work of Martha McFarland, John David Keller, Art Koustic and many others.

Fran became an active and enthusiastic member of the Theater Guild. The 1980s and early 1990s were an era of engagement and involvement, which is fondly remembered. In those earlier days, personal participation by leading guided tours of the theater and speaking about the theater to a variety of community organizations was extremely satisfying.

As subscribers to the two SCR Stages, and attendees to many NewSCRipt stagings, many of the new StudioSCR series, we have consistently been aware of the professionalism of the performers, the quality of the staging, the uniqueness of the sponsorship of new works and many other aspects. We particularly enjoy and appreciate the willingness to present controversial and avant guarde topics and ideas which are not always as expected in conservative Orange County.  The spontaneous action of Orson Bean to cover a stagecraft malfunction in Smokefall was unique.

As consistent theater buffs, we have also been season subscribers to such other venues as Pasadena Playhouse, the Ahmanson Theater, Chance Theater, California State University Fullerton Theater Arts and frequent attendees at productions at the Geffen Theater, the Laguna Playhouse, the Kirk Douglas Theater, etc. with SCR as the hub.  We appreciate and enjoy the vast body of theatrical talent that is found in metropolitan Los Angeles and is just waiting to be discovered.

We would estimate seeing nearly 100 live performances annually. Perhaps we were born to be the ‘4th Wall’ It is an avocation which we deeply and truly enjoy.”

Creating The “Look” Behind the Season: SCR’s Artwork

Graphic Designer Crystal Woolard

The plays have been selected and the production schedules are being finalized. The next step for a season: what will its look be in brochures, online, advertising, postcards, posters and other promotional materials?

Enter SCR’s graphic designer Crystal Woolard. She loves finding different ways to tell a story.

“Sometimes it's with pictures, sometimes words,” she says.  “Sometimes it’s photographing an actor in an old, unused telemarketing room or trying to find the best way to illustrate a stinky cheese man.  Every day is different.”

There are a number of steps she goes through when designing the images that playgoers see in the season brochure each summer. Of course, she first reads each play!

“As I read, I write down key words or powerful images that the play’s text suggests,” she relates. While she is working to visually determine how to describe the play, another staffer is reading the plays and writing brief descriptions about the works. Both words and images need to blend to create an impact for playgoers or prospective audience members.

“Also, with our 50th Season, we wanted to represent the importance of SCR, the impressive productions over the years, as well as the exciting plays of the coming season,” says Woolard.

After she has done her initial sketches, the artistic director and marketing director provide their feedback “to make sure that the images I create really support how we are describing the play,” she explains. This is an important step. given the large number of new works that SCR produces.

From there, Woolard designs and finalizes the “look” for season materials Along with her associate graphic designer, the final art is created. Each piece will be used differently—in a brochure or an ad, on a poster or a postcard, online, in color, in black-and-white, horizontally, vertically … the applications seem almost unlimited.

Woolard says some of the most careful listening in the design process comes when she needs to “see” ideas and concepts through the eyes of others, and then bring those many viewpoints together and create a single vision for the show art.

That can be a challenge, especially in the case of new plays.

“With world premieres, the script often goes through revisions,” she says. “Our challenge is to capture the essence of the story to entice an audience to come see it, but sometimes without knowing how that story might actually end up”

At the end of the day, Woolard says her job is fun.

“When I see the plays and discover that it and the show art have the same vision, that’s really great for me,” she explains.

And the other fun part? “When hundreds of boxes of brochures are delivered and we get to open them and look at the final product!”

The 50th Season and Beyond

Fifty years ago, a band of untested former theatre students embarked on “an artistic odyssey on little more than raw talent and enthusiasm.” That’s the genesis for South Coast Repertory, which has done tremendous work serving the Orange County community—and American theatre—for a half-century.

“Sometimes it’s easy to forget the power of what you have in your own backyard,” says Marc Masterson, South Coast Repertory’s artistic director. “We should never take for granted David Emmes and Martin Benson—and the rest of the SCR team—have built here and what has been accomplished as a result of the community leadership that got behind their vision and enabled them to grow this company into one of the finest theaters in America.

“We should celebrate that in our 50th year and we should celebrate them because they are really pioneers and entrepreneurs and innovators. They built something truly special here and we need to take care of it. We need to build on it for the future,” he says.

“From inception, SCR has been blessed with a forward-thinking community who realized the potential to have world-class theatre in their own backyard” says Managing Director Paula Tomei.  “David and Martin inspired audiences with the risks they took onstage and gained respect for their business savvy, which gives us a position of strength as we move into our next 50 years.”

With an eye toward the future, Masterson sees the world becoming a “smaller” place.

“We live in a global culture and the work that South Coast Repertory will do over its next 50 years will increasingly reflect that world community,” he says, taking a moment to reflect on SCR.

“I think we will have significant artists from the world stage here with us and we will take our work out more globally, as we did this past season by taking Chinglish to the Hong Kong Arts Festival. People in other parts of the country and the world know SCR more through the plays that have begun here than they do through re-productions of the classics or other contemporary plays and repertoire,” he says.

“You only turn 50 once and we're planning to mark this year with a series of activities aimed at celebrating all things SCR” says Tomei.  “There will be public displays that trace our history as a company, an open house with tours and backstage insights into the artistry of SCR and recognition throughout the season on our website and otherwise of the artists, audiences and community leaders who have helped define SCR throughout the years.”

“As we move forward, I think we will continue to examine how we reflect the community around us and engage not only our local Orange County community, but that global one as well,” adds Masterson.

The Julianne Argyros Stage—Tied to Our Mission for New Works

Presenting new works is special and amazing for Marc Masterson.

“In doing new plays you are part of the generative process,” says Masterson, South Coast Repertory’s artistic director.  “If I direct Death of a Salesman [which Masterson will direct this fall], I’m interpreting something that has been done many times before by other people. I measure myself against that other mountain of productions.

“But with a new play, I am part—and SCR and the audience are part—of the creation of that work. We launch it into the world. Our audience has an opportunity not only to see something before any other audience sees it, but also to help shape it through their response to things. The playwright is there, the directors are there and everybody is listening to what our audience thinks. Fundamentally we want to make good theater with these plays and tell a story to our audience that gives them a chance to respond and participate in the creation of something.”

Masterson says some of the most successful recent works have been world premieres, like Beau Willimon’s The Parisian Woman, one of the most successful shows in SCR’s history.

Here are some quick-takes on how Masterson sees the new works coming up on the Julianne Argyros Stage:

• “Fast Company is a caper. It’s a heist and a grifter story and you don’t know who to believe and who to trust. It moves at a lightening pace and it keeps you guessing right up until the end. It’s a fun and fresh contemporary play that will be directed by Bart DeLorenzo. Bart is going to bring his magic to the storytelling and I’m really looking forward to seeing what they do. I know there’s going to be great design and great acting and it’s going to be fun!”
   
• “Trudy and Max in Love… is a contemporary love story. Maybe you would call it a “twenty-something” love story. It’s young love in every sense: the way people live, the way people love and the way people interact. It has great heart and a wonderful sense of humor about it. You care about these people and you want them to, if not have a happy ending, at least to have learned something from the experience of falling in love that way.”
  
  
• “Reunion is visceral. It’s highly theatrical, “gut-check” play. It’s a great contemporary drama that has opportunity for virtuoso performances. When you see Reunion, you will know that you’re in a live theater event and not in a movie or watching television. It is right there in front of you and you’re going to feel it.”

“I think all of these plays have something to offer our audiences,” Masterson says. “They’re fresh, they’re exciting, they’re new but they’re good stories well-told. And we’re looking forward to announcing the final world-premiere work during our season. It will be one of the anchors for our 17th Pacific Playwrights Festival in the spring.”

And his hopes for the 50th season?

“I hope that people will feel and different times of the year that they have been delighted and surprised. Come with an open mind and encounter something surprising. Learn about who we are by watching these stories. Enjoy the variety of these experiences and come back for more!”

Marc Masterson Talks Theatre, SCR and 50th

Charlie Robinson as Willy Loman in Death of a Salesman.

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Masterson on Segerstrom

“Great actors deserve great roles.”

—about Arthur Miller,

Death of a Salesman

“Her work is subtle and smart. She is one of the bright lights in American theatre.”

—about Amy Herzog,
4000 Miles

“Piazza is a lovely musical—a beautiful story, elegantly told.”

—about Craig Lucas’
The Light in the Piazza,
with music and lyrics
by Adam Guettel.

“Sam is a rising star in the American theatre. The compassion and love in this play is breathtaking.”

—about Samuel D. Hunter,
Rest

“Here is a fierce, dark, and funny take on a classic by Moliere by one of the most inventive directors working today.”

—about Moilère’s Tartuffe,
which was the first production (1964) done by South Coast Repertory.

The Stage is Set: Segerstrom Stage for SCR’s 50th Season

For Marc Masterson, many things factor into programming a theatrical season. One of them came up over a lunch with actor Charlie Robinson.

“I asked him the question, ‘What roles do you want to play? What are the great roles that you feel challenged by?’” Masterson recalls. It was a great lunch topic for SCR’s artistic director and his long-time actor friend. “I believe that when an artist is challenged, they have the opportunity to do their best work. And Charlie said he wanted to do Arthur Miller’s Death of a Salesman.”

And that’s the work that opens SCR’s 50th Season.

Early in the summer, Masterson gathered a group of actors, including Robinson, to do a reading of the play to hear it.

“Out of this initial reading, the challenges, strengths and universality of it were apparent and clear to us,” he says. “It’s a classic play that has been produced in almost every language, in different cultures and different contexts. I think we demonstrated that the play is deserving of a great cast.”

Masterson says the variety of offerings on the Segerstrom Stage is exciting: classics like Death of a Salesman and Molière’s Tartuffe (which was SCR’s first production in 1964), the highly acclaimed 4000 Miles by Amy Herzog, and the world premiere of Samuel D. Hunter’s Rest.

“I’m extremely excited about Rest,” says Masterson. “It’s compassionate and loving in a way that is breathtaking. He’s got the ability to write a story with characters in it that you deeply care about. They have problems that are so human and so understandable. It’s a beautiful, beautiful work of art. Sam is definitely a rising star and has had a great deal of success already. I think this play is going to launch him into the stratosphere.”

Masterson also looks forward to what he calls one of his favorite musicals: The Light in the Piazza, by Craig Lucas, with music and lyrics by Adam Guettel.

“South Coast Repertory has had a great relationship with Craig from early in his career,” Masterson relates. “And I’m also a fan of Adam. They have created something beautiful in The Light in the Piazza: it’s a lovely story, elegantly told. I can’t wait to share it with our audiences.”

Find out more about the Segerstrom Season

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Tell Me a Story

For Marc Masterson the heart of a theatrical season is a good story, well told.

Now entering his third year as SCR’s artistic director, Masterson recently talked about the general approach to developing a season.

“It should reflect variety,” Masterson says. “A season should be surprising and something of a journey. It may have a drama followed by a comedy, with a darker story and maybe a musical. You want classics and new in the mix. And along the journey of moving through the season, I also want to keep people guessing.”

Masterson says that planning starts by “falling in love” with more works than a season could possibly hold and then making decisions about specific plays from the large pool of works. Among the factors that could help with the decision: a great role for a particular actor, a story that needs to be told, or a new work that’s in development and that SCR wants to be a part of.

And then there’s reality, which always comes in at some point: “Can we afford to do all of the things we want to do?” Masterson says that some adjustments could make one play a possibility, or find another play that might wait a bit longer before coming into a season. Also there are decisions about plays that he and Founding Artistic Directors David Emmes and Martin Benson may want to direct.

“We have a tradition at SCR of offering a great mix,” he says. “Our seasons mix classical and contemporary work and world premieres that will continue to shape not only the future of SCR, but of American theatre as well. That’s right in line with our mission.”

An Inside Look with SCR’s Wig Master Laura Caponera

A green wig and facial hair wait to be styled.

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Wig Master Laura Caponera styles a wig.

What’s your professional title?

Wig Master is what I do, but my official title is hair and makeup supervisor.

How long?

I have been making wigs since my internship at the Actors Conservatory Theatre in 1997, so over 15 years.

What are wigs made from?

Most wigs are human hair or synthetic hair.  Some are made of yak hair. Wigs can be made of almost anything; I just made two wigs for Eurydice of wool yarn!

How much hair to make a wig?

A human head has an average of 100,000 hairs. A wig has something like 30- to 50-thousand. The more expensive wigs are hand-knotted one or two hairs at a time.

How long does it take to make a wig?

A fully hand-tied wig should take about 40 hours, but can take longer based on how difficult the hair is to work with, or if the color pattern and direction is very intricate.

Wigs in the wig dryer.

How many steps are there to prepare a wig for a production?

First, there is the build process. Once the wigs are made, then they are styled. Usually, they are wet-set and dried in a special cabinet called a wig dryer. For longer wigs, we set them in a roller set that has been photographed for reference so it may be duplicated for each performance. The wigs also may have been cut and colored. And we do use hair product in them so they are routinely washed and conditioned to be there best.

What is the cost of the wigs we make?

Theatrical wigs can range from under $100 for a factory-made wig, to several thousand dollars for a fully hand-made wig.  Even an inexpensive hand-made wig may cost $200 in labor to create a hand-made hairline. Supplies are costly and becoming rare. Long fine hair is becoming more and more scarce, and expensive.

What’s your favorite piece, and for what show?

There have been so many things it is hard to remember them all, but I think my favorite things have been for print publication work, and Halloween costumes.  For my good friend last year, I made a 1970s, bright yellow wig that was double-decker with a bird cage full of blue birds inside.

Design, Measure, Stitch, Fit, Tuck

SCR’s Costume Shop is a marvel of texture—fabric, thread, buttons—and it hums with activity and sound—fittings, sewing machines, rustling cloth. The artisans who create the myriad of costumes are fully into the 2012-13 season, having worked already on Absurd Person Singular and Eurydice. Up next: How to Write a New Book for the Bible, Robin Hood and A Christmas Carol. Says Amy Hutto, costume shop manager, “There is so much variety in our season and our pace is so brisk that we seldom have time to get bored! There is always a new challenge on every show.”