The Siegel
by Michael Mitnick
directed by Casey Stangl
March 24, 2017 - April 23, 2017

The Siegel Logo

Ethan Siegel is in love. Tonight he's going to ask Alice's parents for permission to marry her. Timing is everything, though, and Alice is reeling from working on a lost election—not to mention they broke up two years ago and she’s seeing someone else. But Ethan is undaunted. His journey makes for an irresistible comedy about modern love, uncertain times and the need to go back in order to move forward.

Previews: March 24-30, 2017
First Night: March 31, 2017
Regular Performances: April 1-23, 2017

Recommendation: Suitable for high school and above. Contains adult language.

Running Time: Approximately ​90 minutes, with no intermission.

Michael Mitnick wrote Sex Lives of Our Parents (Second Stage Uptown, The Kennedy Center), Fly by Night with Will Connolly and Kim Rosenstock (Drama Desk-nominated for Best Musical, Playwrights Horizons, Dallas Theater Center, TheatreWorks), Ed, Downloaded (Denver Center Theatre Company, Washington Ensemble Theatre) and Spacebar: A Broadway Play by Kyle Sugarman (City Lights Theater Company, The Wild Project). His songs have been sung at Lincoln Center, Joe’s Pub at the Public Theater, The Cutting Room and The Guggenheim. He is currently writing commissions for the Geffen Playhouse and Roundabout Theatre Company. His film work includes screenplays for The Giver and the upcoming The Current War with Benedict Cumberbatch and Michael Shannon (December 2017). In television, he wrote for the HBO show “Vinyl.” He has a BA from Harvard University and an MFA in playwriting from the Yale School of Drama. Mitnick was born and raised in Pittsburgh.

Learn more about the production, cast & creative team with a peek into the program. Read full artist bios, in-depth articles and more.

Amy Aquino* (Deborah) is thrilled to be back at SCR, having performed in Sarah Treem’s A Feminine Ending (2007). She began her career in New York, where she had roles in numerous productions at Playwrights Horizons and Circle Repertory Company; in Wendy Wasserstein’s The Heidi Chronicles on Broadway and, more recently, in Wasserstein’s Third at Lincoln Center; and Jonathan Tolins’ Secrets of the Trade at Primary Stages. Her West Coast appearances include Maria in Twelfth Night at San Diego’s Old Globe, Mark Taper Forum’s production of Living Out and the Geffen Playhouse’s The Underpants by Steve Martin. Aquino’s film career spans Working Girl and Moonstruck through White Oleander and In Good Company to last year’s Lazarus Effect. Before landing her current role as Lt. Billets in Amazon’s hit series, “Bosch,” she was a regular on television’s “Brooklyn Bridge” and “Picket Fences” and made countless guest appearances including recurring roles in “Glee,” “Curb Your Enthusiasm,” “ER,” “Everybody Loves Raymond,” “Freaks and Geeks,” “Felicity” and SyFy’s “Being Human.” She holds an MFA in acting from the Yale School of Drama, is married to financial advisor Drew McCoy and served 20 years as a national officer of SAG-AFTRA. @aquino_amy

​​​Matthew Arkin* (Ron) previously appeared at SCR in All the Way, The Whale, The Prince of Atlantis and Our Mother’s Brief Affair. His Broadway credits include Losing Louie, The Sunshine Boys and Laughter on the 23rd Floor. Off-Broadway, he appeared in Dinner with Friends (Drama Desk nomination), Rounding Third, Indian Blood, War in Paramus, You Should Be So Lucky and Moonlight and Magnolias. His regional theatre work includes Surf Report at La Jolla Playhouse, The Scene at Hartford Stage, Sight Unseen at George Street Playhouse, Little Footsteps and Lost in Yonkers at Pennsylvania Stage Company, Around the World in 80 Days at The Cape Playhouse, A Thousand Clowns at American Stage Company, Two Rooms and True West at TheatreWorks and Talley’s Folly at Bay Street Theatre. His film and television credits include Margot at the Wedding, Second Best, Raising Flagg, Death to Smoochy, An Unmarried Woman, The Curse, “Aquarius,” “NCIS,” “Switched at Birth,” “Harry’s Law,” “Medium,” “Rescue Me” (recurring), the “Law & Order” franchise, “Ed,” “Third Watch,” “100 Centre Street” (recurring), “All My Children” (recurring) and “Simple Justice.” Arkin is director of SCR’s Acting Intensive Program and the author of the suspense novel In the Country of the Blind available at Amazon. For more information, visit

Ben Feldman* (Ethan) is honored to be making his SCR debut. Previously, he appeared on Broadway in The Graduate, opposite Kathleen Turner. Currently, he can be seen on the NBC comedy, “Superstore.” This spring, he returns to HBO’s “Silicon Valley” as attorney Ron LaFlamme. His previous television credits include “Mad Men” (2012 Primetime Emmy Award nomination), “A to Z,” “The Mindy Project,” “Children’s Hospital” and “Drop Dead Diva.” His film credits include Between Us, As Above So Below, Friday the 13th and The Perfect Man. He earned his BFA in acting from Ithaca College.

Mamie Gummer* (​​Alice) is making her SCR debut. Last year, Gummer received rave reviews and a Drama Desk nomination for her lead performance of Jess in Roundabout Theatre Company’s production of Ugly Lies the Bone. The actress made her off-Broadway debut in 2005 with the premiere of Mr. Marmalade, opposite Michael C. Hall (Theatre World Award). She then went on to co-star in Uncle Vanya with Maggie Gyllenhaal, Peter Sarsgaard and Denis O’Hare (Lucille Lortel nomination) and The School for Lies at The Classic Theatre Company, The Second Stage’s The Water’s Edge (Lucille Lortel nomination), Lillian Hellman’s The Autumn Garden, opposite Allison Janney and John Benjamin Hickey (Williamstown Theatre Festival) and the Tony Award-nominated Broadway revival of Les Liaisons Dangereuses, also for the Roundabout. She currently stars in the Amazon Studios and BBC drama, “The Collection.” Her additional television credits include WGN America’s “Manhattan” (Nora), CBS’s “The Good Wife” (Nancy Crozier), “Emily Owens, MD” (Emily) for the CW and HBO’s “John Adams” and “The Big C.” Her films include Ricki and the Flash, The End of the Tour, Cake, Taking Woodstock, Evening, The Lifeguard, Side Effects, Echo Park and the upcoming An Actor Prepares, opposite Jeremy Irons and Jack Houston.

​​Devon Sorvari* (​​Jordan) is thrilled to be making her SCR debut. Her theatre credits include Elaine Robinson in the first national tour of The Graduate and productions at Lincoln Center (Ah, Wilderness!, The Brontë Cycle), Mark Taper Forum (The School for Scandal), The Cape Playhouse (Inherit the Wind), Alley Theatre (A Christmas Carol), Philadelphia Theatre Company (The Play about the Baby), Alabama Shakespeare Festival (Hamlet, Much Ado About Nothing), Cleveland Playhouse (The Imaginary Invalid), Buffalo Studio Arena (Summer and Smoke), Syracuse Stage (Romeo and Juliet), The Mint (Pericles), HERE (Greed Flood), Expanded Arts (As You Like It), Tribeca Lab (Macbeth), A Noise Within (The Illusion), L.A. Theatre Works (Fathers and Sons, Uncle Vanya, Cyrano de Bergerac and others) and The Crucible and others at Antaeus Theatre Company, of which she is a proud company member. Her film credits include dying a gory death in the latest Hellraiser movie. Her television credits include “The Mentalist” and recurring roles on “Gilmore Girls” and “ER.” She also is an award-winning audiobook narrator, and a graduate of NYU’s Tisch School of the Arts.

​​​​Dominique Worsley* (​​Nelson) is thrilled to make his California and South Coast Repertory debuts. His theatre credits include Tug of War: Foreign Fire (Chicago Shakespeare Theatre), Accidentally Like a Martyr, The Mutilated (A Red Orchid Theatre), Tartuffe (Court Theatre) and Grand Concourse, Animal Farm and Blacktop Sky u/s (Steppenwolf Theatre Company). His television credits include Fox Network’s, “APB.” Worsley received a BFA in theatre from the University of Illinois at Champaign-Urbana.
Creative Team
Casey Stangl (Director) returns to SCR after just directing Flora & Ulysses. Her other SCR work includes David Ives’ Venus in Fur, Sarah Ruhl’s In the Next Room, or the vibrator play, Sofia Alvarez’s Between Us Chickens and many Theatre for Young Audiences productions. Her recent projects include Cloud 9 for Antaeus Theatre Company, where she also directed the award-winning productions of Peace In Our Time, The Curse of Oedipus and The Liar; Nambi E. Kelley’s adaptation of Native Son for La Jolla Playhouse/UCSD; Stage Kiss for Guthrie Theater; Ah, Wilderness, Love and Information and Venus in Fur for American Conservatory Theater; and development work on The Bottomless Bowl, a new Josh Kornbluth piece, at Berkeley Repertory’s Ground Floor. Stangl was the founding artistic director of Eye of the Storm Theatre in Minneapolis—a company devoted to new work—for which she was named Minnesota Artist of the Year. She is a member of the Ovation Rules Committee at Los Angeles Stage Alliance and proudly serves on the executive board of the Stage Directors and Choreographers Society, the national labor union for stage directors and choreographers.

Michael B. Raiford (Scenic Design) is a scenic and costume designer based in Austin, Texas. He previously designed Orange, Going to a Place where you Already Are, Peter and the Starcatcher and Death of a Salesman at SCR. His national and regional theatre and opera credits include Geva Theatre (Rochester, NY), The Cleveland Play House, Opera Boston, Kansas City Repertory Theatre, Central City Opera, Aurora Theatre Company, PlayMakers Repertory Company, Maltz Jupiter Theatre, Ford’s Theatre (Washington, D.C.), The New Victory Theater (New York) and Actors Theatre of Louisville. At Actors Theatre, Raiford designed more than 20 shows including a dozen world-premiere productions at The Humana Festival of New American Plays. In Austin, he has designed at Ballet Austin, Austin Lyric Opera, Rude Mechanicals, ZACH Theatre and Hyde Park Theatre. In addition, he recently directed Blast, The Music of Disney for a national tour of Japan. Raiford received his MFA from University of Texas at Austin, where he also taught design for 10 years. He is a member of United Scenic Artists, Local 829. To see more of his work, visit

David Kay Mickelsen (Costume Design) has designed more than 300 productions at the nation’s leading theatres including SCR; Guthrie Theater; Denver Center Theatre Company (59 productions); Arizona Theatre Company (47 productions); The Cleveland Play House (21 productions); Cincinnati Playhouse in the Park (14 productions); Ford’s Theatre (Washington, D.C.); Williamstown Theatre Festival; Berkeley Repertory Theatre; Geffen Playhouse; Pasadena Playhouse; Laguna Playhouse; The Old Globe; San Diego Repertory Theatre; A Contemporary Theatre; the Oregon, Utah, Colorado and Illinois Shakespeare festivals; Studio Arena Theatre; Portland Center Stage; Northlight Theatre; Pioneer Theatre Company; Geva Theatre; The Repertory Theatre of St. Louis; Children’s Theatre Company of Minneapolis; Tennessee Repertory Theatre; Missouri Repertory Theatre; Sundance Theatre Festival; New Mexico Repertory Theatre; Pennsylvania Center Stage; Florida Stage; The Maltz-Jupiter Theatre; Ensemble Studio Theatre; Irish Repertory Theatre; Theatre of the Open Eye; Jean Cocteau Repertory Theatre; The Hampton Playhouse; and Timberlake Playhouse. Originally from Canby, Ore., he graduated with an MFA from California Institute of the Arts and is a member of the United Scenic Artists.

Elizabeth Harper (Lighting Design) returns to SCR, where she previously designed District Merchants, Office Hour, Venus in Fur, tokyo fish story and Reunion. Her design credits include Ma Rainey’s Black Bottom and Immediate Family (Mark Taper Forum); A Raisin in the Sun, Woman Laughing Alone with Salad and Throw Me on the Burnpile and Light Me Up (Kirk Douglas Theatre); Play Dead, Wait Until Dark, Bad Jews and Good People (Geffen Playhouse); The Twentieth-Century Way and The Golden Dragon (Ovation Award winner, The Theatre @ Boston Court); and Crescent City (The Industry). She served as a technical consultant for installations at Los Angeles County Museum of Art and Greene Naftali. Her industrial lighting projects include events for Microsoft, On-Live, Ubisoft and Universal Studios. Harper holds an MFA in design for stage and film from Tisch School of the Arts at New York University. She is a guest lighting design instructor and lecturer at CalArts.

Cricket S. Myers (Sound Design) is thrilled to return to SCR after designing Red, Mr. Wolf, Zealot, Trudy and Max in Love, 4000 Miles, The Fantasticks, The Parisian Woman, Sight Unseen, Elemeno Pea, The Trip to Bountiful and Three Days of Rain. On Broadway, she earned a Tony Award nomination and a Drama Desk Award for her design of Rajiv Joseph’s Bengal Tiger at the Baghdad Zoo. She has designed regionally at the Ahmanson Theatre (Sunshine Boys), Mark Taper Forum (Bent, Steward of Christendom, Joe Turner’s Come and Gone, Vigil, Bengal Tiger at the Baghdad Zoo, The Lieutenant of Inishmore), La Jolla Playhouse (Guards at the Taj, Sideways, The Nightingale), Berkeley Repertory Theatre (In the Wake), Arena Stage (Book Club Play), Kirk Douglas Theatre (Endgame, Twist Your Dickens, The Little Dog Laughed), Pasadena Playhouse (Stoneface, Above the Fold), The Los Angeles Theatre (Carrie) and Geffen Playhouse (Play Dead, Wrecks, Some Girls, Emergency). Myers also designed Tangled, The Musical aboard the Disney Magic cruise ship. She has earned 20 Ovation Award nominations and won the Los Angeles Drama Critics Circle Kinetic Award for Outstanding Achievement in Theatrical Design and Los Angeles Drama Critics Circle and Garland Awards.

​​Jerry Patch (​​Dramaturg) was affiliated with SCR from 1967-2005 and returned in 2014 as literary consultant. He served as dramaturg on nearly 150 new plays developed and seen at SCR including the world premieres of Abundance, Freedomland, Golden Child, Intimate Apparel, Search and Destroy, Three Days of Rain and Wit. He was project director of SCR’s Pacific Playwrights Festival from its 1998 inception through 2005 and, for seven years, served as artistic director of the theatre program of Sundance Institute. As a professor of theatre and film, he taught at Long Beach City College, UC Irvine, UC San Diego, CSU Long Beach and other institutions. He was consulting dramaturg for New York’s Roundabout Theatre Company for nearly a decade and left SCR to become resident artistic director for The Old Globe in San Diego. He is an artistic consultant, following seven seasons as director of artistic development, for Manhattan Theatre Club in New York.

Roxana Khan* (Stage Manager) is returning to SCR after working on All the Way and Mr. Popper’s Penguins earlier this season. She recently spent five seasons at Tony Award-winning Oregon Shakespeare Festival on Guys and Dolls, Head Over Heels, The Count of Monte Cristo, The Cocoanuts, Into the Woods, King Lear, The Tenth Muse, Romeo and Juliet, Animal Crackers, WillFul and Henry IV, Part II. Her Los Angeles credits include A Cinderella Christmas (Lythgoe Family Panto/Pasadena Playhouse), The Golden Dragon (The Theatre @ Boston Court), Guys and Dolls and Into the Woods (The Wallis Annenberg Center for the Performing Arts), Godspell, The Boxcar Children and Charlotte’s Web (Laguna Playhouse) and Kirk Douglas Theatre. She has stage-managed play festivals, readings and workshops along the west coast. She earned her degree from Biola University and is a proud member of Actors’ Equity Association.

Sue Karutz* (Assistant Stage Manager) has been part of the stage management team at SCR for 20 productions, her favorites being the recent Moby Dick from Lookingglass Theatre and last season’s One Man, Two Guvnors. Elsewhere, she has toured with Robert Wilson’s The Black Rider (London, San Francisco, Sydney, Los Angeles), Wicked (Chicago, L.A., San Francisco), Les Misérables (U.S., Canada, China and Korea) and Cirque du Soleil’s Corteo (Russia and Belgium). She earned her Equity card off-Broadway on Howard Crabtree’s When Pigs Fly. Karutz has stage-managed for Center Theatre Group, Los Angeles Opera, Pasadena Playhouse, Falcon Theatre, Deaf West Theatre, Laguna Playhouse, American Conservatory Theater, La Jolla Playhouse, Idaho Shakespeare Festival, Utah Shakespeare Festival, Alpine Theatre Project and The National Theatre of the Deaf, and is a staff stage manager at Disneyland.

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

Mamie Gummer and Ben Feldman in THE SIEGEL. Photo by Debora Robinson.
Matthew Arkin, Ben Feldman and Amy Aquino in THE SIEGEL. Photo by Debora Robinson.
​Ben Feldman, Mamie Gummer and Dominique Worsley in THE SIEGEL. Photo by Debora Robinson.
Amy Aquino and Dominique Worsley in THE SIEGEL. Photo by Debora Robinson.
Mamie Gummer and Amy Aquino in THE SIEGEL. Photo by Debora Robinson.
Amy Aquino, Mamie Gummer and Matthew Arkin in THE SIEGEL. Photo by Debora Robinson.
video video
Five Questions with Ben FeldmanFive Questions with Ben Feldman
Known for his TV roles in NBC’s “Superstore” and “Mad Men,” Ben Feldman returns to theatre roots in The Siegel. He answers our five more
The Siegel First NightThe Siegel Brings Huge Laughs, Thunderous Applause
Opening Night for The Siegel had audiences instantly on their feet with thunderous applause. Look back at the more
The Siegel SetA Donut, Watercolors Form Basis for The Siegel Set
While love may make the world go ‘round, a turntable makes the set go ‘round in The Siegel. Learn about the revolving, watercolor-inspired set. read more
Michael Mitnick PodcastThe Siegel Playwright Michael Mitnick
Michael Mitnick feigned surprise when he learned about the *other* play, The Seagull, from Literary Associate Kat Zukaitis. Listen to their wide-ranging conversation about the world premiere of his play, The Siegel.listen now
Love in the Time of TwitterLove in the Time of Twitter
There’s a smorgasbord of options in life and love—and the world premiere of The Siegel covers them in surprising more
The Cast of The SiegelRole Call: Meet the Cast of The Siegel
The world premiere of The Siegel features a mix of SCR veterans and debut performances. Meet the more
Casey StanglThe Director of Puzzle-Solver
Director Casey Stangl loves the challenge of jigsaw puzzles. That’s how she seems the many elements when she directs a new play, like The Siegel. Read more about more

This play is a recipient of an Edgerton Foundation New American Plays Award

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