Innovation is Key to SCR’s 2021 Spring/Summer Season
Starts with High-Quality Digital Offerings, Transitions to Live Performances
Partnership With Mission San Juan Capistrano

Watch David Ivers talk about the 2021 season.

South Coast Repertory has ended its COVID-19 hiatus with the launch of an innovative 2021 Spring/Summer season. Recognizing that extraordinary times call for innovation, the 57-year-old theatre company examined the challenges and possibilities of producing live theatre and the protocols needed to maintain safety.

SCRemote

The season starts with SCRemote—a series of exclusively digital offerings beginning in mid-to-late April. These high-quality filmed productions created with a multi-camera setup by award-winning cinematic artists will be delivered for safe, at-home viewing through a user-friendly streaming platform. The digital offerings include Red Riding Hood (a Theatre for Young Audiences and Families production, which also will be offered free to Orange County public schools) and the Pacific Playwrights Festival, the theatre’s renowned annual showcase of new plays. The festival is part of The Lab@SCR, the theatre’s extensive new-play development program. In addition, the theatre will continue its ongoing SCR commUNITY series of digital interviews and programming dedicated to amplifying the artists and narratives of the Southern California region.

SCR LIVE

Then in mid-July, SCR goes LIVE, outdoors at the historic Mission San Juan Capistrano, with a new series called Outside SCR. This year, two family friendly productions will be performed under the stars: American Mariachi, which is being brought back by popular demand, and the perennial family favorite, You’re a Good Man, Charlie Brown.

“The past year has been challenging and, at the same time, has presented opportunities for creative growth,” says David Ivers, SCR's Artistic Director. “So, we’re excited to announce a season brimming with innovation, built on the cornerstone programs of South Coast Repertory—world-class productions, Theatre for Young Audiences and Their Families, new play development and community engagement. We’re overjoyed about Outside SCR and our new partnership with Mission San Juan Capistrano, which enables us to expand our reach in Orange County.”

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Managing Director Paula Tomei adds: “After a year-long hiatus, it feels so good to be back. This season provides the stimulating theatrical experiences that are hallmarks of South Coast Repertory, while meeting the unique needs of Orange County at this time, including a distinctive way for us to gather as a community. In addition, we have been consulting with UCI Health and working thoughtfully to ensure the highest level of safety for our artists, staff and audiences. We are fortunate to have their expertise and advice, which are invaluable.”

Mechelle Lawrence-Adams, executive director of Mission San Juan Capistrano, says: “The Mission Preservation Foundation is thrilled to welcome South Coast Repertory’s community of patrons to beautiful Mission San Juan Capistrano this summer. For sure, new history is being made with this special partnership where the arts meet history and the net effect leaves theatregoers inspired to support both historic preservation and live theatre in this one-of-a-kind experience. Two incredibly important Orange County institutions are coming together in a pandemic to serve not only their own constituencies, but new ones as well—and it marks an exciting moment in OC history.”

In addition to innovations in programming, format and experience, the usual subscription series have been temporarily suspended in favor of á la carte subscriptions, wherein customers are invited to experience either the entire lineup or to pick and choose what they wish to see. SCR’s regular subscription series will be re-instated for the 2021-22 season.

South Coast Repertory’s health and safety protocol has been developed with advice from the University of California, Irvine. 

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CHRONOLOGICAL LISTING

Dates are subject to change, in accordance with local and state health authorities.

Theatre for Young Audiences—SCRemote
Red Riding Hood
by Allison Gregory
directed by Shannon Flynn
Available to stream mid-to-late April

Pacific Playwrights Festival—SCRemote
SCR’s annual showcase of new plays by today’s hottest playwrights, the Pacific Playwrights Festival will be offered exclusively in digital format, with high-quality film production, created with a multi-camera setup to capture the best qualities a traditional play reading. All readings are recommended for high school age and older. 

Covenant
by York Walker
Streaming: April 26-May 2

Coleman ‘72
by Charlie Oh
Streaming: May 10-May 16

Park-e Laleh
by Shayan Lotfi
Streaming: May 24-May 30 

Clean
by Christine Quintana
Streaming: May 31-June 6 

Harold & Lillian
book & lyrics by Dan Collins   music by Julianne Wick Davis
based on the documentary film by Daniel Raim
Streaming: June 21-27

OutsideSCR—LIVE
Live, outdoors, in-person performances, under the stars, at the historic Mission San Juan Capistrano.
American Mariachi
by José Cruz González
directed by Christopher Acebo
Performances: July 15, 17, 23, 25, 29 and 31 (all at 7:30 p.m.)
Performed at Mission San Juan Capistrano

You’re a Good Man, Charlie Brown
based on the comic strip “Peanuts”
by Charles M. Schulz
book, music and lyrics by Clark Gesner
additional dialogue by Michael Mayer
additional music and lyrics by Andrew Lippa
Performances: July 16, 18, 22, 24, 30 and Aug. 1 (all at 7:30 p.m.)
Performed at Mission San Juan Capistrano

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Scott Ferrara and Richard Doyle in Outside Mullingar by John Patrick Shanley (2020). Photo by Jordan Kubat.

Richard Doyle, a South Coast Repertory Founding Member, had been in dozens of the theatre’s Irish plays over a half-century—out of his more than 200 productions here. The most recent was Outside Mullingar by John Patrick Shanley, a little gem of a romantic comedy that rehearsed in February 2020 and was into preview performances in March 2020. It was the beginning of California’s COVID-19 lockdown and the play closed the day before its official opening. Undaunted, SCR quickly put in place a small crew of videographers to film the final preview performance, edited it and then streamed it for audiences to enjoy from the safety of their homes. Doyle selected this photo [above] as an important scene from the play.

What moment does this depict?

This is Scene 4—in Tony Reilly's bedroom. That’s me in the bed as Tony and Scott Ferrara plays my character’s son, Anthony. This is a key moment: Tony has a desperate need to confess some truths and relieve himself of the burdens he has carried for years. He needs to reveal to his son some parting emotions that Tony has been reluctant to take responsibility for. Tony is not accustomed to sharing his feelings. He would normally find this hard, but his health at this moment, and the manner in which he has treated Anthony throughout his life, makes for some difficult moments, some even comic revelations and, finally, some emotional sharing in a very highly charged moment in their lives.

This is a difficult type of scene to stage because there is very little movement; it’s mostly dialogue, and mostly focused on relationships and storytelling, but it requires complex emotional dynamics while building the story telling arc. Scott was shouldered with listening, reacting and showing his love and devotion to my wily old Irishman character who, for the better part of the story so far, has given him nothing but grief.

How did you work to make this moment happen?

Martin [Benson, director and SCR Founding Artistic Director] and I have been friends and colleagues for more than 50 years and he has directed me many times—and often those outings were Irish plays. He and I have a sort of short hand between us when we work together. When he approached me about Outside Mullingar, I jumped at the chance for us to work together again.

Scott Ferarra is roughly the age of my own son, Brennan (not in the photo or the play, not even an actor, thank goodness!). Scott was perfect for this character because, in addition to being a fine actor, he has a well-developed sense of empathy.

There is humor in the play and, leading up to this particular scene, all of the characters joust with Tony, who is very set in his ways. He has decided his son will never marry and therefore will not be able to carry on the Reilly family's 120-year-old farm and family tradition. These earlier encounters with Tony actually set up this scene.   It is John Patrick Shanley's warm and comedic moments early in his play that make this one, so compelling and emotionally stirring.

What’s the power about this moment?

Power, humor, emotion, revelation, discovery and, finally, peace are all earned through Shanley's writing and the careful sculpting and emotional shaping of this two-and-a-half-page monologue. Tony's story reveals his life's journey—a life without affection, where people were work; but, eventually, it was a journey filled by a love that magically appeared to him in a way only his misunderstood son could comprehend. This unbridled love was for his late wife, Mary. At that point in his life, Tony had found and understood the importance of love and devotion and the value of faith in personal relationships, but to convey that now to Anthony, at this moment, while also seeking to gain forgiveness for Tony's missteps and propel Anthony forward into a future life open to finding love...well, only an Irish writer of plays would even attempt this. The playwright unburdens one character of the threat of leaving this world with a soul full of unresolved issues and catapults another into the rest of the story, armed with all that is needed to complete a heart-warming romantic comedy. Writer John Patrick Shanley somehow finds surprising ways to accomplish this very task.

Anything else you’d like to say about Outside Mullingar?

First and foremost, it was a cracker​-jack cast. Lovely Lynn Milgrim as Aoife Muldoon—delightful, warm and tough. Devon Sovari as Rosemary Muldoon—at once strong and sensitive. And Scott Ferrara as Anthony Reilly—a dreamer. I could not have asked for more from my fellow cast members. And, of course, Martin, me old mate, directing. For me: The Best.

Carmela Corbett and Amelia White in Shakespeare in Love (2018). Photo by Jordan Kubat.

What happens when an actor gets the giggles? For Carmela Corbett, it was a sign that she was having a great time portraying Viola in South Coast Repertory’s production of Shakespeare in Love (2018). Of course, it also meant she had to concentrate a bit more to stay in the moments of the play, but it also signaled to her the joy she felt with the play and the cast. This production marked her ​third SCR show—​she also has been in Eurydice by Sarah Ruhl (2012) and Smokefall ​by Noah Haidel (2013). Read on to find out more about why she selected this photo [above] as a favorite scene from the play—and how she conquered the giggles.

What moment does this depict?

I always adored this moment in the show—it’s right at the top of the play. It was my first scene and my character, Viola, is dreaming of a life in the theatre and complaining that men get to play all the roles! For me, this short and simple scene would set the tone of the whole performance: Am I in my body? Am I listening? Am I connecting with the other actor? This was a complicated show with lots of comings and goings and quick changes and kisses and dances and songs and music and wigs and sword flights and ​a dog! So, this simple scene at the top of the play, just talking to Amelia, always felt like a dream. If I could get grounded on stage ​in this moment, then I knew that the rest of the show was going to be okay.

How did you work to make this moment happen?

I think this scene required the least direction of any scene in the play! Afterall, there were no sword fights, no cross-dressing and no intimate poetry-filled love scenes! Straight away, Amelia and I had a very warm rapport working together and that informed ​our characters’ relationship beautifully. We often would get the giggles, so much of my attention was on staying grounded and not getting too carried away with it all.

What’s the power about this moment?

This scene contains my favorite line that I've ever had the good fortune of saying in a play: “I will have poetry in my life. And adventure. And love. Love above all.” What a powerful way to start a show! I hope this sentiment rings true in my own life and work, as I'm sure so many of us do.

Anything else you’d like to say about the photo or the production?

I would do it again in an instant! When we finished our run, I was quite heartbroken. The whole experience of participating in this play was incredibly healing for me. I had recently come off the long run of a very serious play in London’s West End and was incredibly burned out. So for me to play on stage with these brilliant, generous, warm and hilarious actors each night was a dream. There is so much joy and fun and laughter and heart in this play. It was like a balm to my soul.

Rebecca Mozo and Preston Butler III in Sense and Sensibility by Jane Austen, adapted by Jessica Swale (2018). Photo by Jordan Kubat.

Actor Rebecca Mozo has appeared in nearly one dozen productions at South Coast Repertory—ranging from Doubt, a parable to The Heiress to A Wrinkle in Time and In the Next Room or the vibrator play. In the Jane Austen classic Sense and Sensibility, she played Marianne Dashwood. She She chose this photo [above] as an important moment from the play.

What moment does this depict?

This is a moment of genuine connection. The excitement that floods you when you experience that kind of genuine connection. Willoughby (played by Preston Butler III) has just come to Marianne’s rescue after she injured her ankle while out for a walk on a stormy day. It is their first meeting. Although he is everything she has imagined the perfect man to be, in this moment she is convinced that he is a perfect match for her​: he names her favorite obscure poets as his own favorites! It is the spark of a moment when you realize someone gets you, that they cherish what you cherish. A shared heart.

How did you work to make this moment happen?

Casey Stangl, our director, had a beautifully clear vision for this scene and, in rehearsals, we were able to play around until the moment was found. It was pretty clear when this happened​: that “aha” moment when you feel seen by someone—and that you can see them as clearly as you see yourself. 

What’s the power about this moment?

There’s something incredibly pure about the moment where two people find each other in their own little private club. It’s the spark of acknowledgment that you’ve been starved for and there it is—in front of you—the beauty of beginning a journey with someone. However, the humor in this moment also shows how fleeting, and perhaps silly, those moments can be as well: we throw ourselves at a person before thinking it through, simply because they read the same poets as we do. After all, Jane Austen has created the quintessential “unavailable man” in Willoughby and Marianne cannot resist it. Until she can. 

Anything else you’d like to say about the photo or the production?

​I loved this production. I miss ​South Coast Repertory more than words can truly convey and cannot wait to tread the boards with all of you again. 

Yoko Hasebe, Jake Manabat, Lucas Verbrugghe and Sophy Zhao in M. Butterfly by David Henry Hwang (2019). Photo by Jordan Kubat.

Jake Manabat made his South Coast Repertory debut in David Henry Hwang’s M. Butterfly (2019). The character of Song Liling is dear to him—he understudied the role for the 2017 Broadway revival of​ the play and starred in two other productions. In addition to theatre, his credits include television and film including “Madam Secretary,” “Lillyhammer,” Crane Story: Paper Dolls and The Long Season. He selected this photo [above] from SCR’s 2019 production of M. Butterfly and in this Q&A, talked about why it’s an important moment.

What moment does this depict?

Jake Manabat: This moment is the second time the narrator of the play, Rene Gallimard, a French diplomat living in Beijing, sees Song Liling, a Chinese opera performer. The first time, Song performed the death scene, as Cio-Cio-San, from Gallimard's favorite opera, Madama Butterfly by Giacomo Puccini. This second time, Song performs from The Butterfly Lovers, a Chinese opera that Song considers to be more beautiful than Puccini. Both times, Gallimard is watching, enthralled. We are witness to the beginnings of a passionate but forbidden love affair that ultimately ends in scandal and tragedy.

How did you work to make this moment happen?

JM: First and foremost, this moment could not have happened without Annie Yee’s beautiful choreography—and her patience teaching it to me! In The Butterfly Lovers, Song is portraying a girl who, in order to be educated, must disguise herself as a boy. And in this moment, unable to hold the truth inside after falling in love with a classmate, her truth bursts forth. I had never done a ribbon dance before, so it was especially challenging—moving the ribbons had to be fast and strong enough to keep them aloft, yet slow and deliberate enough to register shapes and not get tangled. Annie made sure that I brought out the grace, joy and meaning ​demanded by this moment of the story-within-the-story. 

We had been rehearsing the dance with the idea that Lucas Verbrugghe, who played Gallimard, was stationary watching me. Desdemona Chiang, our director, tried having him sit and stand still while I was dancing—one try with him in the audience. But no matter where she placed him, something just wasn't working. Was there a better way for the audience to simultaneously watch Song and watch Gallimard watch Song? Lucas suggested: what if he was walking around the stage instead of staying still? Des wanted to see what that looked like, so we tried it. We were on to something, so we tried out different ideas that built on the last. What about him circling around me during the dance? Yes. What about a slower walk? Yes. What about him taking some moments to stop and stare to highlight Gallimard's fascination with Song and his difficulty understanding Chinese opera? Yes. What about timing those moments to specific points in the choreography? Yes. What about staging it to avoid crashing into Yoko Hasebe and Sophy Zhao, who were also dancing in the scene? Oops! What if a moment happened so that he ended up between them, upstage center and looked downstage at me, when I swept the ribbons upwards in a grand arc at center? Yes! That is this pictured moment.

What’s the power in this moment?

JM: In the world of the play, this moment is Song commanding the attention of the Chinese opera house audience and bringing to life a legend they know very well. We see Song's power over the opera's audience and joy and pride in performing for them. In Gallimard's mind, this is Gallimard processing the performance he is watching. He is bewildered by the opera, yet beguiled by the performer. We see Song's power over Gallimard. You’ll see on the stage, Song is positioned at the center, which is the most powerful position to be, while Gallimard is directly upstage, which is a much weaker position. Visually, we see Song has more power than Gallimard. 

In the blocking of the scene, we had Gallimard circling around Song. This visual suggests a predator circling its prey, which further suggests that Gallimard actually has some power over Song. This visual, coupled with Song in the power position at center, shows us that they both have power. We see Gallimard and Song's power over, and weakness to, each other. Note that after this, when Gallimard and Song compare their respective favored operas and Gallimard says that they are both tragic love stories, Song replies: “But in mine, the boy and the girl love as equals.”

Anything else you’d like to say about the photo or the production?

JM: See the headdress that I am wearing in the photo? I still have it! It is proudly displayed in my living room. Every time I look at it, I am reminded of the passion, love, commitment and truthfulness we shared with each other and the audience in service to this incredible story.