Press - Reunion

by Gregory S Moss
directed by Adrienne Campbell-Holt

March 9 - 30, 2014
Julianne Argyros Stage

They revert to their childhood names—Maxie, Petie, Mitchie—these three buddies, who haven’t seen each other since their high school graduation party 25 years ago. It’s time to get wasted and relive the fun—the sunlit days of autumn leaves, moon pies and girls in lambs wool sweaters. But it’s dangerous, trying to get in touch with—maybe even understand—their past selves. Memories aren’t always reliable, hurt runs deep and apologies come hard in this bare-knuckle look at high school reunions and the complex nature of male friendship.


Click on photos for 300 dpi versions.


Michael Gladis, Kevin Berntson and Tim Cummings in South Coast Repertory's 2014 world premiere of Reunion by Gregory S Moss.  Photo by Debora Robinson/SCR.


Tim Cummings and Michael Gladis in South Coast Repertory's 2014 world premiere of Reunion by Gregory S Moss.  Photo by Debora Robinson/SCR.


Michael Gladis, Tim Cummings and Kevin Berntson in South Coast Repertory's 2014 world premiere of Reunion by Gregory S Moss.  Photo by Debora Robinson/SCR.


Tim Cummings, Michael Gladis and Kevin Berntson in South Coast Repertory's 2014 world premiere of Reunion by Gregory S Moss.  Photo by Ben Horak/SCR.


Tim Cummings and Michael Gladis in South Coast Repertory's 2014 world premiere of Reunion by Gregory S Moss.  Photo by Ben Horak/SCR.


Michael Gladis and Kevin Berntson in South Coast Repertory's 2014 world premiere of Reunion by Gregory S Moss.  Photo by Debora Robinson/SCR.


Michael Gladis, Tim Cummings and Kevin Berntson in South Coast Repertory's 2014 world premiere of Reunion by Gregory S Moss.  Photo by Debora Robinson/SCR.


Michael Gladis and Tim Cummings in South Coast Repertory's 2014 world premiere of Reunion by Gregory S Moss.  Photo by Ben Horak/SCR.


Kevin Berntson and Michael Gladis in South Coast Repertory's 2014 world premiere of Reunion by Gregory S Moss.  Photo by Debora Robinson/SCR.

Playwright Bio Gregory S Moss is a writer, performer and educator from Newburyport, MA. His work has been seen at La Comédie Française, Clubbed Thumb, The A.R.T., Guthrie Theater, Playwrights Horizons, PlayPenn, SoHo Rep, Steppenwolf Garage and New York Theatre Workshop. Moss is a 2012 MacDowell Fellow, a Playwrights Center Core Member, and the recipient of a 2010-2011 Jerome Fellowship and a 2011-2012 McKnight Fellowship. His work has been published by Play: A Journal of Plays, n+1, and Playscripts. He is currently working on commissions from Playwrights Horizons and Woolly Mammoth Theatre Company. In collaboration with composer/lyricist Joe Iconis, he’s creating a new musical based on the life and work of Hunter S. Thompson for La Jolla Playhouse. Recent productions include Billy Witch at Studio 42 (NYC) and APAC (NY), House of Gold at La Comédie Française (winner, Prix du Public) and at Ensemble Studio Theatre/LA (LA Times and LA Weekly Critics’ Pick); sixsixsix, Antimatter Collective, NY (Editor’s Pick, Flavorpill), and La Brea, Clubbed Thumb (NYC). Upcoming: I Promised Myself To Live Faster in collaboration with Pig Iron Theater Company (Philadephia). Writing and news are updated regularly at

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

Kevin Berntson
Kevin Berntson as Peter. Bernston has performed on stage at South Coast Repertory (Sideways Stories from Wayside School), La Jolla Playhouse (Boy, The School for Wives) and San Diego Repertory Theatre (A Christmas Carol). He also has appeared in Teen Witch: The Musical, Spring Awakening and Love’s Labour’s Lost. His television credits include “2 Broke Girls,” “Kickin It,” “Inside Amy Schumer,” “Private Practice,” “Rules of Engagement,” a recurring role on “Hart of Dixie,” as well as appearances in more than 25 commercials. An improv instructor at The Groundlings Theater in Los Angeles, Berntson performs improvisation regularly. His comedy short “Traffic Signals,” which he co-wrote and co-stars in, won Best Comedy Short at the LA Comedy Shorts Festival. Berntson studies acting at Steppenwolf West with Tom Irwin and holds an MFA from UC San Diego.

Tim Cummings
Tim Cummings as Mitch. Cummings returns to SCR after appearing in Eurydice last season. His recent credits: portrayed Ned Weeks in the four-month run of The Normal Heart at The Fountain (Los Angeles Drama Critics Circle and LA Weekly nomination for Best Lead Actor and Best Production, Broadway World and Eddon Awards winner for Best Lead Actor); The Phantom Tollbooth (Main Street Theater); The Firebird (Disney Hall); The New Electric Ballroom (Rogue Machine Theatre), for which Cummings won the LADCC, the LA Weekly, and the StageSceneLA award for Best Supporting Actor; The Walworth Farce and WAR (Theatre Banshee); Camino Real and Tartuffe (The Theatre @ Boston Court); The Winter’s Tale and Hamlet (Theater 150); Slasher and The Last Schwartz (Zephyr Theatre); Only Say The Word (Ensemble Studio Theatre/LA); The Pursuit of Happiness (Laguna Playhouse); Burn This (Stages Theatre Center); and Closer (Hollywood Food Chain). In New York, he appeared in Frankie & Johnny in the Clair de Lune (Edie Falco and Stanley Tucci, director Joe Mantello) and The Guys (Sigourney Weaver and Susan Sarandon, director Jim Simpson). His film and television credits include Spirited, Something Strange, “Criminal Minds,” “My Two Fans,” Presence, Exit Interview and The Box. He is a graduate of New York University’s Tisch School of the Arts. Cummings serves as associate director of the Youth Program at the Ojai Playwrights Conference.

Michael Gladis
Michael Gladis as Max. Gladis appeared at SCR previously in Princess Marjorie by Noah Haidle and the Pacific Playwrights Festival readings of Reunion and Kin. His New York theater credits include Fifth of July with the Signature Theater Co., Baal at The Flea Theater, The Main(e) Play and ‘Nami with Partial Comfort Productions, Dog Sees God at SoHo Playhouse, St. Crispin’s Day at Rattlestick Playwrights Theater, and a national tour of Romeo & Juliet, among others. His film credits include the soon-to-be-released Devil’s Knot, Knights of Badassdom and In Security. He can also be seen in J. Edgar and K-19: The Widowmaker. On television, Gladis appeared on “The Mentalist,” “Justified,” “Eagleheart,” “How I Met Your Mother,” “House M.D.,” “The Good Wife,” and three seasons as Paul Kinsey on “Mad Men.” Also, he will soon be invading your home as Deputy Chief Holland Knox on the new CBS series, “Reckless.”
Creative Team
Adrienne Campbell-Holt (Director) is the artistic director of the Brooklyn-based theatre company Colt Coeur. Her upcoming projects include Red (starring Tim Daly, Dorset Theatre Festival). Her recent projects include Nikole Beckwith’s Everything is Ours (Colt Coeur at HERE); The Scene (Dorset Theatre Festival, starring Tim Daly); Eliza Clark’s Recall (Colt Coeur at Wild Project); Will Eno’s Flu Season (American Conservatory Theater, SF); Fish Eye (Colt Coeur at HERE); Mormons, Mothers and Monsters (Barrington Stage); The Last Days of Judas Iscariot (Yale Repertory Theatre); Steven Levenson’s Seven Minutes in Heaven (Colt Coeur at HERE); Missed Connections (Ars Nova); and One Child Born: The Music of Laura Nyro (Joe’s Pub). Her devised works include includes Tunnel to Bang (EdgeFest LA), In Communicado (nest at Diavolo, LA), Radio Sintesi (nest, NYC). Her regional work includes includes Young Jean Lee’s Church (choreographer, Harbor Stage Company) and Three Days of Rain (Amphibian Stage, Texas). Campbell-Holt has directed workshops/readings for Roundabout Theatre Company, Playwrights Horizons, The Civilians, LAByrinth, La Jolla Playhouse, SCR, the Orchard Project, Rattlestick Playwrights Theater, Hartford Stage and Clubbed Thumb. She is a recipient of a Jerome Foundation/Tofte Lake Fellowship, the Ensemble Studio Theatre/Sloan grant, and a member of the Lincoln Center Directors Lab. She earned a BA from Barnard College at Columbia University.

Sibyl Wickersheimer (Scenic Design) is an award-winning set designer, artist and assistant professor at the USC School of Dramatic Arts. Wickersheimer’s regional design credits include productions at Oregon Shakespeare Festival, Seattle Repertory Theatre, Portland Center Stage, Lookingglass Theatre, Berkeley Repertory, Arizona Theatre Company, The Kirk Douglas Theatre, Geffen Playhouse and SCR. She has designed in numerous smaller theatres in Southern California, including more than 10 productions at The Actors’ Gang. Her designs for The Actors’ Gang productions of 1984 and The Trial of the Catonsville 9 have toured across the U.S., Greece, Hong Kong, Australia, Spain, Mexico and Colombia. She was also the Associate Set Designer for Siti Company’s Trojan Women (After Euripides) at the Getty Villa. Outside of the traditional theatre space, Wickersheimer has designed several unique projects such as a modular stage for the large scale dinosaur and Sabertooth cat puppet performances at the Natural History Museum of Los Angeles County, Toy Story Musical for a Disney cruise ship, and the set for Diavolo Dance Company’s Transit Space. She is a fine artist creating mixed media installations and sculpture which have been exhibited in numerous galleries in Southern California.

Stephanie Kerley Schwartz (Costume Design) is making her SCR design debut. For Pasadena Playhouse, she designed scenery and costumes for Twelve Angry Men. As resident designer at Rogue Machine Theatre, she designed scenery and/or costumes for Falling, One Night in Miami…(multiple nominations), Three Views of the Same Object, New Electric Ballroom, Blackbird (LA Weekly Award), Monkey Adored, Treefall (LA Weekly, Garland, Backstage Awards), Sunset Limited, Compleat Female Stage Beauty (Garland Award, Ovation nomination), among others. Her costume designs for Center Theatre Group/Mark Taper Forum include The Lieutenant of Inishmore and Randy Newman’s Harps & Angels. For Moving Arts at [Inside] the Anson Ford, she designed scenery for Song of Extinction by E.M. Lewis, which won LA Weekly’s Production of the Year 2009. Other recent productions include scenery and costumes for Tomorrow by Donald Freed; scenery for Absolutely Filthy at Sacred Fools Theater; scenery for Paradise: a Bluegrass Musical at Ruskin Group Theatre; and scenery and costumes for Rank at Odyssey Theatre Ensemble. Her work has also been seen at Matrix Theatre, Pacific Resident Theatre and The Colony Theatre Company, among many others. Selected film and television include, for TNT, costume design The Wizard of Oz in Concert at Avery Fisher Hall (with Jewel as Dorothy) and production designer and costume designer for Where the Rivers Flow North and A Stranger in the Kingdom for Kingdom County Productions, Vt.

Elizabeth Harper (Lighting Design) is making her SCR design debut. Her theatrical design credits include A Raisin in the Sun, directed by Phylicia Rashad (Kirk Douglas Theatre, Center Theatre Group, 2011 Ovation Award nominee for Best Lighting Design, 2012 NAACP Theatre Award nominee for Best Lighting Design), Play Dead (directed by Teller), Wait Until Dark and Good People (Geffen Playhouse, 2012 Ovation Award nominee for Best Lighting Design), The Twentieth-Century Way (The Theatre @ Boston Court, 2010 Ovation Award nominee for Best Lighting Design), Crescent City (The Industry), and It’s Always Sunny in Philadelphia and Family Guy Live (Gibson Amphitheater). She has served as a technical consultant for art installations at Los Angeles County Museum of Art and Greene Naftali. Her industrial lighting projects include shows and events for Microsoft, On-Live, Comedy Central and Universal Studios. Harper holds an MFA in design for stage and film from the Tisch School of the Arts at New York University. She is a guest lighting design instructor and lecturer at California Institute of the Arts. Her design work and sketches were selected for display at the 2011 Prague Quadrennial and were part of an exhibit showcasing the work of emerging American designers. She is a member of United Scenic Artists, Local 829.

M.L. Dogg (Sound Design) is making his SCR design debut. He has designed for such companies as Signature Theatre, Huntington Theatre Company, The Pearl Theatre Company, Geffen Playhouse, Williamstown Theatre Festival, The Debate Society, Dorset Theatre Festival, Ars Nova, The Public Theater, Milwaukee Repertory Theater, Second Stage Theatre, New York Stage and Film, Playwrights Horizons, Waterwell Productions, Nicholas Ward Productions, Fordham University Theatre, Roundabout Theatre Company, Out Of Balanz, Shelby Company, Scott Sanders Productions, Boise Contemporary Theater, Why Not Theatre, The Living Room For Artists, Inc., Stillpoint Productions, 13P, NYU/Tisch School Of the Arts, Two River Theater Company, Working Theatre, Epic Theatre Ensemble, The Women’s Project, Theatre B, Classic Stage Company, Clubbed Thumb, Wash and Fold Productions, Shakespeare & Company, Monster(less) Actors Inc. and the Actors Theatre Of Louisville. He is an IRNE, IT Award and Drama Desk nominee, and received a fringeNYC award for his design for Go-Go Kitty, GO!.

Edgar Landa (Fight Choreographer). In addition to performing and directing, Landa creates violence and mayhem for theatres large and small. His recent acts of violence include The Steward of Christendom (Center Theatre Group/Mark Taper Forum); Parfumerie (Annenberg Center for the Performing Arts); The Nether (Center Theatre Group/Kirk Douglas Theatre); Mayhem in the past includes The Motherf**ker With The Hat (SCR); Helen (Getty Villa); Romeo & Juliet and Love’s Labors Lost (Shakespeare & Company); Homebody/Kabul (Mark Taper Forum); Anna In The Tropics (SCR); The Lieutenant of Inishmore (Florida Studio Theatre); Oedipus El Rey (The Theatre @ Boston Court)—2010 Ovation Award. Landa serves on the faculty of the USC School of Dramatic Arts and is a proud member of Son of Semele Ensemble and Shakespeare & Company (Lenox, Mass.). He is also a Death Racer (—you can follow his adventure racing exploits on his blog:

Kelly Miller (Dramaturg) is the literary director of SCR and the co-director of the Pacific Playwrights Festival. Regionally, she has worked at Actors Theatre of Louisville, Williamstown Theatre Festival, and as the literary manager of Long Wharf Theatre and Playscripts, Inc. In 2008, she co-founded Creative Destruction, a company dedicated to the support of playwrights and the development of new work. Her favorite dramaturgy at SCR includes Fast Company, The Parisian Woman, The Whale, How to Write a New Book for the Bible, The Prince of Atlantis, Completeness, Circle Mirror Transformation, Becky Shaw, Doctor Cerberus, Saturn Returns and Emilie; Big Love, War of the Worlds and Creditors (Actors Theatre of Louisville); Hearts, Wintertime and Going Native (Long Wharf Theatre). Miller has worked as a freelance consultant for The O’Neill National Playwrights Conference, The Playwrights’ Center, The Public Theater, Huntington Theatre Company, New Dramatists, NEA/Arena Stage, Actors Theatre of Louisville, Berkeley Repertory Theatre, PlayPenn, Carnegie Mellon and The Kennedy Center.

Kathryn Davies (Stage Manager) previously stage managed Trudy and Max in Love, Ivy+Bean: the Musical, The Motherf**ker with the Hat, How to Write a New Book for the Bible, Sight Unseen, Topdog/Underdog, Sideways Stories from Wayside School, In the Next Room or the vibrator play, Doctor Cerberus, Ordinary Days, Our Mother’s Brief Affair, The Injured Party, The Brand New Kid and Imagine at SCR. Her favorite credits include Dividing the Estate at Dallas Theater Center; La Bohème at Tulsa Opera; The Mystery of Irma Vep at The Old Globe; Daddy Long Legs at Laguna Playhouse; Tosca and La Fille du Régiment at Opera Ontario; Of Mice and Men at Theatre Calgary/CanStage/Neptune Theatre; The Dresser at Manitoba Theatre Centre; Skylight at Tarragon Theatre; To Kill a Mockingbird at Citadel Theatre/Manitoba Theatre Centre/Theatre Calgary and The Designated Mourner at Tarragon Theatre and the Edinburgh Fringe Festival. Davies also has worked as head theatre representative at the Toronto International Film Festival, Dubai International Film Festival, AFI Fest (part of the American Film Institute), Los Angeles Film Festival and as team leader at Sundance.