Learn more about the production, cast & creative team in the program.
David Ivers (John)
is responsible for the overall artistic operation of the theatre. The 2019-20 season was the first he programmed here, and he directed She Loves Me (2020), and the 2021 Pacific Playwrights Festival reading of Coleman ’72 by Charlie Oh. In 2015, he directed the SCR-Berkeley Repertory Theatre co-production of One Man, Two, Two Guvnors. Prior to SCR, he was artistic director for Arizona Theatre Company and, before that, served more than 20 years as an actor and director at Utah Shakespeare Festival, with the last six as artistic director. He was a resident artist at Denver Center for the Performing Arts for a decade, acting in and/or directing more than 40 plays and has helmed productions at many of the nation’s leading regional theatres including the Guthrie Theater, Oregon Shakespeare Festival, Berkeley Repertory Theatre and South Coast Repertory. His early career included serving as associate artistic director of Portland Repertory Theatre and appearing in productions at some of the nation’s top regional theatres including Portland Center Stage and the Oregon, Alabama and Idaho Shakespeare festivals. He has taught at the University of Michigan, University of Minnesota, Southern Utah University and Southern Oregon University. He earned his BA from Southern Oregon University and his MFA from the University of Minnesota.
Tony Taccone (Director)
most recently directed Kiss My Aztec, a new musical he co-wrote with John Leguizamo. In 2019, he ended his tenure as artistic director of Berkeley Repertory Theatre, during which time it presented more than 70 world, American and West Coast premieres and sent 24 shows to New York, two to London and one to Hong Kong. He has directed new work by Tony Kushner, Julia Cho, John Leguizamo, Lemony Snicket, Culture Clash, David Edgar, Danny Hoch and Itamar Moses. Two of his shows, Continental Divide and Tiny Kushner, transferred to London and three landed on Broadway: Bridge & Tunnel, Wishful Drinking and Latin History for Morons. Prior to working at Berkeley Rep, Taccone served as artistic director of Eureka Theatre, where he commissioned Tony Kushner’s legendary Angels in America and co-directed its world premiere. His regional credits include productions at Actors Theatre of Louisville, Arena Stage, Center Theatre Group, Guthrie Theater, La Jolla Playhouse, Oregon Shakespeare Festival and The Public Theater. In 2015, Taccone received the Margo Jones Award for “demonstrating a significant impact, understanding, and affirmation of playwriting.”
Christopher Barreca (Scenic Design)
has designed more than 200 productions including four Broadway shows—Rocky (2014 Tony, Drama Desk, Outer Critics Circle awards), Search and Destroy, Our Country’s Good and Chronicle of a Death Foretold (American Theatre Wing Award). His off-Broadway work includes Adrienne Kennedy’s He Brought Her Heart Back in a Box (2018 Obie Award), Joe Morton’s Turn Me Loose, Athol Fugard’s Master Herold and the Boys (directed by the playwright), Painted Rocks, The Train Driver, Blood Knot, David Byrne’s Joan of Arc: Into the Fire, Richard Greenberg’s Three Days of Rain (Drama Desk Award nomination) and Neon Psalms (American Theater Wing Award nomination). His regional credits include Culture Clash’s The Birds, Charles Ludlum‘s Hedda Gabler and Anna Deavere Smith’s Twilight: Los Angeles. His international credits include Waris Dirie’s Desert Flower (Music Theater and St. Gallen Concert), Wole Soyinka’s A Scourge of Hyacinths (BMW Award nomination), King Lear (Dijon Festival) and Stephen Dallane’s Solo Macbeth (Almeida, London). He also directed Dachniki (Golden Spotlight Award nomination, Russia). He is the head of the scene design program and holds the Robert Corrigan Chair at CalArts. chrisbarreca.com.
Sara Ryung Clement (Costume Design)
returns to SCR where her past projects include costumes for Cambodian Rock Band, A Doll’s House, Part 2, 4000 Miles, Completeness and Becky Shaw; sets and costumes for How the World Began; and the set design for Absurd Person Singular. Her upcoming projects include costumes for Rattlesnake Kate at the Denver Center and sets for It’s Christmas, Carol! at the Oregon Shakespeare Theatre. Her work has been seen off-Broadway at Second Stage Uptown and Ma-Yi, and regionally at the Guthrie Theatre, Pasadena Playhouse, Folger Theatre, Geffen Playhouse, Seattle Repertory, Mixed Blood, St. Louis Rep, Center Stage Baltimore, East West Players, Cornerstone Theater Company, Yale Repertory Theatre, Native Voices at the Autry and others. She is on the set design faculty at UCLA School of Theater, Film and Television and is a recipient of the Donald and Zorca Oenslager Fellowship in Design. She earned a MFA at Yale School of Drama and an AB from Princeton University. sararyungclement.com
Lonnie Rafael Alcaraz (Lighting Design) is a professor at the University of California, Irvine, where he is the head of the lighting design program. He has designed for various regional theatres such as Oregon Shakespeare Festival, Repertory Theatre of St. Louis and Utah Shakespeare Festival. He was delighted to design the inaugural production for Outside SCR this summer—American Mariachi and You’re a God Man, Charlie Brown. He has designed productions at SCR since 1994 including Outside Mullingar, Where the Mountain Meets the Moon, The Whipping Man, Long Road Today/El Largo Camino de Hoy, 4,000 Miles, Three Days of Rain, La Posada Mágica, Saturn Returns, Culture Clash in AmeriCCa, Doubt, a parable, and My Wandering Boy. His recent designs include Opera Festival on Ice for Bietak Production (Muscat, Oman); All is Calm at the Alabama Shakespeare Festival; Macbeth, Cymbeline and No Child at Great River Shakespeare Festival; Mojada at Oregon Shakespeare Festival and Portland Center Stage; Murder for Two at Cincinnati Playhouse in the Park and Center REPertory Company (Walnut Creek, Calif.) and SEED: A Weird Act of Faith for Cornerstone Theater Company, where he is an associate artist. He is a member of the United Scenic Artists, Local 829/International Alliance of Theatrical Stage Employees. His complete design portfolio can be found at www.lradesigns.com. Alcaraz is an associate artist and the resident lighting designer at SCR.
Jesse Mandapat (Sound Design) is making his SCR design debut. He was nominated in Los Angeles for a 2021 Ovation Award in Sound Design for The Curious Incident of the Dog in the Night-Time (Greenway Court Theatre) and was previously named Sound Designer of the Year by StageSceneLA in 2019. His off-Broadway designs include Bundle of Sticks (INTAR), Tell Hector I Miss Him (Atlantic Theatre Company), Fool For Love (Theatre for the New City), Fish Men (INTAR) and Locusts Have No King (INTAR). His Los Angeles designs include West Adams (Skylight Theatre), Red Ink (Playwright’s Arena), Defenders (The Broadwater), The Chinese Lady (Artists At Play), Be A Good Little Widow (Odyssey Theater Ensemble), Exit Strategy (LA LGBT Center), 1984 (Greenway Court Theatre), The Two Kids That Blow Shit Up (Artists At Play) and An Accident (Griot Theatre). Special projects include The Castle Rock Live Experience (Hulu activation at San Diego Comic-Con 2018), The Fantastic Kim Sisters (East West Players Theatre For Youth) and What Goes Around (Kaiser Permanente Educational Theatre). He earned a BA in Music at UC San Diego and an MFA in Sound Design from CalArts.
Jerry Patch (Dramaturg) served as dramaturg on over 150 new plays, including the world premieres of Abundance, Freedomland, Golden Child, Intimate Apparel, Search and Destroy, Three Days of Rain, Ruined and Wit. He was the founding project director for South Coast Repertory’s Pacific Playwrights Festival and artistic director of the theatre program of Sundance Institute. A professor of theatre and film, he was consulting dramaturg for Roundabout Theatre Company (New York) for nearly a decade and resident artistic director at The Old Globe in San Diego. He is now artistic consultant for Manhattan Theatre Club where he served over a decade as Director of Artistic Development, and is resident dramaturg at SCR.
Kathryn Davies (Stage Manager) previously stage-managed You’re a Good Man, Charie Brown, The Velveteen Rabbit, Poor Yella Rednecks, Sugar Plum Fairy, Orange, The Roommate, All the Way, Future Thinking, Red, Vietgone, The Whipping Man, Tartuffe, Reunion, Trudy and Max in Love, The Motherf**ker with the Hat, How to Write a New Book for the Bible, Sight Unseen, Topdog/Underdog, In the Next Room or the vibrator play, Doctor Cerberus, Ordinary Days, Our Mother’s Brief Affair and The Injured Party—all at SCR. Her favorite credits include The Wars at the Grand Theatre; Dividing the Estate at Dallas Theater Center; La Bohème at Tulsa Opera; The Mystery of Irma Vep at The Old Globe; Les Contes D’Hoffmann at Hawaii Opera Theatre; Of Mice and Men at Neptune Theatre; The Dresser at Manitoba Theatre Centre; Skylight at Tarragon Theatre; To Kill a Mockingbird at Citadel Theatre; and The Designated Mourner at the Edinburgh Fringe Festival. Davies also worked as head theatre manager at the Toronto International, Dubai International, AFI, TCM and Los Angeles film festivals.
Natalie Figaredo (Assistant Stage Manager)
is a production stage manager whose credits include With Love and a Major Organ (Boston Court Pasadena), The Cake (Geffen Playhouse), The Cake (Echo Theatre), Reasons to be Pretty, The Lieutenant of Inishmore (Long Beach Playhouse) and Tender Napalm (Six01 Studio). Her credits as an assistant stage manager and production assistant include What You Are (The Old Globe), American Mariachi (Outside SCR), Poor Yella Rednecks, Amos and Boris, Little Black Shadows, Junie B. Jones is Not a Crook, Tales of a Fourth Grade Nothing, Yoga Play, Orange, Mr. Popper’s Penguins, Going to a Place where you Already Are and A Year with Frog and Toad (SCR) and Closer (The Macha Theatre).
The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.