®
from the desk of
loretta greco
WELCOME TO MAGIC AND THE FINAL PRODUCTION OF OUR 50 TH YEAR! Founded in 1967, Magic has managed to keep its scrappy edge while continuing to lead the American theater in developing and producing groundbreaking new plays, playwrights, and audiences. It is with great pleasure that we chose to close our 50th by introducing a writer we are thrilled to welcome to Magic: Barbara Hammond. Upon reading Barbara’s trilogy in our December Virgin Play Fest, we immediately committed to producing the whole of it. Its stunning literary prowess, wild theatricality, and coursing compassion is truly extraordinary. The Catholicism that is the inextricably woven through this Irish odyssey, the richly complicated relationship between mother and daughter, and the combination of dark humor and formidable will found in its central character are all qualities of this trilogy that captivated me emotionally. Each play has its own integrity as a stand-alone piece, and each unfolds in surprising, theatrically-unique ways. For me, the sum of the parts offers an incomparable and intimate map towards a communal exploration of some of humanity’s most essential questions. How do we conduct our lives? Who do our lives truly belong to? What is the price of pursuing a fully liberated existence? These are some of the evocative themes that vibrate throughout Barbara’s remarkable trilogy— my hope is that they trigger rich exchange within yourselves and with each other. The Eva Trilogy kicks off a string of world premiere plays at Magic! Virgin Play Festival starts in December, followed by the welcome return of John Kolvenbach (Goldfish, Mrs. Whitney, Sister Play) with his touching Reel to Reel and playwright/novelist Jessica Hagedorn (Dogeaters) as she re-dreams her beloved 1970’s coming–of–age novel, The Gangster of Love, for the stage. If you haven’t subscribed yet, there is still time to make today's ticket count towards a three-play subscription. I also want to send thanks to the many of you who have shared how Taylor Mac’s electric and transformative 24 Decade History of Popular Music has affected your lives! We were thrilled to partner with our colleagues at the Curran, Stanford Live, and Pomegranate Arts to bring Taylor’s extraordinary labor of love to San Francisco, and we look forward to having Taylor return to Magic soon. Although the start of each season is full of great hope and promise, this fall our usual cheer was darkened with the loss of a titan—our beloved Sam Shepard. Magic is the house that Sam built. His body of work changed us forever and made a place like Magic possible. This one's for you, Sam.
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Magic Theatre presents
The world premiere of
THE EVA TRILOGY Eden Enter The Roar No Coast Road
by Barbara Hammond
CAST Eva Julia McNeal* Teresa Lisa Anne Porter* Eamon Rod Gnapp* Roisin Amy Nowak Father O'Leary Justin Gillman* Tom Caleb Cabrera Nymph Megan Trout
directed by Loretta Greco+ Opening Night October 28, 2017 Season Producers John F. Marx & Nikki Beach Toni Rembe & Arthur Rock Setting Eden, the present, Rush, County Dublin Enter The Road, one month later, Dublin No Coast Road, 30 years later, Corsica
CREATIVE TEAM Set & Projection Design Costume Design Lighting Design Sound Design and Composing Associate Sound Designer Stage Manager Dramaturg Props Design Local Casting Dialect Coach
Hana S. Kim** Alex Jaeger** Stephen Strawbridge** David Van Tieghem Sara Huddleston Kevin Johnson* Sonia Fernandez Jacquelyn Scott Sonia Fernandez Jessica Berman
Scenery engineered and built by Cal Shakes Scene Shop
* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. ** Member of United Scenic Artists local 829, which represents the designers and scenic painters for the American theatre. + Member of Stage Directors and Choreographers (SDC).
Adopt-a-Play Parents* Matt Sorgenfrei & Evangeline Uribe
*Adopt-a-Play parents help to welcome the cast and production team into the Magic community, providing a safe yet rigorous artistic home for the development of new plays.
The video and/or sound recording of this performance by any means whatsoever are strictly prohibited. This theatre operates under an agreement with Actor’s Equity Association, the Union of Professional Actors and Stage Managers in the United States.
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biographies BARBARA HAMMOND
PLAYWRIGHT
is a New Dramatists resident playwright and a citizen of both the United States and Ireland. Awards and recognitions: 2015-17 Royal Court Theatre new play commission, 2017 Headwaters Theatre Festival in Creede, CO, 2017 University of Arkansas New Play Award, 2017 Theatresquared Festival of New Plays, 2017 lyricist for the 25th anniversary concert of the AIDS Quilt Songbook at National Sawdust, 2016 Duke University residency, 2016 Emerson Stage workshop production, 2015 Play Commission from the Contemporary American Theatre Festival for We Are Pussy Riot, 2015 Lippmann Family "New Frontier" Award, 2015 P73 Fellowship finalist, 2014 Seven Devils Theatre Conference; the 2012 Helen Merrill Distinguished Playwright Award; Yale Playwrights Festival mentor since 2010; 2011 Edward Albee Foundation Fellow; Tyrone Guthrie Centre repeat resident in Annaghmakerrig, County Monaghan, Ireland; finalist at the Tennessee Williams One-Act Play Festival and the Kerouac Project; Special Jury Award, First Irish 2009 Theatre Festival. She is a member of ASCAP and the Dramatists Guild, and was named one of the Influential Women of 2011 by the Irish Voice. Her work has been funded by the National Endowment for the Arts, The Venturous Theater Fund, the Laurents/Hatcher Foundation, and the Andrew W. Mellon Foundation. Plays: We Are Pussy Riot Or Everything Is P.R., Terra Firma, Visible From Four States, The Eva Trilogy: Eden, Enter The Roar And No Coast Road, Beyond The Pale, James, Norman And Beatrice, Paper Tigers, and a collection of three one-acts entitled New York In June. Visit her website at barbarahammond.com.
LORETTA GRECO +
DIRECTOR/ ARTISTIC DIRECTOR
is currently in her tenth season as Magic Theatre’s Artistic Director, where she has proudly developed and premiered Taylor Mac’s Hir; Luis Alfaro’s Oedipus El Rey, Bruja, and This Golden State Part 1: Delano; Polly Pen and Victor Lodato’s Arlington; 4
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Linda McLean’s Every Five Minutes; Sharr White’s Annapurna; Lloyd Suh’s American Hwangap and Jesus In India; Anna Zeigler’s Another Way Home; and Octavio Solis’s Se Llama Cristina; and shepherded the American premieres of Penelope Skinner’s Fred’s Diner, Linda McLean’s Any Given Day, and Mark O’Rowe’s Terminus, among many others. Ms Greco’s directing credits at Magic include Theresa Rebeck’s Mauritius, Luis Alfaro’s Oedipus el Rey, Liz Duffy Adams’ Or,, Sharr White’s The Other Place, Jessica Hagedorn’s Dogeaters, last season’s critically acclaimed revival of Sam Shepard’s Fool for Love, and Han Ong’s Grandeur. Ms. Greco’s New York directing premieres include: Tracey Scott Wilson’s The Story (Kesselring), Ruben Santiago Hudson’s Lackawanna Blues (Obie), and Nilo Cruz’s Two Sisters and a Piano (Kesselring) at NYSF/Public Theater; Katherine Walat’s Victoria Martin Math Team Queen, Karen Hartman’s Gum, Toni Press Coffman’s Touch, and Rinne Groff’s Inky at Women’s Project; Emily Mann’s Meshugah at Naked Angels; Laura Cahill’s Mercy at The Vineyard Theatre; and Nilo Cruz’s A Park in Our House at New York Theatre Workshop. Regional directing credits include Life is a Dream at California Shakespeare Theater; Speed-the-Plow, Blackbird, Lackawanna Blues, and The Realistic Joneses at American Conservatory Theater; Romeo and Juliet and Stop Kiss at Oregon Shakespeare Festival; and productions at La Jolla Playhouse, South Coast Repertory, McCarter Theatre Center, Long Wharf Theatre, Studio Theater, Intiman Theatre, Williamstown Theatre Festival, Arena Stage, Coconut Grove Playhouse, Cincinnati Playhouse, Repertory Theatre of St. Louis, and Playmakers Repertory Company. She directed the national tour of Emily Mann’s Having Our Say as well as the international premiere at the Market Theatre in Johannesburg, South Africa.Ms. Greco received her MFA from Catholic University, and her BA from Loyola University, New Orleans, and is recipient of two Drama League Fellowships and a Princess Grace Award.
CALEB CABRERA
TOM
is honored to be making his debut at Magic Theatre. Past credits include The Events, Grand Concourse, Hamlet (Shotgun Players), Into the Beautiful North, Totem & Taboo (Central Works), My Mañana Comes (Marin Theatre Co.), A Maze (Theatre Battery), Year of the
Rooster (Impact Theatre), and This Is All I Need (Mugwumpin). Next up is Fugue (Detour Dance). He received his BA in Drama - Performance from San Francisco State University. He is also a proud pedicab pilot and hopes you flag him down someday for a ride.
JUSTIN GILLMAN*
FATHER O'LEARY
is a Bay Area native currently residing in New York City, and is thrilled to be making his Magic debut with The Eva Trilogy. NYC credits include Twelfth Night with Classic Stage Company, Hamlet with Gallery Players, and When Last We Flew (Best of NY Fringe). In the Bay Area, Justin has performed with San Francisco Playhouse (My Fair Lady), Center Repertory Company (Born Yesterday), Shotgun Players (The Rover), Custom Made Theatre Company (Belleville; Middletown; The Pain and the Itch), The Breadbox (TBA Award Recipient, Leading Actor in a Play for Katurian in The Pillowman; The Awakening; Blood Wedding; ‘Tis Pity She’s a Whore), Shakespeare Santa Cruz, 42nd Street Moon, Cutting Ball Theater, and New Conservatory Theatre Center, among others. He is also a recent recipient of the Theatre Bay Area TITAN Award. BFA: UC Santa Barbara. MFA: Columbia University.
ROD GNAPP*
EAMON
is a veteran of Bay Area stages. Mr. Gnapp was last seen at Magic in Fool For Love, This Golden State, Every Five Minutes, Buried Child and Se Llama Cristina. He recently appeared in Seared at the SF Playhouse and The Realistic Joneses at American Conservatory Theater. His credits also include work at Berkeley Rep, California Shakespeare Theater, San Jose Rep, Marin Theatre Company, Aurora Theatre Company, TheatreWorks, the Huntington Theatre Company, Brooklyn Academy of Music, Seattle Rep, Virginia Playhouse, and the Pittsburgh Public Theater. Mr. Gnapp can be seen in the independent feature film Touching Home by the Miller Brothers, with Ed Harris. He can also be seen in Valley of the Hearts Delite, Calendar Confloption (Pixar), and Return to the Streets of San Francisco. He is the recipient of many Bay Area Theatre Critics Circle (BATCC) Awards and is a graduate of the American Conservatory Theater's MFA program.
JULIA MCNEAL*
EVA
previously appeared at Magic as Heather in Fred’s Diner and Meg in A Lie of the Mind. An awardwinning actress, she performed in numerous theater and film productions in New York and Los Angeles before making the Bay Area her home. Recently seen as Claire in The Events at Shotgun Players; other local credits include Aurora Theatre, SF Playhouse, Marin Theatre Company, Porchlight Theatre, TheatreFirst, Center Reperatory Company, Pacific Alliance Theatre, Actors Theatre of SF, First Person Singular, and PlayGround (company member). Film and TV: The Unbelievable Truth; Flesh and Bone; Law and Order and Law & Order, SVU, among others. Julia is a Guest Artist in the conservatory theatre program at Tam High. She also coaches solo performers in a distinct method for playing multiple characters. Deep bow of gratitude to: Barbara, Adam, and Mom. Proud member of AEA - SAG/AFTRA. juliamcnealarts.com
AMY NOWAK
ROISIN
is ecstatic to be making her Magic debut! She grew up on the east coast, and then attended Fordham University's theater program in NYC. After traveling for a bit, she landed in the Bay Area, where she's worked with companies like We Players, Do it Live! and Theatre First. Believe it or not, she's only a quarter Irish.
LISA ANNE PORTER*
TERESA
has previously performed in Bright Half Life, The Long Christmas Ride Home, The Pharmacist’s Daughter, and The Brief But Exemplary Life of a Living Goddess at Magic Theatre. She has performed with the American Conservatory Theatre, California Shakespeare Theatre, Marin Theatre Company, Aurora Theatre Company, San Francisco Shakespeare Festival, Shakespeare/Santa Cruz, Shakespeare Festival/LA, Center Repertory Theatre, SF Playhouse, BRAVA Theatre Center, Shakespeare & Company, Syracuse Stage, Sacramento Theatre Company,
GeVa Theatre Company, and Boston Theatreworks. She has coached voice and dialect in over sixty productions nationwide. She is currently the Co-Head of Voice and Dialects for the American Conservatory Theatre and a lecturer at the University of California, Berkeley. She has served on the faculties of Syracuse University, UC Davis, San Francisco State University, Shakespeare & Company, The Tepper Center in NYC, Naropa University, California Shakespeare Theatre, Berkeley Repertory Theatre and the Academy of Art University. She has a BA from Wesleyan University and an MFA from the American Conservatory Theatre.
MEGAN TROUT
NYMPH
was last seen at Magic Theatre in the staged reading of Ivanka: A Medea for Right Now. Other Bay Area credits: Marin Theater Company (Shakespeare in Love [Dec 2017] ), Shotgun Players (Who’s Afraid of Virginia Woolf?, Grand Concourse, The Village Bike, Hamlet [a roulette], The Mousetrap, Eurydice, Bonnie & Clyde, The Coast of Utopia), Aurora Theatre (Widowers’ Houses [Jan 2018], A Bright New Boise, Metamorphosis), Central Works (Dracula Inquest, Richard the First), Just Theater (We are Proud to Present), the O'Neill Foundation (Cat on a Hot Tin Roof), and Boxcar Theater’s Sam Shepard Festival (A Lie of the Mind, Buried Child). More information at www.megantrout.com
HANA KIM**
SCENIC AND PROJECTION DESIGNER
has designed sets and projection for Magic’s Grandeur and Dogeaters, as well as projections for Every Five Minutes and The Other Place. Recent design credits include: set and projection for Next To Normal directed by Nancy Keystone (East West Players), projection for Wonderful Town directed by Davide Lee (Los Angeles Opera), set and projection for The White Snake directed by Natsu Onoda Power (Baltimore Center Stage), projection for Fallujah directed by Andreas Mitisek (New York City Opera), projection for Collective Rage directed by Lindsay Allbaugh (Theater@BostonCourt), and projection for City of Conversation directed by Michael Wilson (Wallis Annenberg Center for the Performing Arts). She is a recipient of a Princess Grace Award in Theater Design. Her designs have won Stage Raw Awards, StageSceneLA Awards, and Bay Area Theater Critics
Circle Awards. Her designs also received nominations for the Ovation Awards, Theater Bay Area Awards, and Helen Hayes Award.
ALEX JAEGER**
COSTUME DESIGNER
At Magic: Mauritius, Goldfish, Mrs. Whitney, Oedipus El Rey, What We're Up Against, Or,, Bruja, Annapurna, Se Llama Christina, Every Five Minutes, Buried Child, This Golden State, Sister Play, A Lie of the Mind, Fred's Diner, Grandeur. A.C.T: The Hard Problem, Major Barbara, Venus in Fur, Arcadia, Once in a Lifetime, Maple and Vine, The Homecoming, Speed the Plow, Rock N Roll. Guthrie Theatre: Mr. Burns; Public Theater: Two Sisters and a Piano; Mark Taper Forum: A Parallelogram, Other Desert Cities; California Shakespeare Festival: Life Is A Dream. Many productions for Oregon Shakespeare Festival and other regional theaters. For more information go to www.alexjaegerdesign.com.
STEPHEN STRAWBRIDGE LIGHTING DESIGN
Magic Theatre: The Happy Ones, And I and Silence, Fred’s Diner. Over 200 productions on and off Broadway and at most major regional theater and opera companies across the US. International: Bergen, Copenhagen, The Hague, Hong Kong, Linz, Lisbon, Munich, Naples, Sao Paulo, Stratford-upon-Avon (RSC), Stockholm, Vienna, and Wroclaw. Dance: Pilobolus Dance Theatre, Alison Chase performance and others. Nominations and awards: American Theatre Wing, Bay Area Theatre Critics Circle, Connecticut Critics Circle, Dallas-Fort Worth Theater Critics Forum, Drama Desk, Helen Hayes, Henry Hewes Design, and Lucille Lortel. Co-chair of the Design Department at Yale School of Drama; resident lighting designer at Yale Repertory Theatre.
DAVID VAN TIEGHEM
ORIGINAL MUSIC & SOUND DESIGN Broadway: Heisenberg, The Gin Game,
Doubt, The Lyons, Romeo and Juliet, Born Yesterday, The Normal Heart, Reckless, A Man for All Seasons, Inherit the Wind, Arcadia, The Crucible, Judgment at Nuremberg, Three Days of Rain, The Best Man. Off Broadway: Wit, Incognito, Rasheeda Speaking, How I Learned to Drive, The Grey Zone, The Heart is a Lonely Hunter, Jack Goes Boating. Film/ TV: Working Girls, Buried Prayers, Penn & Teller, Wooster Group. Dance: Twyla Tharp, Doug Varone, STREB, Pilobolus, Michael Moschen. Percussionist: Laurie Anderson,
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biographies Steve Reich, Brian Eno, Talking Heads. Albums: Thrown for a Loop, Strange
Cargo, Safety in Numbers, These Things Happen. www.vantieghem.com
SARA HUDDLESTON
ASSOCIATE SOUND DESIGNER
For Magic: selected designs include Grandeur, Fool for Love, Dogeaters, Fred’s Diner, Sister Play, A Lie of the Mind, And I And Silence, pen/man/ship, Every Five Minutes, Hir, Arlington, Terminus, Se Llama Cristina, Any Given Day, What We’re Up Against, Or,, The Brothers Size, An Accident, Mrs. Whitney, Goldfish, Mauritius, Evie’s Waltz, The K of D, and Octopus (Magic/Encore Theatre Company). Further Bay Area sound design credits include Miss Bennet: Christmas at Pemberley and Gem of the Ocean (Marin Theatre Company), In On It and T.I.C. (Encore Theatre Company); The Shaker Chair (Encore Theatre Company/Shotgun Players); Macbeth (Shotgun Players); Three on a Party (Word for Word); A Round Heeled Woman (Z Space); I Call My Brothers, Invasion! and 410 [Gone] (Crowded Fire), Autobiography of a Terrorist (Golden Thread Productions). Ms. Huddleston received a BFA from the Carnegie Mellon School of Drama.
SONIA FERNANDEZ
DRAMATURG/ASSOCIATE ARTISTIC DIRECTOR
is a scholar, translator, and dramaturg specializing in new work. Recent projects include: Grandeur by Han Ong and Fool for Love by Sam Shepard at Magic; The Shipment by Young Jean Lee at Crowded Fire; We Swim, We Talk, We Go to War by Mona Monsour at the Bay Area Playwrights Festival. Sonia is a long-time Resident Artist with Crowded Fire Theater. She received her AB in English from Princeton University and Master’s in Theater from San Francisco State; she is a PhD candidate at UC San Diego.
JESSICA BERMAN
DIALECT COACH
is a dialect, voice, and text coach. Her previous work with Magic Theatre includes The Baltimore Waltz, Sojourners, runboyrun, and Fred’s Diner. Jessica has taught and led workshops with the Royal Shakespeare Company, U.C. Berkeley, Academy of Art University, and A.C.T. (Summer Training Congress and San Francisco Semester). Recent coaching 6
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credits include: An Octoroon, Monsoon Wedding, and Hand to God (Berkeley Rep), An American in Paris (North American Tour), Thomas and Sally, The Legend of Georgia McBride, Native Son, August: Osage County, and Miss Bennet: Christmas at Pemberley (Marin Theatre Company), Fences (Cal Shakes), and Jerusalem (SF Playhouse). Jessica holds an MA from the Birmingham School of Acting, and an MFA in Voice Studies from the Royal Central School of Speech and Drama.
KEVIN JOHNSON*
STAGE MANAGER
returns for his eighth production at Magic, having previously stage-managed Buried Child, Dogeaters, Every Five Minutes, Grandeur, Hir, Nogales, and The Other Place. Locally, he has stagemanaged more than 20 world premiere productions for companies such as Aurora Theatre Company, Berkeley Repertory Theatre, California Shakespeare Theater, Marin Theatre Company, Santa Cruz Shakespeare, and many others. He also has stage-managed music and dance productions, including Oakland Symphony, Pacific Mozart Ensemble, San Francisco Jazz Festival (with Bobby McFerrin), International Russian Music Festival, and Dave Brubeck's final album of his choral music, Brubeck and American Poets.
JOHN MARX & NIKKI BEACH
SEASON PRODUCERS began coming to Magic in 1981 and have enjoyed its intensity and independence ever since. John joined the Magic Theatre board in 2009. In 1999, John co-founded Form4 Architecture, a SF-based firm that produces award-winning architecture ranging from a 2,000 square foot penthouse in SF to a 4 million square foot IT Campus in Pune, India. Other projects include the headquarters for Netflix, nVidia, and Vmware. Recently, a monograph of John’s work, entitled
Wandering the Garden of Technology and Passion, was published by Balcony Press. Nikki Beach makes model trees for architects worldwide. John and Nikki are honored to have been producers of Tír na
nÓg, Mauritius, Oedipus El Rey, The Lily’s Revenge, Bruja, Se Llama Cristina, and Buried Child. They find the behind-the-scenes access and relationships they have formed from producing to be unforgettable.
TONI REMBE
SEASON PRODUCER
is a past member of Magic Theatre's board of trustees, past president and a member of the Emeritus Advisory Board of the American Conservatory Theater and a
member of TCG’s National Council for the American Theatre. She is a retired partner at the law firm of Pillsbury Winthrop Shaw Pittman and president of the van Loben Sels-RembeRock Foundation, a private foundation specializing in social justice and related legal services. She is a member of the board and a former president of the Commonwealth Club of California and a former board chair of the Presidio Graduate School, and has served on the boards of other nonprofit organizations and public companies.
JAIMIE MAYER
MANAGING DIRECTOR
served on the board of Magic for four years prior to joining Magic’s leadership team last season. Mayer was the Producing Director of COAL, a musical designed to catalyze and spark individuals and communities to find their voices in the climate change movement. She founded Don't Eat The Pictures Productions, a theatre, film, and event production company dedicated to developing and seeding new work, in 2007. Select theatre producing credits include the Broadway production of [title of show], Love Song by John Kolvenbach (59E59), The Boy in The Bathroom by Michael Lluberes (45th Street Theater/New York Musical Theatre Festival Award for Most Promising New Musical), and Love Kills by Kyle Jarrow (45th Street Theater). Mayer’s film work has premiered at Sundance Film Festival, on PBS, and Showtime. While serving as the Park Avenue Armory’s first Special Projects Manager, Mayer created both their education and artist residency programs. She has held the position of Managing Director and Producer at terraNOVA Collective, Associate Producer at both The New York Musical Theater Festival and Women's Expressive Theater, and as the Artistic Associate at The Women's Project. Mayer has worked at The Public Theater, Classic Stage Company, and The Long Wharf Theatre, among others. Commercially, she has worked as a Producing Associate on the Broadway production of Spiderman: Turn Off The Dark as well as for Mandy Patinkin In Concert, and with The Araca Group on multiple Broadway productions including Wicked, The Wedding Singer, and 25th Annual Putnam County Spelling Bee. In the philanthropic realm, Mayer runs JAM Consulting, working with philanthropists in their 20s and 30s looking to create their philanthropic footprint, with families trying to integrate the next generation, and with non-profits cultivating individuals in their 20s and 30s. She has worked with a number of individuals,
foundations, and non-profits in the United States, Canada, and Israel including University of South Florida, Slingshot, Reboot, America-Israel Cultural Foundation, and the EcoHealth Alliance. Mayer is Vice Chair of The Nathan Cummings Foundation, Vice President of The MayerRothschild Foundation, and served as the President and Founder of The Buddy Fund for Justice through the Rockefeller Philanthropy Advisors for five years. She was the final Chair of the Council on Foundations Film Festival and the Film and Video Festival and Film and Video Task Force, and is a frequent public speaker on philanthropy. Mayer holds an MFA in Theatre Management and Producing from Columbia University's School of The Arts and a BA in Theatre from Connecticut College. She is the Vice Chair of Artists Striving to End Poverty (ASTEP), sits on the Emerge and Education Committees of the Museum of Contemporary Art (MCA) in Chicago, and the National Leadership Council of USA Artists.
SPECIAL THANKS
Susan Boynton Teddy Foley Justin Hirigoyen Jeremy Kotin Susie Lampert Ryan Sturges and Zen Hospice Project Una Werner and Irish Help at Home
*Member of Actors’ Equity Association. AEA, founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performance arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org. +Member of Stage Directors and Choreographers (SDC) **Member of United Scenic Artists local 829. United Scenic Artists represents the designers and scenic painters for the American theatre.
magic theatre NOW IN ITS 50TH YEAR
of continuous operation, Magic Theatre is dedicated to creative risk: we cultivate new plays, playwrights, and audiences and produce bold, entertaining, and ideologically-robust plays that ask substantive questions about, and reflect the rich diversity of, the world in which we live. Magic believes that demonstrating faith in a writer’s vision by providing a safe, rigorous, and innovative artistic home, where a full body of work can be imagined, developed, and produced, allows writers to thrive. We believe that, by adding vanguard voices to the canon and expanding access to new theater-goers, we ensure the future vibrancy of the American theatre. Since the company’s founding in 1967 by regional theatre pioneer John Lion, Magic has embodied San Francisco’s innovative spirit by providing an artistic home to some of the most visionary writers in American theatre. From prolific poet-playwright Michael McClure’s 22 works written for Magic, classics of Beat counterculture staged in collaboration with Lion, to scholar Martin Esslin’s indelible influence on the field as the first resident dramaturg at an American theatre company, Magic’s early years established the company as one of the most important centers for the creation and performance of new American plays. Sam Shepard’s decade-long playwright residency at Magic cemented the company’s legacy as a preeminent new play theatre. Between 1974 and 1984, Shepard developed and premiered a body of work at Magic that changed the face of American drama, including his seminal family plays Buried Child (Pulitzer Prize, 1979), True West, and Fool for Love. Since Artistic Director Loretta Greco assumed leadership of Magic in 2008, the theatre has produced 19 world premieres and nurtured a new cohort of exceptional playwrights. Indelibly shaped by the example Shepard provides, Magic remains a national leader in new play development through Greco’s commitment to a core group of writers as they each build a groundbreaking body of work. These writers include Octavio Solis, Lloyd Suh, Taylor Mac, Linda McLean, Jessica Hagedorn,
Sharr White, John Kolvenbach, Christina Anderson, Joshua Harmon, Mfoniso Udofia, & Luis Alfaro, to name a few. Magic plays have a profound impact across the American theatre landscape. Under Greco’s leadership, Magic world premieres have entered the canon of American plays, enjoying subsequent productions at theatres across the country and around the world. In the last decade, Magic premieres have been seen in Chicago, London, Los Angeles, Ashland, Philadelphia, Indianapolis, Seattle, Dallas, Austin, Pasadena, Winnipeg, Portland, Washington, D.C., Tucson, Minneapolis, Vancouver, Williamstown, Edmonton, Nashville, Boulder, Omaha, Tampa, Hartford, Houston, San Diego, and Sydney, Australia, as well as in translation in Seoul, South Korea and Manila, the Philippines. In New York alone, MaYi, The New Group, The Vineyard, INTAR, The Play Company, Playwrights Horizons, and The Public Theater have produced plays that originated at Magic within the past eight years.
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dramaturgy
Barbara Hammond working on rewrites for Enter the Roar. Photo by Sonia Fernandez.
ART THAT COSTS: An interview with Barbara Hammond by Sonia Fernandez Barbara and I sat down to talk at Greens Restaurant, on a lunch break, during the first week of rehearsal for The Eva Trilogy. Sonia Fernandez: How did you get into playwriting? Were you always a writer? Barbara Hammond: I remember wanting to learn to read as quickly as possible because I needed to be a writer and thought that knowing how to read was going to be important. When I was twenty-three, my mentor and dear friend, the late Stanley Kauffmann, asked me why I wanted to write plays. I had recently moved to NYC after living my late teens in Dublin, and I had written a one-act play about an elderly woman from Stonybatter (much like Eileen in Eden actually) and I blurted out "because I love people."  I can be a private, solitary person but I have a deep love for people and their resilience — that, more than anything, has driven me to make theatre.
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dramaturgy
During the months and weeks when my mother was dying, slowly and painfully, and I thought 'I have something to say about being a woman and I'm going to have to say it.' That night, I wrote on a scrap of paper 'The only country I come from is the womb and the whole human family comes from there.'
SF: What was your impulse in beginning to write Eva's story? BH: I only intended to write one piece (which turned into Eden). A singular Irish actress Aedin Moloney reads Molly Bloom's soliloquy from the end of Ulysses for Colum McCann's celebration of Bloomsday at Ulysses bar in lower Manhattan every June 16. It is mesmerizing to witness, and once I heard it during the months and weeks when my mother was dying, slowly and painfully, and I thought, "I have something to say about being a woman and I'm going to have to say it." That night, I wrote on a scrap of paper, "The only country I come from is the womb and the whole human family comes from there." SF: How did that turn into a trilogy? BH: Eden spilled out of me, and I thought when it was done that I was done, too. But a year after it was finished, I heard a voice in my ear — it was the hospice worker, Roisin. And the first thing she said was, “I never did well in the Bio. I was fine with the Chemistry but I never did get to be a nurse.” And I was surprised. I think Eden left me wide open, Eva had opened me up, and Enter the Roar was a way to take things further, to crack open the world a little more. Then, after writing Enter the Roar, I wondered so much about what would happen to Eva, and No Coast Road started appearing in images in my dreams. No Coast Road took a long time to write. I was trying to make a play about a landscape that we don’t have language for. So each one came separately and yet they belong together. They need one another. SF: Where do you go for inspiration? Favorite artists, writers, musicians? BH: I have a weakness for where great talent meets great guts — where you know the art cost the artist — singer/songwriters Nina Simone, Leonard Cohen, Bob Dylan, Patti Smith, Pussy Riot — dancer/choreographers Pina Bausch, Martha Graham, Bill T. Jones — visual artists Hieronymous Bosch, Frida Kahlo, Ai Wei-wei. Authors Marguerite Yourcenar, Dostoevsky, Camus. Our own Sam Shepard. I am also inspired by the daily toil of all artists who remain undiscovered by the public. SF: Do you feel your work does that? Do you aspire to that gutsiness — work that costs you? BH: I’ve arranged my life around being a playwright and filmmaker for two decades and it has been lonely at times, uncomfortable, inconvenient, dangerous even – but also exhilarating, powerful and thrilling. I’ve tried to know what it is like to be a person, to understand it well, and being a person takes guts, even for the outwardly privileged among us. Life is hard. Can I add that my plays require guts from the actors, and I don’t know what I’d do without them. I don’t have that particular form of courage. SF: I saw an interview you did where you mentioned that you are in all of your plays. Where are you in the characters within The Eva Trilogy? BH: Did I? SF: Yes. Writers usually don’t like to admit to that. BH: I feel very much when I’m writing a play, I become big enough to encompass everything each character is. I’m a hundred percent Eamon, I’m a hundred percent Roisin, I’m a hundred percent Teresa; I’m a hundred percent Fr. O’Leary. When he’s saying things — I feel him completely as if I am him.
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First rehearsal table reading of The Eva Trilogy with cast, creative team, staff, and guests. Photo by Ciera Eis.
I would say, biographically, I have the most in common with Eva. If I didn’t say that I would really be avoiding the elephant in the room. But I think I channeled something in Eva. In no way am I Eva.... Eva became the mouthpiece for something about life that felt important to get out — something about unraveling all of the rules and obligations of family and society and education to bear witness to what I really am, to ask myself who I really am. SF: In the third play, No Coast Road, Eva evades Tom’s questions about her Irish origins. She says “I’m a citizen of me own mind.” You just mentioned that the first lines you wrote of the trilogy were “the only country I come from is the womb.” The plays have a deep sense of place: the specific locations, but also a question about an individual’s place in the world. How is that related to your own travel? BH: I still find it hard to believe that any of us are here at all, on the earth. It feels so implausible. So recognizing the womb as my point of origin – recognizing it as the thing that allows all other relations. That’s where I start. So Eva at 17 leaves Dublin and goes to Paris. When I was 17, I left Wisconsin and moved to Dublin. I was headed for Paris. I started in London then went to Dublin and just stayed. I loved Ireland. It was the first place I went where I felt at home. I met people who are still my best friends today. In fact, someone that I met the day I moved to Dublin is coming to opening night. Flying from Dublin to San Francisco. There was serendipity that happened when I landed in Dublin. I was so lucky. Things could have gone in a different direction for me, but they didn’t because of the people that I met. And I’ve always known that I was young and vulnerable enough that things could have gone in a different direction. I didn’t have any money and I didn’t feel like I could go home. I’ve always related to people who are in that situation and things don’t go well.
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“ I am rootless… I am at home everywhere and nowhere.” —Marguerite Yourcenar
Photo by Julien Laurent.
dramaturgy SF: Do you feel like “a citizen of your own mind?” BH: I feel at home almost everywhere in the world except where I’m from. And I can’t help it. I wish that was different. Not feeling at home where I’m from has catapulted me into the world and allowed me to feel at home in worlds far, far from my origins. But at the same time I’m rootless because I genuinely have zero nostalgia for where I’m from, for my childhood, for my family. SF: I was just reading the publication of your letters to your niece. You sign them “Be,” which is interesting to me in that the letters have so much to do with being lessons you learned from your own travels. They also resonate with some of the themes of Eva’s journey — of living life to its fullest. Can you talk about those letters and your relationship with Ryn? BH: Ryn and I are lucky to have our friendship and in my letters to her I could always be very honest — I always wanted to tell her the truth about my life. My barriers came down when I wrote to her. And I often signed them “Be” — “B” is my nickname and with her I decided to spell it like the verb. Sharing the letters publicly has been a little uncomfortable, but that’s good for me and the response has been really gratifying, especially from young women. It helps that it combines both of our work — her art and my thoughts as I struggled to make a life for myself. SF: There’s such a sense of generosity in them — one artist to another. You came from a big family, right? BH: I’m the youngest. SF: Like Eva… BH: That’s true…The fact that I’m the youngest in my family and that my mother died of Parkinson’s — I guess are those two things that answer your question.
Barbara Hammond with
When my mother was very unwell, when Loretta Greco in rehearsal. she was dying… I had a slow realization Photo by Sonia Fernandez. that it was never going to be that… she was never going to know me and I was never going to know her… And I guess when she was ill it became easy to forgive her. I felt an enormous amount of love for her separate from being my mother when I began to think of her as my birth mother. SF: In rehearsal we’ve been talking about the mothers and daughters and the female relationships in the play. As a new mom, how does that change your relationship to your work, how does it shift your perspective on these plays in The Eva Trilogy? BH: I think being a mother is actually making my work feel more urgent. I’m happily surprised by that feeling. I feel that it’s even more important to be the woman that I am inside… Out loud. For her. So she can see it. And even saying that is such a new thought. I’ve never been watched before, so I have been able to move with my own whims and be hidden and take my time, and now I feel that I have a requirement to walk the walk of who I think I am. Who I would like to be. And to see myself clearly because she’s going to see me clearly. The kind of gauzy fantasy we put around ourselves to enjoy our own image of ourselves is stripped away by parenthood. It has also given me a trough of compassion that feels bottomless for the world, and for how the world works.
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dramaturgy SF: Your plays have so much compassion. BH: I think I had that, in theory, my whole life. Now I have it viscerally in a way that I didn’t before. I’m aware that everyone I see was once someone’s infant. There used to be a line in Eden about any joy in motherhood scraped out by all the work and all that was left was the clothing and the feeding and the praying. When you see the work that goes into having an infant. What has to be done. It’s so easy to see how you can just subsume your personality and do the job My compassion for my mother, my grandmother, my female ancestors… I’ve always thanked them in a... it was a formal thing before and now it feels deeper, more connected. SF: Let’s talk about Catholicism. In Eden, Eva says “It’s a lifelong journey, isn’t it, shaking off a Catholic childhood?” How do you relate to Catholicism now? Where are you with it? BH: I was like Eva. At a very young age I had problems with it. But at the same time enjoyed the pageantry of it, the ritual for a little while, but by 10 I was out. In Ireland I learned what it was to be a cultural Catholic. I was going to a country where many people had that same resentment for what the Church did. The Church has done some awful things and I learned to separate that from the believer. My play about Pussy Riot talks about the orthodox believer. Powerful people use believers as a buffer between them and criticism. I frequently have that subject in my plays without intending it. SF: People who don’t realize they’re being used that way. Who just believe the thing that they believe. BH: That drives me crazy in a good way. It drives me. I created Eamon who is a believer, who is a good soul, and I also created a priest who believes all the dogma but is essentially trying to do the right thing. I know how to create a religious character who sounds like he’s being absolutely horrible by a secular person’s standard, who a religious person believes is being absolutely reasonable. Because if you truly believe in the afterlife, and that hell thing, then it is the compassionate thing to do, to be strict. A person who didn’t grow up with this religion can’t even get their head around that. I don’t know any secular person who has ever been able to relate...It’s tricky — the fear is very real. Unless you were raised that way it’s hard to imagine how real hell is to people. SF: It speaks to the chasm that exists in our culture now…. BH: What I think is beautiful is thinking that there’s a little light inside everybody that makes them special. And that that light is there no matter who that person is. No matter what that person has done. That the gift of life, wherever it comes from, is a gift. It is holy… That is really resonant in my play Visible from Four States, which we are reading in the Virgin Festival here in December.
Time is all we have
and time is being stolen. Our attention is being stolen. I feel like it's a radical act to want your life back.
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dramaturgy And I think if you go through life ready to bow to the light within another, you have a better life. Whether it’s real or whether it’s just a good construct for yourself. If you really start to take away the idea that we have a light inside us, then we’re all just consumers. “Is a person valuable or not?” So many fundamental societal issues rest on that question, and the answers we give dictate how a society runs itself. What do we lose if we don’t have those questions? And religions answer that question absolutely. We are made by God and thus we have value. I think you can have those questions in a secular world but you have to be cautious about throwing out religion, tossing out the baby with the bathwater as… SF: …as Father O’Leary says. I wanted to ask you about the roar. The second play in the trilogy is titled Enter the Roar. Eva talks about the roar being the culture and society and family that out-roars the individual. The internet has exacerbated this, social media in particular. It feels like the roar is louder than ever. What is the roar for you? BH: Eva says, “What is a life when we never crack it open?” I think something I fear most is going through life without waking up to who we are and what we can be. I don't mean that in a self-realization way or in a bucket list way. It’s so much deeper than that and so accessible if you can quiet the roar. And it’s astonishing to me how easy it is to go through years and years — to go through an entire life — without knowing who you are. Not who you are as a son, daughter, person, just as a beating consciousness that is experiencing color and sound and dreams. Animals — pets — are a reminder. They are company. They don’t have jobs, they don’t gossip; they don’t know what’s going on in the world. But they know you. We have access to that, too. All that takes is just thirty seconds of realizing. Without your ego. Just experiencing being alive and realizing who you are stripped of the details. SF: Which is what you find in nature. It’s why people go to nature. BH: Everybody knows the story that on your deathbed people don’t care anymore about the things they’ve accumulated. But we don't really learn that lesson even though everybody kind of knows it. These days we’re selling everything. We’re selling space. Football fields are named after corporations now. The subway in New York, the turnstiles have advertisements on them. Everything… SF: My metro card in New York had an ad on it. BH: That’s the roar. That is killing us. They wouldn’t be doing that if they didn’t have research to say that this gets into your brain. This works. It is doing something to us. It is stealing our life... Time is all we have and time is being stolen. Our attention is being stolen. I feel like it's a radical act to want your life back. That’s what the roar is to me. In No Coast Road, Eva finds a place beyond it. And I hope the trilogy takes us all there.
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WORKS BY BARBARA HAMMOND PLAYS Terra Firma We are Pussy Riot or Everything is P.R. Visible from Four States The Eva Trilogy: Eden, Enter the Roar, No Coast Road Beyond the Pale James Norman and Beatrice Paper Tigers FILM June Weddings ESSAYS & PUBLICATIONS “Letters” with artist Ryn Wilson “How to Stay a New York Playwright” “Brecht, Love and Taylor Mac” MUSIC “That’s What I Recall” with composer Martin Hennessy “I’m Not Dead” with composer Martin Hennessy “Get Along with You” “Promise” “Years Go By”
places RUSH is a small, coastal town north of Dublin, Ireland. Historically populated by heavily Catholic, blue-collar, working class people, Rush is a tight knit community where news travels fast.
PIGALLE is the red-light district of Paris, France.
Photo by Rick McCharles.
Photo by Allison Cassidy.
Home to the Moulin Rouge and adjacent to Sacre Coeur, Pigalle is a contradictory and highly romanticized part of Paris, and a common destination for runaways of all types.
CORSICA is a small island in the Mediterranean Sea, but is politically a part of France.
Its mountainous landscape and breathtaking vistas make it a destination for hikers and climbers. In particular, the island is home to the GR 20, a difficult and scenic 200-kilometer hike traversing Corsica’s spine through cliffs and mountains.
Photo by Saroj Regmi.
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sam shepard (1943-2017)
SAM SHEPARD WAS MYTHIC. Through his mind-bending and heart-breaking plays and prose, he bared his soul and swagger while traversing our primordial pasts. For five decades and change Sam has been in pursuit of the bones buried out back, of the visceral energy and emotional tension that makes us human. It’s hard to imagine a world without him. His restless, rhythmic, imagistic dialogue made actors kill to speak his words aloud—to explore the space Sam left around the words. Those early iconic performances of Gammon, Harris, Baker, Coyote, Sinise, and Malkovich cemented our hope that maybe, just maybe, we too could be a part of something as primal and true. The ravishing wilds of California from Homestead to Napa Valley indisputably evoked Sam’s imagination, producing a staggering cannon of 55 plays, 5 collections of prose and 50-plus film performances. Here, at the edge of the West, hanging off the San Francisco Bay, Sam wrote and premiered seven of his seminal works at Magic Theatre, including Buried Child (his Pulitzer Prize winner), True West, and, in 1983, (the same year he would be nominated for an Oscar) Fool for Love. His singular brand of muscularity was forever baked into our consciousness and the ferocious, visceral primacy of his texts ignited a new play fever that spread throughout the Bay and well beyond. With a natural intensity, he was an iconic, if reluctant, film star and his many roles portrayed him as a cool product of the West whom we believed could tame the frontier. We forged a friendship over what would be, unthinkably, the last five years of his life. Slumped in Magic’s audience, legs dangling over the theater seats in front of us, he argued vehemently with me over the ending of a play I was directing (not his). He attempted to explain the craft of hunting geese versus deer and encouraged me to read one of his favorite novels (I tried unsuccessfully, the book—not the hunting). Years later, over tea one afternoon in the East Village, he joyously recited Beckett and with misty eyes shared the humility he felt in making what would become Tongues, with his dear friend, Joe Chaiken. Sam refused to play wise sage. He remained beautifully broken from his first plays in ’64 to his last book of fiction published in 2017, combing the open road for visages of his lost father, the bygone West of his youth, and America’s forgotten promises. I last saw Sam in Healdsburg just before he would head home to Kentucky at the end of March. Over cups of coffee, Sam and his astounding sisters Sandy and Roxanne shared with my partner and me photos of his cherished ranch, the horses he missed dearly and the astounding beauty of that land. We discussed Diebenkorn’s work and Sam pondered the origin of the Beatles’ Blackbird. Before the afternoon was over, he dictated a dedication for Magic’s 50th, for Ed Harris to present. Sam asked to hear it out loud. Roxanne read it back patiently several times and with each pass Sam listened intently, making small, careful revisions. In spite of his declining health, he was profoundly himself. Curious. Searching, like the rest of us. Making sure that as the words hit the air, they were right. —Loretta Greco 18
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magic theatre staff STAFF
BOARD OF TRUSTEES
Artistic Director Loretta Greco Managing Director Jaimie Mayer Director of Development Gabrielle Chapple Associate Artistic Director Sonia Fernandez General Manager Cierra Cass Production Managers Jamila Cobham and Camille Rohrlich Manager of Institutional Giving Ellen Abram Development Associate Leigh Rondon-Davis Box Office Assistant Nina McMurtrie Front of House Manager Josh Orlando Production Associate Arashi Cesana Marketing Consultant Jonathan White Bookkeeper Richard Lane Artistic Direction Apprentices Karina Fox, Ciera Eis, Alessandra Occhiolini Literary Apprentice Kate Leary Development Volunteer Susan Boynton Administrative Volunteer Susie Lampert Graphic Design Halogen Design Lab
Chair Matt Sorgenfrei Vice Chair John Marx Secretary Corky LaVallee Treasurer Bennett G. Young Trustees Loretta Greco, Artistic Director Kathryn Kersey Ian Atlas Jeremy Kotin Jaimie Mayer, Managing Director Alan Stewart
PRODUCTION PERSONNEL
Alex Corvin, Debbie Degutis, Sarah Nina Hayon, Jeremy Kotin, Matt Pagel, Alan Stewart, Leigh Wolf
Assistant Director Karina Fox Production Assistants Kate Leary and Amanda Marshall Assistant Costume Designer Shelby Feeny Props Assistant Kirsten Royston Master Electrician Brittany Mellerson Sound Engineer Michael Kelly Light Board Programmer Sara Saavedra Light Board Operator Sara Saavedra Scenery engineered and built at Cal Shakes Scene Shop in Berkeley, CA Technical Director Steven Schmidt Assistant Technical Director Heidi Voelker Shop Foreman Charlotte Wheeler Master Carpenter Sam Sheldon CNC Operator Will Gerig Scenic Charge Artist Ewa Muszynska
LITERARY COMMITTEE Hal Gelb, Karina Gutierrez, Sandra Hess, Molly Cecil Olis Krost, Amanda Lee, Richard Mosqueda, Jack Miller, Patricia Reynoso, MJ Roberts, Leigh Rondon-Davis, Conor Ross, Arthur Roth, Kenneth Watkins
DEVELOPMENT COMMITTEE
MAGIC ARTISTIC LEADERSHIP John Lion (1967–1991) Harvey Seifter (1991–1992) Larry Eilenberg (1992–1993) Mame Hunt (1993–1998) Larry Eilenberg (1998–2003) Chris Smith (2003–2008) Loretta Greco (2008–Present) The following individuals have generously provided for Magic Theatre in their estate plans: C. Edwin Baker, Martha Heasley Cox, Bob Lemon, Mike Mellor, Mary Moffatt, Julia Sommer, Bert Steinberg, Alan Stewart, Toni K. Weingarten
Magic Theatre is generously supported by:
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contributors PRESIDENT’S CIRCLE
Dr. Alan Stewart and Frank Kelly Bennett G. and Molly Young
PATRON
The William and Flora Hewlett Foundation The Andrew W. Mellon Foundation Leigh Robinson The Shubert Foundation
PRODUCER
Julie Armistead Nancy Baker, Ph.D. and Ms. Cathy Hauer Susan Beech H. Rollin and Susan Boynton Stephen Bramfitt and Kelly Niland George and Marilyn Bray Bryan and Lauren Burlingame Center for Cultural Innovation Lynne Carmichael Miriam Chall Steven A. Chase and Andrea Sanchez Rebecca and Jim Eisen Rodney Farrow Michael Fleming Lynn Ducken-Goldstein Paula Golden Loretta Greco Pat Kilduff Karla Kirkegaard Jeremy Kotin Martha Harriet Lawrie Karen Laws and Dan Callaway Kathleen Leones Fred Lonsdale Taylor Mac Karen and Dennis May Bill and Nancy Newmeyer John G. McGehee Jo Ann and Rick McStravick Craig Moody Daniel Raiffe Karen Rose Karen Rosenak Stephen and Marcia Ruben Shirley and Michael Traynor Julie Wainwright Toni K. Weingarten Davi Weisberger and Michael Harrington Elizabeth Werter Miriam John and William Wilson Todd Yancey
$100,000 OR MORE
$5,000–9,999
Anonymous The Wallace Alexander Gerbode Foundation Mrs. Robert B. Mayer John F. Marx and Nikki Beach Kenneth Rainin Foundation Toni Rembe and Arthur Rock San Francisco Grants for the Arts
Michele and David Benjamin David and Karen Crommie Rhonda Grossman Sandra Hess Kathryn Kersey Claire Noonan and Peter Landsberger The Stanley S. Langendorf Foundation Peter Martin Frances and John O'Sullivan William Bradley Rubenstein The Wallis Foundation Bennett G. and Molly Young
LEADERSHIP CIRCLE
ASSOCIATE PRODUCER
Anonymous Clay Foundation West Gaia Fund Larry S. Goldfarb Venturous Theater Fund of Tides Foundation Arthur Rock
Anonymous Larry Eilenberg and Kathleen O’Hara Irvin Govan and Les Silverman Ed Harris Sarah Kupferberg and Sydney Temple Renee Linde Robert and Cristina Morris Matt Pagel and Corey Revilla Vicky Reich and David S. H. Rosenthal Lynne Zolli
EXECUTIVE LEADERSHIP CIRCLE $50,000–99,999
$25,000–49,999
DIRECTOR’S CIRCLE $15,000–24,999
Jaimie Mayer The Bernard Osher Foundation Matt Sorgenfrei and Evangeline Uribe The Tournesol Project Dr. Debra Weese-Mayer
EXECUTIVE PRODUCER $10,000–14,999
Ian Atlas and Renu Karir Eugene and Neil Barth Valerie Barth The Fleishhacker Foundation Jill Matichak Handelsman Courtland and Donna LaVallee National Endowment for the Arts National New Play Network The Harold and Mimi Steinberg Charitable Trust
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September 1, 2016–September 28, 2017 We gratefully acknowledge all those that support Magic Theatre with gifts to our Annual Fund, Benefit Fundraiser, and special projects.
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$2,500–4,999
ANGEL
$1,250–2,499 The Mervyn L. Brenner Foundation Katie Colendich Elizabeth Erdos and Wayne Dejong Kate Hartley and Michael Kass Linda and Robert Klett Betty Hoener Susie Lampert Karl and Ann Ludwig Jennifer Mayer Jennifer McDougall Lois and Arthur Roth Michele and John Ruskin Judy and Wylie Sheldon Marjorie and Richard Smallwood
$600–1,249
CONTRIBUTOR $300–599
Seth Ammerman Barbara Bardaro
BE BOLD Lisa Bardaro Jagruti Bhikha Felix Braendel Ruth Conroy Alexandra Corvin Jerry Current Saul and Gloria Feldman David and Vicki Fleishhacker Douglas and Mary Fraser Carolyn Hall Craig Hamberg Richard Horrigan Gisele Huff Julian Hultgren Tanya and Donald James Amy Lauer Kelly Bruce Lawrence Mark Luevano Sandra Moll and Rick Holden Gary Metzner Jeanne Newman Margaret O'Brien-Strain Linda Parkes Regina Phelps Tony Politopoulos Mary Ann Rodgers Deborah Robbins and Henry Navas Murphy and Wayne Robins Stephanie and Rick Rogers Pepi Ross Laurel Scheinman Mark Shemtob Judith Ciani Smith Alan Stewart Nancy Tingley Mark Vermeulen Gerald Vurek Florence K. Weese Peregrine Whittlesey Ben Young Karen Zehring
SUPPORTER
Lisa and Matthew Chanoff Pamela Rummage Culp Kerry Francis and John Jimerson Gordon and Gini Griffin Rob Eves Michaele James Joanne Koltnow Karl and Ann Ludwig Roberta Mundie Jennifer Raiser Mr. and Mrs. Chuck Riffle Kristin Rothballer Helen Scott Dorothy Schimke Ruth Stein Maureen and Craig Sullivan Lisa Wade Julia and Frank Zwart
INVEST IN ROBUST DYNAMIC EXPLOSIVE
NEW WORK YOUR GENEROSITY HELPS TO PROVIDE AN ARTISTIC HOME FOR THE WRITER’S VISION TO FLOURISH WHILE ALSO NURTURING ARTISTS AT ALL STAGES OF THEIR CAREERS THROUGH MAGIC’S EDUCATION AND COMMUNITY OUTREACH PROGRAMS
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$150–299
Gwynn E. August Jon Benjamin Allan and Joanna Berland Gail and Eric Buchbinder
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