How to build a Teen Arts Advocate 14 · Coffee with Kushner 20 · The program for The Intelligent Homosexual’s Guide... 29
THE BERKELEY REP M AGA ZINE 2 013 –14 · I S S U E 7
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B E R K E L E Y R E P P R E S E N T S THE INTE LLIGE NT HOMO S EXUAL’ S GUIDE TO CAPITALI S M AND S OCIALI S M WITH A KEY TO THE S CRIPTURE S · 29
M E E T T H E C A ST & C R E W · 30
P ROL O G U E
CON T R I BU T OR S
A letter from the artistic director · 5
Foundation, corporate, and in-kind sponsors · 39
A letter from the managing director · 7
Individual donors to the Annual Fund · 40 Memorial and tribute gifts · 43
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R E P ORT The intelligent stage manager’s guide to stage managing and theatre with a love of Spice Girls music and A’s baseball · 9 Wells Fargo’s philanthropy pays off · 11 Sparkling OVATION raises over $640,000 · 13
Michael Leibert Society · 43
A BOU T BE R K E L E Y R E P Staff and affiliations · 44 Board of trustees and sustaining advisors · 45
How to build a Teen Arts Advocate · 14 Curtain down, bottoms up! · 17
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Everything you need to know about our box office, gift shop, seating policies, and more · 46
14 Coffee with Kushner · 20 Joining the conversation · 25 The Epistles of Horace, Book One, Epistle XVI · 26 20
T H E B E R K E L E Y R E P M AG A Z I N E 201 3 –14 · I S S U E 7 The Berkeley Rep Magazine is published at least seven times per season.
Editor Karen McKevitt
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PROL OG U E from the Artistic Director
Tony Kushner is an intrepid explorer.
Armed with only a stack of notebooks and a small arsenal of fountain pens, he makes his way through the vast landscape of American history, seeking to identify dramatic moments of revelatory transformation. Every one of his plays (and screenplays!) focuses on titanic change, times when the oppositional forces of human exchange erupt into chaos and cacophony. Into material conflict. Into the thrill and terror of revolution. There in that vortex Mr. Kushner dwells, sifting through the onslaught of voices, of characters demanding the stage, listening to the breathing of history. And after he’s listened long and hard, after he’s immersed himself in the past so thoroughly that he can re-imagine the present, he unleashes his mighty pen and sets out to capture the motion of the world as it hurls forever forward. It is, ultimately, an impossible task. The world is far too complicated for any single person to fully comprehend. And yet, a small group of people seems to come astonishingly close. Mr. Kushner is one of those people. His capacity to describe the interrelationship of human thought and behavior within the shifting forces of social and economic upheaval is nothing short of astonishing. In iHo, (the friendly nickname given to the play by the playwright’s husband), his interests include the nature of change, Italian-American political history, the explosive real estate market, the fracture and re-bonding of families, and sex as an expression of desire, alienation, value, and identity. Oh, and theology…. All of these interests are channeled through the lives of a single family living in Brooklyn in 2007, a family grappling with the very meaning of life. iHo was produced several years ago at the Guthrie Theater and immediately moved to The Public Theater in New York. While the play was embraced as a significant piece of work, Tony felt he had not completed the job. Paul Valéry famously once said that “a work of art is never completed, only abandoned.” Much to my delight and, I hope, your pleasure, Tony chose not to abandon iHo. He has significantly re-worked the text, working feverishly to deepen relationships and vivify ideas. Tonight you will see the results of his labors and the effort of the entire creative team to realize the play’s ambitions. We have the great advantage of knowing that our audience here in Berkeley is up for every challenge, and that Mr. Kushner has, in a real way, come home.
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PROL OG U E from the Managing Director
This has been a year of many firsts
for us here at Berkeley Rep. Of most import were the firsts on our stages. We began the season with those astounding fellows Ian McKellen and Patrick Stewart, whom we affectionately referred to as “the sirs,” in No Man’s Land, which was given its first production here before heading to Broadway. Marcus Gardley’s The House that will not Stand, which emerged from our Ground Floor new play development program, premiered here before going on to a second production at Yale Repertory Theatre. We also produced our first show in the new Osher Studio, bringing Brian Copeland’s Not a Genuine Black Man back for its 10th anniversary. And while The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures certainly isn’t the first play by Tony Kushner we’ve produced, it’s been a long time since we’ve had the pleasure of his company, as he’s been in residence during much of the rehearsal process for this production. It was a year of firsts in a host of other ways. This year we introduced open captioning for at least one performance of all of our shows in an experiment to determine whether there is enough audience interest to justify an ongoing program. We opened the new bar in the old costume shop off the courtyard. We’re giving ourselves some time to figure out how we’ll program the space, but already patrons and staff are enjoying having a place to kick back and kibitz before and after a show. We’ve introduced new classes at our School of Theatre, continuing to expand the range of offerings for adults as well as teens and children. You probably noticed that instead of tearing your ticket at the door, we now scan it so that we can give you better service. We’ve experimented with other new uses of technology, new ways of working, new tools for problem solving, and new ways of improving the experience of artists and audiences here. And thrillingly, with over 18,000 subscribers, this was the first season in which almost every production was extended to meet the unprecedented ticket demand, resulting in what we believe will be the highest attendance in our history. While Berkeley Rep has always appreciated and valued our historic roots, as evidenced by our return again and again to great plays from the past, we also recognize the importance of opening ourselves up to the future. Maybe nothing exemplifies that impulse more than The Ground Floor, where we incubate new plays and support longtime colleagues like Anna Deavere Smith and Lisa Peterson (co-author and director of last year’s An Iliad) while simultaneously supporting young artists whose work has yet to become mainstream. The impulse behind The Ground Floor is something that we try to replicate throughout our Theatre. Whether it is in our technology, or in our development, marketing, or production departments, we are committed to infusing the entire Theatre with the spirit of experimentation and curiosity that drives our artistic programming. We still have one non-subscription production to open, Hershey Felder as Leonard Bernstein in Maestro, but we are rapidly moving toward the conclusion of the 2013–14 season. It is satisfying to look back at our many firsts—and yet we’re already looking toward 2014–15 for what new things lie ahead. I hope you’ll be a part of the grand experiment . Warmly,
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R E P ORT
The intelligent stage manager’s guide to stage managing and theatre with a love of Spice Girls music and A’s baseball BY BERYL BAKER Michael Suenkel with the stage management and stage operations crew. Top row: Sofie Miller, Karen Szpaller, Amanda Warner, Leslie M. Radin, and Megan McClintock Bottom row: Julia Englehorn, Kimberly Mark Webb, Frank Thomas pinch-hitting for Cynthia Cahill, Michael Suenkel, and Burrows P H OTO CO U R T E S Y O F K E V I N B ER N E .CO M
I’m going to tell you what happened
on the day of first rehearsal for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. We started with a meet-and-greet and presentation for the Theatre’s staff and the show’s actors, designers, technicians, crew, and producers. I was geeking out a little bit because playwright Tony Kushner was sitting about 10 feet in front of me. Director Tony Taccone was interviewing Kushner about his return to Berkeley Rep, to which he responded: “I love being at Berkeley Rep. I’ve always loved working here. I love working here more than any other theatre in the United States because it’s such a great place to be…its staff and the crew—and Michael Suenkel!” At this point Tony Kushner gestured emphatically to the back of the rehearsal hall where our very own production stage manager, Mr. Michael Suenkel, was sitting—and turning bright red. You should’ve heard the round of applause that erupted from the staff. Michael Suenkel is one of our long-standing staff members (he came on as an intern in 1984), and he stage manages at least half the productions we put on each year. This season alone he worked on Vanya and Sonia and Masha and Spike, The Pianist of Willesden Lane, The House that will not Stand, and now The Intelligent Homosexual’s Guide…. He’s trav-
eled with our shows all over the world: New York City, Montreal, Pittsburgh, London, Costa Mesa, New Haven, and Hong Kong, to name a few. He’s worked countless hours—a show’s run plus rehearsal time is roughly two months, depending on an extension, not to mention the many 10- to 12-hour work days he’s logged over the past 30 years. But, what exactly does a stage manager do? In his own words, it’s “a lot of logistics—scheduling, communication, middle management, chairing meetings, taking notes and whatnot…that’s what happens during rehearsals.” He continues, “The work changes quite a bit when one is in performance and the stage manager is calling the show. During a performance the stage manager cues all of the electrics, scenery, sound effects, actor entrances, and so on. On a very tightly cued show, like I imagine Intelligent Homosexual’s Guide… will be with all the scenery flying across the stage, I guess it is pretty exciting work.” When I asked him why he went into stage management, he said, “I really enjoy being in the rehearsal hall and working a live performance, and I’m certainly not an actor, so stage management felt like a good fit. A professional theatre company has lots of jobs for people, but precious few that involve one so fully in all aspects of the show at such a personal level and CO N TIN U E D O N T H E N E X T PAG E 2 0 1 3–1 4 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 9
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“A professional theatre company has lots of jobs for people, but precious few that involve one so fully in all aspects of the show at such a personal level and stretch from the very first rehearsal all the way to closing night.” —M ICH A E L SU E N K E L
stretch from the very first rehearsal all the way to closing night.” When you think about it, Michael is part of the production, even before rehearsals start. He’s there to help schedule the meetings just to kick off the first read-through of the script, which might not even be complete yet. He’s there to give input if need be on the artistic side of things whenever an actor, author, director, or choreographer is in need of an outside opinion. He’s there on the very last night of the extension, powering down the equipment in the booths and releasing all crew members. And I know this because I’ve had the pleasure of working alongside him on a show’s run—the man knows every inch of the Theatre’s spaces and memorizes every one of his productions’ rhythms as if they were songs. Given everything he’s done for us, I’d like to finish with a takeaway that I find most touching about Michael. It is his 30th anniversary at Berkeley
Rep, after all. When I told coworkers I was writing about him for the show program (and he’s probably turning red over this too) a huge number of people contacted me on Facebook, via email, and even through a series of adamant texts and demanded that I ask him about his tie collection (which is amazing and I have a not-so-secret envy of), his love of the Oakland Athletics and the Spice Girls, and the fact that he only likes depressing plays. That last one Michael took issue with and promptly revealed his inner romantic: “Some of my favorites are the most sentimental ones—I loved Eurydice and Girlfriend!” What I’m getting at is that the human behind the hard worker is what makes Mr. Michael Suenkel a staff member to celebrate. People love him here. I mean, when you get called out by a Pulitzer Prize-winning writer in front of your entire company, I think it’s safe to say you’re doing something right.
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Wells Fargo’s philanthropy pays off BY DARIA HEPPS
It should come as no surprise that Berkeley
Rep’s Season Sponsor Wells Fargo was named the financial service sector’s 2012 Bay Area Top Corporate Giver by the San Francisco Business Times. The results of the bank’s philanthropy can be felt throughout the region: last year, Wells Fargo donated more than $20 million to Bay Area schools and nonprofits, and more than $4.9 million of that supported Alameda County. But Wells Fargo’s community support goes far beyond dollars donated. By matching employee contributions (up to $5,000 per team member for gifts to accredited educational organizations), offering paid time off for volunteer service, and launching innovative programs like one for volunteer leave, an annual Community Support Campaign (where individual employees raise funds for nonprofits in their communities), and a Volunteer Service Award that comes with a special contribution to the nonprofit or K–12 school where the team member volunteers, Wells Fargo has created a robust culture of community service. In 2013, team members volunteered more than 87,500 hours throughout the Bay Area and more than 12,000 hours in Alameda County alone. We’re proud to have two prominent members of Wells Fargo’s commercial banking team volunteering with Berkeley Rep. Executive Vice President and Division Manager Lisa Finer has served on Berkeley Rep’s board of trustees since 2010, and just last month we were delighted to welcome Senior Vice President and East Bay Region Manager Hamid Hussain to his first Corporate Council meeting.
Hamid Hussain and Lisa Finer at this year's gala P H OTO BY J A R ED OAT E S
“I have always enjoyed theatre, and having a great institution like Berkeley Rep in our own backyard is a terrific blessing. And Berkeley Rep is more than just productions—it’s a voice of our local artistic community.” —H A M ID H U S S A IN
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Over the years, Lisa has volunteered with community organizations including United Way, Habitat for Humanity, and others. Her particular interests have led her to lend her skills to those organizations, including Berkeley Rep. “I think the arts play an important role in the cultural, educational, and economic life of a community, and I feel a responsibility to make a contribution to the community that I live and work in, beyond just writing a check—I want to be a part of the process of making it a better place,” she says. Hamid has volunteered primarily with youth organizations like the Bay Area Leadership Foundation and Young Entrepreneurs at Haas that help underprivileged high school students to reach college and beyond. “I faced similar economic hardships growing up as some of these youth,” he notes, “and I have a passion to help them see there is a way out through education.” Hamid applauds Berkeley Rep’s School of Theatre, which, through scholarships and free and deeply discounted programs in the schools, makes arts learning accessible and helps close the arts-education gap between economically disadvantaged students and their peers from more affluent households. While this is Hamid’s first experience volunteering with an arts organization, he says, “I have always enjoyed theatre, and having a great institution like Berkeley Rep in our own backyard is a terrific blessing. And Berkeley Rep is more than just productions—it’s a voice of our local artistic community.” Since relocating to the Bay Area— Hamid in 2000 from Toronto, Canada, and Lisa in 2010 from Modesto—both have come to identify deeply with the local community and take pride in its accomplishments. Lisa comments, “This is my town. I’m happy that my energy, enthusiasm, and strategic and financial skills can help strengthen key community resources like Berkeley Rep and add value to Wells Fargo’s generous support and commitment as a longtime Season Sponsor.” We are too!
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Clockwise from top left OVATION Co-Chair Jill Fugaro, Managing Director Susie Medak, and Co-Chair Jean Strunsky kick off the silent auction reception; Auctioneer DawnMarie Kotsonis cajoles Wayne Jordan into bidding in the live auction; Volunteers perform in a surprise flash mob; Meow Meow serenades the audience at the close of OVATION (photos by Jared Oates and Nora Merecicky)
Sparkling OVATION raises over $640,000 BY ANNALISE BAIRD
The Four Seasons San Francisco was
abuzz on April 19 as hundreds of Berkeley Rep supporters found themselves donning boas for the camera, dining on course after gourmet course prepared by Executive Chef Mark Richardson, and bidding on exciting auction lots to benefit the Theatre at the 2014 OVATION Gala. The night was kicked off with a surprise flash mob dance led by choreographer Heath Hunter that even had Managing Director Susie Medak dancing onstage! The entertainment continued as the spunky and vivacious DawnMarie Kotsonis led the live auction for the second year in a row. And, as the night came to a close, guests were entertained with a surprise sneak peek at Berkeley Rep’s opening show for the 2014–15 season—a performance by cabaret sensation Meow Meow. A few guests were even coaxed into the action onstage! The generosity of the attendees hit a high note when DawnMarie asked guests to raise their paddles to make a gift in support of Berkeley Rep, and the event concluded with $644,000 raised. All funds from the gala will benefit Berkeley Rep’s artistic and educational programs, which strive to make theatre more accessible through classes and outreach for thousands of Bay Area youth, a diverse array of productions each season, and countless supplemental workshops and events, many of which are made free to the public. Thank you to all who made this year’s OVATION Gala such a success—and so much fun!
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Identify teenagers who already have a personal connection to the arts, whether as an artist or observer.
How to build a Teen Arts Advocate Over the past four years, Berkeley Repertory Theatre’s “Claim Your Arts” initiative has developed an army of teen arts advocates who can confidently and passionately articulate the value of an arts education. While most of these students will not have professional careers as artists, they will enter adulthood with a clear point of view on why art matters from both a personal and global perspective. The model for producing teen leaders can vary, but Claim Your Arts provides students with the tools to advocate for their needs, to have empathy for others, to utilize multiple tactics to make their case, and to nurture a deep appreciation for arts experiences. Collage created by Berkeley Rep's Teen Council
Learn more about Claim Your Arts at berkeleyrep.org/claimyourarts
Expand the team and involve others by making it a creative activity. No one said this had to be a stodgy exercise. Make it fun for the high school students. Use group field trips, multimedia, social media, games, and contests to encourage wide participation.
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Now the teens get to be creative and weave the facts throughout their storytelling. They must use their arts skills to not only articulate stories and information, but also debate their side. This includes understanding and anticipating an opponent’s arguments.
Identify an issue that resonates with the high school students. Strategize ways that they can affect change.
Teenagers “owning their story” and articulating points of view on behalf of their peers is amazingly effective. As long as teens are authentic and prepared, their presence always makes an impact on their target audience.
Strong advocates need to be able to articulate their point of view quantitatively as well as qualitatively. Assist the teens in unpacking the issues and learning the key facts. Advise them to focus on statistics they find compelling.
As in any creative endeavor, advocacy is a skill which requires practice to develop proficiency. Arrange for the teenagers to address various audiences in different formats to refine their passionate and persuasive arguments and develop an ease with their topic. Encourage the teens to be creative and share stories describing why they participate in the arts and the impact it has had on their lives.
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Your legacy is a conversation starter. Where you’ve been testifies to your strength. Where you are attests to your brilliance. Where you’re going speaks to your ambition. And though the conversation starts with a word, a moment, a dream, where it ends could be even more powerful. So when you’re ready to add your financial goals to the conversation and learn how you can continue to build your legacy, come talk to us. Ask us any questions you may have. We’ll ask a few of our own. Together we’ll find the answers you need to create that next chapter of your life. Your legacy is a conversation starter, but it’s just a beginning. We can help you keep it going. Just say the word.
Call, click, or stop by to start a conversation today. W E L L S FA R G O . C O M | 1 - 8 0 0 - T O - W E L L S
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Curtain down, bottoms up! BY SARAH NOWICKI
When Shakespeare wrote the line,
“Let’s drink together friendly and embrace,” did he envision bellying up to a barkeep wearing a metallic-silver “On the Rocks” T-shirt, ordering a Manhattan made with St. George Spirits Breaking & Entering bourbon, and discussing the newest work from Tony Award-winning playwright Tony Kushner? We think so! Since unveiling our new bar off the Thrust Stage courtyard last September, we have embraced the night-owl culture during extended hours every Thursday, Friday, and Saturday evenings by encouraging folks to cap off their night with us. With a revived craft cocktail program curated by our friends at East Bay Spice Company—Berkeley’s late-night hangout for craft cocktail enthusiasts located just around the block on Oxford Street—we look to raise the bar on what a night at the theatre can be. From late-night jam sessions with the cast of Kneehigh’s Tristan & Yseult (who, not to mention, almost single-handedly supported local brew sponsor Trumer Pils for the duration of the show’s run in the Roda Theatre) to celebrity sightings of Mikhail Baryshnikov during Man in a Case and the signing of our chalk walls by actors and directors throughout the season, our new bar is proving to be the life of the post-show party. Clockwise from top Patrons mingle in our new bar, located just off the Thrust courtyard; Shakin’ things up—Joel DiGiorgio from East Bay Spice Company mixes a craft cocktail; Lizan Mitchell signing the wall in the bar on opening night of The House that will not Stand 2 0 1 3–1 4 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 7
GET TO KNOW... PA RT Y P EO P L E (O S F, 2012). P H OTO BY J E N N Y G R A H A M
P H OTO CO U R T E S Y O F M AC F O U N D.O R G
“McCraney writes the richest dialogue of any scribe of his generation.” — C H I C AG O T R I B U N E
Tarell Alvin McCraney Head of Passes
By Tarell Alvin McCraney · Directed by Tina Landau MacArthur “Genius” Award winner Tarell Alvin McCraney pens this poignant and poetic new play about the journey of family and faith, trial and tribulation. “Unbelievably powerful,” lauds wbez Radio.
UNIVERSES
“High-energy, vibrant, roller coaster ride — via dialogue, monologue, poetry, music and dance — of the rise and fall of the Black Panther Party and the Young Lords.” —A S H L A N D DA I LY T I D I N G S
Tartuffe
S T E V E N EP P I N TA RT U FFE. P H OTO BY M I C H A L DA N I EL
“A dark, intense, and vastly entertaining version of Molière’s work.” —S K Y WAY N E W S
Party People
By universes (Steven Sapp, Mildred Ruiz-Sapp, and William Ruiz, aka Ninja) Developed and directed by Liesl Tommy In this high-wattage fusion of story and song, the theatre ensemble universes rocks and unlocks the legacy of the Black Panthers and the Young Lords.
Tartuffe
By Molière · Adapted by David Ball Directed by Dominique Serrand This modern interpretation of Molière’s popular satire about religious hypocrisy is as intense and incisive as the day it was written, and just as entertaining.
P H OTO BY M A R K G A R V I N
P H OTO BY S A M EER A H LU Q M A A N - H A R R I S
Kathleen Turner
“Turner is a marvel to watch as she takes on the character of the sharp-tongued political journalist Molly Ivins … This is a production that needs to be seen!” — B ROA D WAY W O R LD
Red Hot Patriot: The Kick-Ass Wit of Molly Ivins
By Margaret Engel and Allison Engel · Directed by David Esbjornson Starring Kathleen Turner Two-time Tony and Oscar nominee Kathleen Turner is all smarts and sass as the brassy, sharp-witted political journalist. “Wonderful, entertaining and illuminating,” raves Huffington Post. P H OTO BY M AG N U S H A S T I N G S .CO M
—TO N Y TACCO N E
“Devilishly funny bones, heavenly vocal chords!”
JUST ANNOUNCED!
—T H E LO N D O N E V EN I N G S TA N DA R D
Meow Meow
KJ Sanchez X’s and O’s (A Gridiron Love Story)
An Audience with Meow Meow
By Meow Meow · Directed by Emma Rice The “post-post-modern” phenomenon creates a musical world premiere of gargantuan proportions featuring sizzling songs, sequins and satire, blow-torch wit, and divine mayhem!
“Ingenious… Unlike many farces, this one is also verbally funny. Bean’s script is full of good gags… Combines a tightly-written text with the gaiety of popular entertainment.”
By KJ Sanchez with Jenny Mercein Directed by Tony Taccone This gripping world premiere commissioned by Berkeley Rep takes an unflinching look at the lives and loves around the singularly American sport of football—and the lingering questions it asks of us all.
INTRODUCING THE
— LO N D O N G UA R D I A N
Richard Bean
“KJ is an amazing theatre-maker. Her play will be a theatrical event that will reveal something about the heart of American society.”
One Man, Two Guvnors
By Richard Bean · Directed by David Ivers Join Francis in the fun as he leads you through this topsy-turvy world of love triangles and mistaken identities—backed by a swingin’ live band. “Gut-busting,” says the Hollywood Reporter. P H OTO BY J O H A N P ER S S O N
2014–15 SUBSCRIPTION SEASON SEASON SPONSORS
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B Y C AT H E R I N E S T E I N DL E R
Few writers alive today can be spoken about with the level of reverence that is reserved for Tony Kushner. In his impressive career, he has received a Pulitzer Prize, been nominated for two Academy Awards, and was awarded with the National Medal of Arts by President Obama. Kushner, never one to be short on words, met with Catherine Steindler to shed some light on his process, between his office in Manhattan and a café in Provincetown, Massachusetts. CO N TIN U E D O N T H E N E X T PAG E 2 0 1 3–1 4 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 1
“WATCH YOU EXISTEN BUT THAT HAVE A C IF YOU Catherine Steindler: You’ve played with illusion and reality quite a bit in your plays. Tony Kushner: Whatever else is going on onstage and whatever else people are learning and experiencing in the course of a play, they’re always being taught critical consciousness by the inadequate illusion. That’s why I wanted to go back to the theatre of illusion with Angels and have magical things happen. When we did it at the National [The National Theatre in London], Richard Eyre [the artistic director at the time] was concerned that the angel wasn’t flown in on thin, nearly invisible wires but that instead she came swinging in on this big obvious rope. But I loved that. I thought, Exactly. That’s the idea. In Angels, if you do what Oskar Eustis [who directed the world premiere at the Mark Taper Forum] and I worked out in the stage directions for the first arrival of the angel, if you follow the directions exactly—now the lights flicker, now the bed moves—it works on a whole other level than if you just say, Nobody’s going to believe it’s an angel. Just make some noise and some crashing and have the ceiling split when she comes in. The closer you bring the audience to believing, the more powerful the equal and opposite reaction is—the disbelief. When they see that the stuff falling from the ceiling is Styrofoam—because of Equity you can’t drop real plaster on an actor, alas—and that the crack in the ceiling is precut and the angel’s on visible wires, they’re right on the edge of belief and disbelief. Watching theatre, you learn that existence is legible but that you have to have a critical mind if you’re going to read it. 2 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 7
You sound like Gus in Intelligent Homosexual. That’s exactly what Gus is talking about. Marxism-Leninism has made the world become transparent and legible to him. That’s what metatheories are meant to do—not necessarily to explain everything, but to command a magisterial enough vista, to have a deep enough coherence that they become for their adherents a way of understanding the world, at least of beginning an understanding. We’re now in the 21st century and have seen so many metatheories fail that we’re very skeptical, appropriately skeptical, of all of them. But I think we’re still in search of them and always will be, because we apprehend that there is coherence in the universe. We understand that what appears chaotic is merely the result of a limited point of view. If you can view chaos itself from God’s eye, you can see great patterns. Everybody from Aristotle and Plato to Wallace Stevens has written about this. The point is to pierce the veil of illusion and see underneath to the skeleton, to the infrastructure, to the plumbing, and see how this stuff is actually made and how the magic effect is produced. You can’t live as anything other than history’s fool if you don’t make an effort to do that. I mean, you will always wind up being history’s fool—it’s not like you’re going to get out of it—but the only hope we have is for people not to be literal readers, not to be fundamentalist readers, and to understand that, from the Holy Scriptures on, the whole point is to interpret and to understand. I think theatre forces you to do that.
HING THEATRE, U LEARN THAT NCE IS LEGIBLE T YOU HAVE TO CRITICAL MIND U’RE GOING TO READ IT.” Is theatre unique in that respect? No, film demands interpretation, of course, and there are great directors who emphasize the artificiality of film, its theatricality. But in film, the possibility exists of creating overwhelmingly convincing, nearly inescapable illusion, and that doesn’t exist as a possible choice onstage. You just can’t manage it. In a film like Avatar the illusion is almost inescapable, almost all encompassing, and it’s certain that, as we proceed into the future, cinematic illusion is becoming even more so. The flat projection screen is already a kind of archaic convention. It’s just an imitation of the proscenium arch, really. In the future we’re going to take drugs and the screen will be all around us and we’ll have sensory experiences with it and I’m sure it’ll be great, but people will still be going to the theatre to watch Hamlet and Laertes fight. The great thing about having somebody die at the end of a sword fight is that it takes a lot of physical energy to do a sword fight. So they’re dead, but their ribcages are heaving up and down. The incomplete, imperfect illusion will never be unnecessary for human beings, and its home will always be in the theatre, where everything, including death, is simultaneously thoroughly and yet not entirely convincing.
Do you tend to write very quickly and then revise, and revise, and revise? I tend to delay as long as I possibly can and get into a lot of trouble and get everyone upset. And then it comes out. I always write under panic. I seem to need that. Does the panic enliven your plays, or is it just a horrible necessity you have to endure? It’s definitely horrible and I don’t want to believe it’s a necessity, but it seems to be. I don’t want to valorize it in myself, because it has made it hard for me and very hard for the people who work with me… It’s caused problems for many theatres I’ve worked with, for Mike Nichols and for Steven Spielberg. It’s never been a good thing. It’s something I have struggled with and suffered from all of my life. I find writing very difficult. It’s hard and it hurts sometimes, and it’s scary because of the fear of failure and the very unpleasant feeling that you may have reached the limit of your abilities. You’re smart enough to see that there’s something that lies beyond what you’ve been able to do, but you don’t know how to get there, how to make it happen in the medium in which you’ve decided to work. I can be very 2 0 1 3–1 4 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 3
Learning to read the text of human behavior and the immensely complex way that language constitutes meaning is important. Being an analysand (a person undergoing psychoanalysis) also teaches a kind of ethics, a kind of scrupulousness about behavior. You learn that you’re going to do things you didn’t consciously intend, things that you intend only on a very deep level. You learn that it’s better, when those things happen, to acknowledge that they happened. You lose your innocence and that’s painful and it makes you a pain in the ass. If you read The Psychopathology of Everyday Life or the theory of the unconscious or Interpretation of Dreams, you start listening to people in an intrusive, slightly domineering, slightly paranoiac way. You start to suspect every motive you have and every motive that everyone else has, but I think what you get in return for that is a degree of consciousness about how we act and interact.
Tony Kushner P H OTO CO U R T E S Y O F K E V I N B ER N E .CO M
masochistic, but that kind of anxiety is something I tend to want to avoid. I’ve been in therapy and psychoanalysis since I was 17, so I certainly know a lot about why I procrastinate. But the need to do it is still very powerful. The smartest shrinks I’ve had don’t think there’s a clean separation between the salutary and the unsalutary parts of it. And they tell me I’m probably not going to be able to change it. Like sexual taste, your work ethic is formed deep within, and it’s comprised by all sorts of impulses. Why do any of us bother to put on clothes in the first place and accept toilet training and learn how to read and write and count? It’s enormously peculiar, the process of becoming civilized and developing things like a work ethic and a sexual ethic. Have you developed techniques for dealing with procrastination? The lesson I learn over and over again—and then forget over and over again—is that writing won’t be so bad once you get into it. One’s reluctance is immensely powerful. It’s like what Proust says about habit—it seems tiny in the grand arc of a person’s life narrative, but it’s the most insidious, powerful thing. Reluctance is like that. When you feel most terrified—I think this is true of most writers—it’s because the thing isn’t there in your head. I’ve found it to be the case that you’ve got to start writing, and writing almost anything. Because writing is not simply an intellectual act. It doesn’t happen exclusively in your head. It’s a combination of idea and action, what Marx and Freud called praxis, a combining of the material and the immaterial. The action, the physical act of putting things down on paper, changes and produces a writer’s ideas. Do you feel that psychoanalysis is necessary for a writer? I don’t want to say that everyone should be in psychoanalysis, but I certainly think Freud is valuable, even essential. 24 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 7
When you talk about doing things that are motivated on an unconscious level and trying to read people, I think about rehearsals. I know you had a tough time in Intelligent Homosexual rehearsals. I wrote iHo in rehearsal at the Guthrie and then for various reasons found it very hard to get back to before we went into rehearsal again at the Public. Some of the central cast members had been with the play from the beginning, and they’re all enormously smart and talented and very powerful actors, and it wasn’t entirely clear by the end of the rehearsal process at the Public who owned the characters they were playing. It was clear who was going to own them, because it’s my play. But I felt like I was having to negotiate with the actors whenever I wanted to make changes, and sometimes I had to submit to them. A great actor like Linda Emond is not faking it. She’s doing annihilating work, and if I start monkeying around too much with the words, it’s terrifying for her, for any actor working at her level. It’s like brain surgery—it makes her work impossible. A playwright in production is a soul divided. You don’t want to fuck up the production, and you can easily do that by not respecting what the director and actors need. But you must also take care of the play. The needs of these two different things—the play and the production—are often incommensurable. But production is also the great thing about being a playwright. When your work is reasonably close to completion, you get to go into a room full of wonderful people who will then help you continue to write your play. The solitude of novelists and poets and nonfiction prose writers is a terribly frightening thing for me to contemplate. Actors and directors make my life so much easier, and even sometimes happier. The only problem is that, as my friend George Wolfe always says, a playwright has to be able to know when it’s time to leave the party. Rehearsal rooms are hotbeds of suffering and agony and joy and sex, or at least eroticism and excitement, and you can get very caught up in them. It’s hard to leave and go back and be alone with a blank page. This is something that every writer, playwright or otherwise, goes through. But as a playwright I don’t think you quite develop the same talent for solitude that poets and novelists do. I wish I were a poet. Excerpted from The Paris Review’s “Art of Theater No. 16: Tony Kushner,” by Catherine Steindler (Issue 201, Summer 2012).
JOINING THE CONVERSATION Though The Intelligent Homosexual’s Guide… does not require an intimate understanding of the history of labor or theological thought, these quotes curated from the notebooks of Tony Kushner act as inspiration and signposts for the play’s intellectual journey. The formula for theater is just birth and death. The effect of theater, its impact, is the fear of change because the last change is death. There are two ways of dealing with this fear: as comedy, by deflating the idea of death; and as tragedy, by elevating it. —Heiner Müller, interviewed by Sylvère Lotringer The intelligence knows nothing of those closed situations of life from which there is no escape. —Time Regained by Marcel Proust [Dialectics] introduces living men—actions, self-interest, aims, unselfishness, events and chances—into the intelligible structure of The Becoming. It analyzes a totality that is coherent yet many-sided and dramatic. Is not dialectical materialism therefore both a science and a philosophy, a causal analysis and a world-view, a form of knowledge and an attitude to life, a becoming aware of the given world and a will to transform this world, without any of these characteristics excluding the other? — Dialectical Materialism by Henri Lefebvre The life of the spirit is not that life which shrinks from death and seeks to keep itself clear of all corruption, but rather the life which endures the presence of death within itself and preserves itself alive within death. —Hegel, The Phenomenology of Mind, used as the epigraph to Henri Lefebvre’s Dialectical Materialism
—Truth bestows no pardon on error but wipes it out in the most effectual manner. —The dream of death must be mastered by Mind here or hereafter. —When we are awake we dream of the paths and pleasures of matter. Who will say…. That this dream—rather than the dreamer—may not be mortal man? —Science and Health with a Key to the Scriptures by Mary Baker Eddy Time has always been a contested terrain in the clash between labor and capital. In the past, the assumption that a hard day’s work was both necessary and a moral obligation undermined efforts to reduce the workday. The “new politics of time” confronts this assumption with skepticism. —Longshoremen by William DeFazio —Tenacity and acumen are privileged spectators of this inhuman show in which absurdity, hope and death carry on their dialogue. —Albert Camus, “An Absurd Reasoning” Two pennies will buy a rose; Three pennies, and who can tell? —“Buy and Sell” by Laura Nyro
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THE EPISTLES OF HORACE, BOOK ONE, EPISTLE XVI Ne perconteris, fundus meus, optime Quincti, aruo pascat erum an bacis opulentet oliuae, pomisne et pratis an amicta uitibus ulmo, scribetur tibi forma loquaciter et situs agri. Continui montes, ni dissocientur opaca ualle, sed ut ueniens dextrum latus aspiciat sol, laeuum discedens curru fugiente uaporet. Temperiem laudes. Quid, si rubicunda benigni corna uepres et pruna ferant, si quercus et ilex multa fruge pecus, multa dominum iuuet umbra? Dicas adductum propius frondere Tarentum. Fons etiam riuo dare nomen idoneus, ut nec frigidior Thraecam nec purior ambiat Hebrus, infirmo capiti fluit utilis, utilis aluo. Hae latebrae dulces et, iam si credis, amoenae incolumem tibi me praestant septembribus horis.
Dearest Quinctius, don’t wonder about my farm, if there are cornfields, if the olive crops make me rich, what’s up with my orchards, pastures, whether vines wrap around the elm trees. I’ll go on and on covering every detail, writing to you. Surrounded by mountains, the valley’s shadowed; when the sun rises his aspect is of the right side, and as he’s fleeing, of the left. You’d love the climate. How could you feel otherwise, when the thornbushes make sweet red berries, and plums for prunes, and the oaks make acorns for the cattle, and for the owner of all of this, they make shade? You’d say that it’s like leafy Tarentum was suddenly more accessible. There’s a spring, worthy of the river it’s named after, as cooling and refreshing as the Hebrus is to Thrace, the flowing of which has use-value to the unwell mind, useful to the guts as well. It’s thanks to this sweet and, please believe me, wondrous hideaway that I present myself to you, pickled in good health, even in autumn.
Iactamus iampridem omnis te Roma beatum; sed uereor, ne cui de te plus quam tibi credas neue putes alium sapiente bonoque beatum, neu, si te populus sanum recteque ualentem dictitet, occultam febrem sub tempus edendi dissimules, donec manibus tremor incidat unctis. Stultorum incurata pudor malus ulcera celat. Siquis bella tibi terra pugnata marique dicat et his uerbis uacuas permulceat auris: 'Tene magis saluum populus uelit an populum tu, seruet in ambiguo qui consulit et tibi et urbi Iuppiter', Augusti laudes adgnoscere possis; cum pateris sapiens emendatusque uocari, respondesne tuo, dic sodes, nomine?
You’re rectitudinous, if careful of your reputation. For many years Rome’s praised you as happy. But I’m worried that you might believe what others say about you, or that you’ll believe you can be happy without being wise and good, or, just because people say you’re healthy and upstanding, you’ll hide that palsy you often get at suppertime, concealing your greasy, shaky hands. Only a fool moron denies out of pride that he’s got ulcers. When they go on about the battles you’ve fought, on land and sea, and catch your attention saying things like “Jupiter, who watches over you and the city, keeps it unclear who cares more for the other, you or the city,” praise that, as you know, is really only fit for Augustus; when they tell you you’re a philosopher and a man of distinguished tastes, do you recognize yourself in all that?
'Nempe uir bonus et prudens dici delector ego ac tu.' Qui dedit hoc hodie, cras si uolet auferet, ut, si detulerit fasces indigno, detrahet idem. Pone, meum est,' inquit; pono tristisque recedo. Idem si clamet furem, neget esse pudicum, contendat laqueo collum pressisse paternum, mordear opprobriis falsis mutemque colores? Falsus honor iuuat et mendax infamia terret quem nisi mendosum et medicandum? Vir bonus est quis? 'Qui consulta patrum, qui leges iuraque seruat, quo multae magnaeque secantur iudice lites, quo res sponsore et quo causae teste tenentur.'
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I’d love it if they spoke of me that way, wise and good. Who wouldn’t? But they build you up today to knock you down flat tomorrow, they make you a big shot consul just so they can sack dismiss fire you: “It’s up to us!” they announce: “Get lost!” Cut down to size, I retire, pronto. And thus, when they say that I’m a jerk, say I can’t control myself, say that I strangled my father with a bridle, does this upset me, do I blush because they smear? Who enjoys undeserved praise, who’s frightened by slander? Phonies and weaklings. So then, a good man—who is he? The one who consults pays attention to obeys consults those he elects, who’s law-abiding, just, settles arguments, stakes claims, and testifies for causes he believes in.
Translated from the Latin by Gus Marcantonio, Local 1814 International Longshore and Warehouse Union (retired). Carroll Gardens, Brooklyn. May–June, 2007. Sed uidet hunc omnis domus et uicinia tota introrsum turpem, speciosum pelle decora. 'Nec furtum feci nec fugi,' si mihi dicat seruos: 'Habes pretium, loris non ureris', aio. 'Non hominem occidi.' 'Non pasces in cruce coruos.' 'Sum bonus et frugi.' Renuit negitatque Sabellus. Cautus enim metuit foueam lupus accipiterque suspectos laqueos et opertum miluus hamum. Oderunt peccare boni uirtutis amore; tu nihil admittes in te formidine poenae; sit spes fallendi, miscebis sacra profanis. Nam de mille fabae modiis cum subripis unum, damnum est, non facinus mihi pacto lenius isto.
But maybe this man’s household and his neighbors notice that his decorous manner’s a flimsy front, rotten inside. “I’ve never stolen from you, I’ve never been a runaway!” If my slave tells me that, I respond “Here, have your reward: I’ve never beaten you for doing so.” He says “I didn’t murder either.” “Then you won’t end up crow-food on a crucifix.” He says “I am a frugal, righteous man!” This common farmer shakes his head at that, dubious. “The cautious wolf sidesteps the wolftrap, the hawk’s suspicious of snares, the pike slips past the baited hook; the good man despises evil. You do good because you’re afraid of getting caught. If you could get away with it, you’d be holy one minute, profane the next. If you steal only one of my thousands of bushels of beans, my loss is a little thing, but your wickedness isn’t.
Vir bonus, omne forum quem spectat et omne tribunal, quandocumque deos uel porco uel boue placat: 'Iane pater!' clare, clare cum dixit: 'Apollo!' labra mouet, metuens audiri: 'Pulchra Lauerna, da mihi fallere, da iusto sanctoque uideri, noctem peccatis et fraudibus obice nubem.' Qui melior seruo, qui liberior sit auarus, in triuiis fixum cum se demittit ob assem, non uideo; nam qui cupiet, metuet quoque, porro qui metuens uiuet, liber mihi non erit umquam. Perdidit arma, locum uirtutis deseruit, qui semper in augenda festinat et obruitur re. Vendere cum possis captiuum, occidere noli; seruiet utiliter; sine pascat durus aretque, nauiget ac mediis hiemet mercator in undis, annonae prosit, portet frumenta penusque.
A good man like you, respected in the marketplace, revered in the law courts, sacrifices a pig or an ox to the gods, calling ‘Janus Father!’ in a clear, clear voice, ‘Apollo!’ But you barely move your lips, afraid you might be heard, when you also pray ‘O lovely Laverna, make me a good liar, make me seem righteous and just, let night cover my sins and thick clouds obscure my fraudulence!’” Is a free miser any better than a slave if every penny he sees dropped in the road makes him bow down to pick it up? To be envious is to be anxious, and anxious men, I think, aren’t free. Rushing about, frantic to get richer, they drop their weapons and abandon their posts as defenders of virtue. If you capture men who act this way, don’t kill them; enslave them and sell them. You can make a profit. Or put them to work, feeding your livestock or plowing; sailing ships in winter; trading corn and dry goods in the market; they’re oxen drudges pack animals, they’re used to drudgery.
Vir bonus et sapiens audebit dicere: 'Pentheu, rector Thebarum, quid me perferre patique indignum coges?' 'Adimam bona.' 'Nempe pecus, rem, lectos, argentum; tollas licet.' 'In manicis et compedibus saeuo te sub custode tenebo.' 'Ipse deus, simul atque uolam, me soluet.' Opinor, hoc sentit: 'Moriar'. Mors ultima linea rerum est.
The good man, the wise man is brave enough to say, as the disguised god said in Euripides’s play The Bacchae: “Pentheus, king of Thebes, what terrible things can you do to me?” “I’ll take everything you have.” “My cattle, you mean? My farm, my possessions and bank account? Take them.” “And I’ll shackle you hand and foot, and hand you over to a sadistic jailer.” “God will free me, as soon as I ask him to.” What the character’s saying is: “I’ll die.” That’s my understanding. The last line is always death.
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Next at berkeley rep
Book by Hershey Felder Music and lyrics by Leonard Bernstein and others Directed by Joel Zwick Special Presentation 路 Starts June 5 season sponsors
Berkeley Repertory Theatre presents the West Coast premiere of
B E RKE LE Y RE PE RTO RY TH E ATRE TO NY TACCO N E , MICHAEL LEIB ERT ARTIS TIC D IREC TO R SUSAN M E DAK , M ANAGIN G D IREC TO R
CAST
M AY 16–JUNE 29, 2014 RODA THE ATRE · M AIN SE A SON
I N O R D E R O F A PPE A R A N C E
Eli Jordan Geiger
The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures is made possible thanks to the generous support of
Pill Lou Liberatore Paul Tyrone Mitchell Henderson
S E A S O N PRO D U CE R The Strauch Kulhanjian Family
Clio Randy Danson Vito Joseph J. Parks
LE A D PRO D U CE R S Bruce Golden & Michelle Mercer Jack & Betty Schafer
Empty Deirdre Lovejoy Gus Mark Margolis
E XECU TIV E PRO D U CE R S Frances Hellman & Warren Breslau
Adam Anthony Fusco Maeve Liz Wisan
PRO D U CE R S Stephen Belford & Bobby Minkler Carole B. Berg Paul Friedman & Diane Manley Mary Ruth Quinn & Scott Shenker Martin & Margaret Zankel
Sooze Tina Chilip Shelle Robynn Rodriguez
A S S O CIAT E PRO D U CE R S Robert Council & Ann Parks-Council Pat & Merrill Shanks
PRODUC TION S TAFF
PRO D U C TI O N S P O N S O R
Costume Design Meg Neville
Scenic Design Christopher Barecca Lighting Design Alexander V. Nichols Sound Design Jake Rodriguez Assistant Scenic Design Kit Stølen Casting Directors Amy Potozkin, csa Calleri Casting, csa
SEASON SPONSORS
Stage Manager Michael Suenkel Assistant Stage Manager Megan C. McClintock The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures was originally commissioned and produced by the Guthrie Theater Joe Dowling, Artistic Director
Original New York Production by The Public Theater Oskar Eustis, Artistic Director Joey Parnes, Interim Executive Director and
Signature Theatre Company James Houghton, Founding Artistic Director Erika Mallin, Executive Director The actors and stage managers are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Partial support of open captioning is provided by Theatre Development Fund.
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BE R K E L E Y R E P PR E S E N T S Tina Chilip
Anthony Fusco
This is Tina’s Berkeley Rep debut. She was recently in Chinglish at Portland Center Stage and Syracuse Stage, directed by May Adrales. Her New York credits include Golden Child at Signature Theatre Company (directed by Leigh Silverman), Flipzoids at Ma-Yi Theater Company, Joy Luck Club at Pan Asian Repertory Theatre, and A Dream Play at the National Asian American Theatre Company. She has performed regionally in M. Butterfly at the Guthrie Theater, Yellow Face at TheatreWorks, and in productions at Trinity Repertory Company and more. Internationally, she was in Golden Child at the Cultural Center of the Philippines, where she received a Philstage Award Citation for Outstanding Female Lead Performance. Tina is a graduate of the Brown University/Trinity Rep mfa Acting Program. Visit tinachilip.com.
Anthony made his Berkeley Rep debut earlier this season in Vanya and Sonia and Masha and Spike. A Marin County kid, he came back to the Bay Area from New York City in 1999 and since has been a leading actor and company member at American Conservatory Theater and California Shakespeare Theater, playing memorable roles in dozens of productions. His favorites include Napoli!, Clybourne Park, Samuel Beckett’s Play, Dead Metaphor, David Mamet’s Race and November, The Homecoming, Hedda Gabler, Caucasian Chalk Circle, and The Three Sisters at act; and King Lear, Blithe Spirit, The Importance of Being Earnest, The Tempest, Arms and the Man, and Candida at Cal Shakes. On Broadway, Anthony appeared in The Real Thing and The Real Inspector Hound. He has performed in plays off Broadway (and off off off Broadway) and at many of America’s major regional theatres. His (few) film appearances include his role as a creepy priest in Francis Ford Coppola’s Twixt. Anthony lives in San Francisco with his wife and two children. He is a graduate of Juilliard.
SOOZE
Randy Danson CLIO
Randy was last seen at Berkeley Rep in Finn in the Underworld and prior to that as Violet in Suddenly Last Summer, both directed by Les Waters. Her regional credits include Vivian in Wit at Philadelphia Theatre Company, for which she won the Barrymore Award, and Shen Teh/ Shui Ta in The Good Person of Szechwan at Arena Stage, for she received a Helen Hayes Award. She appeared as the title role in Robert Woodruff’s production of The Duchess of Malfi at American Conservatory Theater. Most recently in New York City she appeared in the American premiere of Caryl Churchill’s newest play, Love and Information, produced by New York Theatre Workshop, and on Broadway as Madame Morrible in Wicked. She was in Martin Scorsese’s The Last Temptation of Christ, and a number of films by independent filmmaker Mark Rappaport. In 1992 she received an Obie Award for Sustained Excellence.
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A DA M
profiles Winter’s Tale, Radio Golf, The 39 Steps, Romeo and Juliet, Julius Caesar, Antony & Cleopatra (with Suzanne Bertish), Much Ado About Nothing, The Merchant of Venice, Othello, Hamlet, Topdog/Underdog, Intimate Apparel, Yellowman, Jitney, All My Sons, The Crucible, and Blues for an Alabama Sky (with Phylicia Rashad). He has appeared on television in The Following, Boardwalk Empire, Suits (pilot), five episodes of the Law & Order series, As The World Turns, and All My Children. His film credits include Ride for Your Life and The Treatment. Tyrone received a Dallas-Fort Worth Theater Critics Award and a Leon Rabin Award, and he was nominated for an audelco Award, a Connecticut Critics Circle Award, and a Kevin Kline Award. Visit tyronemitchellhenderson.com.
Lou Liberatore PILL
Jordan is making his Berkeley Rep debut. He appeared off Broadway in Peter and The Starcatcher at New World Stages, The Correspondent at Rattlestick Playwrights Theater, and The Best of Everything at here Arts Center. A Denver native, Jordan studied at Juilliard, where some of his favorite credits include The Seagull, directed by Lucie Tiberghien; Hay Fever, directed by Dakin Matthews; and All’s Well That Ends Well.
This is Lou’s Berkeley Rep debut. He appeared on Broadway in As Is and Burn This (also in London), starring John Malcovich and Joan Allen, for which he was nominated for the Tony, Drama Desk, and Outer Critics Circle Awards. He has also appeared off Broadway at the Ensemble Studio Theatre, Circle Repertory Company, the Vineyard Theatre, and the Lark Theatre, among others. His selected regional credits include shows at Westport Country Playhouse, Center Stage, Pioneer Theatre Company, Two River Theater Company, the Alley Theatre, Steppenwolf Theatre Company, and the Mark Taper Forum. His TV credits include The Good Wife, Nurse Jackie, Sex and the City, Law & Order, and others. He appeared in the films Blood from a Stoner, Box, Mary and Louise, and It’s My Party. A graduate of Fordham University (Lincoln Center), Lou studied with the legendary acting teacher William Esper, was a member of the historic Circle Repertory Company, and is a lifetime member of the Ensemble Studio Theatre. Visit louliberatore.com.
Tyrone Mitchell Henderson
Deirdre Lovejoy
Tyrone’s New York credits include The Piano Lesson, Bring in ’Da Noise, Bring in ’Da Funk (national tour), The America Play, The Tempest (with Patrick Stewart), Two Noble Kinsmen, The Public Sings, King Lear, and Letters to the End of the World. His regional credits include Angels in America, The Trip To Bountiful, An Enemy of the People, Tartuffe, The
Deirdre is making her Berkeley Rep debut. She appeared on Broadway in Nora Ephron’s Lucky Guy starring Tom Hanks and directed by George C. Wolfe, Six Degrees of Separation (also the first national tour), Getting and Spending, and The Gathering. Her off-Broadway credits include the original production of How I Learned to Drive (also at Arena Stage), A Midsummer
Jordan Geiger ELI
PAU L
EMPTY
Night’s Dream and Machinal at The Public Theater, and Henry V at the Delacorte Theater. Her select regional credits include Macbeth, Comedy of Errors, and The Sisters Rosensweig at the Old Globe; Heartbreak House at the Huntington Theatre Company; The House That Jack Built at Indiana Repertory Theatre; and Dark Rapture at American Conservatory Theater. She played Rhonda Pearlman on hbo’s The Wire for five seasons. Other TV shows and films include Girls, Orange Is the New Black (season two), Bones (as The Gravedigger), Body of Proof, The West Wing, American Horror Story, Private Practice, Criminal Minds, The Closer, all of the Law & Order series, and Step Up. Deirdre wrote and performed her solo piece Bird Elephant China for the Chautauqua Theater Company last year, and the show is in development for theatrical performance and the speaker circuit. She received her bfa from University of Evansville and her mfa from New York University. Visit deirdrelovejoy.com and follow her on Twitter, @ddlovejoy.
Mark Margolis GUS
This is Mark’s first appearance at Berkeley Rep. He most recently played Bernie Madoff in Deb Margolin’s Imagining Madoff at Stageworks/Hudson. He has appeared on Broadway in Infidel Caesar and The World of Sholom Aleichem. He has performed at many New York theatres including The Public Theater, Playwrights Horizons, and Second Stage Theatre. His regional credits include shows at Yale Repertory Theatre, Center Stage in Baltimore, Hartford Stage, the Wilma Theater, Berkshire Theatre Festival, the Denver Center Theatre Company, the Coconut Grove Playhouse, and Williamstown Theatre Festival, among others. Mark has appeared in all of Darren Aronofsky’s films beginning with Pi. He has also appeared in many other films including Scarface, Ace Ventura: Pet Detective, Defiance, The Thomas Crown Affair, Gone Baby Gone, Dinner Rush, 1492: Conquest of Paradise, The Tailor of Panama, Stand Up Guys, Jakob the Liar, and Mickey Blue Eyes. He played Tio in Breaking Bad, a performance which earned him a primetime Emmy nomination. He has
also appeared in the TV mini-series Mildred Pierce as well as TV shows Californication, Oz, The Equalizer, Kings, American Horror Story (second season), and Person of Interest, among others. Mark studied with Stella Adler and is a member of the Actors Studio.
Joseph J. Parks VITO
Joseph is making his Berkeley Rep debut. He appeared off Broadway in Eurydice at Second Stage Theatre. His regional theatre credits include Romeo and Juliet, Eurydice, and Richard II at Yale Repertory Theatre; Romeo and Juliet at California Shakespeare Theater; Broadway Bound at the Old Globe; The History of Invulnerability and Love Song at Cincinnati Playhouse in the Park; The Goat, or Who is Sylvia? and Slay the Dragon at American Conservatory Theater; The Sweetest Swing in Baseball at Magic Theatre; and Wintertime at San Jose Repertory Theatre. His television credits include Person of Interest, Golden Boy, 666 Park Avenue, and Law & Order. Joseph received his mfa from the Yale School of Drama.
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BE R K E L E Y R E P PR E S E N T S Robynn Rodriguez
Tony Kushner
A native of the San Francisco Bay Area, Robynn is always thrilled to be back at Berkeley Rep, where she was last seen in the world premiere of Ghost Light, created and developed by Tony Taccone and Jonathan Moscone and directed by Jonathan. She was also in Berkeley Rep’s production of The Oresteia and the world premiere of David Edgar’s Continental Divide (a co-production with the Oregon Shakespeare Festival), which toured to La Jolla Playhouse, Birmingham Rep, and the Barbican in London. For 22 seasons, Robynn was a member of the resident acting company at Oregon Shakespeare Festival, where she appeared in over 40 productions. Her work has been seen at the Guthrie Theater, the Kennedy Center for the Performing Arts, Intiman Theatre, the Denver Center Theatre Company, and the Shakespeare Theatre Company, among others. In 2013, Robynn made her directorial debut at the Utah Shakespeare Festival with Shakespeare’s King John.
Tony Kushner’s plays include A Bright Room Called Day; Angels in America, Parts One and Two; Slavs!; Homebody/Kabul; the musical Caroline, or Change and the opera A Blizzard on Marblehead Neck, both with composer Jeanine Tesori. He has adapted and translated Pierre Corneille’s The Illusion, S.Y. Ansky’s The Dybbuk, Bertolt Brecht’s The Good Person of Szechwan and Mother Courage and Her Children; and the English-language libretto for the opera Brundibár by Hans Krasa. He wrote the screenplays for Mike Nichols’ film of Angels in America, and for Steven Spielberg’s Munich and Lincoln. His books include Brundibar, with illustrations by Maurice Sendak; The Art of Maurice Sendak, 1980 to the Present; and Wrestling With Zion: Progressive Jewish-American Responses to the Palestinian/Israeli Conflict, co-edited with Alisa Solomon. Kushner is the recipient of a Pulitzer Prize, two Tony Awards, three Obie Awards, two Evening Standard Awards, an Olivier Award, an Emmy Award, two Oscar nominations, and the Steinberg Distinguished Playwright Award, among other honors. In 2012, he was awarded a National Medal of Arts by President Barack Obama. He lives in Manhattan with his husband, Mark Harris.
Liz Wisan
Tony Taccone
Liz is delighted to be making her Berkeley Rep debut. She was just seen at Yale Repertory Theatre in the world premiere of These Paper Bullets!, and at Seattle Repertory Theatre in Christopher Bayes’ production of The Servant of Two Masters, which originated at Yale Rep in 2010, and has enjoyed incarnations at the Shakespeare Theatre Company, the Guthrie Theater, and ArtsEmerson. Her New York credits include the Broadway and Lincoln Center Theater productions of Other Desert Cities (understudying and performing the role of Brooke), Bill W. & Dr. Bob at Soho Playhouse, Billy Witch at Astoria Performing Arts Center, and Miss Lilly Gets Boned, My Base and Scurvy Heart, and The Sporting Life at Studio 42, with which she is a resident artist. Her regional credits include The Merchant of Venice at the Shakespeare Theatre Company, Hannah at Premiere Stages, The Winter’s Tale at Chautauqua Theater Company, and Anything Goes, Twelfth Night, and Cloud Tectonics at Williamstown Theatre Festival. She has been seen in the TV series Elementary and in the films Ready or Knot and Bitches. Liz performs long-form and musical improv in New York City, and writes and performs stand-up and sketch comedy. She received her mfa from Yale School of Drama.
During Tony’s tenure as artistic director of Berkeley Rep, the Tony Award–winning nonprofit has earned a reputation as an international leader in innovative theatre. In those 16 years, Berkeley Rep has presented more than 70 world, American, and West Coast premieres and sent 22 shows to New York, two to London, and now one to Hong Kong. Tony has staged more than 35 plays in Berkeley, including new work from Culture Clash, Rinde Eckert, David Edgar, Danny Hoch, Geoff Hoyle, Quincy Long, Itamar Moses, and Lemony Snicket. He directed the shows that transferred to London, Continental Divide and Tiny Kushner, and two that landed on Broadway as well: Bridge & Tunnel and Wishful Drinking. Tony commissioned Tony Kushner’s legendary Angels in America, co-directed its world premiere, and this season marks his eighth collaboration with Kushner when he directs The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. Tony’s regional credits include Actors Theatre of Louisville, Arena Stage, Center Theatre Group, the Eureka Theatre, the Guthrie Theater, the Huntington Theatre Company, Oregon Shakespeare Festival, The Public Theater, and Seattle Repertory Theatre. As a playwright, Tony recently debuted Ghost Light and Rita Moreno: Life Without Makeup. His latest play, Game On, written with Dan Hoyle, premiered in April 2014 at San Jose
SHELLE
MAEVE
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P L AY W R I G H T
DIREC TOR / MICHAEL LEIBERT ARTISTIC DIREC TOR
profiles Repertory Theatre. In 2012, Tony received the Margo Jones Award for “demonstrating a significant impact, understanding, and affirmation of playwriting, with a commitment to the living theatre.”
Christopher Barecca SCENIC DESIGNER
Christopher’s work has been seen at Berkeley Rep in Man and Superman, The Illusion, Caucasian Chalk Circle, Macbeth, Skylight, The Oresteia, Rhinoceros, Crime and Punishment, Culture Clash’s The Birds, and Anna Deavere Smith’s Twilight: Los Angeles, 1992. His Broadway credits include Rocky, Michael John LaChiusa’s Marie Christine, Gabriel García Márquez’s Chronicle of a Death Foretold (American Theatre Wing Award), Richard Greenberg’s The Violet Hour, Howard Korder’s Search and Destroy (Drama-Logue Award), and Timberlake Wertenbaker’s Our Country’s Good (Prague Quadrennial). Christopher has designed many off-Broadway shows, including Greenberg’s Everett Beekin and Three Days of Rain (Drama Desk nomination), LaChiusa’s Bernarda Alba, Bernard-Marie Koltès’ Roberto Zucco, Thomas Strelich’s Neon Psalms (American Theatre Wing nomination), and Antonio Skarmeta’s Burning Patience. He also designed for a production of King Lear in Dijon, France (Prague Quadrennial), as well as Stephen Dallane’s solo show Macbeth at the Almeida Theatre in London. His opera credits include Matsukaze at the Lincoln Center Festival and the Spoleto Festival and Stephin Merritt’s Peach Blossom Fan (Prague Quadrennial), both directed by Chen Shi-Zheng; and León/Soyinka’s Scourge of Hyacinths at the Münchener Biennale (bmw Award nomination). His dance credits include Susan Marshall’s Solo, Roman Oller’s Good Night Paradise and Tears for Violeta. Christopher was awarded an nea Arts in America grant to work with artists in Calcutta, India. He is the head of scenic design at CalArts.
Meg Neville
COSTUME DESIGNER
Meg’s Berkeley Rep credits include Closer; Dinner with Friends; Eurydice (also at Yale Repertory Theatre and Second Stage); Galileo; Ghost Light (also at Oregon Shakespeare Festival); Ghosts; In the Wake (also at the Kirk Douglas Theatre); Pericles, Prince of Tyre; Suddenly Last Summer; tragedy: a tragedy; Tribes; and Yellowjackets. She also recently designed The Cocoanuts and The Taming of the Shrew at osf, Lady Windermere’s Fan at California Shakespeare Theater, and Krispy Kritters in the Scarlet Night at Cutting Ball Theater. As an associate artist for Cal Shakes she designed Pastures of Heaven, An Ideal Husband, The Tempest, King Lear, A Midsummer Night’s Dream, Macbeth, Love’s Labour’s Lost, Mrs. Warren’s Profession, Happy Days, The Winter’s Tale, All’s Well That Ends Well, Rosencrantz and Guildenstern Are
Dead, and Twelfth Night (Bay Area Critics Circle Award). Meg has worked in the Bay Area at Marin Theatre Company, American Conservatory Theater, San Jose Repertory Theatre, Joe Goode Performance Group, San Francisco Opera Center, and the Magic Theatre. Her regional and New York venues include Brooklyn Academy of Music (Orfeo with Chicago Opera Theater), the Atlantic Theater Company, New York Stage and Film, Center Stage, Hartford Stage, South Coast Repertory, Portland Stage Company, and Dallas Theater Center. Meg is a graduate of the Yale School of Drama and resides in San Francisco with her husband and three children.
KATHIE LONGINOTTI REALTOR® and Berkeley Rep Subscriber
510.981.3032 www.AtHomeEastBay.com
Alexander V. Nichols LIGHTING DESIGNER
Alex is returning to Berkeley Rep for his 27th production. His Broadway credits include Wishful Drinking (originally presented by Berkeley Rep), Hugh Jackman—Back on Broadway, and Nice Work If You Can Get It. His off-Broadway productions include In Masks Outrageous and Austere, Los Big Names, Horizon, Bridge & Tunnel, Taking Over, Through the Night, and In the Wake. Alex’s regional theatre credits include American Conservatory Theater, the Mark Taper Forum, National Theater of Taiwan, Oregon Shakespeare Festival, and La Jolla Playhouse, among others. His dance credits include resident designer for Pennsylvania Ballet, Hartford Ballet, and American Repertory Ballet; lighting supervisor for American Ballet Theatre; and resident visual designer for the Margaret Jenkins Dance Company since 1989. His designs are in the permanent repertory of San Francisco Ballet, Boston Ballet, Alvin Ailey American Dance Theater, Hubbard Street Dance, Hong Kong Ballet, Singapore Dance Theatre, ocd/sf, and the Royal Winnipeg Ballet. Alex’s recent projects include the museum installation Circle of Memory, a collaboration with Eleanor Coppola recently presented in Stockholm, Sweden; and video and visual design for Life: A Journey Through Time, a collaboration with Frans Lanting and Philip Glass recently presented at the Concertgebouw, Amsterdam.
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Jake Rodriguez
SOUND DESIGNER
Jake is a sound designer based in the San Francisco Bay Area. His regional credits include the world premieres of Troublemaker, or The Freakin Kick-A Adventures of Bradley Boatright, Girlfriend, and Passing Strange at Berkeley Rep; world premieres of Brownsville Song and The Christians at Actors Theatre of Louisville; Underneath the Lintel and Scorched at American Conservatory Theater; Hamlet (2012) at California Shakespeare Theater; world premieres of Bruja, Annapurna, and Oedipus el Rey at Magic Theatre; Eurydice at Milwaukee Repertory Theater; The People’s Temple at Guthrie Theater; and Clementine in the Lower 9 at TheatreWorks. He has designed off Broadway at the Pershing Square Signature Center for Eve Ensler’s Emotional Creature. Jake is the recipient of a 2004 Princess Grace Award.
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Michael Suenkel
P R O D U C T I O N S TAG E M A N AG E R
Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 20th year as production stage manager. Some of his favorite shows include 36 Views, Endgame, Eurydice, Hydriotaphia, and Mad Forest. He has also worked with the Barbican in London, the Huntington Theatre Company, the Juste Pour Rire Festival in Montreal, La Jolla Playhouse, Pittsburgh Public Theater, The Public Theater and Second Stage Theater in New York, and Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss.
Megan C. McClintock
SAN FRANCISCO SALUTES 40 YEARS OF
A S S I S TA N T S TAG E M A N AG E R
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Since starting at Berkeley Rep as a fellow nearly 10 years ago, Megan has run the backstage for over 20 productions. Her favorites include Girlfriend, Eurydice, The Arabian Nights, The White Snake, Dear Elizabeth, The Miser, Coming Home, Wishful Drinking, No Man’s Land, and How to Write a New Book for the Bible. Megan also regularly stage manages for the San Francisco Opera Center’s Merola program, and her favorite Merola shows include Cosi Fan Tutte, L’elisir d’Amore, and Postcard from Morocco. Megan studied theatre and history at Willamette University and is also the proud co-owner of one of Berkeley Rep’s wiggliest mascots, Burrows the Dog.
Amy Potozkin
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A native New Yorker, Amy moved west in 1990 when she was hired to work for Berkeley Rep. Through the years she has also had the pleasure of casting projects for act (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for various indie films: Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and the upcoming Love and Taxes both by Josh Kornbluth; and the upcoming feature film Beyond Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist in residence. She has been a coach to hundreds of actors, teaches acting at Mills College, and leads workshops at Berkeley Rep’s School of Theatre and numerous other venues in the Bay Area. Amy is a member of csa, the Casting Society of America.
Calleri Casting CASTING
Calleri Casting is James Calleri, Paul Davis, and Erica Jensen. Their most recent theatre credits include Venus in Fur on Broadway and the long-running Fuerza Bruta, as well as All in the Timing, My Name is Asher Lev, the revival of Passion, and The Revisionist starring Vanessa Redgrave and Jesse Eisenberg. Some 3 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 7
BE R K E L E Y R E P PR E S E N T S past Broadway credits include 33 Variations, Chicago, James Joyce’s The Dead, and A Raisin in the Sun. Calleri also cast for shows at The Civilians, Classic Stage Company, Epic Theatre Ensemble, the Flea Theater, Keen Company, Long Wharf Theatre, McCarter Theatre Center, New Georges, the Old Globe, Rattlestick Playwrights Theater, stagefarm, Summer Play Festival, and Williamstown Theatre Festival. They cast 10 seasons with Playwrights Horizons, including such plays as Betty’s Summer Vacation, Goodnight Children Everywhere, Lobby Hero, Small Tragedy, and Violet, to name a few. Their TV credits include Army Wives, Ed, Hope & Faith, Lipstick Jungle, Monk, and Z Rock, and film credits include Another Earth, Armless, Merchant Ivory’s The City of Your Final Destination, Heights, Lisa Picard is Famous, Peter & Vandy, Ready? OK!, Trouble Every Day, The White Countess, and Yearbook. Calleri received 12 Artios Awards for Outstanding Achievement in Casting and is a member of csa.
Susan Medak
M A N AG I N G D I R E C T O R
Susan has served as Berkeley Rep’s managing director since 1990, leading the administration and operations of the Theatre. She has served as president of the League of Resident Theatres (lort) and treasurer of Theatre Communications Group, organizations that represent the interests of nonprofit theatres across the nation. Susan chaired two panels for the Massachusetts Arts Council and has also served on program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan chairs the Downtown Berkeley Business Improvement District and serves as president of the Downtown Berkeley Association. She is the founding chair of the Berkeley Arts in Education Steering Committee for Berkeley Unified School District and the Berkeley Cultural Trust. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund. Susan serves on the faculty of Yale School of Drama and is a proud member of the Mont Blanc Ladies’ Literary Guild and Trekking Society. She lives in Berkeley with her husband.
Karen Racanelli
G E N E R A L M A N AG E R
Karen joined Berkeley Rep in 1993 as education director. Under her supervision, Berkeley Rep’s programs for education provided live theatre for more than 20,000 students annually. In 1995, she became general manager, and since then has overseen the day-to-day operations of the Theatre. She has represented the League of Resident Theatres during negotiations with both Actors’ Equity Association and the Union of Stage Directors and Choreographers. Prior to her tenure at Berkeley Rep, Karen worked for Theatre Bay Area as director of theatre services and as an independent producer at several Bay Area theatre compa-
profiles
nies. She has served on the boards of Climate Theater, Overtone Theatre Company, Park Day School, and the Julia Morgan Center. Karen is married to arts attorney MJ Bogatin.
act (Seattle), Austin Scriptworks, Crowded Fire, the Eugene O’Neill Theatre Center, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage.
Liesl Tommy
The Strauch Kulhanjian Family
After having directed the acclaimed production of Ruined in 2011, Liesl joined the artistic team at Berkeley Rep in 2013. She is an awardwinning director whose world premieres include Party People by Universes at Oregon Shakespeare Festival, The White Man—A Complex Declaration of Love by Joan Rang with DanskDansk Theatre in Denmark, Peggy Picket Sees the Face of God by Roland Schimmelpfennig at the Luminato Festival/Canadian Stage Toronto, Eclipsed by Danai Gurira at Yale Repertory Theatre and Woolly Mammoth Theatre Company, The Good Negro by Tracey Scott Wilson at The Public Theater and Dallas Theater Center, A History of Light by Eisa Davis at the Contemporary American Theatre Festival, Angela’s Mixtape by Eisa Davis at Synchronicity Performance Group, New Georges, and Bus and Family Ties at the Play Company for the Romania Kiss Me! Festival. Liesl’s other credits include California Shakespeare Theater, Huntington Theatre Company, Center Stage in Baltimore, Sundance East Africa, Manda Island, Kenya, Oregon Shakespeare Festival, La Jolla Playhouse, and Huntington Theatre Company, among others. Liesl serves as the program associate at Sundance Institute Theatre Program, focusing on its activities in East Africa, and she was recently made an artist trustee with the Sundance Institute’s board of trustees. She was awarded the inaugural Susan Stroman Directing Award from the Vineyard Theatre, the nea/tcg Directors Grant, and the New York Theatre Workshop Casting/Directing Fellowship. She is a native of Cape Town, South Africa.
Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently chair of the trustees committee. He is chairman of the Roda Group (rodagroup.com), a venture-development company based in Berkeley, focused on cleantech investments, best known for launching Ask.com and for being the largest investor in Solazyme, a renewable oil and bio-products company (Nasdaq: szym, solazyme.com). Roger is chairman of the board of CoolSystems, a medical technology company, and a member of UC Berkeley Engineering Dean’s college advisory board. He is chairman of the board of trustees for the Mathematical Sciences Research Institute (msri); a member of the board of Northside Center, a mental-health services agency based in Harlem, New York City; and a co-founder of the William Saroyan Program in Armenian Studies at Cal. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three children.
A S S O C I AT E D I R E C T O R
Madeleine Oldham
R E S I D E N T D R A M AT U R G/ D I R E C T O R , T H E G R O U N D F LO O R
Madeleine is the director of Berkeley Rep’s recently launched Ground Floor and the Theatre’s resident dramaturg. She oversees commissioning and new play development, and dramaturged the world premiere productions of Passing Strange and In the Next Room (or the vibrator play), among others. As literary manager and associate dramaturg at Center Stage in Baltimore, she produced the First Look reading series and headed up its young audience initiative. Before moving to Baltimore, she was the literary manager at Seattle Children’s Theatre, where she oversaw an extensive commissioning program. She also acted as assistant and interim literary manager at Intiman Theatre in Seattle. Madeleine served for four years on the executive committee of Literary Managers and Dramaturgs of the Americas and has also worked with
SEASON PRODUCERS
Bruce Golden & Michelle Mercer LEAD PRODUCERS
Michelle and Bruce have been ardent supporters of Berkeley Rep since 1993, when they moved with two young children in tow to Berkeley. Their favorite evenings at Berkeley Rep were usually the discussion nights where often friends would join them as well. Michelle and Bruce always felt that Berkeley Rep was an exceptional Bay Area cultural treasure as it was willing to support courageous new works and nurture innovative young playwrights. In 2002, Bruce and Michelle moved to London, where they nourished themselves on a steady diet of English theatre (note the proper spelling) until they could return to their beloved Berkeley Rep. They are delighted once again to be back in the very center of leading-edge theatre and are honored to be lead producers for two of this season’s great productions. Their two now grown children are also tremendous theatre junkies and will hopefully be joining Bruce and Michelle for some of this season’s performances.
Jack & Betty Schafer LEAD PRODUCERS
Betty and Jack are proud to support Berkeley Rep. Jack, one of the Theatre’s board members, also sits on the boards of San Francisco Opera and the Straus Historical Society. He is vice-chair of the Oxbow School in Napa and an emeritus trustee of the San Francisco Art Institute, where he served as board chair. Betty, a retired life coach, has resumed her earlier career as a nonfiction writer and poet. She serves 201 3–1 4 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 35
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on the boards of Brandeis Hillel Day School, Coro Foundation, Earthjustice, and Scholars for Educational Opportunity (seo).
Frances Hellman & Warren Breslau EXECUTIVE PRODUCERS
Warren and Frances are avid watchers of live theatre, which includes Berkeley Rep and an annual pilgrimage to London’s West End. Having loved Berkeley Rep for years, they are thrilled to sign on as producers of The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. They are very proud of the cutting-edge, exceptional theatre that Berkeley Rep continuously produces. Frances’ day job is as professor of physics at UC Berkeley and Warren is a machinist and welder at 5th Street Machine Arts.
Stephen Belford & Bobby Minkler PRODUCERS
Stephen and Bobby have been together avidly enjoying theatre for over 30 years. They now see more than 50 shows in New York City annually, as well as subscribe locally to Berkeley Rep and American Conservatory Theater. They particularly want to thank Pat Sakai, Lynn Eve, and Susie for showing them the door through the fourth wall and helping nudge them through it. They were thrilled to see the world premiere of Perestroika in late 1992 in Los Angeles, and are thrilled to again witness as well as participate in bringing the current collaboration of Tony Taccone and Tony Kushner, The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, to the West Coast 22 years later.
Carole B. Berg PRODUCER
HOME we’ll get you there
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Carole is a former president and longtime member of Berkeley Rep’s board of trustees, since 1987, currently serving as a sustaining advisor. She founded and twice co-chaired the highly successful Narsai Toast, which has become the Ovation gala. She has served as a past president of the Marin Symphony Association, a founding member of the Berkeley Festival and Exhibition, and as a trustee for numerous Bay Area arts and community organizations, among them American Bach Soloists, Berkeley Community Fund, Cal Performances, Community Music Center, Kronos Quartet, Marin Theatre Company, Philharmonia Baroque Orchestra, San Francisco Performances, and San Francisco Symphony Youth Orchestra Committee. A former music major, she has a passion for the performing arts, golf, and the Oakland A’s, not necessarily in that order.
Mary Ruth Quinn & Scott Shenker
San Francisco Chronicle
Mary Ruth and Scott first started attending Berkeley Rep when they moved to California in 1984. Having moved to Berkeley last September, they are looking forward to being more involved with Berkeley Rep’s future.
The San Francisco Chronicle is the largest newspaper in Northern California and the second largest on the West Coast. Acquired by Hearst Corporation in 2000, the San Francisco Chronicle was founded in 1865 by Charles and Michael de Young and has been awarded six Pulitzer Prizes for journalistic excellence. The Chronicle is committed to coverage of local issues and those topics with national impact. SFGate.com publishes San Francisco Chronicle news coverage and features online, and adds more features not available in the print version, such as breaking news, reader forums, photo galleries, multimedia presentations, as well as real estate, classified, recruitment, and auto databases. Combined with SFGate.com, the San Francisco Chronicle reaches 1.7 million Bay Area adults each week.
PRODUCERS
Martin & Margaret Zankel PRODUCERS
Margaret and Martin count “active Berkeley Reptiles” amongst the numerous former titles that they possess. Martin is a former Berkeley Rep president, co-chair of his law firm, chairman of a real estate investment trust, etc. Maggi is a Cal Berkeley grad, a docent at the California Academy of Sciences, and current primary source of support for numerous feral beasts (not including Martin) who show up for the nightly feeding at her back door. Maggi and Marty are always happy to be fortunate enough to have their names associated with anything that Tony Taccone and Tony Kushner collaborate to put on the stage like, say, tonight’s play.
The Bernard Osher Foundation PRODUC TION SPONSOR
The Bernard Osher Foundation, which supports higher education and the arts, was founded in 1977 by Bernard Osher, a respected businessman and community leader. The Foundation provides scholarship funding to selected colleges and universities across the nation. It also benefits programs in integrative medicine at Harvard University, ucsf, and the Karolinska Institute in Stockholm. In addition, the Foundation supports a national network of educational programs for seasoned adults, the Osher Lifelong Learning Institutes, which now operate on the campuses of 117 institutions of higher education. Finally, an array of performing arts organizations, museums, and selected educational programs in the San Francisco Bay Area and the State of Maine receive Foundation grants. The Honorable Barbro Osher, Consul General of Sweden in California, chairs the Foundation’s board of directors. With a generous gift to Berkeley Rep, the Foundation established The Bernard Osher Foundation New Play Development Fund to support the commission and development of new plays.
BART
SEASON SPONSOR
Bay Area Rapid Transit (bart) is a 104-mile, automated rapid-transit system that serves more than 100 million passengers annually. bart is the backbone of the Bay Area transit network with trains traveling up to 80 mph to connect 26 cities located throughout Alameda, Contra Costa, San Francisco, and San Mateo Counties and the Bay Area’s two largest airports. bart’s all-electric trains make it one of the greenest and most energy-efficient systems in the world with close to 70 percent of its all-electrical power coming from hydro, solar, and wind sources. Many new projects are underway to expand bart, allowing it to serve even more communities and continue to offer an ecofriendly alternative to cars. For more info, visit bart.gov.
SEASON SPONSOR
Wells Fargo
SEASON SPONSOR
As a top corporate giver to Bay Area nonprofits for many years, Wells Fargo recognizes Berkeley Repertory Theatre for its leadership in supporting the performing arts and its programs. As the oldest and largest financial services company headquartered in California, Wells Fargo has top financial professionals providing business banking, investments, brokerage, trust, mortgage, insurance, commercial and consumer finance, and much more. Talk to a Wells Fargo banker today to see how we can help you become more financially successful.
Discover the Intelligent TheatreGoer’s Guide to Exclusive Donor Perks and Behind-the-Scenes Experiences! Get your guide today! berkeleyrep.org/give
201 3–1 4 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 7
Additional staff Assistant director Mina Morita Assistant to Mr. Kushner Ben Kaplan Deck crew Kourtney McCrary Matt Reynolds Thomas Weaver Electrics Stephanie Buchner Melina Cohen-Bramwell Jeff Dolan Victoria Hendrix Kelly Kunaniec Kourtney McCrary Will Poulin Krista Smith Micah J. Stieglitz Thomas Weaver Audrey Wright Lauren Wright Music consultant Julie Wolf Prop artisans Mia Baxter Rebecca Willis Scene shop Patrick Keene Geoffrey Nolan Libby Ben Sandberg Stephanie Shipman Read Tuddenham Scenic artists Zoe Gopnik-McManus Lassen Hines Christopher Jee Anya Kazimierski Mary McDonald Sound engineer Brendan Aanes Wardrobe Alexandra Gray Emily White Special thanks to Friends of the Berkeley Public Library for many of the books seen onstage
3 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 7
We acknowledge the following Annual Fund supporters whose contributions from February 2013 through April 2014 helped to make possible the Theatre’s artistic and community outreach programs.
CON T R I BU TOR S institutional supporters G IF T S O F $ 10 0,0 0 0 A N D A B OV E The William & Flora Hewlett Foundation The James Irvine Foundation The Andrew W. Mellon Foundation The Shubert Foundation The Harold and Mimi Steinberg Charitable Trust G IF T S O F $50,0 0 0 –9 9,9 9 9 The Bernard Osher Foundation National Endowment for the Arts
COR P OR AT E S P ON S OR S SEASON SPONSORS
G IF T S O F $2 5,0 0 0 –49,9 9 9
American Express
G IF T S O F $2 5,0 0 0 –49,9 9 9 Anonymous The Ira and Leonore Gershwin Philanthropic Fund Wallis Foundation Woodlawn Foundation G IF T S O F $ 10,0 0 0 –24,9 9 9 Koret Foundation The Kenneth Rainin Foundation
G IF T S O F $ 12 ,0 0 0 –24,9 9 9 Bank of the West hsbc Private Bank Mechanics Bank Wealth Management The Morrison & Foerster Foundation Union Bank G IF T S O F $6,0 0 0 –11,9 9 9 Armanino llp Chevron Deloitte Meyer Sound Oliver & Company Panoramic Interests Peet’s Coffee & Tea Schoenberg Family Law Group ubs U.S. Bank
G IF T S O F $5,0 0 0 –9,9 9 9 Anonymous Berkeley Civic Arts Program East Bay Community Foundation Ann and Gordon Getty Foundation Ramsay Family Foundation G IF T S O F $750 –4,9 9 9 Alameda County Arts Commission/artsfund Joyce & William Brantman Foundation Civic Foundation The Entrekin Foundation jec Foundation The Ida and William Rosenthal Foundation
G IF T S O F $3,0 0 0 –5,9 9 9 4U Sports Bayer usa Foundation Gallagher Risk Management Services The Safeway Foundation G IF T S O F $ 1, 50 0 –2 ,9 9 9 Bingham McCutchen llp BluesCruise.com Macy’s G IF T S O F $50 0 –1,49 9 Grizzly Peak Winery
Is your company a Corporate Sponsor? Berkeley Rep’s Corporate Partnership program offers excellent opportunities to network, entertain clients, reward employees, increase visibility, and support the arts and arts education in the community. For details visit berkeleyrep.org or call Daria Hepps at 510 647-2904.
I N-K I N D S P ON S OR S M AT C H I NG G I F T S act Catering Angeline’s Louisiana Kitchen Aurora Catering Autumn Press Back to Earth Organic Catering Belli Osteria Bistro Liaison Bobby G’s Pizzeria Bogatin, Corman & Gold build Pizzeria Café Clem Comal Cyprus Domaine Carneros by Taittinger Donkey & Goat Winery East Bay Spice Company etc Catering Eureka! Four Seasons Hotel San Francisco Fournée Bakery five
Gather Restaurant Green Waste Recycle Yard Greenbar Craft Distillery Greene Radovsky Malone Share & Hennigh llp Grocery Outlet, San Leandro Hafner Vineyard Hotel Shattuck Plaza Hugh Groman Catering Jazzcaffè Kevin Berne Images La Mediterranee La Note Latham & Watkins, llp Macallan Scotch Match Vineyards Mint Leaf Pat Paulsen Vineyards Patricia Motzkin Architecture Paul Hastings Phil’s Sliders
Picante PiQ Pyramid Alehouse Quady Winery Raymond Vineyards Revival Bar + Kitchen Ricola usa St. George Spirits Sweet Adeline Tres Agaves Turkish Kitchen Venus Restaurant Zut! on 4th Hotel Shattuck Plaza is the official hotel of Berkeley Rep. Pro-bono legal services are generously provided by Latham & Watkins, llp.
The following companies have matched their employees’ contributions to Berkeley Rep. Please call the Development Department at 510 647-2906 to find out if your company matches gifts. Adobe Systems Inc. · Advent Software · Alexander & Baldwin · American Express · Apple · Argonaut Group, Inc. · at&t · Bank of America · Bechtel Corporation · BlackRock · Bristol Myers Squibb · Charles Schwab & Co, Inc · Chevron Corporation · Clorox · Constellation Energy · Franklin Templeton · Gap · Google · Hewlett Packard · ibm Corporation · JD Fine and Company · John Wiley & Sons, Inc. · Johnson & Johnson · kla Tencor · Lawrence Livermore National Laboratory · Lexis-Nexis · Macy’s Inc.· Matson Navigation Company · Microsoft · Morrison & Foerster · Motorola Mobility · mrw & Associates llc · norcal Mutual Insurance Company · Oracle Corporation · Perforce · Ruppenthal Foundation for the Arts · Salesforce.com · The Doctors Company · The Walt Disney Company · visa u.s.a., Inc. · Willis Lease Finance Corporation
201 3–1 4 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 9
CON T R I BU TOR S donors to the annual fund
Great theatre is made possible by the generosity of our community. We gratefully acknowledge the following contributors to Berkeley Rep, who champion the Theatre’s artistic and outreach programs. To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906. LEG E N D
K
in-kind gift
M
matching gift
P RODUC E R C I RC L E S E A S O N PRO D U CE R S $ 10 0,0 0 0 +
The Strauch Kulhanjian Family
Guy Tiphane Gail & Arne Wagner Barry Lawson Williams & Lalita Tademy
Felicia Woytak & Steve Rasmussen Martin & Margaret Zankel
LE A D PRO D U CE R S
PRO D U CE R S
$ 6,0 0 0 – 11,9 9 9
$ 5 0,0 0 0 – 9 9,9 9 9
$ 12 ,0 0 0 –2 4 ,9 9 9
Bruce Golden & Michelle Mercer Mary & Nicholas Graves Wayne Jordan & Quinn Delaney John & Helen Meyer Jack & Betty Schafer
Anonymous Barbara & Gerson Bakar Stephen Belford & Bobby Minkler Carole B. Berg David & Vicki Cox Thalia Dorwick Robin & Rich Edwards David & Vicki Fleishhacker Paul Friedman & Diane Manley M Scott & Sherry Haber Jack Klingelhofer Susan & Moses Libitzky Sandra & Ross McCandless Dugan Moore Mary Ruth Quinn & Scott Shenker Leonard & Arlene Rosenberg Patricia Sakai & Richard Shapiro Joan Sarnat & David Hoffman Liliane & Ed Schneider
E XECU TIV E PRO D U CE R S $ 2 5,0 0 0 –49,9 9 9
Rena Bransten Martha Ehmann Conte Bill Falik & Diana Cohen Kerry Francis & John Jimerson M Frances Hellman & Warren Breslau Pam & Mitch Nichter Stewart & Rachelle Owen Marjorie Randolph Dr. & Mrs. Philip D. Schild Michael & Sue Steinberg Jean & Michael Strunsky
A S S O CIAT E PRO D U CE R S Anonymous (3) Edward Baker Shelley & Jonathan Bagg Neil & Gene Barth Valerie Barth & Peter Wiley M Steve & Blair Buster Susan Chamberlin Robert Council & Ann Parks-Council Tom Dashiell Oz Erickson & Rina Alcalay William Espey & Margaret Hart Edwards John & Carol Field Kristina Flanagan Virginia & Timothy Foo Jill & Steve Fugaro Paul Haahr & Susan Karp M Doug & Leni Herst Hitz Foundation Ms. Wendy E. Jordan Jean & Jack Knox
Wanda Kownacki Ted & Carole Krumland Zandra Faye LeDuff Dixon Long Don & Amy Louv M Naomi & Bruce Mann K Dale & Don Marshall Martin & Janis McNair Stephanie Mendel Steven & Patrece Mills M Stewart & Rachelle Owen Mary Ann & Lou Peoples Peter Pervere & Georgia Cassel Kaye & Randy Rosso Pat Rougeau Richard A. Rubin & H. Marcia Smolens Emily Shanks M Pat & Merrill Shanks Karen Stevenson & Bill McClave Jacqueline & Stephen Swire Patricia Tanoury Wendy Williams
D ONOR C I RC L E PRE S ID E N T S
$ 3,0 0 0 – 5,9 9 9
Anonymous (5) Tony Amendola & Judith Marx Edith Barschi Cynthia & David Bogolub Tracy Brown & Greg Holland Jim Butler Brook & Shawn Byers C. William Byrne M Lynne Carmichael Jennifer Chaiken & Sam Hamilton Earl T. Cohen & Heidi M. Shale Daniel Cohn & Lynn Brinton Constance Crawford Karen & David Crommie Lois M. De Domenico Ben Douglas Delia Fleishhacker Ehrlich Nancy & Jerry Falk Carol A. Giles Richard & Lois Halliday Earl & Bonnie Hamlin Vera & David Hartford Richard N. Hill & Nancy Lundeen James C. Hormel & Michael P. Nguyen Lynda & Dr. J. Pearce Hurley Kathleen & Chris Jackson Ashok Janah K Seymour Kaufman & Kerstin Edgerton Robert Kelling Duke & Daisy Kiehn Lynn Eve Komaromi Suzanne LaFetra Nancy & George Leitmann Peter & Melanie Maier Charlotte & Adolph Martinelli Grey Maus(e) Phyra McCandless & Angelos Kottas Susan Medak & Greg Murphy Eddie & Amy Orton Janet Ostler Sandi & Dick Pantages Pease Family Fund Ivy & Leigh Robinson David S. H. Rosenthal & Vicky Reich Riva Rubnitz Beth & David Sawi Stephen C. Schaefer Stephen Schoen & Margot Fraser Linda & Nathan Schultz Lisa & Jim Taylor James & Lisa White Steven Winkel & Barbara Sahm Sheila Wishek
Sally Woolsey Alan & Judy Zafran
D IREC TO R S
$ 1, 5 0 0 –2 ,9 9 9
Anonymous (9) Marcia & George Argyris Martha & Bruce Atwater Nina Auerbach David Beery & Norman Abramson Caroline Booth Linda Brandenburger Broitman-Basri Family Drs. Don & Carol Anne Brown Thomas & Tecoah Bruce Kerry Tepperman Campbell Ronnie Caplane Stephen K. Cassidy & Rebecca L. Powlan Paula Champagne & David Watson LinChiat Chang K The Cheitlin Family Julie Harkness Cooke Penny Cooper & Rena Rosenwasser Thomas & Suellen Cox Ed Cullen & Ann O'Connor James Cuthbertson John & Stephanie Dains Richard & Anita Davis Ira Dearing Ilana DeBare & Sam Schuchat Francine & Beppe Di Palma Jerome & Thao Dodson Becky Draper Brooke Facente Merle & Michael Fajans Cynthia A. Farner Tracy & Mark Ferron Lisa & Dave Finer Ann & Shawn Fischer Hecht Martin & Barbara Fishman Linda Jo Fitz Patrick Flannery Frannie Fleishhacker Thomas & Sharon Francis Herb & Marianne Friedman Don & Janie Friend James Gala Karl & Kathleen Geier Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Bob Goodman Deborah & Howard Goodman Phyllis & Eugene Gottfried Robert & Judith Greber
4 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 7
William James Gregory Garrett Gruener & Amy Slater Migsy & Jim Hamasaki Bob & Linda Harris Ruth Hennigar Tom & Bonnie Herman Wendy Herzog K Howard Hertz & Jean Krois Gail & Bob Hetler Sue Hoch K The Hornthal Family Foundation Rick Hoskins & Lynne Frame Paula Hughmanick & Steven Berger George & Leslie Hume Mr. & Mrs. Harold M. Isbell Beth & Fred Karren Doug & Cessna Kaye Rosalind & Sung-Hou Kim Michael Kossman & Luis Orrico John Kouns & Anne Baele Kouns Helen E. Land Robert Lane & Tom Cantrell William & Adair Langston Randy Laroche & David Laudon Louise Laufersweiler & Warren Sharp Andrew Leavitt & Catherine Lewis Ellen & Barry Levine Bonnie Levinson & Dr. Donald Kay Jennifer S. Lindsay Tom Lockard & Alix Marduel Jonathan Logan Vonnie Madigan Helen Marcus & David Williamson Lois & Gary Marcus Michael Margolis Sumner & Hermine Marshall Rebecca Martinez Jill Matichak Janet & Michael McCutcheon Steven McGlocklin Karen & John McGuinn Miles & Mary Ellen McKey Scott McKinney & Sherrill Lavagnino Kirk McKusick & Eric Allman Michele R. McNellis Toby Mickelson & Donald Brody Roger & Satomi Miles John & Katrina Miottel Andy & June Monach Scott Montgomery & Marc Rand Marvin & Neva Moskowitz Patricia Motzkin & Richard Feldman Shanna O’Hare & John Davis Judy O’Young, MD & Gregg Hauser Judith & Richard Oken
Steve Olsen Joshua Owen & Katherine Robards Matt Pagel Gerane Wharton Park Bob & MaryJane Pauley Tom & Kathy Pendleton Gladys Perez-Mendez Barbara Peterson Susie & Eric Poncelet David Pratt Elizabeth Ratner John Ravitch Jonathan & Hillary Reinis Bill Reuter & Ruth Major James & Maxine Risley John & Jody Roberts Carole Robinson & Zane O. Gresham Deborah Romer & William Tucker Marc Roth Boyard & Anne Rowe Enid & Alan Rubin Gaile B. Russ Dace P. Rutland Mitzi Sales & John Argue Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Jackie & Paul Schaeffer Joyce & Jim Schnobrich Mark Shusterman, M.D. Edie Silber & Steve Bomse Beryl & Ivor Silver Amrita Singhal & Michael Tubach Kae Skeels Sherry & David Smith Stephen & Cindy Snow Audrey & Bob Sockolov Louis & Bonnie Spiesberger K Stephen Stublarec & Debra S. Belaga Andrew & Jody Taylor Deborah Taylor Alison Teeman & Michael Yovino-Young Susan & David Terris Ama Torrance & David Davies Bernard & Denise Tyson Buddy & Jodi Warner Jonathan & Kiyo Weiss Beth Weissman Jim & Maria Weller Grace Williams Patricia & Jeffrey Williams Charles & Nancy Wolfram Ron & Anita Wornick Sam & Joyce Zanze Jane Zuercher
We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.
CON T R I BU TOR S donors to the annual fund PL AY W RI G H T S $ 1,0 0 0 –1, 49 9
Anonymous (8) · Peggy & Don Alter · Pat Angell · Juli Betwee · Brian Bock and Susan Rosin · Daniel Boggan Jr · Harry Bremond & Peggy Forbes · Fred Brown & Barbara Kong Brown · Dan & Allyn Carl · Paula Carrell · Stan & Stephanie Casper · Naveen Chandra & James Lengel · Ed & Lisa Chilton · Terin Christensen · Richard & Linnea Christiani · Ralph & Rebecca Clark ·Katherine Copic & Daniel Spoonhower M · Barbara & Tim Daniels M K · Ric de Barros · Alecia E. DeCoudreaux · Harry & Susan Dennis · Corinne & Mike Doyle · Debra Engel · Susan English & Michael Kalkstein · Bill & Susan Epstein · Gary Facente · Paul Feigenbaum & Judy Kemeny · Frannie Fleishhacker · Nancy H. Francis · Lisa Franzel & Rod Mickels · Christopher R. Frostad M · Judith & Alex Glass · Diana Grand & Jon Holman · Douglas Hardman & Karla Martin· Jennifer Heyneman Sousae · Adrienne Hirt & Jeffrey Rodman · Elaine Hitchcock · Barry & Jackie Hoffner · Bill Hofmann & Robbie Welling · Herrick and Elaine Jackson, The Connemara Fund · Randall Johnson · Barbara E. Jones · Tom & Mary Anne Jorde · Seymour Kaufman & Kerstin Edgerton · Christopher Killian & Carole Ungvarsky · Mary S. Kimbal · Steve Kispersky · Joe W. Laymon · R. Jay & Eileen Love · J.E. Luckett · Bruce Maigatter & Pamela Partlow · Joan & Roger Mann · Larry & Corinne Marcus · John E. Matthews · Erin McCune & Nicholas Virene · Daniel & Beverlee McFadden · John G. McGehee · Dennis & Eloise Middleton · Marc Elliott Mosko · Timothy Muller · Margo Murray · Claire Noonan & Peter Landsberger · Pier & Barbara Oddone · Sheldeen Osborne · Richard Ostreicher & Robert Sleasman · Robyn & David Owen M · Lynette Pang & Michael Man · David & Julieta Peterson · Gregory C. Potts · Dan & Lois Purkett M · Andrew Raskopf · Kenneth & Frances
We gratefully recognize the following members of the Annual Fund whose contributions were received from March to April 2014 S U PP O R T E R S $ 2 5 0 –49 9
Anonymous (25) · Charles & Joyce Anderson · Clara Arakaki · Ann Bauman · Jim & Donna Beasley · Mary Ann & Len Benson · Arthur & Jane Bergen · Steven Birnbaum · Nancy Blachman & David desJardins · The Blackman Family · Laura Blair & Mitchell Zeemont · Robin & Edward Blum · Mr. & Mrs. David B. Boercker · Karen & Steven Bovarnick · Ellen Brackman & Deborah Randolph · Robert & Barbara Brandriff · James & Elizabeth Branson · Alice Breakstone & Debbie Goldberg · John H. Buckman · Robert & Margaret Cant · Jan Chernoff & Isabel Wade · Patricia & Peter Coffin · Martie Conner · Marilyn Berg Cooper · Susan & Don Couch · Philip & Carolyn Cowan · Chris & Lynn Crook · Sheila Cullen · Jill & Evan Custer · Brett D’Ambrosio · Dr. & Mrs. John Damron · Jacqueline Desoer · Ellen Dietschy & Alan Cunningham · Diana Divecha · Edward Durbin & Joan Morris · Lori & Gary Durbin · David Eimerl · Joseph & Judith Epstein · Eric & Sharon Ewen · Caryll Farrer · Ms. Barbara Fenichel · Nancy H. Ferguson · Richard & Barbara Fikes · Brigitte & Louis Fisher ·
Reid ·Charles R. Rice · Edward & Jeanette Roach · Horacio Rodriguez · Sheli Rosenberg · Rob & Eileen Ruby · John Sanger · Susie Sargent & Michael Webb K · Seiger Family Foundation · Neal Shorstein, MD & Christopher Doane · Ann Shulman & Stephen Colwell · Dave & Lori Simpson · Ed & Ellen Smith · George & Camilla Smith· John St. Dennis & Roy Anati · Gary & Jana Stein · Tim Stevenson & David Lincoln King · Nancy & Fred Teichert · Pate & Judy Thomson · Deborah & Bob Van Nest · Wendy Willrich · Steven & Linda Wolan · Lee Yearley & Sally Gressens · Sam & Joyce Zanze
AC TO R S $500–999
Anonymous (16) · Robert & Evelyn Apte · Fred & Kathleen Allen · Gertrude & Robert Allen · Shellye L. Archambeau & Clarence Scott · Naomi Auerbach & Ted Landau · Steven & Barbara Aumer-Vail · Todd & Diane Baker · Don & Gerry Beers · Jonathan Berk & Rebecca Schwartz · Richard & Kathy Berman · Robert Berman & Jane Ginsburg · Caroline Beverstock · Steve Bischoff · Patti Bittenbender · Dr. Kevin & Mrs. Riva Bobrowsky · Fraser Bonnell · Claudia Bravo & Alan R. Silverman · Marilyn Bray · Wendy Buchen · Rike & Klaus Burmeister · David Burnett · Alex Byron & Nicole Maguire · Dr. Paula Campbell · Robert & Janet Campbell M · Doug Carlston & Kathy Williams · Bruce Carlton · Davis Carniglia & Claire Baker · John Carr · Carolle J. Carter & Jess Kitchens · Michael C. Chang · Jeff Chanin & Karen Lovdahl · Kim & Dawn Chase · Leslie Chatham & Kathie Weston · Patty Chin · Carol T. Christ · Karen Clayton & Stephen Clayton · Dennis Cohen & Deborah Robison · Leonard & Roberta Cohn · Ruth Conroy · Robert & Blair Cooter · Dee Cosetto · John & Izzie Crane · Copley Crosby · Teri Cullen · Robert & Loni
Robert Fleri · Michael & Sabina Frank · Thomas & Sandra Friedland · David Gaskin & Phillip McPherson · Dr. Garwood Gee & Ms. Kathleen Fong · Arlene Getz · Gayle & Steve Goldman · Sarah Gopher-Stevens & Bill Stevens · Bernice Greene · Judy & Jeff Greenhouse · Mr. & Mrs. Ervin Hafter · William & Luisa Hansen · Carol & Don Hardesty · Michael & Grace Hardie · Ken & Karen Harley · Donna Harris & Lyla Cromer · Paula Hawthorn & Michael Ubell · Bill & Judy Hein · Austin & Lynne Henderson · Dixie Hersh · Donald E. Hershman, dpm · Carole S. Hickman · Robert M. Jacob · Roberta R. Jeffrey · Alfred G. Johnson · Sheila Kahan & Judith Bloom · Ken & Karen Keller · Beth & Tim Kientzle · Jack & Birthe Kirsch · Regina Lackner · David & Mari Lee · Harold & Gloria Leitstein · Claire & Brett Levay-Young · Ronald & Shoshana Levy · Karl & Betsy Livengood · Ann L. Livingston & Nobby Akiha · Steve & Linda Lustig · Donald & Joan Mastronarde · Caroline McCall & Eric Martin · Robert McDowell · Alison McLean · Karin Meyer & John Woodfill · Marlene & Stephen Miller · Stephanie Mooers · Will & Sally Moore · Susan Morris · Mr. & Mrs. Gary Morrison · William Muir · Don Nix · Bruce & Risa Nye · Peggy O’Neill · Joseph R. Palsa · David Pasta · Laurel & Jerry Przybylski · Celia Rabinowitz · Bonnie Raitt · Naomi Rayman · Irene Riemann · Eleanor Rush & Jim Puskar · Denise Ryan · Mr. & Mrs. Kenneth Sauer · Sonja Schmid · Margaret Sheehy · Carol Shen and Larry Dodge · Betsy Smith · Carol Verity · Mr. & Mrs. John C. Wadman · Dorothy Walker · Sheridan & Betsey Warrick · Mr. & Mrs. William Webster
Dantzler · Pat & Steve Davis · Abby & Ross Davisson · Daryl Dichek & Kenneth Smith · Edmund DuBois · Drs. Nancy Ebbert & Adam Rochmes · Anita C. Eblé · Burton Peek Edwards & Lynne Dal Poggetto · Sue & Peter Elkind · Roger & Jane Emanuel · Gini Erck & David Petta · Patrick Flannery · Michael & Victoria Flora · Stephen Follansbee & Richard Wolitz · Donald & Dava Freed · Stewart & Joyce Freedman · Kate & Ted Freeland · Paul Gill & Stephanie D’Arnall · Paul Goldstein & Dena Mossar · Robert Goldstein & Anna Mantell · Jane Gottesman & Geoffrey Biddle · Dan Granoff · Sheldon & Judy Greene · Don & Becky Grether · Dan & Linda Guerra · John G. Guthrie · Eric and Elaine Hahn · Ann Harriman · Robert L. Harris & Glenda Newell-Harris · Kate Hartley & Mike Kass · Dan & Shawna Hartman Brotsky · Geoffrey & Marin-Shawn Haynes · Diane Hembry · Bill Hendricks · Daria Hepps · Irene & Robert Hepps · Judith Holland · Morgan Hough · Leonard & Flora Isaacson · Mr. & Mrs. Edwin Ives · Ken & Judith Johnson · Marc & Lisa Jones · Helmut H. Kapczynski & Colleen Neff · Roy Kaplan · Lisa & John Katovich K · Dennis Kaump · Beverly Phillips Kivel · Jeff Klingman & Deborah Sedberry · Joan & David Komaromi · Janet Kornegay & Dan Sykes · Jennifer Kuenster & George Miers · Charles Kuglen · Larry & Ruth Kurmel · Woof Kurtzman & Liz Hertz · Henry & Natalie Lagorio · Thomas LaQueur · Mr. & Mrs. Richard Larsen · Ray Lifchez · Dottie Lofstrom · James Lyons · Judy MacDonald Johnston · Tania & David Madfes · Sue & Phil Marineau · Marie S. McEnnis · Sean McKenna · Ash McNeely · Ruth Medak · Mary & Gene Metz · Caryl & Peter Mezey · Geri Monheimer · Rex Morgan & Greg Reniere · Brian & Britt-Marie Morris · Jerry Mosher · Moule Family Fund · Lance Nagel · Ron Nakayama · Kris Carpenter Negulescu ·
Jeanne E. Newman · Marlowe Ng & Sharon Ulrich · Hung Nguyen · Jennifer Puck & Robert Nussbaum · Judith Ogle · Nancy Park · P. David & Mary Alyce Pearson · Bob & Toni Peckham · Pherwani Family · James F. Pine M · Malcolm & Ann Plant · Andrea Plastas · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Fred & Judy Porta · Paula Pretlow · Donovan & Anna Prostrollo · Kathleen Quenneville K · Sheldon & Catherine Ramsay · Ian Reinhard · Helen Richardson · Paul & Margaret Robbins · Joshua Robison · Joan Roebuck & Anne McGrew · Roberta Romberg · Deborah Dashow Ruth · Dairne Ryan · June & Bob Safran · Dorothy R. Saxe · Laurel Scheinman · Bob & Gloria Schiller · Mark Schoenrock & Claudia Fenelon · Teddy & Bruce Schwab · Hope Scurran · Brenda Buckhold Shank, M.D., Ph.D. · Margaret Sheehy · Mary Shisler K · Steve & Susan Shortell · Carra Sleight · Suzanne Slyman · Jerry & Dick Smallwood · Mark Smith & Pam Calloway · Sigrid Snider · Christina Spaulding · Robert & Naomi Stamper · Ms. Joelle Steefel · Herbert Steierman · Annie Stenzel · Lynn M. & A. Justin Sterling · Monroe W. Strickberger · Shayla Su M · Ellen Sussman & Neal Rothman · Ruthann Taylor · Jeff & Catherine Thermond · Michael Tilson Thomas & Joshua Robison · Prof. Jeremy Thorner & Dr. Carol Mimura · Karen Tiedemann & Geoff Piller · William van Dyk & Margi Sullivan · Gerald & Ruth Vurek · Louise & Larry Walker · Wendy Ward · Dena & Wayne Watson-Lamprey · Michael Weinberger & Julianne Lindemann · Carmi Weininger · William R. Weir · Sallie Weissinger · Diane & Scott Wieser · Dr. Ben & Mrs. Carolyn Werner · Oliver Williamson · Fred Winslow & Barbara Baratta · Robert & Myrna Witt · Carol Katigbak Wong · Ron & Anita Wornick · Kent Wright K · Margaret Wu & Ciara Cox
CO N T RIB U TO R S
Rosanne Levitt · Mr. George Lewinski & Dr. Debra Levinsky · Helen Licht · Fred & Serena Lincoln · Shirlee Loret · Elsie Mallonee · Michael & Loxie Manchester · William Manierre & Barbara Hall · Harriet Markell · Mary McConnell & Don Nimura · Jeanne McKinney · Don & Mara Melandry · Suzanne Mellard & Lon O’Neil · Blythe Mickelson · Ms. Linda Moulton · Barbara Mowry · Ronald & Irene Nakasone · Marilyn K. Nelson · Dr. & Mrs. Ernest Newbrun · Stacy Nii-Eastly & John Eastly · Margaret O’Halloran & Christopher Lutz · Crystal Olson · David & Mary O’Neill · Susan & Paul Opsvig · Linda & Gregory Orr · Roy J. Otis · James O’Toole · Connie Velasquez Parker M · Robert & Audrey Pedrin · Joan & Allen Perlof · John R. Petrovsky · Wendy Polivka · Harry Pollack & Joanne Backman · JoAnn & Buford Price · William & Joan Pridgen · Michael & Davida Rabbino · Audrey & Paul Richards · Margaret Rienzi · Donald Riley & Carolyn Serrao · Edward & Irene Rimer · Craig F. Robieson · L. M. Rubinoff · Nancy Saldich · Carol A. Savary and George Koster · Robert & Winnie Sayre · Cynthia & William Schaff · Peter Schmitz · Richard J. Schoofs · Louise Shalit · Ms. Deborah Shefler · Ms. Valerie Sopher · Joel & Ellen Stettner · David and Ruth Stimson · Kathleen Sullivan · Suzanne & Svend Svendsen · Leesy Taggart & Jon Elliott · Barbara & William Vaughan · Julie Waldman & Alan Germain · Mrs. James Weinberger · Toni Weingarten · Thomas Weston · Diane & Don Williams · Ann Williamson · Susan Willman · Jennifer Winch · Evie & Gordon Wozniak · Paul Wyman · Raymond A. Young III · Marti & Shelly Zedeck · David & Leorah Zilberman
$ 15 0 –2 49
Anonymous (20) · Mark Aaronson & Marjorie Gelb · Paula & Art Alm · Brian Andersen, Michelle Jolly, Bill Walker & Mary Wisnewski · Ann Armour · Jane Ashland · Lisa Bailey · Nina Barton · Gale Bataille · Thomas G. Bertken · Bonnie Bogue · Ayako Boswell · Elizabeth Brady · Helene Burgess & Cy Epstein · Jennifer Burroughs · Jules Campbell · Charles & Kristine Cardall · Hortensia Chang · Anthony Chiu & AJ Shepard · Carol & Orlo Clark · Gene & Ann Clements · Geraldine J. Clifford · Louise Coleman · Jacob Corn & Lisa Prach · Hillary & Chris Costin · Nancy Cuesta · Faith & Bob Cushman · Dawn Daro · Mr. & Mrs. Stefan Dasho · Dennis T. De Domenico and Sandra Brod · Allan Defraga · Mary Doane · Charles & Jean Dormann · Janet Eadie · Anne & Hal Eisenberg · Sue J. Estey · The Etter Family · Miranda & John Ewell · Mary & Benedict Feinberg · Barry & Cheri Feiner · Anita & Steven Feinstein · Cherielyn Ferguson M · Penny & Bob Fink · Julie A. Florin-Kline · Diane Flyr · Mary Ford & Robert Lewis · Gail Forgash · Ednah Beth Friedman · Deborah Gilman · Gregory Giska · Steven Goldberg · Barbara & Barry Gross · John & Barbara Haas · Dr. & Mrs. Alan Harley · Lillian Harris · John & Jean Hearst · Derek & Christina Heins · Laurin Herr & Trisha Gorman-Herr · Miranda Holmes · John & Elise Holmgren · Ayman A. Hosny · Stephen & Helene Jaffe · Marci Jenkins · Ann L. Johnson · Marcia Kadanoff · Patricia Kates & Henry Brady · Margaret Kaufman · Paul Kitchell · Joel H. Kreisberg · John Kruse & Gary Beuschel · Victor Kryukov · Kenneth Kulander · Jane & Michael Larkin ·
201 3–1 4 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 4 1
CON T R I BU TOR S donors to the annual fund FRIE N D S
$ 75 –149
Anonymous (22) · Edmund Alvey · Joel Armstrong & Joan Gilbert · Diane & Allan Armstrong · Julie Baeder · Joan Baylie & James Mullins · David Bayuk · Lauren K. Beal · Richard & Jan Bergamini · Joan Bodway · Carol Bowen · Bernice Bradley · Mr. Michael Braisted · Elizabeth Breslin · Joan Broer · Lee & George Burnett · Terrance Carroll · Dr. & Mrs. Michael Cassidy · Heidi Cavagnolo · Helene & Norman Cavior · Harvey & Phyllis Ceaser · Ronald & Susan Choy · Mary L. Clark · Molly Clopp · June & Michael Cohen · Salvatore Compagno · Joe & Leonardo Connell · Anne Cooke · Deborah Cooksey · Jeanne Cooper · Jeanne Cox · Meredith Daane · Robert Daniels · Hardy & Judi Dawainis · Gail Debellis · Linda Deer · Toni Deser & Paul Rodman · Roy & Pamela Doolan · Kathy & Leonard Duffy · Alice Earl · Gary Egkan · Arthur Elkins · David & Denise English · Tina & Dennis Etcheverry · David Fankushen · Mr. & Mrs. Norman Feldman · Kirk & Suanne Flatow · Marvin Freid · Walt French · Carol Gadas · Jeannette A. Gape · Loretta D. Garcia · Clara Gerdes · John G. Rosenberg & Diane Gerstler · James & Jewelle Gibbs · Arthur & Carol Goldman · William Goldstein · Bill & Chris Green · Mr. & Mrs. Arnold Grossberg · Wilma Hall · Gail Hamilton · Marjorie Hamm & Angela Bottum · Jean Hayward · Stan Hebert · Henry L. Hecht · Richard P. Hemann · Joyce Hemmer · Elizabeth Hoffmann · Patsy Hom · Bill Honig & Catherine Conway Honig · Dr. & Mrs. Charles E. Jackson · Sandy Jaffe · Katharine Jennings · Jonathan Kerner & Margaret Laliberte · Walter Kolligs · Lenora Kwok · Maria & David Laforge · Joyce Lashof· Lannon Leiman & Frederick Seil · Kathleen Lemke · Ben Lenail & Laurie Yoler · Trudy & Rolf Lesem · Eva Lieberman · Tracy Lieu · Paul & Barbara Liston · Bruce & Myrna Lockey · Kerri & Mark Lubin · Martha & Arthur Luehrmann · Nancy Lumer · Ms. Lynn MacDonald · Barbara Zerbe Macnab · Christine Macomber · Ingrid Madsen & Victor Rouch · John & Judith Malamut · Elanor Mangin · Angela Markle · Sheila A. McClear · Ms. Jean McClellan · John W. & Yvonne S. McCredie · David McGrath · Diane Means · Mr. Jon Merkle · Margaret
Moulton · Ernesto Munoz · Donal Murphy & Julie Orr M · Kathleen and Tim Murphy · Cynthia Naton & Richard Soennichsen · David Neuman · Wendy Niles · Judith & David Niver · Lisa Norris · Bruce Nunley · Norma Perlstein · Eileen Piker · Mr. & Mrs. William Plageman · Meshulam Plaves · Dixie Lee Post · Steven Potter · Don & Virginia Poulton · David Presti & Kristine Panik · Sheila & Myron Puckett · Katherine Randolph · Ann Rarden · Dr. & Mrs. Stanley Reich · Sandra Ried · Robert Riekman · Jeff & Ann Roberts · Alex G. Ross · Renee R. Ross · Priscilla Royal · Daniel & Gail Rubinfeld · Mark & Judi Sachs · Carolyn Sanders · John & Melanie Sandler · Ilze Savelis · Bobbi Schear & Jim Reed · Susie Schevill · Karen Scott · Cynthia Sears · Christine & Lawrence Silver · Parveen Singh · Neil Sitzman · Jordan Smith · Pam Smith · Terry Smith · Harold Sogard · Thomas Sponsler · Dr. Suzy J. Spradlin · Brian & Kathy Sprague · Cecilia Storr & Mark Chaitkin · Leslie Stupple · Aura Sullivan & Franklin Zawacki · Juliann Sum · Silvia Sykes · Marion Taylor · Madeleine Trembley-Perrot · Patrick Treseler · Danica Truchlikova · Eleanor Vade Bon Coeur · Stephen Van Meter · Robert Visser M · Julia and Shel Waggener · Marvalee & David Wake · Kate Walsh · Joan Waranoff · Laurence C. Wegienka · Kim Rohrer · Karen & Stephen Wiel · Jay Wiener · Jefferson & Sarah Wilbur · Christine Wilder-Abrams · Ms. H. Leabah Winter · Charlene & Jerry Wolf · Sandra & Steven Wolfe · G. Geoffrey Wood · Ruth Wrentmore · Marjorie Yasueda & Dale Knutsen · Al Zemsky · Donald Zimmerman
PAT RO N S
$ 1 –74
Anonymous (21) · The Abbingsole Family · Julie Absey · Tonya Amos · Ross Andelman · Elizabeth Andersen · Gary & Kay Anderson · Wayne Archer · Kathy Armstrong · Mr. & Mrs. Louis Armstrong-Dangles · Raymond B. Auker · Franck Avril & Barbara Gullion · Philip Baer · Neil Baldwin & Rosemary CristeBaldwin · Carol & Michael Bartlett · Gabriel Beccar-Varela · Roger Beem · Paul Bendix · Lis Bensley · Elissa Berall · Emilie L. Bergmann · Kathleen Berquist · Xanthe Berry · Judi R. Berzon · Millard Billings · Dr. Robert J. Binder · Shalom & Marilyn Blaj · Robert Blomberg ·
42 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 7
Christopher Bogart · Victoria Boneysteele · Eva & Istvan Borocz · Mary Bourguignon & Richard Wood · Martha Breed · Pamela Bridges · Ms. Marcia Brockbank · Hilary Brown · Patricia Brown · Deborah Bryant · Carolyn Burgess · Mary Burkhard · Carrie and Jim Burroughs · Katherine Byrne · Laura Call · Mr. & Mrs. Donald B. Campbell · Eileen Carey · Emily Castelli · Leann Cawley · Joseph & Susan Cerny · Heather Chiu · Rose Ann Cochran · Illene Colby · Rudy Collins · Theo & Edward Collins · Carol Cook · Alfred & Anita Cotton · Brent & Mary Ellen Crisp · M. Jason Cunanan · Alyse Danis · Darlene A. Davis · Angelo Del Priore · Caroline Denicke · Richard A. Denton · Donna N. Dobkin K · Steven & Sylvia dos Remedios · Viktoriya Dostal · Lew Douglas · Lori Droste · Lori Dubow · Laura Duldner · Philip & Susan Durfee · Harry & Isobel Dvorsky · Barbara & Roger Edelson · Bernice Ellison · Joseph Engelman · David & Catherine Epstein · Thelma Estrada · Flora Peters Feldman · Ann Felldin · Vladimir Fishman · Robert Fogliasso · Lotte Frank · John Frediani · Sidney & Margo Friedman · Richard Frobose · Sam & Joan Fromowitz · Bonnie Gamble · Jessica Gary · Penelope A. Gerbode · Hedi & Paul Gerken · Charles Goetzl & Eric Fine · Mark Goldberg · Sarah Goodwin · Marie Graham · Mera Granberg · Bettyanne Green · Dave W. Green · Leah Greenblat · Marjorie Greene · Joyce Gressel · Robin Gross · W. Dale Hall · Katherine Hamel · Lona Hardy · Anthony Harris · Mr. Monte Hartman · Lisa & Chris Haskell · Bjoern Heckel · Jack & Susan Heller · Dr. Robert R. Herrick & Ms. Willma Zinser · Winifred Hess · Louis Hexter · Edwin Hill · Eleonore F. Hockabout · Beth H. Hoenninger · Stephen Hopkins · Biljana Horn · June Hunt · Sonya Hunt · Ruth Ichinaga · Mary Ireland · Loisann Jacovitz · Roger Jaeckel · Bathea James · Elwin & Virginia Jang · Rose A. Jellison · Gerald Kaminski · Mr. & Mrs. M. Kaplan · Ray Kaplan · Earl Karn · Ken Katen · Susan & Stephen Kellerman · Gary Kelson · Karen Kent · Robert Kolenkow · Marilyn Zoller Koral · Janice Koyama · Jane and Mark Kriss · Daniel Kuo · Mary Sue & Dennis Kuzak · Josee Lajoie · Alfred & Gwen Langosch · Aaron & Myra Latkin · Molly Lazarus & Craig Burke · Leesa Lee · David Leinbach · Jim Levine · Eileen &
Gordon Libby · Michele Liedeker · Mr. & Mrs. Richard A. Lindsay · John Lobato · Dr. Bruce R. Locke · George I. Lythcott, III · Jo & Joe Macaluso · Renee MacArthur · Gil Magilen · Elise Marks · Sherry E. Markwart · Nancy & Wayne Marzolf · Shawn & Jane Mason · Tamara Matuschka · Deborah McKinney · Suzy Mead · James & Janice Meeder · Gadi & Donna Meir · Margaret Meuris · David & Judy Miller · Amy Mitchell · Dan Mitchell · Robert Moench · Mahal Montoya · Mary Jean Moore · Linda Morse · Mehdi Morshed · Kenneth Natkin · Katrina Neill · Mr. & Mrs. James Nelson · Marty Nelson · Carol Newborg · Mitzi S Palmer · Mallie Paschall · Lana Paulhamus · Karen Pauls · Patricia Payne · William Pease · Patsy Perring · James Peterson · Rosemarie Petitpas · Sara Phillips · John & Carol Pitts · Margo Pizzo · Tony Platt · Linda Plecha · Kate Pope · Becky Potter · Robert Poy · Linda Pratt · Linda Rhine · Gena Rhodes · Robert Rice · Albertha Richardson · Zona L. Roberts · Peggy Rock · Ellen Rosenfield · John Rostkowski · Elisabeth Rothenberger · Lisa Rowland · Daralyn Ruchalski · Eileen Savel · Ruth & Paul Saxton · Judy Schriebman · Laurie Schumacher & Holly Sears · Bill & Janet Schumann · Judith Shalev · Nancy Shaw · Deborah Sherwood · Alexander Shtulman · Robert Siegel · Jacqueline Smalley · Larry & Marian Snyder · Patricia Speier · Sherrill and Martin Spellman · Lydia Stack · Karen Starko · Judith A. Stein · Barbara & Charles Stevens · Susan Stoddard · John Stoeller · Dorian Stull · Dennis Styne & Donna Petre · Jean Sugihara · April & Ryk Tanalski · Jane Tatum · Heather Taylor · Mary Teichmann · Dale Thomas · Melody Tovar · Alice & John Trinkl · Nancy R. Turak · Leslie Valas · Ernst & Lois Brandwynne Valfer · Agnes Van Boeschoten · Richard & Virginia Van Druten · Natalie Van Osdol · Marijke Vandoorn · Julayne Virgil · Nancy Walters · Myrna Walton · John Watkins & Barbara Maricle · Barbara Weiss · Bernard Whitehill & Constance Peterson · Frank Widman · Marie Williams · Norma L. Williams · Lisha Wilson · Fred Winslow & Barbara Baratta · Ms. Beth Wolinsky · Roxy Wolosenko · William Wolverton · Wilma Wool · Michael Zampelli · Jane Zimmerman · Stephen Zolotow
CON T R I BU TOR S donors to the annual fund Sustaining members as of April 2014:
The Society welcomes the following new members: Anonymous (2) Broitman-Basri Family
Anonymous (4) Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Neil & Gene Barth Carole B. Berg Linda Brandenburger Broitman-Basri Family Jill Bryans Bruce Carlton & Richard G. McCall Stephen K. Cassidy Andrew Daly & Jody Taylor M. Laina Dicker Thalia Dorwick Rich & Robin Edwards Bill & Susan Epstein William Espey & Margaret Hart Edwards Carol & John Field Dr. Stephen E. Follansbee & Dr. Richard A. Wolitz
Kerry Francis Dr. Harvey & Deana Freedman Dr. John Frykman Paul T. Friedman Laura K. Fujii David Gaskin & Phillip McPherson Marjorie Ginsburg & Howard Slyter Mary & Nicholas Graves Elizabeth Greene Jon & Becky Grether Richard & Lois Halliday Linda & Bob Harris Fred Hartwick Ruth Hennigar Douglas J. Hill Hoskins/Frame Family Trust Robin C. Johnson Lynn Eve Komaromi Bonnie McPherson Killip Scott & Kathy Law Zandra Faye LeDuff Ines R. Lewandowitz Dot Lofstrom Dale & Don Marshall
Sumner & Hermine Marshall Rebecca Martinez Suzanne & Charles McCulloch Miles & Mary Ellen McKey Margaret D. & Winton McKibben Susan Medak & Greg Murphy Toni Mester Shirley & Joe Nedham Pam & Mitch Nichter Sharon Ott Amy Pearl Parodi Gladys Perez-Mendez Barbara Peterson Regina Phelps Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Tom Roberts Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Valerie Sopher Michael & Sue Steinberg Karen Stevenson
Dr. Douglas & Anne Stewart Jean Strunsky Henry Timnick Phillip & Melody Trapp Janis Kate Turner Dorothy Walker Weil Family Trust — Weil Family Karen & Henry Work Martin & Margaret Zankel
Gifts received by Berkeley Rep:
Estate of Suzanne Adams Estate of Helen Barber Estate of Fritzi Benesch Estate of Nelly Berteaux Estate of Nancy Croley Estate of John E. & Helen A. Manning Estate of Richard Markell Estate of Margaret Purvine Estate of Peter Sloss Estate of Harry Weininger Estate of Grace Williams
Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise, planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity. For more information on becoming a member, visit our website at berkeleyrep.org or contact Daria Hepps at 510 647-2904 or dhepps@berkeleyrep.org.
M E MOR I A L A N D T R I BU T E G I F T S
The following members of the Berkeley Rep community made gifts in memory and in honor of friends, colleagues, and loved ones from February 2013 to April 2014.
In Memory of Helen Barber Shirley & Lew Albright Dr. & Mrs. Thomas Barber Clark & Francine Burnham Charles & Melanie Callander John & Barbara Callander Lucy Campbell Chan & Susan Chuongvan Anne M. Coffey Eugene Coffey Michael & Sheila Cooper Marilyn DeLorenzo Gini Erck & David Petta K. Bruce & Lois Friedman Kenneth W. Gerver Richard & Gretchen Grant The Bonkettes Larry & Susan Halperin Mrs. Barbara Heard Josh & Faye Jacobs Donald Jacobus Stewart A. Judson Allen & Kathleen Lauer John & Joni Lawler Nancy & George Leitmann Norman & Florence Lind Melinda Mendelson Laura W. Moran Carla R. Petievich Elizabeth Pigford Dr. & Mrs. Andrew Pollak Nancy Reynolds Julianne H. Rumsey Paul Sack Mitzi Sales & John Argue Jonathan & Sheryl Schreiber The Swain Family Edward & Susan Waller W. Clark Wurzberger In honor of Susan Medak Doug & Leni Herst Joanne Medak In honor of Marge Randolph Bill & Susan Epstein Nina & Claude Gruen In honor of Leonard X Rosenberg Benita & Burton Boxerman Sheli Rosenberg
In honor of Marcia Smolens Jay & Susan Mall Susan Medak & Greg Murphy Anonymous, in memory of Vaughn & Ardis Herdell Anonymous, in honor of Julie & Patrick Kennedy Pat Angell, in memory of Gene Angell Kristen Badgley, in memory of Helen Joo’s mother Barbara Beck, in memory of Jeff Beck Steven Bertozzi, in honor of Jane and Mike Larkin Jane Buerger, in memory of Judith A. Schmitz Anne Cooke, in memory of Ethel & Irwin Cherniss Gary & Diana Cramer, in memory of Doris Titus Anita & Herbert Danielsen, in honor of Sara Danielsen & Sean Tarrant Melinda A. Drayton, in honor of Nandi Drayton Wendy Dwyer, in honor of The Dwyer Family Debra Engel, in honor of Barry Williams & Lalita Tademy Brooke Facente, in honor of Jane and Gary Facente Mr. & Mrs. Fink, in honor of Rachel Fink Sidney & Margo Friedman, in honor of the birthday of Jack Schafer Don & Janie Friend, in honor of Bill & Candy Falik Richard & Sylvia Hammond, in honor of Leo Blitz & Family Linda Headrick, in honor of Ann Brannen David Hester & Karen Jannetti Hester, in honor of Anna M. Morrison Barbara E. Jones in memory of William E. Jones Tom & Mary Anne Jorde, in honor of Pat Sakai & Dick Shapiro Roy Kaplan, in memory of Barbara Kaplan Flo & George Kimmerling, in honor of Naomi Kimmerling Lynn Eve Komaromi, in honor of the Berkeley Rep Staff Debie Krueger, in memory of Alex Maffei Elroy & Dee Kursh, in honor of Thalia Dorwick Regina Lackner, in memory of Ruth Eis
Bo Lee, in honor of Dudley & Hetty Lee Jonathan Levitt, in honor of Felicia Rose Levitt Sherman Lew, in honor of H.G. Lew Jo & Joe Macaluso, in memory of son David Mary & Terry MacRae, in honor of the Libitzkys Peter & Melanie Maier, in honor of Jill Fugaro Chris Mehling, in honor of Wendy Williams Carrol Mills, in memory of Stan Eremia Susan Montauk, in memory of Clare Montauk Thomas Neale, in memory of Jean Culhane Pier & Barbara Oddone, in memory of Michael Leibert David Pasta, in memory of Gloria Guth Lise Pearlman, in memory of Amalia Pearlman Elizabeth & Ted Peña, in honor of Oscar Peña, with thanks to Ben Hanna Barbara Pereira, in honor of Ian & Alec McEachern Paul & Kerry Perez, in honor of Dixon Long Sheila & Myron Puckett, in memory of Jean Murphy Veronica Rabuy, in honor of Zoe Inciong Maya Rath, in honor of Shirley & Philip Schild Ronald Rogness, in honor of Phyllis Rogness Deborah Dashow Ruth, in memory of Leo P. Ruth Veronica Schwalbach, in memory of Catherine Day Ethan & Kira Silverman, in honor of Ross & Sandy McCandless Prof. Jeremy Thorner & Dr. Carol Mimura, in memory of James Toshiaki Mimura Madeleine Trembley-Perrot, in honor of Dr. William Merritt Marion C. Warner, in memory of Charles Warner Raymond Weisberg, in memory of Marilyn Weisberg Ms. H. Leabah Winter, in memory of Barry Dorfman, MD The Zeiger Family, in memory of Phyllis Sagle
201 3–1 4 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 43
A BOU T BE R K E L E Y R E P staff and affiliations Michael Leibert Artistic Director Tony Taccone
Managing Director Susan Medak
A R T I S T IC Associate Director Liesl Tommy Artistic Associate & Casting Director Amy Potozkin Artistic Associate Mina Morita Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Associate Julie McCormick Artists under Commission David Adjmi Glen Berger Jackie Sibblies Drury Rinne Groff Dominic Orlando & Brian Carpenter KJ Sanchez Naomi Wallace
COSTUMES Costume Director Maggi Yule Draper Kitty Muntzel Tailor Kathy Kellner Griffith First Hand Janet Conery Wardrobe Supervisor Barbara Blair Assistant Costume Designer Amy Bobeda
P RODUC T ION Production Manager Tom Pearl Associate Production Manager Amanda Williams O’Steen Company Manager Jean-Paul Gressieux
S OU N D Sound Supervisor James Ballen Sound Engineer Angela Don
S TAG E M A NAG E M E N T Production Stage Manager Michael Suenkel Stage Managers Cynthia Cahill Leslie M. Radin Karen Szpaller Kimberly Mark Webb Production Assistants Christina Larson Megan McClintock Amanda Warner S TAG E OP E R AT ION S Stage Supervisor Julia Englehorn P ROP E R T I E S Properties Supervisor Jillian A. Green Associate Properties Supervisor Gretta Grazier Properties Artisan Viqui Peralta S C E N E S HOP Technical Director Jim Smith Associate Technical Director Colin Babcock Shop Foreman Sam McKnight Master Carpenter E.T. Hazzard Carpenter Jamaica Montgomery-Glenn S C E N IC A R T Charge Scenic Artist Lisa Lázár
E L E C T R IC S Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane Kenneth Coté
A DM I N I S T R AT ION Controller Suzanne Pettigrew Director of Technology Gustav Davila Associate Managing Director/ Manager, The Ground Floor Karena Fiorenza Ingersoll Executive Assistant Andrew Susskind Bookkeeper Kristine Taylor Associate General Manager/ Human Resources Manager David Lorenc Human Resources Consultant Laurel Leichter Database Manager Diana Amezquita DE V E L OPM E N T Director of Development Lynn Eve Komaromi Associate Director of Development Daria Hepps Director of Individual Giving Laura Fichtenberg Campaign Manager Libbie Hodas Institutional Grants Manager Bethany Herron Special Events Manager Lily Yang Individual Giving Associate Joanna Taber Development Database Coordinator Jane Voytek Development Associate Beryl Baker
4 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 7
General Manager Karen Racanelli
PAT RON S E R V IC E S Patron Services Manager Katrena Jackson House Manager Debra Selman Assistant House Managers Natalie Bulkley · Aleta George · Tuesday Ray · Ayanna Makalani · Anthony Miller · Read Tuddenham Concessionaires Amy Bobeda · Samantha Burse · Steve Coambs · Emerald Geter · Nastasia Glenn · Alana GodnerAbravanel · Mary Kay Hickox · Charmenaca Keelen · Devon Labelle · Franzesca Mayer · Kelvyn Mitchell · Jenny Ortiz · Claudia Peterson · Adrian Ramos · Usher Coordinators Nelson & Marilyn Goodman B OX OF F IC E Ticket Services Manager Destiny Askin Subscription Manager & Associate Sales Manager Laurie Barnes Box Office Supervisor Terry Goulette Box Office Agents Amos Cass · Christina Cone · Samanta Cubias · Julie Gotsch · Eliza Oakley · Amanda Warner · Crystal Whybark M A R K E T I NG & C OM M U N IC AT ION S Director of Marketing & Communications Robert Sweibel Director of Public Relations Voleine Amilcar Art Director Nora Merecicky Video & Multimedia Producer Pauline Luppert Communications Manager Karen McKevitt Marketing Manager Kyle Sircus Audience Development Manager Sarah Nowicki Webmaster Christina Cone Program Advertising Ellen Felker
OP E R AT ION S Interim Facilities Director Lauren Shorofsky Building Engineer Thomas Tran Maintenance Technician Johnny Van Chang Facilities Assistants Sonny Hudson · Sophie Li · Carlos Mendoza · Jesus Rodriguez · LeRoy Thomas BERKELEY REP S C HO OL OF T H E AT R E Director of the School of Theatre Rachel L. Fink Associate Director MaryBeth Cavanaugh Jan & Howard Oringer Outreach Coordinator Dave Maier Community Programs Manager Benjamin Hanna School Administrator Kashara Robinson Registrar Katie Riemann Faculty Alva Ackley · Jeffrey Bihr · Erica Blue · Rebecca Castelli · Sally Clawson · Paul Cello · Jiwon Chung · Iu-Hui Chua · Laura Derry · Deborah Eubanks · Steven Epp · Sara Felder · Maria Frangos · Lucille Freedman · Christine Germain · Nancy Gold · Gary Graves · Marvin Greene · Gendell Hing-Hernández · Andrew Hurteau · Aaron Jessup · Ben Johnson · Krista Knight · Dave Maier · Michelle Leavy · Julian López-Morillas · Patricia Miller · Edward Morgan · Michael Navarra · Slater Penney · Marty Pistone · Diane Rachel · Elyse Shafarman · Rebecca Stockley · Bruce Williams Outreach Teaching Artists Michael Barr · Mariah Castle · Gendell Hing-Hernández · Ben Johnson · Hannah Lennett · Marilet Martinez · Jack Nicolaus · Sarita Ocón · Carla Pantoja · Patrick Russell · Tommy Shepherd · Reggie White · Elena Wright Teacher Advisory Council Molly Aaronson-Gelb · Julie Boe · Amy Crawford · Beth Daly · Jan Hunter · Marianne Philipp · Richard Silberg · John Warren · Jordan Winer Docent Committee Thalia Dorwick, Director Matty Bloom, Core content Nancy Fenton, Procedures Jean Holmes, Visuals Charlotte Martinelli, Off-site contact & recruitment The Intelligent Homosexual’s Guide... Docents Selma Meyerowitz, Lead docent Matty Bloom Nancy Fenton Jean Holmes Ellen Kaufman Dale Marshall Rhea Rubin Joan Sullivan
201 3–14 B E R K E L E Y R E P F E L L OW S H I P S Bret C. Harte Young Director Fellow Jacob Harvey Company/Theatre Management Fellow Rae Surbagh Costume Fellow Franzesca Mayer Development Fellow Annalise Baird Education Fellows Gabriella Mingoia Alexandra Williams-Fleck Graphic Design Fellow Jared Oates Harry Weininger Sound Fellow Sarah Jacquez Lighting / Electrics Fellow Jack Horwitch Marketing & Communications Fellow Telma Sheppard Peter F. Sloss Literary/ Dramaturgy Fellow Sam Basger Production Management Fellow Emily Fassler Properties Fellow Ashley Nguyen Scenic Art Fellow Gena Whitman Scenic Construction Fellow Claudia Peterson Stage Management Fellow Sofie Miller
Affiliations The director is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. The Scenic, Costume, Lighting, and Sound Designers in lort Theatres are represented by United Scenic Artists Local usa-829, iatse.
BOA R D OF T RU ST E E S Thalia Dorwick, PhD PRE S ID E N T
Helen Meyer
VI CE PRE S ID E N T
Jill Fugaro
VI CE PRE S ID E N T
Emily Shanks T RE A S U R E R
Scott R. Haber S ECRE TA RY
Roger A. Strauch
CH AIR , T RU S T E E S CO M M IT T E E
William T. Espey
CH AIR , AU D IT CO M M IT T E E
Marjorie Randolph
I M M E D IAT E PA S T PR E S ID E N T
PA S T PRE S ID E N T S
Helen C. Barber A. George Battle Carole B. Berg Robert W. Burt Shih-Tso Chen Narsai M. David Nicholas M. Graves Richard F. Hoskins Jean Knox Robert M. Oliver Harlan M. Richter Richard A. Rubin Edwin C. Shiver Roger A. Strauch Warren Widener Martin Zankel
B OA R D M E M B E R S
Carrie Avery Edward D. Baker Becky Bleich Martha Ehmann Conte David Cox Robin Edwards William Falik Lisa Finer David Fleishhacker Paul T. Friedman Bruce Golden Nicholas M. Graves David Hoffman Carole S. Krumland Dale Rogers Marshall Sandra R. McCandless Julie M. McCray Susan Medak Pamela Nichter Stewart Owen Leonard X Rosenberg Jack Schafer Richard Shapiro Jean Z. Strunsky Tony Taccone Gail Wagner Felicia Woytak S U S TAIN IN G A DVI S O R S
LTS 04
Carole B. Berg Rena Bransten Stephen K. Cassidy Diana J. Cohen John Field Kerry Francis Richard F. Hoskins Dugan Moore Mary Ann Peoples Pat Rougeau Richard A. Rubin Patricia Sakai Michael Steinberg Michael Strunsky Martin Zankel
A thrilling orchestra filled with musicians from the metropolitan opera orchestra, New York Philharmonic and beyond – don’t miss a note! guest artIsts Matthew Polenzani, tenor simone Dinnerstein, Piano
Founding Director Michael W. Leibert Producing Director, 1968–83
August 1–17 • InclIne VIllage tahoesummerfest.org 775.832.1606
201 3–1 4 · I S S U E 7 · T H E B E R K E L E Y R E P M AG A Z I N E · 45 Untitled-6 1
4/29/14 9:49 AM
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Emergency exits Please note the nearest exit. In an emergency, walk—do not run —to the nearest exit. Accessibility Both theatres offer wheelchair seating and special services for those with vision or hearing loss. Assistive listening devices are available at no charge in both theatre lobbies. Scripts are available in the box office. Open captioning is available for at least one performance of every season production.
No food or glassware in the house Beverages in cans, bottles, or cups with lids are allowed. No smoking Smoking—including the use of e-cigarettes—is prohibited in Berkeley Rep’s buildings and courtyard. Please keep perfume to a minimum Many patrons are sensitive to the use of perfumes and other scents. Recycle and compost your waste Help us be more green by using the recycling and compost containers found throughout the Theatre. Phones / electronics / recordings Please make sure your cell phone, pager, or watch alarm will not beep. Doctors may check pagers with the house manager and give seat location for messages. Use of recording equipment or taking of photographs in the theatre is strictly prohibited. Please do not touch the set or props You are welcome to take a closer look at the set, but please don’t step onto the stage. Some of the props can be fragile, and are placed precisely. No children under 7 Many Berkeley Rep productions are unsuitable for young children. Please inquire before bringing children to the Theatre. No babes in arms.
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4 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 7
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