Berkeley Rep: Imaginary Comforts

Challenge your inner artist 9 · A conversation with Daniel Handler 11 · The program for Imaginary Comforts 16

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BE R K E L E Y R E P P R E S E N T S IMAGINARY COMFORTS , OR THE STORY OF THE GHO ST OF THE DEAD RAB B IT · 16

P ROL O G U E A letter from the artistic director · 5 A letter from the managing director · 6 R E P ORT Challenge your inner artist · 9 F E AT U R E S The Origin Story · 10 A conversation with Daniel Handler · 11 Healing stories · 13

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M E E T T H E C A ST & C R E W · 17

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Time on stage: How plays create their own chronology · 14

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P ROL OG U E from the Artistic Director

A long time ago, I remember watching an inter-

view with Bob Dylan. He was being asked about the meaning of one of his songs. The interviewer admired the rich imagery and symbolism contained in the lyrics, but the overall theme eluded him. The larger narrative was contradictory and disjointed. Where was the coherence? the reporter wanted to know. What were we supposed to take away from the song?

At the beginning of the conversation, Dylan seemed bemused, giving witty responses that had little to do with the questions. But the journalist wouldn’t quit. His frustrations grew with his subject’s unwillingness to talk. Finally, Dylan turned to him, irritated that he had to express what for him was a basic truth (and I’m paraphrasing here): “I don’t think it’s the job of the artist to explain the art. The art is the statement. Whatever you want it to mean, well…that’s what it means. I hope you like it.”

I’ve never forgotten Dylan’s statement, in particular, because my job frequently involves creating stories that are open to interpretation. It’s my belief, or perhaps simply my taste, that the best stories contain an element of mystery. Whether it’s in the plotting or the characters, the design or the theme itself, the real excitement for us comes when we have to use our minds to interpret the story for ourselves.

Daniel Handler has been telling us great stories for many years. Under the guise of Lemony Snicket, he has crafted an artistic voice that is terrifyingly funny and furiously imaginative, a worldview that is dark and delicious and yet somehow hopeful.

His collected fiction for young adults reads like a series of fantastical self-help books entitled: How to Survive Unknowingness and Insanity and Still Get a Kick Out of Life!

And so it comes as no surprise that Imaginary Comforts, his new play for “adults” (another word for children of all ages), deals with the transformative power of story.

Take a random group of wildly neurotic people and connect them with a weird story about a rabbit, and what do you get? People arguing about the motivations of rabbits, the real nature of human nature, and the meaning of life. This is a play that veers into the sometimes absurd, sometimes compassionate recesses of each character’s story, revealing their differences, their similarities, and ultimately, what they need.

It’s great to bring Mr. Handler’s work back to our stage.

To quote the great Bob Dylan: “I hope you like it.”

Sincerely,

Tony Taccone

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P ROL OG U E from the Managing Director

Doesn’t everyone have a really good story about

their family? Whether it’s a narrative of immigration, a tale of an outlandish uncle, a remembrance of grandma’s cooking, or an appreciation of a child’s service to their country, stories about families, with all of their inherent possibilities for functionality and dysfunctionality, are fundamental to our own identities and our relationships. No wonder playwrights have mined this source material for thousands of years.

But only Daniel Handler can write of the kind of family featured in Imaginary Comforts, or The Story of the Ghost of the Dead Rabbit.

With a raised eyebrow, a wink, and a bit of a malevolent streak inherited from his alter ego Lemony Snicket, he tells us a story of a family in crisis—a really good story that’s sophisticated, funny, tragic, and emotionally true. It’s a privilege to welcome this Bay Area writer back to Berkeley Rep, working alongside Tony Taccone once more.

Imaginary Comforts is a bit of a reunion, not only between Daniel and Tony, but also with the return of veteran Berkeley Rep actors Sharon Lockwood, Danny Scheie, Jarion Monroe, Julian López-Morillas, Susan Lynskey, and Marilee Talkington. Our relationship with some of these actors goes back to the 1980s, and we’re so pleased to welcome them to our home again.

The Bay Area is blessed with remarkably talented actors who have chosen to make this place their home. And among those on stage with us right now, we have some of the very best. You have seen them again and again in theatres throughout the bay. It is a great privilege and honor to have them back with us for Imaginary Comforts.

Warmly,

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Challenge your inner artist at Berkeley Rep’s School of Theatre

BY MARCELA CHACÓN

This fall, the Berkeley Rep School of Theatre brings you numerous ways to connect with the amazing season lineup on Berkeley Rep’s stages, including the show you’re about to see.

In The Art of Adaptation—Folktales and your own: Creating new work through nontraditional approaches, adult students will have the opportunity to develop original work based on questions posed by Imaginary Comforts.

How can our personal stories both sustain and explain us? How can we connect these narratives to the work?

How are our everyday lives enriched by stories? Not only will Susan Lynskey, a member of the cast of Imaginary Comforts, teach the class, but Tony Taccone,

director of Imaginary Comforts, will visit, and we hope Daniel Handler and other cast members will join us to discuss their creative process. This will be a class you won’t want to miss.

Also this fall, students have a broad selection of opportunities to discover and challenge their best artistic selves regardless of age or level of experience.

Young students can revive the wonderful world of The Addams Family, engage their imagination with Shadow Puppetry Design, and dive into the fascinating world of acting, directing, and filmmaking with our Act, Direct, and Film class.

Teens can explore movement with our Breakdance and Contemporary Dance class and investigate musical theatre

with Green Day’s conceptual rock-opera American Idiot. There are plenty of acting, directing, improv, and writing and devising classes for our adult and advanced students as well.

At the Berkeley Rep School of Theatre, we are excited to connect with our audience through our programming this season and to continue to inspire and expand the local theatre community. We thrive on the diversity of that community and strive to create a unique platform to inspire each other, to face our common challenges, and to bring out the best of our human spirit.

We are thrilled to invite you to join us on this adventure at the Berkeley Rep School of Theatre.

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The Origin Story Daniel Handler, otherwise known as Lemony Snicket, the creator of the popular book and TV series A Series of Unfortunate Events, met with Tony Taccone a little under two years ago to discuss the first play he had written for adults.

Daniel had some trepidation about claiming the title of “play,” as he had written many pieces that spanned genres, but never penned a full-length play before. Nevertheless, he had a hunch that what he wrote was, in fact, theatrical.

Tony laughed out loud as he read Imaginary Comforts, and wanted to hear the play to see if it was as delightful as he imagined. Turns out, Berkeley Rep has a program designed especially for working on new plays: The Ground Floor. So in July 2016, a company of Bay Area actors sat around the table to read the play in a Ground Floor workshop, allowing Daniel to begin flexing his theatre muscles. Shortly after the workshop, we committed to producing Imaginary Comforts. The production assembled a cast and design team, and returned to The Ground Floor for the 2017 Summer Residency Lab to hear new rewrites and dive into character work. The cast officially began rehearsals in September, exploring the wonderful zany world of Daniel Handler’s imagination.

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The cast of Imaginary Comforts at the 2017 Ground Floor Summer Residency Lab P H OTO BY N O R A M ER EC I C K Y

“I wrote a thing”

A CO N V ER S AT I O N W I T H DA N I EL H A N D L ER

BY SARAH ROSE LEONARD

Daniel Handler was last at Berkeley Rep in 2010

with his adaptation of his children’s book and Nathaniel Stookey’s composition, The Composer is Dead. He returns to our stages with his first straight play, Imaginary Comforts, or The Story of the Ghost of the Dead Rabbit. The play’s cast of characters grapple with the chaos unleashed following an important death, displaying Handler’s signature effervescence and insight. Literary Manager Sarah Rose Leonard spoke with Handler shortly after his 2017 residency at Berkeley Rep’s Ground Floor Summer Residency Lab. You work in many different mediums: fiction, music, children’s literature, etc. How do you know what form to use for an artistic idea?

I guess it just depends project by project. With Imaginary Comforts it was a quite unusual situation where I was starting work on it but I didn’t know what it was. I was just writing things and I thought it was some kind of story or novel. I had different scenes on individual documents I was moving around but I didn’t really know anything about them.

How did you know it was a play?

I think mostly the structure of it. That I knew it consisted of conversations that happened between people in a certain order meant the audience was learning information in a certain R A B B I T I CO N C R E AT ED BY DAV I D AT T H E N O U N P R O J EC T

order. And there were different narrative and structural things that made it seem clear to me that it wasn’t a novel. And so I worked out that it was a play.

You had worked with Tony Taccone before on The Composer is Dead. Can you talk about how that project came to fruition?

It was initially commissioned by the San Francisco Symphony. It’s a piece for orchestra and narrator not unlike Peter and the Wolf, and it’s been performed all over the world by various orchestras. And I met Phantom Limb, this puppet company, and we began to have the idea of adapting it for the stage. They had some contact with Berkeley Rep and the project kind of grew out of that. So it was already a collaborative piece with the composer and with an orchestra putting it on, which is of course its own collaboration, and then with the puppet people, and then with Berkeley Rep, so it was really quite the relay race.

Working with Tony was a powerful and positive experience. And over the course of my career I’ve learned that it’s always worthwhile to work with great people. So when I realized I was writing a play I thought, “Oh I know this guy whom I work well with.” So I gave it to him. And I think if he hadn’t liked it probably nothing would have happened.

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CO N TIN U E D FRO M PR E VI O U S PAG E

You would have just kept it in the drawer?

Yeah I think so. Because I’d never written a play before.

So I think I was justifiably nervous about participating in an art form that was not my own. I think my email actually said, “Hey I wrote a thing,” because I was afraid to say I’d written a play. And then he said, “I read it, let’s have lunch.” And my first thought was, “Well it’s very nice that he’s willing to take someone to lunch to tell them that their play doesn’t work.”

It was really about 10 minutes into the lunch when I thought, “Oh he’s talking about it like we’re gonna do it.” Which was a remarkable and delightful moment for me.

You’ve had two workshops of Imaginary Comforts at The Ground Floor. What has rewriting looked like for you?

Honestly I wish all of my books could be developed by The Ground Floor. That would be nice.

I read all my own work out loud; that’s how I work my way through when I want to see if something works. I’m a big mutterer. Walking around by myself. You can find me in my neighborhood clutching a few pieces of paper when I’m taking a walk and reading out loud. So it was really handy to have trained professionals around. It was just a perfect experience to have each of the actors and the director ask me questions from their own points of view in terms of how things are working. I don’t get questions asked by my own characters when I’m working. The process of just having it a little bit enacted is quite a magical one.

How has revising a play been different than revising a novel?

I would just say that it’s entirely experiential and that in a novel sometimes you want to do something with the structure that you think is working very deep under the surface, and maybe it’s only being noticed by you. In fact, a lot of time you hope no one’s noticing what you’re doing because you’re doing something structurally and rhetorically for an intended emotional effect. And so you use the same language when you describe two people walking into the room, but you don’t want anyone to notice, so you do it in such a subtle way so that you hope the brain is connecting these two people but not saying, “Oh my goodness that’s the same phrase they used!”

In theatre, I think it’s much more literal. So if you repeat a line, the chances of anyone not noticing are pretty slim. I use a lot of repetition in my work and in theatre a little of that goes a lot farther than it does in prose. So mostly I had to pull back. I’ve heard, “Okay, you’ve said the same things seven times, Daniel.”

The play deals with addiction in various forms. What interests you about that topic?

I’m interested in the mechanisms by which people attempt to fix their own lives. I’m also interested in people’s situations improving over the course of the story. Because I think that’s more interesting. You want to stick with the story if you feel like it has some forward momentum. If you begin to glimpse a downward spiral it gets wearying. It gets wearying for me anyway. Mostly I’m interested in a strict regimen that some people go through in order to improve their lives. It has comic and powerful possibilities because it often works, but it’s ridiculous at the same time.

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Working with Tony was a powerful and positive experience. And over the course of my career I’ve learned that it’s always worthwhile to work with great people.

—DA N IE L H A N DL E R

In the play, one particular story takes on a different meaning for each character. Is there a story that you can’t get out of your head?

Well I think that’s the whole gig of being a writer. When you’re writing a novel you have some thing in your head that you think is really important that you’re working on probably for years in one form or another. That’s part of the strange obsessiveness and joy, but also the horror, of being a writer.

You run into someone and they say, “What are you working on?” and you have to say, “Oh remember I said I was working on this book about a tornado? Well, I’m still working on it.” And everyone is doing 30,000 things in those six months but you’re still working on that tornado book. I think that’s why people haunted by stories comes naturally to me: that’s my job.

Where did the story about the rabbit come from?

I made it up.

Anything special about rabbits you’d like to share with the group?

I think they’re funny but spooky. Adorable but creepy. It just seemed like the right animal. It’s an animal on which you

can project almost anything. It doesn’t actually have its own personality. If it was a story about a tiger, that has ferocity and bravery, things like that. But a rabbit you can put any story on top of.

The play is largely about a Jewish family. You identify as an atheist but your background is Jewish, right?

Yeah. Which is not really that complicated in Judaism. I was raised Jewish but not particularly religious. So Judaism is very culturally important to me, but I believe in different forces in the universe. I don’t believe in one centralized God. But I like the idea of ritual and community and storytelling that Judaism provides. And then, if you’re raised Jewish you can’t get away from it anyway, it haunts you in its own way, so it’s a good thing I like it.

What compelled you to make the protagonist a rabbi?

Well, the whole spark for the idea of the play came after my father died. Our rabbi came to our house to talk about the funeral and I had always liked her and thought she was good at being a rabbi, but she was really wonderful at this. She created a space that was really calming and welcoming. As we were grief stricken, we were talking about my dad and she managed to turn that into a conversation about the funeral and what we wanted to do for him and what she could say about him, and it was a really comforting time. But me being the narrative brain that I am, what I thought after she left was, “Gosh what if that had been terrible? What if she had just been awful at it?” And then I also noticed while thinking that, in my calendar I had written “rabbit” instead of “rabbi” in my distracted griefy state.

And then I began to think “rabbi” and “rabbit”—that’s funny!

And I then I tried to think what kind of person would confuse a rabbi and a rabbit and went from there.

How did you come up with the structure?

This was really right after my father died and I was alone at my house for a couple of weeks after the funeral and I was writing these little things, just a little bit every day to keep on being a writer and have something to do other than be full of grief. And they were all little conversations and I didn’t know what they were. Then I gradually started putting them in order, and I think I noticed that if I was putting them in order I could make the last line of one of them the first line of the next one.

And also I liked the idea—particularly at the beginning of the play— of people telling each other stories. And so for a while every scene is being recounted by somebody. Then they just began to link up and that’s when I began to see, “Oh that would be really confusing on the page to have the last line of dialogue be the first line of dialogue, you couldn’t tell you were switching!” I began to think, “In a play I wonder if that’s possible? To have someone talk and then turn around and talk to somebody else?” That seems like a magical moment.

One of things that I like about theatre is the kind of space that can be made. That someone can walk out of a bedroom scene and take off their pajamas and put on a coat and then be walking outside. The space transforms. Those are always nice moments in the theatre.

Healing Stories

BY JA ME S DINNEEN

In Imaginary Comforts, many of the characters tell stories to help them through challenging times. Daniel Handler reminds us that storytelling is central to many healing processes: the power of a story can assuage grieving, build a relationship, or sometimes even save a life.

What professional therapists call “narrative therapy” can play a major role in repairing the damage caused by addiction. In Alcoholics Anonymous, for example, the stories that fill most meetings have two parts. First is the “drunkalogue,” the painful account of losing self-control to substance abuse and hitting rock bottom. The second is the “sobriety story,” the often inspiring tale of the struggle to stay sober and to make amends. The basic text for AA, also known as the “Big Book,” founds that tradition of giving testimony on the principle that, “Our stories disclose in a general way what we used to be like, what happened, and what we are like now.” Addicts who share their experience can understand their testimonial act as a “conversion” or a “bridge burning” between an old, alcoholic identity and a new, sober one.

In the very different setting of childhood abuse therapy, stories are also used as powerful tools for getting better. During sessions with a traumatized child, a therapist might share a story that addresses the traumatic experience thematically or metaphorically in order to discuss the problem indirectly.

Alternatively, the child might be encouraged to give their own account through a number of narrative and imaginative mediums such as acting, singing, or drawing. Play with animals can also help a child to express difficult emotions as they project their feelings onto a nonjudgmental and loving companion.

By distancing a child from the subject of their trauma, storytelling can create nonthreatening opportunities to tackle otherwise paralyzing topics.

Similarly, the AA testimonial allows the speaker to represent their experience of addiction in a narrative register where events have a meaning and symbolic significance beyond that of the individual’s life. Much as the dungeons, magical forests, and quests of a child’s fairytale might be analogous to experiences of trauma, “rock bottom,” “bridge burning,” and even “drunkalogue” can be metaphorical mechanisms for understanding the “plot” of alcoholism. For an alcoholic and a troubled child alike, those stories and debates about their meanings have great potential to heal and to deepen understanding of the twists and turns of the real world.

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TIME ON How plays create their own chronology

When telling any kind of story, an author must confront the question of what to do about time. On occasion, a play will take place in real time, and a clock will tick off the 90 minutes or so that the narrative unfolds within. But more often than not, a story will encompass a week, a few months, or even a lifetime, and a writer must figure out how to engage with a story’s duration. Every play has its own time signature, and while the goal is to create a seamless experience for an audience, plays are stitched together in all kinds of different ways.

If we look back to the beginning, Aristotle described what he called “the unity of time,” which meant that the action of a play takes place over 24 hours, or one revolution of the sun. He observed this as one ingredient in the recipe for what makes a successful drama. But Greek plays did not last for 24 hours, so the “unity” wasn’t literal—even from the origins of modern theatre, liberties were taken to condense events into a stageworthy timeline. The notion of believability had little relevance back then—theatre wasn’t meant to mirror reality, or reflect an average person’s life; rather, drama wanted to heighten an experience, and create something larger than life. So the stage was set for experimentation with techniques that compressed or stretched time to achieve an illusion of expansiveness.

In both Shakespeare’s and Molière’s plays, most of the action unfurls in a generally linear way. But they do skip ahead in time, and when a story pivots from one location to another to see what’s going on with a different set of characters, one scene doesn’t necessarily follow on the heels of the other— they frequently occur simultaneously, and time can stack on top of itself. Both writers also press the pause button, essentially stopping time, for characters to deliver soliloquies or asides, and then pick up again where they left off.

So there’s a long history of playwrights employing various tools to address the passage of time. The technique of rewinding the clock, however, didn’t find its way into live storytelling until the mid-1900s. Flashbacks began to appear in more and more films during the late 1930s, and made a splash on the stage in 1949 when Arthur Miller relied heavily on them in Death of a Salesman. An argument could be made that Tennessee Williams’ The Glass Menagerie got there first in 1944, because the narrator tells the audience that the events of the play take place in his memory, thus the audience knows the action of the play transpires in the past.

Despite Death of a Salesman’s success, flashbacks did not evolve into a staple of a playwright’s toolbox until relatively recently. Notable plays from the late ’50s and ’60s, like Lorraine Hansberry’s A Raisin in the Sun (1959) and Edward Albee’s Who’s Afraid of Virginia Woolf? (1962), often took place in living 1 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 7–1 8 · I S S U E 2

STAGE:

BY MADELEINE OLDHAM

rooms with chronological narratives that might skip ahead, but rarely jumped backwards. (It is interesting to note that very few plays from the 1970s find their way onto various lists of great drama.) The ’80s saw celebrated artists like Sam Shepard, August Wilson, and Wendy Wasserstein continuing to write plays that largely embraced forward momentum.

Recent years have seen an explosion in plays that do not adhere to a linear progression of events. Contemporary writers frequently implement a technique of bouncing around in time, using it to build emotional momentum, rather than relying on chronology to do that for them. For these kinds of nonlinear plays, a common rehearsal room task involves breaking scenes apart and rearranging them in chronological order, so as to better understand the events of the story and their relationships to one another. Caryl Churchill’s Top Girls (1982) is often considered a pioneer of this type of storytelling. Tom Stoppard’s Arcadia (1993) sets the past and the present alongside one another. Paula Vogel’s 1997 play How I Learned to Drive provides an unparalleled example of nonlinear structure. Lisa Kron and Jeanine Tesori’s 2013 musical Fun Home flashes backward and forward, and requires three different actors to play its protagonist as a child, teenager, and adult.

With Imaginary Comforts, Daniel Handler joins the ranks of playwrights who adopt creative solutions to harness how time behaves in their work. Handler introduces a delightful device where the final moment of one scene is also the first moment of the next one, creating fluid and continuous action despite the fact that the play jumps around in time. So one line of dialogue might end a scene in one location, and begin another scene in a different location and a different moment in time. Arthur Schnitzler’s 1897 play La Ronde famously used a technique where a character would end one scene and then initiate a new one with no break in the action, but Mr. Handler ups the ante by using the exact same line of dialogue to close one scene and commence the next.

Time may seem linear in our everyday lives, but even something as simple and commonplace as doing one thing while thinking about something else presents a challenge to a writer. Nonlinear time is harder onstage than it is in film, where tools like sepia-tone and jump-cuts help define where each scene takes place. In the theatre, the writing has to play a large part in telling us where we are. We have sound effects and light shifts, but the same actors remain in front of us. To create an illusion of time passing, skipping, or rewinding takes profound skill to pull off artfully on stage, and it’s intensely satisfying when a playwright finds a unique way to do that, as Daniel Handler has done here.

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Berkeley Repertory Theatre presents the world 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

BY

Michael Cassidy Brown

Daniel Handler

Clovis Michael Goorjian Mrs. Gold Sharon Lockwood

DIREC TED BY

Dr. Marcus Gold Julian López-Morillas

Tony Taccone

Sarah Gold Susan Lynskey Jack Jarion Monroe Ghost Danny Scheie

OC TOB ER 5– NOVEM B ER 19, 2017 PEE T ’ S THE ATRE · M AIN SE A SON

Naomi Marilee Talkington

This show is performed without an intermission.

PRODUC TION S TAFF

Imaginary Comforts, or The Story of the Ghost of the Dead Rabbit is made possible thanks to the generous support of

Scenic Design Todd Rosenthal Costume Design Meg Neville Lighting Design Nick Solyom

SEASON SPONSORS

Jack & Betty Schafer Michael & Sue Steinberg The Strauch Kulhanjian Family

Sound Design Jake Rodriguez Dramaturg Madeleine Oldham Casting Amy Potozkin, csa Production Stage Manager Michael Suenkel

A S S O CIAT E S P O N S O R S

Edith Barschi Christopher Hudson & Cindy J. Chang, MD Steven & Patrece Mills Linda & Steven Wolan

The cast and stage manager are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Imaginary Comforts was developed through The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work.

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.

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BE R K E L E Y R E P P R E S E N T S Cassidy Brown MICHAEL

Cassidy is thrilled to make his Berkeley Rep debut. He has appeared at TheatreWorks in Fallen Angels, Doubt, Distracted, The 39 Steps, and The Loudest Man on Earth, and at San Jose Repertory Theatre in Game On. Other Bay Area credits include Center Rep in Ella, The Underpants, Don’t Dress for Dinner, and The 39 Steps; Aurora Theatre in Bosoms and Neglect and Safe House; Marin Shakespeare Company in Don Quixote and Othello; San Jose Stage in The 39 Steps; and Golden Thread in Autobiography of a Terrorist. Regionally he has appeared in The Totalitarians, The North Plan, and Hunter/Gatherers at Capital Stage and in A Servant of Two Masters, God of Carnage, Twelfth Night, Doubt, and The 39 Steps at Pacific Repertory Theatre. Visit cassidybrownactor.weebly.com.

Michael Goorjian C LOV I S

Michael is making his Berkeley Rep debut. A Bay Area native, his theatre credits include title roles in Modigliani, The Apollo of Bellac, and J.B. (Buffalo Nights Theatre Company, Los Angeles).

He won an Emmy Award for Best Supporting Actor in the television movie David’s Mother, and was a series regular on Fox’s Party of Five.

Other television credits include Lie to Me, House, Alias, Monk, Covert Affairs, and hbo’s The Wizard of Lies. Film credits include Newsies, Chaplin, Leaving Las Vegas, Hard Rain, slc Punk, and Illusion, a film Michael wrote, directed, and starred in alongside Hollywood legend Kirk Douglas. Michael’s first novel, What Lies Beyond the Stars, was released in 2016. He is currently working on a follow-up novel due out in 2018. More at michaelagoorjian.com.

Sharon Lockwood MRS. GOLD

Sharon was last seen at Berkeley Rep in the world premiere of It Can’t Happen Here. She also appeared as Sonia in Vanya and Sonia and Masha and Spike, for which she received the Bay Area Critics Circle Award for lead performance. Other favorite Berkeley Rep credits include Zorro in Hell, Volpone, The Alchemist, Caucasian Chalk Circle, The Triumph of Love, Pentecost, and The Magic Fire. Sharon has also

profiles

performed extensively at American Conservatory Theater, most recently in Love and Information. She originated the role of Barbara in the world premiere of Nickel and Dimed under the direction of Bartlett Sher, which premiered at Intiman Theatre in Seattle and played the Mark Taper Forum in Los Angeles. Other local credits include appearances at California Shakespeare Theater, Shakespeare Santa Cruz, the Aurora Theatre, and many years with the San Francisco Mime Troupe. Regionally, she has performed at La Jolla Playhouse, the Old Globe, San Diego Repertory Theatre, Seattle Repertory Theatre, Milwaukee Rep, the Alley Theatre, and Long Wharf Theatre. Sharon was honored with the 2016 Lunt-Fontanne Fellowship and participated in the Master Class at Ten Chimneys in Wisconsin with master teacher actor Jason Alexander.

Julian López-Morillas DR. MARCUS GOLD

Julian has previously appeared at Berkeley Rep in The Winter’s Tale, Volpone, Pentecost, Much Ado About Nothing, Homebody/Kabul, and Fraülein Else. A resident of the Bay Area for the past 45 years, he has worked at virtually all the major theatres in Northern California, including the American Conservatory Theater, Aurora Theatre, San Jose Repertory Theatre, San Jose Stage, TheatreWorks, Marin Theatre Company, Pacific Repertory Theatre, and for many years with the Berkeley Shakespeare Festival/California Shakespeare Theater, where he directed a dozen Shakespeare productions and played roles including King Lear, Prospero, Shylock, Malvolio, and Brutus. A well-known authority on Shakespeare, he also teaches verse technique at Berkeley Rep’s School of Theatre and has taught at UC Berkeley, Mills College, and San Jose State University. Julian has acted professionally in all 38 of Shakespeare’s plays and was a two-day winner on Jeopardy!

Susan Lynskey SAR AH GOLD

Susan is unabashedly delighted to be returning to Berkeley Rep and to be working with Tony, Daniel, and this cast of Bay Area luminaries for this world premiere. Following last season’s tour in Roe (Berkeley Rep, Oregon Shakespeare Festival, and Arena Stage in Washington, DC), some of her other favorite regional credits include Well, Noises Off, The 39 Steps, Proof, Body Awareness, The Sisters Rosensweig, The Cripple of Inishmaan, Living Out, The Laramie

Project, Ghost-Writer, Girl in the Goldfish Bowl, Richard II, Ben Uchida, and The bfg (at Arena Stage, Olney Theatre Center, Theatre J, Studio Theatre, Round House Theatre, MetroStage, the National Theater, and the Kennedy Center, respectively.) Dedicated to the development of new plays, Susan was so pleased to be a part of the The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work. Susan is a professor at Georgetown University, received the DC Arts Commission’s Individual Artist Award, and has garnered multiple Helen Hayes Award nominations and awards. In January 2018, Susan will be channeling Margaret Thatcher in the first U.S. production of Handbagged.

Jarion Monroe J AC K

Jarion is delighted to be back at Berkeley Rep once again where he has been seen in Volpone, Rhinoceros, House of Blue Leaves, Our Country’s Good, Hard Times, and many others spanning back to 1986. He was in one of the first Seinfelds and one of the last Frasiers; his films include The Game, and he was seen as Not-Professor-X in The Internship, where he got to punch out Vince Vaughn and Owen Wilson from a wheelchair. He is Lynch in Kane & Lynch.

Other theatres in which he has performed include American Conservatory Theater, Yale Repertory Theatre, South Coast Rep, Oregon Shakespeare Festival, California Shakespeare Theater, Marin Shakespeare Company, San Jose Repertory Theatre, Arizona Repertory Theatre, and the Magic Theatre. He has also played Wotan in Teatro ZinZanni’s Dinner at Wotan’s, and participated in a tribute performance honoring Robin Williams along with comedians Mort Sahl and Rick Overton. While at ucla, he won the Natalie Wood Award for best actor, and immediately went on a Bonanza episode where Michael Landon punched him out to start his professional career.

Danny Scheie GHOST

Danny previously appeared at Berkeley Rep in the world premieres of Chuck Mee’s Fêtes de la Nuit and Dan LeFranc’s Troublemaker, or The Freakin Kick-A Adventures of Bradley Boatright, as well as Cloud Nine; One Man, Two Guvnors; and Amy Freed’s You, Nero (Bay Area Critics Circle Award for Leading Actor).

Recent credits include Freed’s The Monster Builder at South Coast Rep and Aurora 2 0 1 7–1 8 · I S S U E 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 7

BE R K E L E Y R E P P R E S E N T S

profiles

Theatre, You Never Can Tell (Critics Circle Award for Supporting Actor) at California Shakespeare Theater, and two plays at Z Space by Peter Nachtrieb: The Making of a Great Moment (also at Merrimack Rep) and A House Tour...originally developed at Berkeley Rep’s The Ground Floor. He has also acted at Arena Stage, Folger Theatre, Yale Repertory Theatre, Trinity Repertory Theatre, Asolo Rep, Actors Theater of Louisville, the Old Globe, Pasadena Playhouse, A Noise Within, TheatreWorks, The Marsh, the Magic Theatre, Marin Theatre Company, and Theatre Rhinoceros.

He received his Equity card playing Damis in Tartuffe at the Los Angeles Theater Center. He holds a professorship at UC Santa Cruz and a PhD from UC Berkeley.

Theatre), She Rode Horses, The Taming, and The Secretaries (Crowded Fire), Lily’s Revenge with Taylor Mac (Magic Theatre), and A Christmas Carol (American Conservatory Theater). Some of her nyc credits include A Nervous Smile and The Middle Ages (Theater Breaking Through Barriers, off Broadway), The Last Day and What’s His Name (Ensemble Studio Theatre), and Truce: Solo Show (nyc Fringe, bbc Radio).

Her recent original film, Sisterly Love, was nominated for best filmmaker and best actor.

Marilee has an mfa in Acting from act and is a proud MacDowell Fellow, Center for Cultural Innovation Award winner, and Carol Channing Trouper Award winner. She is also a fierce advocate for performers with disabilities. Please visit marileetalkington.com.

Marilee Talkington

Daniel Handler

Marilee is an actor, writer, director, and activist. And is thrilled to be back to Berkeley Rep! She was previously seen at Berkeley Rep in X’s & O’s (A Football Love Story). Some of her other Bay Area credits include Little Erik; Rapture, Blister, Burn; and Salomania (Aurora

Daniel Handler is the author of six novels, including Why We Broke Up, We Are Pirates, and, most recently, All The Dirty Parts. As Lemony Snicket, he is responsible for numerous books for children, including the 13-volume A Series Of Unfortunate Events, the four-volume All The Wrong Questions, and The Composer is Dead, which was commissioned by the San Francisco Symphony and then adapted for Berkeley Rep in 2010. Other collaborations include a series of books with artist Maira Kalman for the Mu-

N AO M I

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P L AY W R I G H T

seum of Modern Art in New York, and serving as an adjunct accordionist for the Magnetic Fields. His books have sold more than 70 million copies and have been translated into 40 languages, and have been adapted for film, stage, and television. He lives in San Francisco with the illustrator Lisa Brown, to whom he is married and with whom he has collaborated on several books and one son.

Tony Taccone

D I R E C T O R /M I C H A E L L E I B E R T ARTISTIC DIREC TOR

Tony is celebrating his 20th anniversary season. 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 20 years, Berkeley Rep has presented more than 70 world, American, and West Coast premieres and sent 23 shows to New York, two to London, and one to Hong Kong. Tony has staged more than 40 plays in Berkeley, including new work from Julia Cho, John Leguizamo, Culture Clash, Rinde Eckert, David Edgar, Danny Hoch, Geoff Hoyle, 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.

Prior to working at Berkeley Rep, Tony served

as artistic director of Eureka Theatre, which produced the American premieres of plays by Dario Fo, Caryl Churchill, and David Edgar before focusing on a new generation of American writers. While at the Eureka, Tony commissioned Tony Kushner’s legendary Angels in America and co-directed its world premiere.

He has collaborated with Kushner on eight plays at Berkeley Rep, including 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, he debuted Ghost Light, Rita Moreno: Life Without Makeup, Game On, written with Dan Hoyle, and It Can’t Happen Here, written with Bennett S. Cohen. 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.”

Todd Rosenthal

SCENIC DESIGNER

Meg Neville

COSTUME DESIGNER

Meg’s recent Berkeley Rep credits include Hand to God; It Can’t Happen Here; Macbeth; One Man, Two Guvnors; and Party People. She also worked on X’s and O’s (A Football Love Story); Tribes; The Intelligent Homosexual’s Guide

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Todd previously designed Treasure Island, X’s and O’s (A Football Love Story), Tribes, and Ghost Light at Berkeley Rep. Broadway credits include August Osage County (Tony Award), The Motherfucker with the Hat (Tony Award nomination), Who’s Afraid of Virginia Woolf?, Of Mice and Men (filmed by National Theatre Live), This Is Our Youth, and Fish in the Dark. Upcoming Broadway: Roman Holiday and Straight White Men. Select off-Broadway credits include Red Light Winter (Barrow Street), Domesticated (Lincoln Center), Close Up Space (Manhattan Theatre Club), and Qualms (Playwrights Horizons).

Todd was the set designer for six years for Big Apple Circus. International credits include August Osage County (London & Australia), The Beauty Queen of Leenane (Ireland), Madama Butterfly (Irish National Opera), and Nice Fish (London’s West End). Regional work includes Steppenwolf Theatre (30 productions), Goodman Theatre (artistic partner), the Guthrie Theater, the Mark Taper Forum, American Repertory Theatre, Oregon Shakespeare Festival, Lyric Opera of Chicago, and many others.

Museum exhibitions include “Mythbusters: The Explosive Exhibition” and “The International Exhibition of Sherlock Holmes.” He has received many other accolades, including the Laurence Olivier Award, the Helen Hayes Award, the Ovation Award, the Backstage Garland Award, the Joseph Jefferson Award, the Bay Area Theater Critics Circle Award, and the Michael Merritt Award for Excellence in Design and Collaboration. Todd is a full professor at Northwestern University and a graduate of the Yale School of Drama.

Artist Ann Brooks found the ILLA perfect home at Villa Marin.

RETIREMENT LIVING REDEFINED Ann sees Villa Marin as a small village where everyone is valued. With medical services, housekeeping and other services included at Villa Marin,ILLA Ann has more time to RETIREMENT LIVING REDEFINED follow her creative direction.

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to Capitalism and Socialism with a Key to the Scriptures; Pericles, Prince of Tyre; Ghost Light; In the Wake; Yellowjackets; Eurydice; tragedy: a tragedy; Suddenly Last Summer; Dinner with Friends; Closer; and The Life of Galileo. Meg’s other recent credits include Party People at the Public Theater and Baltimore Waltz at the Magic Theatre. Her Oregon Shakespeare Festival credits include Long Day’s Journey Into Night, The Cocoanuts, Taming of the Shrew, and Ghost Light. Her California Shakespeare Theater credits include Lady Windermere’s Fan, An Ideal Husband, Mrs. Warren’s Profession, and lots of Shakespeare. Other Bay Area theatre credits include Marin Theatre Company, the Cutting Ball Theater, American Conservatory Theater, Joe Goode Performance Group, and Magic Theatre. Regional credits include Second Stage Theatre, Yale Repertory Theatre, Center Stage in Baltimore, South Coast Repertory, Atlantic Theater Company, Brooklyn Academy of Music, Chicago Opera Theater, NY Stage and Film, Hartford Stage, Kirk Douglas Theatre, Portland Stage Company, and Dallas Theater Center. Meg’s upcoming projects are Heisenberg at act and Blithe Spirit at the Guthrie Theater. Meg is a graduate of the Yale School of Drama and Brown University and resides in Mill Valley with her family.

Nick Solyom

LIGHTING DESIGNER

Nick is thrilled to return to Berkeley Rep after being the associate lighting designer on Amélie. His other recent designs include The Christians (Gulfshore Playhouse), The Prince of Players, Slow Dusk, and Markheim (Little Opera Theatre of NY), The Way We Get By (American Theater Group), and Generation Me and The Fourth Messenger (New York Musical Festival).

Visit SolyomDesign.com.

Jake Rodriguez

SOUND DESIGNER

Flying Boat

700 GILMAN STREET, BERKELEY, CA | (510) 504-9988 | SHOHARTS.COM

Jake is a sound designer and composer based in the San Francisco Bay Area who last worked with Berkeley Rep on An Octoroon. His regional credits include the world premieres of X’s and O’s (A Football Love Story); Troublemaker, or The Freakin Kick-A Adventures of Bradley Boatright; Girlfriend; and Passing Strange at Berkeley Rep; The Christians at Actors Theatre of Louisville, Playwrights Horizons, and the Mark Taper Forum; the world premiere of A Thousand Splendid Suns at American Conservatory Theater and Theatre Calgary; Hamlet (2012) at California Shakespeare Theater; the world premieres of Bruja and Oedipus el Rey at Magic Theatre; and The Events at Shotgun Players. Jake is the recipient of a 2004 Princess Grace Award.

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 The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work and the Theatre’s resident dramaturg. She oversees commissioning and new play development, and dramaturged the world premiere pro2 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 7–1 8 · I S S U E 2

ductions of Aubergine, The House that will not Stand, 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 act (Seattle), Austin Scriptworks, Crowded Fire, the Eugene O’Neill Theatre Center, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage.

Amy Potozkin, csa

D I R E C T O R O F C A S T I N G/ A R T I S T I C A S S O C I AT E

This is Amy’s 28th season at Berkeley Rep. Through the years she has also had the pleasure of casting plays 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 independent films, including Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and Love & Taxes, both by Josh Kornbluth; and Beyond

Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist in residence. She has been an audition coach to hundreds of actors and a presentation/communication coach to many businesspeople. Amy taught acting at Mills College and audition technique at Berkeley Rep’s School of Theatre, and has led workshops at numerous other venues in the Bay Area. Prior to working at Berkeley Rep, she was an intern at Playwrights Horizons in New York. Amy is a member of csa, the Casting Society of America, and was nominated for Artios Awards for Excellence in Casting for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures and One Man, Two Guvnors.

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 23rd 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.

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 (tcg), organizations that represent the interests of nonprofit theatres across the nation. Susan chaired 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 serves on the board of the Downtown Berkeley Association (dba). She is the founding chair of the Berkeley Arts in Education Steering Committee for Berkeley Unified School District and the Berkeley Cultural Trust. Susan serves on the faculty of Yale School of Drama and is a member of the International Women’s Forum and the Mont Blanc Ladies’ Literary Guild and Trekking Society. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund and the 2017 Visionary Leadership Award by tcg. During her time in Berkeley, Susan has been instrumental in the construction of the Roda Theatre, the Nevo Education Center, the renovation of the Peet’s Theatre, and in the acquisition of the Harrison Street campus.

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Theresa Von Klug

G E N E R A L M A N AG E R

Tony Kushner’s Pulitzer Prize- and Tony Award-winning masterpiece finally arrives at Berkeley Rep in its entirety—directed by artistic director Tony Taccone in his 20th anniversary season!

Before joining Berkeley Rep, Theresa had over 20 years of experience in the New York notfor-profit performing arts sector where she has planned and executed events for dance, theatre, music, television, and film. Her previous positions include the interim general manager for the Public Theater; general manager/line producer for Theatre for a New Audience, where she opened its new state-of-the-art theatre in Brooklyn and filmed a major motion picture of the inaugural production of Julie Taymor’s A Midsummer Night’s Dream, released June 2015; production manager at the New Jersey Performing Arts Center and New York City Center, including the famous Encores!

Great American Musicals in Concert; and field representative/lead negotiator for the Association of Theatrical Press Agents and Managers.

She holds a MS in Labor Relations and Human Resources Management from Baruch College.

Peter Dean

P R O D U C T I O N M A N AG E R

Tony Kushner DIRECTED BY Tony Taccone BY

STARTS APR 17

After enthralling audiences with Aubergine, Julia Cho returns to Berkeley Rep with a searing story of empathy and redemption that explores otherness and paranoia while revealing our essential human need for connection.

Peter began his Berkeley Rep career in 2014, and since then some his favorite productions include Party People, X’s and O’s (A Football Love Story), Monsoon Wedding, and Aubergine.

Previously, he served as production manager at the Public Theater, where favorite works include Here Lies Love, Father Comes Home from the War Parts 1–3, Mobile Shakespeare, and The Tempest as well as musical collaborations with Sting, the Roots, and the Eagles. Peter also helped Alex Timbers develop Rocky the Musical, The Last Goodbye, and the cult classic Dance Dance Revolution the Musical. Other favorites include working with Edward Albee to remount The Sandbox and The American Dream at their original home at the Cherry Lane Theatre, working on Little Flower of East Orange directed by the late Philip Seymour Hoffman, and being a part of the development team for The Ride, an interactive four-mile traveling performance in the heart of Times Square. Regionally Peter has worked with the Huntington Theatre Company, American Repertory Theater, Commonwealth Shakespeare, Trinity Rep, Hasty Pudding Theatricals, Colorado Ballet, Central City Opera, and the Denver Center Theatre Company. Peter is a graduate of Otterbein University.

Lisa Peterson

A S S O C I AT E D I R E C T O R

BY

Julia Cho Lisa Peterson

DIRECTED BY

STARTS FEB 22 SEASON SPONSORS

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Lisa is a two-time Obie Award-winning writer and director whose previous projects at Berkeley Rep include It Can’t Happen Here; Madwoman in the Volvo; and An Iliad, which Lisa co-wrote with Denis O’Hare, and which won Obie and Lortel Awards for Best Solo Performance. Other recent West Coast productions include You Never Can Tell (California Shakespeare Theater), Hamlet (Oregon Shakespeare Festival), and Chavez Ravine (Ovation Award for Best Production— Center Theatre Group). She has directed world premieres by many major American writers, including Tony Kushner, Beth Henley, Donald Margulies, José Rivera, David Henry Hwang, Luis

Alfaro, Marlane Meyer, Naomi Wallace, Basil Kreimendahl, and many others. She regularly works at the Guthrie Theater, Actors Theatre of Louisville, the Mark Taper Forum, La Jolla Playhouse, Seattle Repertory Theatre, Arena Stage, and New York Theatre Workshop. Lisa and Denis are working on a new play called The Good Book, as well as The Song of Rome.

Lisa is writing a new music-theatre piece with Todd Almond called The Idea of Order, co-commissioned by La Jolla Playhouse, Berkeley Rep, and Seattle Rep.

Jack & Betty Schafer SEASON SPONSORS

Betty and Jack are proud to support Berkeley Rep. Jack just rotated off the Theatre’s board and is now on the boards of San Francisco Opera and the Straus Historical Society. He is an emeritus trustee of the San Francisco Art Institute and the Oxbow School. Betty is on the board of EarthJustice, the Jewish Community Center of San Francisco, and Sponsors of Educational Opportunity. In San Francisco, she is engaged in the launchCROWD of Wise a WHEN JOHHSON IS Aging, SADDENED WIHS the Throng of 30,000 Watching program for adults addressing challenges Bul-letlnt at Times Building Moves of growing older. They have three daughters Away In Silence. FEW NEGROES WERE and eight grandchildren. PRESENT They Were Not" Demonstrative, rd Cheering Was " All . for

Jeffrie .When He Scored HU Point.

Michael & Sue Steinberg -Johnson wine" m a Bulletin that

SEASON SPONSORS

claappolnted and eaddened 80.000 man. wo-turn, and children who Michael and Sue have been interested in the yestereajr. The thronged Tim Square cheers.

If ballet, there ere any. for the arts since they met and enjoy music, toegro champion "were crowned In and live theatre. Michael, who retired the, recently Biurm of. of disappointment that came' as chairman and chief executive officerfrom of the Jeffrie sympathisers. who' aiade.-ip- at Macy’s West, served on Berkeley Rep’s board of that' great least-alne-tenths crowd." " : Ths TiMss's'ttuee bulof trustees from 1999 to 2006 and, currently letin displays drew to Time Square serves on the board of directors the Jewish a crowdofthat equaled In number the mighty throng e that have congregatMuseum. Sue serves on the board of the ed there on election nigh U in the World of Children. The Steinbergs have always peat, and It waa every M polar and muatare have been' ten enjoyed regional theatre and delighted totime aa excited. seemed aa though ererybody wanted sponsor Berkeley Rep thisIt season.

Jeffries to win. end when the, early bulletins told how he had landed a hard right on the ribs or planted a etlff left In the fare, the crowd S E A S O N S P O N S O R went wild with Joy. But when the bulletlna of ahowed that Johnaon, had Roger Strauch is a former president Berkedelivered a telling blow there were ley Rep’s board of trusteesnoand is currently cheers Just a murmur, the round ofHe which showed more vice president of the board. is chairman of plniniy than word that It came from the heart. the Roda Group (rodagroup.com), a venThe crowd began gathering-' soon after 4 o'clock and from then on ture-development company based in Berkeley. until the flgfit waa under 'way relThe Roda Group is a lead investor in new batnforeementa in teady atreama poured In from every direction, many of tery, carbon capture, and water remediation those Who fonght for 'positions of technology companies based in Silicon Valley vantage In front of the bulletin . boards being well-dressed women, and Vancouver, Canada. Roger is ,chairman jrho . were Just as excited over

The Strauch Kulhanjian Family

of the board of directors of Cool Systems, the manufacturer of Game Ready, a medical physical therapy system. He is also chairman of the board of trustees for the Mathematical Sciences Research Institute. He is a member of the UC Berkeley Engineering Dean’s college advisory board; 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. Roger also leads the Mosse Art Restitution Project, which searches for family art illegally confiscated during Germany’s Third Reich. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three college-age children.

BAY AREA PREMIERE

By MARCO RAMIREZ Directed by DARRYL V. JONES

STARTS NOV 3

the fight at Reno a were their escorts. " I have never aeen day time crowd to beat thi one In nambere,' aat Inspector Rlchar Avalah. who waa In com mand of the ' fift policemen ordered - t Timee Square to main tain order. " And I hav never known a bet ter-behaved one. It l all the more remarkabl when we con- elder ho worked up practicall every one of thes 80,000 people are ove the battle." ; ; ; ' Crowd Bra-Ins t Com The first of the erow to arrive quickl filled all the avail able apace In Broadwa In front of The Tmii' new automatic bulleti machine, which showe in clear. readabl type, and In quic order, every thing tha went on In the -aren at Reno, both befor and after the figh started. On the For ty-third Street aide o the Times Building, an filling every inch o space In Times Squar and for two block beyond, waa the secon great throng, Which go Its news from the bi revolving blackboar that waa operated fro

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2 0 1 7–1 8 · I S S U E 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 3

BART

Additional staff

SEASON SPONSOR

Bay Area Rapid Transit (bart) is the backbone of the Bay Area transit network and serves more than 100 million passengers annually. bart’s all-electric trains make it one of the greenest and most energy-efficient transit systems in the world. Visit bart.gov/bartable to learn more about great destinations and events that are easy to get to on bart (like Berkeley Rep!). At bart.gov/bartable, you can find discounts, enter sweepstakes offering fantastic prizes, and find unique and exciting things to do just a bart ride away. While you’re there, be sure to sign up for bartable This Week, a free, weekly email filled with the latest and greatest bartable fun!

Peet’s Coffee

SEASON SPONSOR

Peet’s Coffee is proud to be the exclusive coffee of Berkeley Repertory Theatre and salutes Berkeley Rep for its dedication to the highest artistic standards and diverse programming.

Peet’s is honored to support Berkeley Rep’s renovation with the new, state-of-the-art Peet’s Theatre. In 1966, Alfred Peet opened his first store on Vine and Walnut in Berkeley and Peet’s has been committed to the Berkeley community ever since. As the pioneer of the craft coffee movement in America, Peet’s is dedicated to small-batch roasting, superior quality beans, freshness and a darker roasting style that produces a rich, flavorful cup. Peet’s is locally roasted in the first leed ® Gold certified roaster in the nation.

Wells Fargo

SEASON SPONSOR

Wells Fargo is proud to support the award-winning Berkeley Repertory Theatre as a season sponsor for the last 12 years because of its dedication to artistic excellence and community engagement. Founded in 1852 and headquartered in San Francisco, Wells Fargo provides banking, insurance, investments, mortgage, and consumer and commercial finance. The bank is committed to building better every day to meet our customers’ financial goals. For more information, please visit wellsfargo.com.

ADDITIO NAL S TAFF

MEET US IN THE BAR!

Assistant to Daniel Handler Suzi Young Deck crew cover Ross Copeland Deck crew Matt Reynolds · Zoey Russo

Join us for signature cocktails, wines, craft beer, and delectable treats.

Production assistant Sofie Miller Props Zoe Gopnik-McManus · Noah Kramer · Dara Ly · David Nolan · Rebecca Willis Scene shop Jennifer Costley · Erica Engel · Will Gering · Chance Grable · Carl Martin · Sean Miller · Baz Wenger Scenic artists Lassen Hines Stage carpenter Gabriel Holman

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 7–1 8 · I S S U E 2

Medical consultation for Berkeley Rep provided

by Cindy J. Chang, MD, ucsf Clinical Professor, and Steven Fugaro, MD.

We thank the many institutional partners who enrich our community by championing Berkeley Rep’s artistic and community outreach programs.

We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who made their gifts between July 2016 and August 2017.

LEGEND

BE R K E L E Y R E P THANKS

Institutional Partners

Ground Floor donor

G IF T S O F $ 10 0,0 0 0 A N D A B OV E The William & Flora Hewlett Foundation The Shubert Foundation G IF T S O F $50,0 0 0 –9 9,9 9 9 Edgerton Foundation The Reva and David Logan Foundation National Endowment for the Arts The Bernard Osher Foundation The Harold and Mimi Steinberg Charitable Trust Time Warner Foundation, Inc. Tournesol Project

G IF T S O F $2 5,0 0 0 –49,9 9 9 Anonymous BayTree Fund The Ira and Leonore S. Gershwin Philanthropic Fund Wallis Foundation Walter & Elise Haas Fund Woodlawn Foundation G IF T S O F $5,0 0 0 –9,9 9 9 Anonymous Berkeley Civic Arts Program Distracted Globe Foundation Ann and Gordon Getty Foundation Ramsay Family Foundation Karl & Alice Ruppenthal Foundation for the Arts

G IF T S O F $ 1,0 0 0 –4,9 9 9 Joyce & William Brantman Foundation Butte Creek Foundation Civic Foundation James Irvine Foundation jec Foundation San Francisco Foundation Frank Sinatra Foundation twanda Foundation

COR P OR AT E S P ON S OR S SEASON SPONSORS

E XECU TIV E S P O N S O R S

American Express

SPONSORS Mechanics Bank Wealth Management The Morrison & Foerster Foundation CO R P O R AT E PA R T N E R S Armanino llp Deloitte Faber Daeufer & Itrato PC McCutcheon Construction Panoramic Interests Schoenberg Family Law Group

PE R FO R M A N CE S P O N S O R S Bayer Boston Properties, in memory of John & Carol Field Gallagher Risk Management Services Macy’s B U S IN E S S M E M B E R S Aspiriant Wealth Management BluesCruise.com Cooperative Center Federal Credit Union Field Paoli Architects, in memory of John & Carol Field Perforce Foundation TMG Partners, in memory of John & Carol Field

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/support or call Daria Hepps at 510 647-2904.

I N-K I N D S P ON S OR S E XECU TIV E S P O N S O R S

M AT C H I NG G I F T S SPONSORS Hafner Vineyard Latham & Watkins llp Mayer Brown llp Ramsay Winery Robert Meyer’s Mangia/Nosh Catering Company Semifreddi’s Whole Foods Market Viks Chaat & Market PA R T N E R S ACT Catering Angeline’s Louisiana Kitchen Au Coquelet Aurora Catering

Autumn Press Bare Snacks Bobby G’s Pizzeria Brown Sugar Kitchen Comal Donkey & Goat Winery East Bay Spice Company Eureka! five Gather Restaurant Gecko Gecko Thai-California Eatery GIO’s Pizza & Bocce Hugh Groman Catering Jazzcaffè La Mediterranee

La Note Lucia’s of Berkeley Maker’s Common Picante PiQ Platano Salvadoran Cuisine Revival Bar + Kitchen Suya African Carribbean Grill Sweet Adeline Bakeshop Tigerlily Triple Rock Brewery Venus Zut! Tavern on 4th St. Hotel Shattuck Plaza is the official hotel of Berkeley Rep.

The following companies have matched their employees’ contributions to Berkeley Rep. Please contact your company’s HR office to find out if your company matches gifts.

Accenture · Adobe Systems Inc. · Apple · Applied Materials · Autodesk Inc. · Bank of America · Chevron Corporation · Clorox · Dolby · Electronic Arts Outreach · Farallon Capital Mangement · Fremont Group Foundation · Gap Foundation · Genentech · Google · ibm Corporation · Intel Corporation · John & Maria Goldman Foundation · Johnson & Johnson · Lawrence Livermore National Laboratory · Levi Strauss & Co. · Microsoft · Morrison & Foerster · NORCAL Mutual Insurance Company · Oracle Corporation · Pixar Animation Studios · Salesforce · Shell Oil · Sidley Austin llp, San Francisco · Union Bank, The Private Bank · Varian Medical System · visa u.s.a., Inc. · Workday

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BE R K E L E Y R E P THANKS

Donors to the Annual Fund

We thank the many individuals in our community who help Berkeley Rep produce adventurous, thought-provoking, and thrilling theatre and bring arts education to thousands of young people every year. We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who made their gifts between July 2016 and August 2017.

To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906.

S P ON S OR C I RC L E SEASON SPONSORS Jack & Betty Schafer Michael & Sue Steinberg The Strauch Kulhanjian Family

Jean & Michael Strunsky Guy Tiphane Tomlinson Family Gail & Arne Wagner

Joan Sarnat & David Hoffman Liliane & Ed Schneider Felicia Woytak & Steven Rasmussen Martin & Margaret Zankel

LE A D S P O N S O R S Yogen & Peggy Dalal Bruce Golden & Michelle Mercer Frances Hellman & Warren Breslau Wayne Jordan & Quinn Delaney Jonathan Logan Jane Marvin/Peet’s Coffee Stewart & Rachelle Owen Mary Ruth Quinn & Scott Shenker

SPONSORS Anonymous (2) Barbara Bakar Maria Cardamone & Paul Matthews David & Vicki Cox Thalia Dorwick Robin & Rich Edwards Cynthia A. Farner David & Vicki Fleishhacker Paul Friedman & Diane Manley Karen Galatz & Jon Wellinghoff Paul Haahr & Susan Karp Scott & Sherry Haber Jerry & Julie Kline Jack Klingelhofer Suzanne LaFetra Sandra & Ross McCandless Dugan Moore Leonard X & Arlene B. Rosenberg Sheli & Burt Rosenberg, in honor of Len & Arlene Rosenberg Joe Ruck & Donna Ito Patricia Sakai & Richard Shapiro

A S S O CIAT E S P O N S O R S Anonymous (2) Shelley & Jonathan Bagg Edith Barschi Neil & Gene Barth Valerie Barth & Peter Wiley Ben Brown & Louise Rankin Lynne Carmichael Julie & Darren Cooke Robert Council & Ann Parks-Council William Espey & Margaret Hart Edwards Tracy & Mark Ferron Jill & Steve Fugaro Hitz Foundation Christopher Hudson & Cindy J. Chang, MD K Ms. Wendy E. Jordan Dixon Long Peter & Melanie Maier Dale & Don Marshall Martin & Janis McNair Steven & Patrece Mills M

E XECU TIV E S P O N S O R S Anonymous Edward D. Baker Michelle Branch & Dale Cook Susan Chamberlin John Dains Bill Falik & Diana Cohen Kerry Francis & John Jimerson Lata Krishnan & Ajay Shah Monica Lopez & Sameer Gandhi Pam & Mitch Nichter Marjorie Randolph Rummi & Arun Sarin KBE

Norman & Janet Pease Mary Ann Peoples, in memory of Lou Peoples Peter Pervere & Georgia Cassel Barbara L. Peterson Sue Reinhold & Deborah Newbrun Gary & Noni Robinson Cynthia & William Schaff Emily Shanks M Pat & Merrill Shanks Shirlen Fund Ed & Ellen Smith Karen Stevenson & Bill McClave Lisa & Jim Taylor Wendy Williams Linda & Steven Wolan

A R T I S T IC DI R E C T OR’ S C I RC L E PA R T N E R S

Anonymous (5) Tarang & Hirni Amin Michelle L. Barbour Stephen Belford & Bobby Minkler Cynthia & David Bogolub Ronnie Caplane Jennifer Chaiken & Sam Hamilton Betsey & Ken Cheitlin Constance Crawford Karen & David Crommie Lois M. De Domenico Nancy & Jerry Falk Mary & Nicholas Graves Ms. Teresa Burns Gunther & Dr. Andrew Gunther Richard & Lois Halliday Earl & Bonnie Hamlin Peter & Florence Hart, in memory of John L. Field Vera & David Hartford Bonnie & Tom Herman Richard N. Hill & Nancy Lundeen James C. Hormel & Michael P. Nguyen, in honor of Rita Moreno Lynda & Dr. J. Pearce Hurley Kathleen & Chris Jackson Barbara E. Jones, in memory of William E. Jones Seymour Kaufman & Kerstin Edgerton Duke & Daisy Kiehn Rosalind & Sung-Hou Kim Wanda Kownacki Louise Laufersweiler & Warren Sharp Nancy & George Leitmann, in memory of Helen Barber Eileen & Hank Lewis Elsie Mallonee Helen M. Marcus Phyra McCandless & Angelos Kottas Miles & Mary Ellen McKey K Susan Medak & Greg Murphy Toby Mickelson & Donald Brody

Eddie & Amy Orton Janet & Clyde Ostler Sandi & Dick Pantages Rezwan & Azarmeen Pavri Kermit & Janet Perlmutter Timothy Rempel K Gregg Richardson & Lee Mingwei K David S. H. Rosenthal & Vicky Reich Beth & David Sawi Joyce & Jim Schnobrich Linda & Nathan Schultz Neal Shorstein, MD & Christopher Doane Stephen & Cindy Snow Audrey & Bob Sockolov Vickie Soulier Deborah Taylor Barrera Beth Weissman Susan West Barry Williams Patricia & Jeffrey Williams Steven Winkel & Barbara Sahm Sheila Wishek Sally Woolsey

B E N E FAC TO R S

Anonymous (4) Roy & Judith Alper Peggy & Don Alter Pat Angell, in memory of Gene Angell Martha & Bruce Atwater Naomi Auerbach & Ted Landau Nina Auerbach Linda & Mike Baker Leslie & Jack Batson Don & Gerry Beers David Beery & Norman Abramson Michael S. Berman, in memory of John & Carol Field Caroline Beverstock Naomi Black M Brian Bock and Susan Rosin Caroline Booth Bernard Boudreaux

26 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 7–1 8 · I S S U E 2

Linda Brandenburger Eric Brink & Gayle Vassar M Broitman-Basri Family Don & Carol Anne Brown Leslie Chatham & Kathie Weston James Cuthbertson Barbara & Tim Daniels M Richard & Anita Davis Ilana DeBare & Sam Schuchat Francine & Beppe Di Palma Corinne & Mike Doyle Linda Drucker Susan English & Michael Kalkstein Bill & Susan Epstein Merle & Michael Fajans Lisa & Dave Finer Ann & Shawn Fischer Hecht Linda Jo Fitz Patrick Flannery James & Jessica Fleming Thomas & Sharon Francis Lisa Franzel & Rod Mickels Donald & Dava Freed Herb & Marianne Friedman Chris R. Frostad M James Gala Kevin & Noelle Gibbs Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Nelson Goodman, in memory of Marilyn Goodman Robert & Judith Greber Anne & Peter Griffes Garrett Gruener & Amy Slater Migsy & Jim Hamasaki Bob & Linda Harris Ruth Hennigar Christina Herdell, in memory of Vaughn & Ardis Herdell Doug & Leni Herst, in honor of Susie Medak Howard Hertz & Jean Krois Elaine Hitchcock Bill Hofmann & Robbie Welling M

Don & Janice Holve, in memory of Daisy & Paul Persons The Hornthal Family Foundation, in honor of Susie Medak Paula Hughmanick & Steven Berger Polly & Greg Ikonen Roxanna Jackman, in honor of Mary & Norman Jackman Bill & Lisa Kelly Stephen F. Kispersky Jean Knox Lynn Eve Komaromi, in honor of the Berkeley Rep Staff Michael Kossman John Kouns & Anne Baele Kouns Lucy Kuntz, in honor of The Cage Players Woof Kurtzman & Liz Hertz Helen E. Land Randy Laroche & David Laudon Sherrill Lavagnino & Scott McKinney Andrew Leavitt & Catherine Lewis Henry Lerner, in honor of Joanne Levene Lerner Ellen & Barry Levine Suzanne & William Lingo Vonnie Madigan Naomi & Bruce Mann Lois & Gary Marcus Sumner & Hermine Marshall Charlotte & Adolph Martinelli Rebecca Martinez Jill Matichak Kirk McKusick & Eric Allman Dan Miller Andy & June Monach Scott Montgomery & Marc Rand Jerry Mosher Marvin & Neva Moskowitz Judith & Richard Oken Sheldeen Osborne Judy O’Young, MD & Gregg Hauser Gerane Wharton Park Bob & MaryJane Pauley

David & Bobbie Pratt Linda Protiva Lawrence Prozan Bill Reuter & Ruth Major Maxine Risley, in memory of James Risley John & Jody Roberts Deborah Romer & William Tucker Boyard & Anne Rowe Enid & Alan Rubin Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Jaimie Sanford & Ted Storey Jackie & Paul Schaeffer Jackie Schmidt-Posner & Barry Posner Brenda Buckhold Shank, M.D., Ph.D. Beryl & Ivor Silver Dave & Lori Simpson Cherida Collins Smith Sherry & David Smith Gary & Jana Stein Alison Teeman & Michael Yovino-Young Susan Terris Sam Test Michael Tubach & Amrita Singhal Sushmita Vij Jonathan & Kiyo Weiss Wendy Willrich Charles Wolfram & Peter Wolfram Ron & Anita Wornick Sam & Joyce Zanze Mark Zitter & Jessica Nutik Zitter Jane & Mark Zuercher

LEGEND K M

in-kind gift matching gift

We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.

BE R K E L E Y R E P T H A N K S Donors to the Annual Fund CH A M PIO N S

Anonymous (5) · Fred & Kathleen Allen · Elisabeth Andreason & Melissa Allen · Marcia & George Argyris · Ross E. Armstrong · Jolie Baumgardner · Susan Benzinger, in memory of Zan Gray Bealmear · Steve Bischoff · Robert Bransten, in memory of John & Carol Field · Don Campbell and Family · Davis Carniglia & Mary-Claire Baker · Paula Carrell · Anthony J. Cascardi · Sumir Chadha · Ed & Lisa Chilton · Patty & Geoff Chin · Terin Christensen · Richard & Linnea Christiani · John & Izzie Crane · Pam & Mike Crane · Meredith Daane · Harry & Susan Dennis · David Deutscher · Burton Peek Edwards · Paul Feigenbaum & Judy Kemeny · Martin & Barbara Fishman · Frannie Fleishhacker · Samuel Fogleman, in memory of Zan Gray Bealmear · Mary & Stan Friedman · Don & Janie Friend, in honor of Bill & Candy Falik · Ann Harriman, in memory of Malcolm White · Dan & Shawna Hartman Brotsky · Rick Hoskins & Lynne Frame · Mr. & Mrs. Harold M. Isbell · Randall Johnson · Corrina Jones · Dennis Kaump · Janet Kornegay & Dan Sykes · Craig Labadie · Susilpa Lakireddy · Barbara & Thomas Lasinski · Glennis Lees & Michael Glazeski · Marcia C. Linn · Sidne S. Long · Jay & Eileen Love · Jane Marvin/Peet’s Coffee · John E. Matthews · Karen & John McGuinn · Ruth Medak · Harry Mixon Esq · Geri Monheimer, in honor of Sharon Kinkade · Brian & Britt-Marie Morris · Patricia Motzkin & Richard Feldman · Daniel Murphy · Christina & Geoffrey Norman, in memory of John & Carol Field · Pier & Barbara Oddone · Carol J. Ormond · Lynette Pang & Michael Man · Regina Phelps · Malcolm & Ann Plant · Gary & Jean Pokorny · David & Mary Ramos · Kent Rasmussen & Celia Ramsay · Reuben, Junius &

We gratefully recognize the following members of the Annual Fund whose contributions were received from July 13, 2017 to August 25, 2017: S U PP O R T E R S

Anonymous (3) · Roy C. Bergstrom · Stan & Stephanie Casper · Nancy Kornfield · Fred Lonsdale · Lisa Manning · Lester OlmsteadRose · Marilyn Radisch · Carole Robinson & Zane O. Gresham · James Scillian · Ann Williams · Marilyn Winans & Joseph Gutierrez, in honor of Kerry Francis, John Jimerson, & Nancy Francis

CO N T RIB U TO R S

Rachel Broadwin, in memory of Marion Apter Broadwin · Janet Goldberg · Margot Golding · George & Mary Hake M · Margaret Harrington · Catherine Hebert · Laurie Hill · Ann Lincoln · R U. Litteneker · Jennifer Little · Mr. Jason Marks & Ms. Pepi Ross · Robin E. Miller · Mary Munson, in memory of Pat Momson · Kristina Osborn · Jon & Evelyn Rantzman, in memory of Harry & Sally Rantzman · Charles & Victoria Robinson · Christine Silver · Anne & Douglas Stewart · Lori Stone · William Weisman · Maureen & Russell Wikander · Sandra Woliver

FRIE N D S

Anonymous (2) · Ann Bauman · Betty Bell-Amarant · Randy Borden · Marsha Brown · Richard Bugg · Celeste Chin · Eleni Coltos · Theodore W. Craig · Jennifer & Allan Daly · Dave & Jean DeCamilla · Samuel Farb · Dick

Rose, LLP, in memory of John & Carol Field · Helen Richardson · Galen Rosenberg & Denise Barnett · Martha Ross · Deborah Dashow Ruth, in memory of Leo P. Ruth · Dace P. Rutland · Laurel Scheinman · Teddy & Bruce Schwab · Andrew & Marva Seidl · Seiger Family Foundation · Valerie Sopher · Douglas Sovern & Sara Newmann · John St. Dennis & Roy Anati · Monroe W. Strickberger · Pate & Judy Thomson · Larry Vales · William van Dyk & Margi Sullivan · Jennifer M. Van Natta · William R. Weir · Susan & Harvey Wittenberg

A DVO C AT E S

Anonymous (18) · Robert & Evelyn Apte · Emily Arnold · Celia Bakke · Stephanie Beach · Richard & Kathy Berman · The Blackman Family · Karen Bowen & Beth Gerstein, in honor of Donald Trump · Marilyn Bray · Peter Brock · Craig Broscow · John H. Buckman · Dr. Alan Burckin & Carol Olmert · Paula Campbell · Robert & Margaret Cant · Bruce Carlton · John Carr · Laura Chenel · Karen Clayton & Stephen Clayton · Jim & Jeanette Cottle · Jane & Tom Coulter · Carolyn & Phil Cowan · Michael & Denise Coyne · Ed Cullen & Ann O’Connor · Sheila Cullen · Sharon & Ed Cushman · Jill & Evan Custer · Brett D’Ambrosio · Kathleen Damron · Joshua Dapice · Pat & Steve Davis · DDL Productions, in memory of Zan Bealmear · Dennis T. De Domenico & Sandra Brod · Jacqueline Desoer · Jerome & Thao Dodson · Carol Dolezal · Amar & Manali Doshi · Kathy Down & Greg Kelly · Kristen Driskell · David Drubin · Anita C. Eblé · Thomas W. Edwards & Rebecca Parlette-Edwards · Jessica & Michael Eisler, in memory of John & Carol Field · Roger & Jane Emanuel · Alan Entine · Gini Erck & David Petta · Michael Evanhoe · Mary & Ben Feinberg · Brigitte & Louis Fisher · Michael & Vicky Flora ·

Friedman · Elizabeth Greenberg · Jim Hopp · Leonard Johnson · Marilyn Kecso · Lori R. Klumb · Deborah Kochan · Larry & Nancy Ludgus · Toni Miller · Gale Ann Mondry · Suzanne Oberlin · Robin Olivier · Louise Oram · Judith L. O'Rourke · Denise Pinkston · Dr. Barry Alan Russell · William Ryan · Danica Truchlikova · Karen Tysinger · Mark & Beth Voge · Kavita Vora · Charles Wagner & Thomas Culp · Shawna Werle · Sandra & Steven Wolfe

PAT RO N S

Anonymous (4) · Hilary Abell · Julia Allman · Edward Altemus · Miriam Amado · Linda & Bruce Artel · Ruth Auerbach · Allie Baldwin · Glenn & Jeanne Ballard · Helen Barbato · Robin Barrett · Martela Beck · Elissa Berall · Kate Berenson · Dinesh Bhuva · Ronda Billig · Steven R. Binder & Barbara Anscher · Ann T. Binning · Lishelle Blakemore · Joanna Bowes & Peter Auzers · Jules Bowie · Ms. Cecile Briar · Rafael & Lisa Brinner · Byron Brown · Michael Burke · Merrik Bush · Lisa Cadwalader · Lee Callaham · Denise Castle · Pablo Cela · Shiv Chadha · Patricia Chappell · Armando Chavez · Patricia Clark · Susan Cohen · Martha Conklin & Roger Bales · Kevin Crane · David Currie · Robert Currier · Charles & Helen Dake · Kyle J. Davis · David Dawson · Karen Deford · Harry & Susan Dennis · Rene Deville · Keally DeWitt · Summer Dittmer · Robert M. Drosman · David Duke · Adam Dukovich · Rahul Dutta · Philip Dutton · Birch Early · Una Elias · Ellyn Elson · Claire Ferrari · Canice Flanagan · Molly Forstall · Hilary Foster · Madeleine Frankel · Ada Frenkel · Michael Frisbie · Wes Fukumori · Bruce Fuller · Marian Gade · Linda Gallaher-Brown · Pamela Gard · Matt Garmur · Diane Wills Garner · Alan Gellman & Arlene Zuckerberg · Diana Godfrey · Dylan Gonzales · Lauren M. Goodrich · Heather Grates · Amethyst Green · David Grenewetzki · Susan Grivas · Gary Grossman · Polina Gubina · David Guggenhime ·

Jacques Fortier · Christie Fraser · David Gaskin & Phillip McPherson · Karl & Kathleen Geier · Tim Geoghegan · Arlene Getz · Judith & Alex Glass · Gwendolyn Goldsby, in memory of Angela Paton · Barry & Erica Goode · Gail Gordon & Jack Joseph · Jane Gottesman & Geoffrey Biddle · Gene Gottfried · Linda Graham · Sheldon & Judy Greene · Don & Becky Grether · Frede S. Hammes · Ken & Karen Harley · Paula Hawthorn & Michael Ubell · Geoffrey & Shawn Haynes · Dixie Hersh · George & Leslie Hume · Alex Ingersoll & Martin Tannenbaum · Stephen & Helene Jaffe · Anne & Douglas Jensen · Ann L. Johnson · Claudia & Daly Jordan-Koch · Kaarel Kaljot · Helmut H. Kapczynski & Colleen Neff · Pat Kelly & Jennifer Doebler · Kimberly J. Kenley-Salarpi · Beth & Tim Kientzle · Jack & Birthe Kirsch · Deborah & David Kirshman, in memory of John & Carol Field · Beverly Phillips Kivel · Jeff Klingman & Deborah Sedberry · David & Joan Komaromi · Kenneth Kulander · Robert Lane & Tom Cantrell · Jane & Mike Larkin · David & Mari Lee · Ray Lifchez · Julianne Lindemann & Michael Weinberger · Jennifer S. Lindsay · Deidre & Loren Lingenfelter, in memory of Zan Bealmear · Dottie Lofstrom · Jacqui & Terry Long · Loveable Feast, in memory of Zan Bealmear · Jane & Bob Lurie · Gerry & Kathy MacClelland · Bruce Maigatter & Pamela Partlow · Paul Mariano · Sue & Phil Marineau · Igor Maslennikov · Caroline McCall & Eric Martin · Marie Singer McEnnis · Daniel & Beverlee McFadden · John G. McGehee · Brian McRee · George & Jeri Medak, in memory of Alexandra Victoria Gray-Bealmear · Joanne Medak, in honor of Susan Medak · Ralph & Melinda Mendelson · Aliza & Peter Metzner · Marlene & Stephen Miller · Jeff Miner · The Morris Family: Susan, Kathy, Karen, Steve & Jaxon · Ronald Morrison · James & Katherine

Moule · Aki & Emi Nakao · Ron Nakayama · Judy Ogle · Suzette S. Olson · Nancy Park · Todd Parr · Brian D. Parsons · P. David Pearson & Barbara Schonborn · Bob & Toni Peckham, in honor of Robert M. Peckham, Jr. · James & Susan Penrod, in honor of Dale & Don Marshall · Lewis Perry · James F. Pine · F. Anthony Placzek · Charles Pollack & Joanna Cooper · Susie & Eric Poncelet · Roxann R. Preston · Rich Price · Laurel & Gerald Przybylski · Teresa L. Remillard · Paul & Margaret Robbins · Rick & Stephanie Rogers · Dorothy R. Saxe · Bob & Gloria Schiller · Dr. David Schulz · Marc & Jane Seleznow · Steve & Susan Shortell · Joshua & Ruth Simon · William & Martha Slavin · Carra Sleight · Suzanne Slyman · Jerry & Dick Smallwood · Sigrid Snider · Louis & Bonnie Spiesberger · Robert & Naomi Stamper · Herbert Steierman · Annie Stenzel · Carol Sundell · Tracy Thompson · Prof. Jeremy Thorner & Dr. Carol Mimura · Karen Tiedemann & Geoff Piller · Amy Tobin & Scott Jacobson · Lynn Tolin, in memory of John & Carol Field · Mike & Ellen Turbow · Dean Ujihara · Mr. Leon Van Steen · Carol Verity · Gerald & Ruth Vurek · Louise & Larry Walker · Rhona & Harvey Weinstein · Robert & Sheila Weisblatt · Sallie Weissinger · Dr. Ben & Mrs. Carolyn Werner · Elizabeth Werter & Henry Trevor · Robert T. Weston · Sharon & Kenneth Wilson · Fred Winslow & Barbara Baratta · Laura & Ernest Winslow · H. Leabah Winter · Dorothy Witt · Margaret Wu & Ciara Cox · Bob & Judi Yeager · Lee Yearley & Sally Gressens · Sandra Yuen & Lawrence Shore

Anna Guha · Joan M. Guilford · Christiane Haeffele · Mrs. Karen Heather · Angela Hedges · Richard Hendricks · William Herkelrath · Derek Hibbard · David Hicks · Margaret H. Hodel · Maggie Hohle · Ruth Holmquist · Sarah Holt · Monica Holtsclaw · Grace Horikiri · Dana Hughes · Donna Ireland · Fred Jacobson · Andre R. James · Janell Jones · Luis Juarez · Jane Kadner · Kristine Kalstrom · Joyce Kalush · M L Kappen · Irene Katsumoto · Patricia Keller · Cybelle Kelley-Whitley · Amy Kelly Lauer · Sarah Kelly · Janice Kendall · Thomas Kendrick · Christian King · Alec Klassen · Christopher Klein · Robert Kolenkow · Surinder Kumar · Mosa Laren · Cynthia Larsen · Zelda Laskowsky · Catherine Leutzinger · Melodie Lew · Philip Linfoot · Tobi Lippin · Lisa Liu · Karla Lopez · Roy Michael R. Lucero · Linda Mackinson · Mary MacLeod · Jennifer Mallett · Shyam Marudheri · Henry Mason · Anna Mattos-Massey · Richard Mazzarisi · Michael McGough · Ian McRae · Lucille Mears · Trevor Meyerowitz · Marley Middlebrook · Danessa & Steve Miller · Melanie Mintz · Jonathan M. Montaner · Penelope More · Laura Morland · Ian Morris · George Mossessian · Jacob J. Moy · Denise Mulle · Amanda Murray · Janet Muscio · Sushma Nand · Kirsten Neff · Aniruddh Nerlekar · Arlene & Jon Noble · Cecile O'Connor · Eric Osterhaus · Mary Pecka · Scott Persinger · Mike L. Petouhoff · Pamela Plant · Jeremy B. Platt · Tony Politopoulos · Nathaniel Pollack · Peggy Presley · Mary E. Price Ph.D. · Christopher Quarterman · Chetan Rai · Alissa Ralston · Julianne M. Randlemon · Charles Rauch · Frederick Rogers · Larry Rose · Lewis & Gail Rubman · Joanne Ruzek · Alyssa Saint · Judy Salpeter · Elizabeth Salveson · Dominic Sanfilippo · Fal Sarkar · Marie-José Sat · Gale Schleimer · John Schofield · Kathleen Scott · Christy Seaman · Gabrielle Selz · Carol Shennan · Randal Short · Joaquim Silva · Alan Silverman · Heather Simon · Mr. Hiram Simon ·

Elizabeth Simpson · Sandra Slater · Phyllis M. Smith · Mara Sneiderman · Robin Soffer · Anita Stapen · Matthew Stern · Gwynne Stoddart · Anne Struck · Kriss Sulka · Rob Sussman · Jeannette Swartz · Carolyn Sweeney · Tom Swift · Mack Swiney · Alicia Tan · Samantha Tatro · A Holliday Taylor · Ariele Taylor · Linda Taylor · Evelyn Temple · Lalit Thawrani · Samuel Tobin · Linda Torres · Gemma Tosto · James Trager · Kawai Tsuha · Anita Tyrrell-Brown · Chris Underwood · David Valenta · Victoria Velez · Jennifer Vetter · Nancy Vinson · Danielle Voorhees · Krishna Vudata · Jacobus Wagener · Jim & Karen Wagstaffe · Lena Wakayama · Jackie Walter · Laurie Walter · Daniel Wayne · Michael I. Weinstein · Barbara Weiss · Julienne Weston · Bruce Williams · Denise Winn · Leonardo Witrago · Susan Wollowitz · Vicki Wynn · Shaan Yadav-Ranjan · Marisa Yeung

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BE R K E L E Y R E P T H A N K S

Donors to the Annual Fund

Sustaining members as of August 2017:

The Society welcomes the following new members: Theresa Nelson & Bernard Smits

Anonymous (7) Norman Abramson & David Beery Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Neil & Gene Barth Susan & Baskin Linda Brandenburger Broitman-Basri Family Bruce Carlton & Richard G. McCall Stephen K. Cassidy Paula Champagne & David Watson Terin Christensen Andrew Daly & Jody Taylor M. Laina Dicker Thalia Dorwick Rich & Robin Edwards Thomas W. Edwards & Rebecca Parlette-Edwards Bill & Susan Epstein William Espey & Margaret Hart Edwards Dr. Stephen E. Follansbee & Dr. Richard A. Wolitz Kerry Francis Dr. Harvey & Deana Freedman Joseph & Antonia Friedman

Paul T. Friedman Dr. John Frykman Laura K. Fujii David Gaskin & Phillip McPherson Marjorie Ginsburg & Howard Slyter Mary & Nicholas Graves Elizabeth Greene Jon & Becky Grether Richard & Lois Halliday Julie & Paul Harkness Linda & Bob Harris Fred Hartwick Ruth Hennigar Douglas J. Hill Hoskins/Frame Family Trust Lynda & Dr. J. Pearce Hurley Robin C. Johnson Lynn Eve Komaromi Bonnie McPherson Killip Scott & Kathy Law Ines R. Lewandowitz Dot Lofstrom Helen M. Marcus Dale & Don Marshall Sumner & Hermine Marshall Rebecca Martinez Suzanne & Charles McCulloch John G. McGehee Miles & Mary Ellen McKey Margaret D. & Winton McKibben Susan Medak & Greg Murphy

Stephanie Mendel Toni Mester Shirley & Joe Nedham Pam & Mitch Nichter Sheldeen G. Osborne Sharon Ott Amy Pearl Parodi Barbara L. Peterson Regina Phelps Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Tom Roberts David Rovno Tracie E. Rowson Deborah Dashow Ruth Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Kevin Shoemaker Valerie Sopher Michael & Sue Steinberg Dr. Douglas & Anne Stewart Jean Strunsky Henry Timnick Guy Tiphane Phillip & Melody Trapp Janis Kate Turner Dorothy Walker Weil Family Trust— Weil Family Karen & Henry Work Martin & Margaret Zankel

Gifts received by Berkeley Rep:

Anonymous Estate of Suzanne Adams Estate of Helen Barber Estate of Fritzi Benesch Estate of Carole B. Berg Estate of Nelly Berteaux Estate of Jill Bryans Estate of Nancy Croley Estate of Carol & John Field Estate of Rudolph Glauser Estate of Zandra Faye LeDuff Estate of John E. & Helen A. Manning Estate of Richard Markell Estate of Gladys Perez-Mendez Estate of Margaret Purvine Estate of Leigh & Ivy Robinson Estate of Stephen C. Schaefer, in honor of Jean and Jack Knox 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 board-designated endowment funds, 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.

For more information on becoming a member, visit our website at berkeleyrep.org/mls or contact Daria Hepps at 510 647-2904 or dhepps@berkeleyrep.org.

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Teen Night for Ain’t Too Proud—The Life and Times of the Temptations PHOTO BY KENDALL MARKLEY

2 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 7–1 8 · I S S U E 2

AMERICAN CONSERVATORY THEATER PRESENTS

The wickedly sharp comedy about a not-so-silent silent retreat “A PLAY UNLIKE ANY OTHER!”

2016 CRITICS’ PICK!

HUFFINGTON POST

THE NEW YORK TIMES TIME OUT NEW YORK NEW YORK MAGAZINE

NOW –DEC 10 WRITTEN BY BESS WOHL DIRECTED BY RACHEL CHAVKIN PERFORMS AT A.C.T.’S STRAND THEATER

E X P E R I E N C E A .C .T. ’ S THE MYSTERIOUS PINTER CLASSIC

AN IRREVERENT ROAD-TRIP COMEDY

17 18 S E A S O N

THE HIT BROADWAY PLAY

HEISEN

A NEW AMERICAN ODYSSEY

A WORLD-PREMIERE MUSICAL

BERG

THE BIRTHDAY PARTY

ACT-SF.ORG | 415.749.2228

BOA R D OF T RU ST E E S

BE R K E L E Y R E P STA F F Michael Leibert Artistic Director Tony Taccone

Managing Director Susan Medak

General Manager Theresa Von Klug ARTISTIC Director of Casting & Artistic Associate Amy Potozkin Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Manager Sarah Rose Leonard Artistic Associate Katie Craddock Associate Director Lisa Peterson Artists under Commission Todd Almond · Christina Anderson · Jackie Sibblies Drury · Dave Malloy · Lisa Peterson · Sarah Ruhl · Tori Sampson · Joe Waechter P R ODUC T ION Production Manager Peter Dean Associate Production Manager Amanda Williams O’Steen Company Manager Jean-Paul Gressieux S TAG E M A NAG E M E N T Production Stage Manager Michael Suenkel Stage Managers Leslie M. Radin · Karen Szpaller · Julie Haber · Kimberly Mark Webb Production Assistants Amanda Mason · Sofie Miller · Betsy Norton S TA G E OP E R AT ION S Stage Supervisor Julia Englehorn P R OP E R T I E S Properties Supervisor Jillian A. Green Assistant Properties Supervisor Amelia Burke-Holt Properties Artisan Samantha Visbal S C E N E S HOP Technical Director Jim Smith Associate Technical Director Matt Rohner Shop Foreman Sam McKnight Master Carpenter Jamaica Montgomery-Glenn Carpenters Patrick Keene · Read Tuddenham SCENIC ART Charge Scenic Artist Lisa Lázár COSTUMES Costume Director Maggi Yule Associate Costume Director/ Hair and Makeup Supervisor Amy Bobeda Draper Alex Zeek Tailor Kathy Kellner Griffith First Hand Janet Conery

Wardrobe Supervisor Barbara Blair ELECTRICS Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane · Kenneth Coté S OU N D A N D V I DE O Sound Supervisor James Ballen Sound Engineers Angela Don · Annemarie Scerra Video Supervisor Alex Marshall A DM I N I S T R AT ION Controller Suzanne Pettigrew Associate Managing Director/ Manager, The Ground Floor Sarah Williams Executive Assistant Kate Horton Bookkeeper Kristine Taylor Associate Controller Eric Ipsen Tessitura User Interaction Administrator Destiny Askin Desktop Support Specialist Dianne Brenner 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 Institutional Giving Manager Julie McCormick Individual Giving Coordinator Kelsey Scott Special Events Coordinator Lauren Shorofsky Development Database Coordinator Jane Voytek Development Associates Maddie Gaw · Julia Starr M A R K E T I NG & C OM M U N I C AT ION S Director of Marketing and Communications Peter Yonka Director of Public Relations Tim Etheridge Art Director Nora Merecicky Communications & Digital Content Director Karen McKevitt Audience Development Manager Samanta Cubias Webmaster Christina Cone Video & Multimedia Producer Joel Dockendorf Program Advertising Pamela Webster Front of House Director Kelly Kelley

3 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 7–1 8 · I S S U E 2

Front of House Manager Debra Selman House Managers Steven Coambs · Juliet Czoka · Gabriel de Paz · Aleta George · Kimberly Harvey-Scott · Mary Cait Hogan · Tuesday Ray · David Rogers · Debra Selman Lead Concessionaires Steven Coambs · Molly Conway · Nina Gorham · Chenoa Small Concessionaires Chloe Auletta-Young · Jessica Bates · Molly Conway · Casey Fay · Lorenz Gonzales · Katie Holmes · Daron Jennings · Serene LaBue-Deshais · Luci Liss · David Rogers · Chenoa Small · Michelle Sellers · Win Wallace Ticket Services Director Geo Haynes Subscription Manager Laurie Barnes Box Office Supervisor Julie Gotsch Box Office Agents Carmen Darling · Katherine Gunn · Lian Ladia · Mateo Santos Perry · Jaden Pratt OP E R AT ION S Facilities Director Mark Morrisette Facilities Coordinator Andrew Susskind Building Engineer Thomas Tran Maintenance Technician Johnny Van Chang Production Driver Laurence Tasse Facilities Assistants Theresa Drumgoolie · Sophie Li · Alex Maciel · Carlos Mendoza · Jesus Rodriguez · Diego Ruiz · LeRoy Thomas

Jan and Howard Oringer Teaching Artists Amber Flame · Carla Pantoja · Dave Maier · Elena Wright · Jack Nicolaus · Lindsey Schmeltzer · Radhika Rao · Salim Razawi · Simon Trumble · Teddy Spencer · Andre San-Chez · Bryan Quinn · Shannon Davis · Zoe Swenson-Graham · Daryl Harper · Miriam Ani Teen Core Council Neo Barnes · Jesias Burrell · Uma Channer · Adin Gilman-Cohen · Mirabel Connor · Miya Drain · Devin Elias · Anna Granados · Fiona Deane-Grundman ·Alecia Harger · Kayla Hansen · Kyla Henderson · Zoe Larkin · Avery Martin · Sumayya Bisseret-Martinez · Lucy Urbano · Alana Walker · Hannah Williams · Sophia Villamor Docent Co-Chairs Matty Bloom, Content Joy Lancaster, Recruitment Selma Meyerowitz, Off-Sites and Procedures Imaginary Comforts Docents Michelle Barbour, Lead Docent Richard Lingua, Assistant Lead Jim Brown · Miles Dawdry · Sandy Greenberg · Jodi Grigas · Linda Lowens · Rhea Rubin · Tom Sponsler

2017–1 8 B E R K E L E Y R E P FELLOWSHIPS Bret C. Harte Directing Fellow Nicholas Kowerko Company Management Fellow Alice Stites Costume Fellow Kiara Montgomery Development Fellow Ariana Johnson Education Fellow Ky’Lend Adams Graphic Design Fellow Kendall Markley BERKELEY REP Harry Weininger Sound Fellow S C HO OL OF T H E AT R E Cecilia Pappalardo Director of the School of Theatre Lighting/Electrics Fellow Rachel Hull Domino Mannheim Associate Director Marketing/Digital MaryBeth Cavanaugh Communications Fellow Program Manager, Training and Arielle Rubin Community Programs Peter F. Sloss Literary/ Anthony Jackson Dramaturgy Fellow Education Communications and James Dinneen Partnerships Manager Production Management Fellow Marcela Chacon Dawn Marie Kelley Registrar Properties Fellow Katie Riemann Mara Ishihara Zinky Community Programs Administrator Scenic Art Fellow Modesta Tamayo Chrissy Curl Faculty Scenic Construction Fellow Bobby August Jr. · Erica Blue · Jon William Ebeler Burnett · Rebecca Castelli · Eugenie Stage Management Fellow Chan · Iu-Hui Chua · Jiwon Chung · Tait Adams Sally Clawson · Deborah Eubanks · Susan Garner · Christine Germain · Nancy Gold · Gary Graves · Marvin Greene · Susan-Jane Harrison · Gendell Hing-Hernández · Melissa Hillman · William Hodgson · Andrew Hurteau · Anthony Jackson · Kasey Klem · Krista Knight · Julian López-Morillas · Dave Maier · Reid McCann · Patricia Miller · Alex Moggridge · Edward Morgan · Jack Nicolaus · Slater Penney · Greg Pierotti · Lisa Anne Porter · Diane Rachel · Rolf Saxon · Elyse Shafarman · Arje Shaw · Joyful Simpson · Cleavon Smith · M. Graham Smith · Elizabeth Vega · James Wagner ·Dan Wolf

President Stewart Owen Vice Presidents Carrie Avery Roger A. Strauch Jean Z. Strunsky Treasurer Emily Shanks Secretary Leonard X Rosenberg Chair, Trustees Committee Jill Fugaro Chair, Audit Committee Kerry L. Francis Board Members Edward D. Baker Michelle Branch David Cox Amar Doshi Robin Edwards Lisa Finer Paul T. Friedman Karen Galatz Bruce Golden Steven Goldin Scott Haber David Hoffman Jonathan C. Logan Jane Marvin Sandra R. McCandless Susan Medak Pamela Nichter Sudha Pennathur Laura Severino Richard M. Shapiro Tony Taccone Kelli Tomlinson Gail Wagner Felicia Woytak Past Presidents Helen C. Barber A. George Battle Carole B. Berg Robert W. Burt Shih-Tso Chen Narsai M. David Thalia Dorwick, PhD Nicholas M. Graves Richard F. Hoskins Jean Knox Robert M. Oliver Marjorie Randolph Harlan M. Richter Richard A. Rubin Edwin C. Shiver Roger A. Strauch Martin Zankel Sustaining Advisors Rena Bransten Thalia Dorwick, PhD William T. Espey William Falik David Fleishhacker Nicholas M. Graves Richard F. Hoskins Carole Krumland Dale Rogers Marshall Helen Meyer Dugan Moore Peter Pervere Marjorie Randolph Pat Rougeau Patricia Sakai Jack Schafer William Schaff Michael Steinberg Michael Strunsky Martin Zankel

F OU N DI NG DI R E C T OR Michael W. Leibert Producing Director, 1968–83

“City National helps keep my financial life in tune.”

So much of my life is always shifting; a different city, a different piece of music, a different ensemble. I need people who I can count on to help keep my financial life on course so I can focus on creating and sharing the “adventures” of classical music. City National shares my passion and is instrumental in helping me bring classical music to audiences all over the world. They enjoy being a part of what I do and love. That is the essence of a successful relationship.

City National is The way up® for me.

Michael Tilson Thomas Conductor, Educator and Composer

©2017 City National Bank

Hear Michael’s complete story at cnb.com/Tuned2SF

CNB MEMBER FDIC

The way up.

®

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