Berkeley Rep: Office Hour

The 21st-century theatre-maker 12 · Moving beyond fury: An interview with Lisa Peterson 17 · The program for Office Hour 21

THE BERKELEY REP M AGA ZINE 2017–18 · ISSUE 4

I N T H I S I S SU E 10

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BE R K E L E Y R E P P R E S E N T S OFFIC E HOUR · 21

P ROL O G U E A letter from the artistic director · 7 A letter from the managing director · 8 R E P ORT S Peet’s Coffee helps create connection through shared stories · 10 The 21st-century theatre-maker · 12

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M E E T T H E C A ST & C R E W · 2 2

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F E AT U R E S The Origin Story · 14 Rooted in something real: A conversation with Julia Cho · 14

Considerations Only beverages in cans, cartons, or cups with lids are allowed in the house. Food is prohibited in the house.

You are welcome to take a closer look, but please don’t step onto the stage or touch the props.

The right to bear trauma · 19

Smoking and the use of e-cigarettes is prohibited by law on Berkeley Rep’s property.

CON T R I BU T OR S

Please keep perfume to a minimum. Many patrons are sensitive to the use of perfumes and other scents.

Any child who can quietly sit in their own seat for a full performance is welcome at Berkeley Rep. Please inquire if you have questions about content or language. All attendees must be ticketed: please, no babes in arms.

Moving beyond fury: An interview with Lisa Peterson · 17

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Please make sure your cell phone or watch alarm will not beep. Use of recording equipment or taking of photographs in the theatre is strictly prohibited.

If you leave during the performance, we may not be able to reseat you until an appropriate break. You may watch the remainder of the act on a lobby or bar screen.

A BOU T BE R K E L E Y R E P Staff, board of trustees, and sustaining advisors · 34

T H E B E R K E L E Y R E P M AG A Z I N E 2017 –1 8 · I S S U E 4 The Berkeley Rep Magazine is published at least seven times per season.

For local advertising inquiries, please contact Pamela Webster at 510 590-7091 or pwebster@berkeleyrep.org.

Editor Karen McKevitt Art Director Nora Merecicky Graphic Designer Kendall Markley

Writers Ky’Lend Adams James Dinneen Sarah Rose Leonard Arielle Rubin Christine Scarfuto

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P ROL OG U E from the Artistic Director

We all want to feel safe. Now, more than ever. The

threat of violence, from a terrorist attack to a random shooting, has now lodged itself deep into our collective consciousness. At the workplace we now undergo training to establish protocol in the event of an “active shooter.” The sight of armed police officers on our streets, an image that not long ago may have evoked feelings of shock or repulsion, now brings us feelings of relief.

To add to our anxiety, even in their aftermath these mass attacks remain largely incomprehensible. Our TV screens are filled with an assortment of relatives or neighbors of the assailant expressing no knowledge of any nefarious intentions. “He kept to himself.” “He was always friendly.” “He never showed any signs of being dangerous.” Sometimes there are hints of trouble. He was “angry,” “a loner,” “socially awkward…” But the jump from writing angry comments on Facebook to pulling the trigger is huge, and identifying when/if an individual moves from words to action seems virtually impossible to predict.

In her latest play, the intrepid Julia Cho enters into this arena. Office Hour imagines an encounter between a concerned teacher and troubled kid, the teacher trying to break through the armor of the student, the student fighting for his very identity. The stakes are desperately high and the protagonists unreliable, precisely because they mirror our current situation. The theatricality of the action is embedded in a host of possibilities, which keep us riveted to our seats and our minds on high alert. By the end, the play offers us choices, and by doing so gives us agency to fend off the easy axioms “you can never really know anyone,” and, more ominously, “you can’t trust anyone.”

What I love about Office Hour is what I love about all of Julia’s writing: its pursuit of raw truthfulness wedded to deep empathy for her characters. Her heart is large and her courage impressive. The indefatigable Lisa Peterson brings her talented band of designers and actors back to Berkeley from New Haven, Connecticut, where the production opened in January. Watching them dig deep to bring this play to life has been inspiring. We are proud to bring you the result.

Sincerely,

Tony Taccone

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P ROL OG U E from the Managing Director

All of us at Berkeley Rep often talk about the Theatre

as being a place of learning. We try to do more than simply talk about it. We strive to be a place where learning is an active part of whatever we do, whether choosing a play that will expand our audience’s knowledge or point of view, delving into the studious dramaturgical work that brings authenticity to a production, putting energy into our docent program, or encouraging each member of the staff to learn something new every season. We identify the accumulation of new knowledge as a valued goal.

Berkeley Rep’s School of Theatre is most emblematic of all our efforts to connect the work we do with the act of learning. Through our School we engage most directly with students, and equally important, with teachers.

Office Hour provides Berkeley Rep a special opportunity to recognize the extraordinary teachers who live and work in this community. During this performance you may find, if you are very lucky, that there are teachers all around you. Whether they teach small children, middle schoolers, high schoolers, or at one of the many fine colleges in the Bay Area, these educators are among the unsung heroes of our community.

With Office Hour, Julia Cho has written a play that is full of surprises, some quite shocking, and some that are simply well conceived and thoughtfully delivered new ideas. Among her topics, though, is the creative, improvisational skill of an empathetic educator.

Taking my cue from Julia, I want to take this moment to recognize the many brave, creative, empathetic, and committed teachers in this community who work every day to educate new generations of young people—and I want to particularly thank the Berkeley Federation of Teachers for lending this production so much support.

Warmly,

Susan Medak

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R E P ORT

Peet’s Coffee helps create connection through shared stories

BY ARIELLE RUBIN

In Office Hour, Gina attempts to help Dennis, and in doing so, she suggests he write something that “connects.”

Last fall, Berkeley Rep’s production of Imaginary Comforts, or The Story of the Ghost of the Dead Rabbit explored how stories influence who we are. At Berkeley Rep we know stories are an integral part of the human experience. Through the millennia, theatre has always been an effective tool for telling engaging stories and creating connection. Whether the stories onstage are entertaining, challenging, or enlightening, theatre creates empathy and brings people together.

Peet’s Coffee, a longtime partner of Berkeley Rep’s, is similarly dedicated to storytelling and fostering community.

Community is one of the company’s stated six core values, and Peet’s encourages its employees to establish meaningful relationships with all their customers, colleagues, and partners. As 1 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 4

a global organization, Peet’s creates partnerships with people in all corners of the world, every day. Whether collaborating with coffee farms in Latin America or making world-class performance possible right here in the Peet’s Theatre at Berkeley Rep, the Berkeley-born organization is eager to share poignant stories with the world.

Every spring Peet’s produces a limited-release Anniversary Blend coffee which combines coffee sourced from different regions around the globe. Anniversary Blend is a way to celebrate the company’s rich history, as well as share the narratives from the featured regions. In addition to celebrating the world’s best coffee beans, Peet’s is able to highlight the efforts of the coffee growers in the selected regions, and give thanks to the many people who make the coffee possible. Once Peet’s determines the coffees for each year’s Anniversary Blend, it

works with its suppliers to understand the needs of the coffee community and how to partner with a local organization to give back accordingly.

This year Peet’s Anniversary Blend combines coffees from Rwanda and the Democratic Republic of the Congo, countries on opposite shores of Lake Kivu in East Africa. The devel-

Upon its completion, the endeavor will provide clean water for 2,000 coffee-growing families in the district for generations to come. opment of the coffee sector helped the Rwandan economy recover post-genocide, and coffee brought a new purpose and meaning to its communities. The evolution of the coffee-growing industry in East Africa and the exquisite coffees grown in this region encouraged Peet’s to build new and lasting relationships with the farming families in the area.

Though one of the smaller countries in Africa, Rwanda is densely populated, creating high demand for its limited water supply. There, the unsanitary water results in fatal outbreaks of illnesses such as cholera and E. coli. Women spend over an hour per day collecting and carrying water, which then must be boiled before consumption.

At the suggestion of community leaders, Peet’s committed to funding the construction of four water tanks in the Rwandan Gatsibo District. The slow sand filtration system in these tanks will ensure clean, potable water for those living in the area. Each tank will have a solar pump and five access points to deliver water to many people at one time. Upon its completion, the endeavor will provide clean water for 2,000 coffee-growing families in the district for generations to come.

This project will be funded by 5 percent of proceeds from Peet’s 2018 Anniversary Blend, up to $50,000.

Although we often describe it as storytelling, the act of communicating a human narrative is truly that of storysharing. Telling a story requires both a narrator and an observer, and therefore is entirely a collective experience. The Rwandans shared their story with the people at Peet’s Coffee, who in turn share it with all of us. The more we tell stories, the more we connect, and the bigger our communities grow.

What creates more connection than conveying human stories and sharing a pot of coffee?

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CHALLENGING ACCESSIBLE R E P ORT

The 21st-century theatre-maker

BY KY’LEND ADAMS The 2017–18 fellows

“Educational, challenging, accessible, and

life-changing” is how this year’s fellowship class describes Berkeley Rep’s Fellowship Program. Berkeley Rep selected 15 recent college graduates and young professionals for the opportunity to immerse themselves in the world of regional theatre, working on a wide array of production, artistic, and administrative disciplines during the 2017–18 season.

The structure of the Fellowship Program allows each member of the class to gain valuable insight into the workings of a theatrical production. Each fellow works in a different department, enabling them to both specialize in a particular area and learn about the creative process of theatre-making from beginning to end. This past July the cohort arrived in Berkeley from all over the country, quickly becoming integral parts of the everyday activities of the Theatre.

They began their work with Berkeley Rep’s first production of the season, Ain’t Too Proud—The Life and Times of The Temptations. The Bret C. Harte Directing Fellow, Nicholas Kowerko, who served as an assistant director for the production under the leadership of Tony Award-winning director Des McAnuff, recalls, “Working with Des has been such a thrilling highlight of my career. His craft is incredible and he is an inspiring leader. He values the opinion of everyone on his team—I always felt respected and included. He has such great energy and humor in the rehearsal room.” While Nicholas was in the rehearsal room, Kiara Montgomery, the costumes fellow, was in the costume shop working alongside world-renowned Costume Designer Paul Tazewell. “I have been a fan of Paul since watching The Color Purple,” she says. “Learning about him at my college and then coming here to work with him was amazing!”

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Working with such world-class artists at the beginning of the season prepared the fellows for a highlight of the year: Berkeley Rep’s School of Theatre Teen One-Acts Festival on February 2 and 3. The festival is entirely produced and directed by teens from Berkeley Rep’s Teen Council, mentored by the fellow class. Fellows advise and supervise the teens through the process, building lasting connections rooted in shared learning experiences with the incredibly talented youth that study at the School of Theatre. As the education fellow, I served as the managing producer for the festival, coordinating the budget, schedule, and workload of the artistic and production fellows.

At the same time, the scenic construction fellow served as the technical director, overseeing the technical operation of the show, which includes lights, set, and sound. This year was the first year the festival was produced at Berkeley Rep’s Peet’s Theatre, which provided a sense of both challenge and excitement as we mounted the one-acts in a professional theatre space.

Over 400 individuals have participated in Berkeley Rep’s Fellowship Program, many of whom have embarked on successful careers in the arts. Some recent fellows have gone on to work at Berkeley Playhouse, Ubuntu Theatre Project, the Alley Theatre, Playwrights Horizons, and Center Theatre Group. The 2017–18 fellows feel excited about what the future may hold and the endless possibilities that await them thanks to Berkeley Rep’s commitment to education and professional development.

The fellowship program is an excellent opportunity for aspiring artists, administrators, and theatre-makers. Applications for this unique program are due March 16. Visit berkeleyrep.org/fellowships.

The Fellowship Program is made possible by American Express and Baytree Fund.

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Julia Cho in The Ground Floor’s 2015 Summer Residency Lab

The Origin Story In 2012, Berkeley Rep launched The Ground

Floor: Berkeley Rep’s Center for the Creation and Development of New Work. One of the first projects to come out of The Ground Floor was The Food Project, a series of short play commissions from 20 writers about food. Julia Cho contributed Aubergine, a short piece she then expanded into a full-length play. Tony Taccone directed the premiere in the 2015–16 season. It would be an understatement to say that the process of developing and producing Aubergine was a joy for all involved. The experience cemented our relationship with Julia as one that would continue well into the future.

Which brings us to Office Hour. We saw the premiere production of the play at South Coast Rep back in 2016, and after a few conversations with Julia, Tony felt confident that it was the right fit for our 2017–18 season. At the same time, Literary Manager Sarah Rose Leonard and Christine Scarfuto, the literary manager at Long Wharf Theatre in New Haven, Connecticut, were trading scripts and discussing their upcoming seasons. They realized that both theatres were thinking about producing Office Hour. Long Wharf got on the phone with Tony, and a co-production was born.

The play received a separate production in the winter of 2017 at The Public Theater in New York. Julia did some rewrites after learning more about the play from its run there, then went into rehearsals for the Long Wharf/Berkeley Rep production, helmed by Berkeley Rep Associate Director Lisa Peterson, in December 2017. The play ran from January 17 through February 11 in Connecticut before opening here. We are very happy to welcome Julia back in our space.

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ROO SOM REAL Julia Cho’s plays are marked by their lyricism,

insight, and keenly focused attention to what makes humans tick. While all of her plays are warmhearted, some gaze a little deeper into the more painful truths of our world. Her works have covered everything from child abduction and sexual molestation to the quirks of translation and the ecstasies of music. Office Hour looks at gun violence from a distinctively Julia Cho lens: gazing at it through a relationship between a student and teacher, weaving it into a dialogue about writing, and laying it against the experience of a first-generation American. Berkeley Rep Literary Manager Sarah Rose Leonard and Long Wharf Theatre Literary Manager Christine Scarfuto (this production is a co-production between the two theatres) talked with Julia about her writing process as she cracked open her latest play.

SRL: What inspired you to write Office Hour?

When I really think about where the first idea came from, it was probably Virginia Tech. That shooting was so unprecedented because it was on a college campus, had a Korean American shooter, and the highest body count at the time. At that point I didn’t think about writing a play. I mean, how could you possibly write about an event that sad, that violent and troubling?

At the time, I had been thinking about writing and what the purpose of it was and what I wanted to say with my plays. I was thinking, what is the role of an Asian American writer? Or an Asian American citizen? Not that I thought about it in any kind of structured way, but I was thinking, well, who am I? And what kind of work do I want to do?

OTED IN METHING L Rooted in something real: A conversation with Julia Cho

BY SARAH ROSE LEONARD AND CHRISTINE SCARFUTO

The next event that stood out in my mind and really broke me was Newtown. That one was…I remember I saw it on the news and fell to my knees. I started thinking, what is the violence in American culture? Where is it coming from? I think that for me writing and being in the theatre has been like one very long, unending class in empathy and understanding.

From what I’ve seen, in writing classes or being around other writers and then being with actors and directors, so much of our energy has been trying to understand each other, trying to understand characters, trying to understand people who are different from ourselves. I think that extension of empathy makes sense to me in terms of trying to understand what the phenomenon was and why it was happening. I don’t think Office Hour is an answer to any of those questions, but it was, at least for me, a piece of writing that posed the questions and could at least say, look, these are things I’m struggling with, are you struggling with them too?

Times, written by a woman who had been a teacher at a college who had a student who scared her. She actually had a conference with him. It’s an article that, I think in all the productions we’ve done, we’ve used as research for the actors. I immediately grasped onto it because the essay described my own experience of being a grad student instructor at several different places.

Most writers make their living teaching in some capacity. Whether it’s full time as a professor or teaching workshops or classes on the side. So that relationship between an instructor and a student was very familiar to me. It was this very small breadcrumb, and I was like, “Oh! this is how I can approach it maybe.” So I had that. But then, as soon as I started to write the play, the sort of linear two-hander, I couldn’t get past page one.

I THINK THAT FOR ME WRITING AND BEING IN THE THEATRE HAS BEEN LIKE ONE VERY LONG, UNENDING CLASS IN EMPATHY AND UNDERSTANDING.

CS: How did you find the structure of the play?

I struggled to write the play for a very long time. I felt like it was such a huge topic, such a terrible thing, that I had no idea how to even approach it. And so, for the longest time it sat on the periphery of my awareness; I couldn’t really figure out how to even walk up to it. Then I read an essay after one of the shootings. It was one of those op-ed personal essays in the New York

SRL: What stopped you?

It felt like as soon as they both sat down, I knew where it would end. Which was that the office hour would start and then it would end. You know?

CS: It didn’t spark your curiosity.

Yes! And I felt like I was making them talk which is always a bad sign because when I feel like I’m consciously creating CO N TIN U E D O N N E X T PAG E 2 0 1 7–1 8 · I S S U E 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 5

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

dialogue, then I know the characters aren’t actually alive. I kept banging my head against its structure. Then, I was writing at home and happened to look at one of the recent volumes of Caryl Churchill’s plays. I love Caryl Churchill. She’s one of those writers where you’re always curious about what she is thinking.

So many of her plays are about structure. They’re very exposed: you can see all the wiring. She’s sort of a hero, right?

[Both literary managers nod enthusiastically] So I had this book out, and I’m trying to write this play, and I’m like, Caryl Churchill would be so bored with this play.

She made me think, why am I trying to write a linear play about something that is so jarring and fractured and complicated? Something cracked open and then it became like the play could take over and have its own drive.

So it wasn’t really me imposing the structure on the play. It was finding the structure that enabled the play to be written.

helped me understand him as someone whose way of being in the world was rooted in something real. As opposed to someone who’s just crazy or a sociopath.

SRL: In the script you don’t explicitly state that Dennis and Gina should both be Asian, but in all the productions so far Asian actors played those characters. Is there a world in which a production has characters of a different race? Or should they always be Asian?

I think it is all of the above in a weird way. In the first iteration of the play, one of the things that helped me keep the play going was seeing both of these characters as Korean American. And that is part of the bond they share that draws them into this conversation in the first place. But I’m very inspired by the way plays are taken and, over time and distance, transformed by different people. So I would say that ultimately the only thing I truly care about is that Dennis and Gina are from a similar background.

They should both feel a sense of otherness to themselves, they each feel a little out of place for the same reason. I wanted to deliberately keep it unspecified in the text so people understand that they have the freedom to see it in a different way.

I THINK THAT THE PLAY SAYS TO AN AUDIENCE, WILL YOU COME AND SIT IN THE DARK WITH A BUNCH OF OTHER PEOPLE WITH THIS DIFFICULT THING?

SRL: What came up for you as you sat with Dennis?

I was trying to figure out if someone like this could still be within the circle of humanity. For him, it wasn’t so much creating somebody out of complete imagination as it was taking a normally troubled person and building on that. I think writing is an interesting excavation of your own beliefs. The writing sometimes reveals my own thinking to me. And what I found in writing Office Hour was that I have a very large sense of what normal people are capable of.

CS: How does Dennis’ experience as a child of immigrants inform his character?

The experiences that Dennis has are experiences of marginalization and disempowerment. They’re not limited just to the immigrant experience, but I think that in writing this play I felt like the more I could ground it in things that I knew, the more breadcrumbs I would have.

I am still—even though it sounds naïve— a believer in the American dream. The American dream has taken a lot of blows. But I’m so grateful to be here, and to be able to be a writer. As a child of immigrants, I’m so grateful to have the English language, this beautiful language that gets to be my language. The language I write in, and dream in, and think in. But being an immigrant can also be a very difficult experience. There are feelings of alienation, of feeling like maybe I’ll never make it, maybe I’ll never be allowed in. That seems to me like a place where Dennis’ pain could start. It’s not to justify or rationalize or say that anyone coming out of those experiences would turn out the way Dennis does, but it

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CS: The play deals with the idea that once you fear a threat you can start to see it everywhere, and that fear of violence can breed more violence. This is kind of a big philosophical question, but how do you think we can break that cycle and choose humanity over fear of the other?

Oh my gosh I feel like that is so far above my...

[Laughter] No, no. It’s such a great question. I guess it’s the question I have too. All I know is that before any steps can be taken, it feels like we have to sit with the difficult things. One part of the play is about a person, Gina, who chooses to go into a room and sit with the difficult thing. By that I don’t necessarily mean Dennis. The difficult thing is all of it. I think that the play says to an audience, will you come and sit in the dark with a bunch of other people with this difficult thing?

And there’s no answer, right? But at least you’ve sat with the difficult thing. I guess in some weird way, I feel like maybe that’s at least a start. Just looking at this thing and not tuning out or doing something else or distracting yourself, just carving out this space and time to think about it. That’s all the play asks. It feels so small and yet so big. I don’t know how our goodness can outweigh our destructiveness. That to me is the question of our time. But I think there’s a lot of hope in the play too. There’s certainly hope in me: despite everything I think connection is possible.

Moving beyond fury: An interview with Lisa Peterson IN TERV IEW BY JA ME S DINNEEN, EDITED BY SAR AH ROSE LEONARD

Lisa Peterson, the director of Office Hour, is Berkeley Rep’s associate director, a role that functions much like a director-in-residence.

In our theatres, and in her career, Lisa stages both new plays and classics with a dexterity and focus that is singular in the field. Her career is notable for her wide-ranging taste: she has adapted Greek mythology and Virginia Woolf, created a chamber musical, and directed dozens of premieres at our country’s top theatres. Right after opening Lillian Hellman’s Watch on the Rhine at Berkeley Rep, she flew to New Haven to start rehearsals for Julia Cho’s Office Hour. She spoke with Peter F. Sloss Literary/Dramaturgy Fellow James Dinneen a few weeks into rehearsal to discuss her attention to detail, anger about gun violence, and how this play gets the blood flowing.

How is rehearsal going?

I’m coming to the end of the second week of rehearsal, and I’ve been struck by the purity and gorgeousness of Julia’s writing about life and about communication. There’s the suggestion in the play that a writer is tapping into a mystery in their own nature, and that sometimes what comes out of you when you write is not something you are in control of.

All four characters in this play are writers. Three of them teach writing and one of them is studying to be a writer. This play is about the potential for violence and the fear of violence, and the actuality of living in a world where there are violent acts out of the blue. But it’s also so much about articulation—articulation of fear, articulation of need, of loneliness—so it’s not only a grim play. As soon as we began rehearsals I realized that there are equal and opposite impulses in this play, which has to do with being a human and the struggle between doing the right thing and doing the wrong thing, but with every opportunity to do the right thing.

The potential for gun violence is a subject that people are likely to have strong feelings or anxieties about before they come to the theatre. How have you approached a piece that is likely to be disturbing for many people?

I mean, [laughs] I have to believe, or else I couldn’t do it, that people want a group exorcism, that people want to think about it and examine it in a safe place. I have to believe that people come to the theatre to address fear and to think about complication. I’m trying not to worry about soft-pedaling it in any way. I feel like it needs to be brave and shocking sometimes.

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It’s part of the exorcism.

It is, yes. Or, it’s like acupuncture. You know, inhale while we reach down deep into the body politic and touch it in order to get the blood running around it. I’m not an expert, I’ve just learned about acupuncture, but it’s on my mind. I feel like that same stimulus of the little pin prick, which is the shock in the theatre, is necessary to get conversation going and get the blood running around the issue. In the play it’s much more complicated than just “uh oh, we’re going to watch a play about a school shooting.” That is not this play. This play is about fear, of someone who could potentially become a shooter, and how one approaches one’s own fear.

It’s so much more about the mind and the choices one makes than anything else, and it’s as much about the difficulty of teaching in a university setting in this country now as it is about a school shooting.

sure is on those two actors and the director to keep making choices that keep it interesting. But at the same time, there is a wonderful pressure between two characters who are in opposition, so it’s an inherently dynamic form. In fact, a lot of Greek drama is two people interacting. It’s an ancient form, the dialectic of argument about choices in life, or the argument about one’s view of the world. All of those things exist in Julia’s play, so it doesn’t bore me at all…in fact, it’s weird because sometimes in the middle of the rehearsal I think, I am happy to be in the room with these two characters. That’s very strange. I should want to fly out of here. I should want to run and it should be stressful to be in the room with them, but it isn’t. I love to watch the mystery between them. It’s the kind of staging I like, which is very detail-oriented. Every little choice is very important.

I HAVE TO BELIEVE THAT PEOPLE COME TO THE THEATRE TO ADDRESS FEAR AND TO THINK ABOUT COMPLICATION.

What has been your experience with Dennis throughout the process?

When I read the play he felt like a cipher to me, because he is a cipher. I couldn’t see him really. Early on I decided that Daniel Chung —the actor playing the part, he’s a wonderful person and a gentle soul—would work without the “mask” for a while, meaning no hoodie, no dark glasses, no cap, just because that felt like something that a) we needed to earn, and b) I needed to be able to direct this person. And I thought, I can direct Daniel, but I cannot direct Dennis. So we worked for a few days without the mask on, and then later Daniel put all that on and we just gasped because the image of this shooter...we all know what that picture means. And just being in the room with that mask is very intense. I hope the audience feels what I feel, which is a little bit shocked, a little scared. Sad and provoked. Now it’s been a week of seeing that, so I’ve kind of gotten used to it. It’s a weird thing. You become immune to anything.

And then of course I realized—this is just a technical thing that I’ve noticed—he’s pretty silent for the first half of the play. Much of the work is almost like dance, because it’s all about posture, glance. The physical choices being made have great meaning, and it isn’t always about language. Often it’s about the absence of language.

Has your experience with Office Hour impacted the way you think about gun violence in the United States?

Oh boy. What I’m furious about is it feels like we’ve already had the worst examples we could have: the shooting of two dozen children, the murder from a tower in Las Vegas. How in the world is it possible that those two examples did not change the gun laws in this country? I’m having to set that aside to do this play, because this play isn’t political exactly. It does ask the question, what should we do? But it doesn’t provide an answer. I can’t honestly say it’s affected my political thinking at all because I already feel enraged. I feel a bit powerless about it politically because I don’t know how we’ll ever turn it around. I don’t know how the nra will ever leave power, and right now, I don’t see how it can ever get better. I mean, the play has to be about how we carve our humanity out in the midst of it. I don’t think it’s a call to arms, like Watch on the Rhine, which is about “let’s do something.” Office Hour is a meditation on how we dig our humanity out from this pile of crap.

THE PHYSICAL CHOICES BEING MADE HAVE GREAT MEANING, AND IT ISN’T ALWAYS ABOUT LANGUAGE. OFTEN IT’S ABOUT THE ABSENCE OF LANGUAGE.

The play is largely a conversation between two people in an office. How do you go about making that a dynamic relationship onstage?

The tradition of the “two-hander” play, which is between two characters, is challenging because the pres-

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It’s an opening to step back from that fury or that fear that you described.

Yes. It’s an invitation to step back from the fury, which isn’t to say don’t do anything, but maybe rethink it. This is a play in which a woman who’s an English teacher is asked to see if she can help a young man who is clearly in trouble, or trouble itself. To watch an individual try their best to reach out and communicate is very intense and moving. What you said is a good way to put it, moving beyond fury so that something can happen.

T

T T

THE RIGHT

TO BEAR TRAUMA

BY SARAH ROSE LEONARD

Humans are conditioned to pay attention to fear. Normally, our

fear is immediate and helps keep us safe. We see an unsafe driver, we change lanes. We see an explosion, we run. But fear can morph into consistent anxiety when the threat of violence is pervasive. In the U.S., it is impossible to live a life untouched by gun culture. Americans report being scared of public spaces where gun violence or terrorism has occurred. They obsess over where their children are at all times. Many report feeling nervous on airplanes. They check the exits at concerts. Office Hour places a gun onstage in the hands of someone we are conditioned to be afraid of and asks us to both sit with our fear and open ourselves up to empathy. It’s a radical request.

The presence of gun violence is hard to escape. It appears in our news at an alarmingly frequent rate. The National Rifle Association influences many a political agenda. In an average year, roughly a hundred thousand Americans are killed or wounded with guns. One in three Americans knows someone who has been shot. Americans make up about 4.4 percent of the global population but own 42 percent of the world’s guns. The facts are overwhelming — you may have tuned out somewhere in that list of figures. And you wouldn’t be alone. Many psychologists posit that Americans are experiencing collective trauma as a result of pervasive gun violence. What does that trauma do to us as a culture? And how do we heal?

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Collective trauma is defined as a blow to the basic fabric of social life that damages the existing sense of community.

The concept was popularized by Émile Durkheim, a 20th-century French sociologist, who argued that norms, values, and rituals provide a basis for social cohesion. When a distressing event occurs—for example, a natural disaster, war, terrorism, slavery, or genocide—a community’s ties sever. The world as they knew it falls away, leaving people feeling lost and disconnected. Incidents of gun violence are so pervasive that, bundled together, they become a source of American collective trauma. Scholar Elle Nurmi points out that mass shootings are distinctive because they contain various levels of violence within them: the violence enacted on the bodies of the victims, the memories of the survivors, the minds of the witnesses, and society at large. Mass shootings even give us new grief rituals via social media posts, demonstrating a shared group narrative we can be a part of. The onslaught of responses to each shooting has become a commonplace occurrence on our social media platforms.

There are many theories about why there is so much gun violence in America. Some argue that we live in a culture of violence, others blame our fear of outsiders. Most studies affirm that the only certainty is that easy access to guns causes gun fatalities. A 2017 New York Times article compared U.S. gun violence with that of other countries in order to tackle this question of causation. What is unique about the U.S. when it comes to guns? The article stated that if mental health made the difference, then data would show that Americans have more mental health problems than do people in other countries with fewer mass shootings. But the mental health care spending rate in the U.S., the number of mental health professionals per capita, and the rate of severe mental disorders are all in line with those of other wealthy countries. A 2015 study estimated that only 4 percent of American gun deaths could be attributed to mental health issues. Violent video games came up, but Americans are no more likely to play video games than people in any other developed country. Factors shown to play a part in social cohesion, like racial diversity, also demonstrate little correlation with gun deaths. Additionally, according to a landmark 1999 UC Berkeley study, the United States is not actually more prone to crime than other developed countries. Instead, it found, in data that has since been repeatedly confirmed, that crime in this country is simply more lethal. For example, a New Yorker is just as likely to be robbed as a Londoner, but the New Yorker is 54 times more likely to be killed in the process.

Gun-control advocates say the answer to gun violence is fewer guns. Gun-rights advocates say that the answer is more guns, arguing that a trained, armed individual could have taken down the shooter in Orlando or Columbine or San Bernardino. Concealed carry laws are now commonplace across the U.S., and in recent years the gun lobby has been pushing federal legislation that would mandate that each state recognize concealed carry permits from every other state. Thirty-eight states generally require a state-issued permit in order to carry concealed weapons in public; the remaining 12 allow individuals to carry concealed weapons in public without a permit. These are all new laws that passed in the last 10 years. People in their 40s often recall just one instance of gun violence from their youth, but the last 10 years has become a blur of incidents. Those in their 20s tend to think America has always been like this, a country with gun violence as the norm.

If different generations and state laws in this country see gun violence so differently, how can we ever come together to address the collective trauma we experience? Some individuals react to trauma with what’s known as the “flight or fight” response: an instinctive physiological response to a threatening situation in which we either forcibly resist or run away. Others experience stress, anxiety, reactive anger, and hypervigilance. Still others shut down, experiencing low energy, numbness, and a withdrawal from life’s activities. In order to weather persistent violent incidents, therapists recommend we take care of ourselves and, equally important, create deep connections with others. Our engagement with our loved ones helps to heal part of the social fabric torn apart by trauma.

Office Hour makes use of a technique that is unique to theatre as an art form: it allows us to live in a suspended state.

Onstage, we can freeze time: whether it’s to experience a song or a soliloquy or a movement sequence that unpacks a fleeting emotional state. In this case, we sit with the state of fear. But in addition to examining how we are torn apart by violence, Office Hour also asks us to pay attention to how we connect to each other. Live performance focuses us on live bodies in front of us, and around us. It is by nature a communal event.

We all agree to sit here together and experience emotions as a collective. This communal nature allows us to sit with difficult subjects with a feeling of support. The presence of others reminds us that we are never truly alone in this world. It may sound corny, but it’s true. In the face of trauma the simple presence of others can be reassuring, and reminds us that it’s possible to come out the other side together.

IN THE FACE OF TRAUMA THE SIMPLE PRESENCE OF OTHERS CAN BE REASSURING, AND REMINDS US THAT IT’S POSSIBLE TO COME OUT THE OTHER SIDE TOGETHER.

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Berkeley Repertory Theatre, in a co-production with Long Wharf Theatre, presents

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

BY

CAST

Julia Cho

Dennis Daniel Chung Gina Jackie Chung David Jeremy Kahn

DIREC TED BY

Genevieve Kerry Warren

Lisa Peterson

PRODUC TION S TAFF Scenic Design Matt Saunders

FEB RUARY 22 –M ARCH 25, 2018 PEE T ’ S THE ATRE · LIMITED SE A SON This show has no intermission.

Costume Design Maggie Morgan Lighting Design Scott Zielinski Original Music/Sound Design Robert Kaplowitz Fight Direction Thomas Schall

Office Hour is made possible thanks to the generous support of

Casting Amy Potozkin, csa Calleri Casting

SEASON SPONSORS

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

Stage Manager Chris Waters Commissioned and first produced by South Coast Repertory.

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

LE A D S P O N S O R S

Bruce Golden & Michelle Mercer E XECU TIV E S P O N S O R S

Kerry Francis & John Jimerson Gail & Arne Wagner

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.

SPONSORS

Robin & Rich Edwards Cynthia A. Farner Jill & Steve Fugaro Jack Klingelhofer Laura & Nicholas Severino A S S O CIAT E S P O N S O R S

Valerie Barth Ben Brown & Louise Rankin Steven Goldin Rosalind & Sung-Hou Kim Helen M. Marcus Phyra McCandless & Angelos Kottas Barbara L. Peterson

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

profiles

Daniel Chung

Kerry Warren

Daniel’s favorite credits include Every 28 Hours and The Ice Cream Sandwich Incident (FaultLine Theater). He has appeared in numerous staged readings at PlayGround and Playwrights Foundation. Daniel studies at Berg Studios and graduated from ucla.

Kerry is excited to make her debut at Berkeley Rep in Office Hour.

Her New York credits include The River on Broadway with Hugh Jackman (u/s Woman), Good Grief at Intar (Jessica), This Is How It Ends (Anti Christ) in Summer Shorts at 59E59 Theatres, and Much Ado About Nothing (Hero) with the Mobile Unit at The Public directed by Kwame Kwei-Armah. Regionally, she has performed at Dallas Theater Center in Romeo and Juliet (Juliet), at Center Stage in Vanya and Sonia and Masha and Spike (Cassandra), at Arena Stage in The Originalist (Cat), and at the Hudson Valley Shakespeare Festival in Twelfth Night (Viola) and The Book of Will (Alice). She is a graduate of the Juilliard School Group 42. Visit kerryawarren.com.

DENNIS

Jackie Chung GINA

Jackie’s off-Broadway credits include microcrisis and The Children of Vonderly (Ma-Yi Theater Company), Mother Courage and Her Children (The Public Theater/nysf), and After. (Partial Comfort Productions). Her regional credits include Caught (Firefly Theater & Films), Tiger Style! (La Jolla Playhouse), different words for the same thing (Center Theatre Group), brownsville song (b-side for Tray) (Actors Theatre of Louisville’s Humana Festival), Fast Company (South Coast Repertory), and Macbeth 1969 (Long Wharf Theatre). Film and TV credits include Grey’s Anatomy, Deadbeat, and Someone Else. Jackie is a member of Partial Comfort Productions and the Ensemble Studio Theatre.

Jeremy Kahn DAV I D

Jeremy has appeared in peerless (Marin Theatre Company); Another Way Home (Magic Theatre); Peter and the Starcatcher (TheatreWorks Silicon Valley); Tigers Be Still, The Fantasticks, Kimberly Akimbo, and 1 2 3 (San Francisco Playhouse); Tortilla Curtain (San Diego Repertory Theatre); Wittenberg (Aurora Theatre Company); The Liar, Baskerville, It Shoulda Been You, and The Storytelling Ability of a Boy (Center Repertory Company); The Rover (Shotgun Players); Bad Jews (Capital Stage Company); Max Understood (Paul Dresher Ensemble); Moonshiner (Jackalope Theatre Company); Shakespod (Edinburgh Fringe Festival 2008); and Would (nyc Fringe Festival 2012). Television and independent film credits include Looking, Unleashed, The Etruscan Smile (2018), Dirt (2018), and After Effect.

Jeremy received a Bachelor’s of Fine Arts from The Theatre School at DePaul University. Visit ActorJeremyKahn.com.

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GENEVIEVE

Julia Cho

P L AY W R I G H T

Julia’s plays include Aubergine (commissioned by and premiered at Berkeley Rep), The Language Archive, The Piano Teacher, Durango, The Winchester House, bfe, The Architecture of Loss, and 99 Histories. They have been produced in New York at Playwrights Horizons, Roundabout Theatre Company, The Public Theater, The Vineyard Theatre, and New York Theatre Workshop, and regionally at theatres such as South Coast Repertory, Long Wharf Theatre, and the Oregon Shakespeare Festival. Recent honors include the Will Glickman Award and the Susan Smith Blackburn Award. Julia has developed work for hbo and tnt and most recently was a writer/producer on amc’s Halt and Catch Fire.

She studied playwriting at Amherst College, New York University, and the Juilliard School and is an alumna of New Dramatists.

Lisa Peterson

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

Lisa is a two-time Obie Award-winning writer and director whose previous projects at Berkeley Rep include Watch on the Rhine (2017); It Can’t Happen Here (2016); Madwoman in the Volvo (2016); An Iliad (2012), which Lisa co-wrote with Denis O’Hare and which won Obie and Lortel Awards for Best Solo Performance; Mother Courage (2006); The Fall (2001); and Antony & Cleopatra (1999). 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 about faith called The Good Book and a commission for McCarter Theatre Center titled The Song of Rome. Lisa is also 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.

Matt Saunders

SCENIC DESIGNER

Matt designed A Doctor in Spite of Himself at Berkeley Rep. His recent off-Broadway work includes Pipeline (world premiere at Lincoln Center), Venus (Signature Theatre), Futurity (Soho Rep and Ars Nova), Good Person of Szechwan (Foundry and The Public Theater), and The Tempest (The Public/Delacorte). He has over 100 regional credits, including The Guthrie Theater, Mark Taper Forum, Huntington Theatre Company, Yale Repertory Theatre, Actors Theatre of Louisville, Children’s Theatre Company in Minneapolis, the Wilma Theater, Arden Theatre Company, Pig Iron Theatre Company, and Philadelphia Theatre Company.

His recent opera credits include We Shall Not Be Moved (world premiere, Opera Philadelphia, Apollo Theater) and Angel’s Bone (Prototype Festival). Matt has received Two Lucille Lortel nominations, a Drama Desk nomination, a Barrymore Award, and the F. Otto Haas Award.

He received his mfa from Yale School of Drama, is a Pew Fellow in the Arts and a Hodder Fellow at Princeton University, and is the associate artistic director of New Paradise Laboratories.

Matt is assistant professor of design at Swarthmore College. Visit mattsaunders.net.

Maggie Morgan

COSTUME DESIGNER

Maggie is pleased to be making her Berkeley Rep debut. She designed Soul Doctor on Broadway and off Broadway, The Real Thing at Aurora Theatre Company, and It Shoulda Been You and Tenderly at Center Rep. Her other regional credits include Mark Taper Forum, Kirk Douglas Theatre, South Coast Rep, Pasadena Playhouse, Arizona Theatre Company, San Jose Repertory Theatre, TheatreWorks, Magic Theatre, Hollywood Bowl, and Yale Repertory Theatre. She also designed Send Me: An Original Web Series on bet.com and Car Dogs starring Patrick J. Adams and George Lopez, and was the assistant designer on many films including Men in Black and Casino. Maggie is on the faculty at University of California, Davis. Visit maggiemorgandesign.com.

Scott Zielinski

LIGHTING DESIGNER

Scott’s Berkeley Rep credits include Head of Passes, An Iliad, Oliver Twist, Our Town, Ghosts, and The Fall. His Broadway credits include Top-

dog/Underdog and he has worked off Broadway at Atlantic Theatre Company, Classic Stage Company, Lincoln Center, Manhattan Theatre Club, New York Theatre Workshop, Playwrights Horizons, The Public Theater, Theatre for a New Audience, and others. He has worked at most theatres in the U.S. and internationally in Adelaide, Amsterdam, Avignon, Berlin, Bregenz, Edinburgh, Fukuoka, Gennevilliers, Hamburg, Hong Kong, Istanbul, Linz, Ljubljana, London, Lyon, Melbourne, Orleans, Oslo, Ottawa, Paris, Reykjavik, Rouen, St. Gallen, Seoul, Shanghai, Shizuoka, Singapore, Stockholm, Stuttgart, Sydney, Tokyo, Toronto, Vienna, Vilnius, and Zurich. Scott’s dance and opera credits include American Ballet Theatre, Bregenzer Festspiele, Boston Ballet, bam, Canadian Opera Company, cnd Paris, English National Ballet, Houston Ballet, Houston Grand Opera, Kennedy Center, Lithuanian National Opera, National Ballet of Canada, De Nederlandse Opera, nyco, Royal Opera, San Francisco Ballet, San Francisco Opera, Spoleto, Sydney Opera, and others. Visit scottzielinski.com.

Robert Kaplowitz

ORIGINAL MUSIC AND SOUND DESIGNER

Robert has spent the last 24 years designing sound and composing; he has been honored with an Obie Award for Sustained Excellence in Sound Design and a Tony Award for Fela! He owes much of his success to the

mentorship and belief of James Houghton during his years at the Eugene O’Neill Playwrights Conference. Among his 300+ artistic credits are designs for The Poor Itch; Bexley, OH!; and Ernest Shackleton Loves Me, all created for director Lisa Peterson. He also composes musicals, creates museum installations, runs Nine Hostage Arts in Philadelphia, teaches at Princeton, and loves his family more than anything else.

Thomas Schall

FIGHT DIREC TOR

Thomas has worked on over 70 Broadway shows, among them: Jitney, The Crucible, The Little Foxes, The Front Page, Blackbird, The Color Purple, Groundhog Day, Romeo and Juliet, Of Mice and Men, War Horse, Death of a Salesman, Venus in Fur, Wicked, and A View from the Bridge. His other New York credits include Hamlet, King Lear, Titus Andronicus, and Mother Courage (The Public Theater); A Free Man of Color and Blood and Gifts (Lincoln Center); Murder Ballad, Ruined, and The Cost of Living (Manhattan Theatre Club); Red Speedo and Othello (New York Theatre Workshop); The Hairy Ape (The Armory); and Nozze di Figaro, Il Trovatore, and Tosca (The Metropolitan Opera).

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; One Man, Two Guvnors; and An Octoroon.

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BE R K E L E Y R E P P R E S E N T S Calleri Casting CASTING

Calleri Casting is James Calleri, Paul Davis, and Erica Jensen. Broadway credits include Fool for Love, Hughie, The Elephant Man (also West End), Hedwig and The Angry Inch, The Visit, Of Mice and Men, Venus in Fur, Living on Love, 33 Variations, A Raisin in the Sun, Chicago, and James Joyce’s The Dead. Select off-Broadway credits include Buyer & Cellar, Murder for Two, All in the Timing, Passion, Lobby Hero, Fuerza Bruta, and Silence! The Musical. Casting for Classic Stage Company, Long Wharf Theatre, McCarter Theatre Center, The Flea, Keen, Playwrights Realm, Rattlestick, Humana Festival/Actors Theatre of Louisville, Williamstown Theater Festival, Berkeley Rep, City Theater, Oregon Shakespeare Festival, and Playwrights Horizons (10 seasons). TV: The Path for Hulu, Army Wives, Lipstick Jungle, Monk, Hope & Faith, and Ed. Calleri has cast for lots of film, including Mike Cahill’s Sundance winners Another Earth and I Origins. They were awarded 13 Artios Awards for Outstanding Casting Achievement.

Member csa. Visit callericasting.com.

Chris Waters

S TAG E M A N AG E R

Chris was the assistant stage manager for Ain’t Too Proud—The Life and Times of The Temptations and Hand to God, and most recently staged managed As You Like It at California Shakespeare Theater. Some of his favorite credits include Othello, King Lear, and Romeo and Juliet (California Shakespeare Theater); Safe House, Talley’s Folly and Rapture, Blister, Burn (Aurora Theatre); James and the Giant Peach (Bay Area Children’s Theater/ Shanghai Children’s Art Theatre); Orlando (TheatreFirst); pen/man/ship (Magic Theatre); and A House Tour of the Infamous Porter Family Mansion with Tour Guide Weston Ludlow Londonderry (Z Space), starring Danny Scheie. Chris holds an MA in theatre management from University of California, Santa Cruz and is a proud member of Actors’ Equity Association.

Long Wharf Theatre Long Wharf Theatre (Joshua Borenstein, Managing Director), in its 53rd season, is recognized as a leader in American theatre, producing fresh and imaginative revivals of classics and modern plays, rediscoveries of neglected works and a variety of work and American premieres. More than 30 Long Wharf productions have transferred virtually intact to Broadway or off Broadway, some of which include Napoli, Brooklyn; Satchmo at the Waldorf; My Name is Asher Lev; February House; The Glass Menagerie; the Pulitzer Prize-winning plays Wit by Margaret Edson; The Shadow Box by Michael Cristofer; and The Gin Game by D.L. Coburn.

The theatre is an incubator of new works, including Meteor Shower by Steve Martin and The Most Beautiful Room in New York by David Shire and Adam Gopnik. Long Wharf Theatre 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 4

profiles

has received New York Drama Critics Awards, Obie Awards, the Margo Jefferson Award for Production of New Works, a Special Citation from the Outer Critics Circle and the Tony® Award for Outstanding Regional Theatre.

Tony Taccone

MICHAEL LEIBERT 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.”

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 Berke-

ley 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.

Theresa Von Klug

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

Before joining Berkeley Rep, Theresa had over 20 years of experience in the New York not-for-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

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.

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BE R K E L E Y R E P PRESENTS profiles 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

STARTS MAR 9 RESERVE TICKETS TODAY!

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 productions 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.

Michael Suenkel

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

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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.

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 launch of Wise Aging, a program for adults addressing the challenges of growing older. They have three daughters and eight grandchildren.

Michael & Sue Steinberg SEASON SPONSORS

Michael and Sue have been interested in the arts since they met and enjoy music, ballet, and live theatre. Michael, who recently retired as chairman and chief executive officer of Macy’s West, served on Berkeley Rep’s board of trustees from 1999 to 2006 and currently serves on the board of directors of the Jewish Museum. Sue serves on the board of the World of Children. The Steinbergs have always enjoyed regional theatre and are delighted to sponsor Berkeley Rep this season.

The Strauch Kulhanjian Family SEASON SPONSOR

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Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently vice president of the board. He is chairman of The Roda Group (rodagroup.com), a venturedevelopment company based in Berkeley. The Roda Group is a lead investor in new battery, carbon capture, and water remediation technology companies based in Silicon Valley and Vancouver, Canada. Roger is chairman 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.

Bruce Golden & Michelle Mercer LEAD SPONSORS

Michelle and Bruce have been ardent supporters of Berkeley Rep since 1993, when they moved with two young children in tow to Berkeley. Their favorite evenings at Berkeley Rep were usually the discussion nights, where often friends would join them as well. Michelle and Bruce always felt that Berkeley Rep was an exceptional Bay Area cultural treasure as it was willing to support courageous new works and nurture innovative young playwrights. In 2002, Bruce and Michelle moved to London, where they nourished themselves on a steady diet of English theatre (note the proper spelling) until they could return to their beloved Berkeley Rep. They are delighted once again to be back in the very center of leading-edge theatre and are honored to be lead sponsors for two of this season’s great productions. Their two now-grown children are also tremendous theatre junkies and will hopefully be joining Bruce and Michelle for some of this season’s performances.

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GET IN ON THE

GROUND FLOOR “Something extraordinary is happening in Berkeley. On the smallest level, they are dedicated to the nurturing of artists—feeding us, housing us, giving us time to create.

But on the largest level possible, they are dedicated to nothing less than a wholesale change in the artistic landscape of our time.” —Julia Cho

BE R K E L E Y R E P P R E S E N T S Kerry Francis & John Jimerson EXECUTIVE SPONSORS

Kerry and John are excited to support Office Hour. John is the operational discipline team lead at Chevron’s Richmond refinery and has enjoyed the thought-provoking plays produced by Berkeley Rep. Kerry is a member of Berkeley Rep’s board of trustees, a partner at Deloitte, and a graduate of UC Berkeley.

Gail & Arne Wagner

EXECUTIVE SPONSORS

Arne Wagner retired from the law firm of Calvo Fisher & Jacob in San Francisco. In his retirement, he teaches high school math part-time and serves as treasurer for Tiba Foundation.

Gail Wagner recently retired from Kaiser in San Leandro where she was a hematologist and oncologist. She is the founder of Tiba Foundation (tibafoundation.org), an organization investing in community healthcare in an underprivileged district of western Kenya, in partnership with Matibabu Foundation. She is also on the board of Africa Cancer Foundation usa. Gail has been a Berkeley Rep trustee for five years and, together, Gail and Arne have been attending the Theatre since they were students in 1972.

Robin & Rich Edwards SPONSORS

The Ground Floor, Berkeley Rep’s R&D facility for artists, comprises year-round commissions, workshops, and events, all dedicated to supporting artists developing new work for the theatre.

• Looking for a quiet, concentrated place to write?

Join us at the East Bay Writers’ Room. Reserve your spot online: berkeleyrep.org/groundfloor/ writersroom • Our Summer Residency Lab brings theatre-makers of every stripe to Berkeley each June to work on projects in development. To attend Lab presentations, sign up for our mailing list: berkeleyrep.org/groundfloor

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Robin and Rich have been strong supporters of Berkeley Rep for more than 20 years when they started serving on the gala committee (on which they continue to serve). Rich was co-chair of the Narsai Toast for five years.

Robin retired from active law practice as a partner of Dentons US llp six years ago and joined Berkeley Rep’s board in early 2012. Rich retired in 1998 as a senior partner of SF’s Robertson Stephens & Co., a high-tech-focused investment bank, and became a professional photographer. Both Rich and Robin have been very active as board members and fundraisers for numerous Bay Area nonprofit organizations. They now spend about half the year traveling the world by sea.

Cynthia A. Farner SPONSOR

Cynthia is looking forward to sponsoring Office Hour. She worked in theatre in her 20s before deciding that medicine was a better fit.

She is a practicing physician in San Francisco with a continuing interest in theatre and has an extensive art collection.

Jill & Steve Fugaro

profiles

doing ambassador visits with elders and a dog team for Hospice of the Bay, and is UC Master Gardener literary editor for a weekly Marin Independent Journal horticulture column. Steve is a primary care internist practicing in San Francisco, affiliated with both cpmc and ucsf.

He is chair of the board of the San Francisco Health Plan and is past president of The San Francisco Medical Society. Steve and Jill both serve as trustees of Sausalito Presbyterian Church and are singers in the Chancel Choir.

Jack Klingelhofer SPONSOR

Jack is the founder and former owner of an information technology company located in the East Bay since 1981, and he is pleased that its success has allowed him to contribute to his other passion, the East Bay arts scene. As a long-term subscriber, Jack is excited to support the creative excellence at Berkeley Rep, whose performances have meant so much to him over the years.

Laura & Nicholas Severino SPONSORS

Laura and Nick are delighted to sponsor Office Hour, especially after they were captivated

by Julia Cho’s Aubergine. The Severinos have been longtime, passionate supporters of the humanities. Laura has served on several committees and fundraisers for the community, including the 2017 Berkeley Rep gala committee. She is a proud new trustee of Berkeley Rep. Nick has been an executive at Apple Inc. for over a decade. Laura and Nick believe strongly in the importance of the arts, and are particularly proud to support the creative work of Berkeley Rep.

BART

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!

SPONSORS

Peet’s Coffee

Jill is a member of Berkeley Rep’s Ovation gala committee and chair of the trustees committee on the board of trustees. She is the retired co-founder and ceo of Murlin Apparel Group, Inc., the Jill Martin and Maggi sportswear design and manufacturing company. She is part of Marin Humane’s share dog program

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

SEASON SPONSOR

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 Assistant director Laura Humphrey Deck crew Bradley Hopper · Matt Reynolds Electrics Spencer Dixon · Zach Fischer · Cicily Clare Gruber · Gabriel Holman · Bradley Hopper · David Lynch · Melissa Ramirez · Minerva Ramirez · Sarina Renteria · Corey Schaeffer · Nathanael C. Schiffbauer · Andrea J. Schwartz · Kourtney Snow · Ericka Sokolower-Shain · Joshua van Eyken · Lauren Wright Production assistant James McGregor Props Noah Kramer · Dara Ly Scene shop James Chandler · Jennifer Costley · Will Gering · Chance Grable · ET Hazzard · Carl Martin · Sean Miller Scenic artists Lassen Hines · Katie Holmes · Christopher Jee · Anya Kazimierski Sound engineer Xochitl Loza Stage carpenter Kourtney Snow Special thanks to our community partner for Office Hour, Berkeley Media Group Medical consultation for Berkeley Rep provided by Cindy J. Chang, MD, ucsf Clinical Professor, and Steven Fugaro, MD. 2 0 1 7–1 8 · I S S U E 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 9

BE R K E L E Y R E P THANKS

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 November 2016 and December 2017.

Institutional Partners LEGEND

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 The Reva and David Logan Foundation Jonathan Logan Family Foundation Koret 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 $ 10,0 0 0 –24,9 9 9 Berkeley Civic Arts Program Ramsay Family Foundation

G IF T S O F $5,0 0 0 –9,9 9 9 Anonymous Distracted Globe Foundation Ann and Gordon Getty Foundation 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 Karl & Alice Ruppenthal Foundation for the Arts Frank Sinatra Foundation twanda Foundation

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

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

LE A D S P O N S O R 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

PE RFO 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

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

American Express

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 Almare Gelato Angeline’s Louisiana Kitchen Au Coquelet Aurora Catering

Autumn Press Bare Bobby G’s Pizzeria Brown Sugar Kitchen Comal Corison Winery Donkey & Goat Winery East Bay Spice Company Eureka! five Gather Restaurant gio’s Pizza & Bocce Hugh Groman Catering Jazzcaffè La Méditerranée La Note Lucia’s of Berkeley

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Maker’s Common ocho Candy 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

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 November 2016 and December 2017.

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

BE R K E L E Y R E P THANKS

Donors to the Annual Fund

S P ON S OR C I RC L E Guy Tiphane Kelli & Steffan Tomlinson Gail & Arne Wagner

SEASON SPONSORS Jack & Betty Schafer Michael & Sue Steinberg The Strauch Kulhanjian Family LE A D S P O N S O R S Edward D. Baker Yogen & Peggy Dalal Bruce Golden & Michelle Mercer Frances Hellman & Warren Breslau Jane Marvin/Peet’s Coffee Stewart & Rachelle Owen Mary Ruth Quinn & Scott Shenker E XECU TIV E S P O N S O R S Anonymous Barbara Bakar Michelle Branch & Dale Cook Susan Chamberlin John Dains Bill Falik & Diana Cohen Kerry Francis & John Jimerson Wayne Jordan & Quinn Delaney Lata Krishnan & Ajay Shah Monica Lopez & Sameer Gandhi Marjorie Randolph Rummi & Arun Sarin kbe Jean & Michael Strunsky

SPONSORS Anonymous (2) Maria Cardamone & Paul Matthews David & Vicki Cox Thalia Dorwick Robin & Rich Edwards Cynthia A. Farner David & Vicki Fleishhacker Paul Friedman & Diane Manley Jill & Steve Fugaro Karen Galatz & Jon Wellinghoff Paul Haahr & Susan Karp Scott & Sherry Haber James C. Hormel & Michael P. Nguyen Jerry & Julie Kline Jack Klingelhofer Suzanne LaFetra Sandra & Ross McCandless Dugan Moore Pam & Mitch Nichter Leonard X & Arlene B. Rosenberg Sheli & Burt Rosenberg, in honor of Len & Arlene Rosenberg

Joe Ruck & Donna Ito Patricia Sakai & Richard Shapiro Joan Sarnat & David Hoffman Liliane & Ed Schneider Nick & Laura Severino Felicia Woytak & Steven Rasmussen 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 The Battle Family Foundation Ben Brown & Louise Rankin Brook & Shawn Byers Lynne Carmichael Julie & Darren Cooke Robert Council & Ann Parks-Council Paul Daniels, in honor of Peter Yonka William Espey & Margaret Hart Edwards Tracy & Mark Ferron Steven Goldin Hitz Foundation Christopher Hudson & Cindy J. Chang, MD K

Ms. Wendy E. Jordan Rosalind & Sung-Hou Kim Ted & Carole Krumland Peter & Melanie Maier Helen M. Marcus Dale & Don Marshall Phyra McCandless & Angelos Kottas Martin & Janis McNair Ed Messerly & Sudha Pennathur Steven & Patrece Mills M Norman & Janet Pease Peter Pervere & Georgia Cassel Barbara L. Peterson Gary & Noni Robinson Cynthia & William Schaff Emily Shanks M Pat & Merrill Shanks Shirlen Fund, in memory of Shirley and Philip Schild Ed & Ellen Smith Karen Stevenson & Bill McClave Lisa & Jim Taylor Wendy Williams Linda & Steven Wolan Martin & Margaret Zankel

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 Jennifer Chaiken & Sam Hamilton Barbara & Rodgin Cohen Karen & David Crommie Lois M. De Domenico Nancy & Jerry Falk Nelson Goodman 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 Kathleen & Chris Jackson Barbara E. Jones, in memory of William E. Jones Seymour Kaufman & Kerstin Edgerton Duke & Daisy Kiehn Wanda Kownacki Louise Laufersweiler & Warren Sharp Eileen & Hank Lewis Sumner & Hermine Marshall Miles & Mary Ellen McKey Susan Medak & Greg Murphy Toby Mickelson & Donald Brody Janet & Clyde Ostler Sandi & Dick Pantages Rezwan & Azarmeen Pavri Kermit & Janet Perlmutter Pure Dana Fund Sue Reinhold & Deborah Newbrun Timothy Rempel K Gregg Richardson & Lee Mingwei K David S. H. Rosenthal & Vicky Reich

Jaimie Sanford & Ted Storey Beth & David Sawi Jackie Schmidt-Posner & Barry Posner Joyce & Jim Schnobrich Neal Shorstein, MD & Christopher Doane Stephen & Cindy Snow Audrey & Bob Sockolov Vickie Soulier Deborah Taylor Barrera Susan West Barry Williams Patricia & Jeffrey Williams Sheila Wishek Sally Woolsey

B E N E FAC TO R S

Anonymous (5) 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 M David Beery & Norman Abramson Michael S. Berman, in memory of John & Carol Field Caroline Beverstock Naomi Black Cynthia & David Bogolub Caroline Booth Bernard Boudreaux Linda Brandenburger Eric Brink & Gayle Vassar M Broitman-Basri Family Don & Carol Anne Brown Tracy Brown & Greg Holland

Don Campbell and Family M Ronnie Caplane Leslie Chatham & Kathie Weston Betsey & Ken Cheitlin Paul Collins K Constance Crawford James Cuthbertson Barbara & Tim Daniels M Richard & Anita Davis 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 Thomas & Sharon Francis Lisa Franzel & Rod Mickels Donald & Dava Freed Herb & Marianne Friedman James Gala Kevin & Noelle Gibbs Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Mary & Nicholas Graves 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 Richard N. Hill & Nancy Lundeen Elaine Hitchcock Bill Hofmann & Robbie Welling M Don & Janice Holve, in memory of Daisy & Paul Persons

Hilary & Tom Hoynes Paula Hughmanick & Steven Berger Lynda & Dr. J. Pearce Hurley Roxanna Jackman, in honor of Mary & Norman Jackman Bill & Lisa Kelly Duke & Daisy Kiehn Stephen F. Kispersky Jean Knox Michael Kossman John Kouns & Anne Baele Kouns Lucy Kuntz, in honor of The Cage Players Woof Kurtzman & Liz Hertz Randy Laroche & David Laudon Sherrill Lavagnino & Scott McKinney Andrew Leavitt & Catherine Lewis Nancy & George Leitmann, in memory of Helen Barber Henry Lerner, in honor of Joanne Levene Lerner Ellen & Barry Levine Suzanne & William Lingo Vonnie Madigan Elsie Mallonee Lois & Gary Marcus Charlotte & Adolph Martinelli Rebecca Martinez Jill Matichak Kirk McKusick & Eric Allman Dan Miller Andy & June Monach Scott Montgomery & Marc Rand Judith & Richard Oken Sheldeen Osborne Judy O’Young, MD & Gregg Hauser Bob & MaryJane Pauley Mary Ann Peoples, in memory of Lou Peoples David & Bobbie Pratt

Linda Protiva Lawrence Prozan Bill Reuter & Ruth Major Maxine Risley, in memory of James Risley Deborah Romer & William Tucker Boyard & Anne Rowe Enid & Alan Rubin Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Jackie & Paul Schaeffer Linda & Nathan Schultz Brenda Buckhold Shank, M.D., Ph.D. Dave & Lori Simpson Sherry & David Smith Valerie Sopher Sally & Joel Spivack Gary & Jana Stein Alison Teeman & Michael Yovino-Young Susan Terris Sam Test Sushmita Vij Jonathan & Kiyo Weiss Beth Weissman Wendy Willrich Steven Winkel & Barbara Sahm 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.

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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

CH A M PIO N S

Anonymous (4) · Fred & Kathleen Allen · Elisabeth Andreason & Melissa Allen · Marcia & George Argyris · Ross E. Armstrong · Jolie Baumgardner · Susan Benzinger, in memory of Zan Gray Bealmear · Robert Bransten, in memory of John & Carol Field · Davis Carniglia & Mary-Claire Baker · John Carr · Paula Carrell · Anthony J. Cascardi · Sumir Chadha · Ed & Lisa Chilton · Richard & Linnea Christiani · John & Izzie Crane · Ilana DeBare & Sam Schuchat · Harry & Susan Dennis · David Deutscher · Burton Peek Edwards · Paul Feigenbaum & Judy Kemeny · Martin & Barbara Fishman · Frannie Fleishhacker · James & Jessica Fleming · Samuel Fogleman, in memory of Zan Gray Bealmear · Don & Janie Friend, in honor of Bill & Candy Falik · Chris R. Frostad M · Ann Harriman, in memory of Malcolm White · Dan & Shawna Hartman Brotsky · Rick Hoskins & Lynne Frame · Dean Francis · Howard Hertz & Jean Krois · The Hornthal Family Foundation, in honor of Susie Medak · Marilyn & Michael Jensen-Akula · Randall Johnson · Corrina Jones · Fred Karren, in memory of Beth Karren · Dennis Kaump · Lynn Eve Komaromi, in honor of the Berkeley Rep Staff · Janet Kornegay & Dan Sykes · Craig Labadie · Susilpa Lakireddy · Helen E. Land · Jane & Mike Larkin, in memory of Jerry & Marilyn Ungar · Barbara & Thomas Lasinski · Marcia C. Linn · Dixon Long · Sidne S. Long · Jay & Eileen Love · Naomi & Bruce Mann · John E. Matthews · Erin McCune · Karen & John McGuinn · Harry Mixon Esq · Geri Monheimer, in honor of Sharon Kinkade · Brian & Britt-Marie Morris · Jerry Mosher · Marvin & Neva Moskowitz · Patricia Motzkin & Richard Feldman · Daniel Murphy · Jane & Bill Neilson · Christina & Geoffrey Norman, in memory of John & Carol

We gratefully recognize the following members of the Annual Fund whose contributions were received from October 23, 2017 to January 10, 2018: S U PP O R T E R S

Anonymous (8) · Terry Pink Alexander, in honor of Susie Medak · Gertrude E. Allen, in memory of Robert Allen · Robert & Evelyn Apte · Dr. Frank Barham · Steve Benting & Margaret Warton · Barbara Benware · Steve Bischoff · The Blackman Family · Beverly Blatt & David Filipek · Brian Bock & Susan Rosin · Bob & Barbara Brandriff · Barbara & Ray Breslau · Paula Campbell · Robert & Margaret Cant · Carolle J. Carter & Jess Kitchens · Lea Chang · Ruth Conroy · Armando Cuellar · Meredith Daane M · Dennis T. De Domenico & Sandra Brod · Carol Dolezal · Amar & Manali Doshi · Michael Ehrenzweig & Josh Bettenhausen · Roger & Jane Emanuel · Mary & Ben Feinberg · Patricia Fox · The Freedmans · Marlyn Gershuny · Lucia & John Gilbert · Tom Given · Judith & Alex Glass · Jane Gottesman & Geoffrey Biddle · Diana Graham & Jack Zimmermann · Mr. & Mrs. Kevin Hagerty · Frede S. Hammes · Rosalie Holtz · Joanne Howard · Polly & Greg Ikonen · Pauline Jue · Helmut H. Kapczynski & Colleen Neff · Ken & Karen Keller · Beverly Phillips Kivel · John Kruse & Gary Beuschel · Jennifer Kuenster & George Miers · Marit Lash · Dottie Lofstrom · Larry & Nancy Ludgus · Bruce Maigatter & Pamela Partlow · Joan & Roger

Field · Pier & Barbara Oddone · Carol J. Ormond · Lynette Pang & Michael Man · Gerane Wharton Park · Regina Phelps · Malcolm & Ann Plant · Gary & Jean Pokorny · David & Mary Ramos · Kent Rasmussen & Celia Ramsay · Reuben, Junius & Rose, llp, in memory of John & Carol Field · Audrey & Paul Richards · Helen Richardson · John & Jody Roberts · Galen Rosenberg & Denise Barnett · Martha Ross · Dace P. Rutland · Teddy & Bruce Schwab · Andrew & Marva Seidl · Beryl & Ivor Silver · Cherida Collins Smith · Alice & Scott So · Douglas Sovern & Sara Newmann · John St. Dennis & Roy Anati · Monroe W. Strickberger · Pate & Judy Thomson · Michael Tubach & Amrita Singhal · Larry Vales · William van Dyk & Margi Sullivan · Jennifer M. Van Natta · Pamela Gay Walker/Ghost Ranch Productions · William R. Weir · Elizabeth Werter & Henry Trevor · Susan & Harvey Wittenberg · Charles Wolfram & Peter Wolfram · Ron & Anita Wornick

A DVO C AT E S

Anonymous (16) · Abbey Alkon & Jonathan Leonard · Emily Arnold · Steven & Barbara Aumer-Vail · Celia Bakke · Susan & Barry Baskin · Stephanie Beach · Richard & Kathy Berman · Ed & Kay Blonz · Karen Bowen & Beth Gerstein, in honor of Donald Trump · Marilyn Bray · Peter Brock · Craig Broscow · John H. Buckman · Jane Buerger · Dr. Alan Burckin & Carol Olmert · Bruce Carlton · Laura Chenel · Terin Christensen · Karen Clayton & Stephen Clayton · Jim & Jeanette Cottle · Jane & Tom Coulter · Carolyn & Phil Cowan · Michael & Denise Coyne · Ed Cullen & Ann O’Connor · Pam & Mike Crane · Sheila Cullen · Sharon & Ed Cushman · Jill & Evan Custer · Brett D’Ambrosio · Kathleen Damron · Joshua Dapice · Pat & Steve Davis · ddl Productions, in memory of Zan

Mann · Sue & Phil Marineau · Marie Singer McEnnis · Joanne Medak & Peter Katsaros · Seth Mickenberg & Alfredo Silva · Fred & Susan Pownall · Carla & David Riemer · Paul & Margaret Robbins · Paul & Patti Sax · Emily Sexton · Arlene & Matthew Sirott · Louis & Bonnie Spiesberger · Joan H. Story & Robert F. Kidd · Trevor & Anne-Marie Strohman · Joyce & Jack Sweitzer · Jane & Jay Taber · Ruthann Taylor · Prof. Jeremy Thorner & Dr. Carol Mimura · Buddy & Jodi Warner · Rhona & Harvey Weinstein · Mark Whatley & Danuta Zaroda · H. Leabah Winter · Sandra Yuen & Lawrence Shore · Margaret & Rick Zawadski

CO N T RIB U TO R S

Anonymous (16) · Rose Marie Avery · Lisa Bailey · Todd & Diane Baker · Richard & Ann Batman · Ann Bauman & Kelly Thiemann · Hebe & James Beard · Jim & Donna Beasley · Barbara Beck · Charles Benedict · Robert & Wendy Bergman · Alison Bers · Robin & Edward Blum · Adriane & Barry Bosworth · Esta Brand · Sandra Briggs · Tracy Brog · Patty & Geoff Chin · Melissa & Scott Clarke · Barbara Clayton & Marc Nelson · Chris & Martie Conner · Nancy N. Conover · Rollin & Pamela Coville · John & Lois Crowe · Jane Decker · Cecilia Delury & Vince Jacobs · Jacqueline Desoer · Debashis Dhar & Devyani Biswas · Karen & David Dolder · Nancy Drooker & Alix Sabin · Jeanene E. Ebert · George Eeds · Carol Egan · Edwin Eng · Malcolm D. Ewen · The Fazio/Granados Family · Anita & Steven Feinstein · Nancy E. Fleischer · Thomas & Sandra Friedland · Kelli M. Frostad · Susanne Gallagher · David Gibson M · Anders Glader · Paul Goldstein & Dena Mossar · Nancy A. Goolsby · Linda Graham · Bonnie Grossman · Barry & Micheline Handon · Jeannene Hansen · Alan Harper & Carol Baird · Dee Hartzog · Richard

3 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 7–1 8 · I S S U E 4

Bealmear · Jerome & Thao Dodson · 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 · Alan Entine · Gini Erck & David Petta · Michael Evanhoe · Sheilah & Harry Fish · Brigitte & Louis Fisher · Martin Fleisher · Michael & Vicky Flora · Jacques Fortier · Mary & Stan Friedman · David Gaskin & Phillip McPherson · Karl & Kathleen Geier · Tim Geoghegan · Gwendolyn Goldsby, in memory of Angela Paton · Barry & Erica Goode · Gail Gordon & Jack Joseph · Gene Gottfried · Rico & Maya Green · Sheldon & Judy Greene · Don & Becky Grether · Ken & Karen Harley · Paula Hawthorn & Michael Ubell · Geoffrey & Shawn Haynes · Clifford Hersh · Dixie Hersh · Doug & Leni Herst, in honor of Susie Medak · Fran Hildebrand · George & Leslie Hume · Alex Ingersoll & Martin Tannenbaum · Mr. & Mrs. Harold M. Isbell · Anne & Douglas Jensen · Ann L. Johnson · Reese & Margaret Jones · Claudia & Daly Jordan-Koch · Kaarel Kaljot · Pat Kelly & Jennifer Doebler · Kimberly J. Kenley-Salarpi · Beth & Tim Kientzle · Christopher Killian & Carole Ungvarsky · Jack & Birthe Kirsch · Deborah & David Kirshman, in memory of John & Carol Field · Jeff Klingman & Deborah Sedberry · Susan Kolb · David & Joan Komaromi · Kenneth Kulander · Wayne Lamprey & Dena Watson-Lamprey · Robert Lane & Tom Cantrell · David & Mari Lee · Glennis Lees & Michael Glazeski · Ray Lifchez · Julianne Lindemann & Michael Weinberger · Jennifer S. Lindsay · Deidre & Loren Lingenfelter, in memory of Zan Bealmear · Jacqui & Terry Long · Loveable Feast, in memory of Zan Bealmear · Gerry & Kathy MacClelland · Paul Mariano · Charles Marston & Rosa Luevano · Igor Maslennikov · Caroline McCall & Eric Martin · Daniel & Beverlee McFadden · John G. McGehee · Brian McRee ·

George & Jeri Medak, in memory of Alexandra Victoria Gray-Bealmear · Ruth 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 · Sharon Noteboom · Judy Ogle · Suzette S. Olson · Eddie & Amy Orton · Frederick Oshay · 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 · F. Anthony Placzek · Charles Pollack & Joanna Cooper · Susie & Eric Poncelet · Roxann R. Preston · Paula B. Pretlow · Rich Price · Laurel & Gerald Przybylski · Sheldon & Catherine Ramsay · Teresa L. Remillard · Rick & Stephanie Rogers · Deborah Dashow Ruth, in memory of Leo P. Ruth · Dorothy R. Saxe · Laurel Scheinman · Bob & Gloria Schiller · Dr. David Schulz · Seiger Family Foundation · Marc & Jane Seleznow · Sarah E. Shaver · Steve & Susan Shortell · Joshua & Ruth Simon · William & Martha Slavin · Carra Sleight · Suzanne Slyman · Jerry & Dick Smallwood · Sigrid Snider · Robert & Naomi Stamper · Herbert Steierman · Annie Stenzel · Carol Sundell · Tracy Thompson · Karen Tiedemann & Geoff Piller · Henry Timnick · Amy Tobin & Scott Jacobson · Lynn Tolin, in memory of John & Carol Field · Mike & Ellen Turbow · Dean Ujihara · Sharon Ulrich & Marlowe Ng · Sarah Van Roo · Mr. Leon Van Steen · Carol Verity · Gerald & Ruth Vurek · Louise & Larry Walker · Robert & Sheila Weisblatt · Sallie Weissinger · Dr. Ben & Mrs. Carolyn Werner · Robert T. Weston · Dick & Beany Wezelman · Sharon & Kenneth Wilson · Laura & Ernest Winslow · Dorothy Witt · Margaret Wu & Ciara Cox · Bob & Judi Yeager · Lee Yearley & Sally Gressens

L. Hay · Daria Hepps & Franco Faraguna · Lorraine Honig · Ralph Pais & Gayl Huston · Stephen & Helene Jaffe · Elizabeth Jasny · Armond & Kathy Jordan, in memory of Alice L. Cummings · Janice Kelly & Carlos Kaslow · Margaret Kendall, in memory of Robert Beck · Amalia Kessler & Adam Talcott · Carl & Ellie Kinczel · Andy Kivel & Susan Goldstein · Peggy Kivel · Shirley Langlois · Claudette & Robert Layman, in honor of Francine Austin · Susan Ledford · Catherine Lerza · Ronald & Shoshana Levy · Dr. Ludwig H. Lin & Kieron Leslie · Margaret Liu & Robert Johnson · Jane & Bob Lurie · Robert & Dorothy Mack · Ingrid Madsen & Victor Rauch · Joseph Marcellino · Suzanne McCombs · Laura McCrea · Yvonne & Jack McCredie · Kathleen McNamara · The Medress Family Fund of the Jewish Community Foundation · Ellen Meltzer · John & Rosemary Merchant · Mary & Gene Metz · Spencer & Roberta Michels · Mary & Dennis Montali · Peggy & John Mooney · Gregg & Ruth Morris · Charles Olson & Yoko Watanabe · Paul Paulson & Robert Siefer · Robert & Audrey Pedrin · Mr. L. William Perttula · James F. Pine · Phyllis Pottish-Lewis & Adam Lewis · Mark J. Powers & Albert E. Moreno · William Rawson & Judith Sulsona · Arthur Reingold & Gail Bolan · Marc A. Rieffel · John Rosenberg & Diane Gerstler · Ellen Rosenfield · William Kendall Rothaus · Carol A. Savary & George Koster · Thomas Savignano & Peter Benson · Barbara & Jerry Schauffler · Thomas Scheibe · Richard J. Schoofs · Diane Schreiber & Bryan McElderry · Lyman Shaffer · Craig Shear · Maggi Smeal · Archie & Geraldine Smith · Debbie Smith · Richard & Darlene Smith · Karla Spormann · Donald Stang & Helen Wickes · Anne & Douglas Stewart · Kathy Morgan Stewart, in honor of Corinne Stewart · Eric Stietzel · Bernard R. Tagholm, in

memory of Juniper Marley Allen · Jeff & Catherine Thermond · Nancy Thomas · Bill & Sandy Threlfall · Lawrence Tjernell · Paula Trauner · Janis Kate Turner · Marvalee & David Wake · Gary Wayne & Frances Dinkelspiel · Claudia Wilken & John M. True · Fred Winslow & Barbara Baratta · Marti & Shelly Zedeck · Ellen & Irving Zucker

FRIE N D S

Anonymous (28) · Ida & Myles Abbott · Don & Bette Anderson · Melissa C. Anderson · Don & Noel Anger · Vivian & David Auslander · Paul Axelrod · Erin Badillo & Jonathan Fearn Badillo · Phyllis Bail · Beryl Baker · Chuck & Judy Barnett · Michael & Della Barnett · Phillip Batson · David Beckman · Jennifer Bell · Karen Bergin · Thomas & Lori Breunig · Donald Brown · Melody Burns · Mary Callahan and Cliff Weingus · Cristina Campbell & Tim DeWolf · Barbara Cannella · Linda Carr & Jay Siegel · Carol & Orlo Clark · Jeanne Clinton · Renate & Robert Coombs · Ralph C Cooke, III · Leslye Corsiglia · Philip Crawford · Kevin Crilly · Lori Crowley · Rena David & Walt Meyers · Mr. & Mrs. Alain deJanvry · Teresa DeLillo · Carol DiFilippo · John Dineen · Virginia Duplessis & David White · Randy Earle · Tony Estremera · James Finefrock & Harriet Hamlin · Catherine Fox · Ms. Janet Fox · Christie Fraser · Mary & Doug Fraser · Don Fujino · Sharon Garcia · Paul & Marilyn Gardner · David & Susan Garfin · Polly Gassler & Ann Cirksena · Nancy Gaynor · Janice & Chuck Gebhardt · Robert Gee & Mark Conn · Helen & Paul Gerken · David Gettman · Arlene Getz · Rich Gillette · Karen Giorgianni · Harold & Gail Glassberg · Beth Gleghorn · Christine & David Goldin · Herbert Goodman · Nancy J. Greenberg · Paul & Susan Grossberg · Cecille Gunst · Eric Hahn · Lawrence Hammer & Judith Tomasso · Eleanor Hanauer, in honor of Beulah & Leonard Hanauer · Elizabeth Hart

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

Donors to the Annual Fund

& Andrew Friedman, in memory of Carol & John Field · Carol & Tony Henning · Deborah R. Hensler · Douglas Hill & Jae Scharlin · Lee J. Horowitz · Wilma S. Horwitz · Jane & Nicholas Hyde · Barbara B. Job · Jeff Jue, Berkeley High Boy's Tennis Coach · Don & Kim Kahler · Harlan & Pearl Kann · Susan Kaplan · Marjorie & Theodore Keeler · Kate & Kevin Kelly · Doris Kinsley · Karin Kinzel · Kathleen Kirby · Annie & Keith Knudsen · Nancy Kornfield · Neil & Peggy Kostick · DawnMarie Kotsonis · Brooke Kuhn · Kupcho/Hawksworth Trust · Regina Lackner,

in memory of Ruth Eis · Maria & David Laforge · Judith Lamberti, MD · Ms. Lauren L. Lassleben · Antoinette LeCouteur · Janet Leeds · Colleen & Brian Lewis · Karl & Betsy Livengood · Paul & Robin Ludmer, in honor of Ronni, Michael & Georgia Minnis · Paul & Claire Maxwell · Edith Mendez · Adrienne V. Miller, in honor of Daria Hepps and Franco Faraguna · Carrol Mills, in memory of Stan Eremia · Sandy Mills · Susan Moss · Katherine K. Murphy · Ronald & Irene Nakasone · Shirley Negrin · James & Alicia Nelson · Theresa

Sustaining members as of January 2018:

Anonymous (7) Norman Abramson & David Beery Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Neil & Gene Barth Susan & Barry 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

Nelson & Bernard Smits · Judith Norberg · Jim & Marcia Nybakken · Sallie & Richard Olsen · David & Mary O'Neill · Nancy Park · Patricia Payne · Peter Peacock · Gail & Gerald Pogoriler · Steven Potter · K. Racanelli & MJ Bogatin · Daniel & Barbara Radin · Joe & Ann Ranish · Donald A. Riley & Carolyn Serrao · Ed & Irene Rimer · Myrna & Leon Rochester · Marjorie Roth · Dr. & Mrs. Richard Rozen · L. M. Rubinoff · M. Ryce · Suzanne Samberg · Carolyn Sanders · Birgit & Thomas Schmidt · Jane & Alan Schoenfeld · Georgia Schreiber ·

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 Don & 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 Bonnie McPherson Killip Lynn Eve Komaromi 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

Jan Schreiber · Edna Shipley · Sharon Silva · Rochelle Sklansky · Anne Smith · Nicholas Smith · Patricia N. Smith · Sylvia Smith · Nancy Spero & Norm Brand · Thomas H. Sponsler · Linda J. Stanley · Alan & Charlene Steen · Alice Steiner · Barbara Sternfeld · Dr. and Mrs. Pavel Svihra · Joyce Tayer · Michael & Katherine Taylor · Brooks Thorlaksson · Dana Tom & Nancy Kawakita · Ronald Trotter · Ms. Sheila Valorose · Margo Webster · Alison Wellsfry & Judy Porat · Alice Wilkins · Barbara Williams · Danita Yocom & Ray Chavira · Stan Zaks

Miles & Mary Ellen McKey Margaret D. & Winton McKibben Ruth Medak Susan Medak & Greg Murphy Stephanie Mendel Toni Mester Shirley & Joe Nedham Theresa Nelson & Bernard Smits 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.

Play your part in bringing unforgettable stories to life.

P H OTO BY S T E V E TA N N ER

Katy Owen in 946: The Amazing Story of Adolphus Tips

SHARE UNFORGET TABLE STORIES BE PART OF THE STORY Text BACKSTAGE to 41444 berkeleyrep.org/give

2 0 1 7–1 8 · I S S U E 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 3

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 Artist in Residence Stephen Spinella 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 Interim Assistant Production Manager Zoey Russo Company Manager Jean-Paul Gressieux S TAG E M A NAG E M E N T Production Stage Manager Michael Suenkel Stage Managers Molly Meg Legal · Leslie M. Radin · Kathy Rose · Karen Szpaller · Chris Waters · Kimberly Mark Webb Production Assistants Bradley Hopper · Hana Kadoyama · Amanda Mason · James McGregor · 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

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 A DM I N I S T R AT ION Controller Suzanne Pettigrew Associate Managing Director/ Manager, The Ground Floor Sarah Williams Associate General Manager Amanda Williams O’Steen Yale Management Fellow Jaime Totti Executive Assistant Kate Horton Bookkeeper Kristine Taylor Associate Controller Eric Ipsen Payroll Administrator Katie Riemann Tessitura User Interaction Administrator Destiny Askin Information Technology Manager 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 Stewardship Officer Woof Kurtzman 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

3 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 7–1 8 · I S S U E 4

Audience Development Manager Samanta Cubias Webmaster Christina Cone Video & Multimedia Producer Joel Dockendorf Program Advertising Pamela Webster Front of House Director Kelly Kelley Front of House Manager Debra Selman House Managers Steven Coambs · Aleta George · Kimberly Harvey-Scott · Tuesday Ray · Debra Selman Lead Concessionaires Steven Coambs · Molly Conway · Nina Gorham · David Rogers · Emily Weiss Concessionaires Chloe Auletta-Young · Jessica Bates · Daniel DellaRipa · Casey Fay · Lorenz Gonzales · Katie Holmes · Serene LaBue-Deshais · Luci Liss · Johnny Lloyd· May Rasheed · David Rogers · Michelle Sellers · Win Wallace Ticket Services Director Geo Haynes Subscription Manager Laurie Barnes Box Office Supervisor Julie Gotsch Box Office Agents Marianne Almero · Gabrielle Boyd · Carmen Darling · Jordan Don · Katherine Gunn · Lian Ladia · Jaden Pratt OP E R AT ION S Facilities Director Mark Morrisette Facilities Coordinator Andrew Susskind Building Engineer Thomas Tran Building Repair Technician Kevin Pan Production Driver Laurence Tasse Facilities Assistants Theresa Drumgoolie · Sophie Li · Alex Maciel · Carlos Mendoza · Guy Nado · Jesus Rodriguez · LeRoy Thomas

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 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 Office Hour Docents Matty Bloom, Lead Docent Francine Austin · Jim Brown · Dee Kursh · Rhea Rubin · Thomas Sponsler · Joan Sullivan · Catherine Warren · Linda Williams

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 BERKELEY REP Graphic Design Fellow S C HO OL OF T H E AT R E Kendall Markley Director of the School of Theatre Harry Weininger Sound Fellow Rachel Hull Cecilia Pappalardo Associate Director Lighting/Electrics Fellow MaryBeth Cavanaugh Domino Mannheim Program Manager, Training and Marketing/Digital Community Programs Communications Fellow Anthony Jackson Arielle Rubin Education Communications and Peter F. Sloss Literary/ Partnerships Manager Dramaturgy Fellow Marcela Chacón James Dinneen Data and Tessitura Analyst Production Management Fellow Katie Riemann Hayley Rowland Community Programs Administrator Properties Fellow Modesta Tamayo Mara Ishihara Zinky Education Associate Scenic Art Fellow Ava Lindenmaier Chrissy Curl Faculty Scenic Construction Fellow Bobby August Jr. · Erica Blue · Jon William Ebeler Burnett · Rebecca Castelli · Eugenie Chan · Iu-Hui Chua · Jiwon Chung · Stage Management Fellow Sally Clawson · Deborah Eubanks · Tait Adams Susan Garner · Christine Germain ·

President Stewart Owen Vice Presidents Carrie Avery Richard M. Shapiro Roger A. Strauch Jean Z. Strunsky Treasurer Felicia Woytak 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 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 Emily Shanks Tony Taccone Kelli Tomlinson Gail Wagner 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 Martha Conte Thalia Dorwick, PhD William T. Espey William Falik David Fleishhacker Paul T. Friedman Nicholas M. Graves Richard F. Hoskins Carole Krumland Dale Rogers Marshall Julie McCray Helen Meyer Dugan Moore Peter Pervere Marjorie Randolph 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

50

BERKELEY REP’S

YE AR S AN D G LOWIN G

Join us as we toast Berkeley Rep’s past, present, and future at a spectacular evening at the Ritz-Carlton San Francisco honoring 50 seasons of groundbreaking theatre.

Berkeley Rep’s OVATION—50 Years and Glowing—is a night of celebration. It’s also a night to support the Theatre’s innovative work both on and off stage, from its productions and new play development program to nurturing the next generation of theatre-makers and theatregoers. Reconnect with luminary artists and friends, from Berkeley Rep’s earliest days to the present, over a sumptuous and celebratory feast.

Get ready to bid on one-of-a-kind getaways and vip experiences. And be prepared for a surprise or two during this theatrically festive evening.

SATURDAY, JUNE 9, 2018 · 6:00PM

The Ritz-Carlton San Francisco · 600 Stockton Street, San Francisco

TICKETS START AT $750 PER PERSON

Proceeds from OVATION support all of the work on Berkeley Rep’s stages, as well as the Theatre’s arts education programs, which serve more than 20,000 people each year.

RSVP

Julia Starr at 510 647-2901 or concierge@berkeleyrep.org Or visit berkeleyrep.org/ovation

S AV E T H E

DATE! HONORARY COMMITTEE

Hope Alexander-Willis Todd Almond Mikhail Baryshnikov The Honorable Tom Bates & the Honorable Loni Hancock Joy Carlin Nancy Carlin & Howard Swain James Carpenter The Honorable Keith Carson & Maria Carson Kathleen Chalfant Adam Chanler-Berat Charles Julia ChoDean Colman Domingo Charles Dean Paul Dresher & Philippa Kelly Colman Domingo Eve PaulEnsler Dresher & Philippa Kelly Steven Epp Eve Ensler Oskar StevenEustis Epp Mona Oskar Golabek Eustis Daniel Handler & Lisa Brown Mona Golabek Geoff DanielHoyle Handler & Lisa Brown Linda Johnson Geoff Lee Hoyle Moisés Kaufman Linda Lee Johnson Maxine Hong Kingston Moisés Kaufman The Honorable Barbara Lee Maxine Hong Kingston Delroy & NashaBarbara Lindo Lee The Honorable Sharon Delroy &Lockwood Nasha Lindo Flicka SharonMcGurrin Lockwood Rita Moreno Des McAnuff Jonathan Moscone Flicka McGurrin Sharon Ott Rita Moreno Bill RauchMoscone Jonathan Emma SharonRice Ott Ken Ruta Bill Rauch Mitzi EmmaSales Rice & John Argue Anna Deveare Smith Ken Ruta Joe Spano Mitzi Sales & John Argue Sir Patrick Stewart Anna Deveare Smith Michael Tilson Thomas & Joshua Robinson Joe Spano Stephen Wadsworth Sir Patrick Stewart & Francesca Faridany Tom Waits & Kathleen Michael Tilson ThomasBrennan & Joshua Robinson Alice Walker Stephen Wadsworth & Francesca Faridany Alice Waters Tom Waits & Kathleen Brennan Les AliceWaters Walker& Annie Smart Mary Zimmerman Alice Waters Les Waters & Annie Smart Committee list as of February 1, 2018 Mary Zimmerman Committee list as of February 1, 2018

Beverley Calvo, joined in 2011

Living

LARGER Moving to a smaller apartment meant giving up a lot. Or so Beverley thought. But she found out smaller meant smarter. When Beverley moved to St. Paul’s Towers, the East Bay’s most appealing Life Plan Community, she realized that minimizing meant maximizing. She could do more, enjoy more, and found our spacious, maintenance-free apartment homes to be a perfect fit. With wonderfully prepared menu options, Wi-Fi, and an expanding choice of amenities, Beverley has the freedom to explore her newest love—acting. See why 94% of our residents highly recommend living here. To learn more, or for your personal visit, please call 510.891.8542.

100 Bay Place Oakland, CA 94610

stpaulstowers-esc.org

A not-for-profit community owned and operated by Episcopal Senior Communities. License No. 011400627 COA #92

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