Berkeley Rep: Red Hot Patriot: The Kick-Ass Wit of Molly Ivins by Berkeley Repertory Theatre

Create the story with us 12 · “Turner Channels Molly Ivins in ‘Red Hot Patriot’” 18 · The program for Red Hot Patriot 23

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I N T H I S I S SU E

BE R K E L E Y R E P P R E S E N T S RE D HOT PATRIOT: THE KIC K-AS S WIT OF MOLLY IVIN S · 2 3

M E E T T H E C A ST & C R E W · 24

P ROL O G U E

CON T R I BU T OR S

A letter from the artistic director · 5

Foundation, corporate, and in-kind sponsors · 33

A letter from the managing director · 7

Individual donors to the Annual Fund · 34 Michael Leibert Society · 36

R E P ORT Be the best gift giver ever · 8

A BOU T BE R K E L E Y R E P

Companies outside the arts seek School of Theatre’s expertise · 9

Staff, board of trustees, and sustaining advisors · 37

Berkeley Rep welcomes new season media sponsor · 11

Create the story with us · 12

FYI

F E AT U R E S

Everything you need to know about our box office, gift shop, seating policies, and more · 38

Kick-ass witticisms from Molly Ivins · 14 Satire without cynicism: The life and work of Molly Ivins · 15 “Turner Channels Molly Ivins in ‘Red Hot Patriot’” · 18 Red hot playwrights: A conversation with Margaret & Allison Engel · 20 20

T H E B E R K E L E Y R E P M AG A Z I N E 201 4–15 · I S S U E 3 The Berkeley Rep Magazine is published at least seven times per season.

Editor Karen McKevitt

For local advertising inquiries, please contact Ellen Felker at 510 548-0725 or efelker@berkeleyrep.org.

Art Director Nora Merecicky

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Writers Neal Conan Lexi Diamond Julie McCormick Billy McEntee Karen McKevitt

Contact Berkeley Rep Box Office: 510 647-2949 Groups (10+): 510 647-2918 Admin: 510 647-2900 School of Theatre: 510 647-2972 Click berkeleyrep.org Email info@berkeleyrep.org

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P ROL OG U E from the Artistic Director

CHRISTMAS

AT GRACE CATHEDRAL

Molly Ivins loved to kick ass. A political

reporter and muckraker from the great state of Texas who used humor as her primary analytical tool, she once said about Vice President Dan Quayle: “If you put that man’s brain in a bumblebee it would fly backwards.” She became a legendary writer, a columnist who, at the time of her death in 2007, was syndicated in over 400 newspapers around the country. But her popularity was hard won. The recipient of numerous literary prizes and many awards, she was constantly at odds with her editors for creating an intense amount of controversy. Her prose wasn’t simply smart or precise, it was combustible. She wasn’t just clever or witty, she was dangerously funny. The bottom line was that Molly Ivins couldn’t bear politicians who were stupid or lazy or corrupt. And she was unafraid of going after them. But her aims were much higher than exposing the hypocrisy of nefarious individuals. She was, first and foremost, a citizen whose candor and dissent were at the heart of that messy, chaotic, and raucous process we call American democracy. She insisted that political decisions have a profound effect on the life of every American, and that if we ignore the football being kicked around in our city council, our state capitol, and among our leaders in Washington…well then, we get what we deserve. She called on us to fulfill our duty as citizens: to raise hell when hell needs raising. And if we’re worried about the consequences of behaving “badly,” Ivins counseled, well not to worry, since there’s nothing more flat-out fun than raising hell. So what better actress to raise hell with than Kathleen Turner? Bearing a striking resemblance to the physically formidable Ivins (who at six feet tall once said that she was recruited for the basketball team at age 4), Ms. Turner is likewise armed with a wicked intelligence and a passion for political combat. She embraces Molly with a muscular gusto that provides great entertainment and boisterous humor while inserting herself into a serious conversation about the state of our country. It is a great pleasure to welcome her to Berkeley, along with longtime friend and colleague, director David Esbjornson. Together they bring the sassy truth of Molly Ivins to our stage, with a swagger that, with any luck, can raise some holy hell.

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TICKETS $5 - $50 cityboxoffice.com (415) 382-4400

Sincerely,

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P ROL OG U E from the Managing Director

It’s really no accident that Red Hot Patriot: The

Kick-Ass Wit of Molly Ivins received its world premiere starring Kathleen Turner in 2010, and that she reprised her role 2012. Both were election years, and of course, in 2012 President Obama was seeking a second term in a heated race against Governor Mitt Romney. Ms. Turner will be the first to say that she planned it that way—and I can’t help but to think that Ms. Ivins was cheering her on with a “Give ‘em hell, Kathleen.” With her rigorous research and infamous wit, Molly Ivins made us pay attention to the world around us, to our politicians, and even to our own actions (or inactions). Likewise, Berkeley Rep has always endeavored to engage you, our audience, in an ongoing dialogue of ideas through provocative and entertaining productions. Our most recent, Party People, was more than a look at a seminal moment in history, it also raised questions about legacy and revolution today. Last season’s Tribes offered a profound glimpse into the inner life of a young deaf man born to a hearing family. The House that will not Stand, a play that we commissioned and premiered earlier this year (and which recently played in London), unearthed a fascinating bit of history about 19th-century New Orleans. Many of you have responded to these plays and more. We’re so gratified to read your thoughts via email, through our post-show surveys, and on social media. We love hearing from you. Now Molly Ivins takes the stage once again through the immense talent of Kathleen Turner. Though the 2014 midterm elections have come to a close, we hope Red Hot Patriot inspires you to continue to ask questions, to learn, and to engage with current events, political issues, and your community. Warmly,

Susan Medak

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BE THE BE ST GIF T GI V ER E V ER This holiday season, give a really unique gift to your friends and loved ones. After all, who wants to be remembered as the one who gave that last-minute 50% off scarf or a gift card to Humongous Online Store That Sells All the Things? Be original—give them the gift of Berkeley Rep! Our gift certificates are easy to buy, and easy to enjoy. You choose the amount, and they choose the show, date, and even seat location. Our 2014–15 season has something for just about everyone: a compelling family drama, a raucous comedy, a Molière classic, and even a play about an all-American sport. They could even get a chance to see Kathleen Turner, thanks to you!

Though most popular in December (we process up to 30 a day), they’re great gifts year-round. Birthdays, anniversaries, graduation— Berkeley Rep’s gift certificates are perfect for just about any occasion. So, here’s how to be the best gift giver ever: visit berkeleyrep.org/giftcert, or call 510 647-2949. 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 3

R E P ORT

Dave Maier (right), the School’s Jan & Howard Oringer Outreach Coordinator, leads a workshop for employees of the Association of Bay Area Governments

Companies outside the arts seek School of Theatre’s expertise

P H OTO BY N O R A M ER EC I C K Y

B Y B I L LY M C E N T E E

Caterpillar employees may be trading in their hard hats for tap shoes. Well, not quite yet. However, more and more companies outside the arts are looking for performative techniques as a way to enhance teambuilding, communication, and creativity skills among their workers. They have contacted Berkeley Rep’s School of Theatre, seeking teachers to try out performative workshops with their employees to better unify and stimulate the workplace. Arts Council England recently published an article explaining that while seeing a show causes short-term effects like “captivation and pleasure,” it is the engaging in a creative process that leads to long-term benefits such as “economic growth and creation of social bonds.” The arts are also highly valuable to adults on a personal level. In Tony Noice’s study published in Current Directions in Psychological Sciences, he found that “theatrical work can be used to slow cognitive decline,” where working to memorize and act out lines from a script helped study participants with problem solving and word recall. This surge in research about the latent effects of practicing the arts may have prompted outside interest in the School of Theatre’s teachings. “We’re applying techniques we have successfully used and developed in the classroom to non-classroom settings for adults,” says School of Theatre Director Rachel Fink. “We’re seeing that there’s an interest in these skills for people other than our school-age students. It’s another way for us to use our expertise and experience to impact community life.”

Rachel started the School of Theatre in 2001 and with her staff has since cultivated classes ranging from playwriting to voice-over acting. While these classes often focus on useful performance or writing techniques, the skills can stretch further than what’s seen on stage. “In one of our improv classes our teacher was noticing that more and more mental health practitioners were enrolling,” Rachel shares. “Therapists, psychologists were gravitating toward our improv classes because they valued the technique: the comfort in speaking, being able to make choices in the moment, any type of role playing. Out of that two of our instructors developed an Improv for Mental Health Practitioners class.” Most recently Peterson Cat, a subsidiary of Caterpillar Inc., and the local nonprofit Association of Bay Area Governments (abag) have requested workshops tailored to their companies’ needs. Jan & Howard Oringer Outreach Coordinator Dave Maier led abag’s workshops, where he modified the curriculum from the School of Theatre’s Creating Character class, gearing it toward adult needs. Creating Character focuses on voice and movement for characters, teaching students to comfortably vocalize and embody who they portray onstage. “Similarly, we worked on presentational skills, vocal quality, and non-verbal communication through physicality with abag,” says Dave. Employees taking these workshops not only try out theatre icebreakers and vocal exercises for perhaps the first time, but also take the risk of being vulnerable with their colleagues and experimenting with their vocality in front of others. “They were skeptical, but it’s actually remarkable what they’ve gotten 2 0 1 4 –1 5 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 9

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out of it,” Dave observes. “Every week I notice more presence, more consciousness of their presentations skills, and an ability to collaborate with each other. It’s definitely a verification that integrating performance into their lives works.” Dave also crafted activities for Berkeley Rep’s annual board of trustees retreat back in August to help clarify and energize their understanding of the Create Campaign, a five-year operation supporting two key initiatives: reinvesting in the signature Thrust Stage and developing the Harrison Street campus into a center for new work. Rachel explains, “In order for the trustees to better prepare for the Create Campaign, Dave made a curriculum to develop short psa skits investigating the needs of renovating the Thrust Stage.” She adds, “The act of having a communal, interactive experience as well as sharing it with each other solidified their grasp of the information.” Trustees fully invested in the exercises, ultimately donning costumes and props to tell a story and better articulate their role in bringing the campaign to fruition. “I was initially intimidated by the idea of having to perform, but Dave quickly made us feel totally at ease and provided a thoroughly enjoyable experience,” recounts trustee Robin Edwards. “The value of working together as a team to prepare our infomercials was also evident, showing that multiple heads are way better than one.” As the Create Campaign gains momentum and employees bring new skills back to their workplaces, the School of Theatre looks forward to more of these workshops. Any plans of future collaborations with outside companies, however, are still in nascent stages. “It’s an experiment, often with unintended benefits,” Dave says. “I think abag’s employees will feel closer as a team than before they started, even though the original focus was on presentational skills.” Dave notes that all participants, regardless of age or expertise, can broaden their outlooks, gain confidence, and learn to work as an ensemble through drama. He smiled at the progress he’s seen before summing up his practices: “You can use theatre arts to teach anything.”

R E P ORT

Berkeley Rep welcomes new season media sponsor

Akilah Monifa with The House that will not Stand actors Petronia Paley, Harriett D. Foy, and Lizan Mitchell

BY KAREN MCKEVITT

Let’s face it: when we tune

in to our local TV stations, we don’t usually expect good news. But kpix 5/ kbcw —Berkeley Rep’s new season media sponsor—aims to change that by partnering with local arts and community nonprofits and by creating positive programming of its own. “We support the arts because it’s a good story,” says Akilah Monifa, kpix 5’s director of communications and public affairs. “It’s a way of reaching out to people and bringing beauty to their lives. The news isn’t always good, but the arts usually bring pleasure to people.” Berkeley Rep and kpix 5 had hooked up in the past—the news station was a media sponsor for Rita Moreno: Life Without Makeup and Let Me Down Easy. Earlier this year, Petronia Paley, Harriett D. Foy, and Lizan Mitchell from The House that will not Stand appeared on Black Renaissance, a monthly news/interview show on kbcw

produced by Akilah. “That episode was so powerful,” she says. It was then that kpix expressed interest in participating more with the Theatre. “We greatly appreciate the innovative programs, education, and outreach that Berkeley Rep provides,” notes Akilah. “In addition to debuting Tony Award–winning plays, Berkeley Rep nurtures talented artists and gives them voice to add to the diverse community that is the Bay Area.” kpix also boosts popular arts organizations like the San Francisco Latino Film Festival, the Mill Valley Film Festival, Museum of the African Diaspora, San Francisco Opera in the Park, and others. The TV station brings good news directly to the Bay Area. Through its media partnership with Students Rising Above, a San Francisco–based nonprofit, kpix recognizes local low-income teenagers who overcome the odds to become first-generation college

students. As a media partner with the Jefferson Awards, the station selects and highlights local “unsung heroes” who make their communities and neighborhoods better places to live. Many local Jefferson Award winners have gone on to receive a national award, known as the “Nobel Prize for community service.” That’s only half of the story. kpix anchors Dennis O’Donnell, Ken Bastida, and Roberta Gonzales have participated in the Walk to End Alzheimer’s—and cbs matched the funds raised. The station is currently in the midst of Food for Bay Area Families, an annual food drive and donation campaign which involves local food banks and Whole Foods stores. Last year the campaign raised over $2 million and fed thousands of people. So next time you turn on your TV, tune in to kpix 5 to discover the good news in the Bay Area. 2 0 1 4 –1 5 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 1

Take your place in the spotlight Cross-section illustration of the Harrison Street campus development A R C H I T EC T U R A L D E S I G N S BY PAT R I C I A M OT ZK I N A R C H I T EC T U R E · I L LU S T R AT I O N BY A R T ZE N DA R S K I

This season, we are embarking on the next transformative chapter in the history of our theatre company. The bold and ambitious Create Campaign will strengthen the relationship between artists, audiences, and our community, and will transform Berkeley Rep into one of the foremost centers for new play development in the country.

Rendering of the Narsai M. David Courtyard A R C H I T EC T U R A L D E S I G N BY M A R C Y W O N G D O N N LO G A N A R C H I T EC T S

Two key initiatives will help us realize our vision: a $14 million expansion of our Harrison Street campus into a center for new work and a $6 million renovation of the signature Thrust Stage. Be part of this exciting chapter in the Theatre’s history and leave your mark on Berkeley Rep. A center for new work By 2017, we aim to transform Berkeley Rep’s Harrison Street campus into a center for artistic innovation, where artists and the community can engage in the art of making theatre. The Create Campaign will support the development of Berkeley Rep’s pre-production complex with the construction of artist living units, four rehearsal halls, studios, and a public forum—and fully realize The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work. A theatre for the 21st century Thirty-five years after its opening, our signature Thrust Stage is in urgent need of renovation to provide artists the 21st-century tools they need and to enhance the audience experience, while retaining the Thrust’s hallmark intimacy. Artists will be able to take advantage of new energy-efficient lighting equipment, new electrical wiring, and a stateof-the-art Constellation Acoustic System from Meyer Sound, which will offer incomparable sound clarity and speech intelligibility to audiences no matter where their seats are located. Theatregoers will enjoy fresh amenities such as refurbished seats and new carpeting, additional handrails, a larger and more central box office, and a new courtyard atrium for the community’s year-round use. 1 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 4 –1 5 · I S S U E 3

Rendering of the theatre façade A R C H I T EC T U R A L D E S I G N BY M A R C Y W O N G D O N N LO G A N A R C H I T EC T S

To really make a theatre work, it has to be a civic enterprise. [It’s thrilling] when you find places like Berkeley where the city is clearly in love with this organization and this theatre and is willing to help make this kind of expansion of the facilities possible.… We can’t have a civilization without art and you can’t have art without the support of the people. —TO NY KUS H N E R , PL AY WRIG HT A rehearsal hall in the planned Harrison Street campus development A R C H I T EC T U R A L D E S I G N S BY PAT R I C I A M OT ZK I N A R C H I T EC T U R E · I L LU S T R AT I O N BY A R T ZE N DA R S K I

Take your place in the spotlight

You have a unique opportunity to play a starring role when you invest in the Create Campaign. You’ll not only champion the historic renovation of the Thrust Stage and the development of the Harrison Street campus, but also have a chance to leave your mark on Berkeley Rep with one of these special naming opportunities: Be a star · $1,000 and above Champion the renovation of the Thrust Stage with your gift of $1,000 or more, and place your name in a new constellation of Create Campaign supporters in the revitalized Thrust lobby.

I love the intimacy of the Thrust but I’m excited that the Campaign will provide much-needed updates to the lighting and sound capabilities, enhancing artists’ and audiences’ theatre experience. Shouldn’t a first-class theatre have state-of-the-art equipment?

Take a seat · $3,000 and above Claim your favorite seat with your gift of $3,000 or select your two favorite seats with your gift of $5,000 in the upgraded Thrust Stage. Enjoy seeing your permanent inscription adorn the armrest of your chosen seat when you visit the Thrust.

I’m also excited about the plans for enhancing the space and capabilities of the Harrison Street campus, allowing it to continue to attract innovative artists and facilitate new work.

Dedicate an atrium square · $10,000 and above Leave your footprint in the new courtyard atrium. Your personal dedication will be engraved on a 19” x 19” square in the Narsai M. David Courtyard, which will be enjoyed year-round, rain or shine, by audiences, artists, and our community. Your Create Campaign pledge may be paid in installments over three years, through August, 2017. Honor someone you love Pay tribute to the theatregoer in your life by supporting the Theatre they love and honoring them with permanent recognition in the renovated Thrust Stage or the new courtyard atrium. Make your tribute gift today.

— BARBAR A PETER SON, Longtime Berkeley Rep theatregoer & early contributor to the Create Campaign

Interior of Thrust Stage P H OTO CO U R T E S Y O F K E V I N B ER N E .CO M

Visit berkeleyrep.org/create Call 510 647-2906 2 0 1 4 –1 5 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 3

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Molly Ivins in her Austin home, 1993

SATIRE WITHOUT CYNICISM: THE LIFE AND WORK OF MOLLY IVINS BY LEXI DIAMOND PHOTOS BY ALAN POGUE

“Sharp.” “Biting.” “Skewering.”

Words like these inevitably appear in any discussion of the fiercely clever Molly Ivins and her ferocious approach to journalism. But to get a true sense of Ivins, one must consider her acerbic gibes and her unforgiving scrutiny in the context of her passion for the outrageous, for the truth, and for her readers and country. As she once wrote, “Being a cynic is contemptibly easy. If you let yourself think that nothing you’re working on is ever going to make a diﬀerence, why bust your tail over it? Why care? If you’re a cynic, you don’t have to invest anything in your work. No eﬀort, no pride, no compassion, no sense of excellence, nothing.” Molly Ivins devoted herself entirely to dissecting the political landscape she surveyed, making a corrupt and often alienating world accessible and even hilarious. CO N TIN U E D O N N E X T PAG E

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Born in 1944 and raised in Houston, Texas, Ivins made her foray into journalism with a summer job working for the Houston Chronicle complaints department between her years as a student at Smith College. After studying at the Institute of Political Science in Paris and earning her master’s degree at the Columbia University Graduate School of Journalism, she returned to the Chronicle as a columnist, and moved on shortly after that to the Minneapolis Tribune. Ivins was the first woman police reporter at the Tribune, and when she accepted the position of co-editor of the Texas Observer in 1970, she became one of just a handful of women with a high-ranking job in the world of journalism. Despite the progress made by the women’s movement in the 1970s, newsrooms remained heavily male-dominated atmospheres. Women who did write for newspapers rarely wrote about politics, and certainly not with the kind of piss and vinegar present in every one of Ivins’ columns. She complained that most often when newspapers hired women, it was “to cover food, fluff, and fashion. They’d hire you to do the ‘safe’ things.” Ivins never played it safe, always opting instead to tell the truth in bold and ruthless terms. In response, her critics challenged her femininity, often taking unprofessional jabs at her physical appearance. At six feet tall and with wild red hair and freckles, Ivins had grown accustomed to standing out in a crowd. Ivins once wrote, “I should confess that I’ve always been more of an observer than a participant in Texas Womanhood: the spirit was willing, but I was declared ineligible on grounds of size early.” Rather than bending to take up less space or toning down the harshness of her writing, Ivins swung the criticism to her advantage, laughing along with her detractors and reinforcing the strength of her public persona. When the Minneapolis Police Department, 1 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 3

for example, named their mascot pig after her, she took it in stride and referred to it for the rest of her life as one of her proudest accomplishments. Her refusal to wilt under these circumstances undermined her detractors and gave her power over her own image. Ivins used what has been described as a “folksy populist voice” in her writing, relying heavily on Texas jargon and a casual familiarity with her readers. She also extended this familiarity to the subjects of her columns, whom she often gave humbling nicknames (she consistently called George W. Bush “Shrub” and Rick Perry “Governor Goodhair”). Though she used humor as a means of access, her attacks were deeply searing and always intended to expose with absolute precision. “There are two kinds of humor,” she once wrote. One is the kind “that makes us chuckle about our foibles and our shared humanity. The other kind holds people up to public contempt and ridicule. That’s what I do.” Ivins had a keen sense of when her colloquial Texas voice would prove most useful, and when it would be more effective to drop into what her friends called her “Smith voice,” a more traditionally intellectual tone that she groomed in her years on the East Coast. Her savviness in balancing the “cornpone” with the highbrow earned her many a comparison to Mark Twain. As Ivins honed her feisty voice and satirical style writing about the outrageous political happenings in her home state, her pluck began to garner her national attention. In 1976, the New York Times took notice and hired her as a political reporter. Though she was writing for a much wider audience, she maintained her provocative flair and trademark Texas brashness. She was constantly dodging trouble with her editors for her bawdy content, and a particularly lewd comment about a chicken-plucking competition led to a demotion. She had

Though she used humor as a means of access, her attacks were deeply searing and always intended to expose with absolute precision. been working as Rocky Mountain Bureau Chief, but the Times moved her back to New York City where her creativity could be more closely monitored. In 1982, Ivins left the Times and moved back to Texas where she wrote as a columnist for the Dallas Times Herald and then the Fort Worth Times-Telegraph. She also wrote freelance for publications such as Mother Jones, The Nation, and Atlantic Monthly, creating content with wild alacrity and making appearances on television and radio at a similarly furious pace. By the late 1990s, Ivins had locked her sights on an old high school classmate whose political star was on the rise: George W. Bush. She waged war against the eventual twoterm Commander in Chief, writing two best-selling books that examined the records, decisions, and character of the Bush administration. She acted as a leader in the national conversation about his presidency across many media, using her expertise in the Texas political scene to provide special insight into his checkered history as a politician. Ivins was not merely looking to mock a figure she regarded as inept—she was savagely serious about exposing a man whose policies she believed would be detrimental to the country. In doing so, Ivins sought to hold the president and the country accountable for what was happening in the White House.

As she accumulated fame and recognition, Ivins also fought many personal battles. She wrestled with loss and isolation, and those close to her mentioned that she often expressed feeling lonely and angry. She also struggled tremendously with alcoholism throughout her life. Hard-drinking ways were part of her “Texas gal” persona for a good portion of her early career, but she ultimately found that the habit got away from her. She tried several times over the years to quit drinking; it was to become a lifelong fight. On occasion she wrote about her private life, but for the most part she poured her frustration and energy into her work. Ivins was diagnosed with breast cancer in 1999, arguably at the height of her career. The cancer returned in 2003, 2005, and eventually took her life in January of 2007. Throughout her treatment she continued working just as ferociously as ever, even writing two columns in the last month of her life just before entering hospice. News of her death shook her loyal fan base as well as the worlds of politics and journalism; hundreds of tributes and obituaries appeared in many of the 400-plus newspapers that syndicated her columns. Time and again, our country has proven its eternal appetite for political satire. Many sources of political commentary have faded in and out of our cultural consciousness, and younger generations might not recognize Molly Ivins’ name or be aware of the impact that she made. But the bite, fire, vivacity, and heart present in all of her work secure her legacy as a heroic American voice. Left page: Molly Ivins with colleague Kaye Northcott at the Texas Observer office, 1975 This page: (Top) Molly smoking a cigarette at the Texas House of Representatives; (Bottom) Molly singing with the Rock Bottom Remainders in 1998 at Cactus Café in the Student Union, Utah; (Right) Editing the old-fashioned way, 1975 2 0 1 4 –1 5 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 7

Turner Channels

Molly Ivins in

‘Red Hot Patriot’ TA L K O F T H E N AT I O N , SEPTEMBER 6TH, 2012

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P H OTO BY M A R K G A R V I N

Neal Conan, Host: You’re enjoying yourself in this role. Kathleen Turner: Very much so. I have such fun. And obviously, you didn’t write this play but... No. Margaret and Allison Engel, sisters and journalists, wrote it. And however, this is something—a role that you must embrace with full heart. I do. I do. I have to confess that it’s right up my alley in terms of her—not just her humor but also her positions and her values. I don’t—I was asked if I could portray someone else, say, oh, someone like Sarah Palin. I said, no, I really didn’t think I could do that. As good an actor as I am, I really just couldn’t get behind that one.

“I have to confess that it’s right up my alley in terms of her— not just her humor but also her positions and her values.” — K AT H L E E N T U R N E R

You think of George C. Scott, though, as Patton, someone whose views he certainly did not endorse. Indeed. Yes, well, perhaps I am just simply a different kind of actor.

points in her—when she was making her point. So this is very much true to—and 70 percent, I would say, of this piece are Molly’s own words, you know? But to that, we have added the circumstances of her life and her history.

Good. I was going to ask you if you inhabit a character like that, how important is it that they be close to you—your values, your morality, your politics? Well, in this case, it is, because it is a political piece and it is about the values, and it is pre-election. I mean, I’m here because I planned it this way, to be doing Molly right up until the election, to have her voice out there, you know? But I would say that when it comes to more fictionalized pieces of theater—“Who’s Afraid of Virginia Woolf?” or other performances that I have done, I don’t think that I have to necessarily agree with the character’s values. No.

Mm-hmm. And her family. She starts out writing a column about her father who’s clearly an important figure in her life. Very much so. And the fact was that she and her father disagreed drastically and emphatically, almost—I mean, she says, I hate his world and he hates mine. He was a big oil company, gas man, far, far right Republican, everything that she wanted to fight against.

When you did “Virginia Woolf,” for example, you’re in a cast with a lot of volatile other people. You’re not carrying the whole thing yourself. No. It’s such—it’s a blessing. I’ll tell you. It’s lonely up there. I mean, at least, what I can do, what I do get to do, is really engage the audience as sort of a—as part of the show. Now it’s a lot of fun playing with other actors, but you kind of pretend, of course, there’s that fourth wall. So you sort of don’t even acknowledge the people out there looking in. You just concentrate on the people you’re on stage with. So I don’t have that luxury. So—but I—the audience gives me enough to play with. The only other actor in the play doesn’t say a word. The copy-boy comes in. No. He’s just a figure that sort of comes and goes, rather mysteriously. And the play is almost like a scripted stand-up. Well, she did write this way. I mean, she did write stories, and the stories had punchlines and, you know, punctuation

And in some degree, you get the feeling that a lot of what she did or at least started that way was rebellion. Very much so. She says—at one point, she says, you know, I wish I could tell you that I write and I do these things because I can’t help myself. But the truth is it’s mostly backtalk I wish I’d said to my father. Yeah, I think that was probably her first—her first instinct through the rebellion to find other values and other positions, and then she grew to believe in them most strongly. And throughout, though, she showed such joy... Yeah. ...in everything she did. Yeah. I think that’s one of the things I love most about doing her and about her. I had the opportunity to meet her a few times. One time in particular, we really had a little time with her and Ann Richards, which is a funny story. But I—she says, you know, celebrate the sheer joy of a good fight. And I have—I think she tackled everything that way.

© 2012 National Public Radio, Inc. Excerpt from npr news report titled “Turner Channels Molly Ivins in ‘Red Hot Patriot’” was originally broadcast on npr’s Talk of the Nation on September 6, 2012, and is used with the permission of npr. Any unauthorized duplication is strictly prohibited. 2 0 1 4 –1 5 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 9

Allison Engel (left) and Margaret Engel P H OTO BY M A R K B ER N DT

RED HOT PLAYWRIGHTS:

A CONVERSATION WITH MARGARET AND ALLISON ENGEL BY JULIE MCCORMICK

Red Hot Patriot playwrights Margaret and

Allison Engel are a force to be reckoned with. In their successful careers as journalists, they have written for papers like the Washington Post, the Des Moines Register, and the San Jose Mercury News. Allison is also a media representative at her alma mater, the University of Southern California, and Margaret runs the prestigious Alicia Patterson Foundation in Washington, DC. These twin sisters are no strangers to long-distance collaboration: over the years they have written three books together while living in different states. So after Molly Ivins’ death in 2007, the Engels’ deep admiration for Molly’s work as a journalist and lifelong love of theatre made writing a play together about her life seem like a natural tribute. Taking a few moments from their busy schedules, the Engels gave us the inside scoop on Red Hot Patriot. Julie: How did you decide that Molly Ivins’ story needed to be a play? Margaret: She truly is an American icon, and there is something about her personality and her courage and her intellect that we thought would connect with audiences both on the humor side of the equation and also through her passion. Allison: People have referred to her as our Mark Twain, and I think she discovered that even though she was a very careful journalist and did a lot of original research, people listened to her, carefully, because of her humor. She said that when you laugh, people open up their ears and listen, and I think that’s one of the reasons why she has endured well past her death. She was very honest and spoke truth, but in a humorous way, so people really remembered her comments and her writing. 2 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 4 –1 5 · I S S U E 3

Margaret: Bill Moyers really said it best—he said “she made the mighty humble” and “the wicked ashamed.” When did you both first encounter Molly Ivins? Allison: Peggy, why don’t you go ahead. Margaret: We started reading her when we were just out of college, or maybe even still in college, right, Allison? Allison: I think still in college, but then we both went into journalism. As cub reporters we certainly read everything she wrote, because luckily she was syndicated in more than 400 newspapers across the country. You could get her column readily, and it was definitely something you wanted to look out for. After college our first jobs were in newsrooms. So some of the things that Molly experienced, we also experienced just a few years later. Margaret: I met her maybe three times, but just really to say hello and as a fan to listen to her speak at journalism conferences. We were going to be on some panels together in Denver in April 2007, but she died at the end of January. Allison, had you met her? Allison: No, I hadn’t. I had not. How did you both end up in journalism at the same time? Allison: When we were growing up, our father was in advertising, but he was a tremendous writer. He wrote a lot of history, and had gotten a master’s in playwriting himself from Columbia University. So, he would give us assignments to write at home because he felt that the elementary and high school didn’t require enough writing. And our mother is a librarian, so she would bring home every magazine and newspaper

that we wanted. We also got the Cleveland Plain Dealer and the Cleveland Press—we got two daily newspapers—and on Sunday my parents would go and get the New York Times. So there was always a lot of journalism in the house. Our dad was also one of the few Americans who subscribed to the Congressional Record. So we also had Congressional Records all over the house—we thought everybody got it. That being a voter, you got the Congressional Record. My parents both thought that journalism was a really important profession, and I think that’s why we both ended up in it. What were your favorite things to read when you were growing up? Was it journals and newspapers or..? Allison: (Laughing) Well, our very first favorite thing was— our library would not stock Nancy Drew mysteries because the librarian did not feel that they were— Margaret: literary. Allison: They were serials. And so, Peggy and I formed the Nancy Drew fan club, mainly because there was a girl at our school who had the entire collection, and we asked her to be in the club so we could all borrow her books. Margaret: We were pretty much speed readers. We’d get home from school and finish a Nancy Drew book before dinner. We wrote a letter to the supposed author, Carolyn Keene, and invited her to come to our club. We actually got a letter back, a response. Allison: Only later— Margaret: Only later when we were in college, the Wall Street Journal ran a story about the fact that Carolyn Keene was not a real person; that it was a syndicate of 14 writers. Allison: Anyway, they wrote us back and said that, “Due to Carolyn Keene’s itinerary, she could not come to a meeting of our club,” (laughter) and we had to look up the word “itinerary.” I don’t know whether we still have that, but it was a hilarious letter. Margaret: In retrospect. At the time, we thought it was very official. When did theatre first come into your purview? Margaret: We were theatre rats growing up. We were in children’s theatre, all the way, for me, through college. Allison: Right. We had a really good little theatre in the town that we lived in—the Chagrin Valley Little Theatre. We were either taking classes there or helping out behind the scenes in productions, or going to plays… My parents took us to Musicarnival, which a big thing in the Cleveland area; we went to New York, and they took us to Broadway plays— Margaret: My father started out wanting to be a playwright and wrote a lot of plays, and ended up working for Helen Hayes at her community theatre in Nyack, New York. He was on the production crew. My mother tells a story of going up for a dress rehearsal, and sitting next to George S. Kaufman. He kept looking at her and couldn’t figure out what this woman was doing there. I’m now on the Helen Hayes Board in Washington, because she is from Washington, DC, and from this one auction house I have a check that Helen Hayes wrote George Kaufman. I’ve got it framed here on my desk.

Have you ever tried to write plays, either separately or together, before Red Hot Patriot? Allison: When we lived in Iowa, I was the president of the Des Moines Playhouse, which is one of the oldest and largest community theatres in America. I was head of play selection. Then when we moved to California, I got an mfa in screenwriting at the University of Southern California. So I wrote quite a few screenplays there, and had to do some playwriting as well. But those weren’t done together. Margaret: And I was in drama and acting all the way through my freshman year of college, and then just became a constant theatregoer of all descriptions. Then I joined the board of theatreWashington, which administers the Helen Hayes Awards. There are a number of Equity theatres here in Washington, so I’ve spent a lot of time seeing theatre—not just here in this city, but also in New York. In that case, can you talk a little bit about your experience of writing a play together? What that was like? Allison: We had written three books together, never living in the same place. These were for HarperCollins, and they were on regional food producers. Food Finds was really one of the first books on the American small food producer. We then turned it into a television series for Food Network when Food Network was just beginning, and it ran for seven years there and then went to the Travel Channel. But anyway, Peggy and I did these books without being in the same state. We started out with carbon paper and mailing them, and of course as computers came in, it became that much easier. So it’s actually really easy for us to write together, because being twins, we have sort of a shorthand, and we don’t have to have these long, drawn-out conversations on the phone. Some of our conversations are literally seven seconds long. We can just say, “Page 27, do this!” and, “OK!” Click. How did you make the decision of what moments to include verbatim in the play, and what to dramatize? Allison: In a way, there was a very dramatic thing that actually happened in Molly’s life that really became the spine of the play and why it opens when it does. I don’t want to give that away for people who haven’t seen it, but we were lucky in that sense. Margaret: But there also was more than the usual drama in a person’s life, with Molly’s life. And so you ask what we wanted to cut out—I mean, obviously it’s not fascinating to watch a person behind a typewriter pecking out a column. Not fascinating. But what Molly was so adept at was really sizing people’s character up: illuminating it in a really telling and perceptive way. Which I think we’ve captured a good deal of. Allison: Molly was very prolific, you know. She wrote for many years, so obviously there were a lot of things we couldn’t include. If people really are interested in getting that kind of year-by-year chronicle of her life, they can read her column. This is a play, not a Wikipedia entry. Margaret: She lived in very exciting times. Civil rights, wars, Texas politics, the rise of George Bush… You know Molly was the one who pegged George Bush as “Shrub.” But she did CO N TIN U E D O N PAG E 32 2 0 1 4 –1 5 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 1

N E X T AT B E R K E L E Y R E P

X’S

AND

O’S

(A Football Love Story)

By KJ Sanchez with Jenny Mercein Directed by Tony Taccone

One Man, Two Guvnors By Richard Bean Directed by David Ivers Starts May 8

P H OTO BY J O H A N P ER S S O N

Head of Passes By Tarell Alvin McCraney Directed by Tina Landau Starts Apr 10

P H OTO CO U R T E S Y O F M AC F O U N D.O R G

Ticket packages still available! Visit berkeleyrep.org or call 510 647-2949

Tartuffe By Molière Adapted by David Ball Directed by Dominique Serrand Starts Mar 13

P H OTO BY M I C H A L DA N I EL

SEE WHAT ELSE IS IN STORE THIS SEASON!

World premiere STARTS JAN 16

SEASON SPONSORS

Berkeley Repertory 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 Margaret Engel and Allison Engel CAST

D IREC TE D BY

David Esbjornson

Molly Ivins Kathleen Turner Helper Michael Barrett Austin

N OVE M B E R 21, 2014–JAN UARY 4, 2015 RO DA TH E ATRE · M AIN S E A SO N Red Hot Patriot: The Kick-Ass Wit of Molly Ivins is made possible thanks to the generous support of SEASON SPONSORS

Jack & Betty Schafer The Strauch Kulhanjian Family

LE A D S P O N S O R S

Bruce Golden & Michelle Mercer Mary & Nicholas Graves

PRODUC TION S TAFF Scenic Design Costume Design Lighting Design Sound Design & Original Music

John Arnone Elizabeth Hope Clancy Daniel Ionazzi Rob Milburn & Michael Bodeen Projection Design Maya Ciarrocchi Casting Amy Potozkin, csa Stage Manager Michael Suenkel

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

Pam & Mitch Nichter Marjorie Randolph Michael & Sue Steinberg Jean & Michael Strunsky

The actors and stage manager are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Red Hot Patriot is presented by special arrangement with Samuel French, Inc. World Premiere Produced by Philadelphia Theatre Company Sara Garonzik, Producing Artistic Director Diane Claussen, Managing Director March 24, 2010

SPONSORS

Dixon Long Sandra & Ross McCandless Leonard X & Arlene B. Rosenberg

Partial support of open captioning is provided by Theatre Development Fund.

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

Shelley & Jonathan Bagg Carole B. Berg Susan Chamberlin Linda Jo Fitz Mary Ann & Lou Peoples

Affiliations The director is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. The Scenic, Costume, Lighting, and Sound Designers in lort Theatres are represented by United Scenic Artists Local usa-829, iatse.

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BE R K E L E Y R E P P R E S E N T S Kathleen Turner M O L LY I V I N S

Screen icon Kathleen Turner has garnered critical acclaim for her performances in various movies including Body Heat, for which she was nominated for a Golden Globe; Romancing the Stone and Prizzi’s Honor, which earned her a Golden Globe Award for each; Peggy Sue Got Married, which brought her both an Academy Award nomination and a Golden Globe nomination; and War of the Roses with another Golden Globe nomination. Ms. Turner’s extensive film credits also include The Man with Two Brains with Steve Martin, Jewel of the Nile with Michael Douglas, The Accidental Tourist, V.I. Warshawski, John Waters’ Serial Mom, Naked in New York, Moonlight and Valentino, The Real Blonde, and Sofia Coppola’s The Virgin Suicides. Ms. Turner has also starred on Broadway in Cat on a Hot Tin Roof, for which she received a Tony nomination for Best Actress; Indiscretions; The Graduate; and Who’s Afraid of Virginia Woolf?, for which she received a second Tony nomination for Best Actress. Ms. Turner had a major recurring role as Sue Collini on Showtime’s hit series, Californication. In the spring of 2010 Ms. Turner starred as Molly Ivins in the world premiere of Red Hot Patriot: The Kick-Ass Wit of Molly Ivins at Philadelphia Theatre Company and immediately following that shot the starring role in an independent film called The Perfect Family. Ms. Turner most recently starred on Broadway in High, and in addition to her film and stage credits, she wrote of her many accomplishments and life experiences in her 2008 autobiography titled Send Yourself Roses: Thoughts on My Life, Love, and Leading Roles, which secured a position on the New York Times Best-Seller List.

Michael Barrett Austin HELPER

Michael last worked with Berkeley Rep on The Lieutenant of Inishmore. Most recently, he was in the world premiere of Manic Pixie Dream Girl at the New York International Fringe Festival. Other theatrical productions include Bloody Bloody Andrew Jackson (San Francisco Playhouse), Dracula (Center Rep), The Grapes of Wrath (Theatrefirst), and The Internationalist (Just Theater). Michael has also played locally with 42nd Street Moon, San Francisco Shakespeare Festival, Aurora Theatre, TheatreWorks, California Shakespeare Theater, PlayGround, Pacific Repertory Theatre, the 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 4 –1 5 · I S S U E 3

profiles

Carmel Shakespeare Festival, San Jose Stage, and Brava, among others. Michael toured Italy with Shakespeare at Stinson and the U.S. with the National Theatre for Children, and has appeared in numerous films, television series, and advertisements. He earned his theatre degree from Whitman College, and has also enjoyed work as a director, propmaster, and dramaturg on both coasts. Michael is a proud member of Just Theater and PlayGround. Find out more at michaelbarrettaustin.com.

Allison Engel P L AY W R I G H T

Allison Engel has been a newspaper reporter for the Des Moines Tribune, San Jose Mercury News, and Pacific News Service, and was a Knight Journalism Fellow at Stanford University. She has also been a political speechwriter and aide for former Iowa governor Tom Vilsack and lieutenant governor Sally Pederson. In Iowa, she was active in the Des Moines Playhouse, serving as president and head of play selection. She has been a food columnist for Saveur, an architecture columnist for Renovation Style, and has written for many other national publications. She recently spent five years as director of communications at usc before becoming the associate director of the Los Angeles Institute for the Humanities at the university. She received an MA in screenwriting from usc in 2009. She is married to Scott Kirkpatrick, and they have two children, Miles and Nora.

Margaret Engel P L AY W R I G H T

Margaret Engel was a reporter for the Washington Post, Des Moines Register, and Lorain Journal, and was a Nieman fellow at Harvard University. She directs the Alicia Patterson Journalism Foundation and was the managing editor of the Newseum, the museum for news, in Washington, DC. She co-wrote Food Finds: America’s Best Local Foods and the People Who Produce Them with her twin, Allison, and helped turn the book into a show for Food Network, where it ran for seven years. It appears today on the Travel Channel. She serves on the boards of theatreWashington/ Helen Hayes Awards, the Fund for Investigative Journalism and the Nieman Foundation. She chairs the Robert F. Kennedy Journalism awards board. She and her husband, Bruce Adams, wrote three editions of a travel guide to America’s baseball parks, with the help of their children, Emily and Hugh.

David Esbjornson DIREC TOR

David’s premieres include Edward Albee’s The Goat, or Who is Sylvia? (Broadway) and The Play About the Baby (the Century Center), The Ride Down Mt. Morgan (Broadway) and Resurrection Blues (the Guthrie Theater) by Arthur Miller,

Angels in America: Millennium Approaches and the first staged presentation of Perestroika (Eureka Theatre), Homebody/Kabul (London), Neal Bell’s Thérèse Raquin (Classic Stage Company), In the Blood by Suzan-Lori Parks (the Public Theater), Albom/Hatcher’s Tuesdays with Morrie (Minetta Lane Theatre), Israel Horowitz’s My Old Lady (the Promenade Theatre), Kathleen Tolan’s Memory House (Actors Theatre of Louisville and Playwrights Horizons), Ariel Dorfman’s Purgatorio, and Kevin Kling’s How? How? Why? Why? Why? (Seattle Repertory Theatre). His recent work includes Measure for Measure (New York Shakespeare Festival Delacorte), Moira Buffini’s Gabriel and Peter Parnell’s Trumpery (Atlantic Theatre Company), and Allison and Margaret Engels’ Red Hot Patriot: The Kick-Ass Wit of Molly Ivins (Philadelphia Theatre Company and Geffen Playhouse). He directed the revivals of Driving Miss Daisy (Broadway and West End); Death of a Salesman (Gate Theatre in Dublin); Hamlet (Theatre for a New Audience); A Few Good Men (West End); All My Sons (the Huntington Theatre Company); Much Ado About Nothing (nysf); The Normal Heart (the Public); Mud and Drowning (Signature Theatre); The Entertainer, The Maids, Endgame, and Entertaining Mr. Sloane (csc); Who’s Afraid of Virginia Woolf? and Summer and Smoke (the Guthrie); Twelfth Night and Lady From Dubuque (Seattle Rep); and Farmyard (New York Theatre Workshop). David has served as artistic director of Classic Stage Company and Seattle Repertory Theatre and is the current chair of theatre at Rutgers University.

John Arnone

SCENIC DESIGNER

Tony Award winner John began his career designing critically acclaimed productions off Broadway for which he received two Obie Awards. He designed more than 30 sets at the Public Theater with legendary producer Joseph Papp, the Lion Theatre, Playwrights Horizons, and Circle Rep. He has worked with Garland Wright and Joe Dowling at the Guthrie Theater and Des McAnuff at La Jolla Playhouse and the Stratford Shakespeare Festival. In 1993, The Who’s Tommy opened on Broadway, for which John received a Tony, Dora Mavor Moore, Drama Desk, Outer Critics Circle, and Olivier Awards. Other Broadway designs include How to Succeed in Business without Really Trying; Twilight: Los Angeles, 1992; Sacrilege; Tommy Tune’s productions of The Best Little Whorehouse Goes Public and Grease; Sex and Longing; Patio/Porch; The Goat, or Who is Sylvia?; Fortune’s Fool; The Full Monty; Marlene; The Deep Blue Sea; Lone Star & Pvt Wars; Minnelli on Minnelli; The Best Man; The Ride Down Mt. Morgan; Lennon: The Musical; and next season’s All That Glitters. John’s work has been seen in Canada, London, Vienna, Berlin, Japan, and Australia.

Elizabeth Hope Clancy COSTUME DESIGNER

Elizabeth’s Broadway credits include A Christmas Story; Passing Strange; Bobbi Boland; The Goat, or Who Is Sylvia?; and The Ride Down Mt. Morgan. She also designed A Few Good Men, which played in the West End, and Death of a Salesman for the Gate Theatre in Dublin. Her off-Broadway credits include The Lady from Dubuque, The Oldest Profession, and The Last of the Thorntons at Signature Theatre; Measure for Measure at New York Shakespeare Festival; Hamlet at Theatre for a New Audience; In the Blood and A Dybbuk at the Public Theater; Memory House, Recent Tragic Events, and The Wax at Playwrights Horizons; Waiting for Godot, Endgame, and The Entertainer at Classic Stage Company; and Finer Noble Gases and Acts of Mercy at Rattlestick Playwrights Theater. She also designed costumes for productions at George Street Playhouse, Philadelphia Theatre Company, the Guthrie Theater, Seattle Repertory Theatre, Intiman Theatre, the Huntington Theatre Company, the Mark Taper Forum, Kansas City Repertory Theatre, Oregon Shakespeare Festival, Hartford Stage, Long Wharf Theatre, the Geffen Playhouse, Yale Repertory Theatre, and many others. She is resident designer for Sally Silvers & Dancers. Elizabeth holds an mfa from Yale School of Drama and is on the faculty of Mason Gross School of the Arts at Rutgers.

Daniel Ionazzi

LIGHTING DESIGNER

Daniel makes his debut at Berkeley Rep with Red Hot Patriot. His work has also been seen at Steppenwolf Theatre Company, Arena Stage, South Coast Repertory, the Denver Center Theatre Company, and the Geffen Playhouse, where he originally designed Red Hot Patriot. His design for the New York production of The Jacksonian garnered a Lucille Lortel nomination. He designed the lighting installation for Il Teatro alla Moda for the Wallis Annenberg Center for the Performing Arts and Trajectoire and Catapult for Diavolo Dance Theatre. His design work can also be seen in the 4-D cinematic experience, Beyond all Boundaries, at the National WWII Museum. Daniel is the production manager for the Geffen and a member of the faculty of the ucla School of Theater, Film and Television and director of production for the Department of Theater. He is the author of The Stage Management Handbook and The Stagecraft Handbook.

Rob Milburn & Michael Bodeen SOUND DESIGNERS AND ORIGINAL MUSIC

Rob and Michael composed music and designed sound for Berkeley Rep’s productions of No Man’s Land and Vanya and Sonia and Masha and Spike and designed sound for Comedy on the Bridge/Brundibar. Their Broadway credits include music composition and sound for Waiting for Godot & No Man’s Land, Breakfast at Tiffany’s, The Miracle Worker, and One Flew Over the Cuckoo’s Nest, and sound for This is Our Youth, Of Mice and Men, Superior Donuts, reasons to be pretty, A

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BE R K E L E Y R E P PRESENTS profiles Year with Frog and Toad, King Hedley II, Buried Child, The Song of Jacob Zulu, and The Grapes of Wrath. Their off-Broadway credits include music and sound for Sticks and Bones, The Notebooks of Leonardo Da Vinci, and Marvin’s Room; sound for Jitney and The Pain and the Itch; and music direction and sound for Ruined. Rob and Michael have created music and sound at many of America’s resident theatres (often with Chicago’s Steppenwolf Theatre) and at several international venues. Please visit milbomusic.com.

Maya Ciarrocchi

PROJEC TION DESIGNER

MEET US IN THE BAR We offer a selection of premium spirits, including craft cocktails curated by East Bay Spice Company, and a satisfying array of sweets and savories.

Maya designed the video and projection for Berkeley Rep’s production of Ghost Light. She is a New York City–based video artist and projection designer. She has created projections for performance with such artists as Merce Cunningham, Ping Chong, and Bebe Miller, as well as for regional theatre. Her work has been exhibited in New York at Anthology Film Archives, Chashama, the Chocolate Factory, Microscope Gallery, and New York Live Arts, and around the country and world at Artisphere (VA), Borderlines Film Festival (UK), Hammer Museum (CA), and Moving Pictures Festival (Canada). Maya has received residencies from the Kala Arts Institute, the Lower Manhattan Cultural Council, and the Ucross Foundation, and is a recipient of Bessie and Jeff Awards for projections design. Maya earned a bfa in dance from suny Purchase and an mfa in computer art from the School of Visual Arts.

Paul Huntley

WIG DESIGNER

London-born, Paul has worked on hundreds of Broadway shows since his 1972 arrival in New York, most memorably the original productions of Amadeus, Cats, Evita, Les Misérables, Sweeney Todd, The Producers, and Hairspray. A recipient of Drama Desk and Tony Awards, he has also worked with some of the most legendary leading ladies of the cinema, ranging from Bette Davis, Mae West, Marlene Dietrich, and Vivien Leigh to Jane Fonda, Faye Dunaway, Glenn Close, and Jessica Lange. He also worked on Anything Goes, War Horse, Other Desert Cities, and Man and Boy.

Amy Potozkin

CASTING DIREC TOR / A R T I S T I C A S S O C I AT E

This is Amy’s 25th 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 Com26 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 3

pany, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for various indie 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 a coach to hundreds of actors, has 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.

Michael Suenkel S TAG E M A N AG E R

Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 21st 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.

Tony Taccone

MICHAEL LEIBERT ARTISTIC DIREC TOR

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 18 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 35 plays in Berkeley, including new work from Culture Clash, Rinde Eckert, David Edgar, Danny Hoch, Geoff Hoyle, Quincy Long, Itamar Moses, and Lemony Snicket. He directed 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 last season’s 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, and Game On, written with Dan Hoyle. 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, organizations that represent the interests of nonprofit theatres across the nation. Susan chaired two panels for the Massachusetts Arts Council and has also served on program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan chairs the Downtown Berkeley 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. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund. Susan serves on the faculty of Yale School of Drama and is a proud member of the Mont Blanc Ladies’ Literary Guild and Trekking Society. She lives in Berkeley with her husband.

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

Robin Sutherland

PRINCIPAL PIANIST, SF SYMPHONY

Karen Racanelli

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

Karen joined Berkeley Rep in 1993 as education director. Under her supervision, Berkeley Rep’s programs for education provided live theatre for more than 20,000 students annually. In 1995, she became general manager, and since then has overseen the day-to-day operations of the Theatre. She has represented the League of Resident Theatres during negotiations with both Actors’ Equity Association and the union of stage directors and choreographers. Prior to her tenure at Berkeley Rep, Karen worked for Theatre Bay Area as director of theatre services and as an independent producer at several Bay Area theatre companies. She has served on the boards of Climate Theater, Overtone Theatre Company, Park Day School, and the Julia Morgan Center. Karen is married to arts attorney MJ Bogatin.

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Liesl Tommy

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

Liesl is Berkeley Rep’s associate director and helmed the acclaimed productions of Party People and Ruined. She directed the premieres of Appropriate by Branden Jacobs-Jenkins (Woolly Mammoth Theatre Company, Signature Theatre Company), Party People by universes (Oregon Shakespeare Festival), The White Man—A Complex Declaration of Love by Joan Rang (DanskDansk Theatre, Denmark), Peggy Picket Sees the Face of God by Roland Schimmelpfennig (Luminato Festival/Canadian Stage Toronto), Eclipsed by Danai Gurira (Yale Repertory Theatre, Woolly Mammoth), The Good Negro by Tracey Scott Wilson (the Public Theater, Dallas Theater Center), A History of Light by Eisa Davis (Contemporary American Theatre Festival), Angela’s Mixtape by Eisa Davis (Synchronicity Performance Group, New Georges), and Bus and Family Ties (Play Company for the Romania Kiss Me! Festival). Other credits include American Buffalo, Les Misérables, Hamlet, A Raisin in the Sun, and Ma Rainey’s Black Bottom, as well as a four-city tour of Ruined. She has also worked at California Shakespeare Theater, the Huntington Theatre Company, Center Stage in Baltimore, Oregon Shakespeare Festival, La Jolla Playhouse, and Sundance East Africa on Manda Island in Kenya, among others. Liesl serves as a program associate at Sundance Institute Theatre Program and as an artist trustee with the Sundance Institute’s board of trustees, and she facilitated the inaugural Sundance East Africa Theatre Director’s Lab in Addis Ababa, Ethiopia. Liesl has earned an Obie Award, a Lillian Hellman Award, and the Alan Schneider Award for directing, the inaugural Susan Stroman Directing Award from the Vineyard Theatre, the nea/tcg Directors Grant, and the New York Theatre Workshop Casting/Directing Fellowship. She has taught

or guest directed at Yale Repertory Theatre, Juilliard, nyu, and Brown University. Liesl is an alum of Trinity Rep Conservatory and a native of Cape Town, South Africa.

Madeleine Oldham

R E S I D E N T D R A M AT U R G / D I R E C T O R , T H E G R O U N D F LO O R

Madeleine is the director of The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work and the Theatre’s resident dramaturg. She oversees commissioning and new play development, and dramaturged the world premiere productions of 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.

The Strauch Kulhanjian Family SEASON SPONSORS

Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently chair of the trustees committee. He is chairman of the Roda Group (rodagroup. com), a venture-development company based in Berkeley focused on cleantech investments, best known for launching Ask.com and for being the largest investor in Solazyme, a renewable oil and bio-products company (Nasdaq: szym, solazyme.com). Roger is chairman of the board of CoolSystems, a medical technology company, and a member of the UC Berkeley Engineering Dean’s college advisory board. He is chairman of the board of trustees for the Mathematical Sciences Research Institute; a member of the board of Northside Center, a mental-health services agency based in Harlem, New York City; and a co-founder of the William Saroyan Program in Armenian Studies at Cal. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three children.

Jack & Betty Schafer SEASON SPONSORS

Betty and Jack are proud to support Berkeley Rep. Jack, one of the Theatre’s trustees, also sits on the boards of San Francisco Opera and the Straus Historical Society. He is vice-chair

of the Oxbow School in Napa and an emeritus trustee of the San Francisco Art Institute, where he served as board chair. Betty, a retired life coach, has resumed her earlier career as a nonfiction writer and poet. She serves on the boards of Brandeis Hillel Day School, Coro Foundation, Earthjustice, and Sponsors for Educational Opportunity (seo).

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.

Adult, teen, and youth classes start Jan 5—register today!

berkeleyrep.org/classes

Nicholas & Mary Graves LEAD SPONSORS

Nick and Mary live in San Francisco and enjoy many days and evenings each year in Berkeley and at Berkeley Rep. Nick is a past president of the Theatre’s board of trustees and serves on the boards of several other nonprofits in the Bay Area. He is retired from the San Francisco–based asset management firm Osterweis Capital Management. Mary was awarded her doctor of education by Rutgers University in 2005. She is a past voting member of the Girl Scouts of the usa and a past board president of the Colorado Rocky Mountain School.

R U O Y E T I N IG

Y T I V I T A E CR

Pam & Mitch Nichter

EXECUTIVE SPONSORS

Pam is the chief operating officer, chief financial officer, and a founding principal at Osterweis Capital Management, a San Francisco investment manager. Pam serves on the board of trustees at Berkeley Rep. Osterweis Capital and its principals support and are on the governing boards of numerous Bay Area organizations, including the Contemporary Jewish Museum, Marin Summer Theater, San Francisco Ballet, San Francisco Free Clinic, San Francisco Jewish Film Festival, and Summer Search. Mitch practices corporate and securities law at Paul Hastings, a global law firm, where he is a partner and heads up the firm’s hedge fund practice. Paul Hastings provides pro bono and other support to a number of Bay Area not-forprofit organizations, including Audubon Canyon Ranch, East Bay Community Law Center, United Way, and WildCare. Pam and Mitch live in the North Bay and have been enthusiastic supporters of Berkeley Rep for years.

F I N A N C I A L A I D F O R YO U T H A N D T E E N C L A S S E S

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The arts come alive at College Prep!

BE R K E L E Y R E P P R E S E N T S profiles Marjorie Randolph

Dixon Long

Marjorie is the immediate past president of Berkeley Rep’s board of trustees and a longtime supporter of the Theatre. She is retired as the head of worldwide human resources for Walt Disney Studios. During her tenure at Berkeley Rep, she has sponsored 30 plays. A member of the California Bar and a former president of California Women Lawyers, she serves as a community board member and treasurer of the Psychoanalytic Institute of Northern California, a member of the Chabot Space & Science Center Foundation Leadership Council, and a member of the National Leadership Council for Futures Without Violence. She also serves on the boards of UC Press and Kronos Quartet.

Dixon moved to the Bay Area in 1990 after a career as professor of political science and dean at Case Western Reserve University. He studied fiction, and his first novel was published in 2001, followed by five more novels and a book of short stories. His subject matter varies from family drama to an international political thriller to a story of academic administration gone haywire. His non-fiction guidebook, Markets of Paris, is now in a second edition. Dixon keeps bees with his son Sam, and has helped to create public gardens in San Rafael and Mill Valley. Music, art, and drama are lifelong interests.

EXECUTIVE SPONSOR

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Michael & Sue Steinberg EXECUTIVE 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 Award. The Steinbergs have always enjoyed regional theatre and are delighted to sponsor Red Hot Patriot.

The Ira and Leonore Gershwin Philanthropic Fund/ Jean & Michael Strunsky EXECUTIVE SPONSORS

A Berkeley Institution Since 1985

Our seasonal menu is based on local produce, sustainable seafood and meats.

Join us for a pre-theatre dinner Tuesday to Sunday. 1329 Gilman Street, Berkeley 510-527-9838 www.lalimes.com follow us on facebook, twitter and instagram

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Michael and Jean have a long history with the arts. Mike manages the estate of his late uncle, Ira Gershwin, and promotes Gershwin music worldwide. He helped facilitate the Gershwin Room in Washington, DC, the Ira Gershwin Gallery at the Disney Concert Hall in LA, and the annual Gershwin Prize for Popular Song. Mike is a sustaining advisor to Berkeley Rep and serves on the board of the Michael Feinstein Foundation. He is a past member of the boards of the Goodspeed Opera House, the Jewish Home of San Francisco, and the San Francisco Symphony. Jean and Mike co-manage the Ira and Leonore Gershwin Philanthropic Fund and a Trust for the Music Division of the Library of Congress. They are members of the Library of Congress’ James Madison Council. Jean is an active Berkeley Rep trustee and has served as co-chair of our annual gala multiple times. She serves on Theatre Communications Group’s National Council and is a former board member of jvs, where she continues to co-chair the Employee of the Year Awards to select winners for the annual jvs Strictly Business Lunch.

SPONSOR

Sandra & Ross McCandless SPONSORS

Sandra, a long-standing Berkeley Rep trustee, currently serves on the Campaign steering committee and is the past chair of the corporate committee and member of the executive committee. Sandra is a national and international labor and employment attorney and a partner of the global law firm Dentons US llp. She is also a neutral arbitrator for the American Arbitration Association. Sandra is a leader of the American Bar Association, the largest professional services organization in the world, having recently completed a threeyear term on the aba’s board of governors and as chair of its finance committee. Ross teaches science and mathematics at Mount Diablo High School and is an avid dancer and birdwatcher. The McCandless’ love of theatre dates back to Sandra and Ross’ joint performance at Harvard College in William Saroyan’s Hello Out There. Their daughter Phyra McCandless and son-in-law Angelos Kottas are also enthusiastic members of the Berkeley Rep family.

Leonard X Rosenberg & Arlene B. Rosenberg SPONSORS

Len is a partner in the Palo Alto and San Francisco offices of Mayer Brown llp, an international law firm, where he is the co-head of the West Coast real estate practice and a leader of the cross-border real estate investment practice. He is a member of Berkeley Rep’s board of trustees and is currently secretary of the board. Len also heads the local alumni chapter of his alma mater, Brandeis University, and serves on the alumni association board of directors. Arlene, a recovering lawyer, serves on the board of the couple’s local educational foundation and is active in their synagogue, Peninsula Temple Sholom. Len and Arlene have two teenaged sons and an empty refrigerator. Now removed from the cold winters of their former Chicago home and its thriving theatre environment, Len and Arlene have enjoyed deepening their attachment to Berkeley

Rep over the years, and are delighted to be sponsoring Red Hot Patriot.

BART

KPIX

MEDIA SPONSOR

kpix 5 shares a commitment with cbs News to original reporting. “Our mission is to bring you compelling, local enterprise journalism,” emphasized kpix/kbcw President and General Manager Bruno Cohen. “And just like Berkeley Rep, we’re passionate about great storytelling. We strive to showcase unique stories that reflect the Bay Area’s innovative spirit, incredible diversity, and rich culture as well as its challenges.” Sister station kbcw 44 Cable 12 airs the region’s only half-hour newscast at 10pm. Produced by the kpix 5 newsroom, “Bay Area NightBeat” offers viewers a fresh perspective on current events along with a lively—and often provocative—look at what the Bay Area is saying and sharing online and in social media. Both stations are committed to supporting valuable community organizations such as Berkeley Rep, and are proud to serve as season media sponsors.

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Wells Fargo

SEASON SPONSOR

As the top corporate giver to San Francisco Bay Area nonprofits (according to the SF Business Times), Wells Fargo recognizes Berkeley Rep for its leadership in supporting the performing arts and its programs. As the oldest and largest financial services company headquartered in California, Wells Fargo has top financial professionals providing business banking, investments, brokerage, trust, mortgage, insurance, commercial and consumer finance, and much more. Talk to a Wells Fargo banker today to see how we can help you become more financially successful.

Keith Haring, Untitled, 1982. Enamel and Day-Glo paint on metal. Collection of the Keith Haring Foundation. Keith Haring artwork © Keith Haring Foundation

SEASON SPONSOR

Bay Area Rapid Transit (bart) is a 104-mile, automated rapid-transit system that serves more than 100 million passengers annually. bart is the backbone of the Bay Area transit network with trains traveling up to 80 mph to connect 26 cities located throughout Alameda, Contra Costa, San Francisco, and San Mateo Counties and the Bay Area’s two largest airports. bart’s all-electric trains make it one of the greenest and most energy-efficient systems in the world with close to 70 percent of its all-electrical power coming from hydro, solar, and wind sources. Many new projects are underway to expand bart, allowing it to serve even more communities and continue to offer an ecofriendly alternative to cars. The Oakland Airport Connector opens this fall. For more info, visit bart.gov.

NOVEMBER 8, 2014–FEBRUARY 16, 2015 This exhibition is organized by the Fine Arts Museums of San Francisco. Director’s Circle: Penny and James George Coulter. Curator’s Circle: Sloan and Roger Barnett, Ray and Dagmar Dolby Family Fund, Holly Johnson Harris and Parker Harris, and the Shimmon Family. Conservator’s Circle: The Buena Vista Fund of Horizons Foundation. Supporter’s Circle: Nancy and Joachim Bechtle, Juliet de Baubigny, and Richard and Peggy Greenfield. Community Partner: WEBCOR Builders Media Sponsors Hotel Partner

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Additional staff Electrics Stephanie Buchner Melina Cohen-Bramwell Jack Horwitch Kelly Kunaniec Alex Marshall William Poulin Andrea J. Schwartz Molly Stewart-Cohn Thomas Weaver Lauren Wright Followspot operator Thomas Weaver Props artisans Ashley Nguyen Rebecca Willis Sound engineers Brendan Aanes Xochitl Loza Stage carpenter Kourtney McCrary Video programmer Alex Marshall Teletype appears courtesy of the Associated Press Corporate Archives

Red hot playwrights: A conversation with Margaret and Allison Engel CO N TIN U E D FRO M PAG E 21

more than just slap labels on people. She burned a lot of midnight oil working, going through the Medicaid budgets to see how children were faring. So her outrage and her humor had a terrific foundation, which is why I think people still quote her. We have a Google alert, and there’s not a day that goes by that someone isn’t picking up something from her column, or wondering what Molly would say about something contemporary. Allison: I think that’s an important point because it does seem that a lot of commentary these days is just reacting to what someone else said or reacting to what has happened. Molly was so original in that she really did do her reporting and her legwork. And she also did it from outside the Washington–New York power-political axis. She deliberately made her base in Austin, Texas but talked about national subjects. So that really set her apart from kind of the chattering classes that were repeating the same topics. Did you notice any similarities between playwriting and journalism as you were working on the play? Allison: Oh sure. You have to catch people’s interest right at the beginning, you have to be able to edit, and you have to be able to tell a story economically. I’m surprised more journalists don’t write plays, because there are so many stories, so many great stories that are such perfect vehicles for plays. And I guess now that the fad of 10-minute plays is firmly entrenched, maybe there will be more journalists who do that. Do you think that you’ll try writing a play together again? Margaret: Oh we’ve already been asked to do two others. One by the literary estate of Erma Bombeck; that’s done and we’ve had a staged reading. And one we’re working on about Damon Runyon that his literary estate asked us to do. In the past several years, there have been a lot of discussions about the state of journalism and where it’s going, particularly print journalism. Where do you think we are headed, and where are we right now? Margaret: There’s still a home and a thirst and an interest in real stories and terrific journalism. It just is that there are fewer practitioners who are able to do it because the money isn’t there. But when a good story comes up and terrific journalism is being committed day in and day out—both of us serve as judges on a lot of journalism contests, and there’s just amazing material being produced. So I’m less pessimistic than some others because I still see these amazing stories. And of course, the courage that it takes to be a foreign correspondent today, where for the first time really in history journalists are being targeted for murder. It’s always been dangerous, but you were going to die in a plane crash or train collision; now it’s the easiest way to silence the truth. Allison: Peggy runs a journalism foundation, and her fellows turn in just really extraordinary journalism, so it is still being done and in fact I guess what makes me feel positive about it is that as Peggy said, the financial rewards and the job security are no longer there, and despite that, people are finding ways to get journalism accomplished and get it out. I think it is easier to publish your own things, online, than it was pre-internet. But I do worry about the fourth estate not really acting as a watchdog as much as it should on government and the military and so forth, just because the numbers of journalists are being decimated. But somehow, there is still good journalism being done and it’s just almost more being done out of love than money. That feels very similar to what’s happening in the playwriting world right now. Allison: You don’t want these amazing professions to become hobbies, rather than professions.

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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 September 2013 and October 2014.

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

G IF T S O F $ 10 0,0 0 0 A N D A B OV E The William & Flora Hewlett Foundation The James Irvine Foundation The Shubert Foundation The Harold and Mimi Steinberg Charitable Trust

G IF T S O F $2 5,0 0 0 –49,9 9 9 Anonymous The Ira and Leonore Gershwin Philanthropic Fund Wallis Foundation Woodlawn Foundation

G IF T S O F $50,0 0 0 –9 9,9 9 9 The Bernard Osher Foundation National Endowment for the Arts

G IF T S O F $ 10,0 0 0 –24,9 9 9 Koret Foundation The Kenneth Rainin Foundation

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

G I F T S O F $ 10 0,0 0 0 A N D A B OV E

SPONSORS

$ 12 ,0 0 0 –2 4 ,9 9 9

Anonymous (2) Barbara & Gerson Bakar David & Vicki Cox Thalia Dorwick Robin & Rich Edwards David & Vicki Fleishhacker Paul Friedman & Diane Manley M Scott & Sherry Haber Jack Klingelhofer Susan & Moses Libitzky Sandra & Ross McCandless Dugan Moore Leonard & Arlene Rosenberg Joan Sarnat & David Hoffman Liliane & Ed Schneider Norah & Norman Stone Felicia Woytak & Steve Rasmussen Martin & Margaret Zankel

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

$ 6,0 0 0 – 11,9 9 9

Anonymous (3) Shelley & Jonathan Bagg Edward D. Baker Neil & Gene Barth Valerie Barth & Peter Wiley M Stephen Belford & Bobby Minkler Carole B. Berg K Lynne Carmichael Susan Chamberlin Daniel Cohn & Lynn Brinton Robert Council & Ann Parks-Council Oz Erickson & Rina Alcalay William Espey & Margaret Hart Edwards John & Carol Field, in honor of Marjorie Randolph Linda Jo Fitz Virginia & Timothy Foo Jill & Steve Fugaro Carol A. Giles Paul Haahr & Susan Karp Doug & Leni Herst, in honor of Susie Medak Hitz Foundation Ms. Wendy E. Jordan Jean & Jack Knox

Wanda Kownacki Ted & Carole Krumland Zandra Faye LeDuff Dixon Long Dale & Don Marshall Martin & Janis McNair Steven & Patrece Mills Mary Ann & Lou Peoples Peter Pervere & Georgia Cassel Barbara L. Peterson Kaye Rosso Pat Rougeau Patricia Sakai & Richard Shapiro Cynthia & William Schaff Emily Shanks M Pat & Merrill Shanks Karen Stevenson & Bill McClave Jacqueline & Stephen Swire Wendy Williams Sheila Wishek

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

$ 3,0 0 0 – 5,9 9 9

Anonymous (5) Linda R. Ach Edith Barschi Caroline Booth Jim Butler Brook & Shawn Byers C. William Byrne Jennifer Chaiken & Sam Hamilton Constance Crawford Karen & David Crommie Lois M. De Domenico Delia Fleishhacker Ehrlich Nancy & Jerry Falk Richard & Lois Halliday Earl & Bonnie Hamlin Vera & David Hartford James C. Hormel & Michael P. Nguyen Lynda & Dr. J. Pearce Hurley Kathleen & Chris Jackson Ashok Janah Seymour Kaufman & Kerstin Edgerton Duke & Daisy Kiehn Christopher & Clare Lee Nancy & George Leitmann, in memory of Helen Barber Peter & Melanie Maier Charlotte & Adolph Martinelli The McBaine Family Phyra McCandless & Angelos Kottas Susan Medak & Greg Murphy, in honor of Marcia Smolens Eddie & Amy Orton Janet Ostler Sandi & Dick Pantages Pease Family Fund Kermit & Janet Perlmutter Ivy & Leigh Robinson David S. H. Rosenthal & Vicky Reich Riva Rubnitz Beth & David Sawi Stephen C. Schaefer Joyce & Jim Schnobrich Stephen Schoen & Margot Fraser Linda & Nathan Schultz Lisa & Jim Taylor James & Lisa White Patricia & Jeffrey Williams Sally Woolsey Alan & Judy Zafran

B E N E FAC TO R S

$ 1, 5 0 0 –2 ,9 9 9

Anonymous (8) Anonymous, in memory of Vaughn & Ardis Herdell Martha & Bruce Atwater Nina Auerbach Linda & Mike Baker Michelle L. Barbour David Beery & Norman Abramson BluesCruise.com Cynthia & David Bogolub Linda Brandenburger Broitman-Basri Family Drs. Don & Carol Anne Brown Katherine S. Burcham M Kerry Tepperman Campbell Ronnie Caplane Stephen K. Cassidy & Rebecca L. Powlan Paula Champagne & David Watson Andrew Combs Julie Harkness Cooke Penny Cooper & Rena Rosenwasser Thomas & Suellen Cox Ed Cullen & Ann O’Connor James Cuthbertson Richard & Anita Davis Ira Dearing Ilana DeBare & Sam Schuchat Francine & Beppe Di Palma Jerome & Thao Dodson Ben Douglas Becky Draper Merle & Michael Fajans Cynthia A. Farner Tracy & Mark Ferron Lisa & Dave Finer Martin & Barbara Fishman Patrick Flannery Thomas & Sharon Francis Herb & Marianne Friedman Don & Janie Friend, in honor of Bill & Candy Falik James Gala Karl & Kathleen Geier Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Bob Goodman Phyllis & Eugene Gottfried Mrs. Gale K. Gottlieb Robert & Judith Greber William James Gregory Garrett Gruener & Amy Slater Ms. Teresa Burns Gunther & Dr. Andrew Gunther

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 4 –1 5 · I S S U E 3

Migsy & Jim Hamasaki Bob & Linda Harris Ann & Shawn Fischer Hecht Ruth Hennigar Tom & Bonnie Herman Howard Hertz & Jean Krois Sue Hoch K Bill Hofmann & Robbie Welling M The Hornthal Family Foundation Rick Hoskins & Lynne Frame Paula Hughmanick & Steven Berger George & Leslie Hume Mr. & Mrs. Harold M. Isbell Beth & Fred Karren Doug & Cessna Kaye Rosalind & Sung-Hou Kim Lynn Eve Komaromi, in honor of the Berkeley Rep Staff Michael Kossman & Luis Orrico John Kouns & Anne Baele Kouns Helen E. Land Robert Lane & Tom Cantrell William & Adair Langston Randy Laroche & David Laudon Louise Laufersweiler & Warren Sharp Sherrill Lavagnino & Scott McKinney Andrew Leavitt & Catherine Lewis Ellen & Barry Levine Bonnie Levinson & Dr. Donald Kay Jennifer S. Lindsay Tom Lockard & Alix Marduel Vonnie Madigan Joan & Roger Mann Naomi & Bruce Mann Helen Marcus & David Williamson Lois & Gary Marcus Michael Margolis Sumner & Hermine Marshall Rebecca Martinez Jill Matichak Erin McCune & Nicholas Virene Janet & Michael McCutcheon Steven McGlocklin Karen & John McGuinn Miles & Mary Ellen McKey Kirk McKusick & Eric Allman Michele & John McNellis Toby Mickelson & Donald Brody Roger & Satomi Miles Dan Miller Karen Miller Andy & June Monach Scott Montgomery & Marc Rand Marvin & Neva Moskowitz Patricia Motzkin & Richard Feldman Shanna O’Hare & John Davis

Judith & Richard Oken Steve Olsen Judy O’Young, MD & Gregg Hauser Matt Pagel Gerane Wharton Park Bob & MaryJane Pauley Tom & Kathy Pendleton Gladys Perez-Mendez Michael A. Petonic & Veronica A. Watson David Pratt Andrew Raskopf & David Gunderman Elizabeth Ratner Sue Reinhold & Deborah Newbrun Bill Reuter & Ruth Major James & Maxine Risley John & Jody Roberts Horacio Rodriguez Deborah Romer & William Tucker Sheli Rosenberg, in honor of Leonard X Rosenberg Marc Roth Boyard & Anne Rowe Enid & Alan Rubin Mitzi Sales & John Argue Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Jackie & Paul Schaeffer Mark Shusterman, M.D. Edie Silber & Steve Bomse Beryl & Ivor Silver Amrita Singhal & Michael Tubach Kae Skeels Sherry & David Smith Stephen & Cindy Snow Audrey & Bob Sockolov Jacques Soenens Jennifer Heyneman Sousae & William Sousae David G. Steele Stephen Stublarec & Debra S. Belaga Gayle Tapscott K Andrew & Jody Taylor Deborah Taylor Alison Teeman & Michael Yovino-Young Susan & David Terris Ama Torrance & David Davies Bernard & Denise Tyson Buddy & Jodi Warner Jonathan & Kiyo Weiss Beth Weissman Steven & Linda Wolan Charles & Nancy Wolfram Ron & Anita Wornick Sam & Joyce Zanze Jane & Mark Zuercher

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

$ 1,0 0 0 –1, 49 9

Anonymous (7) · Peggy & Don Alter · Pat Angell, in memory of Gene Angell · Todd & Diane Baker · Don & Gerry Beers M · Daniel Boggan Jr · Harry Bremond & Peggy Forbes · Fred Brown & Barbara Kong Brown · Barbara & Robert Budnitz · Dan & Allyn Carl · Paula Carrell · Stan & Stephanie Casper · Naveen Chandra & James Lengel · Leslie Chatham & Kathie Weston · Ed & Lisa Chilton · Terin Christensen · Ralph & Rebecca Clark · Earl T. Cohen & Heidi M. Shale · Barbara & Tim Daniels M · Alecia A. DeCoudreaux · Harry & Susan Dennis · Ivan & Sarah Diamond · Corinne & Mike Doyle · Debra Engel, in honor of Barry Williams & Lalita Tademy · Susan English & Michael Kalkstein · Bill & Susan Epstein, in honor of Marge Randolph · Paul Feigenbaum & Judy Kemeny · Frannie Fleishhacker · Lisa Franzel & Rod Mickels · Donald & Dava Freed · Christopher R. Frostad M · Judith & Alex Glass · Robert Goldstein & Anna Mantell · Diana Grand & Jon Holman · Douglas Hardman & Karla Martin · Richard N. Hill & Nancy Lundeen · Adrienne Hirt & Jeffrey Rodman · Elaine Hitchcock · Barry & Jackie Hoffner · Herrick and Elaine Jackson, The Connemara Fund · Randall Johnson · Barbara E. Jones, in memory of William E. Jones · Thomas Jones · Tom & Mary Anne Jorde, in honor of Pat Sakai & Dick Shapiro · Christopher Killian & Carole Ungvarsky · Steve K. Kispersky · Suzanne LaFetra · Joe W. Laymon · Erma Lindeman · R. Jay & Eileen Love · J.E. Luckett · Bruce Maigatter & Pamela Partlow · Meg Manske · John E. Matthews · John G. McGehee · Dennis & Eloise Middleton · David L. Monroe · Timothy Muller · Margo Murray · Claire Noonan & Peter Landsberger · Pier & Barbara Oddone, in memory of Michael Leibert · Sheldeen Osborne · Richard Ostreicher & Robert

We gratefully recognize the following members of the Annual Fund whose contributions were received from September to October 2014 S U PP O R T E R S

$ 2 5 0 –49 9

Anonymous · Lynda H. Barber · Patricia & Peter Coffin · Louise Coleman · Dan & Shawna Hartman Brotsky M · Dorothy & Michael Herman · Ruth Medak · Lewis Perry · Laurel Przybylski · Barbara & Jerry Schauffler

LEGEND

in-kind gift

Sleasman · Lynette Pang & Michael Man · Gregory C. Potts · Dan & Lois Purkett M · Kenneth & Frances Reid · Charles R. Rice · Edward & Jeanette Roach · Brian Bock and Susan Rosin · Rob & Eileen Ruby · John Sanger · Seiger Family Foundation · Neal Shorstein, MD & Christopher Doane · Ann Shulman & Stephen Colwell · Dave & Lori Simpson · Ed & Ellen Smith · Sigrid Snider · John St. Dennis & Roy Anati · Gary & Jana Stein · Annie Stenzel · Tim Stevenson & David Lincoln King · Pate & Judy Thomson · Deborah & Bob Van Nest · Michael Weinberger & Julianne Lindemann · Lee Yearley & Sally Gressens

A DVO C AT E S

$500–999

Anonymous (18) · Daphne Allen K · Fred & Kathleen Allen · Gertrude & Robert Allen · Robert & Evelyn Apte · Shellye L. Archambeau & Clarence Scott · Jerry & Seda Arnold · Naomi Auerbach & Ted Landau · Mary Bailey · David & Christine Balabanian · Barbara Jones & Massey J. Bambara · Leslie & Jack Batson · Jonathan Berk & Rebecca Schwartz · Richard & Kathy Berman · Robert Berman & Jane Ginsburg · Caroline Beverstock · Steve Bischoff · Patti Bittenbender · Marilyn Bray · Wendy Buchen · Rike & Klaus Burmeister · Alex Byron & Nicole Maguire · Don Campbell and Family · Kawika Campbell · Dr. Paula Campbell · Doug Carlston & Kathy Williams · Bruce Carlton · Davis Carniglia & Claire Baker · John Carr · Carolle J. Carter & Jess Kitchens · Kim & Dawn Chase · Patty Chin · Carol T. Christ · Karen Clayton & Stephen Clayton · Dennis Cohen & Deborah Robison · Leonard & Roberta Cohn · Ruth Conroy · Robert & Blair Cooter · John & Izzie Crane M · Philip Crawford · Robert & Loni Dantzler · Pat & Steve Davis · Abby & Ross Davisson · Daryl Dichek & Kenneth Smith, in honor of Shirley & Phil Schild · Drs. Nancy Ebbert & Adam

CO N T RIB U TO R S

$ 15 0 –2 49

Keira Armstrong & Steve Thompson · Jim & Donna Beasley · Charles Benedict · Rollin & Pamela Coville · Susan G. Duncan, in memory of Marilyn Goodman · Sue & Peter Elkind · Bill Hendricks · Robert & Bonnie Hepps, in honor of Daria & Franco · Beth Jordan & Andy Schwartz · Roy Kaplan, in memory of Barbara Kaplan · Thomas & Barbara Lasinski · John & Barbara Ohlmann · Beth Polland · James Walsh

FRIE N D S

$ 75 –149

Anonymous (4) · Jean A. Amos · Larry & Barbara Babow · Adriane & Barry Bosworth · Barbara Cannella · Renate & Robert Coombs · Judith Fireman · David & Christine Goldin ·

Rochmes · Jeanene E. Ebert M · Anita C. Eblé · Burton Peek Edwards & Lynne Dal Poggetto · Roger & Jane Emanuel · Michael Evanhoe · Nancy H. Ferguson · Robert Fleri, in memory of Carole S. Pfeffer · Michael & Victoria Flora · Stephen Follansbee & Richard Wolitz · Jacques Fortier · Dean Francis · Nancy H. Francis · Stuart & Joyce Freedman · Kate & Ted Freeland · Daniel Friedland & Azlynda Alim · Tim Geoghegan · Paul Gill & Stephanie D’Arnall · Jane Gottesman & Geoffrey Biddle · Dan Granoff · Sheldon & Judy Greene · Don & Becky Grether · Dan & Linda Guerra · John G. Guthrie · Robert L. Harris & Glenda Newell-Harris · Dan & Shawna Hartman Brotsky · Geoffrey & Marin-Shawn Haynes · Daria Hepps · Irene & Robert Hepps · Wilbur & Carolyn Ross Hobbs · Judith Holland · Morgan Hough · Olivia & Thacher Hurd Fund · Mr. & Mrs. Edwin Ives · Ken & Judith Johnson · Marc & Lisa Jones · Helmut H. Kapczynski & Colleen Neff · Dennis Kaump · Beverly Phillips Kivel · Jeff Klingman & Deborah Sedberry · Joan & David Komaromi · Janet Kornegay and Dan Sykes · Jennifer Kuenster & George Miers · Charles Kuglen · Larry & Ruth Kurmel · Woof Kurtzman & Liz Hertz · Henry & Natalie Lagorio · Thomas LaQueur · Mr. & Mrs. Richard Larsen · John Leys · Ray Lifchez · Dottie Lofstrom · Judy MacDonald Johnston · Sue & Phil Marineau · Sarah McArthur & Michael LeValley · Betsy McDaniel · Marie S. McEnnis · Sean McKenna · Christopher McKenzie & Manuela Albuquerque · Ash McNeely · Mary & Gene Metz · Aliza and Peter Metzner K · Caryl & Peter Mezey · Geri Monheimer · Rex Morgan & Greg Reniere · Brian & Britt-Marie Morris · Ronald Morrison · Jerry Mosher · Moule Family Fund · Lance Nagel · Ron Nakayama · Kris Carpenter Negulescu, in memory of Maxine Carpenter · Jeanne E. Newman · Marlowe Ng & Sharon Ulrich · Hung Nguyen · Judy Ogle · Carol J. Ormond ·

Nancy Park · P. David & Mary Alyce Pearson · Bob & Toni Peckham · James F. Pine M · Malcolm & Ann Plant · John & Anja Plowright · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Susie & Eric Poncelet · Fred & Judy Porta · Roxann R. Preston · Paula Pretlow · Kathleen Quenneville K · Chuck & Kati Quibell · Sheldon & Catherine Ramsay · Ian Reinhard · Helen Richardson · Paul & Margaret Robbins · Joshua Robison · Joan Roebuck · Roberta Romberg · Galen Rosenberg & Denise Barnett · Jirayr & Meline Roubinian · Deborah Dashow Ruth, in memory of Leo P. Ruth · June & Bob Safran · Dorothy R. Sax · Laurel Scheinman · Bob & Gloria Schiller · Mark Schoenrock & Claudia Fenelon · Teddy & Bruce Schwab · Brenda Buckhold Shank, M.D., Ph.D. · Steve & Susan Shortell · William & Martha Slavin · Carra Sleight · Suzanne Slyman · Jerry & Dick Smallwood · Mark Smith & Pam Callowa · Christina Spaulding · Louis & Bonnie Spiesberger · Robert & Naomi Stamper · Ms. Joelle Steefel · Herbert Steierman · Lynn M. & A. Justin Sterling · Monroe W. Strickberger · Shayla Su M · Ellen Sussman & Neal Rothman · Ruthann Taylor · Nancy & Fred Teichert · Jeff & Catherine Thermond · Michael Tilson Thomas & Joshua Robison · Prof. Jeremy Thorner & Dr. Carol Mimura, in memory of James Toshiaki Mimura · Karen Tiedemann & Geoff Piller · Janet Traub · William van Dyk & Margi Sullivan · Gerald & Ruth Vurek · Scott Wachter & Barbara Malina · Louise & Larry Walker · Dena & Wayne Watson-Lamprey · William R. Weir · Sallie Weissinger · Dr. Ben & Mrs. Carolyn Werner · Elizabeth Werter · Ann Harriman · Diane & Scott Wieser · Oliver Williamson · Fred Winslow & Barbara Baratta K · Carol Katigbak Wong

Laurie Hill · Joe & Ann Jensen · Dr. & Mrs. Ernest Newbrun · Diane Raile · Ann & Don Rathjen · Steve Spellman · Bill and Sandy Threlfall · Alice Wilkins

Laconsay · Iris C. Libby · Christian Lorentzen · Elaina Lovejoy · Anna Lushtak · John S.T. Mark · Redge & Carole Martin · Deborah McKinney · Christia Mulvey · Deborah Peterson · Ronald N. Peterson · Sarah Pollak · Albertha Richardson · Jenny Robertson · Helen Rosen · Mark Ruben · Sue Scott · Gail & Larry Siegel · Arlene Sirott · Barry & Meryl Smith · Robert Strochak · Anna Swigart · Clarence Travis · Liliana Vallejos · Kelley Vanda · Glen Walton · Carole Watkins · Gene Weinstein · Monty Worth · Tia Wu · Linda Young

PAT RO N S

$ 1 –74

Anonymous (4) · Tarliena Aamir-Balinton · Darcy Babbitt · Joseph Baxter · Paul Bendix · Taylor Berg-Kirkpatrick · Alice K. Berglas · Jayaram Bhat · Laura Billings · William Bridges · Pamela S. Burdman · Ramiro Calvo · Tony Cheng · Judy Chiu · Connie Clark · Susan Cohen · Cathleen Daley · Dr. Paul Abrinko & Dr. Monika Eckfield · Greg Ehrensing · Susan Evans · James M. Hall · Kathy Haranzo · Barbara Harriman · Joan Hecker · Roy Henninger · Charlton Holland · John P. Judd · Velma

matching gift

We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics. 2 0 1 4 –1 5 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 35

BE R K E L E Y R E P T H A N K S Michael Leibert Society Members

Sustaining members as of October 2014:

The Society welcomes the following new members: John G. McGehee

Anonymous (6) Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Neil & Gene Barth Carole B. Berg Linda Brandenburger Broitman-Basri Family Jill Bryans Bruce Carlton & Richard G. McCall Stephen K. Cassidy Andrew Daly & Jody Taylor M. Laina Dicker Thalia Dorwick Rich & Robin Edwards Bill & Susan Epstein William Espey & Margaret Hart Edwards Carol & John Field Dr. Stephen E. Follansbee & Dr. Richard A. Wolitz Kerry Francis

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

Donors to the Annual Fund

Dr. Harvey & Deana Freedman Joseph & Antonia Friedman Paul T. Friedman Dr. John Frykman Laura K. Fujii David Gaskin & Phillip McPherson Marjorie Ginsburg & Howard Slyter Mary & Nicholas Graves Elizabeth Greene Jon & Becky Grether Richard & Lois Halliday Linda & Bob Harris Fred Hartwick Ruth Hennigar Douglas J. Hill Hoskins/Frame Family Trust Lynda & Dr. J. Pearce Hurley Robin C. Johnson Lynn Eve Komaromi Bonnie McPherson Killip Scott & Kathy Law Zandra Faye LeDuff Ines R. Lewandowitz Dot Lofstrom Dale & Don Marshall

Sumner & Hermine Marshall Rebecca Martinez Suzanne & Charles McCulloch Miles & Mary Ellen McKey Margaret D. & Winton McKibben Susan Medak & Greg Murphy Stephanie Mendel Toni Mester Shirley & Joe Nedham Pam & Mitch Nichter Sheldeen G. Osborne Sharon Ott Amy Pearl Parodi Gladys Perez-Mendez Barbara Peterson Regina Phelps Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Tom Roberts Tracie E. Rowson Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Valerie Sopher

Michael & Sue Steinberg Dr. Douglas & Anne Stewart Jean Strunsky Henry Timnick Phillip & Melody Trapp Janis Kate Turner Dorothy Walker Weil Family Trust — Weil Family Karen & Henry Work Martin & Margaret Zankel

Gifts received by Berkeley Rep:

Estate of Suzanne Adams Estate of Helen Barber Estate of Fritzi Benesch Estate of Nelly Berteaux Estate of Nancy Croley Estate of John E. & Helen A. Manning Estate of Richard Markell Estate of Margaret Purvine Estate of Peter Sloss Estate of Harry Weininger Estate of Grace Williams

Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise, planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity. For more information on becoming a member, visit our website at berkeleyrep.org or contact Daria Hepps at 510 647-2904 or dhepps@berkeleyrep.org.

Make great theatre part of your legacy. Visit berkeleyrep.org/plannedgiving or call 510 647-2904

Mona Golabek in The Pianist of Willesden Lane P H OTO CO U R T E S Y O F M EL LO P I X .CO M

3 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 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 Karen Racanelli ARTISTIC Associate Director Liesl Tommy Artistic Associate & Casting Director Amy Potozkin Artistic Associate Mina Morita Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Associate Julie McCormick Artists under Commission David Adjmi · Christina Anderson · Glen Berger · Julia Cho · Jackie Sibblies Drury · Rinne Groff · Dave Malloy · KJ Sanchez

Wardrobe Supervisor Barbara Blair Associate Costume Director/ Hair and Makeup Supervisor Amy Bobeda ELECTRICS Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane Kenneth Coté SOUND Sound Supervisor James Ballen Sound Engineer Angela Don

P R ODUC T ION

A DM I N I S T R AT ION

Production Manager Peter Dean Associate Production Manager Amanda Williams O’Steen Company Manager Jean-Paul Gressieux

Controller Suzanne Pettigrew Director of Technology Gustav Davila Associate Managing Director/ Manager, The Ground Floor Karena Fiorenza Ingersoll Executive Assistant Andrew Susskind Bookkeeper Kristine Taylor Associate General Manager/ Human Resources Manager David Lorenc Payroll Administrator Valerie St. Louis Human Resources Consultant Laurel Leichter Database Manager Diana Amezquita Systems Assistant Debra Wong

S TAG E M A NAG E M E N T Production Stage Manager Michael Suenkel Stage Managers Leslie M. Radin Karen Szpaller Kimberly Mark Webb Production Assistants Sofie Miller Amanda Warner 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 Associate Properties Supervisor Gretta Grazier Properties Artisan Viqui Peralta S C E N E S HOP Technical Director Jim Smith Associate Technical Director Colin Babcock Shop Foreman Sam McKnight Master Carpenter E.T. Hazzard Carpenter Jamaica Montgomery-Glenn SCENIC ART Charge Scenic Artist Lisa Lázár

DE V E L OPM E N T Director of Development Lynn Eve Komaromi Associate Director of Development Daria Hepps Director of Individual Giving Laura Fichtenberg Campaign Manager Libbie Hodas Institutional Grants Manager Bethany Herron Special Events Manager Lily Yang Individual Giving Associate Joanna Taber Development Database Coordinator Jane Voytek Donor Relations Associate Kelsey Hogan Development Associate Beryl Baker

COSTUMES

B OX OF F I C E

Costume Director Maggi Yule Draper Kitty Muntzel Tailor Kathy Kellner Griffith First Hand Janet Conery

Ticket Services Manager Destiny Askin Subscription Manager & Associate Sales Manager Laurie Barnes Box Office Supervisor Terry Goulette

Box Office Agents Amos Cass · Christina Cone · Samanta Cubias · Julie Gotsch · Eliza Oakley · Amanda Warner · Crystal Whybark M A R K E T I NG & C OM M U N I C AT ION S Director of Marketing & Communications Robert Sweibel Director of Public Relations Voleine Amilcar Art Director Nora Merecicky Video & Multimedia Producer Pauline Luppert Communications Manager Karen McKevitt Audience Development Manager Sarah Nowicki Marketing Manager Peter Yonka Webmaster Christina Cone Program Advertising Ellen Felker Patron Services Manager Katrena Jackson House Manager Debra Selman Assistant House Managers Natalie Bulkley · Aleta George · Tuesday Ray · Ayanna Makalani · Anthony Miller · Sarah Mosby Concessions Supervisor Hugh Dunaway Concessionaires Jessica Bates · Samantha Burse · Steve Coambs · Emerald Geter · Charmenaca Keelen · Devon Labelle · Kelvyn Mitchell · Benjamin Ortiz · Jenny Ortiz · Alonso Suarez OP E R AT ION S Facilities Director Mark Morrisette Facilities Manager Lauren Shorofsky Building Engineer Thomas Tran Maintenance Technician Johnny Van Chang Facilities Assistants Sonny Hudson · Sophie Li · Carlos Mendoza · Jesus Rodriguez · LeRoy Thomas BERKELEY REP S C HO OL OF T H E AT R E Director of the School of Theatre Rachel L. Fink Associate Director MaryBeth Cavanaugh Jan & Howard Oringer Outreach Coordinator Dave Maier Community Programs Manager Benjamin Hanna School Administrator Kashara Robinson Registrar Katie Riemann Faculty Alva Ackley · Bobby August Jr. · Erica Blue · Larry Bogad · Patric Cambra · Ron Campbell · Rebecca Castelli · Sally Clawson · Iu-Hui Chua · Jiwon

Chung · Laura Derry · Deborah Eubanks · Sara Felder · Maria Frangos · Christine Germain · Nancy Gold · Gary Graves · Marvin Greene · Kathleen Hermesdorf · Gendell Hing-Hernández · Andrew Hurteau · Ben Johnson · Julian López-Morillas · Dave Maier · Patricia Miller · Edward Morgan · Slater Penney · Marty Pistone · Diane Rachel · Rolf Saxon · Elyse Shafarman · Rebecca Stockley · Libby Vega Outreach Teaching Artists Bobby August Jr. · Jessica Bates · Gendell Hing-Hernández · Marilet Martinez · Sarita Ocon · Carla Pantoja · Patrick Russell · Tommy Shepherd · Patricia Wright · Elena Wright Teacher Advisory Council Molly Aaronson-Gelb · Julie Boe · Amy Crawford · Beth Daly · Jan Hunter · Marianne Philipp · Richard Silberg · John Warren · Jordan Winer Teen Core Council Asè Bakari · Bridey Bethards · Abram Blitz · Charlotte Dubach-Reinhold · Carson Earnest · Jet Harper · David Kaus · Eleanor Maples · Eli MillerLeonard · Alexander Panagos · Samuel Shain · Maya Simon · Chloe Smith · Ella Zalon Docent Committee Thalia Dorwick, Chair Matty Bloom, Core Content Nancy Fenton, Procedures Selma Meyerowitz, Off-site contact & Recruitment Red Hot Patriot Docents Selma Meyerowitz, Lead Docent Carole Breen · Carol Dembling · Dee Kursh · Joy Lancaster · Stephen Miller · Joan Sullivan 2014–1 5 B E R K E L E Y R E P FELLOWSHIPS Bret C. Harte Young Director Fellow Adam L. Sussman Company/Theatre Management Fellow Faith Nelson Costume Fellow Andrea Phillips Development Fellow Haley Bierman Education Fellow Rachel Eisner Graphic Design Fellow Sarah Jacczak Harry Weininger Sound Fellow Annemarie Scerra Lighting / Electrics Fellow Sarina Renteria Marketing & Communications Fellow Billy McEntee Peter F. Sloss Literary/ Dramaturgy Fellow Lexi Diamond Production Management Fellow Margaret Clement Properties Fellow Amelia Burke-Holt Scenic Art Fellow Anna McGahey Scenic Construction Fellow Will Gering Stage Management Fellow Brad Hopper

President Thalia Dorwick, PhD Vice President Jill Fugaro Vice President Stewart Owen Treasurer Emily Shanks Secretary Leonard X Rosenberg. Chair, Trustees Committee Roger A. Strauch Chair, Audit Committee William T. Espey Immediate Past President Marjorie Randolph Board Members Carrie Avery Edward D. Baker Becky Bleich Martha Ehmann Conte David Cox Robin Edwards William Falik Lisa Finer David Fleishhacker Kerry L. Francis Paul T. Friedman Bruce Golden Nicholas M. Graves David Hoffman Sandra R. McCandless Susan Medak Helen Meyer Pamela Nichter Jack Schafer Richard M. Shapiro Jean Z. Strunsky Tony Taccone Gail Wagner Felicia Woytak Past Presidents Helen C. Barber A. George Battle Carole B. Berg Robert W. Burt Shih-Tso Chen Narsai M. David Nicholas M. Graves Richard F. Hoskins Jean Knox Robert M. Oliver Harlan M. Richter Richard A. Rubin Edwin C. Shiver Roger A. Strauch Warren Widener Martin Zankel Sustaining Advisors Carole B. Berg Rena Bransten Diana J. Cohen William T. Espey John Field Scott Haber Richard F. Hoskins Carole Krumland Dale Rogers Marshall Dugan Moore Mary Ann Peoples Peter Pervere Pat Rougeau Patricia Sakai Michael Steinberg Michael Strunsky Martin Zankel

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

2 0 1 4 –1 5 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 7

FYI

Latecomers

Please arrive on time. Late seating is not guaranteed.

Connect with us online!

Theatre info

Considerations

Visit our website berkeleyrep.org You can buy tickets and plan your visit, watch video, sign up for classes, donate to the Theatre, and explore Berkeley Rep.

Emergency exits Please note the nearest exit. In an emergency, walk—do not run —to the nearest exit.

No food or glassware in the house Beverages in cans or cups with lids are allowed.

Accessibility Both theatres offer wheelchair seating and special services for those with vision or hearing loss. Assistive listening devices are available at no charge in both theatre lobbies. Scripts are available in the box office. Open captioning is available for at least one performance of every season production.

No smoking The use of e-cigarettes is prohibited in Berkeley Rep’s buildings and courtyard.

facebook.com/ berkeleyrep @berkeleyrep

foursquare.com/ berkeleyrep yelp.com/ berkeleyrep

We’re mobile! Download our free iPhone or Google Play app — or visit our mobile site —to buy tickets, read the buzz, watch video, and plan your visit.

Tickets/box office

Educators

Box office hours: noon–7pm, Tue–Sun Call 510 647-2949 Click berkeleyrep.org anytime Fax: 510 647-2975

Bring Berkeley Rep to your school! Call the School of Theatre at 510 647-2972 about free and low-cost workshops for elementary, middle, and high schools. Call Sarah Nowicki at 510 647-2918 for $10 student-matinee tickets. Call the box office at 510 647-2949 about discounted subscriptions for preschool and K–12 educators.

Under 30? Half-price advance tickets! For anyone under the age of 30, based on availability. Proof of age required. Some restrictions apply. Senior/student rush Full-time students and seniors 65+ save $10 on sections A and B. One ticket per ID, one hour before showtime. Proof of eligibility required. Subject to availability. Group tickets Bring 10–14 people and save $5 per ticket; bring 15 or more and save 20%. And we waive the service charge. Entourage tickets If you can bring at least 10 people, we’ll give you a code for 20% off tickets to up to five performance dates. Learn more at berkeleyrep.org/entourage. Student matinee Tickets are just $10 each. Learn more at berkeleyrep.org/studentmatinees. For group, Entourage, and student matinee tickets, please call us at 510 647-2918. Sorry, we can’t give refunds or offer retroactive discounts.

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Theatre store Berkeley Rep merchandise and show-related books are available in the Hoag Theatre Store in the Roda Theatre.

Please keep perfume to a minimum Many patrons are sensitive to the use of perfumes and other scents. Phones / electronics / recordings 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. Please do not touch the set or props You are welcome to take a closer look, but please don’t step onto the stage. No children under 7 Many Berkeley Rep productions are unsuitable for young children. Please inquire before bringing children to the Theatre. No babes in arms.

Theatre maps stage

T H RU S T

Ticket exchange Only subscribers may exchange their tickets for another performance of the same show. Exchanges can be made online until midnight (or 7pm by phone) the day preceding the scheduled performance. Exchanges are made on a seat-available basis.

stage

seating sections:

• premium • a • b stage

RO DA

Request information To request mailings or change your address, write to Berkeley Rep, 2025 Addison Street, Berkeley, CA 94704; call 510 647-2949; email info@berkeleyrep.org; or click berkeleyrep.org/joinourlist. If you use Gmail, Yahoo, or other online email accounts, please authorize patronreply@ berkeleyrep.org.

stage stage

seating sections:

• premium • a • b stage

BEGINS JAN 14

INDIAN INK BY

TOM STOPPARD

DIRECTED BY

CAREY PERLOFF

“Enticing” The New York Times

“Romantic” Associated Press

“Astonishing! Sexy, funny and deeply entertaining.” New York Magazine

“Carey Perloff has done right . . . go with confidence!” The Wall Street Journal

A.C.T. MINI-PACKAGES BEGIN AT $12 A PLAY!

ORDER TODAY AT ACT-SF.ORG/JOIN

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