Berkeley Rep: Tartuffe

Announcing our 2015–16 season 8 · A conversation with Dominique Serrand 20 · The program for Tartuffe 25

THE BERKELEY REP M AGA ZINE 2 014 –15 · I S S U E 5

Elizabeth “Libby” Clark, joined in 2009

Early Morning

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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 TARTUFFE · 2 5

M E E T T H E C A ST & C R E W · 26

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 · 36

A letter from the managing director · 7

Individual donors to the Annual Fund · 37 Michael Leibert Society · 40

R E P ORT 8

Announcing our 2015–16 season · 8

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

In memoriam: Berkeley Rep shares remembrances of two longtime subscribers and supporters · 11

Staff, board of trustees, and sustaining advisors · 41

An inside look at Tartuffe auditions · 13 Coming soon: A theatre for the 21st century · 14 15

A new generation of subscribers: Creating a space for teens in the theatre world · 15

FYI Everything you need to know about our box office, gift shop, seating policies, and more · 42

F E AT U R E S Banned: Tartuffe and a select history of western theatrical censorship · 16 Tartuffe production history timeline · 16 Looking for the magic of things: A conversation with Dominique Serrand · 20 20

Long-term relationship: Two decades with Steven Epp and Dominique Serrand · 23

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 5 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

Cover: Steven Epp in Tartuffe P H OTO BY M I C H A L DA N I EL

Graphic Designer Sarah Jacczak

Writers Lexi Diamond Rachel Eisner Julie McCormick Amy Potozkin Adam Sussman

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

“R.Kassman represents the finest quality pianos and the expertise to provide the very best of service.”

Robin Sutherland

PRINCIPAL PIANIST, SF SYMPHONY

I once had a professor who liked to say, “In

comedy, a man slips on a banana peel and we laugh. In tragedy, a man slips on a banana peel and we cry.” His point, I think, was well taken. The line between tragedy and comedy is remarkably thin, and the consistent crossing of that boundary is the hallmark feature of the work of the great 17th-century French playwright, Molière. Perhaps because he was an aspiring tragedian whose life was plagued with obstacles of every variety, or perhaps because his formative years were spent in the countryside learning the comic secrets of commedia dell’arte, Molière’s work is a daring blend of the darkest and lightest aspects of human experience.

There is no better example of this than Tartuffe, a play whose humor was so threatening to the court of Louis XIV that the king banned the play from being performed for five years. The king himself was allegedly a fan of the play, but the hue and cry among the clergy and aristocracy was so loud that Louis felt he had no choice but to declare it censored “in order not to allow it to be abused by others, less capable of making a just discernment of it.” Translation: Molière’s scathing critique of religious hypocrisy infuriated many of those in power, who saw themselves as the object of the author’s derision and the topic of public ridicule. They were being laughed at, and they weren’t laughing.

No one understands the delicate relationship between comedy and tragedy better than director Dominique Serrand. A lifelong student of Molière, Dominique works with a unique company of designers and actors capable of fulfilling every aspect of the texts. Led by the incomparable Steve Epp, who performed the lead roles here in Serrand’s productions of Figaro and The Miser, the ensemble is equally adept at delivering punch lines and gut punches. They move effortlessly from behavior that’s benign to brutal. Every slip on the banana peel evokes a different response. The effect is disarming and revealing, and combined with a stunning visual aesthetic, quite beautiful.

It’s important for a company like ours to return to the classics. Very few plays transcend the period in which they were written. Those that do become the standard by which we measure ourselves, both culturally and artistically. A great production of a classic work vivifies the past, illuminates the present, and inspires us to create work that dares to be important. Welcome to Tartuffe….

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March 2015 Volume 47, No. 5

Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold Seattle Sales Director Joey Chapman, Gwendolyn Fairbanks, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Terri Reed, Tim Schuyler Hayman San Francisco/Bay Area Account Executives Carol Yip Sales Coordinator

One Week Only! April 14–19, 2015

Jonathan Shipley Ad Services Coordinator

The Bay Area welcomes spring each year with this popular week-long exhibition featuring unique art and floral mash-ups in which floral designers create arrangements that pay tribute to and draw inspiration from the works in the de Young’s permanent collection.

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Event Contributor McGladrey

Media Sponsors

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Unidentified artist, Girandole mirror (detail), ca. 1810. Limewood, glass, brass, and gilding. FAMSF, gift of Mrs. Virginia Bosche, 78.60. Floral design by Church Street Flowers. Photograph © Greg A. Lato / latoga photography.

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Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2015 Encore Media Group. Reproduction without written permission is prohibited.

P ROL OG U E from the Managing Director

Early March is always one of the most exciting

times of the year—it’s when we announce the lineup of plays for the new season! You can read more about our 2015–16 shows in this program and in our lobby, but this year we have even more news to share with you.

Starting in June, our Thrust Stage will close for much-needed renovations. Our goal is to preserve the intimacy and cozy unpretentiousness that makes the Thrust such a perfect space, while bringing it up to 21st-century standards. The Roda Theatre will remain open and will be home to the world premiere of Amélie in August as well as the 2013 Pulitzer Prize–winning Disgraced later in the season. We’ll reopen the Thrust Stage in January with a deeply moving family drama by Julia Cho, directed by Liesl Tommy.

The Thrust construction has provided us with an opportunity to introduce you to our new black box space: the Osher Studio, conveniently located along the Arts Passage connecting Addison Street and Center Street. (You can see it across the street from the box office.) The Osher will provide the perfect, informal setting for a Pirates of Penzance like you’ve never seen before—and one intended for the entire family. So bring your children, parents, grandchildren, and everyone!

Halfway through next season, the city will begin demolition and reconstruction of the Addison Street garage across from Berkeley Rep. But never fear! We’ve anticipated this and have made arrangements for you by securing a block of parking spaces at the garage on Center Street. When you subscribe to the 2015–16 season, you’ll be able to purchase guaranteed parking spaces for your performance dates. These parking reservations can be exchanged as often as you exchange your tickets, and they will cost no more than you are currently paying for the Addison Street garage.

Parking in Berkeley will be a challenge for about 18 months. But Berkeley Rep patrons who purchase parking through our box office will be protected from any inconvenience. You’re guaranteed a space regardless of what else may be happening in town that night. And your access to the theatres from the Center Street lot will be a short walk through the Arts Passage. Those with limited mobility can still be dropped off right in front of our theatres on Addison Street. Look for the opportunity to purchase your parking in advance when you subscribe to Berkeley Rep’s 2015–16 season.

So next season, you’ll get the chance to experience our sweet and intimate Osher Studio; you’ll enjoy the pleasure of a refurbished and well-preserved Thrust Stage; and you’ll have the chance to secure guaranteed parking while the city builds a better and seismically sound new facility.

Warmly,

Susan Medak

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DISCOVER THE

2SUBSCRIPTION 15–16 Amélie

SEASON

Book by Craig Lucas · Music by Daniel Messé Lyrics by Nathan Tysen & Daniel Messé Musical direction by Kimberly Grigsby Choreographed by Sam Pinkleton Directed by Pam MacKinnon Limited Season · Roda Theatre Aug 2015 · World premiere

The Hypocrites’ Pirates of Penzance

Book by W. S. Gilbert · Music by Arthur Sullivan Directed and adapted by Sean Graney Co-adapted by Kevin O’Donnell Co-directed by Thrisa Hodits Music direction by Andra Velis Simon Limited Season · Osher Studio · Oct 2015

Join the party in our new Osher Studio on Center Street with a delightfully immersive, lovingly loopy, and fantastically eccentric 80-minute take—think banjos, beach balls, and guitars— on Gilbert and Sullivan’s preposterous, topsy-turvy world. Frederic was mistakenly apprenticed as a young boy to a band of sentimental pirates. Now 21, he falls head-over-heals for the Major-General’s daughter and forswears the buccaneer’s life forever, or so he thinks. This buoyant, award-winning Pirates of Penzance by Chicago theatre rebels The Hypocrites is “spirited, affectionate, and nearly irresistible,” says the Boston Globe.

Matt Kahler as the Major-General in The Hypocrites’ Pirates of Penzance P H OTO BY E VA N H A N OV ER

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Amélie captured our hearts in the five-time Academy Award–nominated film. Now she comes to the stage in an inventive and captivating new musical directed by Tony Award winner Pam McKinnon (Who’s Afraid of Virginia Woolf?) and penned by Craig Lucas (Prelude to a Kiss), with a stirring score by Daniel Messé (of the acclaimed band Hem) and lyrics by Nathan Tysen (The Burnt Part Boys) and Messé. Embark on a mesmerizing journey with inquisitive and charmingly shy Amélie as she turns the streets of Montmartre into a world of her own imagining, while secretly orchestrating moments of joy for those around her. After discovering a mysterious photo album and meeting a handsome stranger, she realizes that helping others is easier than concocting a romantic story of her own.

After seeing the world through the magical and enchanted eyes of Amélie, you’ll never look at life the same way again.

The world premiere of Amélie, Mary Zimmerman’s Treasure Island, the Pulitzer Prize–winning Disgraced, a thrilling Macbeth, a fantastical Pirates of Penzance, and more—your adventure awaits!

PLUS ONE MORE PLAY TO BE ANNOUNCED! FOR MORE INFO, CLICK BERKELEYREP.ORG

Disgraced

By Ayad Akhtar Directed by Kimberly Senior Main Season · Roda Theatre Nov 2015 · West Coast premiere

“Bristles with wit and intelligence…”

Amir Kapoor is living the American Dream—an upper East Side apartment, Italian suits, and the — N E W YO R K T I M E S promise of becoming partner at the law firm. But when he and his wife Emily, an artist influenced by Islamic imagery, host a dinner party for their friends and colleagues, lies and deception threaten to shatter Amir’s carefully constructed life of cultural assimilation. Playwright Ayad Akhtar won the 2013 Pulitzer Prize for this engrossing and combustible drama that probes the complexity of identity, the place of faith in today’s world, and the hidden prejudices still alive in liberal society.

Director Kimberly Senior comes to Berkeley Rep to stage the provocative play that she shepherded from Chicago to London to its triumphant run on Broadway.

Aubergine

By Julia Cho Directed by Liesl Tommy Main Season · Thrust Stage Feb 2016 · World premiere

An estranged son, a father who’s ill, a visiting uncle carrying their memories in tow, a woman without an appetite, and a refugee from a forgotten country—they all prove potent ingredients in this bittersweet and moving meditation on family, forgiveness, and the things that nourish us. When language fails, when the past fades, the perfect meal transcends time and culture and says more than words ever can. Julia Cho’s plays have garnered critical praise from New York to Los Angeles. Now she pairs with Obie Award–winning director Liesl Tommy (Ruined and Party People) on the elegant, poignant, and lyrical Aubergine.

Julia Cho

P H OTO BY J E N N I E WA R R E N

Treasure Island

Written by Robert Louis Stevenson Adapted and directed by Mary Zimmerman Main Season · Thrust Stage Apr 2016 Mary Zimmerman has mesmerized audiences with her exquisite adaptations of classic tales from the spellbinding Arabian Nights to the hypnotic White Snake. This spring the Tony Award–winning director takes us aboard the Hispaniola for a heart-pounding voyage filled with tales of swashbuckling gentlemen o’ fortune, a malicious mutiny led by infamous Long John Silver, and a deadly quest for fabled buried booty. Caught in the middle is cabin boy Jim Hawkins, who must find uncommon courage as he faces a murderous plot and navigates the ambiguous tides of morality.

Sail to Treasure Island with Mary Zimmerman for another visually tantalizing and exhilarating adventure.

Macbeth

By William Shakespeare Directed by Daniel Sullivan Main Season · Roda Theatre Feb 2016

Tony and Obie Award–winning director Daniel Sullivan— dubbed the go-to guy for Shakespeare—helms a thrilling new production of the bard’s murderous play about the lust for power and the fickleness of fate. Driven by an evil prophesy and his scheming wife, Macbeth kills the king and claims his crown, thus beginning a moral descent into a reign of terror.

The New York Times has called Daniel Sullivan’s Shakespeare in the Park productions “absolutely splendid” and rendered with “passion, expertise and uncommon intelligence.” We can’t wait to reveal who will play the notorious couple—stay tuned!

Amy Kim Waschke and Christopher Livingston in Mary Zimmerman’s The White Snake P H OTO CO U R T E S Y O F M EL LO PI X .CO M

SEASON SPONSORS

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R U YO SSION PA AWAITS New dynamic theatre classes for youth, teens, and adults start March 30—register today!

berkeleyrep.org/classes Financial aid available for youth/teen classes

Get ready for Summer Theatre Intensive

Session 1 (grades 6–8): Jun 15–Jul 10 Session 2 (grades 9–12): Jul 14–Aug 7

berkeleyrep.org/summerintensive

PHOTO BY JARED OATES

IN MEMORIAM Berkeley Rep shares remembrances of two longtime subscribers and supporters

Nancy Croley, a member of the Michael Leibert Society

Shirley and Philip Schild celebrating the opening of The Pianist of Willesden Lane in October 2013

NANCY CROLEY May 28, 1939–March 23, 2006

SHIRLEY DICHEK SCHILD March 18, 1926–October 2, 2014

Berkeley Rep subscriber Nancy Croley cared deeply about many things. Her friends, the environment, and the arts were paramount in her interests and affections, and she found a way to honor each of these passions through her estate.

Berkeley Rep, along with four other local arts nonprofits, was the grateful recipient of an equal share of the proceeds from the sale of Nan’s Nob Hill condominium in December 2014. We’ve known about Nan’s generosity for years—this gift became irrevocable when Nan passed away in 2006—but the terms of her will allowed her friend and walking companion Patricia Hurley to live in the condo rent free until her death in May 2014. Thanks to a super-heated real estate market and the excellent management of the estate’s executor, Nan’s good friend (and Berkeley Rep subscriber!) Janet Crane, five arts organizations that Nancy Croley had loved in her lifetime were able to reap considerable benefit from the sale of her Polk Street home.

An architect by trade, Nan’s arts interest was apparent throughout her life. As an undergraduate at Lake Erie College in Ohio, she studied painting, art history, and theatre, and years later she returned to the school as a gallery director and instruc-

A longtime and passionate supporter of Berkeley Rep, Shirley Schild passed away this fall at the age of 88.

Shirley had a Master of Science degree in library science, and she worked for several years as a school librarian in Los Angeles. After retiring, she volunteered at the Los Angeles County Museum of Art’s library. She was married to Leonard Dichek for 31 years until his death in 1981. Four years later, she married Philip Schild and moved to the East Bay where she started volunteering for the Oakland Museum of California’s library. She and Philip began attending Berkeley Rep as well, becoming loyal subscribers and supporters.

Their relationship with the Theatre deepened when they began sponsoring plays 10 years ago. Director of Development Lynn Eve Komaromi remembers, “What I loved about Shirley was her tremendous appreciation for the work and her infectious enthusiasm. She wanted to read all of the plays each season and then share her passion with her friends and neighbors. Her generosity went beyond financially supporting the Theatre.”

In fact, Shirley and Philip could be seen regularly at dress rehearsals and Page to Stage events. An active resident of St.

CO N TIN U E D O N N E X T PAG E

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N A N C Y CRO LE Y (CO N TIN U E D)

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tor in scenic design. She moved to California with her longtime partner Chet Ward in 1982, and in 1984 she moved to San Francisco to practice architecture.

“The quality of life here was very important to her,” remembers Janet, who notes laughingly that Nan also loved spending time at her vacation home on the Smith River near the Oregon border and made the six-plushour trip almost every weekend. “She was an eclectic person,” recalls Janet.

“She enjoyed life in both the city and the country, and she cared deeply about so many different art forms.” In addition to her strong support of the arts, the politically progressive Croley gave generously to environmental organizations like the Sierra Club and the Smith River Alliance, and at the time of her death, mourners were asked to make gifts to the latter organization in her honor.

The early deaths of Nan’s parents probably influenced her careful estate planning, so that when she died suddenly of a heart attack at age 67, everything was in order, and her wishes were clearly documented in her trust and elsewhere. In 2003, a survey question by the Organization of Women Architects, of which Nan was an active member, asked what she most wanted to be remembered for when she died.

Nan responded, “I don’t really expect to be remembered. But I’d like to think I made a difference in some people’s lives. I have tried to be thoughtful and responsible. I want to see any resources I’ve been able to leave behind directed toward protecting the environment and enriching the community.”

S H IRLE Y D I CH E K S CH ILD (CO N TIN U E D)

Paul’s Towers, Shirley organized groups of her neighbors and friends to join her, and she took great pride in seeing many of those friends become subscribers and supporters themselves. She often spoke of bringing her daughter Daryl, son David, and three grandchildren to Berkeley Rep as well.

This season, Shirley and Philip made their gift in support of Tartuffe. We are honored to remember Shirley with this production.

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R E P ORT

An inside look at Tartuffe auditions

BY ADAM SUSSMAN AND AMY POTOZKIN

It’s late morning in early December in down-

town Berkeley as 17 young performers wait outside Studio A in the Berkeley Central building. They’re assembled in a group to audition for the ensemble of Tartuffe, directed by Dominique Serrand.

Berkeley Rep’s Casting Director and Artistic Associate Amy Potozkin observes, “Since these actors were auditioning for a purely physical ensemble and they don’t have lines, Dominique felt it was more useful to see how they work in a group versus individually. Mary Zimmerman is also a director who incorporates group improv auditions in her casting process.”

She adds, “In addition to observing comic instincts, movement skills, and improvisational creativity, it can also reveal the degree to which actors can be generous with one another, or not.”

It’s not just the group audition that makes this casting call unusual, it’s the cryptic instructions that Dominique gave the performers ahead of time. Prepare a short dark comedic improv that incorporates, “a thing, a jig, a thingamajig, a trick or a treat…whatever you like to do.”

Dominique welcomes the group into the audition room, introduces himself, and instructs the performers to warm up however they’d like. The room descends into a mosaic of body rolls, yoga poses, and moaning vocal noises. Dominique watches attentively, taking in each performer’s warm-up routine.

After five minutes, Dominique gives the group the following instructions: “Stare straight ahead, then when I say ‘one’ look left, when I say ‘two’ look right.” Dominique does a trial run, watching how the performers move their heads, correcting those who do not look in either direction fully. After several seemingly random calls of “one” and “two,” Dominique delivers a specific sequence: “One, two, one, one.” The result, when enacted by the performers, is a classic double take.

The actors are then asked to take any object they have with them, set it on the ground, and perform the following sequence: See the object, turn to the object, go to the object, pick the object up to get a closer look, then look out. The simple directions yield a variety of different results: some actors are stupefied by their object, unsure of what it is, going in for a closer look. Others endow their object with great value, looking with wonder and excitement at their find, then looking out to see if anyone else has observed their discovery.

After several more exercises Dominique announces it’s time to present the short improvisations everyone has been asked to prepare. The results are similarly diverse. About half the performers incorporate language into their improvisations while the other half are silent or use only sounds. One actor belts out the instructions for the exercise in faux-Broadway style. Another actor performs a failed suicide attempt that leaves the room in hysterics. Another tries to capture a small, imaginary creature hopping around the studio.

Once all the actors have performed their improvisations, the audition is over. The actors pack up while smiling, laughing, and discussing the most memorable comedic bits from the morning. For the performers who tried out, it appears more than anything that the experience was fun.

Maria Leigh, one of the auditioning actors who was ultimately cast in the ensemble, loved the experience. “I thought the audition was really fun. It felt like a workshop. I really loved Dominique’s energy and process. It was thought out very methodically but it still felt like we could play.”

Top row (left to right): Luverne Seifert, Maria Leigh, Brian Hostenske, Christopher Carley Middle row (left to right): Sofia Jean Gomez, Suzanne Warmanen, Becca Lustgarten, Gregory Linington, Lenne Klingaman Bottom row (left to right): Steven Epp, Michael Manuel, Nathan Keepers, Michael Uy Kelly, Todd Pivetti 2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 3

COMING SOON: A theatre for the 21st century

Construction of a new, more centrally located box office began in February.

The new box office will be accessible from the street, as well as from within the Narsai M. David Courtyard.

This marks the first phase in a historic $6 million renovation of our signature Thrust Stage to provide artists and audiences a revitalized state-of-the-art theatre. This summer, construction will continue with a much-needed upgrade of the theatre, including a refurbished interior and leading-edge technology.

Meanwhile, plans are underway to transform our Harrison Street campus, home to all of our pre-production activity, into a vibrant center for new work. We’re raising $14 million to fund the expansion of the facilities, and to fully support of The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work.

Berkeley Rep needs your help to realize the renovation of the Thrust Stage and the expansion of our Harrison Street campus, the two key initiatives of the Create Campaign, a $50 million campaign to create a theatre for the 21st century.

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?

Go behind the scenes and see for yourself Meet our talented production staff and let them show you the ins and outs of our Harrison Street campus and the Thrust Stage. See where the magic is created and learn more about our exciting plans for Berkeley Rep’s future!

I just wanted to thank you all for hosting such a fun, informative, interesting ‘open house’ at your Harrison Street campus. I enjoyed and appreciated getting a (literal) behind-the-scenes glimpse from some of the skilled and talented members of the collaborative collective responsible for creating the artistic greatness that is Berkeley Rep. I admire the vision of your Create Campaign, and will be supporting it.

—S U SA N L ., RECE N T TO U R G U E S T

— BA RBA R A PE T E R S O N , S U B S CRIB E R & CRE AT E C A M PAIG N S U PP O R T E R

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Visit berkeleyrep.org/create to sign up for a tour and find out more

R E P ORT

A new generation of subscribers

Members of the Teen Council after a performance at Berkeley Rep P H OTO BY J A R ED OAT E S

Creating a space for teens in the theatre world

BY RACHEL EISNER

How do we engage younger audiences with theatre

at Berkeley Rep? “Going to the theatre can be intimidating for a young person,” explains Community Programs Manager Ben Hanna. “The cost can deter students, but even more important is feeling a part of the community. They don’t see other young people in the theatre—and cocktail hour before the show is not their scene.”

This is particularly concerning because according to “The Survey of Public Participation in the Arts, 2002–2012,” conducted by the National Endowment for the Arts, being exposed to the arts as a child has a stronger correlation to participation in the arts as an adult than age, gender, education, or income.

Studies like this one illustrate the importance of youth engagement with the arts. If we want them as a part of our future audience, we need to open our doors and welcome them in now.

Almost 13 years ago, the Berkeley Rep School of Theatre developed Teen Council, a theatre engagement program created by teens for teens. The School also introduced Teen Night, a program that includes a ticket to a Berkeley Rep show, a locally catered dinner, and an exclusive interview with an artist involved in the production—all for just $10. Through Teen Night, teens are able to celebrate their love of theatre with other peers through a preshow event and a teen-led post-show discussion, while getting the inside scoop from artists like Liesl Tommy, Emma Rice, and Tony Kushner.

Each year, more and more teens join the Bay Area arts community through this program. Five years ago an average of 30 teens attended each of our Teen Nights; now we have to cap events at 100 teens from over 25 schools. This rapid growth clearly demonstrates that teen audiences want to see theatre. The question arises: how do we engage them with the rest of our audience?

“Having large groups of teens in our audience creates an exciting energy,” explains School Director Rachel Fink. “Their eagerness to engage with the performance is contagious, and can be felt throughout the entire theatre.” Last year, the School of Theatre introduced the Teen Night subscriber program to cultivate the habit of theatregoing as a social event.

Maya Simon, a leader in the Teen Council, says being a subscriber asks teens to make a commitment from the beginning of the season so “we start to see the same people come back for every Teen Night.”

As subscribers, teens get the chance to experience a wide range of theatre with a consistent group of peers. “Being a subscriber at Berkeley Rep was one of the best decisions I ever made!” exclaimed sophomore Abram Blitz. When asked why, teens say that when surrounded by their peers, they are more comfortable taking artistic risks. Being a subscriber “lets me see plays that I probably otherwise would not know about,” says Michael Letang. By offering teen subscriptions, the School of Theatre is educating a new age of literate and sophisticated theatregoers who will engage with the variety of complex themes presented on the stage each season.

Being a teen subscriber allows teenagers to be not only a part of our teen community but also a part of the Berkeley Rep family. After participating in Teen Council for four years, David Kaus shares, “As a subscriber, I view Berkeley Rep as basically the coolest place in the world—an institution that looks towards theatre’s future.” Teen subscribers are part of the future of their hometown theatre and the next generation of theatre-educated artists, advocates, and audience members.

Do you have a teen who would be interested in our next Teen Night: Head of Passes on Friday, April 24?

Email teencouncil@berkeleyrep.org for more information.

BANNED F RY O O T IP IS CT H NSOR SH E L E E C A S ND TR IC A L A E F A TUF THE TA R S T E R N WE

BY JULIE MCCORMICK

Tartuffe

1643 Molière rejects the inheritance of his father’s title and chooses, instead, to follow his theatrical dreams, cofounding the troupe Théâtre Illustre with his lover-collaborator, Madeleine Béjart.

September 25 and November 26, 1664 Private performances of the original Tartuffe are given at Villers-Cotterêtes and Château du Rancy.

PRODUC TION HISTORY

BY LEXI DIAMOND Since its scandalous start in the 1600s, Molière’s Tartuffe has been translated, adapted, and produced around the world.

We’ve highlighted some of the most intriguing moments in its production history.

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January 15, 1622 Molière is born Jean-Baptiste Poquelin, the son of a wealthy court upholsterer.

May 12, 1664 The original, three-act version of Tartuffe is performed at the Palace of Versailles for the court of Louis XIV. Because of its perceived commentary on the Catholic Church, the Sun King receives pressure the archbishop of Paris to ban the play. No text from this original version survives.

If you sat in this seat 350 years ago, you would be risking excommunication and arrest.

From 1664 to 1669, Molière’s classic farce Tartuffe was banned from public performances. Now, it is a beloved part of the Western theatrical canon that finds new relevancy with every generation of artists and audiences.

But what was so inflammatory about this play that made archbishops and kings take notice?

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August 5, 1667 The first revised version, now five acts and called L’Imposteur, is performed in the Théâtre du Palais-Royal. This version is also banned. An anonymous letter speculated to be penned by Molière himself is published defending the comedy from its critics.

1670 In London, actor Matthew Medbourne creates an English translation and adaptation, Tartuffe, the French Puritan, that focuses its religious message on Puritanism to more closely suit its British audience’s own political and social situation.

February 5, 1669 The French Parliament lifts its ban on public performances of the piece, and another revised version, now called Le Tartuffe, is performed at the Palaise-Royal Theatre. This version is published.

1694 Canada’s Catholic clergy attempts to cancel a Quebec troupe’s production of Tartuffe by bribing its sponsor and excommunicating and imprisoning the director and lead actor. This has a profound effect on Canadian theatre for decades to come.

February 17, 1673 Molière dies, collapsing onstage, ironically, during a production of The Imaginary Invalid in which he played the hypochondriac, Argan.

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Apart from the usual ire that religious critiques draw, the fact that Tartuffe was a piece of theatre made it doubly threatening. In pre-industrialized Europe, the only places that common people could publicly gather were at church and at the theatre. This largely illiterate population looked to the stage not just for entertainment, but also for information and the news. Contrary to today’s reserved audiences, theatregoers in the 16th and 17th centuries were far more raucous and participatory, hurling food, insults, and helpful suggestions at the stage. Mob mentality has the potential to take over any time a group of people assembles, but throw in alcohol, high emotion, and political critiques of a repressive government, and a theatre suddenly turns into a powder keg. Consequently, new plays met with frequent censorship because they threatened the church and crown’s tenuous social control.

Molière was writing at a unique moment in French history, when simmering political unrest was about to boil over into decades of revolution and bloodshed. In the late 17th century absolute monarch Louis the XIV still governed matters of taste as well as of state. Opulent dinners and over-the-top events at the lavish Versailles palace drove fashion across the continent; his generous patronage allowed artists to thrive. Until the days of liberté, égalité, fraternité, the king and those who had his ear controlled what was heard on stages at court and in the public sphere. As the 1789 French Revolution drew closer and the aristocracy lost its grip over the people, theatre in Paris grew increasingly bold and political. Despite his popularity with the aristocracy, Molière’s blend of impish humor and damning political critiques captured the revolutionary imagination and secured a place for his plays as enduring national favorites—a reputation that has lasted until today.

Tartuffe’s trajectory isn’t unique. Many of the plays we now consider to be classics were banned at some point in their histories, whether in their home countries or abroad. The social and artistic environments that produced the likes of Shakespeare, Ibsen, Tennessee Williams, and Lorraine Hansberry also threatened to obliterate their legacies. The consequences of limiting theatrical expression in France, England, and the

United States has shaped the Western canon just as much as evolving artistic trends or ticket sales.

FR ANCE After the French Revolution won new liberties for the common people, state censorship of the theatre nevertheless continued throughout the 18th and 19th centuries. Without the crown’s proprietary grasp on the industry, the theatre scene flourished—the number of venues went from four to nearly 50— but rampant paranoia in the new government led to a censorship law in 1792. Napoleon also tightened existing state control when he formed his empire in the early 1800s: performance houses could only be in prescribed locations, and all scripts needed the censor’s approval before production.

Once Napoleon’s empire dissolved and the Charter of 1830 secured the freedom of the press in the newly established monarchy, the state remained fearful of theatre’s disruptive power, and immediately closed Victor Hugo’s 1832 production of L’Roi S’Amuse. Though supposedly a play about François I, the character of the king more closely resembled the current ruler Louis-Philippe; the portrait was not particularly flattering.

Despite Hugo’s valiant and impassioned attempts to lift the ban, L’Roi S’Amuse was not performed for another 50 years.

Apart from laws prohibiting hate speech and restrictions during the war years, modern France has faced little theatre censure.

ENGL AND In England, things weren’t much better. Public theatres were not even allowed in the city of London itself until 1660. While the upper classes could attend private performances within the city limits, the general public had to trudge across the Thames to venues like the Swan, the Globe, and the Rose.

The Master of Revels, who coordinated theatrical entertainment in the Elizabethan Court, had the power to shut down controversial productions and could imprison or even torture recalcitrant playwrights. In 1737, the Licensing Act went one step further, declaring that all plays had to be approved by the Lord Chamberlain’s office before they could be performed.

1844 German dramatist Karl Gutzkow writes Das Urbild des Tartuffe, a comedy that depicts the struggles of Molière and his company of actors at the time the play was originally banned. In the final act of Das Urbild, the company performs Tartuffe.

1924 The first film version, Herr Tartuffe, directed by F.W. Murnau, is produced as a silent movie by German motion-picture production company ufa.

January 14, 1965 The first Broadway production of Tartuffe opens at the anta Washington Square Theatre.

1717 The Nonjuror, Colley Cibber’s adaptation, is even more Britishized than the previous English incarnation of Tartuffe in 1670. The character Tartuffe becomes Doctor Wolf, an English Catholic priest who incites a rebellion in the home of Sir John and Lady Woodvil.

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1952 The Johannesburg Repertory Players perform Tartuffe in South Africa.

December 4, 1938 Stanislavski and Kedrov’s Tartuffe opens at Moscow Art Theatre.

1968 Die Huigelaar, the first adaptation of Tartuffe in Afrikaans, translated by Gerhard J. Beukes, is produced at the Cape Performing Arts Board in South Africa.

The censor was not only concerned with restricting treasonous material; the Lord Chamberlain’s office also fancied itself an arbiter of good taste and deemed certain words and subject matters inappropriate for public consumption. This law was not officially repealed until 1968. The following day, the Broadway production of Hair, nude hippies and all, opened on the West End. THE UNITED S TATES Though the United States Constitution has protected freedom of speech since the 18th century, a puritanical sense of propriety has been protecting delicate American sensibilities from bawdy content a lot longer. Aristophanes’ comedy Lysistrata, in which the women of Athens withhold sex and occupy the Parthenon to prevent a war, was banned in the U.S. for nearly 60 years under the Comstock Law of 1873. This law, which kept obscene material from being sent through U.S. mail, also prohibited pornography, Tom Jones, and birth control. Stories of schools or communities banning or editing plays because of sensitive (usually sexual) content are a near daily fixture in today’s news.

During the Red Scare, censorship of a different sort abounded. From 1938 until 1975, The House Un-American Activities Committee (huac) investigated potential communist threats to United States security. Hundreds were called before the committee, including artists like Bertolt Brecht, Arthur Miller, Hallie Flanagan, and Charlie Chaplin. They were questioned about their political activities, personal lives, and the content of their work in an attempt to ferret out communist connections. Anyone who testified before the committee was blacklisted in Hollywood and New York—no one wanted to risk getting swept up in the witch hunt themselves. This culture of fear not only determined which artists had a public voice, but also fostered a more conservative aesthetic in the work that did get produced.

Why do plays endure in spite of the adversity they face?

In part, nothing drives ticket sales like a juicy controversy. At the first public performance of Tartuffe, the crowd was so large

May 27, 1980 Kirke Mechem’s comic opera Tartuffe premieres at the San Francisco Opera. To this day, Mechem’s Tartuffe is one of the most performed operas by an American composer.

that members of the audience nearly suffocated, and the production ran for a record 45 nights. Perhaps it is because these stories capture a deeper truth about their times—a truth that is too painful, insightful, or incendiary to be forgotten. Art invites people to think and draw their own connections, which is the most dangerous form of resistance there is. No one can control what goes on in an audience. It’s alive, and anarchic.

Our imaginations take us outside of ourselves, our laughter helps us to remember our humanity, and our shared experience of a moment unites us as one. A group of people sitting in a room, listening together, and using their imaginations will always be a powerful and political act.

April 19, 1990 Tara Arts, a South Asian theatre company in Britain, creates a production of Tartuffe for the National Theatre that features an all-Asian cast and uses techniques from commedia dell’arte enmeshed with Indian theatre traditions.

1984 Berkeley Rep produces Tartuffe as part of its 1984–85 season. This production of the Richard Wilbur translation is directed by Albert Takazauckas and stars Charles Dean in the title role.

15 CLASSIC PLAYS THAT HAVE BEEN CENSORED OR BANNED : Angels in America Tony Kushner The Crucible Arthur Miller Long Day’s Journey into Night Eugene O’Neill The Importance of Being Earnest Oscar Wilde Ghosts and A Doll’s House Henrik Ibsen Jesus Christ Superstar Andrew Lloyd Weber and Tim Rice M. Butterfly David Henry Hwang The Vagina Monologues Eve Ensler West Side Story Arthur Laurents (book), Leonard Bernstein (music), Stephen Sondheim (lyrics) Hamlet, Henry IV part 2, Richard II, King Lear, and The Merchant of Venice William Shakespeare

January 9, 2003 Tartuffe opens on Broadway at the American Airlines Theatre, directed by Joe Dowling. The very same year, this historically scandalous show shares Broadway with the newly opened musicals Wicked and Hairspray.

May 30, 1996 Broadway’s Circle in the Square Theatre produces an adaptation called Tartuffe: Born Again by Freyda Thomas. This reimagining takes place in an American television studio, where Tartuffe the Televangelist preacher has come to wreak havoc.

May 9, 2014 Director Dominique Serrand’s Tartuffe, starring Steve Epp, opens at South Coast Repertory. It’s the first stop on this co-production’s three-theatre journey, the next leg of which brings them to Berkeley Rep.

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LOOKING FOR THE MAGIC OF THINGS:

jA conversation with Dominique Serrand

BY LEXI DIAMOND

Tartuffe director Dominique Serrand is a visionary theatre artist with a long-standing relationship with Berkeley Rep. He took some time with us to shed some light on his journey with this production, and his view on making theatre today.

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Green Bird was particularly fantastic because of its transformative journey.

A LOT OF THE SHOWS WE DO TAKE SEVERAL STEPS; WE DO A FIRST TAKE AND THEN WE LEARN FROM WHAT WE’VE DONE, AND WE REFINE. Lexi Diamond: How did your work with Berkeley Rep begin?

Dominique Serrand: It began with Don Juan, which was our first attempt as a company to work with an opera and a play, with opera singers and actors. It came from doing research on the legend of Don Juan—as you know there are so many Don Juans. We had our eyes set on Molière’s, and of course we had to listen again to the opera. After I heard Giovanni, I realized that there was no way I could ever do Don Juan without Mozart, because his music is so moving, so tragic, supernatural at times. So we mixed, very freely, Molière and Mozart, a fantastic and daunting experience.

It was on the Thrust Stage, and we had an electric car that actually moved—it was a rope trick—with Don Juan and Don Giovanni on the front seat, and Sganarelle and Leporello in the back seat. It was a ’56 Chevy convertible with a rigged electric motor, thanks to your incredible technical crew who found the car, gutted it, made it into a convertible, and made it move. One of the most memorable moments was Steve Eppp as Sganarelle. When he rants in act three, he was on top of the hood while we were driving and going wild in circles. It was just beautiful and haunting.

Can you talk a little bit about your approach to creating work? I’ve heard it described as devised and physical….

You know, I am not sure what devised means. I think it means everything I’ve done since I was a kid, which is to go find a space and create a piece in it that’s relevant to the world we live in today. So if that’s what devised means, that’s what we are doing…more specifically we combine artistic elements so they shape themselves together. Everything arrives at the room at the same time: the thought, the space, the company.

And everything gets put together because of the particular people in the room, and always somewhat tied to the society of artists who are in that room at that time. The starting point is defined by the vision: why do this piece?

At the time of Don Juan, we felt there was such a level of political hypocrisy that it was time to do the piece, with the great threat of the religious right coming back very strongly.

Then once in a while we just say, “Okay, enough of this. Let’s do a funny thing. Something that brings us joy, something ridiculous about the stupidity we live in.” And then we look at the magic of things, and that’s how we did Green Bird.

Green Bird was particularly fantastic because of its transformative journey. A lot of the shows we do take several steps; we do a first take and then we learn from what we’ve done, and we refine. Green Bird started at Yale—it was very big.

Too big! And then we reduced. The main element of the stage was sand. And the sand was trapped. So actors could come through the sand, which was magnificent. I played in it, I came through the sand. We had sand in our beds for the entire thing.

By the time it came to Berkeley Rep it had become a Japanese–influenced Italian buffo of sorts. That was a beautiful, very magical production. Not just farcical, but very beautiful as well.

That’s the impression that I get of your aesthetic—that you mix the dark with the humorous, and throw it all together in really grand, epic images.

We try. We try. Although it depends on what the production is—some of them are epic and magical. I think that Tartuffe is more epic and less magical. There’s no set change, it’s all in one day, one long light cue (it’s made up of 400 cues, of course, but it should feel like one). It’s more like a tragic epic piece, with Molière’s vitriolic humor of course.

What drew you to Tartuffe, and what keeps drawing you back to Tartuffe?

First of all, I love to go back and do a production again, learning from the first time. You know, we rehearse so little. We used to rehearse 12 weeks, and now we are down to four and a half, five weeks, whatever, which is barely enough time to even touch the piece. So we like to remount and rework a piece.

The first Tartuffe came after Congress went to the republicans. Ha! Really?! And we heard all the horrendous stuff that they were saying about art and pornography, and the attacks against Mapplethorpe and all these great artists as pornographers. It was basically an attack on the National Endowment for the Arts, and an attack on artists in general. And we said, “Okay, well now it’s time to do Tartuffe.” So that was the first time.

Can you speak a little bit about your relationship with your actors?

The beautiful thing when you have a company of actors, which I’ve always had, even now, is that we grow. So Luverne Seifert, who started playing the young lover, now plays the father. Others have moved to play different parts over the years, so they all know how the parts play. And it all comes from a formidable legacy, the old commedia dell’arte companies where you learn the young parts as you start your career and then you learn the middle-aged parts and then you learn the old parts. And by the time you get to be the old ones, you’ve played all of them, so there’s a familiarity and a language within the company, which is very rare to see.

With such a strong relationship with the members of your company, what’s it like to add new ensemble members when you go to a new city?

Well, we’re always looking to replace people. A good example is when we did The Miser, which toured around the country, we knew from the first performance at American 2 0 1 4 –1 5 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 1

Repertory Theatre that some of the actors would leave and other actors who were not part of the creation would replace them. So there would always be someone new on the stage, someone fresh that could somehow bring some oxygen into the room, a new interpretation. Then some of the actors would come back and do it for a while, and learn that the show had moved and evolved. So we’re very used to bringing in new people. And we always hope it goes well!

It’s always a bit puzzling for me when we are in Minneapolis to hear people wonder, “You’re done.

This was part of the past.” And we say: No, we’ve moved on, but we’re still here! We’re in a different place and we pursue the work. It’s not about brick and mortar, it’s about human capital.

And what’s your relationship like with designers, whom you mentioned you work with very closely in the room?

Well, my relationship, for instance, with Marcus [Dilliard], who’s the lighting designer and whom I’ve worked with for decades, is quite simple. We talk at length about the vision, the space, the purpose of the production. We talk at really great depth about how it should work rhythmically with, and how we create an image, a picture—I hate to say picture because I’m not a director who works with pictures—how we create a movement and an emotion with lights. And then I sit in the room and he lights it. And we rarely tech. I go through the show and he lights it and he times it. And we have more conversations and the next day we come back and he makes some changes. But we don’t actually stop and tech, step by step. Of course, if a light is particularly tricky, we have to make sure the actors are aware of that light so they know how to live in it.

So that’s my relationship. We have long conversations, we’re very close, but I never stop, I never ask for a light, I never say, “I think that’s too dark.” I say “You’re making me look like I’m doing something so somber, so intellectually complex.”

And he adjusts and comes up with some beautiful adjustment that I barely notice, actually. I just look at the scene and say, “It’s the same as yesterday, only now I can see it beautifully.”

Of course, this would not be possible if we did not know each other very well. There is friendship and a lot of trust involved, besides enormous talent.

How does farce play a role in this production?

Well, yes, Tartuffe was created, in its first version, as a farce in three acts. The production we’re doing is a production that is a result of all the censorship and all the rewrites—a production in five acts, the final one that he wrote. And so we looked at it very differently.

We said, “Well, if the first one was a farce about devouts and bigots, the last iteration is one that is absorbed with the pain caused by the censorship and the absolute meanness that surrounded the production.” So our production reflects the fight that Molière was going through. It’s not at all a farcical interpretation.

It’s more of a tragic approach. But at the same time, of course, the funny scenes, comedy scenes between lovers and servants are funny because they are.

Is that the same way that you made work with Jeune Lune?

Absolutely. The operation closed, unfortunately, because it was in debt. A very sad story indeed. But the artists remained.

What is the appetite like for farce in today’s audiences?

I’ve been distancing myself from farce for some time, at least a decade. I pursue the humor, of course, which is necessary. A part of me is funny, and that’s the way we are. But I think it takes different tones with maturity.

I think you can see it reflected in the older artists, where it becomes more muscular. The farce was more present in the younger years as a company. Of course when you’ve done it for many years, it’s part of your muscle, so it’s always there somewhere.

I think a great example is Luverne, who plays Orgon, the patriarch. Luverne has worked with me for years. He is a natural comic actor, extremely funny. And I asked him to not be funny at all. And it’s beautiful: really naturally funny actors, when they turn to tragedy, are often CO N TIN U E D O N PAG E 4 0

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Dominique Serrand and Brian Baumgartner in Green Bird P H OTO BY K E N F R I ED M A N

Steven Epp and Dominique Serrand in Figaro P H OTO CO U R T E S Y O F K E V I N B ER N E .CO M

LONG-TERM RELATIONSHIP:

j

Two decades with Steven Epp � Dominique Serrand

BY LEXI DIAMOND

Bay Area audiences have enjoyed a steadfast romance with Steven Epp and Dominique Serrand, and this year’s production of Tartuffe marks 20 years since they began their celebrated liaison with Berkeley Rep. These theatre-makers originally came to Berkeley as members of Theatre de la Jeune Lune, a beloved Minneapolis–based theatre company. Serrand co-founded Jeune Lune in France in 1978 shortly after graduating from École Internationale de Théâtre Jacques Lecoq. Epp joined the company in 1983, and in 1985 Jeune Lune moved permanently to the Twin Cities. Jeune Lune served as a force of challenging, nontraditional works of drama for 30 years, winning the Regional Theatre Tony Award in 2005.

Jeune Lune was known for creating innovative works of highly physical theatre. They built original pieces and adaptations by exploding and exploring source material to find new and relevant stories. Imaginative, absurd, and visually rich, Jeune Lune’s work was infused with elements of acrobatics, clowning, mime, and commedia techniques that the company’s founders studied under Jacques Lecoq, renowned physical theatre pioneer. They performed their pieces not only

in their warehouse space in Minneapolis (where the company members were affectionately known by the community as “Luneys”), but also in regional theatres across the country.

Though Jeune Lune shut down in 2008, Serrand and Epp have continued to create work together as co-artistic directors of the Moving Company.

Berkeley Rep’s relationship with Jeune Lune began in 1994. Tony Taccone—then Berkeley Rep’s associate artistic director—recalls, “I flew out to see their production of Green Bird and was knocked out.” Taccone brought them to the West Coast, where they performed Don Juan Giovanni, their operatic mash-up of Mozart’s Don Giovanni, Molière’s Don Juan, and other classical texts. Over the next several years, Jeune Lune affiliated artists have graced Berkeley Rep’s stages many more times, bringing us Green Bird (2000), Haroun and the Sea of Stories (2002), The Miser (2006), Figaro (2008), A Doctor in Spite of Himself (2012), and Accidental Death of an Anarchist (2014). On each visit, these artists wore many different hats, sometimes serving as adaptors, directors, performers, designers, or combinations of these roles.

In the two decades since Serrand and Epp began sharing their work here, they’ve established a relationship with the Berkeley Rep community. Epp celebrated this bond in an interview with SFGate, saying, “I feel like I’ve built up a nice little history with the audience, a relationship…. Work becomes more rewarding when you have that. They see a range of your work and get to know you.” This familiarity provides an opportunity for the artists and audiences alike to take bigger risks with each piece. What’s more, every show that Serrand and Epp bring to the bay becomes part of a larger conversation with Berkeley Rep’s audiences. This conversation is deepened and made more complex with each visit, giving each return, each new chapter, a unique dynamism.

Such a vital connection between audience and artists is so rare and so special in theatre today.

Dominique Serrand and Steven Epp in Don Juan Giovanni

Steven Epp and David Rainey in The Miser

P H OTO BY K E N F R I ED M A N

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

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

“Unbelievably powerful…beautiful… an extraordinary play.” —WBEZ RADIO

By Tarell Alvin McCraney Directed by Tina Landau STARTS APRIL 10

Cheryl Lynn Bruce PHOTO BY MICHAEL BROSILOW

S E A SO N S P O N SO R S

Berkeley Repertory Theatre, in a coproduction with South Coast Repertory and Shakespeare Theatre Company, 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

CAST

ADAP TE D BY

David Ball

D IREC TE D BY

Dominique Serrand M ARCH 13–APRIL 12 , 2015 RO DA TH E ATRE · LIM ITE D S E A SO N Tartuffe is made possible thanks to the generous support of SEASON SPONSORS

Jack & Betty Schafer The Strauch Kulhanjian Family

Valere Christopher Carley* Tartuffe Steven Epp* Elmire Sofia Jean Gomez* Damis Brian Hostenske* Laurent Nathan Keepers* Mariane Lenne Klingaman* Cleante Gregory Linington* Madame Pernelle/Officer Michael Manuel* Orgon Luverne Seifert* Dorine Suzanne Warmanen* Ensemble Michael Uy Kelly, Maria Leigh, Becca Lustgarten, Todd Pivetti

LE A D S P O N S O R S

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

Shirley D. & Philip D. Schild Guy Tiphane SPONSORS

Thalia Dorwick David Hoffman & Joan Sarnat Dugan Moore A S S O CIAT E S P O N S O R S

Hitz Foundation Dale & Don Marshall Pat Rougeau Cynthia & William Schaff

PRO D U C TI O N S P O N S O R

PRODUC TION S TAFF Scenic Design Dominique Serrand & Tom Buderwitz Costume Design Sonya Berlovitz Lighting Design Marcus Dilliard Sound Design Corinne Carrillo Casting Joanne DeNaut, csa Amy Potozkin, csa Production Stage Manager Michael Suenkel*

* Denotes a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

David Ball’s adaptation of Tartuffe is presented in arrangement with Graham Agency, New York (grahamacynyc@aol.com)

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

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 Christopher Carley VA L E R E

Christopher is pleased to be working at Berkeley Rep for the first time. His New York credits include, on Broadway, The Beauty Queen of Leenane (dir.

Gary Hynes); off Broadway, A Skull in Connemara (Roundabout Theatre Company) and Once in a Lifetime (Atlantic Theater Company); and off off Broadway, On the Nature of Religion (Atlantic Theater Company) and Suspicious Package (Wordmonger Productions). Regionally, he has appeared in The Cripple of Inishman (Portland Center Stage) and Poor Beast in the Rain (dir. Wilson Milam). In film and television, some of his credits include Gran Torino (dir. Clint Eastwood), Lions for Lambs (dir. Robert Redford), Garden State (dir.

Zach Braff), Agent Orange (dir. Tony Scott), The Sopranos, House, csi: NY, The Crazy Ones, Law & Order: svu, Studio 60 on the Sunset Strip, Numb3rs, Veronica Mars, Ro, Ed, and Campus Ladies. Christopher received his bfa from New York University’s Tisch School of The Arts.

Follow him on twitter @carleychristoph.

Steven Epp TA R T U F F E

Steven has appeared at Berkeley Rep in Accidental Death of an Anarchist, A Doctor in Spite of Himself, Figaro, The Miser, Don Juan Giovanni, and he adapted The Green Bird. He is an actor, writer, and co-artistic director of the Moving Company, based in Minneapolis, where his acting/writing credits include The House Can’t Stand, Come Hell and High Water, Out of the Pan Into the Fire, and Imaginary Invalid at Playmakers, Massoud for Center Theatre Group, Tartuffe at South Coast Rep, and Love’s Labour’s Lost at Actors Theatre of Louisville. His regional credits include productions at the Guthrie Theater, Ten Thousand Things, Yale Repertory Theatre, the Jungle Theater, La Jolla Playhouse, Trinity Repertory Company, Spoleto Festival, American Repertory Theatre, the Alley Theatre, Intiman Theatre, Center Stage, the Shakespeare Theatre Company, Seattle Repertory Theatre, and the New Victory Theater off Broadway. Steven was an actor, writer, and co-artistic director at Theatre de la Jeune Lune, winner of the 2005 Tony Award for Best Regional Theatre, from 1983–2008.

Acting credits include title roles in Tartuffe, Crusoe, Hamlet, Gulliver, Figaro, and The Miser.

Steven has co-authored numerous plays including Children of Paradise, winner of the 1993 Outer Critics Circle Award for Best New Play.

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profiles

He was a 1999 Fox Fellow, a 2009 McKnight Theatre Artist Fellow at Playwrights’ Center, and a 2013 Beinecke Fellow at Yale University, and won the 2012 Helen Hayes Award for Best Actor as Truffaldino in Servant of Two Masters.

Steve holds a degree in Theatre and History from Gustavus Adolphus College. He lives in Minneapolis with his wife, and has three grown children.

Sofia Jean Gomez ELMIRE

Sofia is thrilled to be back at Berkeley Rep. Her theatre acting credits include Argonautika and Arabian Nights at Berkeley Rep, Shakespeare Theatre Company, McCarter Theatre Center, and Kansas City Repertory Theatre. She has also performed at Yale Repertory Theatre, the Goodman Theatre, Denver Center Theatre Company, Oregon Shakespeare Festival, Arizona Theatre Company, and the Shakespeare Theatre of New Jersey. Sofia has performed off Broadway at Signature Theatre Company (Angels in America), Manhattan Theatre Club, New Georges, Page 73, and Lake Lucille. Her TV credits include Unforgettable. She graduated from Yale School of Drama. She has received nominations or awards from the Lucille Lortel Foundation, San Francisco Bay Area Theatre Critics Circle, Helen Hayes Awards, and the Denver Post. Most recently Sofia received Best Performances of 2014 in DC for The Tempest at the Shakespeare Theatre.

Brian Hostenske DA M I S

Brian’s theatre credits include Bloody Bloody Andrew Jackson at Center Theatre Group, Edith Can Shoot Things and Hit Them with Artists at Play (Los Angeles Ovation and glaad Media Award nominations), Playboy of the Western World at A Noise Within, The Winter’s Tale and Twelfth Night at Shakespeare Santa Cruz, Mother Courage at La Jolla Playhouse, and Tartuffe at South Coast Repertory. Brian received his bfa from the University of Evansville (Indiana) and his mfa from University of California, San Diego.

Nathan Keepers L AU R E N T

Nathan is returning to Berkeley Rep, where he was seen as La Flèche in The Miser. Nathan, along with Steven Epp and Dominique Serrand, co-runs the Moving Company in Minneapolis, where he has co-conceived, written, directed, and performed (respectively) in For Sale, Out of the Pan Into the Fire, Werther and Lotte, All’s Fair, and Come Hell and High Water. For 11 seasons, Nathan was with Theatre de la Jeune Lune, where he co-created and performed in many productions including Chez Pierre, The Little Prince, Amerika, Fishtank, The Deception, The Miser, Tartuffe, and others.

In Minneapolis, he has been seen on stage at the Jungle Theater (Waiting for Godot, Fully Committed, The Swan), Ten Thousand Things, the Guthrie Theater, and Children’s Theatre Company. Nationally, Nathan has worked at South Coast Repertory, PlayMakers Repertory Company, American Repertory Theatre, Actors Theatre of Louisville, the Alley Theatre, La Jolla Playhouse, and the Folger Theatre in Washington, DC. He has studied with Pierre Byland in Switzerland and Philippe Gaulier in London.

Michael Uy Kelly ENSEMBLE

This is Michael’s first role with Berkeley Rep. Other previous credits include Mutt: Let’s All Talk About Race with Impact Theatre and Ferocious Lotus Theatre, 410 [Gone] with Crowded Fire Theater, and Tenderloin with the Cutting Ball Theater. Michael earned his BA in Theatre Arts from San Francisco State University, focusing on acting, directing, and stagecraft.

Lenne Klingaman MARIANE

Lenne is making her Berkeley Rep debut.

She grew up in San Francisco in the Mission and is thrilled to be back in the Bay Area. Her recent credits include the world premiere of James Still’s Appoggiatura and Juliet in Romeo & Juliet (Denver Center Theatre Company); Anna in Anna Karenina (Capital Stage); Mariane in Tartuffe (South Coast Repertory); Viola in Twelfth Night, The Three Musketeers, and A Midsummer Night’s Dream (Shakespeare Santa Cruz); Richard III (Intiman Theatre); Flight (P3/

east); The Rehearsal, Richard III, and Noises Off (A Noise Within); and Measure for Measure and The Fantasticks (Colorado Shakespeare Festival). Lenne’s television and film credits include Cold Case, Twenties (a web production from the creators of Dear White People), Love: As You Like It, The Exchange, and various 5-Second Films. She recently starred in The Lizzie Bennett Diaries spin-off Welcome to Sanditon. Lenne received her mfa in Acting from the University of Washington.

Maria Leigh ENSEMBLE

Maria is a Bay Area actor who has worked locally and internationally with many companies. Her recent credits include Late: A Cowboy Song at Custom Made Theatre Company, Macbeth at Fort Point and The Odyssey on Angel Island with We Players, ‘Tis Pity She’s a Whore with the Breadbox, and Chamber Macbeth and Tartuffe with Rapid Descent Physical Performance Company. Maria has also collaborated and performed with foolsfury, San Francisco Theater Pub, Centro Estatal de las Artes (Mexicali, MX), the Cutting Ball Theater, Ragged Wing, La Tropa, and the Thunderbird Theatre Company. For more information, please visit marialeigh.com.

Gregory Linington CLEANTE

Gregory’s New York credits include The Unfortunates at Joe’s Pub at the Public Theater and Throne of Blood at Brooklyn Academy of Music. He has also appeared in The Tempest at the Shakespeare Theatre Company, Romeo & Juliet at Shakespeare Center of Los Angeles, Tartuffe at South Coast Repertory, End of the Rainbow at Center Theatre Group, Equivocation at Arena Stage, and Welcome Home, Jenny Sutter at the Kennedy Center. He is a 12-year company member of the Oregon Shakespeare Festival, where he has performed in Love’s Labor’s Lost, Julius Caesar, Merchant of Venice, King Lear, The Tempest, The Cherry Orchard, Equivocation (world premiere), and Oedipus Complex (world premiere), among others.

Gregory is also a company member of Misery Loves Company in Prague, appearing in As You Like It, Cloud Nine, Angels in America, and The Age of Reason (world premiere), among others.

His film and TV credits include Heat of Deeds, Persuasion, Harrison’s Flowers, Grey’s Anatomy, Shameless, Major Crimes, and The West Wing.

He has taught at Southern Oregon University, Oregon Shakespeare Festival, and Los Angeles High School Shakespeare Project. Gregory received his training from the Groundlings,

siti Company at Skidmore College, and Pacific Conservatory for the Performing Arts. Visit gregorylinington.com.

Becca Lustgarten ENSEMBLE

Becca is thrilled to be making her Berkeley Rep debut. Her recent credits include Tartuffe and Death of a Salesman (South Coast Repertory). Her other favorite credits include Three Sisters at Williamstown Theatre Festival, directed by Michael Greif; Joseph and the Amazing Technicolor Dreamcoat at the Hangar Theatre, directed by Kevin Moriarty; and a number of new plays developed and produced by the Actors Studio (nyc) and Primary Stages Einhorn School of Performing Arts. She received her bfa in Theatre Arts from Boston University and studied at the Accademia dell’Arte in Arezzo, Italy. In addition to her theatrical work, Becca is a writer and musician.

Extraordinary Performance.

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

Luverne Seifert

Michael is happy to be making his Berkeley Rep debut. He was most recently seen in Impro Theatre’s Western Unscripted at the Falcon Theatre in Los Angeles.

Michael has worked in regional theatres across the country including Seattle Repertory Theatre, the Empty Space Theatre, South Coast Repertory, Yale Repertory Theatre, Theatre for a New Audience, New Jersey Shakespeare Festival, Manhattan Theatre Club, the Mark Taper Forum, Cornerstone Theater Company, Shakespeare Center of Los Angeles, A Noise Within (Dramalogue and LA Critics Circle awards), the Geffen Playhouse, Upright Citizens Brigade, Ojai Playwrights Conference, InterAct Theatre Company (LA Weekly and Ovation awards), the Pasadena Playhouse, Main Street Theatre, Playwrights Horizons, About Productions, and Parson’s Nose. His television and movie credits include Without a Trace, Medium, National Treasure, Los Americans, and the upcoming feature The Millionaires’ Unit. Michael is a graduate of the Yale School of Drama.

Luverne last performed at Berkeley Rep in Don Juan Giovanni. His performance credits include The 39 Steps, Servant of Two Masters, The Government Inspector, and The Ugly One (the Guthrie Theater); Music Man, Measure for Measure, Vasa Lisa, Man of La Mancha, My Fair Lady, Othello, Raskol, Richard the Third, Little Shop of Horrors, and Antigone (Ten Thousand Things); and For Sale (the Moving Company). His other theatre credits include Polonius in Hamlet (off Broadway, New Victory Theater); Tartuffe, Amerika, The Three Musketeers, Chez Pierre, Children of Paradise, Gulliver, Twelfth Night, The Hunchback of Notre Dame, Yang Zen Froggs, and Germinal (Theatre de la Jeune Lune, where he was an artistic associate); The 39 Steps (Arizona Repertory Theatre); Tales of a West Texas Marsupial Girl, Antigone, and The Lion, the Witch and the Wardrobe (Children’s Theatre Company); and productions at La Jolla Playhouse, South Coast Repertory, Trinity Repertory Company, ArtsEmerson, and Spoleto Festival. He is currently a teaching specialist at the University of Minnesota. He received a 2003 McKnight Theater Artist Fellowship and a 2009 Ivey Award. Luverne trained at Augsburg College and Burlesque Center for Clown, Switzerland.

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profiles

Todd Pivetti ENSEMBLE

Todd is thrilled to be making his Berkeley Rep debut. He has most recently appeared in The Balcony with Collected Works at the Mint in San Francisco, Cock at the New Conservatory Theatre Center, The Speakeasy with Boxcar Theatre, Threepenny Opera with San Jose Stage Company, Julius Caesar (tour) with the San Francisco Shakespeare Festival, A Midsummer Night’s Dream and The Imaginary Invalid with Pacific Repertory Theatre, Twelfth Night and The Mandrake at Shakespeare Santa Cruz, and he played Peer Gynt in Peer Gynt at UC Santa Cruz as his master’s thesis. Todd has also done numerous readings and workshops with Playwrights Foundation, Crowded Fire Theater, and the Playwrights’ Center of San Francisco.

ORGON

Suzanne Warmanen DORINE

Suzanne is making her Berkeley Rep debut.

Her theatre credits include Vanya and Sonia and Masha and Spike, Pride and Prejudice, The Winter’s Tale, Macbeth, The Importance of Being Earnest, A View from the Bridge, Lost in Yonkers, Pirates of Penzance, Hedda Gabler, The Playboy of the Western World, Summer and Smoke, A Midsummer Night’s Dream, Much Ado About Nothing, The Rover, A Doll’s House, Top Girls, Tone Clusters, Naomi in the Living Room, and A Christmas Carol all at the Guthrie Theater; Vanya and Sonia and Masha and Spike at Arizona Theatre Company; A Lovely Sunday for Creve Coeur at Gremlin Theatre; All’s Fair/The War Within at the Moving Company; Amerika, or the Man Who Disappeared at Theatre de la Jeune Lune; and Measure for Measure at Ten Thousand Things. Her recordings include the vocal CD All Around Woman. She appeared in the film Herman, u.s.a. Suzanne earned her mfa at the University of Minnesota, Twin Cities, and her bfa at the University of Minnesota, Duluth. She is the recipient of the 2009 Society of Promethians award.

David Ball A DA P T E R

David is an award-winning playwright, director, novelist, and drama theoretician who wrote Backwards and Forwards, the standard script analysis textbook for the past quarter century. He was dramaturg and playwright at Minneapolis’s Guthrie Theater in the 1970s; professor of acting, directing, playwriting, and dramaturgy at Carnegie Mellon University in the early 1980s; artistic director of Pittsburgh’s Metro Theater; and director of Duke University Drama through 1991. His plays and adaptations have been staged at major regional theatres and off Broadway, including The Miser and Tartuffe for Tony Award–winning Theatre de la Jeune Lune. His Swamp Outlaw, a Civil War–era novel of Lumbee Indian Henry Berry Lowery and his outlaw raiders, is a Kindle favorite. He has had the privilege of working with director Dominique Serrand for 25 years.

In a baffling (even to himself) career change, for 15 years, David has been America’s most influential jury consultant. His favorite job ever: taxi driver in 1961.

The Academy of St Martin in the Fields featuring Jeremy Denk M A R 1 5 -1 6 Conductor and pianist Jeremy Denk performs works of Bach and Stravinsky while touring with the Academy of St Martin in the Fields, one of the world’s most highly regarded chamber orchestras.

Dominique Serrand

DIREC TOR/SCENIC DESIGNER

Dominique has directed several shows at Berkeley Rep, including Figaro, The Miser, Haroun and the Sea of Stories, The Green Bird, and Don Juan Giovanni. He is co-artistic director of the Moving Company, with Steven Epp, a company dedicated to creating new work and reimagining work from the past. A Paris native, Dominique was artistic director and one of the co-founders of Theatre de la Jeune Lune from 1978 to 2008. He studied at the National Circus School and the Ecole Jacques Lecoq in Paris. Dominique has acted, conceived, directed, and designed for most Jeune Lune productions for more than 30 years, concentrating primarily on directing.

His directing credits include The Kitchen, Lulu, The Bourgeois Gentleman, Romeo and Juliet, Red Noses, 1789, Children of Paradise: Shooting a Dream, 3 Musketeers, The Pursuit of Happiness, Queen Elizabeth, Tartuffe, Gulliver, The Seagull, The Miser, The Little Prince, and Amerika, or the Disappearance. He staged several operas including The Magic Flute, Cosi Fan Tutte, Don Juan Giovanni, Figaro, Carmen, Maria de Buenos Aires, and Mefistofele. Dominique has directed on numerous stages including PlayMakers Repertory, La Jolla Playhouse, Yale Repertory Theatre, American Repertory Theatre, Actors Theatre of Louisville, the Guthrie Theater, Alley Theatre, and Children’s Theatre Company, amongst others. He is a usa/Ford and Bush fellow. In 2005, Theatre de la Jeune Lune received a Tony Award for best regional theatre.

Dominique has been knighted by the French government in the order of Arts and Letters.

Tom Buderwitz

CO -SCENIC DESIGNER

Tom has designed for South Coast Repertory, Center Theatre Group, the Geffen Playhouse, the Pasadena Playhouse, the Goodman Theatre, Intiman Theatre, Portland Center Stage, the Denver Center Theatre Company,

Handel & Haydn featuring principal trumpet Mark Inouye M A R 1 8 , 2 0 -2 1 Ton Koopman conducts Haydn’s Symphony No. 98 and the Suite No. 1 from Handel’s graceful Water Music. SFS principal trumpet Mark Inouye shines in Haydn’s Trumpet Concerto.

INOUYE

Bychkov conducts Bruckner M A R 2 5 -2 7 Semyon Bychkov leads Bruckner’s colossal Eighth Symphony, hailed in its time by composer Hugo Wolf as “the absolute victory of light over darkness.”

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BE R K E L E Y R E P P R E S E N T S the Laguna Playhouse, Chautauqua Theater Company, Arizona Theatre Company, San Diego Repertory Theatre, Artists Repertory Theatre, the Antaeus Company, Reprise Theatre Company, the Theatre @ Boston Court, pcpa Theaterfest, Riverside Theatre, Florida Studio Theatre, Rubicon Theatre Company, Rogue Machine Theatre, Deaf West Theatre, Ensemble Studio Theatre/Los Angeles, and A Noise Within, among many others. Tom has been honored with four LA Stage Alliance Ovation Awards (26 nominations) and three LA Drama Critics Circle Awards. For television, Tom has designed specials and series for every major broadcast and cable network and has three Emmy Award nominations and an Art Directors Guild Award nomination. Please visit tombuderwitz.com.

Sonya Berlovitz

COSTUME DESIGNER

Sonya previously designed The Green Bird, Haroun and the Sea of Stories, and The Miser at Berkeley Rep. She designed Hamlet for New Victory Theatre, and her regional credits have included the Moving Company, South Coast Repertory, Playmakers Repertory Company, the Children’s Theatre Company, the Guthrie Theater, American Repertory Theatre, La Jolla Playhouse, and Actors Theatre of Louisville.

She was the resident costume designer at Theatre de la Jeune Lune between 1980 and 2008; shows included Carmen, Cosi Fan Tutti, Hamlet, The Seagull, The Miser, and Tartuffe.

She is a graduate of La Chambre Syndicale de la Couture Parisienne and the School of the Art Institute of Chicago. Sonya has been the recipient of numerous grants and awards including the Bay Area Theatre Critics Circle’s Best Costume Design Award (The Green Bird, 2000), a Minnesota State Arts Board Initiative Grant (2005 and 2013), and a McKnight Theatre Artist Fellowship (1999).

Marcus Dilliard

LIGHTING DESIGNER

Marcus has previously designed Figaro, The Miser, Haroun and the Sea of Stories, The Green Bird, and Don Juan Giovanni for Berkeley Rep. He has designed for theatre, opera, and dance across North America and in Europe, including numerous productions for Theatre de la Jeune Lune, the Guthrie Theater, Theater Latté Da, Minnesota Opera, Minnesota Orchestra, Children’s Theatre Company, American Repertory Theatre, and Intiman Theatre. He has also designed for Penumbra Theatre, Dallas Theater Center, the Shakespeare Theatre Company, the Athens Festival, Arena Stage, Seattle Repertory Theatre, Oregon Shakespeare Festival, Actors Theatre of Louisville, Minnesota Dance Theatre, Black Label Movement, Flying Foot Forum, Katha Dance Theatre, Portland Opera, San Diego Opera, the Spoleto Festival (Italy), Flanders Opera, Opera Philadelphia, Opera Pacific, Ordway Music Theater, Pittsburgh 3 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 4 –1 5 · I S S U E 5

profiles

Opera, Fort Worth Opera, Vancouver Opera, Le Opera de Montreal, Canadian Opera Company, Chicago Opera Theater, and Boston Lyric Opera. He is the recipient of an Ivey Award, a Sage Award, and two McKnight Theater Artist Fellowships. He is the head of the design and technical theatre program at the University of Minnesota and is a member of United Scenic Artists, the U.S. Institute for Theatre Technology, and is a graduate of Boston University’s School for the Arts.

Corinne Carrillo

SOUND DESIGNER

Corinne is a freelance sound designer based in Orange County. At South Coast Repertory she has designed the world premiere of Adam Rapp’s Purple Lights of Joppa Illinois, Tartuffe, Charlotte’s Web, The Miraculous Journey of Edward Tulane, and The Long Road Today, which was a part of scr’s theatre project Dialogue/Diálogos. She previously served as the resident sound designer for the Laguna Playhouse. Some of her sound designs include Shirley Valentine, Private Lives, Marvelous Wonderettes: Caps and Gowns, Plaid Tidings, Chapter Two, Having It All, and Steel Magnolias.

She is the resident sound designer for Breath of Fire Latina Theater Ensemble, for whom she designed the world premiere of Angel of the Desert at scr. She has designed two world premiere musicals at the Oregon Shakespeare Festival, The Unfortunates and The Cocoanuts.

She is a graduate of UC Irvine’s mfa program in sound design.

Joanne DeNaut, CSA CASTING DIREC TOR

Joanne is the full-time casting director for South Coast Repertory, casting over 175 productions in addition to all readings and workshops, including NewSCRipts and scr’s annual Pacific Playwright’s Festival. Other work includes casting for Center Theatre Group, Shakespeare Center of Los Angeles, Seattle Repertory Theatre, and La Jolla Playhouse. She also casts for the University of Southern California’s mfa New Works Festival. Film credits include work with Octavio Solis, Juliette Carrillo, Mark Rucker, and the American Film Institute. Joanne teaches auditioning for both scr’s Intensive Acting Program and Saddleback Community College. She received her BA from the University of California, Irvine. As a member of the Casting Society of America, Joanne was the recipient of four Artios nominations and an Artios Award for Joe Turner’s Come and Gone.

Amy Potozkin, CSA

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 Company, 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 Redemptionby 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 s 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

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

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

The Shakespeare Theatre Company CO -PRODUCER

The Shakespeare Theatre Company’s innovative approach to Shakespeare and other classic playwrights has earned it the reputation as the nation’s premier classical theatre company.

By focusing on works with profound themes, complex characters, and poetic language written by Shakespeare, his contemporaries, and the playwrights he influenced, the company’s artistic mission is unique among theatre companies: to provide vital, groundbreaking, thought-provoking, vibrant, and eminently accessible theatre in a uniquely American style.

The company’s home is the Harman Center for the Arts, consisting of the 775-seat Sidney Harman Hall and the 451-seat Lansburgh Theatre, both located in downtown Washington’s Penn Quarter neighborhood. The company annually produces eight mainstage plays in

its two downtown theatres as well as one free play each summer. The leadership of Artistic Director Michael Kahn has established the company as “the nation’s foremost Shakespeare company” (the Wall Street Journal). The 2011–12 season marked the 25th anniversary of the Shakespeare Theatre Company in Washington, D.C. and as recipients of the 2012 Regional Theatre Tony Award. For more information, visit ShakespeareTheatre.org.

KATHIE LONGINOTTI REALTOR® and Berkeley Rep Subscriber

South Coast Repertory CO -PRODUCER

Tony Award–winning South Coast Repertory, founded in 1964 by David Emmes and Martin Benson and now under the leadership of Artistic Director Marc Masterson and Managing Director Paula Tomei, is widely recognized as one of the leading professional theatres in the United States. While its productions represent a balance of classic and modern theatre, scr is renowned for its extensive new-play development program, which includes the nation’s largest commissioning program for emerging and established writers. Of scr’s 487 productions, one-quarter have been world premieres. scr–developed works have garnered two Pulitzer Prizes and eight Pulitzer nominations, several Obie Awards and scores of major newplay awards. Located in Costa Mesa, California, scr is home to the 507-seat Segerstrom Stage, the 336-seat Julianne Argyros Stage, and the 94-seat Nicholas Studio. Visit scr.org.

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Tony Taccone

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

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.

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

Take the Theatre home with you!

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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.

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.

Liesl Tommy

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

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

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.

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Alvin Ailey American Dance Theater Robert Battle Artistic Director Masazumi Chaya Associate Artistic Director See Bay Area premieres

by Moses and Rushing Plus returning favorites, including Revelations

E MG C A L PER FS “Unbelievable. Go see Ailey.

It’s change-your-life good.”

Madeleine Oldham

—NBC’s Today Show

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 X’s and O’s (A Football Love Story), 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.

dance

April 21–26

Glenn Allen Sims.

Photo by Andrew Eccles

ZELLERBACH HALL

calperformances.org 510.642.9988 CP 020415 ailey 2_3v.pdf

Season Sponsor:

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BE R K E L E Y R E P PRESENTS

Health Care That’s Just Right for You.

profiles Jack & Betty Schafer SEASON SPONSORS

To find a doctor, call (510) 869-6777, or go to altabatessummit.org

facebook.com/ berkeleyrep vimeo.com/ berkeleyrep instagram.com/ berkeleyrep

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 5

CONNECT

@berkeleyrep

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).

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.

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.

Thalia Dorwick SPONSOR

Thalia became involved with the theatre when, at age 12, she wrote, produced, and starred in a Girl Scout play. Fortunately, she has been only a spectator since then. She is currently the president of Berkeley Rep’s board of trustees, and she also directs the Theatre’s docent program. She believes that Berkeley Rep, where she has enjoyed performances for decades, is the best theatre in the Bay Area. She serves as a vice president of the board of trustees of Case Western Reserve University. She has a PhD in Spanish, taught at the university level for many years, and is the co-author of a number of Spanish textbooks. She retired in 2004 as editor-in-chief of McGraw-Hill Higher Education’s Humanities, Social Sciences, and World Languages group.

Joan Sarnat & David Hoffman SPONSORS

David is a consulting research professor of mathematics at Stanford and a Berkeley Rep trustee. He was an associate director of the Mathematical Sciences Research Institute (msri) in Berkeley and has been involved in producing museum shows about mathematics in the usa, France, and China. Joan is a clinical psychologist and psychoanalyst in private practice in Berkeley.

The Bernard Osher Foundation PRODUC TION SPONSOR

The Bernard Osher Foundation, which supports higher education and the arts, was founded in 1977 by Bernard Osher, a respected businessman and community leader. The Foundation provides scholarship funding to selected colleges and universities across the nation. It also benefits programs in integrative medicine at Harvard University, Northwestern University, ucsf, Vanderbilt University, and the Karolinska Institute. In addition, the Foundation supports a national network of educational programs for seasoned adults, the Osher Lifelong Learning Institutes, which now operate on the campuses of 119 institutions of higher education. Finally, an array of performing arts organizations, museums, and selected educational programs in the San Francisco Bay Area and the State of Maine receive Foundation grants. The Honorable Barbro Osher, Consul General of Sweden in California, chairs the Foundation’s board of directors.

bart

SEASON SPONSOR

Bay Area Rapid Transit (bart) is a 104-mile, automated rapid-transit system that serves more than 100 million passengers annually. bart is the backbone of the Bay Area transit network with trains traveling up to 80 mph to connect 26 cities located throughout Alameda, Contra Costa, San Francisco, and San Mateo Counties and the Bay Area’s two largest airports bart’s all-electric trains make it one of the greenest and most energy-efficient systems in the world with close to 70 percent of its all-electrical power coming from hydro, solar, and wind sources. Many new projects are underway

to expand bart, allowing it to serve even more communities and continue to offer an ecofriendly alternative to cars. The Oakland Airport Connector opened last fall. For more info, visit bart.gov.

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.

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.

Make great theatre part of your legacy.

Additional staff Deck crew Thomas Weaver Electrics Stephanie Buchner · Melina CohenBramwell · Kelly Kunaniec · Alex Marshall · Kourtney McCrary · William Poulin · Andrea J. Schwartz · Caitlin Steinmann · Molly Stewart-Cohn · Thomas Weaver · Lauren Wright Production assistant Sofie Miller Props Ashley Nguyen

Visit berkeleyrep.org/ plannedgiving or call 510 647-2904

Scene shop Ross Copeland · Patrick Keene · Read Tuddenham · Ben Sandberg · Colin Suemnicht Stage carpenter Kourtney McCrary Wardrobe Eva Herndon · Christina Weiland

Petronia Paley and Harriett D. Foy (background) in The House that will not Stand P H OTO CO U R T E S Y O F K E V I N B ER N E .CO M

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

Institutional Partners

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

We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who made their gifts between November 2013 and January 2015.

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 Akonadi Foundation 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 Kenneth Rainin Foundation

COR P OR AT E S P ON S OR S

SPONSORS

G I F T S O F $ 12 ,0 0 0 –2 4 ,9 9 9

hsbc Private Bank Mechanics Bank Wealth Management The Morrison & Foerster Foundation Union Bank

SEASON SPONSORS

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

CO R P O R AT E PA R T N E R S

G I F T S O F $ 6,0 0 0 –11,9 9 9

Armanino llp City National Bank Deloitte LG Wealth Management llc Meyer Sound Oliver & Company Pacific Office Automation Panoramic Interests Peet’s Coffee & Tea Schoenberg Family Law Group ubs U.S. Bank

LE A D S P O N S O R

G I F T S O F $ 5 0,0 0 0 – 9 9,9 9 9

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

G I F T S O F $ 2 5,0 0 0 –49,9 9 9

G IF T S O F $5,0 0 0 –9,9 9 9 Anonymous Berkeley Civic Arts Program Distracted Globe Foundation East Bay Community Foundation Ann and Gordon Getty Foundation Ramsay Family Foundation G IF T S O F $750 –4,9 9 9 Alameda County Arts Commission/artsfund Joyce & William Brantman Foundation Civic Foundation The Entrekin Foundation jec Foundation The Ida and William Rosenthal Foundation PE R FO R M A N CE S P O N S O R S

G I F T S O F $ 3,0 0 0 – 5,9 9 9

4U Sports Bayer Gallagher Risk Management Services Macy’s B U S IN E S S M E M B E R S

G I F T S O F $ 1, 5 0 0 –2 ,9 9 9

Bank of the West BluesCruise.com CH A M PI O N

G I F T S O F $ 1,0 0 0 –1, 49 9

Cooperative Center Federal Credit Union

Is your company a Corporate Sponsor? Berkeley Rep’s Corporate Partnership program offers excellent opportunities to network, entertain clients, reward employees, increase visibility, and support the arts and arts education in the community.

For details visit berkeleyrep.org or call Daria Hepps at 510 647-2904.

I N-K I N D S P ON S OR S M AT C H I NG G I F T S act Catering Angeline’s Louisiana Kitchen Aurora Catering Autumn Press Belli Osteria Bistro Liaison Bogatin, Corman & Gold C.G. Di Arie Vineyard & Winery Café Clem Comal Cyprus Domaine Carneros by Taittinger Donkey & Goat Winery East Bay Spice Company etc Catering Eureka!

Four Seasons Hotel San Francisco five Gather Restaurant Grace Street Catering Greenbar Craft Distillery

Greene Radovsky Malone Share & Hennigh llp Grocery Outlet, San Leandro Hafner Vineyard Hotel Shattuck Plaza Hugh Groman Catering & Greenleaf Platters Jazzcaffè Kevin Berne Images La Mediterranee La Note Latham & Watkins, llp Macallan Scotch Match Vineyards Pat Paulsen Vineyards Pathos Organic Greek Kitchen Patricia Motzkin Architecture Phil’s Sliders Picante PiQ Pyramid Alehouse

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Quady Winery Revival Bar + Kitchen Ricola usa Shalleck Collaborative St. George Spirits Sweet Adeline Tiger Lily Tres Agaves Venus Restaurant Zut! on 4th Hotel Shattuck Plaza is the official hotel of Berkeley Rep. Pro-bono legal services are generously provided by Latham & Watkins, llp.

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

Adobe Systems Inc. · Advent Software · Alexander & Baldwin · American Express · Apple · Argonaut Group, Inc. · at&t · Bank of America · Bechtel Corporation · BlackRock · Bristol Myers Squibb · Charles Schwab & Co, Inc · Chevron Corporation · Clorox · Constellation Energy · Dolby Laboratories · Franklin Templeton · Gap · Google · Hewlett Packard · ibm Corporation · JD Fine and Company · John Wiley & Sons, Inc. · Johnson & Johnson · kla Tencor · Lawrence Livermore National Laboratory · Lexis-Nexis · Macy’s Inc.· Matson Navigation Company · Microsoft · Morrison & Foerster · Motorola Mobility · mrw & Associates llc · norcal Mutual Insurance Company · Oracle Corporation · Perforce · Ruppenthal Foundation for the Arts · Salesforce.com · The Doctors Company · The Walt Disney Company · visa u.s.a., Inc. · Willis Lease Finance Corporation

BE R K E L E Y R E P THANKS

We thank the many individuals in our community who help Berkeley Rep produce adventurous, thought-provoking, and thrilling theatre and bring arts education to thousands of young people every year. We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who made their gifts between November 2013 and January 2015.

Donors to the Annual Fund

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

S P ON S OR C I RC L E SEASON SPONSORS

$ 10 0,0 0 0 +

Jack & Betty Schafer The Strauch Kulhanjian Family

LE A D S P O N S O R S

$ 5 0,0 0 0 – 9 9,9 9 9

Bruce Golden & Michelle Mercer Mary & Nicholas Graves Wayne Jordan & Quinn Delaney John & Helen Meyer Stewart & Rachelle Owen Mary Ruth Quinn & Scott Shenker Steve Silberstein

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

$ 2 5,0 0 0 –49,9 9 9

Rena Bransten Martha Ehmann Conte John & Stephanie Dains Bill Falik & Diana Cohen Kerry Francis & John Jimerson M Frances Hellman & Warren Breslau Pam & Mitch Nichter Marjorie Randolph Dr. & Mrs. Philip D. Schild Michael & Sue Steinberg

Jean & Michael Strunsky Guy Tiphane Gail & Arne Wagner Barry Lawson Williams & Lalita Tademy

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 Sheli Rosenberg, in honor of Leonard X 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 Edith Barschi 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 Christopher Hudson & Cindy J. Chang, MD

Ms. Wendy E. Jordan Seymour Kaufman & Kerstin Edgerton 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 Steven & Linda Wolan Martin & Margaret Zankel

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

$ 3,0 0 0 – 5,9 9 9

Anonymous (5) Linda R. Ach Cynthia & David Bogolub 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 Duke & Daisy Kiehn Christopher & Clare Lee Peter & Melanie Maier Charlotte & Adolph Martinelli The McBaine Family Phyra McCandless & Angelos Kottas Miles & Mary Ellen McKey Michele & John McNellis 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 Stephen Schoen & Margot Fraser Linda & Nathan Schultz Beryl & Ivor Silver 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 Annikka Berridge Brian Bock and Susan Rosin 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 Daryl Dichek & Kenneth Smith, in memory of Shirley D. Schild Jerome & Thao Dodson Ben Douglas Becky Draper Merle & Michael Fajans Cynthia A. Farner Tracy & Mark Ferron Lisa & Dave Finer 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 Migsy & Jim Hamasaki Bob & Linda Harris

Ann & Shawn Fischer Hecht Ruth Hennigar Tom & Bonnie Herman Howard Hertz & Jean Krois Richard N. Hill & Nancy Lundeen 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 Jean & Jack Knox 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 Elsie Mallonee 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 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 Shanna O’Hare & John Davis Judith & Richard Oken

Steve Olsen Judy O’Young, MD & Gregg Hauser Matt Pagel & Corey Revilla Bob & MaryJane Pauley Tom & Kathy Pendleton Gladys Perez-Mendez Michael A. Petonic & Veronica A. Watson David & Bobbie Pratt Carol Quimby-Bonan Andrew Raskopf & David Gunderman Elizabeth Ratner Sue Reinhold & Deborah Newbrun Bill Reuter & Ruth Major James & Maxine Risley John & Jody Roberts Carole Robinson & Zane O. Gresham Horacio Rodriguez Deborah Romer & William Tucker Marc Roth Boyard & Anne Rowe Enid & Alan Rubin Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Jackie & Paul Schaeffer Joyce & Jim Schnobrich Mark Shusterman, M.D. Edie Silber & Steve Bomse Amrita Singhal & Michael Tubach Kae Skeels Sherry & David Smith Stephen & Cindy Snow Audrey & Bob Sockolov Jacques Soenens Vickie Soulier 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 Charles & Nancy Wolfram Ron & Anita Wornick Sam & Joyce Zanze Jane & Mark Zuercher

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

Donors to the Annual Fund CH A M PIO N S

$ 1,0 0 0 –1, 49 9

Anonymous (7) · Pat Angell, in memory of Gene Angell · Naomi Auerbach & Ted Landau · Don & Gerry Beers M · Robert & Wendy Bergman · Patti Bittenbender · Daniel Boggan Jr · Harry Bremond & Peggy Forbes · Fred Brown & Barbara Kong Brown · Barbara & Robert Budnitz · Dan & Allyn Carl · Dr. S. Davis Carniglia & Ms. M. Claire Baker · Paula Carrell · Stan & Stephanie Casper · Naveen Chandra & James Lengel · Leslie Chatham & Kathie Weston · Ed & Lisa Chilton · Patty & Geoff Chin · Terin Christensen · Ralph & Rebecca Clark · Earl T. Cohen & Heidi M. Shale · Phyllis Coring K · 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 · Ann Harriman, in memory of Malcolm White · Barry & Jackie Hoffner · Herrick and Elaine Jackson, The Connemara Fund · Ken & Judith Johnson · Randall Johnson · Barbara E. Jones, in memory of William E. Jones · Barbara Jones & Massey J. Bambara M · Thomas Jones · Tom & Mary Anne Jorde, in honor of Pat Sakai & Dick Shapiro · Steve K. Kispersky · Suzanne LaFetra · Linda Laskowski · Joe W. Laymon · Nancy & George Leitmann, in memory of Helen Barber · Erma Lindeman · R. Jay & Eileen Love · J.E. Luckett · Meg Manske · John E. Matthews · Laura McCrea & Robert Ragucci · John G. McGehee · Dennis & Eloise Middleton · David L. Monroe · Jerry Mosher · Timothy Muller · Margo Murray · Claire Noonan & Peter Landsberger · Pier & Barbara Oddone, in memory of Michael Leibert · Sheldeen Osborne · Richard Ostreicher &

We gratefully recognize the following members of the Annual Fund whose contributions were received from December 2014 to January 2015 S U PP O R T E R S

$ 2 5 0 –49 9

Anonymous (12) · Marcia Abrams · Tracy Achorn · Terry Pink Alexander & John Blaustein, in honor of Susie Medak · Fred & Kathleen Allen · Susan & Barry Baskin · Richard & Ann Batman · Hebe & James Beard · Steve Benting & Margaret Warton · Law Offices of Steven Birnbaum · The Blackman Family · Diane Brett · Eric Brink & Gayle Vassar · Carol L. Brosgart, M.D. & Joseph Gross · Jane Buerger, in memory of Judith A. Schmitz · Joanne Casey · Michael & Sheila Cooper, in honor of Helen Barber · John & Izzie Crane M · Rev. Don & Lil Cunningham · David Deutscher · Maria & Peter Eberle · Don Erickson · Ms. Barbara Fenichel · Sheilah & Harry Fish · Brigitte & Louis Fisher · Nancy E. Fleischer · Ethan Fletcher · Molly & Harrison Fraker · Harvey & Deana Freedman · Beth Gleghorn · Paul Goldstein & Dena Mossar · Barry & Erica Goode · Gail Gordon & Jack Joseph · John & Diane Gossard · Nina G. Green · Bonnie & Sy Grossman · Alan Harper & Carol Baird ·

Robert Sleasman · Lynette Pang & Michael Man · Gerane Wharton Park · Gregory C. Potts · Kenneth & Frances Reid · Charles R. Rice · Edward & Jeanette Roach · Rob & Eileen Ruby · Mitzi Sales & John Argue · John Sanger · Seiger Family Foundation · Neal Shorstein, MD & Christopher Doane · Ann Shulman & Stephen Colwell · Dave & Lori Simpson · Ed & Ellen Smith · Sigrid Snider · Douglas Sovern & Sara Newmann · John St. Dennis & Roy Anati · Gary & Jana Stein · Annie Stenzel · Tim Stevenson & David Lincoln King · Michael Tilson Thomas & Joshua Robison · Pate & Judy Thomson · Deborah & Bob Van Nest · Wendy Willrich · Lee Yearley & Sally Gressens

A DVO C AT E S

$500–999

Anonymous (23) · Denny Abrams · Daphne Allen K · Gertrude & Robert Allen · Peggy & Don Alter · Robert & Evelyn Apte · Shellye L. Archambeau & Clarence Scott · Jerry & Seda Arnold · Gay & Alan Auerbach · Mary Bailey · Todd & Diane Baker · Celia Bakke · David & Christine Balabanian · Leslie & Jack Batson · Jonathan Berk & Rebecca Schwartz · Richard & Kathy Berman · Robert Berman & Jane Ginsburg · Caroline Beverstock · Steve Bischoff · Jill Bryans · Wendy Buchen · Rike & Klaus Burmeister · Alex Byron & Nicole Maguire · Don Campbell and Family · Kawika Campbell · Dr. Paula Campbell · Doug Carlston & Kathy Williams · Bruce Carlton · Carolle J. Carter & Jess Kitchens · Kim & Dawn Chase · Carol T. Christ · Karen Clayton & Stephen Clayton · Dennis Cohen & Deborah Robison · Leonard & Roberta Cohn · Ruth Conroy · Robert & Blair Cooter · Philip Crawford · Meredith Daane · Robert & Loni Dantzler · Pat & Steve Davis · Abby & Ross Davisson · Noah & Sandra Doyle · Drs. Nancy Ebbert & Adam Rochmes · Jeanene E. Ebert M · Anita C. Eblé · Burton Peek Edwards & Lynne Dal Poggetto · Roger & Jane Emanuel · Meredith & Harry Endsley M · Gini Erck & David Petta · Michael Evanhoe · Nancy H. Ferguson · James

Richard L. Hay · Lisa Herrinton · Adrienne Hirt & Jeffrey Rodman · Lorraine Honig · Hilary & Tom Hoynes · Nona Hungate · Jacqueline Jackson · Beth & Tim Kientzle M · Allen & Hannah King · Jeff Klingman & Deborah Sedberry · Lynn Landor · Dr. and Mrs. Jalyn and Lance Lang III · Jane & Michael Larkin · Almon E. Larsh Jr · Kevin Ligutom · Toni Mayer & Alan Lazere · Christopher McKenzie & Manuela Albuquerque · Cheryl Mouton · Christina Nelson · Jennifer Nixon & Charles Wood · Bob & Toni Peckham, in honor of Robert M. Peckham, Jr. · James F. Pine · Paco Ramirez · Jon & Evelyn Rantzman, in memory of Harry and Sally Rantzman · John Ravitch · Laura Richardson · Carla & David Riemer · Virginia N. Rigney · Marie Rosenblatt · Geri Rossen · Margaret Sheehy · Dr. & Mrs. Alan G. Shriro · Joel Spolin & Margot Parker · Terry & Berenice Sullivan · Joyce & Jack Sweitzer · Ruthann Taylor · Mike & Ellen Turbow · Marcia & David Vastine · Mike Weinberger & Julianne Lindemann · Harvey & Rhona Weinstein · Ann Willoughby

CO N T RIB U TO R S

$ 15 0 –2 49

Anonymous (13) · Anonymous, in honor of Ruth J George Staten · Gene & Penny Zee Agatstein · Jennifer & Ross Asselstine · Mary Ann & Len Benson · Barbara Benware · Law Offices Laureen Bethards · Marilyn Bray · Monroe & Kate Bridges · Peter Brock · Carol Brown · Jacob Butcher & Naomi Stein · Lawrence & Marilyn Capitelli · Louise & Bill Chalkley · Chris & Martie Conner · Mindy

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Finefrock & Harriet Hamlin · Jim & Cathy Fisher · Martin & Barbara Fishman · 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 · Paul & Marilyn Gardner · Tim Geoghegan · Paul Gill & Stephanie D’Arnall · Susan & Jon Golovin · Jane Gottesman & Geoffrey Biddle · Linda Graham · 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 · Elaine Hitchcock · Wilbur & Carolyn Ross Hobbs · Judith Holland · Steven Horwitz K · Morgan Hough · Olivia & Thacher Hurd Fund · Mr. & Mrs. Edwin Ives · Marc & Lisa Jones · Helmut H. Kapczynski & Colleen Neff · Marjorie & Robert Kaplan, in honor of Thalia Dorwick · Patricia Kaplan · Dennis Kaump · Natasha Khoruzhenko & Olegs Pimenovs · Christopher Killian & Carole Ungvarsky · Mary S. Kimball · Beverly Phillips Kivel · 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 · Glennis Lees & Michael Glazeski · John Leys · Ray Lifchez · Renee M. Linde · Mark & Roberta Linsky · Dottie Lofstrom · Judy MacDonald Johnston · Bruce Maigatter & Pamela Partlow · Sue & Phil Marineau · Sarah McArthur & Michael LeValley · Betsy McDaniel · Marie S. McEnnis · Sean McKenna · Ash McNeely · Ruth Medak · Mary & Gene Metz · Aliza and Peter Metzner K · Caryl & Peter Mezey · Geri Monheimer · Rex Morgan & Greg Reniere · Brian & Britt-Marie Morris · Ronald Morrison · Patricia Motzkin & Richard Feldman · 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 · Lewis Perry · F. Anthony Placzek · Malcolm & Ann Plant · John & Anja Plowright · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Susie & Eric Poncelet · Roxann R. Preston · Paula Pretlow · Dan & Lois Purkett · Kathleen Quenneville · Chuck & Kati Quibell · David & Mary Ramos · Sheldon & Catherine Ramsay · Ian Reinhard · Helen Richardson · Paul & Margaret Robbins · 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 · John & Lucille Serwa · Brenda Buckhold Shank, M.D., Ph.D. · Steve & Susan Shortell · William & Martha Slavin · Carra Sleight · Suzanne Slyman · Jerry & Dick Smallwood · Cherida Collins Smith · Mark Smith & Pam Callowa · Alice & Scott So · 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 · Nancy & Fred Teichert · Jeff & Catherine Thermond · 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 · Jon K. Wactor · Louise & Larry Walker · Dena & Wayne Watson Lamprey · William R. Weir · Sallie Weissinger · Dr. Ben & Mrs. Carolyn Werner · Elizabeth Werter & Henry Trevor · Diane & Scott Wieser · Oliver Williamson · Fred Winslow & Barbara Baratta K · Carol Katigbak Wong · Margaret Wu & Ciara Cox · Sandra Yuen & Lawrence Shore

Cox · Mike & Pam Crane · John Eckman · Michael Ehrenzweig · Winnie Farwell · Michael & Lori Ferguson · Mr. & Mrs. Fink, in honor of Rachel Fink · Mr. and Mrs. Michael Frank · Thomas & Sandra Friedland · Kate Funk · Philip Gary · John G. Rosenberg & Diane Gerstler · Arlene Getz · Jennifer & Wayne Getz · Keith Goldstein & Donna Warrington · Nancy A. Goolsby · David Graves · George & Mary Hake M · Joe Houska & Christine Paige · Joanne Howard, in memory of Roy Howard · Stephen & Helene Jaffe · Ruth & Benson Joseph · Charles & Laurie Kahn · Janice Kelly & Carlos Kaslow · M. Kupcho & D. Hawksworth · Henry Lerner · Trudy & Rolf Lesem · David Lesnini · Jeffrey & Christiane Maier · Carolyn & Robert Maples · Chris & Sarah Martiniak · Deborah & David Marx · Suzanne McCombs · Kathy McLean · Patricia L & Steve McMahon · The Medress Family Fund of the Jewish Community Foundation · Spencer & Roberta Michels · Peggy & John Mooney · John Moore · Gregg & Ruth Morris · Judith Norberg · Karl Francis Nygren · Sara O’Hearn · Linda & Gregory Orr · Jennifer Palangio · Maren Pedersen · Virginia & Lucien Polak · Jo Ann & Buford Price · Karen Racanelli · Marc A. Rieffel · Todd & Susan Ringoen · Marc Rosaaen · Ruth Rosen & David Galin · Gerald Rosenstein · Thomas Savignano · Joyce & Kenneth Sheidig · Linda Schurer, in memory of Marge Ryder · Emily D. Sexton · Dr. & Mrs. Gary Shrago · Jill & Richard Sideman · Hugh & Aletha Silcox · Mary Lou Solecki & Tim Wendt · Anne & Robert Spears · Virginia Sykes · Kay H. Taber · Jules Tippett ·

Marc Davis and Nancy Turak · Henry & Susan Veit · Mark Whatley & Danuta Zaroda M · Ms. H. Leabah Winter, in memory of Barry Dorfman, MD · Bob & Judi Yeager · Emily Zell

FRIE N D S

$ 75 –149

Anonymous (24) · Anonymous, in honor of David Hart, MD · Ida Abbott · Robert & Karen Abra · Fred & Joanne Abrams · Barry & Joanne Adcock · Mark Addleman & Andrea Clark · Miriam & Matthew Agrell · Michael Alef · Edmund Alvey · Clara Arakaki · David & Vivian Auslander · Lisa Bailey · J. Karren Baker · Elizabeth Baranger · Joseph C. Barbaccia · Jacqueline Barnes · Kent & Carolyn Barnes · Alice Bartholomew · Phil & Jane Batson · Joseph Baxter · Brenda Beckett · Richard & Carol Bee · Sally Benjamin · Sandra Bernard · Karen & Steven Bovarnick · David & Eva Bradford · Elizabeth Brady · Robert & Barbara Brandriff · Marilyn Brenner · Francis Brooks · Donald Brown · Dupsi Brown-Kuria · Louise Burton · Nancy Catena · Thomas Cavers · Robin & Ryszard Chetkowski · Tomas Christopher & Elizabeth Giacomo · Joanie Ciardelli · Carol & Orlo Clark · Jean Conger · Nancy N. Conover · Bruce Conrad · Martha & William Crowe · Cynthia S. Darling · Dr. General Scott Davie · Richard DeNatale · Marvin Diamond · Earl Diskin · Asmaa Donahue · Laura Downing-Lee & Marty Lee · Melinda Drayton · Mona Dreicer · Laura Edelstein & Scott Andersen · Michelle B. Edwards · Carol Egan · Lara Eidemiller, in memory of Mary Jo Pottenger · Pat & Ted Eliot · Roy Eyal · Bill & Kathleen

Failing · Catherine Faust · Victor & Regina Fields · Mrs. Robert Force · Marion Fourcade · Christie Fraser · Dick Friedman · Carla Garbis & Peter Turner · David & Susan Garfin · Judith Garza · Marlyn Gershuny · David Gibson · Roger & Joan Glassey · Gilbert & Sally Gradinger · Miriam Green · Ruth N. Greenwald · Aniruddha Gupta · Eric Hahn · Randall Ham & Linda Wilford · Frede S. Hammes · Richard & Sylvia Hammond, in honor of Leo & Lidewey Blitz · Neil Handelman & Karyn O’Mohundro · Lisa Hane · Henry Hart · Robert Hass · Richard P. Hemann · David Hester & Karen Jannetti Hester, in honor of Anna Morrison & Philip M Morrison · Carole S. Hickman · Gayl & Harlan Hirschfeld · Andrew Hirss · Marilynn Hodgson · Julie Hooper · Cavett Hughes · Jennifer Hughes · Rebecca Husband · Ken Jaffee · Barb & David Johnson · Keasley, Autumn, Emerson & Elliott Jones · Juli Kauffman · Mike & Mary Jo Kelly · Pat Kelly & Jennifer Doebler · John & Barbara Kenney · James R. Kidder · Bonnie McPherson Killip · Nina C. Kindblad · Mr. & Mrs. David Kirshman · Nancy Kornfield · Neil & Peggy Kostick · Debie Krueger, in memory of Alex Maffei · Mary Sue & Dennis Kuzak · Judith Lamberti, MD · Paula Lavine · Elaine Lee · Evelyn Levin · Mr. George Lewinski & Dr. Debra Levinsky · Colleen & Brian Lewis · Alice Lin · Annette C. Lipkin, in memory of Paul Lipkin · Lynn & Penny Lockhart · Fred Lonsdale · Lawrence & Nancy Ludgus, in honor of Randy Laroche’s 60th birthday · Christine Macomber · Chrysbe Madayag · Janet & Marcos Maestre · Sushma Magnuson & Leif Magnuson · Martin Malkin · Redge & Carole Martin · M. Mathews & K. Soriano · Linda McClain · Richard McCray · Jim McDonald & Myrna David · Leon McNeely · Phyllis Menefee · Lauren Mensch · John & Rosemary Merchant · Amy Merrill · David & Jane Meyers · Jenny Maehara & Sean Montgomery · Marie A. Moran · Cheryl Morris · Norman & Eleanor Moscow · Andrea Moss · Jim Murphy · Gertrude Musey · David & Patsy Newhouse · Karol Niccoli & Scott Lucas · Jennifer Normoyle · Gerald and Ellen Oicles · Howard & Charlene Okamoto · Ralph Pais & Gayl Huston · Michael & Nancy Pfeffer · Gail & Gerald Pogoriler · Fred & Judy Porta · Daniel & Barbara Radin · Charleen Raines · William Rawson & Judith Sulsona · Rose Ray & Robert Kroll · Sandra Ried · Edward & Irene Rimer · Maria Roden · Nona & Robert Rodriguez · Dr. Norma Fiedotin · Dr. David Rovno · I. Maxine Rowe · Mark Ruben · Jan Sager & Robert Luxenberg · Edna San Juan · Carolyn Sanders · Stuart Sapadin · Michael J. Savage · Herminia S. Sayre · Al Schaffer · Wendy Scheck · Peter and Cindy Tsai Schultz · Judy Schwartz & Rod Miller · Judy Schwartz · Grant Scully · Barbara & Steve Segal · Craig Shear · Carole Sheft · Edna Shipley · Christine Silver · Rochelle Sklansky · Betsy Smith · Debbie Smith · Nicholas Smith · Mr. & Mrs. Somasundaram · Barbara Spack · Sharon Staley · Donald Stang & Helen Wickes · Beverly Stevens · Susanne Stoffel & Michael Coan · Linda & Charley Swift · Joyce Tayer ·

LEGEND

K

in-kind gift

M

Douglas & Susan Taylor · Michael & Katherine Taylor · Catherine Bailey & Jack Telian · Roseanna Torretto · Eileen Wenger Tutt · Mary Wadsworth · Virginia Warnes · Ellen Widess · Mark Wasserman & Judy Freeman · Janice Weekes · Robert & Penny Weiss · Chris White · Dick White · Elizabeth Wierzbianska · Bonnie Willdorf · Patricia Wipf · Tim Wise · Patrick Woods and Kathleen Clark · Bruce Wright · Kristine Wyndham · Norma Wynn, in honor of James F. Wynn · Stan Zaks

PAT RO N S

$ 1 –74

Anonymous (29) · Tarliena Aamir-Balinton · Marc Abrams · Laurie Adams · Marina Adler · Anna Leah Ah & Will Green · Leslie Alden · Linda Alfano · Sara Alspaugh · Tonya Amos · Elizabeth & Robert Andersen · Don & Bette Anderson · Kaye Anderson · Christine Apostolou · Ann Marie Arndt · Caryn Augst · James & Rebecca Austin · Anna Badger · Dennis Baker · Vanessa Baker · Lisa Barcellos · Cathryn W. Barrett · Kathleen Barrows · Aubrey Bartlett · Kathy Battat · Barbara Baum · Francine Beall · Philip J. Beilin · Mary Lou Bell · Mr. & Mrs. Edward L. Bennett · Robert Benson · Elissa Berall · Richard & Jan Bergamini · Philip E. Berghausen Jr · Ellen Berman · Susan Berston · Jacqueline Beth · Elaine Binger · Bixler Family · Odette Blachman · Lucia Blakeslee · Susan A. Blew · Susan Boeckmann · John Bongiovanni · Dvora & Neil Boorstyn · Thomas Booth · Bradley Bostick · Micah Bot-Miller · Debra Bowmer · Joanne Bowsman · Benita & Burton Boxerman, in honor of Leonard Rosenberg · Sarah Brann · Martha Breed · Marian Bridges · Susan Brillhart · Devi K. Brown · Frank Brown · Sally Brown · Thomas W. Brown · Ken Bruckmeier · Carl Brush · Molly Buckley · John Burke · Martin & Patricia Butensky · Judith & Burton Calder · Joanna Callenbach · Daniel Campos · Jamie Carlson · John Carr · Dr. Bruce & Susan Carter · Elena Caruthers · Joan C. Cenci-Thomas · Jerald & Ann Cerri · Betsy Chaconas · Guillaume Chartier · Julie Chew · Judy Chun · Civiane Chung · Sandra Chutorian · Melania Ciapponi · Carol Cline · Eleanor D. Cohen · Marc & Jennifer Cohen · Susan Cohen · Michael Cohn · Marnee Colburn · George & Jane Collier · Rudy Collins · Mary & Matthew Connors · Boiler Burner Control · Wendy Cooper · Kathleen Costa · Gerald & Deborah Cotter · Carolyn Cox · William Creighton · Sean Culman · Pamela Culp · David Curran · Robert Currier · Charles and Helen Dake · Cindi Darling · Deborah Davis · Hiram & Eleanora De Witt · Veronica & Tom Devitt · William J. Donahoe & M. Kristin Klein · Rita Dougherty · Bonnie Fox Dowd · Vaughn Draggoo · Sigrid Duesberg · Kimberly Duir · Guy Dunham · Ruth Dunham · Maria Echaveste · Charles J. Egiziano · Yair Eilat · Judith Erdberg IV · Marjorie Esquivil · James Evans · Peter Ewell & Helga Recke · Christa Fairfield · Malcolm Feeley · Ann Felldin · Krystyna Finlayson · Mr. & Mrs. Laurence Fischer · Mary Ann Fisher · Mary Flett, in memory of Alex Flett · Richard J. Foote ·

Marilyn Foreman · Betsy Foy · Mildred Frederick · Miriam & Gerald Friedkin · Wendy Friefeld · Judith A. Fritz · Sam & Joan Fromowitz · Don Fujino · Mariann E. Gabel · Gwyneth Galbraith · Victor Galis · Gwen Gallagher · Betty Gandel · Steve & Valerie Garry · Polly Gassler · Phoebe Gaston · Jonathan Gertler · David M. Goi · Mrs. Jesse Goldberg · Astrid & Mark Goldman · Helen Goldsmith & Paul Garson Heller · Steven Gotanda · Richard & Gretchen Grant, in memory of Helen Barber · Howard & Julie Graves · Leslie Gravino · Ryan Greene-Roesel & Ray Minjares · Diane S. Greenberg · Lynn Greenberg & Michael Rothschild · Mickey P. Griffin · Tom & Emily Griswold · Phil Grisier · Louise & Michael Gross · Faye Guarienti · Susan Guerrero · Kate Haberland · Dan Haddick & Joanna Budnicko · Bob Hagopian · Christina Halsey · Eileen Hamm · Mr. Steven Hamman · Stuart Hanson & Mary Lou Fox-Hanson · Kristy & Dan Hardy · Katie Harhen · Douglas Harik · Margaret Harrington · Jonathan Harvey · Fulvia Hayes · Jane Headley · Christine Hearn · John & Bonna Heebink · Rosemary Hegarty · Harriette & Norm Heibel · Lara Heisler · Dottie Henderson · I. Craig Henderson · Lynn Henley · Roy Henninger · Stanley & Maria Hertz · Wendy Herzog · Diann Hillerman · Kira Pascoe-Moreno · Barbara Hirschfeld and David Sussman · Elizabeth Hodder · Celeste Hoffpauir · Kelsey J. Hogan · Zelda Holland · Hawley Sterling Holmes · Fred & Nancy Hom · Kenneth Horn, in memory of Ellen Wong · Jennifer Horne & Richard Gillette · Lisa Hubbert · Michele Hubinger · Estie Sid Hudes · Freeman Humphrey · Neal & Charlotte Huntley · Nicholas Hyde Family · Ruth Ichinaga · Alex Ingersoll & Martin Tannenbaum · Linda Inman-Hoffert · Betty Kazuko Ishida · Jean Jackson · Fred Jacobson · Andrea Jacoby · Loisann Jacovitz · Michael C. Jaeger · Patricia James · Ginny & Robin Jaquith · Marisita & Tu Jarvis · Lani Jerman · Blandine Jerome · Ji-li Jiang · Margaret E. Jones · Kathy Juarez · Clennis Justice · Margaret Kadoyama · Kimberley Kahler · Jan Karlson · Heidi Marie Kate · Patricia Kearns · Marjorie & Theodore Keeler · Jon Keller · Zane Keller · Jeff Kelley & Hung Liu · Sandra Kemp · Carli Kim · Max Kirkeberg · Stan Klezmer & Trish Elliott · Naomi N. Martin · Carole Klyce · Doris Kogo · Jeffrey R. Koseff · Susan Kraft & Patrick Scott · Mona Kreaden · Mr. & Mrs. Ron Kresge · Carolyn Krieg · Shari Kurita · Elroy & Dee Kursh, in honor of Thalia Dorwick · Elizabeth Langlois · Linda C. Lappin · Virgina Layton · Fred Lebe · Dr. & Mrs. Antony J. Lepire · Carole Levenson · Barbara Levy · Peter Libeu · Joan Lichterman · Roger Lieberman · Liedeker Family · James & Lisa Litchfield · Don Loeb · J & P Lowell · Dean V. Lundholm · Elise Lusk & Stephen Godfrey · Cindy Maderos · Mary Magee · Joe & Joanne Magruder · Teal Major and Rolf Williams · Shawn & Jane Mason · Mr. & Mrs. Marwan H. Masri · Ray & Margaret McKnight · Patricia McVeigh · Karen Melchers · Herb & Marilyn Meltzer · Agnieszka Walczak · Janet Merrick · Chris Miller · Reid Miller · Amy

Mitchell · Debbie Mitchell · Patricia Mondloch · Susan Montauk, in memory of Clare Montauk · Raymond Montoya · Mark Morris · Carol Morrison · Patricia Morrison · Phyllis Morrison · Elisabeth A. Moulthrop · Marianne Mullins · Elizabeth Murdock · Donal Murphy & Julie Orr · Stephanie Myers · Andrew Neuschatz · Glen Nielsen · Margaret Niles, in memory of Jeanne Feron · Mary & Charles Norcross · David Norman · Sarah Nowicki K · Susan Obayashi · Shelley O’Connor · Mary O’Hara-Devereaux · Elizabeth Pagano · Daniel Palmerlee · Herman D. Papa · James Parent · Ellie D. Patterson · Doris Peacock, in memory of Michael Duden, actor · Jan E Pearson · Linda Perkins · Michael & Laura Perucchi · Nancy Lee Peters · Karen Peterson · Wendy Peterson · Mary Pieczarka · Kathleen S. Pierce · Ken Pinhero · Margo Pizzo · Marcia & Robert Popper · Sarah Shea Potts · Linda Pratt · Ginny Preston · Paul & Christine Prusiner · Beverly Prior · Judith Rabbie · Bonnie Rackmil · Lisa Raffel · Cynthia Rahav · Teresa Ramirez · Cynthia Ramseyer · Ann & Joseph Ranish · Mary Ratner · Jim Rauh · Rayna K. Ravitz · Charles Raymond & Nancy Nagramada · Julia Ready, in memory of Pat Thomasson · Patricia Reed · Stephanie Reisfeld · Kala Renz · Laura Reynolds · Marie Ruth Rhein · Jean Richardson · Nikole Richardson · Lucille Richey, in memory of Truitt A. Richey · Katherine Riemer · Margaret Riley & Kevin Depew · Jennifer Robertson · Judith Rogers · Lisa Romano · James Rooney · Elizabeth Rottger · Ken & Helen Rubardt · Wondie Russell & Edward Steinman · M. Ryce · Carrie & Thomas Sager · Rita Sampaio · Laurie San Martin · Scott Sanchez · David & Kathleen Sanders · Debra Saunders · Eileen Savel · Steve Saxe · James W. Schmidt · Michael Schmitz · Jan Schreiber · Benjamin Schwartz · Ryne Scott · Michele Seligman · Barbara Shaw · Rabbi John G. Shaw IV · Carol Shennan · Adam Sherman · Ann Shrieve · Sophia Shtilman · Alexander Shtulman · J. Suzanne Siebert · Susan Signaigo · Deborah & Robert Silvey · Elpidio Siruno · Dan Slobin · Wendy Smith · Donna Smith-Harrison & Samuel Harrison · Nina Snegg · Janet Sovin, in memory of Flora Roberts · Irene Spang · Carol Stanek · William Statsky · Marianne Stefancic · Kathryn Stephens · Rick N. Stevens · Daniel Steves · Craig Stone · Cynthia Stone & David Schnee · Paul Strickberger · Joyce Suter · Cynthia A. Sutter · Ned & Patrice Swift · Mark Tanaka · Frankie Taylor · Mr. Charles V. Thorton · Oscia Timschell · Joanne A. Trezek · Maritza Jackson-Sandoval · Barbara & William Vaughan · Jose Vergara · Elizabeth Vezzani · Grace Wahlberg · Marsha Walker · Rosa E. Warder · Larry Warren · Kay Weinstein · Rev. DeeAnn Morency · Bonnie Wentworth · Jackie Wheeler · Deborah White · Peter Whitehead · Randy Y. Wiederhold & Christine Lehto · Gail Wilkinson · Judith & Larry William · Don Willenburg · Andre L. Wilson & Robert E. Perry · Barbara Wilson · Lois B. Winter · Ms. Julie Ann Winters · Carol Young-Holt · Elliott Zeller & Kim Lee Brae · Barbara Zoloth

matching gift

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

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

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

Michael Leibert Society Members

Sustaining members as of November 2014:

The Society welcomes the following new members: Norman Abramson & David Beery

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 Dr. Harvey & Deana Freedman

Donors to the Annual Fund

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 John G. McGehee Miles & Mary Ellen McKey Margaret D. & Winton McKibben Susan Medak & Greg Murphy Stephanie Mendel Toni Mester Shirley & Joe Nedham Pam & Mitch Nichter Sheldeen G. Osborne Sharon Ott Amy Pearl Parodi Gladys Perez-Mendez Barbara Peterson Regina Phelps Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Tom Roberts Tracie E. Rowson Deborah Dashow Ruth 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.

Looking for the magic of things: A conversation with Dominique Serrand CO N TIN U E D FRO M PAG E 2 2

even more moving because they have a sense of their own ridicule. So it’s really, really stunning.

What do you think has evolved in you as an artist over the years?

I hate to say this, but a profound sadness at the political state of the country and the arts. On the other hand, I have been very invigorated by the challenge of what we must do to recreate an audience, and to do the work the way we think it should be done versus the way pundits say it should be done.

Who are your greatest theatrical inspirations whom you look to, from the past or present?

Many. From the past, of course, Ariane Mnouchkine from the Théâtre du Soleil in Paris, that was a great influence. We started wanting to work with her, and she said no, we need more companies like ours, go and make your own. And that’s how Complicite got started, how we got started, how all these companies got started at the same time—we were all in class together, actually, within a few years. The whole point, Jacques Lecoq always said, was you have to go and create companies.

You have to do the work, the work has to be seen, and you have to reinvent it.

I was a young man when the Theatre of Nations was created in Paris, and all the best theatre from around the world would come once a year, and we were exposed to the greatest.

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From everywhere really: the Polish, the Czechs, the Hungarians, the Romanians, the Spanish, the Italians, the Dutch. So that was my influence.

Probably the second greatest influence for me was Pina Bausch.

In terms of the new, it’s a little tricky to figure out what’s happening. Right now it feels like the pot is simmering and we see movements, we see bubbles of interesting work, but the broth isn’t made. That is why we try to bring a lot of people to the process. Actors, mostly, but sometimes young directors, young designers, authors, playwrights. Even if they don’t work on the piece, they just come to observe.

Do you have any playwrights right now that you’re particularly excited by?

Yes, I do, but I don’t want to specifically pick any names. I just see some emerging voices that are interesting. It’s tricky because for a long time American theatre has been framed by the psychological. You know, people in a room, around a couch, what I call the living room plays, in which people share their tragedies and psychological traumas. Now, there is a new movement coming out. Some of these playwrights are more celebrative, and working in larger dimensions, for larger casts, larger spaces, creating larger stories. So I tend to approach or work with young authors, even if I don’t do their play yet, to just push them and widen their space.

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 Ground Floor Visiting Artistic Associate Sara Kerastas Theatre Communications Group Visiting Artistic Associate Chiara Klein Artists under Commission David Adjmi · Todd Almond · Christina Anderson · Glen Berger · Julia Cho · Jackie Sibblies Drury · Rinne Groff · Dave Malloy · Lisa Peterson P R ODUC T ION Production Manager Peter Dean Associate Production Manager Amanda Williams O’Steen Company Manager Jean-Paul Gressieux S TAG E M A NAG E M E N T Production Stage Manager Michael Suenkel Stage Managers Leslie M. Radin · Karen Szpaller · 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 COSTUMES Costume Director Maggi Yule Associate Costume Director Amy Bobeda

Draper Kitty Muntzel Tailor Kathy Kellner Griffith First Hand Janet Conery Wardrobe Supervisor Barbara Blair ELECTRICS Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane Kenneth Coté SOUND Sound Supervisor James Ballen Sound Engineer Angela Don A DM I N I S T R AT ION Controller Suzanne Pettigrew Director of Technology Gustav Davila Associate Managing Director/ Manager, The Ground Floor Karena Fiorenza Ingersoll Executive Assistant Andrew Susskind Bookkeeper Kristine Taylor Associate General Manager/ Human Resources Manager David Lorenc Payroll Administrator Valerie St. Louis Human Resources Consultant Laurel Leichter Database Manager Diana Amezquita Systems Assistant Debra Wong 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 B OX OF F I C E Ticket Services Director Destiny Askin Subscription Manager Laurie Barnes Ticket Services Supervisors Samanta Cubias · Richard Rubio

Box Office Agents Nathan Brown · Christina Cone · Molly Conway · 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 · Mary Cait Hogan · Anthony Miller · Sarah Mosby · Seandale Turner Concessions Supervisor Hugh Dunaway Concessionaires Jessica Bates · Natalie Bulkley · Samantha Burse · Steve Coambs · Emerald Geter · Devon Labelle · Kelvyn Mitchell · Benjamin Ortiz · Jenny Ortiz · Alonso Suarez

Deborah Eubanks · Maria Frangos · Christine Germain · Nancy Gold · Gary Graves · Marvin Greene · Gendell Hing-Hernández · Andrew Hurteau · Ben Johnson · Rebecca Kemper · Dave Maier · Patricia Miller · Diane Rachel · Christian Roman · Rolf Saxon · Elyse Shafarman · Rebecca Stockley Outreach Teaching Artists Bobby August Jr. · Jessica Bates · Gendell Hing-Hernández · Dave Maier · 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 Tartuffe Docents Joy Lancaster, Lead Docent John Argue · Sandy Greenberg · Stephen Miller · Joan Sullivan · Catherine Warren

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 OP E R AT ION S Andrea Phillips Facilities Director Development Fellow Mark Morrisette Haley Bierman Facilities Manager Education Fellow Lauren Shorofsky Rachel Eisner Building Engineer Graphic Design Fellow Thomas Tran Sarah Jacczak Maintenance Technician Harry Weininger Sound Fellow Johnny Van Chang Annemarie Scerra Facilities Assistants Lighting / Electrics Fellow Sophie Li · Carlos Mendoza · Jesus Sarina Renteria Rodriguez · LeRoy Thomas Marketing & Communications Fellow BERKELEY REP Billy McEntee S C HO OL OF T H E AT R E Peter F. Sloss Literary/ Director of the School of Theatre Dramaturgy Fellow Rachel L. Fink Lexi Diamond Associate Director Production Management Fellow MaryBeth Cavanaugh Margaret Clement Community Programs Manager Properties Fellow Benjamin Hanna Amelia Burke-Holt Communications and Community Scenic Art Fellow Partnerships Manager Anna McGahey Kashara Robinson Scenic Construction Fellow Registrar Will Gering Katie Riemann Community Programs Administrator Stage Management Fellow Brad Hopper Modesta Tamayo Faculty Alva Ackley · Susan-Jane Harrison · Bobby August Jr. · Erica Blue · Patric Cambra · Rebecca Castelli · Jiwon Chung · Sally Clawson · Laura Derry ·

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 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 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 4 1

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

instagram.com/ berkeleyrep yelp.com/ biz/berkeleyrepertorytheatre-berkeley

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.

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

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

A Little Night Music Music and Lyrics by

“Sophisticated and enchanting”

STEPHEN SONDHEIM

New York Times

Book by

BEGINS MAY 20

HUGH WHEELER Directed by

MARK LAMOS

“[An] exhilarating theatrical kaleidoscope!”

The Guardian, UK

by CARYL CHURCHILL

Directed by CASEY STANGL

“Dizzying . . . [Churchill] has proved herself without peer.”

New York Times

THE PREMIERE PRODUCTION AT A.C.T.’S NEW STRAND THEATER

“wwww”

“Head-spinning!”

Telegraph, UK

Time Out New York

BEGINS JUNE 3 ACT-SF.ORG | 415.749.2228

A MAGICAL EVENING IS ON ITS WAY!

SATUR DAY, AP RI L 18 , 20 1 5 5:30 pm Cocktail Reception & Silent Auction 7:00 pm Dîner Gastronomique & Live Auction The Ritz-Carlton, San Francisco

VIE FOR INCREDIBLE LIVE AUCTION PACKAGES, INCLUDING: An Exquisite South American

Join us for a magical evening, as Berkeley Rep hosts OVATION: Une Soirée Magnifique!

Find yourself transported to Carnaval in Paris, a feast for the senses with surprises around every corner.

Tickets start at $750 TABLES:

* Adventure on The World Yacht

A Thrilling New York Getaway for

* Four

An Idyllic Stay at a French Manor

* in the Loire Valley

An Exclusive Dinner at Chef

* Narsai David’s home

Footlight $7,500 · Spotlight $12,500 · Limelight $18,000

To reserve, contact Lily Yang at lyang@berkeleyrep.org or (510) 647-2909.

BE R K E LE YRE P.ORG / OVAT ION LEFT AND RIGHT PHOTOS BY DREW ALTIZER PHOTOGRAPHY · MIDDLE PHOTO BY NORA MERECICKY