Berkeley Rep: Tristan & Yseult

Baryshnikov is back 10 · A pocket full of skills 12 · A love for the ages 18 · The program for Tristan & Yseult 29

THE BERKELEY REP M AGA ZINE 2 013 –14 · I S S U E 3

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B E R K E L E Y R E P P R E S E N T S K N E E H IG H’ S TRI STAN & YS EULT · 29 M E E T T H E C A S T & C R E W · 30

P ROL O G U E

CON T R I BU T OR S

A letter from the artistic director · 5

Foundation, corporate, and in-kind sponsors · 40

A letter from the managing director · 7

Individual donors to the Annual Fund · 41 Memorial and tribute gifts · 43

9

Michael Leibert Society · 43

R E P ORT If these walls could talk: A sneak peek at The House that will not Stand · 9 In case you missed him…Baryshnikov is back at Berkeley Rep · 10 A pocket full of skills · 12 Karen Racanelli celebrates 20 years at Berkeley Rep · 15

10

In memoriam: Helen C. Barber · 17

F E AT U R E S

A BOU T BE R K E L E Y R E P Staff and affiliations · 44 Board of trustees and sustaining advisors · 45

FYI Everything you need to know about our box office, gift shop, seating policies, and more · 46

Tristan & Yseult: A love for the ages · 18 Forgotten Britons · 22 Not so boring theatre: Insights from Kneehigh’s joint artistic directors · 24 18

Emma Rice on Tristan & Yseult · 27 Why do we do theatre? · 27

T H E B E R K E L E Y R E P M AG A Z I N E 201 3 –14 · I S S U E 3 The Berkeley Rep Magazine is published at least seven times per season.

Editor Karen McKevitt

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

Art Director Nora Merecicky

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

Graphic Designer Jared Oates

Writers Beryl Baker Sam Basger Lynn Eve Komaromi Julie McCormick Kashara Robinson Kyle Sircus

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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PROL OG U E from the Artistic Director

HEARSAY man (a bit resigned): So what are we seeing tonight? woman: It’s called Tristan & Yseult. man: Weren’t they at Ashkenaz last week? woman: It’s a love story. man: Sounds like a Nordic law firm. woman: You’ll like it. It’s by the same people who did that play you liked a couple of years ago. man: If it’s a play then we didn’t see it at Berkeley Rep. woman: We’ve seen plenty of plays/at the man: I mean a play! A real play! Remember those? By real writers like Shakespeare and Chekhov. woman: What?! When we saw Romeo and Juliet last year you said if you had to sit through the play one more time you’d throw yourself off a balcony! man: I was being/funny. woman: And you hate Chekhov! Every Chekhov play we see you’re asleep within 20 minutes. man: I’m not sleeping… I’m thinking deep thoughts. woman: Maybe it was the snoring that fooled me. man: Okay you made your point! But it’s like a toothache. It hurts when the tooth is there but when it’s gone, there’s something missing. (pause) woman: Did you take your pills this morning? (pause) man: So what are we seeing? woman: It’s a love story.

Set in the time 1_6v.pdf of King Arthur. By the same people who did SFLG 101013 ACT The Wild Bride. man (his interest piqued): The Wild Bride? woman: You loved The Wild Bride. You talked for weeks about the woman with the antlers on her head. man (remembering, perhaps a bit too happy): She was very good. woman: And there was even an exposition, a rising action, a climax, and a denouement. man: You think they’ll have that in the show tonight? woman: Well…there’s no guarantee. Sorry. man: Do I have time for a drink? woman: We can order one at the new bar at the Theatre. man: Really? woman: You ready? man: Let’s go.

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Month 2013 Volume 46, No. 3

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PROL OG U E from the Managing Director

One of the most satisfying moments in

the season so far occurred for me at the closing performance of Vanya and Sonia and Masha and Spike, a play about the messiness of familial love. A friend of mine, who has been estranged from her children for many years, walked out of the Theatre and said to me, “This play makes me want to try harder.”

I yearn for those moments when I know we’ve touched a nerve. They are as good, maybe better, than applause.

In the past few weeks, you probably received a packet in the mail asking you to consider making a gift to Berkeley Rep’s Annual Fund. You may be surprised to know that Berkeley Rep is a nonprofit organization. Some of you will think, “Why make a contribution? I already help Berkeley Rep by buying tickets.” I don’t want to minimize just how much we do appreciate your decision to attend Berkeley Rep when you have so many choices of cultural offerings in the Bay Area. However, every time you purchase a ticket, whether it cost you $10 as part of a school group, or $14.50 (our lowest single-ticket price), or $135 (our absolute highest ticket price), your ticket has been subsidized by someone else. Were it not for someone’s contribution, every ticket would cost more than $150. High as that may seem, it is still a bargain when one remembers that a ticket to a Broadway show now regularly sells for over $400.

When you contribute to Berkeley Rep you are supporting more than the productions you see on our stage. You are also supporting many of our other programs that do not, in themselves, produce income. Among them is The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work; our School of Theatre that serves 20,000 people annually and provides free- or low-cost programs for students in nine counties; our public education programs; the reduced rental program that enables community groups to use our facilities; our Teen Council; our services for the blind; our programs in juvenile hall; and more.

While Berkeley Rep takes seriously the responsibility to be good citizens, we have a larger mission. I hope you share with me the belief that while Berkeley Rep provides a tangible service to the community, we provide other kinds of benefits as well. We take great pride in producing work on our stage that challenges our audiences to see each other with open minds and open hearts. We are deeply committed to the notion that telling stories, thoughtfully and with intelligence, helps us remember our shared humanity and our shared values. We retain a deep-seated belief that by mirroring human behavior in all its vast complexity, theatre, like all art, helps us be the best kinds of humans we can be. Sometimes we motivate people to “try harder.”

As you contemplate which of the myriad organizations you will support as the season of giving draws to a close, I hope you will consider adding Berkeley Rep to your list. Every dollar you give helps us produce work that provides both tangible and intangible returns for our community.

Wishing you and yours a joy filled holiday season.

Warmly,

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201 3–1 4 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 7

Celebrated British artist David Hockney returns to California with an exhibition assembled exclusively for the de Young. Expansive in scope and monumental in scale, this is the first comprehensive survey of his 21st-century work. Renowned for his use of traditional materials as well as evolving technologies, Hockney has created new art in an array of media, from watercolor on paper to iPad drawings, and oil on canvas to digital movies.

This exhibition is organized by the Fine Arts Museums of San Francisco in collaboration with the artist. Director’s Circle: Penny and James George Coulter, David Davies and Jack Weeden, The Michael Taylor Trust, and Diane B. Wilsey.

Curator’s Circle: The Bequest of Dr. Charles L. Dibble, Ray and Dagmar Dolby, and Marissa Mayer and Zachary Bogue.

David Hockney, Self-Portrait with Charlie (detail), 2005. Oil on canvas. National Portrait Gallery, London, purchased with help from the proceeds of the 150th anniversary gala and Gift Aid visitor ticket donations, 2007, NPG 6819. © 2013 David Hockney. Photo: Richard Schmidt.

Top Marcus Gardley Middle Joaquina Kalukango, Cherise Booth, and Christina Elmore in the 2012 Ground Floor workshop of The House that will not Stand Bottom Director Patricia McGregor (photo by Erik Pearson)

R E P ORT

If these walls could talk A sneak peek at The House that will not Stand

BY KYLE SIRCUS

History informs the present and sheds new light on old words. In one of his most quotable speeches, Abraham Lincoln confronted the tension between slave states and free ones head on when he declared “A house divided against itself cannot stand,” using Mark (of New Testament fame) to comment on the events of the time. One might say Marcus Gardley, author of The House that will not Stand, does the same with his proud and fierce young voice that breathes new life into a historic tale in this powerful world premiere.

Set on a steamy New Orleans day in 1836, Marcus’ play explores what happens to a black Creole family when Beartrice’s man dies suddenly, opening floodgates from which mystique, enchantment, and poetry spill out in equal measure. Referencing his already abundant body of work, the New Yorker champions his many accomplishments: “The 32-year-old playwright’s talent is immense…He traffics in lush images and plots that are as mysterious and surprising as forced flowers blossoming in winter….”

Madeleine Oldham, Berkeley Rep’s resident dramaturg and director of The Ground Floor, says, “The world of the play is absolutely fascinating. It covers a part of our country’s history that I don’t think we pay enough attention to. The idea that women of color could own property during that time seems inconceivable to us, but it happened. Plaçage is a significant part of the fabric of New Orleans, a city that we embrace as special because of its amazing history. We’re eager for audiences to experience Marcus’ deft telling of this important story.”

The House that will not Stand is another production that’s been ushered to our main stage from The Ground Floor, Berkeley Rep’s Center for the Creation and Development of New Work, on the heels of Troublemaker, or the Freakin Kick-A Adventures of Bradley Boatright. “Workshopping a commission here and having the play with us so far in advance allows Marcus and our staff more time to build a deep and fulfilling relationship around this play,” Madeleine notes. She finds the opportunity to test work on its feet before a full production an “incredibly valuable” step for the Theatre. “Marcus is super talented and we hope this is just the beginning of our relationship with him,” she adds. “We hope he will consider Berkeley Rep an artistic home.”

The House that will not Stand plays January 31 to March 16. Tickets are on sale now. Visit berkeleyrep.org, or call 510 647-2949, Tuesday through Sunday, noon to 7pm.

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R E P ORT

Mikhail Baryshnikov and Tymberly Canale P H OTO BY T. C H A R L E S ER I C K S O N

In case you missed him…

Baryshnikov is back at Berkeley Rep

BY KYLE SIRCUS

After taking us to the romantic world In

Paris, Mikhail Baryshnikov returns to Berkeley Rep with Man in a Case. He joins forces with Annie-B Parson and Paul Lazar of the Obie Award-winning Big Dance Theater for a kinetic and poignant retelling of two of Anton Chekhov’s short stories, Man in a Case and About Love. Their collaborative, high-tech fusion of theatre, movement, music, and video will bring one of Russia’s most beloved authors to new life on our stage.

Two hunters trade tales both witty and haunting: one about a reclusive man who falls for a cheerful, extroverted woman; the other about a fellow who relives the story of lost love. But for Baryshnikov, there’s more to Chekhov than first meets the eye. “At their core both stories are about love,” he says. “And I think it’s a romantic show in many respects that is perfect for Berkeley Rep’s audience.”

Enter Annie-B Parson and Paul Lazar, whose multimediainfused work with Big Dance Theater has a global footprint and pushes the boundaries of movement and storytelling. Video is a crucial element in this adaptation. For Paul, it all comes down to cementing the dramatic abilities of this multi-talented

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ensemble in a way that services a story in its original (literary) form while making something entirely new. “In seeing the play, you take some of the language and the imagery related to the language, sometimes obliquely, so as to replicate the reading experience,” he says. “It gives you the experience of imagistic resonance rather than literal representation.”

But their work has evolved over time, according to AnnieB. “For years we made dance, and then the better we got with theatrical elements, the more they were around,” she said. A unique adaptation, Man in a Case harnesses and fuses both theatre and dance. “It seems funny to me to have any theatrical event where people don’t dance. It just doesn’t feel true.”

Man in a Case is a non-subscription special presentation that plays January 25 to February 16 for 20 performances only. To reserve your seats, visit berkeleyrep.org or call 510 647-2949, Tuesday through Sunday, noon to 7pm.

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R E P ORT

A pocket full of skills Cast members of Tristan & Yseult share their training experiences

BY KASHARA ROBINSON

“Training is doing,” says Kneehigh musician Ian Ross, who is no stranger to the process of honing his craft. With both formal and informal training, he, like most of his Tristan & Yseult cast mates, has a diverse range of experiences that have shaped his work. When it comes to training, the definition of how one studies, where one studies, and when is as personal and as evolving as the art itself. Kneehigh’s cast, whose repertoire is as vibrant and thrilling as the work onstage, had much to share when asked about their training.

How do you personally define training?

“Training is largely inspirational. It is an opportunity to develop existing skills or learn new ones. It fires you up and gives you a drive without which the work would be weaker.” —Giles King (Frocin)

“Training is the responsibility of every practitioner. I have personally never been to a drama school, but I have learnt through necessity and experience, coupled with a desire to learn new things.” —Mike Shepherd (King Mark)

How has training informed your work?

“I think of my training as the foundation that I can rely on and therefore forget about in performance and creation. All the technicalities and practiced skill sets are hopefully so deeply rooted that you’re enabled to essentially let go, trust your instincts, and play.”

—Gareth Charlton (Lovespotter, Brute, and Animator)

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“Whilst studying I became increasingly curious about other forms of art. I started taking singing lessons, went to plenty of theatre and movement workshops, and worked with a dance company in Gdansk (Poland). I became a part of an artistic circuit collaborating with fine artists, photographers, filmmakers, and other musicians.”

—Patrycja Kujawska (Yseult)

“I started working with a student group at 15, and that was the discovery of my talent and ability. Moving to a professional group gave me the first taste of the theatre, and also showed me that it requires an enormous amount of work and dedication. Armed with this knowledge, I was ready for the university where I was able to stretch myself to the limits, train, and try out as many ideas in rehearsals as possible.” —Róbert Luckay (Lovespotter, Brute, and Animator)

Left to right Giles King, Patrycja Kujawska, Gareth Charlton, Mike Shepherd P H OTO S BY S T E V E TA N N ER

As you grow as a performer, how do you keep your artistic tools sharpened?

“I keep my artistic tools sharpened by concerted effort to develop my skills and a desire to learn new skills, to work out of the ‘comfort zone,’ and to take leaps in the dark.” —Mike

“I get out there and do as many live shows in as many different situations as possible. Bigger is not always best.

Sometimes doing a complicated show in a village hall to a small audience can be a much bigger challenge and one can learn a lot more from this sort of interaction.” —Giles

“By watching and listening to the people I get to work with, I have learned so much. The processes, attitudes, styles, and techniques are wildly different and varied. I think the most important tool to keep sharp is attitude—be willing to learn, to make mistakes, and to continue developing as an actor and a person.”

—Gareth

What skills have you gained devising theatre that are useful in other areas of your life?

“The open-mindedness, teamwork, commitment, and trust found in a creative situation are great tools to carry forth into the outside world.” —Gareth

“The power of imagination is a great tool for everyday things. The actor’s ability to imagine different scenarios and put him or herself into different situations helps when something unexpected happens.” —Róbert

“They’ve helped me appreciate beauty in simplicity and taught me to be generous with my skills and in support of others.” —Ian Ross (Musical Director & Musician)

What is the value of continued training?

“Every new project brings opportunity to explore fresh, unknown territories, and to gain valid experience. To become over-confident, complacent, and unexcited is the worst sin a performer can commit.” —Patrycja

“In theatre there is no sense of, ‘well that’s it then,’ or a definitive sense of how things are done. More than ever, in this risk-averse business, we must keep exploring. Training individually and collectively is important for the well-being of the exploratory process.” —Mike

Looking for training of your own? Challenge your artistic self this winter at the Berkeley Rep School of Theatre. Classes for all ages and experience levels begin January 6. Visit berkeleyrep.org/classes.

201 3–1 4 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 3

This winTer, be daring

SOT take a leap into acting, or further your devising and performance skills. From dialect study with Downton Abbey to the physical Japanese art form of butoh, discover a variety of adult classes for all levels. plus storytelling, improvisation, stage combat, musical theatre, and more for young performers!

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R E P ORT

Karen Racanelli celebrates 20 years at Berkeley Rep

BY BERYL BAKER

P H OTO BY J A R ED OAT E S

“For me, this Theatre is all about the staff. These are people who have become really skilled at their jobs and are committed to their work. I really think that’s what makes it a rewarding place to work and also helps us to produce such great theatre.”

—K A R E N R AC A N E L L I, GENERAL MANAGER

I have to admit, I didn’t know what a general manager does at a theatre company, let alone a Tony Award–winning nonprofit theatre company. Contracts? Housing? Unicorns? To find out, I sat down with Karen Racanelli, Berkeley Rep’s general manager who’s among 10 staff members who have been with the Theatre for 20 years or more. I learned that she’s not only one of Berkeley Rep’s rock stars, but also a tireless arts advocate who’s involved with many other local organizations.

It turns out a general manager, as a member of the senior staff, does a lot. In Karen’s words, “My job here, effectively, is to contractually ensure plays get to the stage. I make the offers to our actors. I negotiate the directors’ agreements and most of the licensing agreements, and the co-productions between the other theatres. And my department deals with the actors’ and directors’ unions—it’s incumbent on me to make sure we’re up on all the union rules.”

I found out that Karen, working with the production manager, is also in charge of estimating and pinning down budgets for each production. When she saw my eyes glaze over at the word “budget” she immediately launched into hypotheticals. “Tony might go, ‘I want to do this show—what would it cost?’ or Susie says, ‘You know, these three theatres are talking about a co-production of this show that’s coming from Europe, and we want to see what our numbers would be,’ and we really need to turn these numbers around quickly—and sometimes that means before we have a script. So, of course we’re asking for all the information we can: Who’s directing? How many actors? What time period?”

To me this sounded daunting, but she swished my concerns away. “Because I have worked here as long as I have, many times I know the director’s work as well as some of the designers’. Although I may not know conceptually what they’re going to do with the show, I can sort of define the shape of where we’re going to go with something. Then we are much more informed when we build our numbers—you know—before we have the chance to get into the nitty-gritty.”

Karen also supervises the care and assistance we provide artists once they get here. While reflecting on past productions, American Idiot stood out the most to her. “Talk about memorable moments: at one point we had 45 artists from out of town here.” Considering the average cast of a Berkeley Rep CO N TIN U E D O N N E X T PAG E 2 0 1 3–1 4 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 5

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show is around five to 10 performers, that’s a lot for us, and it’s only growing as we’ve evolved as a company.

She’s noticed the trend as well. “When I started working here, our operating budget was under $5 million—now we’ve almost tripled that. We’re just bigger across the board. We’re bringing companies in; we took Tiny Kushner to England with the Guthrie Theater; we toured Chinglish to Hong Kong last year; we’re licensing works through Italy and England—we have a lot more going on globally. So, with that comes a lot more work. Now we need visas for artists coming in.” Visas like those for the performers you’re about to watch in Tristan & Yseult.

Karen isn’t just one of Berkeley Rep’s advocates for our art and artisans—she’s a wife and mom who’s deeply invested in her community. A South Bay native (born and raised in Sunnyvale) she has steadily worked in the Bay Area arts scene for the last 30 years. She’s worn more than one hat in the past, beginning first as an actor.

Then she went on to become an independent producer for Climate Theater, Life on the Water, Overtone Theatre Company (as well as executive director and board member), In Productions, and the San Francisco Fair. She was the director of theatre services at Theatre Bay Area. She has served on the boards of Climate Theater, Berkeley Playhouse, and Park Day School. Nationally, she has served on committees that deal with negotiating with actors’ and directors’ unions for the League of Resident Theatres. This woman does not stop.

Ultimately though, she’s happy with the home she’s made at Berkeley Rep. “For me, this Theatre is all about the staff. These are people who have become really skilled at their jobs and are committed to their work. I really think that’s what makes it a rewarding place to work and also helps us to produce such great theatre. I must say I can’t believe it’s been 20 years.

I pinch myself. I never thought I was embarking on a journey that would last 20 years, and at the same time it’s just flown by. I love the people and I love the work.”

We love Karen too. She’s dedicated. She’s smart. She’s funny. And she’s ours. We’re lucky to have her.

R E P ORT

In memoriam: Helen C. Barber B Y LY N N E V E K O M A R O M I

A dynamo. Sophisticated. Amazingly gener-

ous. These are the recollections of Berkeley Rep’s family and friends of Helen C. Barber, the Theatre’s founding board president, who passed away on October 14 at the age of 84.

A resident of Berkeley for over 50 years, Helen adopted Berkeley Rep as her neighborhood theatre soon after Michael Leibert opened the small, 153-seat venue in College Avenue’s Elmwood District in 1968. Those first years were rough and tumble, but by 1975 Michael knew it was time to create a community advisory board to take the Theatre to its next stage. He asked Helen to join it.

“As I remember it,” recalls her son, Dr. Tom Barber, “Mom was searching for something to do…she had a vision about how theatre could transform the city of Berkeley. One of my dad’s partners had been murdered in downtown Berkeley, and she saw the Theatre as a way to improve the downtown.”

“The Theatre had gotten to a more stable period, and we realized that we could no longer survive on the income from 153 seats,” remembers Berkeley Rep’s first managing director, Mitzi Sales. “To grow and build a larger facility required a base of supporters we didn’t have. That advisory board transitioned into the original board of trustees and had its first formal meeting on September 20, 1976. Helen and I were shortly to be joined at the hip, and she became a friend. After so many meetings in those early years, I can draw the floor plan of her home—even now.”

Helen was adept at recruiting other influential members of the community to join her. Among them was Narsai David.

“She was certainly not bashful,” recalls Narsai. “Nobody could say no to her.”

Over the next five years, Helen worked tirelessly with Michael, Mitzi, and the board to realize the vision of building a 400-seat thrust theatre.

“She understood that—without her and the rest of the board—we would never be able to raise the money which would allow us to build a new theatre and survive,” says Mitzi.

“She supported Michael’s desire to hire Gene Angell as the architect for the Thrust Stage. He was a trained architect who also designed sets with Ron Pratt for the College Avenue theatre but had never designed a theatre before. She understood that Gene was an important collaborator for Michael to achieve his vision for the new theatre and its intimate relationship with the audience.”

Top Suzanne Adams, Helen Barber, Mitzi Sales, and Susan Medak at the dedication of the Helen C. Barber Lobby in the Roda Theatre.

Middle On the occasion of the Theatre’s 10th anniversary, Helen Barber and Michael Leibert present Fidelity Savings & Loan an appreciation for the bank’s financing of the Thrust Stage.

Bottom Helen Barber celebrates with her husband Tom at the gala opening of the Thrust Stage in 1980.

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BY JULIE MCCORMICK Andrew Durand and Patrycja Kujawska P H OTO BY S T E V E TA N N ER

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ou may have heard this story

before: boy meets girl, they fall in love even though they shouldn’t, they marry other people, and everyone gets their heart broken. Every culture has its own legends of forbidden love and betrayal, and one of the most enduring is that of Tristan and Yseult. Though their names and the exact details of their story have varied over the centuries, these lovers continue to inspire and enthrall. Versions from the 12th and 13th centuries gloried in Tristan’s utter devotion to Yseult; his knightly prowess and steadfast ardor made him the unimpeachable ideal of courtly love. In the Victorian period, by contrast, Yseult was painted as a raven-haired temptress who seduced Tristan away from his long-suffering wife. Some adaptations feature a larger cast of characters or include various side adventures. And yet, no matter what language the story is told in or where it is set, its tale of love and loneliness speaks directly to our hearts.

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The exact origins of this immortal romance are unclear.

Apart from the very well-documented lives of a few nobles, precise details from the distant past remain murky, and are often indistinguishable from myth. Some sources say that it is a French story and that Tristan was originally from Brittany in Northern France; others assert that the tale has Celtic roots.

There is evidence that there really was a Mark (also Marc, or Marke) of Cornwall, and he makes frequent reappearances in other legends as well. A standing stone near Fowey in Cornwall is called “The Tristan Stone:” some believe it to be where the knight is buried. When developers sought to move the stone in order to build houses in 2012, there was an enormous public outcry. This, as well as the fact that the story largely takes place in Cornwall, makes it most likely that the tale began here.

However, Welsh myth refers to a warrior named Tristan, and there are Irish versions of the tale as well (which makes sense, 2 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 3

given that Yseult was an Irish princess). Still others suggest that the Tristan myth began in Scotland, with the ancient Picts.

Wherever the legend began and whether or not it tells the story of specific historical figures, it nevertheless rings with emotional truth.

The story first found its way onto paper (or vellum) in the late 12th century, in the royal halls of Eleanor of Aquitaine, who was a great patron of the arts. Her court in Northern France was home to many troubadours and bards who entertained the nobles with tales of valor and courtly love. It’s unclear who penned the first composition, but we know that Thomas of Britain, Eilhart von Oberg, Béroul, and Marie de France wrote their own verses, and suspect that other versions which have since been lost also made their rounds.

From Cornwall and Brittany the tale quickly spread throughout Europe, carried on the tongues of courtiers and jangling on the lutes of jongleurs, minstrels that wandered the roads in search of a patron, or at least, a meal. The story made its way from France to Germany, Norway, Iceland, Italy, and Czechoslovakia, integrating itself with local culture. These newly rooted tales inspired their own legacies.

The saga of Tristan, Yseult, and Mark is often associated with Arthurian myths—in fact, some believe that the doomed threesome served as the blueprint for later stories about Guinevere, Lancelot, and Arthur. In other tales, the two sets of lovers were contemporaries, with Tristan serving as a knight in King Arthur’s Round Table. This may have something to do with Sir Thomas Malory’s Le Mort d’Arthur, which he likely wrote from various prisons in the 15th century. Le Mort d’Arthur influenced retellings of the Tristan and Arthurian legends up into contemporary times, including Spenser’s epic poem The Faerie Queene (published at the very end of the 1500s) and the novels of Sir Walter Scott. When interest in the Middle Ages saw a resurgence in the 1850s, Malory’s text was a jumping-off point for many of these reinterpretations by poets like Alfred Lord Tennyson, Swinburne, Thomas Hardy, and artists like Dante Gabriel Rossetti and John William Waterhouse.

Richard Wagner’s opera, Tristan und Isolde, is another of these seminal Tristan texts that has inspired generations of adaptors, including the makers of the 2006 film starring James Franco and Sophie Myles. Based on German writer Gottfried von Strassburg’s epic poem from 1220, Wagner’s piece focuses closely on the lovers’ relationship and the transcendent power of love, paring down an epic tale to a few simple moments of enormous psychological significance. Not that anyone could ever call the structure of a Wagner opera “simple,” however. In fact, Wagner himself did not refer to his works as operas at all, instead preferring to call them Musikdramen, or literally, “music

Clockwise from top left King Mark of Cornwall; The wedding of Arthur and Guinevere in the great Cathedral at Canterbury; Richard Wagner in 1861 (photo by Pierre Petit); Tristan and Yseult depicted in Edmund Leighton's 1902 painting The End of the Song; A 14th-century ivory carving of Tristan and Yseult at the fountain, King Mark spying upon them; A 15th-century illuminated manuscript by Evrard d'Espinques.

dramas.” In these Musikdramen, the music, libretto, and stage directions (all written by Wagner) combined to tell a deliberate and unified story. In pieces like Tristan und Isolde, Wagner composed musical motifs for the characters, settings, and themes that would appear whenever they are onstage, and bend to reflect the mood, whether it is joyful, passionate, enraged, or devastated. Using dissonant harmonies and unresolved melodic progressions to underscore the lovers’ yearning, Tristan und Isolde is incredibly challenging to both play and sing. While now recognized as one of the most important pieces of Western classical music and a foundation for modern composition, Wagner’s opera was deemed “impossible” to play and laughed out of many of the major opera houses in Europe. It eventually did catch on in Germany, and had a successful 1886 run at the Met in New York.

Wagner’s life, like his work, was filled with passion and grandeur. A fervent nationalist, lavish spender, and ardent lover, Wagner never did anything by halves. Spurred on by debt collectors, warrants for his arrest, and failed love affairs, he wrote

Tristan und Isolde in stops and starts across many years and countries. While staying at a cottage on the Wesendonck estate in Zurich (Wagner was evading arrest for his political activities in Germany), he befriended the Baron von Wesendonck’s wife, Mathilde, who was a poet and artist herself. Wagner set some of her poems to music; these were prototypes for themes in Tristan und Isolde. Perhaps their relationship is an instance of life informing art—Wagner’s wife Minna certainly thought so when she intercepted a letter between the two and accused them of having an affair. The resulting blow up blew Wagner to Venice and then Lucerne in Switzerland, where he finished the piece.

Maybe the reason that this story endures is that we find ourselves and our own stories within it. The thrill of falling in love and the ache of loneliness are all too familiar, and transcend the boundaries of history, culture, and language. Director Emma Rice has remarked that this is not a grand epic tale of romantic love that belongs only to the Tristan and Yseults of the world. It also belongs to the Brangians, Marks, and Frocins, to the lovespotters, to the stranger sitting in the next seat, and to you.

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Ruins of a tin mine in Cornwall P H OTO BY G R E Y W O R L D V I A C R E AT I V E CO M M O N S

Forgotten Britons

BY SAM BASGER

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here exists within the United Kingdom of England, Northern

Ireland, Scotland, and Wales, the remnants of what was once a proud fifth nation, jutting claw-like from the mainland of old Albion into the convergence of the English Channel and the Celtic Sea. Cornwall, a Celtic civilization with a unique history and its own native language, is only separated from the rest of the island by the River Tamar cutting across the southwest peninsula, and yet its distant removal from the “mainland” dates back to the end of the Roman occupation of Britain in the early fifth century. In the words of former long-term resident, author Daphne du Maurier: “Cornwall, little known, of small significance, remains the tail of England, still aloof and rather splendidly detached.” Largely left to their own devices by the gradually developing monarchy of the greater country, Cornish culture and traditions flourished far beyond the Cornish pasties, meat and vegetable filled hand pies, that are ubiquitous across Britain.

A blurring of history and mythology is alive in Cornwall, where it is believed that kings like Arthur walked, where heroes like Tristan loved, and where magical creatures like giants, piskies, and spriggans roamed the land. These are stories that have been told and retold in a hundred different versions in just as many tongues. This creative breeding ground is both the physical and spiritual home of Kneehigh, whose work is by no small measure influenced by its place of origin. As centuries passed, the land beyond the Tamar became another piece in England’s jigsaw, swallowed into a network of shires and counties and leaving us wondering what exactly was this “aloof” Cornwall, and what is it today?

To chart Cornish history one must look back at the origins of the UNITED First Britons, inhabitants someKINGDOM times referred to as Celts. The secluded southwestern corner of N O R T H ER N the island became the ideal place IR EL A N D for the Celts to fend off Saxon conquerors, the environment acting as a natural bastion which held Germanic influence at bay for hundreds of years. By defendIR EL A N D ing against incursion, locals were effectively protecting their culture and way of life, fossilizing practices and burying their roots deep into CO RN WA LL the ground below. Cornwall, or Kernow in the Brythonic Cornish language that is closely associated with Welsh, established its own polity to govern itself and its citizens. In this free Cornwall, an agrarian, seafaring, and self-sufficient community thrived, harvesting prized resources like tin and trading its wealth for other valued commodities. The Cornish were also spiritually connected to their land, seeing signs in all the rocks, hills, and valleys that the earth goddess laid out before them and heeding her advice. These pagan beliefs underscored the daily activity of the people, who fiercely honored their traditions with a fiery independence and a stubborn pride. The Saxons would not be denied forever though, and in the first half of the ninth century Cornwall was conquered, officially becoming an extension of England. That is not to say that the

Cornish were immediately assimilated, though this did eventually occur. While their autonomy may have been compromised, they were still recognized as a native community and eventually a Duke of Cornwall was designated as mediator to the Crown. As Christianity began to creep into Cornish custom, folklore was appropriated from its Celtic roots: standing or leaning stones, for instance, were no longer the leftovers of giant’s play, but rather interpreted to be persons frozen by the wrath of god for dancing on a Sunday. Well into the mid-16th century, the Cornish still possessed their own styles of dress, their own naming-customs, their own agricultural practices, and their own games and pastimes. Despite the fact that, by the year 1700, native speakers had dwindled to a few thousand in favor of the more comprehensive English S COT L A N D language, the myths and legends survived the translation and thus the culture lived on.

Like many indigenous cultures, a true sense of Cornishness is EN G L A N D imbedded in the stories passed on from generation to generation. The peddler of these tales was the drollteller, who said or sang his “drolls” in exchange for room and board.

These were stories of magic, of the encounters between mankind and the supernatural, and the creatures that inhabited Cornwall have had many incarnations. It was in Cornwall that a certain boy unwittingly raised a mammoth beanstalk into the clouds, that a small demonic being bartered for a human soul with three guesses at his name, that mischievous piskies—or pixies as they became widely known—would perform good deeds in secret, shrouded by the dark of night. The spriggans, vicious little sprites, were the ancestors of goblins and even, arguably of a more famous creation, who lurked in caves pining fatuously over his “Precious.” Or perhaps he has more in common with the knockers, the pale, photosensitive elves found deep in the tin mines, but then maybe their predilection for harvesting minerals more closely resembles the dwarves. What is evident, however, is the CO N TIN U E D O N PAG E 27 2 0 1 3–1 4 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 3

NOT SO BORING

THEATRE:

INSIGHTS FROM

KNEEHIGH ’ S JOINT ARTISTIC

DIREC TORS Emma Rice and Mike Shepherd talk about what first attracted the company to the story of Tristan and Yseult, and the process of remounting the show 10 years after its first production.

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

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E M M A R ICE Adaptor & director and joint artistic director of Kneehigh

Could you tell me a little about how it’s been coming back to directing Tristan & Yseult?

Returning to Tristan & Yseult is, in turn, a joy and an agony. I love this piece and marvel at the fusion of comedy, tragedy, chaos, and sensuality. It is a pleasure and a delight to return to old friends and also to enjoy some new ones.

However, this is a personal piece and it is laced with my own experience and my own heartbreak. Returning 10 years on, doesn’t numb the pain, no! Ten years only compounds it, with more experience, more love, more laughter, and more understanding to weave throughout.

Are you discovering new things in the show? How has it changed from last time?

Certainly. We are all 10 years older and that experience informs the piece. There is a freedom in returning and a freshness. We have also been working with some new actors who bring a new outlook and a new chemistry. But, is it still the Tristan & Yseult we know and love? Yes.

M IK E SHEPHER D Joint artistic director and founder of Kneehigh What attracted you to the story as a company?

The story fundamentally asked the question “can you truly love two people?” and we were fascinated by how such an ancient story should seem non-judgemental. The love triangle plot could almost be a contemporary viewpoint from a TV soap opera! We were also very interested in why Whitehands lies with such tragic consequences near the end of the story.

Could you tell us about the portrayal of Cornwall in Tristan & Yseult?

Cornwall was a kingdom in itself, and it was the richest kingdom in the world for 300 years at the time this story was set. Tin was more valuable than gold, and Cornwall was at the center of the world trade route. Like the tin from Cornwall, the story of Tristan and Yseult spread all over the world to many different cultures and gave rise to many different versions. There are rumors that Shakespeare was influenced by the story when he wrote Romeo & Juliet, and you can see why.

Could you tell me a little bit about the history of the show?

We first made Tristan & Yseult as a site-specific piece. It was to perform in two outdoor venues only: Rufford in Nottinghamshire and Restormel Castle in Cornwall—a wonderful, circular, ruined castle, perched on a hilltop and open to the elements. It became immediately apparent that this show touched audiences in a very special way, that this ancient story resonated deeply and strongly in the modern psyche. It was spotted by the National Theatre who invested in the production to take it indoors, to make it more physical and more musical. This artistic investment really took the show, and the company, on to a new level, enabling us to develop the musicality of our work and create and tour on a larger scale. It went on to tour nationally and internationally, and wherever in the world we go, this story touches the hearts of all.

How has your relationship with the piece changed, six years since its last tour?

No. It is simply one of the most beloved shows ever.

What do you think/hope people will feel on seeing the show?

People will laugh and cry. They will recognize themselves and those they love. It will take them on a journey that will CO N TIN U E D O N N E X T PAG E

We wanted to show Cornwall’s side of history as it doesn’t get taught in schools—English history is taught in schools.

Did you know, for instance, that the first university was in Cornwall, that the British Postal Service, the first of its kind in the world, was conceived by a man from St. Blazey? That the first gas-lit house was in Redruth? That no record exists of any formal annexation of Cornwall to England?

I also never knew that the English took brutal and desperate measures to subdue the rebellious nature of the Cornish— burning the university, Glasney College, destroying the Cornish Parliament, censoring language and religion and even, like Herod, murdering baby boys...extraordinary that I never knew but I was taught English history not Cornish.

Now picture this country etched on a map.

Then regard what you see as nothing but crap.

Forget what you’ve been taught or think you know: The centre of everything’s here—Kernow.

—Carl Grose/Anna Maria Murphy How has theatre in the UK changed in the past 10 years?

The “bonanza” time of subsidy and lottery funding has now passed, and this obviously has had an effect on UK theatre. There is still funding for bricks and mortar, but less support for art and artists. Many companies have, sadly, gone to the wall, and the phrase “risk averse” has become CO N TIN U E D O N N E X T PAG E 2 0 1 3–1 4 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 5

E M M A R ICE remind them they are part of a community and are living, loving, flawed, and fantastic human beings.

What made you decide that Brangian should be played by a male actor? Was it a conscious decision, even?

Oh yes, it was very conscious. I have long been angered by the obsession with beauty and feel, not only that this is not true to life, but also stops the collective imagination. When we see a pretty, thin, young girl play a virginal maid, nothing is challenged, nothing is opened, nothing is revealed. When I give this part to a large middle-aged man, the opposite happens.

We laugh and him/her, and then we imagine, and then we feel.

This brute becomes so frail and so vulnerable that it breaks our

M IK E SHEPHER D prevalent. For theatre makers like ourselves, this is, at times, hard to manage.

It feels, however, more important than ever to keep pushing the boundaries in our quest to entertain, provoke, and transport our audiences, and I am encouraged by the appetite people still have for something different. Amongst the predictable and safe, theatre will always reinvent—it needs to!

What were your inspirations?

At the time of making the show in the early 2000s, Emma and I were really into Tarantino and films like Pulp Fiction: bloody good story telling and great music. This Tristan & Yseult is a Tarantino version of a medieval story.

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hearts. This is something you can only do on stage. On film, it would be weird; but here, in the world of the imagination, the audience can be transported, surprised, and deeply moved.

What’s next for Kneehigh?

Tristan & Yseult tours to the U.S. and Brief Encounter to Australia and the U.S. We are working on a new version of The Beggar’s Opera written by Carl Grose and developing a project with Michael Morpurgo. Exciting times.

What’s next for the arts?!

We will all have to get creative in order to survive. These are tough times and nothing is certain anymore. We will have to work hard, be bold and brave and try to surprise ourselves and our audiences. We mustn’t retreat to a comfort zone, but fight for our place in society. At Kneehigh, we believe in the three ‘R’s ; reinvention, regeneration, and revolution.

Does the fact that Tristan & Yseult was first performed outdoors at Restormel Castle change how it was made?

This show was made to be outdoors. The structure is invented for the outside: the storytelling, dance, action, and music are outward facing. The direct, honest acting exemplified by Craig Johnson (as Brangian) in this show is to do with being in daylight and being able to see the audience.

As the darkness falls the story darkens with it and becomes more introspective—the fourth wall comes in a bit. The audience become more like outside observers toward the end of the piece.

Can you tell us a little about the theme of love in Tristan & Yseult?

Tristan & Yseult is an exploration of the nature of love: the thin line between love and hate, and the dangerous state of falling in love. The dizziness and intoxication of first love, and the next stage… does the relationship deepen or strengthen, or does it get boring? How do you make the decision to stay with someone without the intoxication of the first throes of love? When the love potion wears off?

Forgotten Britons

Emma Rice on Tristan & Yseult E M M A R I C E , A DA P T O R & D I R E C T O R A N D JO I N T A R T I S T I C D I R E C T O R , K N E E H IG H

Simply, I love this production. It is one of those rare shows that is greater than the sum of its parts. It has taken on a life, a universality that touches and surprises me each time we perform. As the story unfolds, I realize there is not one person in that audience who doesn’t profoundly recognize something in the situation—to love someone that you shouldn’t, to betray someone you love, to be betrayed, to be left, and—most painful—to be unloved. This suddenly is not an epic tale of grand romantic love, held at arm’s length from our own experience, but a ender unraveling of love in all its beautiful and painful forms. The chorus takes us through the piece, a band of “love-spotters,” the unloved. These are the people who look in on life, who are not chosen to play the starring role—these are at the heart of this production, because, if we have all known love, we have also known the opposite.

Why do we do theatre?

M I K E S H E P H E R D, K I NG M A R K & JO I N T A R T I S T I C D I R E C T O R , K N E E H IG H

We do theatre because it’s live.

The components of performance and audience create a different chemistry each and every night; there is no formula. On a good night we might “gel” (with?) an audience, take them on a journey, and leave them somewhere they never expected to be. On a good night the auditorium can crackle with enchantment and excitement, it’s all a delicate and indefinable balance to be lost or found every night.

Theatre is live —it’s not like cinema where, sadly, most of the audience members need a bucket of Coke and a trough of popcorn to enjoy; it’s not the casual channel-flipping experience of TV—it aims to engage and transport.

Why do we do theatre? Because anything could happen and leaps in the dark are imperative.

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evolution of Cornish folklore into the mainstream, penetrating the contemporary zeitgeist as fables, fairy tales, or even simply as assumptive history, as is the case with King Arthur and Tristan.

In her book, Vanishing Cornwall, du Maurier discusses how the story of King Arthur, Cornwall’s most eminent son, is curiously interwoven with that of another Cornish king, Mark. The fortress at Castle Dore, Mark’s residence, was the former stronghold of the chief Gorlois. In the Arthurian myth, Gorlois is murdered, and his wife Igraine is seduced by Uther Pendragon, subsequently becoming the mother of Arthur.

Ironically, when Arthur becomes leader, his wife Guinevere is herself seduced by Lancelot, a knight of the Round Table at Arthur’s court. And of course this recurring theme of seduction and betrayal extends to King Mark, who sends his nephew Tristan to bring him an Irish bride and, well, Kneehigh’s performance will explain the rest.

The passion that pulsates through Cornwall has literally become the stuff of legend and fertile ground for Kneehigh’s creative endeavors. Tristan & Yseult was developed as an outdoor experience, subject to the elements and with a direct connection to the land that holds the story’s memories. Kneehigh is informed by the rich history and unique identity of the past nation of Cornwall, with the company’s members describing themselves as “outsiders,” a nod to the isolation that once protected Cornish culture from extinction. Cornwall, today a shire with a population of over a half million people and a fashionable vacation spot for big-city dwellers, still bears a few birthmarks and a small but staunch nationalistic party determined to reinstate Cornish language, customs, and even political autonomy.

Companies like Kneehigh function as ambassadors for Cornwall. As modern droll-tellers, they remind us of the importance of unearthing the past to fully inhabit the present—of paying respect to the pastoral pocket of Britain that ushered these fantastic myths into the world. From the tail end of England, we await with baited breath the many more stories that Cornwall has to tell.

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next at berkeley rep

Written by Marcus Gardley Directed by Patricia McGregor World premiere · Commissioned by Berkeley Rep Jan 31–Mar 16

Berkeley Repertory Theatre presents the West Coast premiere of Kneehigh’s

B E R K E LE Y R E PE R TO RY T H E AT R E TO N Y TACCO N E , M I C H A EL LEI B ER T A R T I S T I C D I R EC TO R S U S A N M E DA K , M A N AG I N G D I R EC TO R

CAST Brangian / Morholt Craig Johnson Frocin Giles King Whitehands Carly Bawden Yseult Patrycja Kujawska King Mark Mike Shepherd NOVEMBER 22, 2013–JANUARY 6, 2014 M AIN SE A SON · RODA THE ATRE Tristan & Yseult runs 1 hour and 50 minutes with a 15-minute intermission Berkeley Rep’s presentation of Tristan & Yseult is made possible thanks to the generous support of S E A S O N PRO D U CE R The Strauch Kulhanjian Family LE A D PRO D U CE R S Bruce Golden & Michelle Mercer Mary & Nicholas Graves E XECU TIV E PRO D U CE R S Kerry Francis & John Jimerson Pam & Mitch Nichter PRO D U CE R S Scott & Sherry Haber Patricia Sakai & Richard Shapiro A S S O CIAT E PRO D U CE R S Kristina Flanagan Martin & Janis McNair Mary Ann & Lou Peoples Peter Pervere & Georgia Cassel PRO D U C TI O N CO -S P O N S O R Mechanics Bank Wealth Management This presentation of Tristan & Yseult is also made possible by the generosity of an anonymous donor in tribute to the Berkeley Holiday Fund.

SEASON SPONSORS

Tristan Andrew Durand Musicians Ian Ross, Lizzy Westcott, Pat Moran, Russ Gold Lovespotters, Brutes, Róbert Luckay, and Animators Gareth Charlton

CRE ATIVE TE A M Adapted & Directed by Emma Rice Writers Carl Grose

Anna Maria Murphy

Design Bill Mitchell Lighting Design Malcolm Rippeth Sound Design Gregory Clarke Associate Sound Design Helen Atkinson Composer Stu Barker Musical Direction Ian Ross Producer Paul Crewes

PRODUC TION TE A M Production Manager, Kneehigh David Harraway Company Stage Manager Aled Thomas Stage Manager Cynthia Cahill* *Indicates a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Kneehigh is supported by Arts Council England and Cornwall Council.

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

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BE R K E L E Y R E P PR E S E N T S Carly Bawden

Andrew Durand

Carly played Eliza Doolittle in My Fair Lady at the Crucible Theatre, Sheffield; Susan in The Lion, the Witch and the Wardrobe at Kensington Gardens; Catherine in Pippin at the Menier Chocolate Factory; Genevieve in The Umbrellas of Cherbourg for Kneehigh at the Curve Theatre and the Gielgud Theatre; and Belle in Sleeping Beauty at Theatre Royal Wakefield. She also played Swallow in Whistle Down the Wind and The Mistress in Evita (both Bill Kenwright tours), for which she was nominated for a Theatrical Management Association Award. Carly’s radio credits include Mary in The Colour of Milk, Lily in Glass Eels, Mary in The House in the Trees (bbc Radio 4), and Iris in Black Dirt (bbc Radio 3). She participated in various workshops, including The Beggar’s Opera (Kneehigh), Stephen Ward (Andrew Lloyd Webber), Pride and Prejudice (Sonia Freidman), From Here to Eternity (Lee Menzies Ltd), and The Light Princess (Royal National Theatre).

Carly graduated from the Guildford School of Acting in 2009.

Andrew is very excited to be back for his third Kneehigh adventure after appearing as The Devil in The Wild Bride at St. Ann’s Warehouse and Berkeley Rep. He also played the role of Guy in Kneehigh’s version of The Umbrellas of Cherbourg on the West End. On Broadway he played Albert Narracott in War Horse and Georg in Spring Awakening. His off-Broadway and regional credits include Yank! at York Theatre Company, The Burnt Part Boys at Playwrights Horizons, and The Unauthorized Autobiography of Samantha Brown at Goodspeed Musicals. Andrew will be performing in Love’s Labour’s Lost with The Public Theater’s Shakespeare in the Park.

WHITEHANDS

Gareth Charlton

LOV E S P O T T E R , B R U T E , A N D A N I M AT O R

Gareth has appeared in Chariots of Fire at the Hampstead Theatre and the Gielgud Theatre, The Umbrellas of Cherbourg for the Kneehigh at the Gielgud, Don Giovanni and The Tales of Hoffman at the English National Opera, Crazy for You at Kilworth House Theatre, the UK tour of Chitty Chitty Bang Bang, Stephen Fry’s Cinderella at the Old Vic, Matthew Bourne’s Edward Scissorhands at Sadler’s Wells and on the international tour, The Taming of the Shrew and Macbeth at Chapterhouse Theatre Company, and the U.S. tour of Matthew Bourne’s Nutcracker!

He will appear in the upcoming film The Muppets…Again! directed by James Bobin. Gareth trained at the London Studio Centre.

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T R I S TA N

Craig Johnson

B R A N G I A N/M O R H O LT

For the last 13 years Craig has been a member of Kneehigh, performing in major national and international tours such as Tristan & Yseult, Cymbeline, Don John, A Matter of Life and Death, and The Bacchae, as well as smallscale village hall shows, including directing and acting in Journey to the Centre of the Earth.

Craig also recently appeared in Alaska (Blackfish Theatre), One Darke Night (o-region) and the short Cornish-language films An Jowl Yn Agas Kegin directed by Brett Harvey and Konin ha Pryv directed by Laura Hardman. Craig has also created and directed several theatre performances for the Eden Project, Cornwall.

As a solo artist Craig performs under the name Squashbox Theatre, creating marvellous, quirky, and inventive shows incorporating puppetry, storytelling, natural history, live music, and comedy.

Giles King FROCIN

Giles has worked with Kneehigh since 1987, and has been involved in over 30 national and international indoor and outdoor productions.

His Kneehigh credits include Lady Lydia in The Red Shoes, Hansel & Gretel, and Frocin in Tristan & Yseult. This spring he produced and performed in Blackfish Theatre’s Alaska with Craig Johnson, Carl Grose, and Simon Harvey,

profiles which will be re-touring in 2014. Giles is a fulltime member of the Kneehigh Ramblers Association: watch out for their return this year!

Most recently Giles has appeared as Stremov in Anna Karenina, directed by Joe Wright (Working Title Films); My Cousin Rachael; and The King of Prussia, directed by Claire Grove (bbc Radio 4). He played Frocin “not Frockin!” in the original Tristan & Yseult 10 years ago and is very excited and pleased to be revisiting this signature show.

Patrycja Kujawska Y S E U LT

Patrycja has worked with Kneehigh since 2008 and appeared in Don John (a co-production with Royal Shakespeare Company), Midnight’s Pumpkin, the critically acclaimed Red Shoes, and The Wild Bride, which toured to the U.S. (New York and Berkeley), Australia, and New Zealand. Patrycja studied violin at Academy of Music in Poland. Before moving to UK she worked extensively in physical theatre with Dada von Bzdulow and City Theatre in Gdynia, and has sung in the Non-Cabaret at the Baltic Sea Cultural Centre. She danced in shows choreographed by Tatiana Baganova and Avi Kaiser. Patrycja wrote music for a short animation film; the dance piece Face; and Soundtrack for the Sculptures, inspired by work of sculptor Sabrina Gruss; and she co-composed music for Vincent Dance Theatre’s Test Run. For Vincent Dance Theatre Patrycja has made and toured Drop Dead Gorgeous (2001), Let the Mountains Lead You to Love (2003), Punch Drunk (2004), Broken Chords (2005), Fairy Tale (2006), Test Run (2006 and 2008), If We Go On (2009), and Motherland (2012).

Róbert Luckay

LOV E S P O T T E R , B R U T E , A N D A N I M AT O R

Róbert has appeared in several Kneehigh productions, including as Iachimo in Cymbeline (with the Royal Shakespeare Company), as Dionysus in The Bacchae, as well as in The Red Shoes and A Matter of Life and Death (with the National Theatre). He has also performed in The Overcoat at Gecko Theatre and played Judas and Aloysius in The Master and Margarita with Complicité, Much in The Heart of Robin Hood with the rsc, and the title role in Pericles and Adam in Man Falling Down, both at Shakespeare’s Globe. For the Barka Theatre in Hungary, Róbert appeared in Operetta as

Baron Firulet, in Three Sisters as Vershinin, and in Prophet Ilja and Six Characters in Search of an Author. He also performed in Tale About the Dead Princess, The Devil, and Sweet Anna for the Jokai Theatre in Slovakia. He has been seen in the TV shows Strike Back (Sky); and Foreign John (Channel 4), and his radio work includes Solo Behind the Iron Curtain (bbc Radio 4). Róbert trained at the University of Arts in Bratislava, Slovakia.

Mike Shepherd KING MARK

Mike Shepherd started Kneehigh in 1980 and has worked almost exclusively for the company ever since. Mike is an actor, director, and teacher and has an ongoing preoccupation with the conditions of creativity. He is currently joint artistic director with Emma Rice.

As well as touring the world as a Kneehigh actor, Mike runs the Rambles Program with Anna Maria Murphy, and is a pioneer of Kneehigh’s transformable and transportable venue, the Asylum. His recent shows as an actor include The Wooden Frock, The Bacchae, The Red Shoes, Tristan & Yseult, Cymbeline, A Matter of Life and Death, Don John, Midnight’s Pumpkin, Steptoe and Son, and the motion picture Anna Karenina. He directed Hansel &

Gretel, A Very Old Man with Enormous Wings (with Little Angel Theatre), and Kneehigh Rambles (co-directed with Emma Rice). Mike is currently developing a new version of The Beggar’s Opera for 2014.

Russ Gold MUSICIAN

Russ’ performing experience includes work with musicians as diverse as Gary Lyons (producer of Rolling Stones and the Grateful Dead), Johnny Colla of Huey Lewis and the News, Seth Justman of the J. Giles Band, and jazz greats Tom Scott, Sam Rivers, George Coleman, Dave Douglas, Vinx, and Howard Johnson. He has toured extensively throughout the United States, Europe, Africa, and Asia, performing with jazz, rock, fusion, and theatre groups including in the acclaimed musicals Wicked, Jersey Boys, and Rent. He has earned endorsements from Sabian cymbals, ProMark sticks, Fishman transducers, and Kurzweil synthesizers.

Pat Moran MUSICIAN

Pat is a multi-instrumentalist and composer fluent in a wide range of styles. He has composed original music and lyrics for over a dozen professional theatre productions and has been resident composer/lyricist/ music director for the San Francisco Mime Troupe since 2007. In addition to extensive live performance experience, Pat is a regular composer for film and TV. He is an active and passionate educator and believes strongly in arts education as a means to address issues of social injustice. Pat has been an artist in residence at the University of San Francisco, the Miami University in Ohio, and csu Fresno. He received an mfa performer composer degree from the California Institute for the Arts and a bfa in philosophy with a concentration in ethics and public policy from Clark University.

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Ian Ross

MUSICAL DIREC TOR & MUSICIAN

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Ian is a Bristol based multi-instrumentalist with around 13 years of experience as a musician and composer. He has composed theatrical shows including Hansel & Gretel for Kneehigh; A Very Old Man with Enormous Wings for Kneehigh and the Little Angel; Frankenspine, Mayday Mayday, and Orpheus and the Furies for Theatre Damfino; When the Shops Shut for Cscape Dance Company; and Universerama for Squashbox. As a musician he has performed in Peter Pan at the Bristol Old Vic, as well as Kneehigh’s productions of Brief Encounter, Don John, Hansel & Gretel, The Red Shoes, The King of Prussia, Midnight’s Pumpkin, and The Wild Bride.

Ian composed o-region’s film, Weekend Retreat.

Lizzy Westcott MUSICIAN

Lizzy is a Bristol-based musician and composer.

Her work includes scores and musical direction for Traces, a dance film by Twisted Theatre; Good Clown Bad Clown, Hey Diddle Diddle, and Savage Children with the Bristol Old Vic; Circus Britannica, The Little Prince, and A Midsummer Night’s Dream with the Bike Shed Theatre; and most recently, a series of original songs for In Cider Story with the Theatre Orchard and Adam Peck. Lizzy has performed as violinist for Improbable Theatre’s improvised show Animo and with several groups, including Nuala & the Alchemy Quartet, Pepino, and Show of Hands. She is currently co-writing Death and Treason, Rhyme and Reason, a songcycle for adults based on the dark and dirty origins of nursery rhymes. This is Lizzy’s first show with Kneehigh.

Emma Rice

A DA P T O R & D I R E C T O R

Emma is the joint artistic director of Kneehigh and worked on The Red Shoes, The Wooden Frock, The Bacchae, Tristan & Yseult, Cymbeline (in association with the Royal Shakespeare Company), A Matter of Life and Death (Royal National Theatre in association with Kneehigh), Rapunzel (in association with Battersea Arts Centre), Brief Encounter (a David Pugh and Dafydd Rogers Production in association with Kneehigh), Don John (in association with the Royal Shakespeare Company and Bristol Old Vic), Midnight’s Pumpkin, The Wild Bride, Wah! Wah! Girls (with Sadler’s Wells, Theatre Royal Stratford East for World Stages), and Steptoe and Son. Emma’s other work includes the West End production of The Umbrellas of Cherbourg, Oedipussy for Spymonkey, and The Empress for the Royal Shakespeare Company.

BE R K E L E Y R E P PR E S E N T S Carl Grose WRITER

Carl has worked extensively with Kneehigh for the past 17 years as both a writer and an actor. His writing for Kneehigh includes Quick Silver, Tristan & Yseult, The Bacchae, Wagstaffe the Wind-up Boy, Blast!, Cymbeline, and Hansel & Gretel. Carl has also written for bbc TV and Radio, Vesturport, Told by an Idiot, o-region, Spymonkey, the Royal Shakespeare Company, and the National Theatre. His plays include Grand Guignol, Superstition Mountain, 49 Donkeys Hanged, Gargantua, and Horse Piss for Blood. Carl is currently writing shows for Bristol Old Vic, the National Theatre, and the Royal Shakespeare Company, and a new version of The Beggar’s Opera for Kneehigh.

Anna Maria Murphy WRITER

Anna is a long-term member of Kneehigh, latterly as a writer for shows including Tristan & Yseult with Carl Grose, The Red Shoes, Don John (Royal Shakespeare Company), and Midnight’s Pumpkin. She has also worked for Cscape Dance Company, Theatre Alibi, Rogue Theatre, and bbc Radio 4, among others.

Most recently she has written for Little Angel Theatre in association with Kneehigh for A Very Old Man with Enormous Wings as well as

profiles Malcolm Rippeth

If the Shoe Fits for Cscape. She is lead artist in Kneehigh’s Rambles Program, working with young people and communities, and has been walking the roads less travelled in Cornwall for the last three years collecting, reinventing, and exaggerating stories heard on the way. This culminated in a show called Kneehigh Rambles and a story app.

LIGHTING DESIGNER

Bill Mitchell DESIGNER

Bill was artistic director of Kneehigh from 1995 to 2005 where he worked on many shows, including The Red Shoes, Tristan & Yseult, and The Wild Bride. In 2005 he created his own company WildWorks to experiment and develop his passion for landscape theatre and site-specific work internationally. He has led the company to make A Very Old Man with OIA Enormous Wings by Gabriel García Márquez; Souterrain, an international version of the Orpheus myth; The Beautiful Journey, a telling of Homer’s Odyssey; the acclaimed Enchanted Palace at the request of Kensington Palace; Babel; and The Passion of Port Talbot with Michael Sheen and National Theatre Wales, which won him the Theatrical Management Association’s Director of the Year award. Bill is an honorary fellow of Falmouth University.

Malcolm has been working with Kneehigh since 2002, and his highlights include The Wild Bride, Brief Encounter, The Red Shoes, Nights at the Circus, Don John, Wah! Wah! Girls, and The Umbrellas of Cherbourg. His other favorite work includes The Empress at the Royal Shakespeare Company, The Dead at Abbey Theatre, Spur of the Moment at the Royal Court Theatre, The Promise at Donmar Warehouse, Six Characters in Search of an Author on the West End, West Side Story at the Sage Gateshead, Decade with Headlong Theatre at St. Katharine Docks, The Birthday Party at the Royal Exchange Theatre in Manchester, h.m.s. Pinafore at the Guthrie Theater, London for Paines Plough, Stones in his Pockets at Tricycle Theatre, His Dark Materials at 101013 Birminghamnorwegian Rep, Refugee Boy1_2h.pdf at West Yorkshire Playhouse, The Bloody Chamber at Northern Stage, Copenhagen at Edinburgh Royal Lyceum, La Nuit Intime with balletlorent, Tutti Frutti at National Theatre of Scotland, and The Devil Inside Him at National Theatre Wales. His lighting design for Brief Encounter was awarded the whatsonstage.com Theatregoer’s Choice Award in London, an Obie Award in New York, and was nominated for an Outer Critics Circle Award on Broadway.

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BE R K E L E Y R E P PR E S E N T S Gregory Clarke

SOUND DESIGNER

Gregory’s work with Kneehigh includes Tristan & Yseult with the National Theatre. His West End credits include Our Boys, Goodnight Mister Tom, The Vortex, Some Girls, Waiting for Godot, The Dresser, Amy’s View, You Never Can Tell, A Flea in Her Ear, National Anthems, Six Degrees of Separation, Betrayal, and Abigail’s Party.

He has also designed The Doctor’s Dilemma, Misterman, Twelfth Night, No Man’s Land, The Emperor Jones, and Earthquakes in London for the National Theatre; The Heart of Robin Hood, Great Expectations, Coriolanus, The Merry Wives of Windsor, Tantalus, Cymbeline, The Merchant of Venice, and A Midsummer Night’s Dream for the Royal Shakespeare Company; The Philanthropist, A Voyage Round My Father, and The Silence of the Sea at Donmar Warehouse; The Seagull at Headlong; My Perfect Mind at the Young Vic; In the Beginning Was the End with dreamthinkspeak; Pygmalion and The Philanthropist in New York; and DruidMurphy, Penelope, The Hackney Office, and The New Electric Ballroom at Druid Theatre Company.

Gregory received a Drama Desk Award for Journey’s End at the Duke of York’s Theatre and a Tony Award for Equus at the Gielgud Theatre and on Broadway.

Helen Atkinson

A S S O C I AT E S O U N D D E S I G N E R

Helen was an associate designer for DruidMurphy at the Druid Theatre; Misterman by Enda Walsh with Landmark Productions at the National Theatre, Galway Arts Festival, and in New York; and Out of Joint’s Convict’s Opera (UK tour). She sound designed 1001 Nights at Unicorn Theatre; Mr Whatnot and A Christmas Carol at Theatre Royal Northampton; L’Orfeo at Silent Opera; Mark Thomas’ Bravo Figaro at the Traverse Theatre and on the UK tour; You’ll see [me sailing in Antarctica] with Non Zero One at the National Theatre’s InsideOut Festival; Elegy at Transport Theatre; Of Mice and Men at the Watermill Theatre; and Cheek by Jowl’s Macbeth (international tour). Helen was the production engineer on the international tours of Complicité’s Disappearing Number and Cheek by Jowl’s Troilus & Cressida, as well as for productions at the National Theatre and Regent’s Park Open Air Theatre.

Stu Barker COMPOSER

Stu has worked extensively as composer and musical director with Kneehigh over the last 16 years on shows including A Matter of Life and Death, Tristan &Yseult, Brief Encounter (on the West End and Broadway), Cymbeline, Don John, Hansel & Gretel, The Bacchae, The Wooden Frock, Nights at the Circus, The Red Shoes, The Wild Bride, Rapunzel, Pandora’s Box, and Midnight’s Pumpkin. He has also worked as a composer and musical director for Shakespeare’s Globe, Bristol Old Vic, Donmar Warehouse, 3 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 3

profiles

Welfare State International, Contact Theatre, Liverpool Lantern Company, Travelling Light, and Horse + Bamboo. Recently Stu has been touring as trombonist with C. W Stoneking & His Primitive Horn Orchestra.

Asylum 2011 and Battersea Arts Centre 2012), The Wild Bride (Kneehigh Asylum 2011, UK, and U.S. tours), Steptoe & Son (UK tour 2012) and the launch of the Kneehigh Asylum featuring The Red Shoes, Blast!, and The King of Prussia.

Aled Thomas

Kneehigh

C O M PA N Y S TAG E M A N AG E R

After graduating from the Royal Welsh College of Music and Drama, Aled started out touring with regional and national Welsh-language theatre companies. He has worked with Music Theatre Wales on two award winning productions: Greek and In the Locked Room/ Ghost Patrol, a co-production with Scottish Opera. Moving out of Wales, Aled undertook a season with English Touring Opera before joining Frantic Assembly for its production of Lovesong, and then the wonderful theatre makers Kneehigh for Steptoe and Son, the UK tour of Tristan & Yseult, and beyond.

Cynthia Cahill

S TAG E M A N AG E R

Cynthia has been working as a professional theatre artist in the Bay Area, New York City, and around the country for more than 18 years. Recently for Berkeley Rep she was the production stage manager for Dear Elizabeth, Let Me Down Easy, The Wild Bride, and The Arabian Nights, among many others. Cynthia has worked on Broadway with Passing Strange, off Broadway at Second Stage, The Public Theater, and the Culture Project. Regionally, in addition to Berkeley Rep, she has worked at Arena Stage, the Shakespeare Theatre Company in DC, Yale Repertory Theatre, the Guthrie Theater, McCarter Theatre Center, American Conservatory Theater, Hartford Stage, Kansas City Repertory Theatre, and Lookingglass Theatre Company in Chicago. Recently Cynthia directed productions of If You Could See: The Alice Austen Story for Sundog Theatre, Fete for the Midtown International Theatre Festival, and Brides of the Moon for Common Ground Theatre Company.

Paul Crewes PRODUCER

Before working with Kneehigh, Paul worked as producer at the West Yorkshire Playhouse, Leeds, where he set up over 40 productions including collaborations with Kneehigh, Improbable Theatre, Teatre Romea, and the National Theatre, and with commercial and West End producers. He was also the associate producer for the Lowry, and worked for Metal with Jude Kelly. Paul has worked for Kneehigh since 2005 and has produced Tristan & Yseult (UK, Sydney, New Zealand, UK, and U.S. tours), Cymbeline (UK, Columbia, and Brazil tours), Rapunzel (UK and U.S. tours), Don John (UK and U.S. tours), Hansel & Gretel, Brief Encounter (UK, Australia, and U.S. tours and Broadway), The Red Shoes (UK, U.S., and Australia tours), Midnight’s Pumpkin (Kneehigh

Kneehigh are a UK-based theatre company with a local, national, and international profile. For over 30 years Kneehigh have created vigorous, popular, and challenging theatre and perform with the joyful anarchy that audiences have come to expect from this ground-breaking company. Kneehigh tell stories. Based in Cornwall in breath-taking barns on the south coast, the company create theatre of humanity on an epic and tiny scale. They work with an ever-changing ensemble of performers, artists, technicians, administrators, makers, and musicians and are passionate about their multi-disciplined creative process. In 2010 Kneehigh launched the Asylum, a beautiful and flexible nomadic structure, which means the company now has a venue to call home as well as being one of the leading touring theatre companies in the UK. The company have now presented three seasons in the Asylum in Cornwall, and will continue to reinvent the space and explore new locations in future years. Alongside their national and international touring and Asylum seasons, Kneehigh run their Rambles Program aiming to engage creatively with communities in Cornwall and beyond through event and adventure.

Tony Taccone

MICHAEL LEIBERT ARTISTIC DIREC TOR

During Tony’s tenure as artistic director of Berkeley Rep, the Tony Award–winning nonprofit has earned a reputation as an international leader in innovative theatre. In those 16 years, Berkeley Rep has presented more than 70 world, American, and West Coast premieres and sent 22 shows to New York, two to London, and now one to Hong Kong. Tony has staged more than 35 plays in Berkeley, including new work from Culture Clash, Rinde Eckert, David Edgar, Danny Hoch, Geoff Hoyle, Quincy Long, Itamar Moses, and Lemony Snicket. He directed the shows that transferred to London, Continental Divide and Tiny Kushner, and two that landed on Broadway as well: Bridge & Tunnel and Wishful Drinking. Tony commissioned Tony Kushner’s legendary Angels in America, co-directed its world premiere, and this season marks his eighth collaboration with Kushner when he directs The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. Tony’s regional credits include Actors Theatre of Louisville, Arena Stage, Center Theatre Group, the Eureka Theatre, the Guthrie Theater, the Huntington Theatre Company, Oregon Shakespeare Festival, The

Public Theater, and Seattle Repertory Theatre.

As a playwright, Tony recently debuted Ghost Light and Rita Moreno: Life Without Makeup.

His latest play, Game On, written with Dan Hoyle, will premiere in April 2014 at San Jose Repertory Theatre. In 2012, Tony received the Margo Jones Award for “demonstrating a significant impact, understanding, and affirmation of playwriting, with a commitment to the living theatre.”

Susan Medak

M A N AG I N G D I R E C T O R

Susan has served as Berkeley Rep’s managing director since 1990, leading the administration and operations of the Theatre. She has served as president of the League of Resident Theatres (lort) and treasurer of Theatre Communications Group, organizations that represent the interests of nonprofit theatres across the nation. Susan chaired two panels for the Massachusetts Arts Council and has also served on program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan chairs the Downtown Berkeley Business Improvement District and serves as president of the Downtown Berkeley Association. She is the founding chair of the Berkeley Arts in Education Steering Committee for Berkeley Unified School District and the Berkeley Cultural Trust. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund. Susan serves on the faculty of Yale School of Drama and is a proud member of the Mont Blanc Ladies’ Literary Guild and Trekking Society. She lives in Berkeley with her husband.

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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

After having directed the acclaimed production of Ruined in 2011, Liesl joined the artistic team at Berkeley Rep in 2013. She is an award-winning director whose world premieres include Party People by Universes at Oregon Shakespeare Festival, The White Man—A Complex Declaration of Love by Joan Rang with DanskDansk Theatre in Denmark, Peggy Picket Sees the Face of God by Roland Schimmelpfennig at the Luminato Festival/Canadian Stage Toronto, 201 3–1 4 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 35

BE R K E L E Y R E P PR E S E N T S Eclipsed by Danai Gurira at Yale Repertory Theatre and Woolly Mammoth Theatre Company, The Good Negro by Tracey Scott Wilson at The Public Theater and Dallas Theater Center, A History of Light by Eisa Davis at the Contemporary American Theatre Festival, Angela’s Mixtape

by Eisa Davis at Synchronicity Performance Group, New Georges, and Bus and Family Ties at the Play Company for the Romania Kiss Me! Festival. Tommy’s other credits include California Shakespeare Theater, Huntington Theatre Company, Center Stage in Baltimore, Sundance East Africa, Manda Island, Kenya, Oregon Shakespeare Festival, La Jolla Playhouse, and Huntington Theatre Company, among others.

Tommy serves as the program associate at Sundance Institute Theatre Program, focusing on its activities in East Africa, and she was recently made an artist trustee with the Sundance Institute’s board of trustees. She was awarded the inaugural Susan Stroman Directing Award from the Vineyard Theatre, the nea/tcg Directors Grant, and the New York Theatre Workshop Casting/Directing Fellowship. She is a native of Cape Town, South Africa.

Madeleine Oldham

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

Madeleine is the director of Berkeley Rep’s recently launched Ground Floor and the Theatre’s resident dramaturg. She oversees commissioning and new play development, and dramaturged the world premiere productions of Passing Strange and In the Next Room (or the vibrator play), among others. As literary manager and associate dramaturg at Center Stage in Baltimore, she produced the First Look reading series and headed up its young audience initiative. Before moving to Baltimore, she was the literary manager at Seattle Children’s Theatre, where she oversaw an extensive commissioning program. She also acted as assistant and interim literary manager at Intiman Theatre in Seattle. Madeleine served for four years on the executive committee of Literary Managers and Dramaturgs of the Americas and has also worked with act (Seattle), Austin Scriptworks, Crowded Fire, the Eugene O’Neill Theatre Center, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage.

Amy Potozkin

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

A native New Yorker, Amy moved west in 1990 when she was hired to work for Berkeley Rep. Through the years she has also had the pleasure of casting projects for act (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast 3 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 3

roles for various indie films: Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and the upcoming Love and Taxes both by Josh Kornbluth; and the upcoming feature film Beyond Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist in residence. She has been a coach to hundreds of actors, teaches acting at Mills College, and leads workshops at Berkeley Rep’s School of Theatre and numerous other venues in the Bay Area. Amy is a member of csa, the Casting Society of America.

Michael Suenkel

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

Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 20th year as production stage manager. Some of his favorite shows include 36 Views, Endgame, Eurydice, Hydriotaphia, and Mad Forest. He has also worked with the Barbican in London, the Huntington Theatre Company, the Juste Pour Rire Festival in Montreal, La Jolla Playhouse, Pittsburgh Public Theater, The Public Theater and Second Stage Theater in New York, and Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss.

The Strauch Kulhanjian Family SEASON PRODUCERS

Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently chair of the trustees committee. He is chairman of the Roda Group (rodagroup.com), a venture-development company based in Berkeley, focused on cleantech investments, best known for launching Ask.com and for being the largest investor in Solazyme, a renewable oil and bio-products company (Nasdaq: szym, solazyme.com). Roger is chairman of the board of CoolSystems, a medical technology company, and a member of UC Berkeley Engineering Dean’s college advisory board.

He is chairman of the board of trustees for the Mathematical Sciences Research Institute (msri); a member of the board of Northside Center, a mental-health services agency based in Harlem, New York City; and a co-founder of the William Saroyan Program in Armenian Studies at Cal. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three children.

Nicholas & Mary Graves LEAD PRODUCERS

Nick and Mary live in San Francisco and enjoy many days and evenings each year in Berkeley and at Berkeley Rep. Nick is a past president of the Theatre’s board of trustees and serves on the boards of several other nonprofits in the Bay Area. He is retired from the San Francisco-based asset management firm Osterweis Capital Management. Mary

profiles was awarded her doctor of education by Rutgers University in 2005. She is a past voting member of the Girl Scouts of the usa and a past board president of the Colorado Rocky Mountain School.

Kerry Francis & John Jimerson EXECUTIVE PRODUCERS

Kerry and John are excited to support this presentation of Tristan & Yseult. John is the learning and development manager at Chevron’s Richmond refinery and has enjoyed the thought-provoking plays produced by Berkeley Rep. Kerry is a member of Berkeley Rep’s board of trustees, a partner at Deloitte fas llp, and a graduate of UC Berkeley.

Pam & Mitch Nichter

EXECUTIVE PRODUCERS

Pam is the chief operating officer, chief financial officer, and a founding principal at Osterweis Capital Management, a San Francisco investment manager. Pam serves on the board of trustees at Berkeley Rep. Osterweis Capital and its principals support and are on the governing boards of numerous Bay Area organizations, including the Contemporary Jewish Museum, Marin Summer Theater, San Francisco Ballet, San Francisco Free Clinic, San Francisco Jewish Film Festival, and Summer Search. Mitch practices corporate and securities law at Paul Hastings, a global law firm, where he is a partner and heads up the firm’s hedge fund practice.

Paul Hastings provides pro bono and other support to a number of Bay Area not-for-profit organizations including Audubon Canyon Ranch, East Bay Community Law Center, United Way, and WildCare. Pam and Mitch live in the North Bay and have been enthusiastic supporters of Berkeley Rep for years.

Bruce Golden & Michelle Mercer LEAD PRODUCERS

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

Scott and Sherry Haber PRODUCERS

Scott and Sherry are thrilled to produce Tristan & Yseult, especially since they enjoyed The Wild Bride and Kneehigh so thoroughly. Scott and Sherry have been interested in the arts as long as they can remember, including choral and instrumental music, dance and live theatre.

Scott, who is a corporate law partner at Latham and Watkins llp, has served on Berkeley Rep’s board of trustees since 2005. Sherry serves on the board of the Hillsborough Schools Foundation and volunteers with the Crocker Middle School Parent Group. It is with great pleasure that the Habers are able to support Berkeley Rep and exceptional regional theatre.

Patricia Sakai & Richard Shapiro PRODUCERS

Patricia and Richard have both served on Berkeley Rep’s board of trustees for over 20 years. They are proud to support the Theatre’s leading-edge artistic vision, innovative productions and programs, and a stellar staff that have earned Berkeley Rep its national reputation as a destination for both theatre artists and audiences. Patricia has also served on the board of directors of the Management Center of Northern California, was a secondary school educator, director of continuing education at St. Mary’s College, and worked at several Bay Area corporations as a learning and organizational effectiveness leader. She is currently an independent consultant to both for-profit and nonprofit organizations and also performs with the San Francisco Choral Society. Richard currently serves on Berkeley Rep’s board of directors, and has also served on the boards of the Berkeley Art Museum/ Pacific Film Archives, Camp Swig, the East Bay Conservation Corps, Legal Assistance to the Elderly, and the Urban School. He is a partner at Farella, Braun + Martel.

Give the gift of Berkeley Rep They’re easy to buy, and easy to enjoy.

You choose the value. They choose the show.

Order online at berkeleyrep.org/tickets/giftcert Or call 510 647-2949.

We’re happy to help!

The Berkeley Holiday Fund Berkeley Rep’s presentation of Tristan & Yseult is supported by an anonymous donor in tribute to the Berkeley Holiday Fund. The Fund seeks to improve the lives of Berkeley’s neediest citizens by providing them with small gifts of cash during the holiday season and to enrich the sense of community and caring in Berkeley by enabling residents to help their less fortunate fellow citizens. It also provides local social service agencies with small cash grants to assist Berkeley citizens with emergency situations that arise throughout the year. For more information about the Berkeley Holiday Fund, visit berkeleyholidayfund.org.

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Mechanics Bank Wealth Management

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For more than a century, Mechanics Bank has been committed to helping people build prosperous communities as a trusted financial partner, forging lasting relationships through teamwork, respect, and integrity. The $3 billion independent bank, headquartered in the East Bay, offers personal banking, business banking, trust, and wealth management services

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BE R K E L E Y R E P PR E S E N T S throughout Northern California. For more information, please visit mechanicsbank.com.

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 Alame-

da, Contra Costa, San Francisco, and San Mateo Counties and the Bay Area’s two largest airports. bart’s all-electric trains make it one of the greenest and most energy-efficient systems in the world with close to 70 percent of its all-electrical power coming from hydro, solar, and wind sources. Many new projects are underway to expand bart, allowing it to serve even more communities and continue to offer an ecofriendly alternative to cars. For more info, visit bart.gov.

“Mr. Baryshnikov has had a long career as a virtuoso star dancer but there was always a glint of the actor in him.”

— N e w Yo r k T i m e s

profiles San Francisco Chronicle SEASON SPONSOR

The San Francisco Chronicle is the largest newspaper in Northern California and the second largest on the West Coast. Acquired by Hearst Corporation in 2000, the San Francisco Chronicle was founded in 1865 by Charles and Michael de Young and has been awarded six Pulitzer Prizes for journalistic excellence. The Chronicle is committed to coverage of local issues and those topics with national impact.

SFGate.com publishes San Francisco Chronicle news coverage and features online, and adds more features not available in the print version, such as breaking news, reader forums, photo galleries, multimedia presentations, as well as real estate, classified, recruitment, and auto databases. Combined with SFGate.com, the San Francisco Chronicle reaches 1.7 million Bay Area adults each week.

Wells Fargo

SEASON SPONSOR

Adapted from two short stories by Anton Chekhov Adapted & directed by Annie-B Parson & Paul Lazar / Big Dance Theater Choreographed by Annie-B Parson Featuring Mikhail Baryshnikov, Tymberly Canale, Paul Lazar, Chris Giarmo & Aaron Mattocks Jan 25 –Feb 16

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

Additional staff Costume Supervisor Ed Parry Costume Assistant Ruth Shepherd Lighting Associate, Berkeley Rep Stephanie Buchner Prop Maker Sarah Wright Sound Associate, Berkeley Rep Brendan Aanes Sound Engineer, Berkeley Rep Xochitl Loza Special thanks U.S. immigration representation provided by the Law Office of Lisa Palter (lisasvisas.com) Subway Guitars in Berkeley

Mikhail Baryshnikov and Tymberly Canale p h oTo bY T. c h a r l e s er i c k s o N

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In memoriam: Helen C. Barber CO N TIN U E D FRO M PAG E 17

Chief Executive & Executive Producer Paul Crewes

Administrator & Development Assistant Bethany Lyne

Joint Artistic Director & Deputy Chief Executive Emma Rice

Rambles Lead Artist Anna Maria Murphy

Joint Artistic Director Mike Shepherd Associate Director Simon Harvey General Manager Charlotte Bond Company Stage Manager Steph Curtis Finance Officer Fiona Buxton Assistant Producer Liz King Communications Co-ordinator Chloe Rickard

Creative Writing Intern Seth Hampshire Photography Steve Tanner Graphic Designer Dave Mynne Film Maker Brett Harvey Associate Artists Simon Baker Stu Barker Carl Grose Simon Harvey Etta Murfitt Anna Maria Murphy Malcolm Rippeth Steve Tanner

Kneehigh would like to thank: This new version of Tristan & Yseult was created at the barns and tours with a “squad” of artists: Our thanks go to Stuart Goodwin and Etta Murfitt who are key members of this squad and will play the roles of King Mark and Yseult in msp and Chicago, and to Tristan Sturrock who played Tristan in the UK. Thanks also to the musicians for the UK tour, Stu Barker and Myke Vince. Huge thanks to Éva Magyar who originally created & played the part of Yseult. Boundless thanks to the company for their skill, experience, care and creativity. Without their generosity and brilliance, this work would not have been possible.

We would also like to thank: TR2, Whitelight, Stage Sound Services, Camel Valley Wines, Lin Potter at Wrightsure, Deborah Hinton, Jackie Jupp, Daniel Sparrow, Alex Wardle and Julia Jeulin, Lyndie Wright and Geraldine Spiller for puppet making. A special thanks to Kate Godfrey for all the wonderful voice work.

Kneehigh Friends Kneehigh is celebrated as a bold and big-hearted theatre company, committed to creating magical, transporting, inventive and entertaining theatre for all.

We’re also a registered charity; we need and want to work with you to make even braver work— and to share it with even more people. We want to be a beacon of pleasure, welcoming people from all walks of life to be listened to, excited and delighted.

You can help us do this by joining the Kneehigh Friends scheme for just £2.50 a month. You can join on our website or by calling +44 (0)1872267910. For more information contact friends@ kneehigh.co.uk We would like to thank all of our generous donors, especially treasured members of the Kneehigh Family: Angela Bissett · Glenn & Wendy Carter · Tracey Carter · Jon & NoraLee Sedmak · Guy Heath · Deborah Hinton · Kate and Edward Mallinckrodt · Dave Mynne · Jane Rowse · Hayley Taylor · Karen Townshend · David Trenberth · And our glorious Champions: · Anon · Leigh Greenwood & Emma Bagnall · Val Barnecutt · Mike Beard · Archie Burnham · Sally Caudle · Jyoti Chandola · Robbie Clymo · John Doble · Martin & Annabel Dunn · Val Dunning · Martin & Julie Eddy · Ian Ellis & Charmaine Fernando · Patrick & Barbara Gallagher · John Glasswell · Ann Gray · Sheila Hancock cbe · Chris Law · Anthony & Jane Lawton · Sara Loch · Chris Martin · Mary Mestecky · Ken & Ros Rokison · George Sallis · Clive Shaw · Pat Smith · Julie & Bob Thomas · Three Rivers Furniture · P.B. Tinker · Richard Toombs · Andy Ward · Jeremy Metson · Clare Martin · Christopher Tiley Kneehigh Rambles Aiming to engage creatively with communities in Cornwall and further afield, through event and adventure! Find out more at kneehigh.co.uk. Kneehigh Rambles is supported by Esmée Fairbairn Foundation, Joyce Carr Doughty Charitible Trust, West Cornwall Youth Trust, John Thaw Foundation, Members of the Kneehigh Family and bookers for the Asylum Seasons Win a signed Kneehigh book!

Thirty years in seven chapters—a beautiful book charting Kneehigh’s history full of photos, illustration and writing—signed by the Tristan & Yseult company. To be in with a chance of winning, email office@kneehigh.co.uk with your name and address and the subject “Kneehigh Book Competition.” We’ll announce the winner at the end of the U.S. tour. Good luck!

Even today, Helen’s impact can be felt. “Helen set in place a standard of board participation that is still evident today. Our board still shares a deep passion for the work. Ours is still, 40 years later, a working board,” says Susan Medak, managing director. “One of the qualities I appreciated most about Helen is that she took pride in our growth. She didn’t want us to stay the way we were in the 1970s. She changed with us.”

And change came. In 2001, long after Helen had retired from the board, Berkeley Rep opened the Roda Theatre, next door to the beloved Thrust Stage.

The late Suzanne Adams, who served on the board at the time, made a gift to the Roda campaign and honored Helen with the naming of the Roda Theatre’s second-floor lobby. As Suzanne said at the dedication ceremony, even though she did not know Helen, she felt it was important to recognize the people who blazed the trail before her, and Helen had certainly made Berkeley Rep’s success possible by establishing a home on Addison Street.

During her lifetime, Helen relished bringing her family to Berkeley Rep at every opportunity. Recounts her son Tom, “She was so proud of the new theatre, and we always had to look at our ‘bricks’ when we went to a production. The one production I remember the most was when she took my entire family—including my youngest who was 6 at the time—to American Idiot.

Mom wasn’t crazy about rock, but she loved the show, and while we were a bit hesitant to take our youngest, we all had a great time.”

Michael Leibert Artistic Director Tony Taccone says Helen’s impact on the Theatre will be forever felt. “Helen was an astonishing woman: her generosity and kindness were always on full display. Her intelligence and leadership played a key role in the formative years of Berkeley Rep, and her loyalty and love of the Theatre were inspirational to all of us who had the honor of being in her company.”

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We acknowledge the following Annual Fund supporters whose contributions from November 2012 through October 2013 helped to make possible the Theatre’s artistic and community outreach programs.

CON T R I BU TOR S institutional supporters G IF T S O F $ 100,000 AN D AB OVE

G IF T S O F $2 5,000 –49,999

G IF T S O F $5,000 –9,999

The William & Flora Hewlett Foundation The James Irvine Foundation The Andrew W. Mellon Foundation The Shubert Foundation The Harold and Mimi Steinberg Charitable Trust

Anonymous The Ira and Leonore Gershwin Philanthropic Fund Wallis Foundation Woodlawn Foundation

Anonymous Berkeley Civic Arts Program East Bay Community Foundation Ramsay Family Foundation

G IF T S O F $50,000 –99,999

G IF T S O F $10,000 –24,999

G IF T S O F $750 –4,999

Crescent Porter Hale Foundation Koret Foundation National Endowment for the Arts The Kenneth Rainin Foundation

Alameda County Arts Commission/artsfund Joyce & William Brantman Foundation Civic Foundation Dramatist’s Guild Fund The Entrekin Foundation jec Foundation

The Bernard Osher Foundation

COR P OR AT E S P ON S OR S S E A SO N S P O N SO R S

G IF T S O F $12 ,000 –24,999 Bank of the West Mechanics Bank Wealth Management The Morrison & Foerster Foundation Union Bank

G IF T S O F $6,000 –11,999

G IF T S O F $2 5,000 –49,999

Armanino llp Chevron Deloitte Meyer Sound Oliver & Company Panoramic Interests Peet’s Coffee & Tea Schoenberg Family Law Group ubs U.S. Bank

G IF T S O F $3,000 –5,999 4U Sports Gallagher Risk Management Services Macy’s The Safeway Foundation

G IF T S O F $1, 500 –2 ,999 Bingham McCutchen llp BluesCruise.com

G IF T S O F $500 –1,499 Grizzly Peak Winery

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

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

I N-K I N D S P ON S OR S

M AT C H I NG G I F T S act Catering Angeline's Louisiana Kitchen Aurora Catering Autumn Press Back to Earth Organic Catering Belli Osteria Bistro Liaison Bobby G’s Pizzeria Bogatin, Corman & Gold build Pizzaria Café Clem Comal Cyprus Distillery No. 209 Domaine Carneros by Taittinger Donkey & Goat Winery East Bay Spice Company etc Catering

Four Seasons San Francisco five Gather Restaurant Green Waste Recycle Yard Hotel Shattuck Plaza Hugh Groman Catering Jazzcaffè Kevin Berne Images La Mediterranee La Note Latham & Watkins, llp Match Vineyards Mint Leaf Patricia Motzkin Architecture Paul Hastings Phil’s Sliders Picante PiQ

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Pyramid Alehouse Quady Winery Raymond Vineyards Revival Bar + Kitchen Ricola usa St. George Spirits Sweet Adeline 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 call the Development Department at 510 647-2906 to find out if your company matches gifts.

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

CON T R I BU TOR S donors to the annual fund Great theatre is made possible by the generosity of our community. We gratefully acknowledge the following contributors to Berkeley Rep, who champion the Theatre’s artistic and outreach programs.

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

LEG E N D in-kind gift M matching gift K

P RODUC E R C I RC L E S E A S O N PRO D U CE R S $ 10 0,0 0 0 +

The Strauch Kulhanjian Family

LE A D PRO D U CE R S $ 5 0,0 0 0 – 9 9,9 9 9

Rena Bransten Martha Ehmann Conte Bruce Golden & Michelle Mercer Mary & Nicholas Graves Wayne Jordan & Quinn Delaney John & Helen Meyer Jack & Betty Schafer

E XECU TIV E PRO D U CE R S $ 2 5,0 0 0 –49,9 9 9

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

PRO D U CE R S

$ 12 ,0 0 0 –2 4 ,9 9 9

Anonymous Stephen Belford & Bobby Minkler Carole B. Berg Thalia Dorwick Robin & Rich Edwards David & Vicki Fleishhacker Scott & Sherry Haber Jack Klingelhofer Susan & Moses Libitzky Sandra & Ross McCandless Dugan Moore Mary Ruth Quinn & Scott Shenker Patricia Sakai & Richard Shapiro Joan Sarnat & David Hoffman Felicia Woytak & Steve Rasmussen Martin & Margaret Zankel

A S S O CIAT E PRO D U CE R S

$ 6,0 0 0 – 11,9 9 9

Anonymous (2) Shelley & Jonathan Bagg Barbara & Gerson Bakar Steve & Blair Buster Susan Chamberlin Robert Council & Ann Parks-Council David & Vicki Cox Tom Dashiell Oz Erickson & Rina Alcalay William Espey & Margaret Hart Edwards John & Carol Field Kristina Flanagan Virginia & Timothy Foo Paul Friedman & Diane Manley M Jill & Steve Fugaro Paul Haahr & Susan Karp M Doug & Leni Herst Hitz Foundation Ms. Wendy E. Jordan Jean & Jack Knox Wanda Kownacki

Ted & Carole Krumland Zandra Faye LeDuff Dixon Long Naomi & Bruce Mann K Dale & Don Marshall Martin & Janis McNair Stephanie Mendel Steven & Patrece Mills M Stewart & Rachelle Owen Mary Ann & Lou Peoples Peter Pervere & Georgia Cassel Leonard & Arlene Rosenberg Kaye & Randy Rosso Pat Rougeau Richard A. Rubin & H. Marcia Smolens Liliane & Ed Schneider Emily Shanks M Pat & Merrill Shanks Karen Stevenson & Bill McClave Jacqueline & Stephen Swire Patricia Tanoury Wendy Williams

D ONOR C I RC L E PRE S ID E N T S

D IREC TO R S

$ 3,0 0 0 – 5,9 9 9

$ 1, 5 0 0 –2 ,9 9 9

Anonymous (2) Tony Amendola & Judith Marx Edith Barschi Neil & Gene Barth Valerie Barth & Peter Wiley M Drs. Don & Carol Anne Brown Tracy Brown & Greg Holland C. William Byrne M Lynne Carmichael Jennifer Chaiken & Sam Hamilton Earl T. Cohen & Heidi M. Shale Daniel Cohn & Lynn Brinton Karen & David Crommie Richard & Anita Davis Lois M. De Domenico Benjamin Douglas Delia Fleishhacker Ehrlich M Nancy & Jerry Falk Earl & Bonnie Hamlin Ann & Shawn Fischer Hecht Richard N. Hill & Nancy Lundeen James C. Hormel Kathleen & Chris Jackson Ashok Janah K Robert Kelling Duke & Daisy Kiehn Lynn Eve Komaromi Suzanne LaFetra Nancy & George Leitmann Don & Amy Louv M Peter & Melanie Maier Charlotte & Adolph Martinelli Grey Maus(e) Phyra McCandless & Angelos Kottas Susan Medak & Greg Murphy Eddie & Amy Orton Sandi & Dick Pantages Pease Family Fund Ivy & Leigh Robinson David S. H. Rosenthal & Vicky Reich Riva Rubnitz Beth & David Sawi Linda & Nathan Schultz Lisa & Jim Taylor Steven Winkel & Barbara Sahm Sheila Wishek Sally Woolsey

Anonymous (10) Pat Angell Marcia & George Argyris Martha & Bruce Atwater Nina Auerbach Richard & Debbie Ault K Don & Gerry Beers M David Beery & Norman Abramson Cynthia & David Bogolub Caroline Booth Linda Brandenburger Broitman-Basri Family Thomas & Tecoah Bruce Kerry Tepperman Campbell Stephen K. Cassidy & Rebecca L. Powlan Paula Champagne & David Watson LinChiat Chang K The Cheitlin Family Julie Harkness Cooke Constance Crawford Ed Cullen & Ann O'Connor K James Cuthbertson John & Stephanie Dains Ilana DeBare & Sam Schuchat Brooke Facente Merle & Michael Fajans Cynthia A. Farner Tracy & Mark Ferron Lisa & Dave Finer Linda Jo Fitz Frannie Fleishhacker Thomas & Sharon Francis Herb & Marianne Friedman Don & Janie Friend James Gala Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Bob Goodman Deborah & Howard Goodman Robert & Judith Greber William James Gregory Garrett Gruener & Amy Slater Richard & Lois Halliday Migsy & Jim Hamasaki Bob & Linda Harris Vera & David Hartford

Ruth Hennigar Tom & Bonnie Herman Wendy Herzog K Gail & Bob Hetler Bill Hofmann & Robbie Welling The Hornthal Family Foundation Rick Hoskins & Lynne Frame Paula Hughmanick & Steven Berger George & Leslie Hume Lynda & Dr. J. Pearce Hurley Herrick and Elaine Jackson, The Connemara Fund Beth & Fred Karren Rosalind & Sung-Hou Kim Michael Kossman John Kouns & Anne Baele Kouns Helen E. Land Robert Lane & Tom Cantrell Randy Laroche & David Laudon Louise Laufersweiler & Warren Sharp Andrew Leavitt & Catherine Lewis Ellen & Barry Levine Bonnie Levinson & Dr. Donald Kay Jennifer S. Lindsay Tom Lockard & Alix Marduel Jonathan Logan Vonnie Madigan Lois & Gary Marcus Michael Margolis Sumner & Hermine Marshall Rebecca Martinez Jill Matichak Sarah McArthur & Michael LeValley K Janet & Michael McCutcheon Karen & John McGuinn Miles & Mary Ellen McKey Scott McKinney & Sherrill Lavagnino Michele R. McNellis Toby Mickelson & Donald Brody Roger & Satomi Miles John & Katrina Miottel Andy & June Monach Scott Montgomery & Marc Rand Patricia Motzkin & Richard Feldman Judith & Richard Oken Janet Ostler Joshua Owen & Katherine Robards Gerane Wharton Park Bob & MaryJane Pauley

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

Tom & Kathy Pendleton Gladys Perez-Mendez Barbara Peterson Susie & Eric Poncelet David Pratt Elizabeth Ratner John Ravitch Jonathan & Hillary Reinis Bill Reuter & Ruth Major James & Maxine Risley John & Jody Roberts Carole Robinson & Zane O. Gresham Deborah Romer & William Tucker Boyard & Anne Rowe Enid & Alan Rubin Gaile B. Russ Dace P. Rutland Mitzi Sales & John Argue Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Stephen C. Schaefer Jackie & Paul Schaeffer Joyce & Jim Schnobrich Stephen Schoen & Margot Fraser Mark Shusterman, M.D. Edie Silber & Steve Bomse Beryl & Ivor Silver Amrita Singhal & Michael Tubach Kae Skeels Sherry & David Smith Stephen & Cindy Snow Louis & Bonnie Spiesberger K Stephen Stublarec & Debra S. Belaga Andrew & Jody Taylor Deborah Taylor Alison Teeman & Michael Yovino-Young Susan & David Terris Ama Torrance & David Davies Buddy & Jodi Warner Jonathan & Kiyo Weiss Beth Weissman Jim & Maria Weller Grace Williams Patricia & Jeffrey Williams Charles & Nancy Wolfram Ron & Anita Wornick Jane Zuercher

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CON T R I BU TOR S donors to the annual fund PL AY W RI G H T S $ 1,0 0 0 –1, 49 9

Anonymous (5) · Donald & Margaret Alter · Juli Betwee · Paula Carrell · Stan & Stephanie Casper · Naveen Chandra & James Lengel · Ed & Lisa Chilton · Richard & Linnea Christiani · Katherine Copic & Daniel Spoonhower M · Barbara & Tim Daniels M K · Ric de Barros · Harry & Susan Dennis · Francine & Beppe Di Palma · Corinne & Mike Doyle · Becky Draper · Gary Facente · Paul Feigenbaum & Judy Kemeny · Frannie Fleishhacker · Christopher R. Frostad M · Karl & Kathleen Geier · Phyllis & Eugene Gottfried · Diana Grand & Jon Holman · Jennifer Heyneman Sousae · Adrienne Hirt & Jeffrey Rodman · Elaine Hitchcock · Barry & Jackie Hoffner · Mr. & Mrs. Harold M. Isbell · Randall Johnson · Barbara E. Jones · Christopher Killian & Carole Ungvarsky · Mary S. Kimball · William & Adair Langston · Eileen & Jay Love · Larry & Corinne Marcus · John E. Matthews · Erin McCune & Nicholas Virene · Daniel and Beverlee McFadden · John G. McGehee · Kirk McKusick & Eric Allman · Marc Elliott Mosko · Timothy Muller · Margo Murray · Claire Noonan & Peter Landsberger · Steve Olsen · Richard Ostreicher & Robert Sleasman · Robyn & David Owen M · Judy O'Young, MD & Gregg Hauser · David & Julieta Peterson · Gregory C. Potts · Andrew Raskopf · Charles R. Rice · Horacio Rodriguez · Sheli Rosenberg · Susan Rosin & Brian Bock · Rob & Eileen Ruby · Susie Sargent & Michael Webb K · Seiger Family Foundation · Neal Shorstein, MD &

We gratefully recognize the following members of the Annual Fund whose contributions were received in September and October 2013.

S U PP O R T E R S $ 2 5 0 –49 9

Anonymous · Dr. Paula Campbell · Lori & Gary Durbin · Jeanene E. Ebert M · Stephen Follansbee & Richard Wolitz · Ken & Karen Keller · Susan Klee & David Stoloff · Debie Krueger M · Mr. & Mrs. Grinling MacClelland · Barbara Morgan · Bob & Toni Peckham · Laurel & Jerry Przybylski · Geri Rossen · Lael Rubin · Nancy Sale · Sonja Schmid · Ruthann Taylor · Susan & Harvey Wittenberg

Christopher Doane · Dave & Lori Simpson · Ed & Ellen Smith · George & Camilla Smith · Annie Stenzel · Tim Stevenson & David Lincoln King · Nancy & Fred Teichert · Pate & Judy Thomson · Deborah & Bob Van Nest · Wendy Willrich · Steven & Linda Wolan · Lee Yearley & Sally Gressens · Sam & Joyce Zanze

AC TO R S $500–999

Anonymous (16) · Robert & Evelyn Apte · Steven & Barbara Aumer-Vail · Todd & Diane Baker · Jonathan Berk & Rebecca Schwartz · Richard & Kathy Berman · Robert Berman & Jane Ginsburg · Caroline Beverstock · Steve Bischoff · Patti Bittenbender · Nancy Blachman and David desJardins · Dr. Kevin & Mrs. Riva Bobrowsky · Fraser Bonnell · Claudia Bravo & Alan R. Silverman · Marilyn Bray · Wendy Buchen · Rike & Klaus Burmeister · David Burnett · Robert & Janet Campbell M · Ronnie Caplane · Bruce Carlton · Carolle J. Carter & Jess Kitchens · Michael C. Chang · Jeff Chanin & Karen Lovdahl · Kim & Dawn Chase · Patty Chin · Terin Christensen · Dennis Cohen & Deborah Robison · Leonard & Roberta Cohn · Ruth Conroy · Robert & Blair Cooter · Dee Cosetto · John & Izzie Crane M · Barbara & John Crary · Copley Crosby · Teri Cullen · Robert & Loni Dantzler · Pat & Steve Davis · Jackie Desoer · Edmund DuBois · Drs. Nancy Ebbert & Adam Rochmes · Anita C. Eblé · Burton Peek Edwards & Lynne Dal Poggetto · Michael Ehrenzweig · Sue &

CO N T RIB U TO R S $ 15 0 –2 49

Anonymous (4) · Kathryn Blue · Susan & Stephen Booth · Alice Breakstone & Debbie Goldberg · Sandra Briggs · Anita & Herbert Danielsen · Ellen Dietschy & Alan Cunningham · Mr. & Mrs. Fink · Thomas & Sandra Friedland · Ken Frucht · Joy Jacobs · Alfred G. Johnson · Paul Kimoto · Alan & Ronnie Klein · Harold & Gloria Leitstein · Ruth Medak · Joseph R. Palsa · Ron & Esther Schroeder · Veronica Schwalbach

FRIE N D S $ 75 –149

Anonymous (4) · Kristen Badgley · Bertel Borowsky · Adriane & Barry Bosworth · Patrick J. Boyle · David & Eva Bradford · Beth Burnside · Colston Chandler · Lynn Cunningham · Earl Diskin · Edward Durbin & Joan Morris · Monica & David Finigan · Judith Fireman · Linda Fried & Jim Helman · David & Chris Goldin · Gayle & Steve Goldman · Priscilla Green · Bronwyn

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Peter Elkind · Roger & Jane Emanuel · Bill & Susan Epstein · Gini Erck & David Petta · Martin & Barbara Fishman · Patrick Flannery · Michael & Victoria Flora · Nancy H. Francis · Lisa Franzel & Rod Mickels · Donald & Dava Freed · Joyce Freedman · Paul Gill & Stephanie D'Arnall · Judith & Alex Glass · Paul Goldstein & Dena Mossar · Robert Goldstein & Anna Mantell · Dan Granoff · Sheldon & Judy Greene · Don & Becky Grether · Dan & Linda Guerra · Eric and Elaine Hahn · Kate Hartley & Mike Kass · Dee Hartzog · Richard L. Hay · Geoffrey & Marin-Shawn Haynes · Diane Hembry · Bill Hendricks · Irene & Robert Hepps · Howard Hertz & Jean Krois · Marilynn Hodgson · Rosalie Holtz · Morgan Hough · Leonard & Flora Isaacson · Mr. & Mrs. Edwin Ives · Ken & Judith Johnson · Helmut H. Kapczynski & Colleen Neff · Lisa and John Katovich K · Seymour Kaufman & Kerstin Edgerton · Dennis Kaump · Vivian Keh & Jonathan Hue M K · Steve Kispersky · Jeff Klingman & Deborah Sedberry · Janet Kornegay and Dan Sykes · Jennifer Kuenster & George Miers · Woof Kurtzman & Liz Hertz · Henry & Natalie Lagorio · John Leys · Ray Lifchez · Bertram Lubin & Vivian Scharlach · James Lyons · Tania & David Madfes · Bruce & Pamela Maigatter · Joan & Roger Mann · Sue & Phil Marineau · Josephine Maxon · Sean McKenna · Alison McLean · Ruth Medak · Caryl & Peter Mezey · Jerry Mosher · Moule Family Fund · Lance Nagel · Ron Nakayama · Jeanne E. Newman · Marlowe Ng & Sharon

Ulrich · Hung Nguyen · Jennifer Puck & Robert Nussbaum · Pier & Barbara Oddone · Judith Ogle · Nancy Park · Lewis Perry · Pherwani Family · James F. Pine M · Malcolm & Ann Plant · Andrea Plastas · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Donovan & Anna Prostrollo · Chuck & Kati Quibell · Sheldon & Catherine Ramsay · Lucas Reiner & Maud Winchester · Ian Reinhard · Paul & Margaret Robbins · Deborah Dashow Ruth · Dairne Ryan · Dorothy R. Saxe · Bob & Gloria Schiller · Mark Schoenrock & Claudia Fenelon· Teddy & Bruce Schwab · Brenda Buckhold Shank, M.D., Ph.D. · Margaret Sheehy · Mary Shisler K · Steve & Susan Shortell · Suzanne Slyman · Jerry & Dick Smallwood · Sigrid Snider · Christina Spaulding · Robert & Naomi Stamper · Herbert Steierman · Lynn M. & A. Justin Sterling · Monroe W. Strickberger · Shayla Su M · Prof. Jeremy Thorner & Dr. Carol Mimura · Karen Tiedemann & Geoff Piller · Mark Valentine & Stacy Leier-Valentine · William van Dyk & Margi Sullivan · Gerald & Ruth Vurek · Louise & Larry Walker · Wendy Ward · Dena & Wayne Watson-Lamprey · Michael Weinberger & Julianne Lindemann · Carmi Weininger · Sallie Weissinger · Dr. Ben & Mrs. Carolyn Werner · Ann Harriman · Oliver Williamson · Fred Winslow & Barbara Baratta · Robert & Myrna Witt · Ron & Anita Wornick · Kent Wright K · Margaret Wu & Ciara Cox

H. Hall · Linda Headrick · Susan HendrieMarais · Sandra Iwamoto · Muriel Kaplan · Bonnie McPherson Killip · Doris Kinsley · Claire Kohn · Susan Kovacevic · Mr. James Madsen · Holly Makagon & Jill Abbott · Kim & Barbara Marienthal · Janet Nexon · Karl Francis Nygren · John & Barbara Ohlmann · Robin Olivier · Mr. & Mrs. Jack C. Price · Heather Schlaff · Ethan & Kira Silverman · Steve Spellman · Jane & Jay Taber · Eleanor Tandowsky · Stephen Wong · Bob & Judi Yeager

Glenda Edwards · Bernice Ellison · Jerome Fishman · Karen Giorgianni · Steven Gotanda · Howard & Julie Graves · Neil Handelman & Karyn O'Mohundro · Judith Kennedy · Brandon Kett · Adrian King · Pearl Kolling · Kurt Lauridsen · Jean Rowe Lieber, R.N.,N.P. · Matthew Lodewick · Shirlee Loret · Joe & Joanne Magruder · Isabel Manning Toms · John S.T. Mark · Julie Mattoon · Patrick Metzger · Dr. & Mrs. Charles Moser · Constance Newton · Deborah L. Robbins · Lisa Rothman · Jan Schreiber · Christine & Lawrence Silver · Donna Smith-Harrison & Samuel Harrison · Geraldine Smith · Cherrill Spencer · Diane & Dave Toole · Colleen Vermillion · Martha Vickers · Peter Weiser & John Hudson · Jennifer Winch · Patricia Winston · Norma Wynn · Linda Zaruba

PAT RO N S $ 1 –74

Anonymous (9) · Marlene Abel · Susan Aldrich · Lawrence Andow · Peah & Allan Armstrong · Lisa Barton · Audrey M. Berger · Stuart Berman · Peter Bradley · Stephen Brandon · Barbara Cannella · Dr. Bruce & Susan Carter · Arlyn Christopherson · Susan Cohen · Louise Coleman · Carol E. Copeland · Jeanne Cox · Gary Dickinson · Joanne Drabek & Thor Start · Sally Dudley · Kathleen Dumas ·

CON T R I BU TOR S donors to the annual fund Sustaining members as of October 2013:

The society welcomes the following new members: David Gaskin & Phillip McPherson Jon & Becky Grether Tom Roberts

Anonymous (4) Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Neil & Gene Barth Carole B. Berg Linda Brandenburger Jill Bryans Bruce Carlton & Richard G. McCall Stephen K. Cassidy Andrew Daly & Jody Taylor M. Laina Dicker Thalia Dorwick Rich & Robin Edwards Bill & Susan Epstein William Espey & Margaret Hart Edwards Carol & John Field Dr. Stephen E. Follansbee & Dr. Richard A. Wolitz

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

Rebecca Martinez Suzanne & Charles McCulloch Miles & Mary Ellen McKey Margaret D. & Winton McKibben Susan Medak & Greg Murphy Toni Mester Shirley & Joe Nedham Pam & Mitch Nichter Sharon Ott Amy Pearl Parodi Gladys Perez-Mendez Barbara Peterson Regina Phelps Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Valerie Sopher Michael & Sue Steinberg Karen Stevenson Dr. Douglas & Anne Stewart

Jean Strunsky Henry Timnick Phillip & Melody Trapp Janis Kate Turner Dorothy Walker Weil Family Trust —Weil Family Grace Williams Karen & Henry Work Martin & Margaret Zankel

Gifts received by Berkeley Rep: Estate of Suzanne Adams 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

Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise, planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity.

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

M E MOR I A L A N D T R I BU T E G I F T S

The following members of the Berkeley Rep community made gifts in memory and in honor of friends, colleagues, and loved ones from November 2012 to October 2013.

In honor of Susan Medak Terry Pink & John Blaustein Joanne Medak In honor of Marcia Smolens Jay & Susan Mall Susan Medak & Greg Murphy Anonymous, in honor of Julie & Patrick Kennedy Anonymous, in memory of Sky Parsons Pat Angell, in memory of Gene Angell Kristen Badgley, in memory of Helen Joo's mother Allan & Muriel Brotsky, in memory of Dr. Leonard Gordon Jane Buerger, in memory of Judith A. Schmitz Gary & Diana Cramer, in memory of Doris Titus Anita & Herbert Danielsen, in honor of Sara Danielsen & Sean Tarrant Elizabeth Anne Doyle, in memory of John Doyle Wendy Dwyer, in honor of The Dwyer Family Brooke Facente, in honor of Jane and Gary Facente Mr. & Mrs. Fink, in honor of Rachel Fink Don & Janie Friend, in honor of Bill & Candy Falik William Goodell, in memory of Carol G. Goodell Nina & Claude Gruen, in honor of Marjorie Randolph Richard & Sylvia Hammond, in honor of Leo Blitz & Family Linda Headrick, in honor of Ann Brannen David Hester & Karen Jannetti Hester, in honor of Anna M. Morrison Juraj & Elisabeth Hostynek, in honor of Andrej Hostynek Barbara E. Jones in memory of William E. Jones

Julie Kastrup, in memory of Dan Murphy Lynn Eve Komaromi, in honor of the Berkeley Rep Staff Debie Krueger, in memory of Alex Maffei Peter & Melanie Maier, in honor of Jill Fugaro Chris Mehling, in honor of Wendy Williams Carrol Mills, in memory of Stan Eremia Geri Monheimer, in honor of Sharon and Randy Kinkade Susan Montauk, in memory of Clare Montauk Thomas Neale, in memory of Jean Culhane David Pasta, in memory of Gloria Guth Elizabeth & Ted Peña, in honor of Oscar Peña, with thanks to Ben Hanna Paul & Kerry Perez, in honor of Dixon Long Laurel Przybylski, in memory of Maryann Herber Sheila & Myron Puckett, in memory of Jean Murphy Lois & Dan Purkett, in honor of Merton Johnson & Mary Rowe M Veronica Rabuy, in honor of Zoe Inciong Sheli Rosenberg, in honor of Leonard X Rosenberg Veronica Schwalbach, in memory of Catherine Day Ethan & Kira Silverman, in honor of Ross & Sandy McCandless Heather Sirk, in honor of Emily Small-Coffaro Katrina & John Staten, in memory of Wallace Johnson Prof. Jeremy Thorner & Dr. Carol Mimura, in memory of James Toshiaki Mimura Ms. H. Leabah Winter, in memory of Barry Dorfman, MD The Zeiger Family, in memory of Phyllis Sagle

201 3–1 4 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 43

A BOU T BE R K E L E Y R E P staff and affiliations Michael Leibert Artistic Director Tony Taccone A R T I S T IC Associate Director Liesl Tommy Artistic Associate & Casting Director Amy Potozkin Artistic Associate Mina Morita Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Associate Julie McCormick Theatre Communications Group/ Visiting Artistic Associate Maureen Towey Artists under Commission David Adjmi Glen Berger Jackie Sibblies Drury Marcus Gardley Rinne Groff Tarell McCraney Dominic Orlando KJ Sanchez Naomi Wallace

S C E N IC A R T Charge Scenic Artist Lisa Lázár

P RODUC T ION Production Manager Tom Pearl Associate Production Manager Amanda Williams O’Steen Company Manager Jean-Paul Gressieux

S OU N D Sound Supervisor James Ballen Sound Engineer Angela Don

S TAG E M A NAG E M E N T Production Stage Manager Michael Suenkel Stage Managers Cynthia Cahill Leslie M. Radin Karen Szpaller Kimberly Mark Webb Production Assistants Megan McClintock Amanda Warner S TAG E OP E R AT ION S Stage Supervisor Julia Englehorn P ROP E R T I E S Properties Supervisor Jillian A. Green Associate Properties Supervisor Gretta Grazier Properties Artisan Viqui Peralta S C E N E S HOP Technical Director Jim Smith Associate Technical Director Colin Babcock Shop Foreman Sam McKnight Master Carpenter E.T. Hazzard Carpenter Jamaica Montgomery-Glenn

Managing Director Susan Medak

COSTUMES Costume Director Maggi Yule Draper Kitty Muntzel Tailor Kathy Kellner Griffith First Hand Janet Conery Wardrobe Supervisor Barbara Blair Assistant Costume Designer Amy Bobeda E L E C T R IC S Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane Kenneth Coté

A DM I N I S T R AT ION Controller Suzanne Pettigrew Director of Technology Gustav Davila Associate Managing Director/ Manager, The Ground Floor Karena Fiorenza Ingersoll Executive Assistant Andrew Susskind Bookkeeper Kristine Taylor Associate General Manager/ Human Resources Manager David Lorenc Human Resources Consultant Laurel Leichter Database Manager Diana Amezquita DE V E L OPM E N T Director of Development Lynn Eve Komaromi Associate Director of Development Daria Hepps Director of Individual Giving Laura Fichtenberg Campaign Manager Libbie Hodas Institutional Grants Manager Bethany Herron Special Events Manager Lily Yang Individual Giving Associate Joanna Taber Development Database Coordinator Jane Voytek

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

General Manager Karen Racanelli

Development Associate Beryl Baker PAT RON S E R V IC E S Patron Services Manager Katrena Jackson House Manager Debra Selman Assistant House Managers Natalie Bulkley · Aleta George · Emily Hartman · Ayanna Makalani · Anthony Miller · Read Tuddenham Concessionaires Leah Barish · Laurie Barnes · Natalie Bulkley · Samantha Burse · Emily Fassler · Renee Gholikely · Alana Godner-Abravanel · Wendi Gross · Emily Hartman · Mary Kay Hickox · Kimberly “Mik” Jew · Maria Jimenez · Nima Khoshnevis-Rad · Devon Labelle · Margot Leonard · Hanna Lennett · Jamie McClave · Sarah Nowicki · Jenny Ortiz · Benjamin Sandberg · Amanda Spector · Andrew Susskind · Read Tuddenham · Nancy Villatoro Usher Coordinators Nelson & Marilyn Goodman B OX OF F IC E Ticket Services Manager Destiny Askin Subscription Manager & Associate Sales Manager Laurie Barnes Box Office Supervisor Terry Goulette Box Office Agents Christina Cone · Samanta Cubias · Luisa Frasconi · Sherice Jones · Eliza Oakley · Tom Toro · Aaron Walburg · Amanda Warner · Crystal Whybark M A R K E T I NG & C OM M U N IC AT ION S Director of Marketing & Communications Robert Sweibel Director of Public Relations Voleine Amilcar Art Director Nora Merecicky Video & Multimedia Producer Pauline Luppert Communications Manager Karen McKevitt Marketing Manager Kyle Sircus Audience Development Manager Sarah Nowicki Webmaster Christina Cone Program Advertising Ellen Felker

OP E R AT ION S Facilities Director John Horton Facilities Manager Lauren Shorofsky Building Engineer Thomas Tran Maintenance Technician Johnny Van Chang Facilities Assistants Kevin Barry · Sonny Hudson · Sophie Li · Carlos Mendoza · Jesus Rodriguez · Oliver Sweibel BERKELEY REP S C HO OL OF T H E AT R E Director of the School of Theatre Rachel L. Fink Associate Director MaryBeth Cavanaugh Jan & Howard Oringer Outreach Coordinator Dave Maier Community Programs Manager Benjamin Hanna School Administrator Kashara Robinson Registrar Katie Riemann Faculty Alva Ackley · Arion Alston · Jeffrey Bihr · Erica Blue · Rebecca Castelli · Sally Clawson · Laura Derry · Deborah Eubanks · Sara Felder · Nancy Gold · Gary Graves · Marvin Greene · Benjamin Hanna · Melissa Hillman · Gendell HingHernández · Andrew Hurteau · Aaron Jessup · Ben Johnson · Julian Lopez-Morillas · Dave Maier · Patricia Miller · Michael Navarra · Slater Penney · Lisa Anne Porter · Diane Rachel · Elyse Shafarman · Rebecca Stockley · James Wagner · Bruce Williams Outreach Teaching Artists Michael Barr · Mariah Castle · Gendell Hing-Hernández · Ben Johnson · Hannah Lennett · Marilet Martinez · Jack Nicolaus · Sarita Ocón · Carla Pantoja · Patrick Russell · Tommy Shepherd · Reggie White · Elena Wright Teacher Advisory Council Molly Aaronson-Gelb · Julie Boe · Amy Crawford · Beth Daly · Jan Hunter · Marianne Philipp · Richard Silberg · John Warren · Jordan Winer Docent Committee Thalia Dorwick, Director Matty Bloom, Core content Nancy Fenton, Procedures Jean Holmes, Visuals Charlotte Martinelli, Off-site contact & recruitment Tristan & Yseult Docents Nancy Fenton, Lead docent Matty Bloom Sandy Curtis Sandy Greenberg Nona Hungate Joy Lancaster Selma Meyerowitz

201 3–14 B E R K E L E Y R E P F E L L OW S H I P S Bret C. Harte Young Director Fellow Jacob Harvey Company/Theatre Management Fellow Bernadette Bascom Costume Fellow Franzesca Mayer Development Fellow Annalise Baird Education Fellows Gabriella Mingoia Alexandra Williams-Fleck Graphic Design Fellow Jared Oates Harry Weininger Sound Fellow Sarah Jacquez Lighting / Electrics Fellow Jack Horwitch Marketing & Communications Fellow Telma Sheppard Peter F. Sloss Literary/ Dramaturgy Fellow Sam Basger Production Management Fellow Emily Fassler Properties Fellow Ashley Nguyen Scenic Art Fellow Gena Whitman Scenic Construction Fellow Claudia Peterson Stage Management Fellow Sofie Miller

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

BOA R D OF T RU ST E E S Thalia Dorwick, PhD PRE S ID E N T

Helen Meyer

VI CE PRE S ID E N T

Jill Fugaro

VI CE PRE S ID E N T

Emily Shanks T RE A S U R E R

Scott R. Haber S ECRE TA RY

Roger A. Strauch

CH AIR , T RU S T E E S CO M M IT T E E

William T. Espey

CH AIR , AU D IT CO M M IT T E E

Marjorie Randolph

I M M E D IAT E PA S T PR E S ID E N T

PA S T PRE S ID E N T S

Helen C. Barber A. George Battle Carole B. Berg Robert W. Burt Shih-Tso Chen Narsai M. David Nicholas M. Graves Richard F. Hoskins Jean Knox Robert M. Oliver Harlan M. Richter Richard A. Rubin Edwin C. Shiver Roger A. Strauch Warren Widener Martin Zankel

B OA R D M E M B E R S

Carrie Avery Becky Bleich Martha Ehmann Conte Robin Edwards William Falik Lisa Finer David Fleishhacker Paul T. Friedman Bruce Golden David Hoffman Carole S. Krumland Dale Rogers Marshall Sandra R. McCandless Julie M. McCray Susan Medak Pamela Nichter Stewart Owen Leonard X Rosenberg Jack Schafer Richard Shapiro Jean Z. Strunsky Tony Taccone Gail Wagner Felicia Woytak S U S TAIN IN G A DVI S O R S

Carole B. Berg Rena Bransten Stephen K. Cassidy Diana J. Cohen John Field Nicholas M. Graves Richard F. Hoskins Dugan Moore Pat Rougeau Richard A. Rubin Patricia Sakai Michael Steinberg Michael Strunsky Martin Zankel

Visit our new bar fe aturing

Craft Cocktails cur ated by

Founding Director Michael W. Leibert Producing Director, 1968–83

201 3–1 4 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 45

FYI Latecomers

Please arrive on time. There is no late seating, except at the discretion of the house manager.

Connect with us online!

Theatre info

Considerations

Visit our website berkeleyrep.org You can buy tickets and plan your visit, read our blog, 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.

Accessibility Both theatres offer wheelchair seating and special services for those with vision- or hearing-impairment. Assistive listening devices are available at no charge in both theatre lobbies. Scripts for the hearing impaired are available in the box office.

Open captioning is available for at least one performance of every season production.

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

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

Recycle and compost your waste Help us be more green by using the recycling and compost containers found throughout the Theatre.

Phones / electronics / recordings Please make sure your cell phone, pager, or watch alarm will not beep. Doctors may check pagers with the house manager and give seat location for messages. Use of recording equipment or taking of photographs in the theatre is strictly prohibited.

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

Some of the props can be fragile, and are placed precisely.

No children under 7 Many Berkeley Rep productions are unsuitable for young children. Please inquire before bringing children to the Theatre.

No babes in arms.

facebook.com/ berkeleyrep @berkeleyrep

foursquare.com/ berkeleyrep yelp.com/ berkeleyrep

We’re mobile!

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

Android

iPhone

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

4 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 3

Educators 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.

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

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.

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.

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201 3–1 4 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 4 7

Yoga.

Coffee shop.

Deposit check.

Pay dog walker.

Deposit checks from your living room. Pay a friend from your favorite diner. Have a chat with a banker in Berkeley or Oakland, or anywhere in the Bay Area you happen to be. And, of course, get cash at your convenience at any one of our 961 Bay Area ATMs. On your phone, online, or on the go — it’s all about getting your banking done. Learn more at GetBankingDone.com or stop by your nearby Wells Fargo location.

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