DUNSINANE by David Greig

MARIN THEATRE COMPANY NATIVE LAND ACKNOWLEDGEMENT

Marin Theatre Company acknowledges that our theatre and administrative offices are located on the ancestral, occupied, and unceded land of the Coast Miwok peoples. We recognize that we currently benefit from living and working on their traditional homelands, and affirm their sovereign rights as first peoples. We are committed to learning and to strengthening our relationships with members of our local community, and to work towards dismantling the harmful effects of white supremacy and colonization. We acknowledge the Coast Miwok as the original caretakers of this land. We pay our respects to the Coast Miwok community and their elders both past and present, as well as future generations.

The Coast Miwok, from the areas of Novato, Marshall, Tomales, San Rafael, Petaluma and Bodega, are members of the Federated Indians of Graton Rancheria, a community which includes the Southern Pomo peoples from the Sebastopol area.

We pledge to build relationships with sovereign tribal nations and to never cease ongoing learning, to ensure that Marin Theatre Company becomes a more inclusive and welcoming space.

LEARN MORE ABOUT THE COAST MIWOK AND THE FEDERATED INDIANS OF GRATON RANCHERIA:

Coast Miwok: Facebook.com/SouthernCoastMiwok.com1 coastmiwokofmarin.org marinmiwok.com

Federated Indians of Graton Rancheria: GratonRancheria.com

Support indigenous rights organizations on a national or global level: IllumiNative

Native American Rights Fund

Cultural Survival

Indigenous Environmental Network

TABLE OF CONTENTS

2 Letter from Managing Director and CEO

4 Letter from Tam High Partners, Co-Program Directors of Conservatory Theatre Ensemble

6 Cast, Creative & Production Teams of Dunsinane

8 From the Dramaturg: Dunsinane: What You Need To Know

9

Who’s Who in Scotland

11 Scotland and England in the 11th Century

12 The Scottish Factions: Alba vs. Moray

13 How the Witches’ Prophecy in Macbeth Relates to Dunsinane

14 How Shakespeare Got Scotland Wrong

16 Cheat Sheet: Macbeth vs. Dunsinane

17 Youth in War

19 The Real Macbeth: Did You Know???

20 What’s Happening at Tam High’s Conservatory Theatre Ensemble

21 Bios of the Cast, Creative & Production Teams

30 Special Thanks for Dunsinane

31 Marin Theatre Company Staff, Advisory Board, Box Office Information

32 Marin Theatre Company Individual Donors, Foundation Support, Gifts, Honors, Production Underwriters

Letter from Managing Director and CEO

Welcome to the dynamic and riveting opening production of our 2022–2023 season, Dunsinane. When we began to conceptualize this year’s works and our hopes for their impact, the words that spoke to us included: collaboration, a year where new works necessitated deep involvement from ensembles and individuals in order to manifest fully; community, a season that excited our friends and neighbors to join us in the theatre and experience profound storytelling together; hope, where each work and artist exemplified the light that cuts through darkness, and opportunity, from apprenticeships to a new festival, a season that brings young artists and seasoned artists into a single space to build professional work that stimulates minds and hearts of today’s—and tomorrow’s—arts appreciators.

With Dunsinane, specifically, we charge out of the gate to open our season with the vigor of David Greig’s vibrant, dark, and witty imagined continuation of Shakespeare’s Macbeth. As our dramaturg Scott Horstein shares, Dunsinane not only continues the story but also creates a “counter-history” of the tale where misinformation from Shakespeare’s Scottish play is challenged and refuted as the characters of Dunsinane move forward and make discoveries.

The pace of the text gallops forward, and the choreography in scenes of love and war propels the action in this race to the top of Scotland’s famous hill of the same name. Conversations in the rehearsal room revolved around the hold that power, politics, and propaganda have over people conditioned to fight for their country as a moral imperative.

Scenes of tenderness were essential in revealing the vulnerability of characters dehumanized by the enemies surrounding them, a true exercise in empathy and insight amidst chaotic events.

Partnering with the talented students of Conservatory Theatre Ensemble (CTE) at Tamalpais High School in Mill Valley heightened awareness in the room of the intergenerational impact of war, both on the battlefield and in the minds of people raised on war stories of their country. As a company, and with the care of fight, dance, movement, and intimacy director Zoë SwensonGraham, we worked to create a productive and safe space for student professionals to thrive, and the student professionals themselves brought the highest levels of work ethic, integrity, and creativity to their work.

As the lights begin to dim, I hope you are moved to make this attendance a regular part of your year. We consider your experience year-round with great care, regularly asking how we can create theatre that excites our community to join us in the space not only for one play, but also for the full arc of a season. I want to invite you to collaborate with us as a season subscriber, sharing with us the fulfillment of new work over time and its impact not only on stage but also in ourselves.

We hope you enjoy the thrill of the sword fights and narrative twists and turns worthy of Game of Thrones but pulsing with the presence and humanity only experienced through live theatre. Sheath your sword of disbelief and transcend with us to the Scottish highlands where lies are uncovered, lives are lost, love is found, and hills are saved.

Meredith Suttles, Managing Director and CEO

BOARD OF DIRECTORS

Wendy Feng Chair

Matthew Purdon Vice-Chair

John Chesley Secretary

Robert Reynolds Assistant Treasurer

Naima Dean

Kipp Delbyck

Denmo Ibrahim

Jennifer McEvoy

Vera Meislin

Christian Mills

Kathryn Olson

Josh Rafner

Barbara Roberts

Stacy Scott

Tara Sullivan

Penny Wright

Letter from Tam High Partners, Co-Program Directors of Conservatory Theatre Ensemble

The students and staff at Tam High Drama are happy to be a part of Marin Theatre Company’s new season. Collaboration across the grades is the everyday learning model at Tam Drama’s Conservatory Theatre Ensemble (CTE). Our Advanced Drama student directors guide younger actors as they devise original theatre pieces and build skills through the rehearsal process. We invite legendary local theatre professionals to teach workshops, further enhancing our students’ ability to write, direct, design, build, and create theatre. Our current Marin Theatre Company co-production adds another new dimension to our sequential training and production opportunities.

We are thrilled to extend these learning opportunities as our students travel off-site into professional collaborations and internships. Our four actors working with the Dunsinane ensemble have inspired future possibilities of cross-generational collaboration with MTC. We know our students have benefitted from the mentorship of these gifted and seasoned actors and production team. We hope, in turn, our students have also contributed their energy, enthusiasm, joy in hard work, and generosity to the Dunsinane process. They will return to our ensemble prepared to mentor, teach, and model what they learned.

Our parallel production at CTE of Macbeth, adapted by Gregory Maupin, offers a dynamic entry point to this play’s material. Directed by Ben Cleaveland, with choreography and dramaturgy by Julianna Rees, the production is fully student-designed and features our 9th to 12th grade actors. Our 70-minute Macbeth plays October 10th to 15th at 7pm, and is followed by a 70-minute Twelfth Night directed by CTE visiting artist Sarah McKereghan.

At Tam Drama, directing, acting, design, and playwriting are equal threads we weave together. All of the students in our non-audition pro gram perform and produce work, leading to an engaged and passionate ensemble where students have a deep ownership of their learning. We are thrilled to see our younger artists continue this cycle as they work alongside MTC’s professionals in the realization of the extraordinary Dunsinane.

Ben Cleaveland and Julianna Rees Co-Program Directors, CTE

CTE’s 2022–2023 Play Season

All performances at 7pm with tickets at the door

Shakespeare’s Macbeth & Twelfth Night

directed by Ben Cleaveland and Sarah McKereghan

October 10–15, 2022

Virginia Woolf’s Orlando

adapted by Sarah Ruhl, directed by Ashley Baker November 30–December 4, 2022

Winter One Act Festival

24 Student Directed Plays

January 11–13 & 18–20 & 25–27, 2023

Improv Show & World Premiere New Play directed by Regina Saisi & Robert Ernst February 12–13/ 15–16, 2023

Original Commedia dell’arte

devised and directed by Peter Parish & Sarah McKereghan March 21–25, 2023

Straight Outta Padua: Liberating the Shrew

newly adapted from Shakespeare and directed by LeShawn Holcomb & Griot Theatre Co. April 26–30, 2023

Spring One Act Festival

24 Student Written & Directed Plays

May 12–13 & May 15–19 & May 22–23

The CTE program at Tam High is supported partly by generous donations from our community. We greatly appreciate your support at www.ctetam.org

DUNSINANE

BY DAVID GREIG

DIRECTED BY JASSON MINADAKIS° AND ROB LUTFY

Produced in Partnership with Tamalpais High School’s Conservatory Theatre Ensemble (CTE), Ben Cleaveland and Julianna Rees, Co-Program Directors.

DUNSINANE was commissioned and produced by the Royal Shakespeare Company and premiered at the Hampstead Theatre, London, on 10th February 2010.

CAST OF CHARACTERS (in order of appearance)

English Army / A Scottish Boy / Boy Prisoner / Kintyre, a Clan Chief of Scotland

Brendan Barger ± Siward, an English General

Aldo Billingslea* Egham, Siward’s English Lieutenant / Luss, a Clan Chief of Scotland Daniel Duque-Estrada* The Boy Soldier Jack Hochschild ±

English Army / One of Gruach’s Women / The Hen Girl Kira Keane ± English Army / One of Gruach’s Women Molly Lyons ± The Sergeant/ A Scottish Soldier / Malcolm, the King of Scotland / English Army

Josh Odsess-Rubin* Osborn, Siward’s Son / Gruach, the Queen / English Army

Lisa Anne Porter* Macduff, Siward’s Scottish Lieutenant / English Army Michael Ray Wisely* All other parts played by members of the ensemble.

SETTING

Various Locations in Scotland.

Spring

Summer

Autumn

Winter

Please remember to turn off all cell phones

other devices that could make noise and be distracting to the cast and people around you.

and recordings of any kind are strictly prohibited.

CREATIVE TEAM

Composer

Implied Music / Chris Houston

Vocal Composer Penina Goddessmen

Fight / Dance / Movement / Intimacy Director

Zoë Swenson-Graham Scenic Designers Jasson Minadakis & Jeff Klein

Costume Designer Brooke Jennings

Lighting & Projection Designer Mike Post

Sound Designer

Will McCandless + Dramaturg Scott Horstein

Vocal / Dialect Coach

Christine Adaire

Props Designer Liam Rudisill

Gruach Emblem Artist

Melissa Taylor Stage Manager Nick Carvalho*

Assistant Stage Manager

Jo Davita Ortiz Assistant Costume Designer Daria Perkova Stitcher

Ralph Hoy

Fight Captain Josh Odsess-Rubin*

Assistant Director Apprentice

Ella Cox ± Dramaturg Apprentice Ruby Roth ±

PRODUCTION TEAM

Interim Production Manager Jeff Rowlings Technical Director, COVID Safety Manager Jeff Klein Assistant Technical Director Liam Rudisill Costume Shop Manager, Wardrobe Lead Daria Perkova Lead Electrician/ Lights Programmer Krys Swan Carpenter Michael Ferrell Scenic Charge Ewa Muszynska Electricians Joshua Graves, Jacob Nagel, Ben Miller, Arashi Veronica Cesana Scenic Painter

Evandro Conceicao Board Operator Arashi Veronica Cesana

Technical Apprentice

Delta Fisher ± Technical Apprentice Donovan Walter ±

° The Director is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.

* Member of Actors’ Equity Association. This theater operates under an agreement with Actors’ Equity Assoc., the Union of Professional Actors and Stage Managers in the United States.

+ The sound designer in our LORT Theatre is represented by United Scenic Artists, Local USA 829 of the International Alliance of Theatrical Stage Employees.

± Student professionals and apprentices from Tamalpais High School’s Conservatory Theatre Ensemble (CTE).

Content Advisory: This production includes the use of safe, water-based theatrical haze, coarse language and scenes of war, scenes of sexual threat and sexual relations, and stage violence including adult characters played by high school students. All actors, including our student professionals, have been safely coached by a trained stage combat and intimacy professional.

the Dramaturg

DUNSINANE: WHAT YOU NEED TO KNOW

• Dunsinane is an imagined sequel to William Shakespeare’s play Macbeth.

• Like Macbeth, Dunsinane is set in 11th century Scotland.

• England is invading Scotland to install Malcolm on the Scottish throne. Malcolm is Scottish and had previously fled to England to escape Macbeth’s tyranny.

• English soldiers wear RED, Scottish soldiers wear BLUE, the colors corresponding to their respective flags.

• Macbeth is referred to in our play as “the tyrant.” (In Shakespeare’s Macbeth, he murders his way to the throne of Scotland and becomes increasingly bloody and paranoid.) He appears in our play as the body of the dead king.

• Dunsinane castle is the seat of power in Scotland at this time. Macbeth was king here, and at the end of Shakespeare’s play he is defeated and killed here.

The ruins of Dunsinane castle today.

Who’s Who in Scotland

In our production of Dunsinane, each actor plays many roles. Here are some key figures:

SIWARD

General of the invading English army.

Ally to Malcolm and Macduff. Also a character in Shakespeare’s play.

Early Costume Sketch of SIWARD by Costume Designer Brooke Jennings

MALCOLM

Now King of Scotland, Scottish claimant to Macbeth’s empty throne.

Head of the Scottish faction of Alba. In Shakespeare’s play, Malcolm fled Scotland to escape Macbeth’s reign of terror and took refuge in England. Malcolm then persuaded England, represented by Siward, to invade Scotland, attack Macbeth, and install Malcolm on the throne.

MACDUFF

Siward’s Scottish lieutenant. Scottish lord and Macbeth’s nemesis, he joins forces with Siward and Malcolm to unseat Macbeth. In Shakespeare’s play, Macduff’s wife and children are murdered at Macbeth’s orders.

GRUACH

Macbeth’s widow, unseated Queen of Scotland.

Head of the Scottish faction of Moray. Mother to Lulach, who is a rival to Malcolm’s claim to the throne. Known in Shakespeare’s play as Lady Macbeth.

Costume Sketch of GRUACH by Costume Designer Brooke Jennings

EGHAM

Siward’s English lieutenant.

THE BOY SOLDIER

A boy under Siward’s command.

ENGLISH ARMY

Variously referred to as Edward, Eric, and Tom.

OSBORN

Siward’s son.

LULACH

Son of Gruach, rival claimant to Malcolm for the Scottish throne.

LUSS AND KINTYRE

Scottish clan chiefs allied with Malcolm.

Our Soldiers’ Colors

RED = ENGLAND

BLUE = SCOTLAND

In our play, English soldiers wear the RED cross, for England’s flag, Scottish soldiers wear the BLUE background of the Scottish flag. These costume sketches show how one actor can instantly switch between playing an English soldier or playing a Scottish soldier by pulling down part of the tabard (tunic) they wear.

Tabard Reveal Ideas

Pull down from both shoulders

Pull down from one shoulder (panel)

Pull from one shoulder across (not a panel, still one piece)

Pull from one shoulder down and across (panel)

Costume Ideas

Dunsinane

Costume Designer Brooke Jennings

Soldiers’ Base Costume, Early Sketch by Costume Designer Brooke Jennings

SCOTLAND AND ENGLAND IN THE 11TH CENTURY

Early in Dunsinane, Macduff briefs Siward on the geopolitics of Scotland.

map gives Macduff’s lay of the land.

Seat of Gruach’s power

Dunsinane castle

of the Scottish throne, Malcolm’s seat of power, and Siward’s field headquarters in Scotland)

Lyon (Gruach’s hidden pocket of resistance)

home territory)

The Scottish Factions ALBA vs. MORAY

KINGDOM OF ALBA

(Malcolm’s faction)

The Kingdom of Alba was the seat of the Scottish throne and had power over the south and east of the country.

Duncan

(Old king killed by Macbeth in Shakespeare’s play in order to get the throne. Doesn’t appear in Dunsinane.)

Malcolm

(Installed as King of Scotland at the beginning of our play.)

KINGDOM OF MORAY

(Gruach’s faction)

The Kingdom of Moray was a rival power base to the Kingdom of Alba and had power over much of the north and west of the country.

Gille Comgain

(Historically, Gruach’s first husband, killed by Macbeth, her second husband. Mentioned by Gruach in a scene with Siward. Doesn’t appear in either play.)

Gruach

(Lady Macbeth in Shakespeare’s play.)

Lulach

(A boy; rival claimant to the throne of Scotland.)

Macbeth

(Called “the tyrant” in our play. Appears in our play as the body of the dead king.)

HOW THE WITCHES’ PROPHECY IN MACBETH RELATES TO DUNSINANE

What wood is this before us?

The play title Dunsinane refers to the famous bloody climax of Shakespeare’s horror-show play Macbeth. The character of Macbeth, a bloodthirsty Scottish king (called “the tyrant” in Dunsinane), receives a prophecy from three Witches that he cannot be defeated until “Birnam wood to high Dunsinane hill shall come”—that is, until the trees in the forest around Macbeth’s castle stand up and start walking towards the castle walls. Since this seems physically impossible, Macbeth takes the Witches’ prophecy as certainty that he will never be defeated.

What Macbeth doesn’t count on is the ingenuity of his nemesis, Macduff. Macduff allies himself with the English army. In Birnam Wood, outside of Macbeth’s Dunsinane castle, Macduff gives the army tree branches for camouflage, so when Macbeth looks out from Dunsinane castle, the forest seems to move and surround him. Thus, when Macduff’s forces storm the castle, Birnam Wood does in fact come to Dunsinane. Macduff kills Macbeth, and the Witches’ prophecy is finally fulfilled.

– Macduff in Shakespeare’s Macbeth

a forest

real forest

a

HOW SHAKESPEARE GOT

Dunsinane is not just a sequel to Macbeth; it’s a counter-history. Yes, like in Shakespeare, Macbeth is dead. And, yes, like in Shakespeare, Macduff is victorious, along with his allies: Siward, the commander of the English army, and Malcolm, contestant for the Scottish throne whose father Duncan had been killed by Macbeth.

GOT SCOTLAND WRONG

throne followed the principle of primogeniture, whereby the eldest son of the ruler automatically became the successor. Centuries of English historians despised the Scottish way, and depicted Scottish rulers as lawless and illogical.

Greig’s play reworks Shakespeare’s play and seriously interrogates English assumptions. Greig draws much more closely on true histories of Macbeth and Scotland. Greig also insists on greater linguistic authenticity than Shakespeare did, with Scottish characters occasionally speaking their native Gaelic at key moments.

David Greig’s play Dunsinane premiered in 2010 at the Royal Shakespeare Company in England, and has since toured worldwide with the National Theatre of Scotland, last touring the U.S. in 2015. This production at MTC marks the first production by an all-American team. Macbeth is Scottish history written by an English playwright, and it got so many things wrong. Dunsinane is Scottish history written by a Scottish playwright, and it sets the record straight.

GLEN LYON is the longest glen (steep, glacier-formed valley) in Scotland, 32 miles long, sometimes thought of as a mystical place. In Dunsinane, it is Gruach’s key hidden pocket of resistance.

Photo

MACBETH vs. DUNSINANE Cheat Sheet

David Greig’s Dunsinane is a sort of sequel to Shakepeare’s Macbeth. In Shakespeare’s play, Macbeth, a Scottish general, receives a prophecy from three Witches that he will become King of Scotland. Motivated by the prophecy, Macbeth and his wife Lady Macbeth decide to murder the current king. When Macbeth takes his crown, more violence and civil war follow, leading to Macbeth’s eventual death in battle.

Macbeth

Lady Macbeth goes mad from guilt over her and Macbeth’s murder of the former king.

Dunsinane

Gruach (which is the real historical name for Macbeth’s queen) is alive and very sane at the beginning of the play.

We see Macbeth murder the Scottish king Duncan with knives, then take his throne.

Macduff kills Macbeth at the end of the play.

We don’t meet Macbeth (called “the tyrant” in this play) and don’t see him commit any murders.

Macduff kills Macbeth offstage early in the play. Gruach later mourns over Macbeth’s dead body.

There is no mention of the actual historical conflict between the Kingdom of Alba and the Kingdom of Moray.

The actual history of Alba and Moray figures prominently in the play.

The yew tree in the Scottish village of Fortingall, still standing in the churchyard, is called the oldest tree in Britain and is thought to be 2,000 to 3,000 years old. It marks the entrance to the mystical valley of Glen Lyon.

Photo

Trish Steel

Youth in War

Dunsinane features a unique producing partnership between Marin Theatre Company and the Conservatory Theatre Ensemble (CTE) at Tamalpais High School in Mill Valley. As our CTE student professional actors explore and perform the characters of new recruits to the English army, they follow a long tradition of storytelling and memoirs of youth in war.

War is the world’s second-oldest form of entertainment. From Achilles and Cúchulainn to Krishna and the Volsungs of Icelandic saga, our most enduring stories are about war and war heroes, and the post-Neolithic art found on every continent except Antarctica suggests our fascination with the images of battle as well. Getting caught up in the representation of war allows for the vicarious (and safe) enjoyment of its thrilling and troubling spectacle and the chance to take a peek at life and death in extremis.

– Stacey Peebles, Welcome to the Suck: Narrating the American Soldier’s Experience in Iraq (Cornell University Press, 2011)

In a dress, away from base, you’d never guess I was a soldier. Always been a girl that catches a guy’s eyes. And yet I do fifty-five push-ups in under a minute. Tough, and proud to be tough. I love my M-4, the smell of it, of cleaning fluid, of gunpowder: the smell of strength. Gun in your hands, and you’re in a special place. I’ve come to look forward to that.

It can turn you, though.

– Kayla Williams, Love My Rifle More Than You: Young and Female in the U.S. Army (W.W. Norton, 2005)

Enchantment refers to the tendency to see in violence some kind of transformative power… [disenchantment] is not a passive recognition of spiritual flatness, but the active stripping away of idealized principles...

– Sarah Cole, “Enchantment, Disenchantment, War, Literature.” (PMLA 124, no. 5, 2009. As quoted in Stacey Peebles, Cornell University Press, 2011)

I remember most of the names and faces of my platoon mates. I remember the names and faces of some of their girlfriends and wives. I think I know who cheated and who remained faithful. I remember who wrote letters and who drove their men mad with silence. I remember some of the lies and most of the questions. I remember the dreams and the naïve wishes, the pathetic pleas and the trouser-pissing horror.

I remember some of the sand, but there was so much of it, I should be forgiven.

I remember about myself a loneliness and a poverty of spirit; mental collapse; brief jovial moments after weeks of exhaustion; discomfiting bodily pain; constant ringing in my ears; sleepless and drunkenness and desperation; fits of rage and despondency; mutiny of the self; lovers to whom I lied; lovers who lied to me. I remember going in one end and coming out the other. I remember being told I must remember and then for many years forgetting.

– Anthony Swofford, Jarhead (Scribner, 2003)

…I am the Queen of Battle. I am what my country expects me to be, the best trained Soldier in the world. In the race for victory, I am swift, determined, and courageous, armed with a fierce will to win.

Never will I fail my country’s trust. Always I fight on...through the foe, to the objective, to triumph overall. If necessary, I will fight to my death.

By my steadfast courage, I have won more than 200 years of freedom. I yield not to weakness, to hunger, to cowardice, to fatigue, to superior odds, For I am mentally tough, physically strong, and morally straight. I forsake not, my country, my mission, my comrades, my sacred duty. I am relentless.

I am always there, now and forever.

I AM THE INFANTRY! FOLLOW ME!

– from “The Infantryman’s Creed,” U.S. Army (from the website of the 199th Infantry Brigade at Fort Benning, Georgia. https://www.benning.army.mil/infantry/199th/)

The Real Macbeth: DID YOU KNOW???

Playwright David Greig takes inspiration from Shakespeare’s Macbeth. Greig, a Scottish playwright, gives us the Scottish view of Scotland, whereas the English playwright William Shakespeare portrays Macbeth as a bloodthirsty tyrant and Scotland as a chaotic, lawless place. Shakespeare’s version of 11th century Scottish history isn’t the whole story.

DID YOU KNOW…

Danish battle axe, also used by the English in the time of Macbeth.

What’s Happening at Tam High’s Conservatory Theatre Ensemble

BRENDAN BARGER± (he/ him – English Army/A Scottish Boy/Kintyre/Ensemble) is a current senior at Tamalpais High School where he has been a part of CTE for four years. As a student, Brendan has been a part of many shows inside and outside the classroom, including A Midsummer Night’s Dream, 42nd Street, Yield, and much more.

ALDO BILLINGSLEA* (he/ they – Siward/Ensemble) is thrilled to be back at MTC. Previously he appeared in Scott Kaiser’s Splittin’ the Raft, McCraney’s In the Red & Brown Water, O’Neill’s The Hairy Ape, and Othello. Billingslea also briefly served as an MTC Board Member. He resides in Santa Clara with Renee Billingslea, his visual-artist wife. They teach at Santa Clara University, she teaches art while he teaches acting.

DANIEL DUQUE-ESTRADA*

(he/him – Egham/Luss/ Ensemble) was first seen at MTC as Fitzwilliam Darcy in last season’s Georgiana and Kitty: Christmas at Pemberley. Other theatres include WP Theater and PlayCo (off-Broadway), as well as two seasons at the Oregon Shakespeare Festival, Dallas Theater Center (Brierley Resident Acting Company 2013–2016), CalShakes, and Trinity Repertory Company, where he is currently a

member of their Resident Acting Company since 2017. He holds a BA from UC Berkeley and an MFA from Brown University/Trinity Rep.

JACK HOCHSCHILD± (he/him – The Boy Soldier/Ensemble) is a 16-year-old Junior at Tamalpais High School, where he has been performing at Conservatory Theatre Ensemble (CTE) for the past two years. He is also an honors theatre director and a board copresident of CTE. This spring, he will be stage manager of a CTE production. Jack is excited to be making his professional debut in Dunsinane

KIRA KEANE± (she/her –English Army/The Hen Girl/ Ensemble) is a Senior in the Conservatory Theatre Ensemble at Tamalpais High School. Through the program, Kira has worked as an Actor, Stage Manager, and Honors Theatre Director, aiding in the production of five shows during her Junior year. She also dances at Happy Feet Dance School, plays flute in the Tam High Jazz Band, and is a Varsity Pole Vaulter on the Tam Track and Field team. She is thrilled to be a part of this process with Marin Theatre Company and is excited to be making her professional debut.

MOLLY LYONS± (she/her –English Army/Ensemble) is a Senior in the Conservatory Theatre Ensemble at Tamalpais High School. She has worked as an Actor, Front of House Manager, Prop Designer, Soundboard

Student professional from Tamalpais High’s CTE.

Operator, and various other production jobs. She also is a Varsity Hurdler on the Tam Track and Field team. Molly was very excited for the opportunity to work in a professional program at Marin Theatre Company.

JOSH ODSESS-RUBIN* (he/him – Malcolm/The Sergeant/A Scottish Soldier/ Ensemble, Fight Captain) is a Berkeley native delighted to be making his professional Bay Area debut. His most recent credits include Oliver on the final season of NBC’s “This is Us,” and Vlad in the upcoming film Good Bad Luck. Regional Theatre: Sense and Sensibility, Photograph 51, Our Town (South Coast Repertory); Red Herring (Portland Stage); Romeo and Juliet, Long Day’s Journey into Night, Miss Bennet: Christmas at Pemberley (American Stage); The Comedy of Errors (Lake Tahoe Shakespeare); Animal Crackers, Bad Jews, When the Rain Stops Falling (Cygnet); The Imaginary Invalid (A Noise Within); A Christmas Carol (Sierra Rep); As You Like It (Shakespeare Orange County); My Name is Asher Lev (Ensemble Theatre Cincinnati); The City of Conversation (Coachella Valley Rep); Twelfth Night, King Lear, Midsummer (New Swan Shakespeare); Richard II (Yale Rep). Josh has also developed new works with theatres such as Playwrights Horizons, The Old Globe, Ars Nova, HERE Arts, Culture Project, Theatre of NOTE, Boston Court, and the 2022 Ojai Playwrights Conference. Film/ TV: “Hacks” (HBO Max), “Physical” (AppleTV+), “My Crazy Ex” (Lifetime), A Girl from a Box, The Descendant. BA–Yale, MFA–UC Irvine. XO to C. For my dad.

LISA ANNE PORTER* (she/ her– Gruach/Osborn/ English Army/Ensemble) has performed with numerous theatres throughout the country. Most recently, she has been seen in Fefu and Her Friends at American Conservatory Theater (A.C.T.)., Eureka Day at the Aurora Theatre Company, The Eva Trilogy and A Bright Half Life at the Magic Theatre and Twelfth Night at California Shakespeare Theatre. She has been the Resident Director as well as the Co-Head of Voice and Dialects for the SF production of Harry Potter and the Cursed Child. As a teacher, she most recently served as Head of Acting and Dialects in the MFA program at A.C.T. She has an M.F.A. in Acting from A.C.T., a B.A. from Wesleyan University, and is a Designated Linklater Voice Teacher.

MICHAEL RAY WISELY*

(he/him – Macduff/English Army/Ensemble) An awardwinning actor, Michael Ray is well known to Bay Area audiences with a career that spans 3 decades. Recent roles include Bill in August:Osage County for SJStage, Iago in Othello at African American Shakespeare, Ray in Blackbird for PacRep, and Bottom in A Midsummer Night’s Dream for SF Shakes. Off-Broadway, international, and regional credits: 59e59 Theaters (NYC), Teatro Santa Ana (SMA), Aurora Theatre Company, Berkeley Repertory Theatre, Magic Theatre, San Francisco Playhouse, Center Repertory, TheatreWorks, Marin Shakespeare, and many others. He also works in film, television and radio. Most recently, he can be seen in the final season of the Netflix series, 13 Reasons Why. Find out more on michaelraywisely.com

*Member of Actors’ Equity Association

Student professional from Tamalpais High’s CTE.

DAVID GREIG (he/him –

Playwright) David Greig has been Artistic Director of the Royal Lyceum Theatre in Edinburgh since 2015. A playwright, screenwriter and theatre director, his original plays and adaptations have been performed at many of the UK’s major theatres, including the Royal Lyceum, Traverse, National Theatre of Scotland, Pitlochry, Royal Court, National Theatre, RSC and West End, as well as on Broadway and internationally. His awardwinning work includes Cover My Tracks (Old Vic); Lanark (Lyceum, Edinburgh International Festival); The Events (Actors Touring Company/Young Vic, Traverse Theatre & Vienna); Glasgow Girls (Citizens Theatre, Glasgow; Off West End award for Best New Musical); The Strange Undoing of Prudencia Hart (Tron Theatre, National Theatre of Scotland); Midsummer (Traverse Theatre, Soho Theatre, Tricycle Theatre, UK & international tours); Dunsinane (RSC at Hampstead Theatre, National Theatre of Scotland); Damascus (Traverse & Tricycle Theatres); Miniskirts of Kabul (Tricycle); The American Pilot (RSC, Soho & Manhattan Theatre Club). Adaptations include Under Another Sky (Pitlochry Festival Theatre); Touching the Void (West End, Bristol Old Vic, Royal Lyceum & tour); Creditors (Donmar Warehouse, BAM NY); The Suppliant Women (Royal Lyceum, Young Vic & national tour); The Lorax (Old Vic); Charlie and the Chocolate Factory (Theatre Royal Drury Lane, Broadway & Sydney); The Bacchae (Edinburgh International Festival, Lyric Hammersmith); Tintin in Tibet (Barbican, West End & national tour).

JASSON MINADAKIS (he/ him – Co-Director, Co-Scenic Designer) is beginning his 17th season as artistic director of Marin Theatre Company, where he has directed The Sound Inside, The Catastrophist, Mother of the Maid, Sovereignty, Oslo, Shakespeare In Love, Thomas and Sally, Guards at the Taj, August: Osage County, The Invisible Hand, Anne Boleyn, The Convert, The Whale, Failure: A Love Story, the world premiere of Lasso of Truth, The Whipping Man (San Francisco Bay Area Critics Circle Awards for Best Production and Best Acting Ensemble), Waiting for Godot, Othello: the Moor of Venice, The Glass Menagerie, Edward Albee’s Tiny Alice, the world premiere of Libby Appel’s adaptation of Chekhov’s Seagull, Happy Now?, Equivocation (SFBATCC Award, Best Director), the world premiere of Sunlight, Lydia, The Seafarer, Frankie and Johnny in the Clair de Lune, A Streetcar Named Desire, said Saïd, Love Song, and The Subject Tonight is Love. As artistic director of Actor’s Express Theatre Company, he directed The Pillowman, Bug, The Love Song of J. Robert Oppenheimer, Echoes of Another Man, Killer Joe, Burn This, The Goat or, Who is Sylvia?, Blue/Orange, and Bel Canto. As producing artistic director of Cincinnati Shakespeare Festival, he directed Jesus Hopped the ’A’ Train, Chagrin Falls (2002 Cincinnati Entertainment Award for Best Production), and numerous others, including 19 productions of Shakespeare. Regional credits include The Whipping Man at Virginia Stage Company, Cat on a Hot Tin Roof and Hamlet at Georgia Shakespeare, Copenhagen at Playhouse on the Square (2003 Ostrander Theatre Award for Best Dramatic Production), and Bedroom Farce at Wayside Theatre. He is a Member of Stage Directors and Choreographers.

ROB LUTFY (he/him – CoDirector) was last at Marin Theatre Company in 20142015 as the National New Play Network Producer-inResidence. Formerly as the Associate Artistic Director at Cygnet Theatre in San Diego, he directed 18 plays and produced 42 others over seven seasons. He was awarded the 2019 Craig Noel Award for Director of the Year. This season at Cygnet Theatre he will direct the world premieres of The Little Fellow by Kate Hamill and Sharon by Keiko Green. At Cygnet he was the head of new play development where he commissioned 20 plays by writers including: Miranda Rose Hall, Herbert Siguenza, Nathan Alan Davis, and Leah Nanako Winkler. He has developed plays at Playwrights’ Center in Minneapolis, The Theatre at Boston Court, Milwaukee Repertory Theater, The John F Kennedy Center, The O’Neill Theatre Center, Woolly Mammoth Theatre, Burning Coal Theatre, The Hub Theatre and Dual Rivet Dance Company. He has taught classes at San Diego State University, Grossmont College, and UCSD. He was the 2012-2013 William R. Kenan, Jr. Directing Fellow at The John F. Kennedy Center. Rob is a graduate of the directing program under Gerald Freedman at the University of North Carolina School of the Arts. Special thanks to his west coast parents, Rick and Cheryl Brandon.

IMPLIED MUSIC/CHRIS

HOUSTON (he/him –Composer) is a pianist, composer, producer, and sound designer. He performs and records as Implied Music. He is the veteran of decades of solo and ensemble performances in jazz, rock, traditional, and classical styles. He teaches piano and composition and has lectured on music at Boston Ballet and San Francisco

State University. Chris has written and recorded music for picture and stage for almost fifty years. He has numerous credits for theater composition and sound design in the Bay Area, New York, and nationally. Chris has scored feature and documentary films. He has developed library music for PBS television and NPR radio. He is the recipient of seven ASCAP Plus awards, five Bay Area Theatre Critics’ Circle Awards for composition and sound design, as well as the Arty award for sound design.

PENINA GODDESSMEN

(she/her – Vocal Composer) is a second year Technology in Music and Related Arts student at Oberlin Conservatory. She studied the cello growing up at The Crowden School of music, and started composing music in eighth grade. Throughout high school she began learning music production from her long time collaborator and teacher Chris Houston. Her main instrument is now her voice and the computer, however she still plays a lot of cello. Her vocals were a part of the music in MTC’s previous production Mother of the Maid. She has a background in folk music, but her work for Dunsinane is her introduction to singing and composing in Gaelic. Her solo music can be found under the name Goddessmen on various streaming services including Spotify and Apple Music.

ZOË SWENSON-GRAHAM

(she/her – Fight/Dance/ Movement/ Intimacy Director) is thrilled to work with Marin Theatre Company for the first time! She returned to the states in 2015 after living in London for nearly seven years, where she worked as an actor and dancer, and trained as a stage combat instructor and fight choreographer. Skilled in

over a dozen weapons, Zoë served as stage combat choreographer and teacher around the UK, including the Royal Opera House, Soho Theatre, Shakespeare’s Globe, Guildford School of Acting, Royal Welsh College, Southwark Playhouse, British American Drama Academy, and stunt work for Derren Brown: Apocalypse (Channel 4). Since returning to the Bay Area, she has choreographed and taught with the American Conservatory Theater, San Francisco Playhouse, Hillbarn Theatre (San Francisco Bay Area Theatre Critics Circle nomination for fight choreography), Marin Musical Theatre Company (TBA Award finalist for fight choreography), Sierra Repertory Theatre, Youth Musical Theater Company, Mountain Play, and Shotgun Players. Zoë is lucky to work as a director, dance choreographer, and fight choreographer around the Bay Area.

JEFF KLEIN (he/him/they –Co-Scenic Designer) joined Marin Theatre Company as an Asst. Technical Director in 2006, but since 2015 has been the Technical Director. Before his time at MTC, Jeff had worked in various aspects of live entertainment since 1999, from theme park shows in Texas to IATSE union work and other professional theatre companies in the SF Bay Area. His great passion and humbling privilege are participating in many creative endeavors. He obtained a B.A. in Humanities at Schreiner College in 1998.

BROOKE JENNINGS (she/ her – Costume Designer) is an award-winning costume designer, fiber artist, and educator living in San Francisco. A graduate of UC Santa Cruz’s Theater Arts Masters Program,

her collaborations with directors, playwrights, and artists birth dynamic and groundbreaking new work across the theatrical landscape, marrying classic techniques with cutting-edge technology. Her work has been seen on stages across the country, including Magic Theatre (asst. designer: Monument, A Lie of the Mind, Bad Jews), American Conservatory Theater (TiJean and His Brothers–MFA Program) San Jose Stage Company (The Great Leap), Shotgun Players (Vinegar Tom, Arcadia), San Francisco Playhouse (Barbecue, The Effect, Colossal, The Nether), We Players (Pyschopomp, Caesar Maximus, Roman Women, Ondine), Center REP (Dance Lessons), FaultLine Theater (Maggie’s Riff, Dead Dog’s Bone), Virago Theatre (The Singularity New York Premiere), Custom Made Theatre Company (Belleville, Sam and Dede—SF and NY Premieres), and Santa Cruz Shakespeare (Asst. Designer, A Year with Frog and Toad).

MIKE POST (he/him – Lighting & Projection Designer) is happy to return to Marin as a designer for Dunsinane, after designing Lighting and Projections for last season’s The Sound Inside. While he was serving as MTC’s Director of Production, he also worked as a lighting and projection designer for Guards at the Taj, Oslo and Sovereignty. He also has worked with lighting, sound, and projection at New Conservatory Theatre Center with The View Upstairs, Cardboard Piano, and Avenue Q. At Sonoma State University, Mike was brought in to light Sweeney Todd. Prior to his time in the Bay Area, he lived and worked in Atlanta where he was the resident designer at Georgia Shakespeare as well as having designed many shows at other theatres in the area. He served as Production Manager at the Center for Puppetry Arts and designed

several shows there as well. Currently, Mike holds the position of Associate Professor of Lighting, Sound and Projection at The University of Montana in Missoula.

WILL McCANDLESS (he/ him– Sound Designer) is honored to return to Marin Theatre Company where he designed sound for Fences, I and You, Jacques Brel is Alive and Well and Living in Paris, and The Whipping Man (a co-production with Virginia Stage Company). His sound designs have been heard throughout the Bay Area at American Conservatory Theater, Aurora Theatre Company, California Shakespeare Theater, Center REP, and Magic Theatre. Will is also a former Collective Member of the San Francisco Mime Troupe, where he fell in love with all things theatre audio back in 2006. Will went on to manage the sound and video departments for South Coast Repertory and Berkeley Rep. During the early days of the pandemic, Will added recorded media to his skill set by helping his friends at the Mime Troupe with their foray into radio plays. That led Will to the popular PRX podcast Skeptoid where he is currently the sound engineer. Will, his wife Sarah, and their 2 awesome kids currently live and play in Bend, Oregon.

SCOTT HORSTEIN (he/ him– Dramaturg) Freelance dramaturgy credits include Greenway Court, Denver Center, Oregon Shakespeare Festival, Berkeley Rep, South Coast Rep, San Diego Rep, Playwrights Foundation, Native Voices at the Autry, Watts Village Theater Company, Alter Theater, and the Old Globe, where he dramaturged for Arthur Miller on his penultimate play Resurrection Blues. New York credits include Port Out, Starboard Home with foolsFURY at

La Mama, and Good Bobby with Greenway Court at 59E59 (Off-Broadway). Scott was formerly staff dramaturg for Cornerstone Theater Company and for the Black Dahlia Theater. He has dramaturged or produced productions for leading playwrights including Nathan Alan Davis, Larissa FastHorse, Sheila Callaghan, Sarah Ruhl, Octavio Solis, David Edgar, Austin Pendleton, and James Still, and for leading directors, including Nataki Garrett, Bill Rauch, Mark Lamos, and Kyle Donnelly. Directing credits include Native Voices and East West Players. He serves as Professor of Theatre Arts at Sonoma State University, where as Arts Dramaturg he created the campus Arts Integration Program, which brings roughly 2,000 students to campus arts events each year, and has been praised by international and award-winning touring performers. Recipient of LMDA’s Elliott Hayes Award for Outstanding Achievement in Dramaturgy. MFA in Dramaturgy from UCSD.

CHRISTINE ADAIRE (she/ her– Vocal/Dialect Coach) is the former Head of Voice at American Conservatory Theatre. She is a Designated Linklater Voice Teacher, trained by the world-renowned voice authority, Kristin Linklater. She has worked as an actor, voice/dialect coach, and director in many American regional theaters, including The Old Globe, Milwaukee Repertory Theatre, Guthrie Theater, Chicago Shakespeare, Goodman Theatre, Lyric Opera (Chicago), Oregon Shakespeare Festival, Steppenwolf, Court Theatre, American Players Theatre, Theatre for a New Audience (NYC), Santa Cruz Shakespeare, and La Jolla Playhouse. She is a proud member of Actors’ Equity Association for over thirty years. Christine has held faculty appointments at DePaul University, National Theatre School of Canada, University of Massachusetts–Amherst,

University of Wisconsin–Milwaukee, and Roosevelt University. International teaching credits include: Shanghai Theatre Academy, Toi Whakaari (New Zealand), King’s College (London), Institut del Theatre (Barcelona), Birmingham City University (U.K.). Her current area of research and writing is gender affirming voice. She works with transgender/ gender diverse individuals so they can inhabit the voice that expresses their gender identity. She is a contributing writer to the 3rd Edition (2019) Voice and Communication Therapy for the Transgender/Gender Diverse Client: A Comprehensive Clinical Guide, (Plural Publishing).

LIAM RUDISILL (he/him – Props Designer) is a carpenter and props maker who has been working with Marin Theatre Company since moving to the Bay Area in 2014. He’s excited to be back at full capacity as Assistant Technical Director and Props Lead for the company this season. Recent design credits include Boys Go to Jupiter (Word for Word at Z Space), The Sound Inside (MTC), Pass Over (MTC), Georgiana and Kitty: Christmas at Pemberley (MTC).

NICK CARVALHO* (he/ him – Stage Manager) is excited to stage manage his first production with Marin Theatre Company. His recent credits include the world premiere of Monument, or Four Sisters (a sloth play) (Magic Theatre), The Cherry Orchard and Cinderella: A Fairytale (Town Hall Theatre), as well as Head Over Heels, A Midsummer Night’s Dream, The Book of

Will, Seussical: The Musical, and Our Lady of 121st Street (Diablo Valley College). Nick earned two Associates degrees from Diablo Valley College in 2021 and has served as the Stage Management Advisor since 2021. He was awarded three certificates of merit in stage management from KCACTF for his work on Our Lady of 121st Street, Seussical: The Musical, and The Book of Will. Nick is also the Assistant Technical Director and a Production Supervisor at El Campanil Theatre. Nick’s upcoming credits with MTC include Two Trains Running and Justice

JO DAVITA ORTIZ (they/ them – Assistant Stage Manager) is the assistant stage manager and has been stage managing for 5 years at an academic, community, and regional level. Their favorite part about stage management is bringing the shows together from pre-production through closing. Credits include School of Rock, Funny Girl, All the Great Books [Abridged], The Complete Works of William Shakespeare [Abridged], The Agitators, and Crumbs From the Table of Joy.

DARIA PERKOVA (she/ they—Asst. Costume Designer/Wardrobe Lead) is a Bay Area native costume designer. She has designed, stitched and run wardrobe for many theatres around the Bay. Her most recent design works include Anton Chekov’s Uncle Vanya at Chabot College, and How Black Mother’s Say I Love You at Theatre Rhinoceros. She is the Costume Shop Manager and Wardrobe Lead here at Marin Theatre Company.

TAM HIGH PARTNERS & APPRENTICES

BEN CLEAVELAND (he/ him – Tam High Partner and CTE Co-Program Director) has produced over 190 productions at Tam High’s Conservatory Theatre Ensemble (CTE), an inclusive and non-audition program, which is the largest and busiest high school drama department in the United States. Many Tam Drama alumni work in television, on the stages of London and Broadway, and in recent films such as Black Panther and Oppenheimer. Ben has co-led sixteen Global Studies Trips to London for students to experience live theatre and professional workshops. Awards include the 2023 Marin County Teacher of the Year, the Redwood’s Terwilliger Award for Excellence in Teaching, the County Golden Bell for Innovative Curriculum, the Milley Award for Creative Contributions to the Community, North Bay Theatre’s Teacher of the Year. Ben majored in Acting at Cal Arts and attended Tam Drama. Film and television work includes featured and guest star roles on all the major networks and HBO. This coming year he will appear in the feature film Sour Milk, directed and written by past students. Stage credits include leading roles at American Conservatory Theater, Shakespeare Festival Los Angeles, SF Shakespeare Festival, TheatreWorks, Bay Area Playwrights Festival, TheatreFirst, and Word for Word.

JULIANNA REES (she/ her – Tam High Partner and CTE Co-Program Director) is a professional director, coach, mentor, and Equity actor. She coaches social

media influencers and runway models who have millions of followers. Actors she has coached have been in Tony Award-winning musicals, on network and Netflix series, and in major-release motion pictures such as Bumblebee and Openheimer. Each year, she coaches actors, directors, designers, and stage managers into the world’s top training programs. She also serves as a thesis advisor for Interviews, Presentations, and Branding for Fashion, and Architecture and Interior Design students at California College of Art. Julianna studied and performed under Paul Sills, the founder of Second City. She graduated from UC Berkeley, and studied semiology and film at the University of Paris IV. An Equity actor, she has appeared at the California Shakespeare Theatre, Shakespeare Center of Los Angeles, Sacramento Theater Company, CentralWorks, and Marin Theatre Company, where she has also directed. Julianna is CoProgram Director of Tam High’s award-winning Conservatory Theatre Ensemble, where she produces plays, manages visiting professional artists, and oversees design and production. Each year, she produces the Lovejoy Project, a devised play celebrating the creativity of Tam’s Special Day students, who perform alongside drama students in the Caldwell theater.

ELLA COX± (they/them –Asst. Director Apprentice) is a senior currently attending Tam High. They fell in love with directing as a student director at CTE. When not in rehearsal they work at the Cine Arts Sequoia theatre in downtown Mill Valley and enjoy sneaking in to watch a movie when it’s quiet. They are a founding member and current president of the Tam Unified Film Festival club (TUFF) at Tam High. They love creating in both performing and visual arts. In the future,

they plan to attend film school in Los Angeles where they want to pursue screenwriting and film directing.

RUBY ROTH± (she/they –Dramaturg Apprentice) is a junior and the co-president of her class in the Conservatory Theatre Ensemble at Tam High. In the past she has acted in numerous Shakespeare plays, and

played Cordelia of King Lear and Katherine of The Taming of the Shrew in the 2021 CTE production of Shakespeare’s Women. Out of theatre she reads, writes, and studies war poetry, literature, and translated works. When not reading or working they can be caught daydreaming and watching the sky. Later in the year Ruby will be acting in Orlando, performing at CTE, and directing plays of her own devising.

MTC LEADERSHIP

JASSON MINADAKIS

(he/him—Co-Director, Co-Scenic Designer, Artistic Director) See Co-Director bio.

MEREDITH SUTTLES

(she/her—Managing Director/ Chief Executive Officer) joined Marin Theatre Company as its new Managing Director in April of 2021. Meredith is an arts leader with an extensive background in creative and performing arts in the areas of development, management, strategic planning, fundraising, and performance. She has held senior leadership roles at TheaterWorksUSA, Soho Repertory Theatre, Theatre Communications Group (TCG), and the New York City Opera. Meredith is a proud graduate of the University of Michigan (Ann Arbor) and former EmcArts: Arts Leaders as Cultural Innovators (ALACI) Fellow. She is a member of Alpha Kappa Alpha Sorority, Inc., a Steering Committee Member of the Black Theatre Commons and currently serves on the

Board of Directors of vibe Theater Experience (Brooklyn, NY). As a visionary leader known for her ability to win community support, develop key coalitions and build strong relationships with a shared sense of purpose, she is passionate about devising meaningful ways to address and further the goals of MTC.

NAKISSA ETEMAD (she/her— Associate Artistic Director) is the Associate Artistic Director of Marin Theatre Company (MTC) and an Iranian American dramaturg and producer, and French translator specializing in new BIPOC plays and musicals for 30 years. She is a Resident Artist of Golden Thread Productions, Regional VP Metro Bay Area for Literary Managers and Dramaturgs of the Americas (LMDA), and a member of MENA Theater Makers Alliance and the Anti-Oppression Task Force of LMDA. Recent MTC credits include Producer for The Catastrophist, Brilliant Mind, Hotter Than Egypt, and Casting Director for Georgiana and Kitty and MTC shows for the past two seasons. She selected, produced and dramaturged the

± Student apprentice from Tamalpais High’s CTE.

world premiere co-production at MTC and A Contemporary Theatre Seattle of Yussef El Guindi’s Hotter Than Egypt, which she also dramaturged at the 2020 Colorado New Play Summit. Other recent dramaturgy includes Heather Raffo’s Noura (MTC/ Golden Thread), Marcus Gardley’s Play On Shakespeare commission of Lear (Oregon Shakespeare Festival), and world premiere productions with Betty Shamieh, Marcus Gardley, Lauren Yee, Marisela Treviño Orta, Margo Hall, Torange Yeghiazarian, Naomi Wallace, Arthur Miller, Tom Stoppard, Chay Yew, Polly Pen, Luis Valdez, Culture Clash, Edit Villarreal, Rick Najera, Heather McDonald, Julie Hebert, and Octavio Solis. She is a frequent collaborator on Golden Thread’s ReOrient Festivals of Short Plays and Bay Area Playwrights Festivals. Former Dramaturg and Literary Manager of The Wilma Theater, San Jose Rep, and San Diego Repertory Theatre and Exec. VP Freelance of LMDA, Nakissa received the 2015 Elliott Hayes Award for Outstanding Achievement in Dramaturgy for The Lark’s four-city premieres of Gardley’s the road weeps, the well runs dry

MARIN THEATRE COMPANY Marin Theatre

Company is the Bay Area’s premier mid-sized theatre and the leading professional theatre in the North Bay. MTC is committed to the development and production of new plays, with a comprehensive New Play Program that includes productions of world premieres, readings, and workshops by the nation’s diverse emerging and established playwrights. MTC’s numerous education programs serve more than 4,500 students from over 40 Bay Area schools each year. MTC envisions theatre as a vital space for sharing diverse stories to build a more just and equitable world. MTC is dedicated to inspiring conversation, learning and action to build more inclusive communities. We do this by providing a sustainable home for developing the work of diverse American playwrights and producing innovative theatrical experiences. MTC was founded in 1966 and is a 501(c)3 nonprofit organization.

Special Thanks for Dunsinane

Aurora Theatre Company

B. Modern

Lisa and Sean Barger

Berkeley Repertory Theatre

Rick and Cheryl Brandon

CTE Families

CTE’s student cast of Macbeth and faculty director Ben Cleaveland

Hannah-Jane Dakin

Trevor Scott Floyd

Jennifer and Leonard Hochschild

Sara Huddleston

Kimberly Hughes and Steve Moazed

Trish and Brian Keane

The Lark Theater

Erin and Tom Lyons

Sarah McKereghan

Mill Valley Public Library

Peter Parish

Tam High Foundation

David Wallace

MARIN

Artistic Director

COMPANY STAFF

Jasson Minadakis (he/him)

Managing Director/Chief Executive Officer Meredith Suttles (she/her)

Associate Artistic Director

NNPN Producer in Residence

Interim General Manager

of Production

Technical Director

Nakissa Etemad (she/her)

Richard A. Mosqueda+ (he/she/they)

Nichole Gantshar (she/her)

Haley Miller (she/they)

Jeffrey Klein (he/him/they)

Assistant Technical Director & Props Lead Liam Rudisill (he/him) Box Office Manager Lindsey Abbott (she/her)

Grant Writer Nina O’Keefe (she/her) Education Coordinators & Teaching Artists

Daniel Duque-Estrada (he/him) Euan Ashley (he/him)

Marketing Partner RachelMedia.org

Communications Partner

Prismatic Communications Development Partner Donorly

Front of House team Zphyna Caldwell, Janet Friedman, Kahlil Gray, Casey Herrman, Laura Odeh, Carol Price, Sue Urquhart, Jenise Walter

MTC ADVISORY BOARD

Linden Berry

Joseph Bodovitz

Jerry Cahill

David Catania

Diana Gay-Catania

Bobbie Chapman

Doug Ferguson

Gerry Goldsholle

Brian Golson

Gale Gottlieb

Gail Harris

Tracy Haughton Peter Jacobi

Kimberly Jessup

Dirk Langeveld Lori Lerner

Melanie Maier

Peter Maier

Tina McArthur

Iris Metz Kiki Pescatello

Andrew Poutiatine

Ivan Poutiatine

Chris Raker

Laura Scott

Dana Shapiro

Gary Shapiro

Christopher B. Smith Kathleen Taylor

Jennifer Yang Weeden

Phillip Woodward

MARIN THEATRE COMPANY DONORS

Marin Theatre Company acknowledges the generous support of the following individuals, foundations and corporations whose contributions make our extraordinary theatre productions and education programs possible. To join our family of contributors, receive sponsorship information or if you have questions about your gift, please contact the Development Department at development@marintheatre.org or 415.322.6035. The following gifts were received between May 5, 2021 and September 12, 2022.

PARTNER CIRCLE

$25,000+

John & Shelley Chesley

Gerald Cahill & Kathleen King Peter & Melanie Maier, The John Brockway Hungtington Fund

Matthew Purdon & Liz Sklar Robert J. and Paula B. Reynolds Fund Christopher B. & Jeannie Meg Smith Fred and Kathleen Taylor Charitable Fund

PRODUCER’S CIRCLE

$5,000–$24,999

Franklin Amster

Cheryl & Rick Brandon Lynne Carmichael Suzanne & Mark Darley Thomas W. Edwards & Rebecca Parlette-Edwards David Catania & Diana Gay-Catania Barbara & Jim Kautz

Andrew F. and Ann B. Mathieson Fund Kenneth and Vera Meislin Barbara Morrison

Kathryn E. Olson Kiki Pescatello Ivan Poutiatine

Betty & Jack Schafer Susan and Joel Sklar Michael Wall and Wendy Feng

PREMIERE SOCIETY CIRCLE

$1,000–$4,999

Helen & Thomas Anawalt Lois & Tom Ashley Mary Jane Baird Joan Beavin Susan & Bill Beech Janet Brown Nancy & Gary Carlston

Robert K and Barbara Straus Family Foundation, Inc. Dr. Leslie Chatham & Sunny St. Pierre Ron Clyman and Francoise Mauray Gatian’s Fund

Kipp Delbyck Judith + Philip Erdberg Virginia & William Felch Jr Jeff Freedman & Marie Boylan Amy + Mort Friedkin Jill + Steven Fugaro Susan and Dennis Gilardi David Goldman Gerry Goldsholle and Myra Levenson Kenneth & Joan Gosliner Karen Gottlieb Michelle and Normand Groleau Peggy and Marc Hayman Bill & Vanessa Higgins Susan and Russ Holdstein Mark and Lori Horne Coreen & Mark Jamison William Kissinger Dirk & Madeleine Langeveld Kathleen and John Leones

Scott MacLeod and Linda Kislingbury Lynn and Jeff Magill Marymor Family Fund Christine and Steve Maxwell Margot Melcon and Jon Wolanske Stephanie Moulton-Peters + Roger Peters Barton + Barbara O’Brien Rebecca Parlette-Edwards and Tom Edwards Priscilla Pittiglio Robert and Donys Powell Hector Richards Richard + Nancy Robbins\ Ken Ross and Jean Bee Chan Tobi and Mark Rubin Thomas and Jill Sampson Laura Scher and Ian Altman and the Barn Road Foundation

Kurt Schindler

Eric Schwartz and Magda Wesslund

Diana & Richard Shore

Vickie Soulier

Stephanie Splane

Nina Madrid Stricker

Tara J. Sullivan & James Horan Jr. Beverly Tanner and Jerry Herman Dr. Samuel Test

Diane and Bob Wagner Vic Woo & Phil Brewer

Penny Wright

Susan York Charitable Fund

FRIENDS OF MTC CIRCLE

CONTRIBUTOR | $500–$999

Paul F. and Geraldine Alpert Robert Anderson & Lois Stevens Marilyn Angelo Janet Bamberger

Robert and Barbara Baum Michele and David Benjamin Stephen Bischoff Adrian + Daniel Blumberg Joan & Nick Boodrookas Bromley Carson Fund William Cain

The Leo J. and Celia Carlin Fund Pat & Amanda Conran Stephanie Douglass John Eichhorst + Jennifer Blackman Larry Fahn

Steve Gensler

Karen Haydock

Brian and Jocelyn Herndon Howard and Elisabeth Jaffe Niemasik Kaufman Family Fund Susan Kolb

Harriet and Tom Kostic, Kostic Family Fund Judy Leash & David Madfes David Madfes and Judith Leash Diane Martin

Tina McArthur and Richard Rubenstein Mary & Stephen Mizroch John S. Osterweis Philanthropic Fund Suzanna G. Pollak

Marianne and Steven Porter Russell & Joan Pratt Drs. Janice and James Prochaska Angelo and Kimberly Salarpi

Valerie Stoll Schwimmer Marsha Silberstein

John Simpson

Shelagh Smith

Martha and Jonathan Smolen

Valerie Sopher Stolyavitch Fund Beverly Thorman Trabea Ltd

Daniel Stein and Diane Tucker Elizabeth Werter and Henry Trevor Suzanne L. Zimmerman Charitable Fund

FRIEND | $100–$499

May Allam Susan Angel Joseph D. and Gail P. Anguilo Ellen Arenson Stacy Astor Alison Aubrejuan Mr. & Mrs. Fabio and Ann Aversa Nancy Barash The Bardwicks Frank & Lee Battat Andria F. Benner Judith Berling Teena Berman and Owen Hart Linden Berry Catherine Bille Annette Blanchard and John Hewitt Nancy & Stacy Bloom Little Fawn Boland Robert Bowen

Jack and Ute Brandon Cheryl and Rick Brandon Lori and Bob Brandon

The Buehler Family Patricia Burbank Margaret Burke Patrick Cahill

Robert P. Camm Charitable Fund Ann and Rick Clarke Diane & William Clarke Christina Crow

Betsey & John Cutler Ralph and Debra Deadwyler Nicky Scott and Melinda Derish Ernest & Debra Dibenedetto Tom Diettrich

Louise Dockstader

Dr. Donald Dodelson Stephanie A. Douglass

Tammy Edmonson

Kerry Weiner & Andy Elkind

Patricia Ernsberger

Sasha Faulkner

Pam Feagles

Eileen and Andrew Fisher

Betsy Foy

Christie Fraser Karen Fry David Gast

Rita and Kent Gershengorn Gail and Mervin Giacomini Helene + Lewis Gibbs Margot Golding

Edward Granger Mark Green

Gini and Gordon Griffin Linda Groah

Kris Malone Grossman & Ed Grossman Anita Hagopian

Robert Hall

Tracy & Brian Haughton Karen Haydock

Gillian A. Hayward Donation Fund Rebekah Helzel Cathryn Hilliard Karen Hirsch & Jim Condit Adrienne Hirt and Jeffrey Rodman Mim Hodge Heidi Hofer Mark and Roberta Hoffman Joanne Howard Cheryl & Jeffrey Hylton Dabney Ingram Lori Ingram Marilyn Jackson

Elaine James Mia James Janet Johns Sheila-Merrle Johnson Duane Johnson

Will Johnson Diana & Ted Jorgensen Breton Kaiser-Shinn Gee Kampmeyer Muriel Kaplan Barbara Kerr Kenneth King Monica Lange Nancy Lange Sheri & Jerome Langer Barbara Laraia

Kate Lauer

Harriet Lazer

Sharon Leach

Gretchen Leavitt Warren and Barbara Levinson

Patricia Liddle

Elliott Liff

Sarah Lind Charitable Fund Nanette Londeree

David and Carolyn Long Jacqueline Lopez-Wyman Lisa Lund Fund

Diane Lynch

Lynn MacDonald

Myrna R Margolin Jason Marks

Albert Martin & Diana Richmond John & Cindy McCauley Andy and Jane McClure Steve & Kay McNamara Kay and Steve McNamara Purple Lady/Barbara Meislin Fund Paul Melcon

Dr. Kurt Menning Mary-Ann Milford Don + Barbara Miller David W. Miller

Christian Mills + Carolina Dangord Lee Minadakis Susan Morris Barry & Jane Moss Margaret Moster Devan and Elizabeth Nielsen Jan & Craig O’Brien Constance O’Connor Judith L. O’Rourke Betty Obata Connie Oclassen Vivian Olsen

K. O’Mohundro + N. Handelman Marta A. Osterloh Nancy Otto Diane Parish

Barbara Paschke + David Volpendesta David Pasta

Ms. Rebecca Pauling Joyce Pavlovsky Charles & Linda Philipps Stephen Piatek Mariana Poutiatine Cotten Jack & Jessica Powell

The Laurence Pulgram and Kelli Murray Charitable Fund

Dr. and Mrs. Joel Renbaum

Susan Reynolds

Gary Robinson + Danny Field Julianne Rohmaller

Marit Roman

Benjamin + Barbara Rooks

Mr. & Mrs. Hank Rose

Susan Rosin & Brian Bock Francoise Rothstein

Mr. & Mrs. William Ryan Diane & Ed Ryken

Maxine & Edward Sattizahn Thomas Trent & Laurel Schaefer-Trent Alan + Wendy Schaevitz Ruth Schoenbach and Lynn Eden Laura & Michael Scott Michael and Jane Scurich Holly Seerley, MFT

Carol and Randolph Selig Family Philanthropic Fund Terry Seligman Judy Shaper

David A Shapiro, MD & Sharon L Wheatley

Julie & Jeff Sherman Robin Silver, MD George and Cindy Brown Neil Sitzman

Dr. Dorothy Slattery Judy and Greg Smith Lauren & Jason Snell Susan Snyder Steve Sockolov & Susan Snyder Joel and Carol Solomon Family Fund

Ms. Tracy Solomon

Deborah Spanier and Ronald Fishman Melanie Sperling Louis & Bonnie Spiesberger Renee Marler and Timothy Standing Dr. Elliot Steinberg

Richard and Jean Stenquist Ken & Dana Stokes Gretchen and Grover Stone

Daniel & Maureen Stuempfig Svetcov Family Fund Philip Rosenthal and Candace Swimmer Lisa Rogers Taylor

Marian & Roger Taylor Susan Terris Kathryn Thyret

Beatrice Tocher

Mr. Norman and Dr. Carol Traeger Mary Van Voorhees Connie Vandament Nancy Warfield Kenneth & Ellen Weber Laura Werlin Paul Werner Valerie Westen Wilder Family Charitable Trust Susan J Wittenberg Carolyn and Fred Wood Sandra Yoffie Anna Zara

GOVERNMENT

MTC PARTNER | $50,000+

Support for our playwright in residence, Lauren Gunderson, ] is provided by a National Playwright Residency Program grant from The Andrew W. Mellon Foundation

The Andrew W. Mellon Foundation

Clay Foundation West • Marin Community Foundation Melody Wireless Infrastructure • The Shubert Foundation William and Flora Hewlett Foundation

SEASON PARTNER | $25,000+ The Bernard Osher Foundation

VIP PRODUCER | $15,000+

California Arts Council • Haughton Family Charitable Fund • John Brockway Huntington Fund National Endowment for the Arts • The Sheri and Les Biller Family Foundation Stacy Scott Fine Cateringº

EXECUTIVE PRODUCER | $10,000+

Ira and Leonore Gershwin Philanthropic Fund Venturous Theater Fund, a fund of the Tides Foundation

PREMIERE PRODUCER | $5,000+

3 Badge Beveragesº • August Sebastiani • Acqua Hotelº Brooks Note Wineryº • Garry + Joanne Brooks Marin Cultural Association • Newton and Rochelle Becker Charitable Trust The Tournesol Project • The Tow Foundation

ASSOCIATE PRODUCER | $3,000+

Carol Selig, Selig Floral Designº • County of Marin Mill Valley Outdoor Art Club

PRODUCER | $1,000-2,999

Body Kineticsº • Compass Marin Charitable Association Mill Valley Market • National Philanthropic Trust OSKA Mill Valley • The Rock Foundation Whistlestopº

ºIn-Kind Donation

MTC TOMORROW

THE LEGACY GIVING SOCIETY OF MARIN THEATRE COMPANY

Linden + Carl Berry‡ • Jack Bissinger‡ Dave + Bobbie Chapman • John + Shelley Chesley

Sheldon Doing + Steve DeHart • Fred Drexler‡ • Thomas W. Edwards + Rebecca Parlette Edwards Joseph + Antonia Friedman • Brian + Tracy Haughton • Sandra Hess • Shirley Loube‡ • Melanie Maier Gladys Perez-Mendez‡ • Ivan + Lochiel Poutiatine‡ • Leigh + Ivy Robinson‡ • Gage Schubert • Beverly Tanner Fred + Kathleen Taylor • Nancy Thomson‡ • Phil Woodward + Connie Majoyy ‡Deceased

MEMORIAL GIFTS

IN MEMORY OF CARL G. BERRY

Linden Berry

IN MEMORY OF VIVIENN FOSMAN

Purple Lady/Barbara J. Meislin Fund

IN MEMORY OF GLORIA GUTH David Pasta

IN MEMORY OF HENRY HIGGINS

Bill & Vanessa Higgins

TRIBUTE GIFTS

IN HONOR OF CHERYL BRANDON

Lori and Bob Brandon

IN HONOR OF JIM CONDIT Karen Hirsch

IN HONOR OF MARY GRANGER Edward Granger

IN MEMORY OF CARY JAMES

Elaine James

IN MEMORY OF PETER MAIER Terry & Larry Hill

IN MEMORY OF CATHY TEAGUE Nanette Londeree

IN HONOR OF MELANIE MAIER Judy Camp

IN HONOR OF THE REYNOLDS FAMILY Jean Ihle

IN HONOR OF CARRIE SCHOENBACH Ruth Schoenbach and Lynn Eden

MTC PRODUCTION UNDERWRITERS

Marin Theatre Company’s 56th Season and this production of Dunsinane is generously underwritten by the following:

PARTNER CIRCLE

MTC SUSTAINER

Terry Berkemeier + Lori Lerner

Gage Schubert

Christopher B. + Jeannie Meg Smith

MTC PARTNER

The Andrew W. Mellon Foundation

Marin Community Foundation

Melody Wireless Infrastructure Buffington Miller, Clay Foundation-West Bob + Paula Reynolds

The Shubert Foundation William and Flora Hewlett Foundation

SEASON PARTNER

The Bernard Osher Foundation

David Catania + Diana Gay-Catania John + Shelley Chesley

The Harold and Mimi Steinberg Charitable Foundation Barbara + Jim Kautz Kathy King + Gerald Cahill Vera + Ken Meislin Fred + Kathleen Taylor Vickie Soulier

PRODUCER CIRCLE

VIP PRODUCER

Lynn Brinton + Dan Cohn

California Art Council Suzanne + Mark Darley Tracy + Brian Haughton Haughton Family Charitable Fund Kimball Foundation

Peter + Melanie Maier, The John Brockway Hungtington Fund

Ivan Poutiatine

Matthew Purdon

The Sheri and Les Biller Family Foundation Stacy Scott Fine Cateringº

The Harold and Mimi Steinberg Charitable Foundation

EXECUTIVE PRODUCER

Gene + Neil Barth Gerry Goldsholle + Myra Levenson Kimberly Hughes + Steve Moazed Koret Foundation

The Marymor Family Fund

Kiki Pescatello

Michael + Jean Strunsky, Ira and Leonore Gershwin Philanthropic Fund Paul + Sandy Zuber

ºIn-Kind Donation