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Michael Tilson Thomas conductor San Francisco Symphony and Chorus Bernstein West Side Story
TILSON THOMAS
In a partnership for the ages, two Broadway legends— Bernstein and Sondheim—took Shakespeare’s Romeo and Juliet from Verona in the 1500s to New York’s Upper West Side in the 1950s, replacing the Montagues and the Capulets with American and Puerto Rican street gangs. Their unforgettable work, with tunes universally loved, comes alive in a dynamic concert version, the first time an orchestra has performed the complete musical in a concert performance.
THU JUNE 27 8PM FRI JUNE 28 8PM
Inside Music, an informative talk free to ticketholders, begins one hour prior to concerts.
SAT JUNE 29 8PM SUN JUNE 30 2PM
Davies After Hours, a post-concert music event featuring Squid Inc, begins immediately after the June 28 concert in the Second Tier lobby-turnedlounge. Free to ticketholders.
TUE JULY 2 8PM
Supported by Davies After Hours Media Partner
SFSYMPHONY.ORG (415) 864-6000 Concerts at Davies Symphony Hall. Programs, artists, and prices subject to change. Box Office Hours Mon-Fri 10am-6pm, Sat noon-6pm, Sun 2 hours prior to concerts Walk Up Grove St between Van Ness and Franklin SECOND CENTURY PARTNERS
Inaugural Partner
SEASON PARTNERS
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Official Wine
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 2– 1 3 · issue 7
SFS 041213 west 1_2v.pdf
$34
go. Someday, we hope to build more rehearsal and studio spaces, in addition to on-site housing for visiting artists. This centrally located creativity is not only beneficial for the artists—it is good for Berkeley Rep staff as well. As Madeleine says, “Our inaugural summer lab was wildly successful. With so many talented artists all working under one roof, it felt like the entire building was vibrating for four weeks.” Like sticking your finger in a new play socket, there’s a jolt of energy that sustains everyone. There’s something very important about sharing a roof and breaking bread (or whatever the gluten-free offering of the day is). Seriously. The food’s really good. Fortunately, these relationships do not end with the passing of summer. Not only have we remained in close contact with last year’s participants and stayed up to date on the latest developments in their projects, but two shows developed through the program have already made their way into Berkeley Rep’s season: Dan LeFranc’s Troublemaker, or the Freakin Kick-A Adventures of Bradley Boatright had its world premiere in January, and Marcus Gardley’s The House that will not Stand will debut in 2014. It’s a vital way for the Theatre and its staff to connect with groundbreaking artists and their boundary-pushing work. And it’s also a way for us to re-engage with the Berkeley community at large —by collaborating with local theatre artists, connecting summer lab residents with nearby experts for research purposes, and holding public readings. Madeleine sums it up perfectly—“Our vision is coming true: artists from across the nation are gathering here to enjoy the atmosphere that gave birth to Berkeley Rep and to take advantage of the creative, collaborative, forwardthinking, and risk-taking culture that is the hallmark of life in the Bay Area. I can’t wait until June!” We can’t either. The Ground Floor is made possible by a $1 million grant from the James Irvine Foundation’s Artistic Innovation Fund with additional support from the Andrew W. Mellon Foundation and the Kenneth Rainin Foundation.