Berkeley Rep: Fallaci
Italian journalist Oriana Fallaci gained fame by grilling Kissinger, Castro, Khomeini, Qaddafi and other public figures who squirmed under her ferocious questioning. With Fallaci, Pulitzer Prize-winner Lawrence Wright turns the spotlight on a fellow reporter and her fascinating contradictions.
The artist as creator 11 · A life of resistance 22 · The marriage of theatre and journalism 26 · The program for Fallaci 31 the berkeley rep m aga zine 2 012 –13 · i s s u e 5 “I chose City National for their proven expertise.” I wanted to free up more time to do the things I enjoy doing, and I needed somebody to take responsibility for my individual assets. I chose City National because I’ve been investing with them for 15 years and they’ve proven their ability to do well in these challenging times. City National is The way up® for me and my business. Sy Kaufman Founder of Crosslink Capital, Semi-Retired Hear Sy’s complete story at cnb.com/thewayup. Experience the City National Difference. SM Call (866) 618-5242 or visit cnb.com to find a Wealth Management advisor near you. City National Wealth Management Non-deposit Investment Products: n are not FDIC insured Member FDIC n are not Bank guaranteed n may lose value Past performance is not an indication of future results. City National Asset Management, the investment management group of City National Bank. ©2013 City National Bank c a l e n da r Docent presentations take place one hour before each Tuesday and Thursday performance. Postshow discussions take place after matinees. m a rch 8 8 8 10 13 13 17 22 28 Unscripted Happy Hour: Casting, Hotel Shattuck Plaza, 5:30pm Teen Night, Fallaci, 6pm First performance, Fallaci, 8pm Sneak Peek: Costume Design, 1pm Opening-night dinner, Fallaci, Hotel Shattuck Plaza, 6pm Opening night, Fallaci, 8pm Sunday Sampler, 1pm Opening night, Teen One-Acts Festival Book signing & interview: Rita Moreno & Michael Krasny, Roda Theatre, 7:30pm i n t h i s i s su e FALLACI B e r k e l e y R e p p r e s e n t s fallac i · 31 m e e t t h e c a st & c r e w · 32 P rol o g u e A letter from the artistic director · 5 A letter from the managing director · 7 R e p ort A pr il 1 Spring classes start 7 Sneak Peek: Young Playwrights Lab, 1pm 8 Page to Stage with Mark Wing-Davey, Thrust Stage, 7pm 12 Teen Night, Pericles, Prince of Tyre, 6pm 12 First performance, Pericles, Prince of Tyre, 8pm 17 Opening-night dinner, Pericles, Prince of Tyre, Hotel Shattuck Plaza, 6pm 17 Opening night, Pericles, Prince of Tyre, 8pm 20 OVATION gala, Four Seasons Hotel San Francisco, 5:30pm 21 Final performance, Fallaci, 7pm Sneak peek at the 2013–14 season · 8 The artist as creator: Playwriting at the School of Theatre · 11 11 Wells Fargo helps the arts thrive in Berkeley · 18 F e at u r e s Oriana Fallaci: A life of resistance · 22 The marriage of theatre and journalism: A conversation with Lawrence Wright · 26 Con t r i bu t or s Foundation, corporate, and in-kind sponsors · 40 Individual donors to the Annual Fund · 41 14 School of Theatre event Donor appreciation event Countdown to curtain · 14 Michael Leibert Society · 44 Memorial and tribute gifts · 44 A bou t B e r k e l e y R e p Staff and affiliations · 45 Board of trustees and sustaining advisors · 46 t h e b e r k e l e y r e p m ag a z i n e 201 2–1 3 · i s s u e 5 F YI Everything you need to know about Berkeley Rep’s box office, gift shop, seating policies, and more · 47 The Berkeley Rep Magazine is published at least seven times per season. For local advertising inquiries, please contact Ellen Felker at 510 548-0725 or firstname.lastname@example.org. Editor Karen McKevitt Art Director Cheshire Isaacs Writers Julie McCormick Karen McKevitt Madeleine Oldham Amanda Spector Graphic Designer Mary Kay Hickox 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 email@example.com 22 Tickets to the greatest theatrical party of the year are selling fast—reserve yours today! l augh with OVATION’s effervescent emcee, Danny Scheie fe a st on a superb four-star dinner paired with divine wines toa st the School of Theatre and its amazing educational outreach ta ste the Bay Area’s finest spirits and wines b id on spectacular getaways, restaurants, and auction packages celeb r ate the Bay Area’s hottest Tony Award–winning theatre! Saturday, April 20, 2013 · Four Seasons Hotel San Francisco Tickets $500 each · Tables start at $5,000 · Call Lily Yang at 510.647.2909 to reserve b e rk e l e y re p.o rg/ovat i o n prol og u e from the Artistic Director There is a rare breed of human being that thrives on controversy. Where most of us seek tranquility, avoiding confrontation while attempting to keep discomfort, chaos, and danger at bay, there are a few who literally and figuratively put themselves in harm’s way. They lead wildly exciting lives, as evidenced by the astonishing details of their various adventures. We love hearing stories about the terrifying risks they take to capture the truth of their death-defying experience. Sometimes, given the right measure of ambition, charisma, and exposure, they become stars, cultural icons feeding off the adoration of a public hungry to live through their exploits. Oriana Fallaci, journalist, author, and interviewer, was just such a person. Whether reporting from a war zone in Vietnam or Pakistan or the Middle East, being shot three times and dragged by her hair in the middle of an uprising in Mexico, or aggressively confronting the world’s most powerful leaders, Fallaci continually thrust herself into the very vortex of human history. With a wanton disregard for her own safety, she decried power, championed the oppressed, and refused to be intimidated. Combining her unquenchable passion with a disarming intelligence and astonishing beauty, Ms. Fallaci became a darling of the left and one of the first rock stars of modern journalism. But for all the shocks she gave the world, perhaps the biggest came towards the end of her life when she wrote several inflammatory books severely criticizing Islam. The viciousness of her attacks left her vulnerable to charges of racism and hate-mongering. Suddenly, Oriana Fallaci was being linked to Ayn Rand. Controversy raged. Why had she done it? What was behind it? Who was she really? Lawrence Wright became fascinated by these questions. A great journalist in his own right, Larry decided that the best way to get at the truth was through fiction. Armed with a tremendous amount of hard information about Fallaci, he set about inventing a dramatic situation that would get underneath the facts. A young Iranian journalist arrives at the end of Fallaci’s life to conduct an interview, but it becomes quickly apparent that this is no ordinary puff piece and at stake is nothing less than the meaning and legacy of Fallaci’s life. By guiding us into the imaginary recesses and crevices of her persona, Mr. Wright has given us a peek into the titanic contradictions that shaped Fallaci and which bind her to our collective history. Producing this play has allowed me to exploit the talents of my good friend and colleague, Oskar Eustis. He brings the full measure of his skills, along with a great cast and design team. It is a great pleasure to have them all in our playground. Sincerely, Tony Taccone REPRESENTING THE FINEST EAST BAY HOMES Berkeley ◆ Kensington El Cerrito ◆ Albany Piedmont ◆ Oakland G G The GRUBB Co. R E A L T O R S GRUBBCO.COM 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 5 March 2013 Volume 45, No. 6 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love, Jana Rekosh Design and Production Artists Mike Hathaway Advertising Sales Director Gwendolyn Fairbanks, Marty Griswold, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Denise Wong Sales Assistant Jonathan Shipley Ad Services Coordinator www.encoreartsprograms.com Paul Heppner Publisher Leah Baltus Editor-in-Chief Scott Wagner Vice President Dan Paulus Art Director Jonathan Zwickel Senior Editor www.cityartsonline.com Paul Heppner President Mike Hathaway Vice President Deborah Greer Executive Assistant Erin Johnston Communications Manager April Morgan Accounting Jana Rekosh Project Manager/Graphic Design si le nce January 30–april 28, 2013 uC Berkeley art MuseuM & paCifiC filM arChive bampfa.berkeley.edu Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2013 Encore Media Group. Reproduction without written permission is prohibited. Silence is co-organized by the University of California, Berkeley Art Museum and Pacific Film Archive and the Menil Collection, Houston. René Magritte: L’empire des lumières (The Dominion of Light), 1954; oil on canvas; 51 1/8 × 37 ¼ in. © 2013 c. Herscovici, london / Artists Rights society (ARs), new York. The Menil collection, Houston. Berk-R_vert.indd 1 e p m ag a z i n e · 2 0 1 2– 1 3 · issue 5 6 · t he berkeley r Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 firstname.lastname@example.org 800.308.2898 x105 www.encoremediagroup.com 1/23/13 9:05 AM prol og u e from the Managing Director Among the many qualities that Lawrence Wright captures in his incisive play about Oriana Fallaci is her ability to examine the hearts of her subjects in search of deeper meanings and hidden truths. When I attended the first rehearsal, I was seated across from Larry, where I could watch his face as he listened to these two powerful actresses bring his words to life. I had the delicious sense that I was witness to a tutorial, taught by the best, in the art of teasing out meaning. They were finding the loose strand in a ball of yarn, undoing the knots, discovering the center. When I returned to my office, one of the emails waiting for me was a copy of the letter that retired high-school teacher Kenneth Bernstein had written to university professors preparing to teach the first class of students who had been educated under No Child Left Behind. Reprinted in the Washington Post, his letter is a condemnation of an educational system that has abandoned critical thinking for rote learning and that has abdicated the quest for meaning at the expense of scoring. The latest step, stem (science, technology, engineering, and math), promises to produce a generation of scientists and engineers who will make us competitive in the global marketplace. If only it were so. Last November, Adobe released a study, “Creativity and Education: Why It Matters,” which sheds new light on the role of creativity in career success. In the study, 85 percent of young professionals agreed that creative thinking is critical for problemsolving in their career, and 82 percent wish they had more exposure to creative thinking as students. What subjects did these young professionals say would make significant contributions to creative thinking? The top three: art, music, and English. But since the mid-1980s, there has been a steady decline in funding for arts education. Since the introduction of No Child in 2003 that decline has accelerated, accompanied by a decline in the time spent on critical thinking, creative thinking, and even classroom discussion. Our educational system can no longer turn a good technician into a great research scientist, or a good businessperson into a great citizen. Journalists like Oriana Fallaci and Larry Wright have both the skill to critically assess information and the capacity to think creatively about how to uncover the truth from their subjects. One of the ironies in Larry’s play is the idea that truth is not objective. How do we reconcile that contradiction? One of the questions in his play is the meaning of Oriana’s life. The search for meaning is integral to who we are. The answers can’t be found in a multiple-choice test. At Berkeley Rep, we strive to be advocates for steam (science and technology, engineering and the arts, and math) because we believe that the innovative practices of art and design play an essential role in improving stem education. Learn more at steamedu.com. It’s our fervent belief that the arts should have an integral role in our educational system, that the arts contribute to creative thinking and success in the workplace, and that the arts increase our capacity to search for meaning. Let’s make sure we are training the next Oriana Fallaci and the next Larry Wright. I hope you will join the effort to place the A in steam. Warm regards, FA M I LY L AW G R O U P, P. C . E R ’ UA O Y SFLG 090612 BRT 1_6v.pdf R A T S into d e p om three c t k u ge an st pic ive yo c You ow! Ju e’ll g ail to w a sh s and to em ey all h e on dat vitati age. T r in an entou one. r D you 20%. rg/ e o . v p h e sa eyr ll Sara l e k ber , or ca 7-2918 k c i Cl urage 10 64 5 o ent icki at w No Susan Medak 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 7 r e p ort Sneak peek at the 2013–14 season Get ready for another enticing and adventurous theatrical season at Berkeley Rep! We’ve announced all but one of our shows. Take a peek, and stay tuned for news about the final play... Marcus Gardley wo rld pre m ie re The House That Will Not Stand Written by Marcus Gardley · Directed by Patricia McGregor Berkeley Rep proudly presents the world premiere of a new play from an Oakland native: The House That Will Not Stand by Marcus Gardley captures a single, steamy day for seven women in New Orleans. In 1836, white men in that city often live openly with their black Creole lovers. Yet wealth and freedom may not protect Beartrice when her man mysteriously dies… or conceal old secrets when another handsome bachelor calls on her daughters. Inspired by Lorca and directed by Patricia McGregor, The House That Will Not Stand is gripping family drama —sensuous, humorous, uplifting, heartbreaking—told with a rich and lyrical river of words. “Mr. Gardley, who graduated from the Yale School of Drama, writes with a ripe lyricism. The richness of his language, which often finds pungent poetry in the African-American vernacular, inevitably brings to mind the work of August Wilson.” — New York Times we s t coa s t pre m ie re Tony Taccone and Tony Kushner The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures Written by Tony Kushner · Directed by Tony Taccone Winner of two Tony Awards, three Obies, an Emmy, and a Pulitzer Prize, Tony Kushner returns to Berkeley Rep for the West Coast premiere of his latest play. With his trademark mix of soaring intellect and searing emotion, the legendary playwright unfurls an epic tale of love, family, sex, money, and politics—all set under the hard-earned roof of an Italian family in Brooklyn. When Gus decides to die, his children come home with a raucous parade of lovers and spouses to find even the house still keeping secrets. Kushner reunites with one of his favorite collaborators, Artistic Director Tony Taccone, to bring this sweeping drama to the Roda Theatre. Mona Golabek in The Pianist of Willesden Lane photo by michael l a mon t 8 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · issue 5 “A family drama of the first rate… It’s also lush and beautiful, funny and an education. It is poignant and smart… Kushner uses a Brooklyn family to expose a place one is meant to avoid at polite cocktail parties: The battleground where politics and personal lives overlap and buckle.” —Associated Press The Pianist of Willesden Lane Based on the book The Children of Willesden Lane by Mona Golabek and Lee Cohen · Adapted and directed by Hershey Felder Set in Vienna in 1938 and in London during the Blitzkrieg, The Pianist of Willesden Lane tells the true story of Lisa Jura, a young Jewish musician whose dreams are interrupted by the Nazi regime. In this poignant show, Mona Golabek performs some of the world’s most beautiful music live —as she relates the real-life legacy of her mother’s quest to survive. Adapted and directed by Hershey Felder, Pianist is infused with hope and invokes the life-affirming power of music. “Wildly effective… Keyboard virtuoso Mona Golabek essentially channels her mother, pianist Lisa Jura, and strikes musical and emotional notes that transcend technical display or biographical sentiment. This elegant heartfelt show is an arresting, deeply affecting triumph.” —LA Times we s t coa s t pre m ie re Tristan & Yseult Written by Anna Maria Murphy and Carl Grose Adapted and directed by Emma Rice Kneehigh is back! Britain’s beloved theatrical troupe returns to the Bay Area with a glorious story of love. King Mark rules with his head, until he falls head over heels with his enemy’s sister. Based on an ancient tale from Cornwall, Tristan & Yseult revels in forbidden desires, broken hearts, grand passions, and tender truths. It’s another marriage of beautiful music and ingenious staging from the acclaimed creators of Brief Encounter and The Wild Bride. Embrace comedy and spontaneity in this West Coast premiere for an irresistible night of love! Emma Rice “Haunting, funny, and sad… terrific, for those who long for theatre which takes the mind and heart into an altered state… The result is one of the best evenings in theatre you could hope to find.” —London Independent Tribes Written by Nina Raine · Directed by Jonathan Moscone When three smart siblings move back home with their opinionated parents, the cacophony of their family hits a new high —even for Billy who’s deaf. Nina Raine’s profound and powerful new play became a hit in London and New York, and now renowned director Jonathan Moscone brings it to Berkeley Rep. To fall in love or find a job, to forge an identity apart from your family, to fulfill that longing for somewhere to belong… is it as simple as following the signs? In Tribes, a deaf man learns to find his way in a world where everyone needs to be heard. Jonathan Moscone “The best-written, best-plotted, deepest, most daring—and funniest—new play in recent years… It’s a paradox of sorts that a play about deafness should have such scintillating dialogue.” —Wall Street Journal Accidental Death of an Anarchist Written by Dario Fo · Directed by Christopher Bayes A bank gets bombed, a suspect dies in custody, and the police inquiry turns into… a masterpiece of comedy? Steven Epp returns to Berkeley Rep for a criminally funny production of Accidental Death of an Anarchist. He delighted audiences as Figaro and The Miser—now he’s back in another madcap show directed by Christopher Bayes. Nobel Prize–winner Dario Fo penned more than 70 incisive scripts, and this is by far his most famous. With Epp’s outrageous Anarchist, Berkeley Rep hauls you down to the station for a hilarious interrogation of our culture. “The sublime Steven Epp is a dream to watch. Loose-limbed, supple-voiced, and blessed with devastating comic timing.” —The Washingtonian Steven Epp in The Miser photo cour t e s y of k e vinberne.com 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 9 ANNE KLEIN THE COLLECTOR’S JACKET Only at Macy’s. Double-breasted jacket. $169. ★ WebID 777027. Ribbon tweed dress. Polyester. $149. ★ WebID 777026. Both for misses. FREE SHIPPING AT MACYS.COM with $99 online purchase. No promo code needed; exclusions apply. ONLY ONE STAR Advertised merchandise may not be carried at your local Macy’s and selection may vary by store. ★ Enter the WebID in the search box at macys.com to order. 3010057. CAN PUT IT ALL TOGETHER r e p ort The artist as creator Playwriting at the School of Theatre By Amanda Spector The world premiere of Lawrence Wright’s Fallaci is the latest of “From page one of the scripts, I could tell that these writers were serious about their craft.” n o r a sØ re na c a s e y, pe te r f. s loss lite r ary/ d r a m atu rgy fe llow Above Peter F. Sloss Literary/Dramaturgy fellow Nora Sørena Casey (center) mentors teen playwrights Sophia CannataBowman (left) and Frances Maples many productions at Berkeley Rep that illuminates the Theatre’s dedication to cultivating new work. Berkeley Rep’s School of Theatre is also helping to breed the next generation of new playwrights through the Teen One-Acts Festival, which gives high-school students in the Bay Area the chance to write, See the Teen One-Acts Festival produce, and premiere original plays. from Mar 22–24 at Berkeley Rep’s The festival process began last fall new Osher Studio on Center Street. with playwriting workshops and oneClick berkeleyrep.org/teenoneacts. on-one tutoring sessions. Berkeley Rep’s To learn about our spring literary staff and guest moderators classes, which start on Apr 1, worked extensively with teens to answer click berkeleyrep.org/classes. questions, provide feedback, and teach them about the art of playmaking. Then the teens experienced a four-hour playwriting retreat hosted by professional playwright Peter Sinn Nachtrieb. With Peter’s guidance and wit, nine students created characters and pushed the limits of their imaginations. Then, members of Berkeley Rep’s literary department—Julie McCormick and Nora Casey— offered the teens individual consultations. Nora was elated with the quality of the work: “From page one of the scripts, I could tell that these writers were serious about their craft and 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 1 1 r e p ort r e p ort Henry Woronicz in An Iliad p h oto co u r t e s y o f k e v I n e b e r n e . co m Truth be told, the theatre would be dark without you. Make a dramatic change. berkeleyrep.org/give 1 2 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · issue 5 their ideas. All of the authors had their own unique ideas, but they were also focused on the technical elements that are essential to creating a good script.” The session and the retreat yielded six plays that were submitted for the Teen Council playwriting competition last November. A group of high-school students served on a play-selection committee and read all of the plays, scoring them in terms of the quality of the narrative, characters, production requirements, and style. With the assistance of Berkeley Rep’s staff, the committee chose two plays to debut in the Teen One-Acts Festival. By selecting the plays, the students got to live with the productions from initial inception to production. Teen Council senior Negi Esfandiari says, “Being on the selection committee has been a tradition for me since I was a freshman, and each year talented teen playwrights give us new plays to read. And besides, being part of the OneActs from the beginning is one of the best parts of the festival!” The production process is entirely teen driven, with teen actors, directors, designers, and producers, which means everyone has a similar scope of experience. “I can apply myself to the production in a professional setting, all while having fun,” says Negi. Teen playwright Frances Maples, whose play premiered in the 2012 Teen One-Acts, was overwhelmed by her experience: “I was consistently blown away by the talent of everyone working with me. It was a dream come true. I really can’t even talk about the process without gushing and falling into clichés.” The School of Theatre also offers adults a chance to sharpen their writing skills through playwriting classes taught by Gary Graves, codirector of Central Works in Berkeley. A number of Gary’s original works have been produced locally, and he also has experience working as an actor and director, which allows him to “I was consistently blown away by the talent of everyone working with me. It was a dream come true. I really can’t even talk about the process without gushing and falling into clichés.” fr an ce s m aple s , o n e–ac t s fe s tival pl ay wrig ht Scene from Frances Maples’ play The Inventors (2012) synthesize various experiences and artistic viewpoints into his teaching. Gary takes on a “sandbox” approach when teaching the art of playwriting. He reveals, “I try to provide my students with a consistent set of parameters, and within those parameters to let them do whatever they want.” The amount of creative flexibility that Gary permits allows each artist to focus on his or her unique voice. Without strictly contrived requirements, playwrights are asked to answer just one question: What is the story that you want to tell? For Gary, “The story has primacy in playwriting, and I try to help students discover and refine the stories that they have within their hearts and their imaginations.” At the School of Theatre, playwrights are asked to dream big and to realize the tremendous power in drawing upon their own experiences and resources. With a consistent approach to embracing the voices of new authors in the Thrust, the Roda, and the School classrooms, it seems quite possible that a Berkeley Rep student could churn out a future show. PREMIER SERVICE FOR A PREMIER AUDIENCE Lorri Arazi Leslie Avant Norah Brower Carla Bufﬁngton Jackie Care Stina Charles-Harris Carla Della Zoppa Francine Di Palma Leslie Easterday Gini Erck Jennie A. Flanigan Nancy Hinkley Maureen Kennedy Jack McPhail Denise Milburn Bob & Carolyn Nelson Ann Nichols Nancy Noman Amy Robeson Ira & Carol Serkes Geri Stern Diane Verducci Serving Berkeley, Albany, Kensington, El Cerrito, Emeryville, Oakland and Piedmont www.pacunion.com 1625 Shattuck Avenue Berkeley, CA 94709 510.982.4400 1900 Mountain Boulevard Oakland, CA 94611 510.339.6460 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 1 3 r e p ort Countdown to curtain The journey to a show’s opening night starts weeks—even months—earlier, but things really start speeding up in the days right before the first curtain. It can be hectic, but Berkeley Rep’s artists, artisans, and staff have plenty of talent and a cando attitude. Here’s a peek at a few things some of our departments do to welcome you to the show. A special thank you to the contributors of this article: Colin Babcock, James Ballen, Timothy Bruno, ashley dawn, Fred Geffken, Karen McKevitt, Kitty Muntzel, Sarah Nowicki, Jacob Marx Rice, and Maggi Yule SCENE SHOP FRONT OF HOUSE Patron Services Manager Katrena Jackson [above] and the rest of the team make sure your pre-show and intermission experiences are excellent. They source locally made and delicious treats for the concessions counter and stock the Hoag Theatre Store with artisan-made gifts and showrelated books, CDs, and dvds—and constantly rotate and edit the selections for your enjoyment. Of course, they also make sure the restrooms, lobby, and house are sparkling clean, but that’s not as exciting as those delectable cupcakes beckoning to you from concessions! 1 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 2– 1 3 · issue 5 Scenery is carefully planned out, built, and embellished weeks in advance, but that doesn’t mean the artisans and crew can rest during the week before opening night. With new shows, perhaps some scenery gets radically changed or even cut during tech week. In Troublemaker, a rolling staircase unit was replaced with a chaise (which the prop shop built), and the artistic team decided they wanted not one but two doorways where silk curtains unrolled on cue, later to be ripped down by an actor. “I came up with a good rigging system for that,” says Colin Babcock, the assistant technical director. He reimagined the rig used for the rain scenes in White Snake, which utilized many cups for the “rain” to fall out of. But this time instead of cups, the shop team created one long box and rolled the whole curtain into it, with one edge of the curtain Velcroed to the bottom of the box. On cue, the curtain unrolled, and the Velcro made it super-easy to remove. The turntable in the show also created a fabulous effect: actors walked and ran on it, creating the illusion of traveling along city streets. In this photo, ET Hazzard, Stephanie Shipman, and BJ Lipari are building the turntable, later dubbed “the donut.” ke vin berne OPENING-NIGHT DINNER Preparation is key— especially when you’re hosting a theatrical dining experience before the show for approximately 100 guests. The development department has perfected the system. Nametags and place cards are all made in advance, and on opening day, the staff sets up table centerpieces, arranges seating, alphabetizes registration, and works with the sound department to set up microphones and music. When guests arrive, they are greeted with a smile and a photo op. As they dine, the production’s artistic team shares a few words about the creation of the show. In this photo, Troublemaker playwright Dan LeFranc and director Lila Neugebauer offer insights. PROP SHOP Everything an actor touches onstage is considered a prop —and those items can really add up! In Fallaci, the script calls for a realistic brownstone filled with books that need to be packed up by the end of the show. How will the actors remove the books? Will they be real books or shelving made to look like many books stacked together? All of that is discussed in advance, and after weeks of building and cataloguing all of the props and having the actors use them in rehearsal, the props team’s work is mostly done before opening night. But sometimes in the day or two before opening night, they have to fix a broken object, add glides to furniture, or touch-up paint. In the end, they hope you don’t even notice their work—that everything looks natural and that any “tricks” (like the falling pumpkin in How to Write a New Book for the Bible) work consistently in each performance. For Troublemaker, the “bear dogs” [pictured] were among the many objects the props department created and adjusted right up to opening night. The actors used a rigid yet curved leash to push them around. “They were a beast to control,” says Gretta Grazier, who worked on the leash until it was at the optimal angle. ELECTRICS The electrics department completes most of its work days before opening night. In fact, Fred Geffken and his team typically install 90 percent of the lighting before the scenery is even loaded in, but wait until tech week to focus the lights. “We discover a lot during tech week,” says Fred, who is pictured here working on lights for Troublemaker. So he and his team incorporate any changes while they focus the lights. They continue to make adjustments until everything’s perfect—just in time for the first audience. 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 1 5 LOBBY DISPLAY Did you notice the intriguing lobby display for Fallaci? The marketing department wants to create new and fun ways for you to interact with the show beyond the walls of the theatre. Past lobby displays have included a graffiti board for Emotional Creature [pictured], mistranslated signs for Chinglish, and a woodsy scene for The Wild Bride. COSTUMES/ WARDROBE Though planned and built weeks in advance, costumes are most likely to change between the first technical rehearsal and opening night. After all, “Tech week is the first time when we see the true timing of the play,” says Kitty Muntzel, referring to when actors exit and enter the stage. Behind the scenes, the wardrobe crew performs precise, elaborate choreography, assisting actors with any costume changes along the way and making sure all of the garments are exactly where they should be at every point of the performance. This is all planned out and meticulously written down during tech week. And, since tech week marks the first time costumes, sets, and lights are all seen together, sometimes a garment needs to be dyed because it doesn’t quite work against the color of the scenery. Hemlines change faster than a fashion trend. Perhaps an actor’s ankles are showing too much when he sits down, or a woman’s skirt isn’t quite the right length — the audience in the orchestra may be looking up at the actors, after all. By opening night, all hems are set, all trim is added, the dressing rooms are set up, costumes are pressed. At half hour before curtain, the wardrobe crew sets the actors’ wigs or preps their hair—the final touches before they step onstage. 1 6 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · issue 5 SOUND The amount of sound in a show can vary drastically, ranging from transition music and real-world sounds to the amplification of musicians and actors on stage. Sound Supervisor James Ballen collaborates with the sound designer before each show to create a plan of what speakers, microphones, and other specific equipment will be used, and how it will all be integrated with the other elements of each production. Some shows require playing back prerecorded sound, some require live-mixing many microphones (American Idiot, anyone?), and others are a mix of the two. Whichever kind of show you’re seeing, they strive to create an equally pleasing aural experience for every patron in the house. Achieving this is a very precise science, and is the result of many factors including architecture of the theatre, reflections off surfaces, and different arrival times of different sound sources. Usually before tech week, the framework of the show is in place…but it is during that week that the show is really shaped, changed, and refined. Often many things are not discovered until everyone is actually in the room together. In this photo, equipment is being set up for tech rehearsals on the Thrust Stage. Jewelle and James Gibbs, joined in 2010 Our Life Here BLENDS Art, Academia, And Family. Jewelle and James Gibbs, professors from Cal and Stanford, know how to artfully blend their love of research, travel, family, and art. And they could write a book on it. In fact, theyâ€™ve edited and authored six books and traveled to over fifty countries. Collectively, the Gibbs are writing their next, best chapters at St. Paulâ€™s Towers. To learn more, or for your personal visit, please call 510.891.8542. Collecting African art is a passion. 100 Bay Place Oakland, CA 94610 stpaulstowers-esc.org A fully accredited, non-denominational, not-for-profit community owned and operated by Episcopal Senior Communities. License No. 011400627 COA #92 EPSP644-01IH 030813 r e p ort Wells Fargo helps the arts thrive in Berkeley B y K a r e n McK e v i t t How do people revitalize their communities “Wells Fargo is proud to support Berkeley Rep and its commitment to the community to share the cultural gift of theatre.” m ick y r an d hawa , e a s t bay pre s id e nt o f we ll s farg o 1 8 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · issue 5 and turn once-challenging streets into vibrant neighborhoods filled with restaurants, retail, and culture? Answer: Bring in the artists. It’s been proven time and again from Brooklyn to the Bay Area that artists are key to economic and community transformation. Witness the Downtown Berkeley Arts District. For the past several years it’s pulsed with captivating live theatre and music, engaging visual art, and thriving restaurants—anchored on Addison Street by Berkeley Rep and other venues where artists flourish. This sort of metamorphosis doesn’t happen by mistake. It takes forward-thinking city leaders and financial investment. Enter Wells Fargo, which has supported several of Berkeley’s art institutions to the tune of $825,000 over the last three years. And for the last eight years, Wells Fargo has been a generous season sponsor of Berkeley Rep. “Over the last four years, we’ve seen a decline nationally in corporate philanthropy to the arts,” says Managing Director Susan Medak. “Wells Fargo has been one of those rare sponsors who have rededicated themselves to supporting ©2013 UC Regents DR. MITCHEL BERGER IS PIONEERING CARE FOR JENNY ALDEN When Jenny Alden was diagnosed with a brain tumor, she started researching the best places for treatment, and UCSF Medical Center was at the top of the list. At UCSF, Dr. Mitchel Berger, world-renowned neurosurgeon, helped pioneer brain mapping, which revolutionized the field and helped save Jenny’s life. They both came to UCSF for a medical culture that rewards excellence and innovation. That’s why UCSF is one of the top six hospitals in the nation in neurosurgery. UCSF: pioneering care, one patient at a time. Visit PioneeringCare.com to read more > Coldwell Banker. Where Home Begins. r e p ort 1495 Shattuck Avenue, Berkeley 510.486.1495 | www.CaliforniaMoves.com /coldwellbankerberkeley | /cbmarketingwest ©2012 Coldwell Banker Real Estate LLC. All Rights Reserved. Coldwell Banker® is a registered trademark licensed to Coldwell Banker Real Estate LLC. An Equal Opportunity Company. Equal Housing Opportunity. Each Coldwell Banker Residential Brokerage Office Is Owned And Operated by NRT LLC. DRE License #01908304. Use the code BRHAPPY5 for $5 OFF tickets! (Restrictions apply) Bay Area Premiere/Begins March 27 THE HAPPY ONES by Julie Marie Myatt directed by Jonathan Moscone Box Office: 415.441.8822 / www.magictheatre.org KATHIE LONGINOTTI Realtor® Berkeley Rep Subscriber Since 1972 510.981.3032 www.AtHomeEastBay.com 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 5 organizations like Berkeley Rep. They are true leaders in this community, and we are tremendously grateful to be the beneficiaries of their generosity.” “Wells Fargo is proud to support Berkeley Rep and its commitment to the community to share the cultural gift of theatre,” adds Micky Randhawa, East Bay president of Wells Fargo. “We congratulate them as they enter their 45th year of excellence in theatrical performance and enriching people’s lives.” Wells Fargo has also supported other Berkeley–based institutions like Cal Performances, the Berkeley Society for the Preservation of Traditional Music, the Shawl Anderson Dance Center, and Habitot Children’s Museum. Indeed, the Downtown Berkeley Arts District now anchors a burgeoning regional arts scene. After all, the Downtown Business Association’s tagline is “It Starts Here.” More and more people attend cultural events than ever before —you might even say that we’re known as a region of “cultural omnivores.” Wells Fargo has been an integral part of this evolution. “Wells Fargo is deeply committed to the communities where we live and work and play, pay taxes, raise our families, educate our children, buy our groceries, support our local nonprofits, and also enjoy art,” says Lisa Finer, East Bay commercial banking region head of Wells Fargo and board member of Berkeley Rep. “Berkeley is a special community and our vision is to do what is best for our customers and build relationships based on trust and financial needs.” Thanks to institutions like Wells Fargo, Berkeley as well as the East Bay is a fertile place for both artists and audiences to call home. J U ST A N NOU NCE D · ON S A L E NOW! “Dazzling!” wa shington post “Joyful!” boston globe “Glorious!” usa today “S’wonderful!” boston her ald “Blissful!” chic ago sun-tImes GEORGE GERSHWIN ALONE Music by George Gershwin and Ira Gershwin Book by Hershey Felder With Hershey Felder as George Gershwin Directed by Joel Zwick Thrust Stage Jun 8–23 · Only 17 performances Call 510 647-2949 · Click berkeleyrep.org Oriana Fallaci, self portrait courtes y of edoardo per a z zi/ fall aci private collec tions oriana fallaci a life of resistance B y j u l i e m cc o r m i c k 2 2 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · issue 5 A date of birth usually seems like a logical—if somewhat uninspiring—way to begin the account of a life. Not so with Oriana Fallaci. An inveterate storyteller, she was constantly telling and revising the story of herself. From her childhood as a resistance fighter in Italy during World War II to a long career as a daring and high-profile war journalist, Fallaci’s life was by turns exciting, glamorous, and dangerous, yet always controversial. As one Fallaci burned brightly, another rose from the ashes, requiring a constant renegotiation of her identity and retelling of the facts (much to the consternation of more pedantic journalists). Sometimes aggressive, sometimes charming, but always passionate, Fallaci lived her life in the same limelight as the stories she told about the world. continued 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 2 3 Oriana, age 18 at the beginning of her career in Florence, 1948 Oriana interviewing Ayatollah Khomeini at his home in Iran, 1979 24 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · issue 5 all photos courtes y of edoardo per a z zi/fall aci private collec tions Oriana on her bicycle as part of the Resistance, 1942 Though she would travel extensively and meet many important people over the years, Oriana Fallaci was ever her parents’ daughter. According to Fallaci and those who write about her, the many selves that she presented to the world —revolutionary, intellectual, hard-working journalist, and novelist—all originate in some way with her parents’ influence. Perhaps Fallaci’s story really begins when she was 14, and the fascists in Italy came to power under Mussolini. Her father was a courageous resistance fighter, and enlisted the help of his eldest daughter Oriana (rebaptized with the code name “Emilia”) to deliver explosives and subversive newspapers, and to guide Allied pows through Italian lines. It has been suggested by Fallaci herself that this is where her political convictions and hatred of power originated. The tale of Fallaci as an artist, however, might begin a little earlier. Though neither of her parents went through higher education, both were voracious readers who held learning in reverential esteem. Money was usually tight for the Fallacis, but there was always a few lire set aside to buy the great works of Dostoyevsky, Tolstoy, and Dickens on installment plans. The young Oriana fell in love at an early age, particularly with the stirring fiction of adventure writers. She often attributed her desire to be an author to reading Jack London’s The Call of the Wild when she was 9 years old. These early literary escapades also shaped Fallaci’s peripatetic spirit. Many of the places that she loved to go in books—such as Jack London’s America and Rudyard Kipling’s India —became important destinations for the adult writer. Her parents fiercely encouraged her to be strong and independent—Fallaci would recall her mother warning her not to become stuck as a wife and mother, “a slave” to the desires of others, and her father’s severe adjuration that “girls do not cry” while they were hiding in a bombed-out church. After the war, she studied hard and graduated high school at 16 with impressively high marks in the classics, philosophy, and literature. Though she wished nothing more than to begin a career as a writer, her parents’ insistence to get more education in something practical and lucrative convinced her to become a doctor. Medical school was an expensive pursuit, however, so Fallaci got a job as a reporter at a local newspaper in order to support her studies. It became clear early on that medicine was not for her, so she dropped out in her first year to work at the newspaper full time. After five years of writing society pieces, Fallaci finally got her big break when she was hired by one of Italy’s largest and most prestigious newspapers, L’Europeo. Her literary style had caught the editor’s eye, and soon she was traveling all over the world conducting high-profile interviews. In the ’50s and ’60s she spent months at a time in New York and Hollywood, writing about stars like Joan Collins, Sean Connery, Ava Gardner, and Orson Welles. These celebrities were glamorous enough in themselves, but Fallaci had a knack for putting herself and her opinions into her stories. Her writing was entertaining, exciting, and read more like a literary character sketch than a typical, dry news article. Though perhaps Fallaci got more attention in the pieces than her subjects, and there were often arguments about misquotations and authenticity, Fallaci’s unique approach helped to create a greater sense of immediacy and contact—it felt like you were really alongside “When you write an article, a piece of reportage, you have to stay within the limits of facts, of what really happened, [but literature] universalizes the truth.” oriana fall aci Fallaci and Gregory Peck or Clark Gable. With her vivacious wit, sharp tongue, and short temper, Fallaci soon became as famous as her subjects. (It also didn’t hurt that she was stunningly beautiful and had excellent taste in clothes and jewelry.) Following her stint in Hollywood, Fallaci went on a long tour of Asia to write about the condition of women there, and conducted a series of interviews with astronauts preparing to go to the moon. Though she continued to interview the rich and glamorous, Fallaci’s work as a journalist took a turn for the serious and political when the Vietnam War broke out. She insisted on being sent to the front lines, and went back on numerous occasions to share cigarettes with American soldiers in the thick of the fighting, badger commanders and political leaders on both sides of the conflict, and conduct rigorous interviews with North Vietnamese resistance fighters. This began her long career as a war correspondent, which is how many remember her best. Time and again she was drawn back to the front lines, at no small cost to herself. In 1968 she was in Mexico reporting on student protests when she was shot three times in a police raid. The government attempted to cover up the atrocities it had committed, and it was through reporters like Fallaci that the world was able to learn the extent of the violence. It was also during the ’70s and ’80s that Fallaci conducted interviews with some of the world’s most (in)famous political figures: the Ayatollah Khomeini, Indira Gandhi, Yasser Arafat, Golda Meir, and Deng Xiaoping. Armed with a fierce anger and a tape recorder, Fallaci manipulated her subjects into opening up in ways they never had before. “I went to write a portrait,” she said of these flawed individuals who somehow had the power to decide the fates of us all. These combative and lengthy interviews (a session could last up to six or seven hours) caused an international uproar for the truths they revealed and for the sheer audacity of what she had done. Many journalists have studied “the art of the Fallaci interview,” and some have learned it with great success. Most, however, fail to make it the theatrical event she did. After a while, politicians wised up and would refuse to give her interviews after the disastrous conversations she had with Qaddafi and Kissinger, for example. But Fallaci had been doing more in this time than just reporting (and making) the news. She was also writing books. Her career as a journalist went a long way towards satisfying a lifelong wanderlust and a parental imperative to work; however, Fallaci still found herself longing to write co n tin u e d o n pag e 39 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 2 5 photo by benja min skl ar THE MARRIAGE OF THEATRE & JOURNALISM A conversation with Lawrence Wright By Madeleine Oldham 26 · 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 5 Lawrence Wright’s bio does not do justice to the breadth of his interests and skills. He seems to have a blazing curiosity about the world around him that transforms simply following his nose into something of a conduit for our collective consciousness. He’s developed a finely tuned ability to tap into some of the most pressing questions of our time: What is the nature of power? How is an extremist born? What makes someone decide to take a leap of faith? He inevitably discovers complex yet illuminating answers. Madeleine Oldham, Berkeley Rep’s director of The Ground Floor and resident dramaturg, had a chance to talk with Wright about his writing and storytelling. Madeleine Oldham: You seem to have so many talents— you’ve been a journalist, you’ve written screenplays, books, plays, and the internet tells me you play keyboard in a band. Lawrence Wright: Yeah, we had a gig on Saturday night. Amazing. Have you always been such a multifaceted person, or have you diversified as you’ve gotten older? Well, except for the piano playing, which is just a fierce hobby of mine, all of it is just writing. I express my writing in a number of different areas, but I think they’re fundamentally similar. Basically, I work from reality, and that’s my orientation. It starts with being a journalist. I find there are other ways of exploring real events and real people, and writing plays is just one of them. I use the same techniques that I use in my journalism to write plays or novels or screenplays. That’s really interesting, actually. Because the structure of a play must be different than the structure of a journalistic piece — did you do any research or homework, or did you just sort of forge ahead? Oh yeah. I began by reading all of Oriana’s works that I could get hold of, and I also interviewed people who knew her. Isabella Rossellini, for instance, was a great friend of Oriana’s and she was extremely helpful to me. After Fallaci died, Isabella had never been in Oriana’s bedroom, and when she was helping Oriana’s nephew, who was the executor of the estate, clean up the apartment she asked if she could go into the bedroom and it turned out it was full of dolls. Wow. That’s where the doll came from in the play. Isabella told me that story, among other things; she was very helpful. I also went to Boston where Fallaci’s papers are kept, at Boston University. Vita Paladino runs the Howard Gotlieb Archival Research Center and she gave me access to Fallaci’s papers and some of the tapes of her interviews. She also knew Fallaci very well and was extremely helpful. So, I do all the reading, I interview pertinent sources, and just take notes. Then, just as I do with my journalism, I make note cards and file them under different headings. What’s different about writing a play from a book or an article is that when I’m using those note cards I also compile notes for scenes. Then when I get enough of a stack of such scenes I close the door and turn off the phone and lay them out into acts, or, in this case, three scenes. Then I can see chronologically where things need to go and dramatically where they need to go. In that way I began to build the architecture. How has the script evolved over the course of writing it? Have you learned anything new from the process of writing this particular play? Oh yeah. I learned a lot historically, because I learned a good deal about Fallaci that I didn’t know before, and also about Iran. You know, Fallaci is a real character, so in many ways writing her was an easier task for me. She left a legacy of an enormous body of work and she was a very controversial and outspoken character, so there was a lot to draw upon. But I felt that one could not let her views go unchallenged, especially in the later part of her life. So I had to invent a foil. Maryam is the creature that I contrived to be both Oriana’s antagonist and her sort of protégé. She’s a complicated figure but it took me into an interesting world. I drew a lot upon people, especially women, whom I had met in the Muslim world, to write about Maryam. We see some theatre and art about the Middle East, but in proportion to what goes on in the news, it doesn’t seem to me like there’s that much of it. Would you agree with that? And if so, why do you think that might be? I do agree with that observation. The way that I’d answer that is: I’ve been very interested in the marriage of journalism and theatre. At first glance it seems like an awkward 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 2 7 I think information is always going to be valuable, so I don’t think journalism is going to disappear... Information becomes an even higher premium, so I think people will pay for information. The question is, how do you keep valuing it in a connected world where people want things for free? arrangement. The first time I was exposed to this possibility was in 1992 when I went to see Anna Deavere Smith’s Fires in the Mirror at The Public Theater. She had gone out and interviewed all these people that were involved in the Crown Heights tragedy and then embodied them using their actual words. Now, I could never do that kind of thing myself as an actor, but I was very inspired by her example of taking journalism and making it into theatre. I just didn’t know it was possible. And then, later I did two one-man shows that were to some extent motivated by Anna Deavere Smith’s example. But continually, when I’m writing plays or screenplays, I like to use real people and real events as much as possible. I feel like this is a rich direction for both journalism and theatre, which both suffered because of economic problems and changes in technology; it’s a way of communicating real events to people in a much more intimate fashion. Okay wait—I’m going back to one of my first questions for one second because you humbly suggested that all these other things you do —aside from playing keyboard —were writing. But you just mentioned that you performed two one-man shows, which is something totally different from writing... You think so, Madeleine. I do! From my point of view it was still journalism. Even the performance part? Yes. When I finished my book The Looming Tower, a lot of people were asking me, “What was it like when you were over there and talking to all those people? What did you think?” I’m not a character in the book, but I thought that it would be interesting to explore those questions because I hadn’t really taken the time to analyze myself. So I wrote this first one-man show, My Trip to Al-Qaeda, and used videos and still photography and music and so on to help people place 2 8 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · issue 5 Fallaci director Oskar Eustis and Lawrence Wright photo by s te ve & anita she ve t t themselves in my spot. And through that I hoped that I could explain to them what it’s like to be in that part of the world and to talk to people whose views are so radically different from our own. I see that as a kind of journalism, as a kind of reporting, and in many ways I think that’s what the original reporters must have done, imagining where journalism came from in the first place. I kind of envision a group of people sitting around a fire wondering what’s over the hill. And somebody goes over the hill and comes back and says what he saw. Well, that’s the feeling I had when I was standing on the stage and I was talking to people whose faces I could barely see, it was like they were around the fire and I was telling them what I saw when I went over the hill. Did you get nervous at all? Honestly, no. I used to be very anxious about speaking in public, and actually it was a witch in the Bay Area who helped me. Her name was Starhawk, I don’t know if she’s still around, she was a pretty famous witch and she wrote a number of books. I was interviewing her for an article I was doing and I happened to confide that I was going back to Austin to make a speech and I had never really made a big public speech, and my voice gets high and my knees start knocking. She said, “We witches have a saying: where there’s fear there’s power.” I wasn’t sure what it meant but it sounded very powerful and meaningful. So I took it to mean that I wasn’t really frightened of, you know, peeing in my pants, I was really frightened of being the kind of person who could stand up and confidently talk in public. I began to analyze those kinds of fears when they occur with performing and speaking in public. I know now that that was an irrational, needless fear on my part, and now I just don’t have that sensation of stage fright. That’s so interesting. You mentioned you analyzed this about yourself—is that a skill that you have that you use when you’re talking to other people? Do you feel like you have to be able to read people, including yourself, in your line of work? I think you have to be able to be deeply empathic, and imagine how another person feels and where they came from in order to genuinely understand them. That’s part of what Fallaci’s lesson is in this play. You know, there’s a relationship between the reporter and the subject and it can be very aggressive, it can be erotic, it can be full of conflict, but from the beginning it’s a profound relationship and the reporter has a tremendous amount of power. One holds the reputation of the other person in your hands, and so one has to be cautious about how you use that kind of power. On the other hand, you have an obligation to your reader to get to the bottom of what’s going on with this person. That’s why they’re reading you in the first place. Was Fallaci someone you’ve been interested in for a long time, or did you stumble on her in some way and decide “Oh, I must write something?” I had been very influenced by her. Every reporter of my age would have known her and been affected by her, because for a time she was the most influential reporter in the world. She was before the confrontation journalism of 60 Minutes— she created that kind of journalism. She had a way of wringing the truth out of people that no one else could get. It was like magic. It was extremely dramatic and it awakened in me the idea that journalism could be a real profession. So in the play Maryam is writing Fallaci’s obituary while Fallaci is still alive. I understand that’s a common practice. Is that true, and is that something you’ve ever done? No, I’ve never done it. There are only several newspapers that do it religiously, and that’s why I made the Times the employer of Maryam, because they have a staff of obit writers. They go out and write these preliminary obituaries that are then filed away. The information is supposed to be kept confidential until the subject passes away. So, sometimes, people say things to their obituary writers that they would never confide to contemporaries because they know that these words aren’t going to be used until after they’re gone. And did you always have that idea for the play? Yes, I just thought it was a really interesting relationship. Just imagine, an ordinary reporter carries a tremendous burden of responsibility, but an obit writer has an extra amount of that because —as Fallaci says—this is the final judgment. This is the summing up. When people go back and look for an account of a person, oftentimes what they’ll get is their obituary. And I think in a kind of existential universe it passes for the last judgment. I think a big part of writing, obituary or otherwise, is choosing what to include and what to leave out. Uh huh. What’s the most interesting thing you had to leave out of the play? Hm, that’s a hard one. Let me think about that. Or maybe not the most, but an interesting thing. Well, I had to make it two women. There were other personalities that could have been brought into this—I would’ve included some of Oriana’s friends. I even thought about doing flashbacks and seeing her in action as a young reporter, a confrontational journalist, so it was a choice on my part to narrow it down to just two individuals and see the changes in their relationship. A movie might take a different approach, because you could span it over a longer period of time, and maybe even have several different people playing Oriana. I thought it’d be more interesting to see all the changes compressed into these two personalities. The challenge, when matching a real character like Oriana Fallaci with an invented one like Maryam, is to make the imagined personality equally vivid and authentic. When I finished an early draft of the play, I realized that Maryam bore a certain resemblance to Christiane Amanpour, the distinguished Iranian-British journalist. She told me that, like Maryam, she had idolized Fallaci as a young reporter, and had sought her out—in fact, she had actually contacted Fallaci through Rizzoli’s, the same way as Maryam does in the script. When imagination begins to coincide with real events, that’s when you know you’re on the right track. It seems like you are very skilled at taking gigantic amounts of information and distilling them and synthesizing them into a story that makes sense for people. Uh huh. Is that something that you’ve always known how to do, or did you have to teach yourself how to do that? And does it show up in other parts of your life, other than just your professional life? Well, I think that my journalism informs my dramatic writing. But it is also true that my dramatic writing informs my journalism. You know, I’ve written plays and screenplays for many years. I’ve come to appreciate the fact that vivid, intense writing is very similar in both respects. Because they depend on great scenes and great characters, and if you have those elements—whether it’s a play or a movie or an article or a book—it’s going to be much more powerful than it could be otherwise. So now, in my journalism, I search for scenes and I report them. If I find something that’s going to be a very interesting scene, I’ll spend a great deal of time soliciting information to enlarge that and make it more consequential. I also try to find wonderful characters that can take us into a world that we might not otherwise be able to enter or care about. So in those ways my dramatic writing has certainly enlarged my sense of what journalism can do. But the converse is that I bring in to the theatre a sense of reality and the outside world. I look for creating a feeling of authenticity that you might not have otherwise because these are actually reported events. There’s a lot of talk these days about where journalism is headed —is it evolving, is it dying, is it changing, etc. Where do you think it’s headed? Well, it’s in a rocky spot right now. I think information is always going to be valuable, so I don’t think journalism is going to disappear in a chaotic, fluid world such as the one co n tin u e d o n pag e 39 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 2 9 next at berkeley rep PericlEs pRInCE Of tyre By William Shakespeare Conceived by Mark Wing-Davey with Jim Calder Directed by Mark Wing-Davey April 21–May 26 Call 510 647-2949 · Click berkeleyrep.org pro D u C t i o n SponSor Berkeley Repertory Theatre presents the world premiere of 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 , A r t i s t i c D i r e c to r S u s a n M e da k , M a n ag i n g D i r e c to r FALLACI Written by Lawrence Wright Directed by Oskar Eustis M arch 8–April 21, 2013 Roda The atre . m ain sea son Fallaci runs 90 minutes with no intermission Fallaci is made possible thanks to the generous support of s e a s o n pro d u ce r s Martha Ehmann Conte Wayne Jordan & Quinn Delaney Marjorie Randolph Jack & Betty Schafer The Strauch Kulhanjian Family e xecu tiv e pro d u ce r s Bill Falik & Diana Cohen Frances Hellman & Warren Breslau cast (i n o r d e r o f a p p e a r a n c e) Oriana Fallaci Concetta Tomei Maryam Marjan Neshat produc tion s taff Scenic Design Robin Wagner Costume Design Jess Goldstein Lighting Design Michael Chybowski Sound Design Acme Sound Partners Stage Manager Angela Nostrand Casting Amy Potozkin, csa Stephanie Klapper, csa The actors and stage manager are members of Actor’s Equity Association, the Union of Professional Actors and Stage Managers in the United States pro d u ce r s Joan Sarnat & David Hoffman Michael & Sue Steinberg a s s o ciate pro d u c e r s Shelley & Jonathan Bagg Tom Dashiell William Espey & Margaret Hart Edwards Paul Friedman & Diane Manley Peter Pervere & Georgia Cassel Pat & Merrill Shanks Wendy Williams pro d u c tio n s p o n s o r Season sponsors 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 3 1 be r k e l e y r e p pr e s e n t s Concetta Tomei ORIANA FALLAC I Concetta’s Broadway credits include Cyrano de Bergerac (with Kevin Kline), The Elephant Man (opposite David Bowie), Goodbye Fidel, and Noises Off. Her other New York credits include The Clean House at Lincoln Center Theater (East Coast premiere); the original cast of Tommy Tune’s Cloud Nine; Fen (directed by Les Waters); Nora Ephron’s Love, Loss, and What I Wore; the original cast of The Normal Heart (opposite Brad Davis); A Private View at The Public Theater; and Richard III (St. Clair Bayfield Award). Concetta has also appeared at Alley Theatre, American Conservatory Theater, and the Mark Taper Forum. Her film credits include Deep Impact, Don’t Tell Mom the Babysitter’s Dead, The Muse, and Out to Sea, and her television credits include China Beach, Necessary Roughness, Providence, Weeds, and more than 50 others. Concetta is a graduate of the University of Wisconsin and Chicago’s Goodman School of Drama (Sarah Siddons Award). Marjan Neshat M a rya m Marjan’s recent theatre credits include Nawal Marwan in Scorched with David Strathairn, as well as Aiesha Ghazali in The Near East, Hermia in A Midsummer Night’s Dream, and Masha in The Seagull with Dianne Wiest. She also appeared in 365 Days/365 Plays at Barrow Street Theatre/The Public, Girl Blog from Iraq (Best Ensemble nomination, Edinburgh Fringe Festival), Sexual Perversity in Chicago, and The Tempest. She just finished filming a role in the new RoboCop remake. Marjan’s other films include Alfie, the forthcoming Almost in Love with Alan Cumming, Coney Island Baby, Cry Funny Happy (Sundance), First Person Singular, A Jersey Tale (Tribeca), A Season of Madness (Woodstock), and Sex and the City 2. Some of her television credits are Blue Bloods; Funny in Farsi, a pilot for abc Studios directed by Barry Sonnenfeld; Fringe; New Amsterdam; Rescue Me; Six Degrees; and multiple guest appearances on Law & Order and Law & Order: svu. Marjan is a member of the Actors Center Workshop Company in New York City. Lawrence Wright PLAY W RIGHT Lawrence is an award-winning journalist, author, screenwriter, and playwright who has written four previous plays. He has 3 2 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · issue 5 been a staff writer for The New Yorker since 1992, where he won two National Magazine Awards for reporting. He is the author of eight books, including The Looming Tower (2006), which won the Pulitzer Prize for Nonfiction, and most recently Going Clear: Scientology, Hollywood, and the Prison of Belief. His first play, Cracker Jack, was produced at the Paramount Theater in Austin, TX (1984). Sonny’s Last Shot received two productions in Austin, at the Arts on Real Theater (2003) and the State Theater (2005). Lawrence performed his one-man play My Trip to Al-Qaeda at the Culture Project in New York (2007), and at the Kennedy Center in Washington, DC and New York’s Town Hall (2008). Oskar Eustis directed Lawrence’s second one-man show, The Human Scale, for The Public in New York (2010) and at the Cameri Theatre in Tel Aviv (2011). He has written two movies, The Siege (1998) and Noriega: God’s Favorite (2000). His next play, Camp David, will premiere next season at Arena Stage in the nation’s capital. Oskar Eustis D IRE C TOR Oskar has been artistic director of The Public since 2005. From 1981 through 1986, he served as resident director and dramaturg at the Eureka Theatre in San Francisco, and then as its artistic director until 1989. That year, he moved to the Taper as associate artistic director, where he remained until 1994, when he was appointed artistic director of Trinity Repertory Company, where he served for 11 years. At Berkeley Rep, Oskar staged the world-premiere production of Rinne Groff’s Compulsion (2010), the world premiere of Philip Kan Gotanda’s Fish Head Soup (1991), and co-directed Execution of Justice (1985). At The Public, he staged the 2008 Shakespeare in the Park production of Hamlet, featuring Michael Stuhlbarg and Sam Waterston, and the New York premieres of Compulsion; The Ruby Sunrise, also by Groff; and The Human Scale by Lawrence Wright. His numerous directing credits at Trinity Rep include the world premiere of Paula Vogel’s The Long Christmas Ride Home (Elliot Norton Award for Outstanding Production), Homebody/Kabul (Elliot Norton Award for Outstanding Production), Angels in America, Part I: Millennium Approaches (Elliot Norton Award for Outstanding Director), and Angels in America Part II: Perestroika. Oskar has also directed world premieres of plays by David Henry Hwang, Emily Mann, Eduardo Machado, Ellen McLaughlin, and Suzan-Lori Parks, among many others. Along with Tony Taccone, he commissioned Tony Kushner’s Angels in America at the Eureka and directed its world premiere at the Taper. He received the 2009 Tony Award for The Public’s revival of Hair. Oskar received honorary doctorates from Rhode Island College in 1997, and Brown University in 2001, where he founded and ran the Brown University/ Trinity Rep Consortium. He currently serves profiles as Professor of Dramatic Writing and Arts and Public Policy at New York University. Robin Wagner S C ENI C D ESIGNER Robin was the scenic designer of more than 50 critically acclaimed Broadway shows. Among the most notable are the original productions of 42nd Street; Angels in America; Chess; A Chorus Line; City of Angels; Crazy for You; Dreamgirls; The Great White Hope; Hair; Jelly’s Last Jam; Jerome Robbins’ Broadway; Jesus Christ Superstar; Lenny; On the Twentieth Century; The Producers; Promises, Promises; and Young Frankenstein. He recently designed the revivals of A Chorus Line and Dreamgirls, which are now on tour around the world. Robin’s work has included productions for opera, film, dance, and rock and roll, and he’s worked with companies such as the Hamburg State Opera, the Metropolitan Opera, the New York City Ballet, the Royal Opera House at Covent Garden, the Royal Swedish Opera, and the Vienna State Opera. He is the recipient of three Tony Awards for City of Angels, On The Twentieth Century, and The Producers, and has been nominated for seven others. Robin is a trustee of The Public and has been inducted into the Theatre Hall of Fame. Jess Goldstein C OSTUME D ESIGNER Fallaci is Jess’ Berkeley Rep debut. His New York credits include The Apple Tree with Kristin Chenoweth, The Columnist with John Lithgow, Dinner with Friends, Disney’s Newsies, The Dying Gaul, Glengarry Glen Ross, Henry IV with Kevin Kline (Tony nomination), How I Learned to Drive, II Trittico for the Metropolitan Opera, Jersey Boys (Broadway, London, Australia, Singapore, South Africa, and all tours), Judgment at Nuremberg, Julius Caesar with Denzel Washington, Love! Valour! Compassion!, The Merchant of Venice (Tony nomination) with Al Pacino, The Mineola Twins (Lucille Lortel and Henry Hewes Awards), Next Fall, Lincoln Center’s The Rivals (2005 Tony Award), Stuff Happens, and Take Me Out. His film work includes A Walk on the Moon directed by Tony Goldwyn. Jess is a graduate and longtime faculty member of the Yale School of Drama. Michael Chybowski LIGHTING D ESIGNER Michael designed Berkeley Rep’s productions of The Beaux’ Stratagem, Compulsion, and Much Ado About Nothing. He has worked at most of the major regional theatres in the United States as well as internationally at the Gate Theatre in Dublin, the Royal Ballet, and Théâtre de Carouge in Geneva. He also designed many dances for choreographer Mark Morris, including the recent Beaux at San Francisco Ballet. Michael is the recipient of the Obie Award for Sustained Excellence, an American Theatre Wing Design Award, and two Lucille Lortel Awards for his work off Broadway. Acme Sound Partners SOUN D D ESIGNER Fallaci is Acme’s first sound design for Berkeley Rep. Acme has designed sound for more than 30 Broadway shows since 2000, including The Addams Family, Avenue Q, Bengal Tiger at the Baghdad Zoo (Tony nomination), A Chorus Line (2006), Dirty Rotten Scoundrels, The Drowsy Chaperone, Fences (Tony nomination), Hair (Tony nomination), In The Heights (Tony nomination), La Bohème, Legally Blonde, The Light in the Piazza, Lombardi, The Merchant of Venice, Monty Python’s Spamalot, The Motherf**ker with a Hat, Porgy and Bess (Tony nomination), Ragtime, [title of show], and Venus in Fur. Acme is Tom Clark, Mark Menard, and Sten Severson. Angela Nostrand STAGE MANAGER Angela is thrilled to make Fallaci her first production with Berkeley Rep. Her recent credits include 9 Circles, Charlie Cox Runs with Scissors, and The Pavilion at Marin Theatre Company; Another Way Home, The Crowd You’re in With, Evie’s Waltz, Expedition 6, K of D: an urban legend, The Long Christmas Ride Home, Octopus, Tir na nÓg, and Why We Have a Body at Magic Theatre; and Bosoms and Neglect; The Eccentricities of a Nightingale; The Elaborate Entrance of Chad Deity; Fat Pig; The Price; Private Jokes, Public Places; The Soldier’s Tale; and Speech & Debate at Aurora Theatre Company. She has also worked with companies such as B Street Theatre, Encore Theatre Company, Joe Goode Performance Group, Southern Rep, Traveling Jewish Theatre, and Word for Word. A MORAL PLAY WITHOUT A MORAL BY ALISTAIR BEATON DIRECTED BY MARK JACKSON STARTS APRIL 5 Mention code BRARSONISTS5 for $5 off tickets! Amy Potozkin C ASTING D IRE C TOR Amy is in her 23rd season with Berkeley Rep. She has also had the pleasure of casting projects for act (Seattle), Arizona Theatre Company, Aurora, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for the film Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and the upcoming Love and Taxes 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. Stephanie Klapper C ASTING Stephanie handled New York casting for Berkeley Rep’s productions of The Arabian Nights, Emotional Creature; Red; and Troublemaker, or The Freakin Kick-A Adventures of Bradley Boatright. Her work has been MAX FRISCH TRANSLATION BY (Restrictions apply. Call for details.) 510.843.4822 AURORATHEATRE.ORG 2081 ADDISON STREET ONLY 2 DOORS EAST OF BERKELEY REP HOME we’ll get you there INTENSELY LOCAL SINCE 1984 www.thornwallproperties.com 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 3 3 Credit and debit cards as unique as you are Just use our easy online Card Design Studio® service Showcase what’s truly important to you by customizing your personal or business Wells Fargo Debit Card and Credit Card with the Card Design Studio service. • Personalize your cards by uploading a favorite photo or your business logo, or choose an image from our online library.* • Once your photo is approved, your new card will arrive in just 5 to 7 business days. Talk with a Wells Fargo banker today or visit wellsfargo.com to learn more. *Wells Fargo reserves the right to decline certain images. © 2013 Wells Fargo Bank, N.A. All rights reserved. Member FDIC. Expiration date: 6/30/13. (796397_07379) seen on Broadway, off Broadway, regionally, internationally, on television, in film, and on the internet. She has ongoing projects for New York Classical Theatre, Pearl Theatre Company, Primary Stages, and many regional theatres, as well as numerous independent feature films. Stephanie is a member of the Casting Society of America and the League of Professional Theatre Women. Tony Taccone ARTISTI C D IRE C TOR Tony is the artistic director of Berkeley Rep. During his tenure, the Tony Award–winning nonprofit has earned a reputation as an international leader in innovative theatre. In those 15 years, Berkeley Rep has presented more than 60 world, American, and West Coast premieres and sent 18 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 has collaborated with Kushner on seven projects. His regional credits include Actors Theatre of Louisville, Arena Stage, Center Theatre Group, the Eureka, the Guthrie Theater, the Huntington Theatre Company, Oregon Shakespeare Festival, The Public, and Seattle Repertory Theatre. In 2012, Tony was selected to receive the Margo Jones Award for demonstrating a significant impact, understanding, and affirmation of playwriting, with a commitment to the living theatre. As a playwright, Tony recently debuted Ghost Light and Rita Moreno: Life Without Makeup. Susan Medak MANAGING D IRE C TOR 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. No more foolin’ around... Take class with us this spring, starting April 1. There’s something for all ages, interests, and levels of experience For more information visit berkeleyrep.org/school or call 510 647-2972 Financial aid available for youth and teen classes Artisanal items made by Berkeley Rep staﬀ, now in the Hoag Theatre Store 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 35 Karen Racanelli GENERAL MANAGER Karen joined Berkeley Rep in November 1993 as education director. Under her supervision, Berkeley Rep’s Programs for Education provided live theatre for more than 20,000 students annually. In November 1995, she became general manager, and since then has overseen the day-to-day operations of the Theatre, supervising the box office, company management, and IT. 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, and Park Day School, and is currently on the board of the Julia Morgan Center. Karen is married to arts attorney MJ Bogatin and they have two children. Madeleine Oldham D IRE C TOR , THE GROUN D F LOOR / RESI D ENT D RAMATURG Madeleine is the director of Berkeley Rep’s Ground Floor and the Theatre’s resident dramaturg. As literary manager and associate dramaturg at Baltimore Centerstage, 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. 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 Theatre Company, the Eugene O’Neill Theatre Center, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage. Michael Suenkel PRO D U C TION STAGE MANAGER Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 19th 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, the Juste Pour Rire Festival in Montreal, La Jolla Playhouse, Pittsburgh Public Theater, The Public and Second Stage Theatres in New York, and Yale Repertory Theatre. For the Magic, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss. Marjorie Randolph SEASON PRO D U C ER Marjorie is president of Berkeley Rep’s board of trustees and a longtime supporter of the Theatre. She recently moved back to Berkeley after retiring as head of worldwide human resources for Walt Disney Studios. During her tenure at Berkeley Rep, she has produced 29 plays. A member of the California Bar and a former president of California Women Lawyers, she serves on the National Advisory Panel of the Institute for Research on Women and Gender at Stanford University. Jack & Betty Schafer SEASON PRO D U C ERS Betty and Jack are proud to support Berkeley Rep. Jack, one of the Theatre’s board members, also sits on the boards of the Jewish Community Endowment, San Francisco Opera, and the Straus Historical Society. He is co-chair of the Oxbow School in Napa and an emeritus trustee of the San Francisco Art Institute, where he served as board chair. Betty, a retired transitions coach, has resumed her earlier career as a nonfiction writer and poet. She serves on the boards of Brandeis Hillel Day School, Coro Foundation, Earthjustice, and jvs and represents the Jewish Community Foundation on a national allocation committee. The Strauch Kulhanjian Family SEASON PRO D U C ERS Roger Strauch is a former president of Berkeley Rep’s board of trustees and a current member. He is chairman of The Roda Group (rodagroup.com), a venture-development company based in Berkeley and best known for launching Ask.com, PolyServe, and Sightspeed. Roger serves on the board of Game Ready, and his firm is the largest investor in Solazyme, a renewable oil and 103 // WHAT A RUSH! SUBMITTED BY CASEY QUIST 07.29.2010 OAKLANDAIRPORT.COM WE SAVE YOU TIME You conquer your fear of heights. FLY THE BAY AREA’S ON-TIME AIRPORT. 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 2– 1 3 · issue 5 A M E R I C A N CO N S E RVATO RY T H E AT E R presents WORLD PREMIERE MUSIC THEATER EVENT R P A 4 L I 8 2 – MUSIC BY BYRON AU YONG LIBRETTO BY AARON JAFFERIS DIRECTED BY CHAY YEW ONE IMMIGRANT’S STORY OF BEING TRAPPED FOR 81 HOURS “[YEW HAS] VISIONARY DIRECTION.” ENTERTAINMENT TODAY LIMITED ENGAGEMENT BEGINS MAY 9 MAY 16–JUN 9 NATIONAL THEATRE OF SCOTLAND’S STOPPARD’S MASTERWORK BLACK WATCH BY GREGORY BURKE DIRECTED BY JOHN TIFFANY PERFORMING IN THE DRILL COURT AT SF’S MISSION ARMORY From the Tony Award–winning creators of the Broadway musical Once comes the internationally acclaimed hit—named “#1 Theatrical Event of the Year!” by the New York Times BY TOM STOPPARD DIRECTED BY CAREY PERLOFF Stoppard’s most ravishing play—a lush romance that spans centuries 3-PLAY PACKAGES NOW AVAILABLE! ACT-SF.ORG/JOIN | 415.749.2250 bio-products company based in South San Francisco (nasdaq:szym, solazyme.com). Roger is a member of the engineering dean’s college advisory boards of Cornell University and UC Berkeley. He is vice-chairman of the board of trustees for the Mathematical Sciences Research Institute (msri) and a co-founder of the William Saroyan Program in Armenian Studies at Cal. He is also an executive member of the Piedmont Council of the Boy Scouts of America. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three teenaged children. Bill Falik & Diana Cohen EXE C UTIVE PRO D U C ERS Bill and Diana have been subscribers and supporters of Berkeley Rep since its earliest days on College Avenue. Diana joined the board of trustees in 1991 and served the Theatre for 10 years; she currently serves on the board of trustees of Cal Performances. As a family therapist, she worked in private practice for 25 years before retiring to focus on her painting. Bill has been a real-estate and land-use lawyer practicing in the San Francisco Bay Area for the past 40 years. He currently is the managing partner of Westpark Associates, which creates master-planned communities in the greater Sacramento region. Bill is also a principal partner in Mortgage Resolution Partners, a new organization formed to provide mortgage relief for homeowners. He is a visiting professor at UC Berkeley Law School and a member of the professional faculty at Haas Business School. Bill has served on Berkeley Rep’s board since 2006. Bill and Diana are actively involved in philanthropic activities throughout Northern California. They have three grown children, all of whom live in the Bay Area. Frances Hellman & Warren Breslau EXE C UTIVE PRO D U C ERS Warren and Frances are avid watchers of live theatre, which includes an annual pilgrimage to London’s West End. Having loved Berkeley Rep for years, they are thrilled to sign on as producers of Fallaci. They are very proud of the cutting edge, exceptional theatre that Berkeley Rep continuously produces. Frances’ day job is as professor and chair of physics at UC Berkeley, and Warren is a machinist and welder at 5th Street Machine Arts. Joan Sarnat & David Hoffman PRO D U C ERS David is a consulting research professor of mathematics at Stanford University and is a Berkeley Rep trustee. He was an associate director of the Mathematical Sciences Research Institute (msri) in Berkeley and has been involved in producing museum shows about mathematics in China, France, and the U.S. Joan is a clinical psychologist and psychoanalyst in private practice in Berkeley. They have two sons: Jascha, a journalist and a singer/songwriter who lives in San Francisco, and Michael, who lives in Brooklyn with his 3 8 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · issue 5 wife China. Michael and China both work for culinary internet start-up companies. Michael & Sue Steinberg PRO D U C ERS Michael and Sue have been interested in the arts since they met, and they enjoy ballet, music, and theatre. Michael, who recently retired as chairman and chief executive officer of Macy’s West, served on Berkeley Rep’s board of trustees from 1999 to 2006 and currently serves on the board of directors of the Jewish Museum and ucsf Foundation. Sue serves on the boards of the San Francisco–based Smuin Ballet and World of Children. The Steinbergs have always enjoyed regional theatre and are delighted to produce Fallaci. The Bernard Osher Foundation PRO D U C TION SPONSOR The Bernard Osher Foundation, which supports higher education and the arts, was founded in 1977 by Bernard Osher, a respected businessman and community leader. The Foundation provides scholarship funding to selected colleges and universities across the nation. It also benefits programs in integrative medicine at Harvard University, ucsf, and the Karolinska Institute in Stockholm. In addition, the Foundation supports a national network of educational programs for seasoned adults, the Osher Lifelong Learning Institutes, which now operate on the campuses of 115 institutions of higher education. Finally, an array of performing arts organizations, museums, and selected educational programs in the San Francisco Bay Area and the State of Maine receive Foundation grants. The Honorable Barbro Osher, Consul General of Sweden in California, chairs the Foundation’s Board of Directors. BART SEASON SPONSOR Bay Area Rapid Transit (bart) is a 104-mile, automated rapid-transit system that serves more than 100 million passengers annually. bart is the backbone of the Bay Area transit network with trains traveling up to 80 mph to connect 26 cities located throughout Alameda, Contra Costa, San Francisco, and San Mateo Counties and the Bay Area’s two largest airports. bart’s all-electric trains make it one of the greenest and most energy-efficient systems in the world with close to 70 percent of its all-electrical power coming from hydro, solar, and wind sources. Many new projects are underway to expand bart, allowing it to serve even more communities and continue to offer an ecofriendly alternative to cars. For more info, visit bart.gov. 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 such as economy, politics, technology, ecology, as well as breaking news, crime, education, national and foreign news. 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, staff and user-generated blogs, reader forums, photo galleries, multimedia presentations, and up-to-the-minute sports scoreboards, 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 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 thanks Assistant costume designer China Lee Deck crew Ross Copeland, Kourtney McCrary Electrics Kim Bernard, Stephanie Buchner, Zoltan DeWitt, Jeff Dolan, Kelly Kunaniec, William Poulin, Molly Stewart-Cohn, Lauren Wright Lighting design assistant Kate Ashton Prop artisans Viqui Peralta, Sarah Spero Scenic artists Lassen Hines, Anya Kazimierski, Margot Leonard Scene shop Patrick Keene, BJ Lipari, Ben Sandberg, Stephanie Shipman, Baz Wenger Stage carpenter Alex Marshall Sound engineer Xochitl Loza Vocal coach John VanWyden Wig designer Charles Lapointe Oriana Fallaci: A life of resistance A conversation with Lawrence Wright co n tin u e d fro m pag e 2 5 co n tin u e d fro m pag e 29 stories in the tradition of her beloved Kipling, London, and Dostoyevsky. As she said in an interview with Charlie Rose, “When you write an article, a piece of reportage, you have to stay within the limits of facts, of what really happened,” but literature “universalizes the truth.” She wrote a number of novels over the years, including If the Sun Dies, Letter to a Child Never Born, A Man (a tribute to her lover, Alekos Panagoulis), and Inshallah. Though crafted as fiction, each book had strong autobiographical elements or drew from her investigative journalism. Her biographer, Santo L. Aricò (who had a serious falling out with Fallaci), asserts that her writing, whether a piece of reportage or fiction, always came back to a similar aim —to put Fallaci and her experience at the center of her writing, using a literary style. No doubt some of his more disparaging comments had something to do with his personal clashes with “La Fallaci,” including one notable phone conversation in which she demanded he burn an earlier draft of his biography. Her literary, theatrical approach to journalism was in some ways more honest—for it included her biases and opinions—but also can make it more difficult to identify facts. Fallaci retreated from the public eye in the ’90s while battling breast cancer, but exploded back into the spotlight after 9/11. In the cacophony of anger, despair, and shock, her distinctive voice rang out from the rest with an uncompromising condemnation of Islam and the entire Muslim world. The Rage and The Pride (2001 Italy, 2002 U.S.) and The Force of Reason (2004 Italy, 2006 U.S.) have sold millions of copies in Italy. The left-leaning daughter of socialists and lifelong enemy of fascism and power abuses suddenly became the champion of rightist anti-immigration and Islamophobic movements. An impossible contradiction? Perhaps, but most certainly not the first controversy with Fallaci at the heart of it. When interviewed in a piece for The Observer about The Rage and the Pride, Fallaci claimed that her journalistic success was because she never tried to be objective: Objectivity, she said, was “a hypocrisy which has been invented in the West which means nothing. We must take positions. Our weakness in the West is born of the fact of so-called ‘objectivity.’ Objectivity does not exist—it cannot exist!... The word is a hypocrisy which is sustained by the lie that the truth stays in the middle. No, sir: Sometimes truth stays on one side only.” But even if “truth stays on one side only,” it doesn’t mean that it stays on the same side all of the time. Even seemingly hard facts and quotations are subject to context and interpretation —Fallaci faced accusations over her entire career about not reporting “strict truths” or changing her stories about herself (even ones that had been published) and then vehemently denying that it had ever been otherwise. It is difficult to look for truths about people in their biographies, because as Fallaci herself suggests, the emotional truth does not always coincide neatly with literal facts. Larger than life and driven by a searing passion, she was by turns combative, proud, and egocentric, and yet always a brave and fiercely talented writer who redefined the face of journalism. we’re really entering right now. Information becomes an even higher premium, so I think people will pay for information. The question is, how do you keep valuing it in a connected world where people want things for free? It’s interesting to me: theatre is the last refuge of the non-digital world. It’s the only thing that I know of, in terms of artistic expression, where it has to be done live. That’s what theatre is. Yes. It’s un-reproducible. Each is a unique occasion, each performance is unique. So in the era of digital replication theatre seems like an intriguing point of refuge for, perhaps, journalism. Magazines and newspapers are struggling; many of them are going out of business. You know, I have many, many reporter friends—former reporter friends—who’ve been shoved out of their jobs. And yet they still have those skills and people still want the information. I would like to see theatre become a refuge for people like that, and they would become a resource for a new kind of theatre. A kind of nonfiction theatre. Like the Living Newspaper and the Federal Theatre Project? Yeah. In my experience people are fascinated by things they know to be true. I think when you have this sense that there is a floor of reality under these momentous events that we’re talking about and these earth-shaking characters that every writer looks for, it adds a certain zest and thrill to the experience. I could see that this might actually be a new direction for theatre and for journalism. I love that idea. Yes, please. I just have one last question for you, which is what haven’t you done yet that you’d like to do? Well gosh, I’ve just finished this book about Scientology— Yes! I can’t wait to read it! It’ll be out in January and I’m looking for a new project. It could be another play or another book. I just don’t know. Right now I’m in the romantic stage of looking for a new match. When you find a subject that you really kindle to, then you know that’s exactly what you want as a writer. I think the real mystery in the creative process is not the actual process of writing, which has so many workshops on it that you could never run out of them, but what we chose to write about in the first place and why we give ourselves one subject rather than another. And why, in the vast universe of possibilities, it’s so hard to find those things you want to write about. But when the subject comes along that is compelling enough that you’re willing to devote months or years of your life to it, then there’s a sense of charge and of excitement. But it has to reach a certain threshold because it’s such an enormous commitment and it rules out other possibilities. And so, I’m in that moment right now, of looking for that next thing. 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 3 9 We acknowledge the following Annual Fund supporters whose contributions from December 2011 through January 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 above G if t s o f $25,000 –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 Walter & Elise Haas Fund Koret Foundation Wallis Foundation Woodlawn Foundation Anonymous Berkeley Civic Arts Program JEC Foundation Ramsay Family Foundation Ann and Gordon Getty Foundation G if t s o f $10,000 –24,999 California Arts Council Joyce & William Brantman Foundation Civic Foundation G if t s o f $50,000 –99,999 The Bernard Osher Foundation Crescent Porter Hale Foundation Thomas J. Long Foundation National Endowment for the Arts The Kenneth Rainin Foundation The Drs. Ben and A. Jess Shenson Trust, administered by The San Francisco Foundation Paul Wattis Foundation cor p or at e s p on s or s G if t s o f $12 ,000 –24,999 S e a so n s p o n so r s The Morrison & Foerster Foundation Union Bank Mechanics Bank Wealth Management G if t s o f $25,000 –49,999 Armanino McKenna LLP Bank of the West BluesCruise.com Charles Schwab & Co. Deloitte Meyer Sound Oliver & Company, Inc. Panoramic Interests Peet’s Coffee & Tea Schoenberg Family Law Group STG Asset Management, Inc. UBS U.S. Bank G if t s o f $6,000 –11,999 G if t s o f $1,000 –4,999 G if t s o f $3,000 –5,999 4U Sports Gallagher Risk Management Services Heritage Capital Private Asset Management Macy’s The Safeway Foundation G if t s o f $1, 500 –2 ,999 Aspiriant Bingham McCutchen LLP 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 Aurora Catering Autumn Press Back to Earth Organic Catering Belli Osteria Blue Angel Vodka Bobby G’s Pizzeria Bogatin, Corman & Gold Café Clem Comal Cyprus Darling Flower Shop Distillery No. 209 ecovino Wines etc Catering Four Seasons San Francisco Gather Restaurant Gecko Gecko Green Waste Recycle Yard Guittard Chocolate Company Hotel Shattuck Plaza izze Sparkling Juice Company Kevin Berne Images La Note Latham & Watkins, llp Left Coast Catering Madécasse Match Vineyards Meyer Sound Mint Leaf Mt. Brave Wines Patricia Motzkin Architecture Phil’s Sliders Picante PiQ Quady Winery 4 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 5 Raymond Vineyards Revival Bar + Kitchen Ricola usa Spy Valley Wines St. George Spirits Staglin Family Vineyard 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. Alexander & Baldwin · American Express · Amgen · Apple · Argonaut Group, Inc. · at&t · Bank of America · Bank of the West · Bristol Myers Squibb · Charles Schwab Corporation · Chevron Corporation · Clorox Company · Franklin Templeton · Gap · Google · Hewlett Packard · ibm Corp. · JD Fine and Company · John Wiley & Sons, Inc. · Johnson & Johnson · Lawrence Livermore National Laboratory · Levi Strauss · Lexis-Nexis · Macy’s Inc. · Microsoft · Morrison & Foerster Foundation · Motorola · MRW & Associates llc · norcal Mutual Insurance Company · Patagonia · Ruppenthal Foundation for the Arts · S.D. Bechtel, Jr. Foundation · Salesforce · Schwab Charitable Fund · Sony Corporation of America · The Doctors 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 IRC LE s e a s o n pro d u ce r s pro d u c e r s $5 0,0 0 0 & u p $ 12 ,0 0 0 –2 4 ,9 9 9 Martha Ehmann Conte Wayne Jordan & Quinn Delaney Marjorie Randolph Jack & Betty Schafer The Strauch Kulhanjian Family e xecu tiv e pro d u ce r s $ 2 5,0 0 0 –49,9 9 9 Rena Bransten Thalia Dorwick Bill Falik & Diana Cohen Kerry Francis & John Jimerson Mary & Nicholas Graves Frances Hellman & Warren Breslau John & Helen Meyer Pam & Mitch Nichter Dr. & Mrs. Philip D. Schild Jean & Michael Strunsky Guy Tiphane Gail & Arne Wagner David & Vicki Cox Robin & Rich Edwards Virginia & Timothy Foo Jill & Steve Fugaro Bruce Golden & Michelle Mercer Scott & Sherry Haber Jack Klingelhofer Dugan Moore Patricia Sakai & Richard Shapiro Joan Sarnat & David Hoffman Michael & Sue Steinberg a s s o ciat e pro d u ce r s $ 6,0 0 0 – 11,9 9 9 Anonymous (6) The Alafi Family Foundation Shelley & Jonathan Bagg Barbara & Gerson Bakar Steve & Blair Buster Robert Council & Ann Parks-Council Oz Erickson & Rina Alcalay William Espey & Margaret Hart Edwards John & Carol Field Kristina Flanagan David & Vicki Fleishhacker Paul T. Friedman & Diane Manley M Doug & Leni Herst Hitz Foundation Ms. Wendy E. Jordan Jean & Jack Knox Wanda Kownacki Ted & Carole Krumland Randy Laroche & David Laudon Zandra Faye LeDuff Dixon Long Dale & Don Marshall Sandra & Ross McCandless Martin & Janis McNair Stephanie Mendel Steven & Patrece Mills M Mary Ann & Lou Peoples Peter Pervere & Georgia Cassel Kaye & Randy Rosso Pat Rougeau Jack & Valerie Rowe Richard A. Rubin & H. Marcia Smolens Deborah Dashow Ruth Liliane & Ed Schneider Emily Shanks M Pat & Merrill Shanks Sally Smith & Don Burns Karen Stevenson & Bill McClave Patricia Tanoury Wendy Williams Saul Zaentz D onor C i rc l e pre s id e n t s $ 3,0 0 0 – 5,9 9 9 Anonymous (1) Tony Amendola & Judith Marx Edith Barschi Neil & Gene Barth Valerie Barth & Peter Wiley M Stephen Belford & Bobby Minkler Judy Belk Drs. Don & Carol Anne Brown Tracy Brown & Greg Holland C. William Byrne K M Jennifer Chaiken & Sam Hamilton Susan Chamberlin Earl T. Cohen & Heidi M. Shale Karen & David Crommie Ed Cullen & Ann O’Connor Lois M. De Domenico Benjamin Douglas Delia Fleishhacker Ehrlich M Nancy & Jerry Falk Paul Haahr & Susan Karp M Ann & Shawn Fischer Hecht Earl & Bonnie Hamlin James C. Hormel Kathleen & Chris Jackson Anne Kaiser K Robert Kelling Duke & Daisy Kiehn Lynn Eve Komaromi Leonard Merrill Kurz Suzanne LaFetra Nancy & George Leitmann Peter & Melanie Maier Charlotte & Adolph Martinelli Phyra McCandless & Angelos Kottas Susan Medak & Greg Murphy Eddie & Amy Orton Sandi & Dick Pantages Pease Family Fund Len & Barbara Rand Ivy & Leigh Robinson David S. H. Rosenthal & Vicky Reich Howard S. Rowen & Ryan C. Reeder/ UBS Financial Services Riva Rubnitz Gaile B. Russ Beth & David Sawi Linda & Nathan Schultz Sheila Wishek Steven & Linda Wolan Sally Woolsey Felicia Woytak & Steve Rasmussen d irec to r s $ 1, 5 0 0 –2 ,9 9 9 Anonymous (7) Jim & Ginger Andrasick Pat Angell Ross E. Armstrong Martha & Bruce Atwater Nina Auerbach Richard & Debbie Ault K Jane & Bill Bardin Becky & Jeff Bleich Caroline Booth Linda Brandenburger Broitman-Basri Family Thomas & Tecoah Bruce Kerry Tepperman Campbell Lynne Carmichael Stephen K. Cassidy & Rebecca L. Powlan LinChiat Chang K The Cheitlin Family Andrew Combs Julie Harkness Cooke Constance Crawford Ed Cullen & Ann O’Connor John & Stephanie Dains Richard & Anita Davis Ilana DeBare & Sam Schuchat Becky Draper Brooke Facente Merle & Michael Fajans Cynthia A. Farner Tracy & Mark Ferron Lisa & Dave Finer Linda Jo Fitz Frannie Fleishhacker Herb & Marianne Friedman James Gala Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Deborah & Howard Goodman Dan Granoff Robert & Judith Greber Garrett Gruener & Amy Slater Richard & Lois Halliday Migsy & Jim Hamasaki Bob & Linda Harris David & Vera Hartford Ruth Hennigar Tom & Bonnie Herman Wendy Herzog K Gail & Bob Hetler Richard N. Hill & Nancy Lundeen The Hornthal Family Foundation Rick Hoskins & Lynne Frame Paula Hughmanick & Steven Berger George & Leslie Hume Lynda & Dr. J. Pearce Hurley Herrick & 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 Louise Laufersweiler & Warren Sharp Ellen & Barry Levine Bonnie Levinson & Dr. Donald Kay Tom Lockard & Alix Marduel Jonathan Logan Vonnie Madigan Naomi & Bruce Mann Lois & Gary Marcus Sumner & Hermine Marshall Rebecca Martinez Jill Matichak Karen & John McGuinn Miles & Mary Ellen McKey Toby Mickelson & Donald Brody Roger & Satomi Miles Gregory Miller John & Katrina Miottel Andy & June Monach Scott Montgomery & Marc Rand Patricia Motzkin & Richard Feldman Judith & Richard Oken Janet Ostler Gerane Wharton Park Bob & MaryJane Pauley Tom & Kathy Pendleton Gladys Perez-Mendez David Pratt Jonathan & Hillary Reinis Bill Reuter & Ruth Major James & Maxine Risley John & Jody Roberts Deborah Romer & William Tucker Boyard & Anne Rowe Enid & Alan Rubin 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 Edie Silber & Steve Bomse Amrita Singhal & Michael Tubach Kae Skeels Sherry & David Smith Stephen & Cindy Snow 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 Jeffrey A. White Grace Williams Patricia & Jeffrey Williams Steven Winkel & Barbara Sahm Charles & Nancy Wolfram Jane Zuercher We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics. 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 41 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 (4) · Donald & Margaret Alter · Marcia & George Argyris · David Beery & Norman Abramson · Juli Betwee · Dr. & Mrs. Gerald & Carol Block · Jennifer & Brad Bowers · Maria Cardamone · Paula Carrell · Paula Champagne & David Watson · Naveen Chandra · Ed & Lisa Chilton · Richard & Linnea Christiani · Barbara & Tim Daniels M K · Harry & Susan Dennis · Francine & Beppe Di Palma · Ann Doerr · Corinne & Mike Doyle · David & Monika Eisenbud · Gary Facente · Cary and Helen FitzGerald · Thomas & Sharon Francis · Christopher R. Frostad M · Phyllis & Eugene Gottfried · Gareth & Ruth Hill · Adrienne Hirt & Jeffrey Rodman · Elaine Hitchcock · Bill Hofmann & Robbie Welling · Harold & Lyn Isbell · Barbara E. Jones · Christopher Killian & Carole Ungvarsky · William & Adair Langston · Andrew M. Leavitt & Catherine C. Lewis · Eileen & Jay Love · Laurentius Marais & Susan Hendrie-Marais · Larry & Corinne Marcus · John E. Matthews · Erin McCune & Nicholas Virene · Daniel & Beverlee McFadden · John G. McGehee · Kirk McKusick & Eric Allman · Dan Miller · Margo Murray · Herbert & Sondra Napell K · Claire Noonan & Peter Landsberger · Steve Olsen · Richard Ostreicher & Robert Sleasman · Judy O’Young, MD & Gregg Hauser · Ken & Dorothy Paige · Stephen E. Palmer · David & Julieta Peterson · Susie & Eric Poncelet · Charles R. Rice · Susan Rosin & Brian We gratefully recognize the following members of the Annual Fund whose contributions were received in December 2012 and January 2013. S u pp o r te r s $ 2 5 0 –49 9 Anonymous (16) · Terry Pink Alexander & John Blaustein · Fred Allen · Gertrude & Robert Allen · Todd & Diane Baker · Genie Barry & Jido Cooper · Richard & Ann Batman · Barbara & Jeff Beck · Mary Ann & Len Benson · Arthur & Jane Bergen · The Blackman Family · Carol Brosgart & Joseph Gross · Allan & Muriel Brotsky · Alex Byron & Nicole Maguire · Dan & Allyn Carl · S. Davis Carniglia & Mary Claire Baker · Stan & Stephanie Casper · Karen Clayton · Michael & Sheila Cooper · Chris & Lynn Crook · Martha & William Crowe · Jill & Evan Custer · Abby & Ross Davisson · Celeste Chin & Vincent Dureau · Susan English & Michael Kalkstein · Malcolm D. Ewen · James Finefrock & Harriet Hamlin · Sheilah & Harry Fish · Nancy E. Fleischer · Harvey & Deana Freedman · Kate & Ted Freeland · Ellen Friedman · Dorothy & Chuck Garber · Paul & Marilyn Gardner · Dr. Garwood Gee & Ms. Kathleen Fong · Arlene Getz · Mitchell Gitin · Paul Goldstein & Dena Mossar · Jane Gottesman & Geoffrey Biddle · Diana Graham & Jack Zimmermann · Bonnie & Sy Grossman · Paul & Julie Harkness · Joyce & Jack Sweitzer · Dorothy & Michael Herman · David & Marilynn Hodgson · Victor & Lorraine Honig · Marcia Hooper · Terry Huggins · Sally Ann Kay · Ken & Karen Keller · Amalia Kessler & Adam Talcott · James R. Kidder · Allen King · Janet Kornegay & Dan Sykes · Marilyn Kupcho & Dawna Hawksworth · Thomas LaQueur · Laurie Lober & Bryan Tracy · Dottie Lofstrom · Bertram Lubin & Vivian Scharlach · Robert & Dorothy Mack · Jeffrey & Christiane Maier · Carolyn Maples · David Bock · Randee & Joseph Seiger · Neal Shorstein, MD & Christopher Doane · Kim Silva · George & Camilla Smith · Annie Stenzel · Tim Stevenson & David Lincoln King · Nancy & Fred Teichert · Pate & Judy Thomson · Wendy Willrich · Lee Yearley & Sally Gressens · Sam & Joyce Zanze · The Zeiger Family ac to r s $5 0 0 – 9 9 9 Anonymous (20) · Bob & Evelyn Apte · Steven & Barbara Aumer-Vail · David Balabanian · Barbara Jones Bambara & Massey J. Bambara · Leslie & Jack Batson · Don & Gerry Beers · Jonathan Berk & Rebecca Schwartz · Robert Berman & Jane Ginsburg · Steve Bischoff · Patti Bittenbender · Dr. Kevin & Mrs. Riva Bobrowsky · Claudia Bravo & Alan R. Silverman · Marilyn Bray · Ellen S. Buchen · Rike & Klaus Burmeister · Robert & Janet Campbell M · Robert & Margaret Cant · Ronnie Caplane · Charles & Kristine Cardall · Bruce Carlton · Carolle J. Carter & Jess Kitchens · Patty Chin · Dennis Cohen & Deborah Robison · Blair & Robert Cooter · Ruth Conroy · Barbara & John Crary · Copley Crosby · Teri Cullen · James Cuthbertson · Robert & Loni Dantzler · Pat & Steve Davis · David desJardins & Nancy Blachman · Dan Dougherty · Edmund DuBois · Drs. Nancy Ebbert & Adam Rochmes · Jeanene E. Ebert M · Anita C. Eblé · Burton Peek Edwards & Lynne Dal Poggetto · Michael Ehrenzweig · Cele & Paul Eldering M · Roger & McClain & Merilyn Wong · Dr. Steven McGlocklin · Christopher McKenzie & Manuela Albuquerque · Alison McLean · Joanne Medak · Spencer & Roberta Michels · Joyce Hardy & Gloria Mikuls · Carl Miller · Geri Monheimer · Barbara Morgan · Rex Morgan & Greg Reniere · Brian & BrittMarie Morris · Theresa Nelson & Bernard Smits · Bruce & Risa Nye · Charles & Linda Phillips · James F. Pine · Beth Polland · Fred & Susan Pownall · Kathleen Quenneville · Chuck & Kati Quibell · Paco Ramirez · David & Mary Ramos · Carla & David Riemer · Geri Rossen · Barbara & Jerry Schauffler · Linda Schurer · Margaret Sheehy · Greg & Mary Tarczynski · Jeff & Catherine Thermond · Edward & Carrie Thomas · Ilene S. Weinreb · Harvey & Rhona Weinstein · William R. Weir · Moe & Becky Wright Co n t rib u to r s $ 15 0 –2 49 Anonymous (11) · Joanne & Fred Abrams · Ann Bauman · Richard & Carol Bee · Michael Belote · Steve Benting & Margaret Warton · Judith Bliss & Gerald Huff · Cynthia & David Bogolub · Esta Brand · Alice Breakstone & Debbie Goldberg · Sandra Briggs · Eric Brink & Gayle Vassar · Jill Bryans · Melody Burns · William Chalkley · Leslie Chatham & Kathie Weston · Dr. & Mr. Cole-Peters · Jim & Jeanette Cottle · Mike & Pam Crane · Dianne Crosby · Gail DeBoer · Suzanne & Bruce Degen · David Deutscher · Cheryl & Matthew Eccles · John Eckhouse · Meredith & Harry Endsley · Ed Falk K · Laurel Ferns · Catherine E. Fox · Michael & Sabina Frank · Kevin Gahagan · Steve Merlo · Nancy A. Goolsby · Andree Graham · Bill & Chris Green · Cecille & Alex Gunst · Kevin Hagerty & Candace del Portillo · Mary & George Hake M · Rosalind Hamar · Donna Harris & Lyla Cromer · Bruce & Donna Hartman M · Derek & Christina Heins · Fran Hildebrand · Dennis J. Hock · Belle Huang & Ed Blumenstock · Vivian Keh & Jonathan Hue M · Trish Hurt · Margaret E. Jones · Julie Kastrup · Doug & Cessna Kaye · Margaret Kendall · Mary Ann Kiely · Carl & Ellie Kinczel · Deborah & 42 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · issue 5 Jane Emanuel · Bill & Susan Epstein · Gini Erck & David Petta · Paul Feigenbaum & Judy Kemeny · Barbara & Marty Fishman · Stephen Follansbee & Richard Wolitz · Nancy H. Francis · Donald & Dava Freed · Karl & Kathleen Geier · Paul Gill & Stephanie D’Arnall · Judith & Alex Glass · Bonnie Goldsmith & Allan Griffin · Ian M. Goldstein M · Robert Goldstein & Anna Mantell · Rob & Susie Goodin · Sheldon & Judy Greene · Dan & Linda Guerra · Harriet Hamlin · Kate Hartley & Mike Kass · Geoffrey & Marin-Shawn Haynes · Howard Hertz & Jean Krois · Helmut H. Kapczynski & Colleen Neff · Woof Kurtzman & Liz Hertz · Joe Hartzog · Richard L. Hay · Irene & Robert Hepps · Dixie Hersh K · John & Elise Holmgren M · Rosalie Holtz · Leonard & Flora Isaacson · Mr. & Mrs. Edwin Ives · Ken & Judith Johnson · Ken Katen · Seymour Kaufman & Kerstin Edgerton · Dennis Kaump · Steve Kispersky · Carla Koren & Neal Parish · Jennifer Kuenster & George Miers · John Leys · Ray Lifchez · Mary A. Mackey · Bruce & Pamela Maigatter · Joan & Roger Mann · Helen Marcus & David Williamson · Sue & Phil Marineau · Josephine Maxon & Karl Ruppenthal M · Nancy McCormick · Marie S. McEnnis · Ruth Medak · Leslie Mesones · Caryl & Peter Mezey · Harrison Miller & Clare McCamy · Rita Moreno · Barbara Morgan · Juliet Moser · Jerry Mosher · Moule Family Fund · Ron Nakayama · Jeanne E. Newman · Marlowe Ng & Sharon Ulrich · Hung Nguyen · Pier & Barbara Oddone · Judith Ogle · Nancy Park · Lewis Perry · Barbara Peterson · James F. Pine M · Wil & Joyce Pinney · Malcolm & Ann Plant · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Paul Popenoe · Chuck & Kati Quibell · Lucas Reiner & Maud Winchester · Ian Reinhard · Paul & Phyllis Robbins · Horacio Rodriguez · Gary Roof & Douglas Light · John Sanger · Dorothy R. Saxe · Bob & Gloria Schiller · Paul Schneider K · Mark Schoenrock & Claudia Fenelon · Teddy & Bruce Schwab · Brenda Buckhold Shank, M.D., Ph.D. · Mary Shisler K · Steve & Susan Shortell · Mark Shusterman, M.D. · Dave & Lori Simpson · Jerry & Dick Smallwood · Ed & Ellen Smith · Sigrid Snider · Dr. Scott & Mrs. Alice So K · Christina Spaulding · Louis & Bonnie Spiesberger · Dr. Suzy J. Spradlin K · Robert & Naomi Stamper · Lynn M. & A. Justin Sterling · Rocky & Gretchen Stone · Monroe W. 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McNellis · Linda Mehren & Roger Lambert · Jeff Miner · Julie Montanari & David Pearson · Stephanie Mooers · Gregg & Ruth Morris · Cheryl Mouton · Linda L. Murray & Carl Schemmerling · Albert Nahman · Joseph & Berna Neumiller · Charles Olson & Yoko Watanabe · Robyn & David Owen · Connie Velasquez Parker M · Bob & Toni Peckham · Anthony & Sarah Petru · Michael & Nancy Pfeffer · Denise Pinkston · Jane Rabinovitz · Dr. Peggy Radel & Joel Myerson · Arthur Reingold & Gail Bolan · Marc A. Rieffel · Donald Riley & Carolyn Serrao · Tracie E. Rowson · Carol A. 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Donaldson · John Donnelly III · Rita Dougherty · Thomas Dunscombe · Matthew Eckerle · John Eckmann · Marvin Edwards · Michelle B. Edwards · Carol Egan · Lara Eidemiller · David Eimerl · Steven Eisenhauer · Sally-Ann & Ervin Epstein, Jr. · Caroline Erickson · Don Erickson · Tina & Dennis Etcheverry · Terry Faria · David & Fernanda Fisher · Stephanie Flaniken · Marilyn Foreman · Sarah Forni & Tony Cartlidge · Sara Fousekis · Michael Fox · Patricia Fox · Christie Fraser · Mary & Douglas Fraser · Kelli M. Frostad · Phoebe Frie n d s $ 75 –149 Anonymous (24) · Edward Abeleven · Robert & Karen Abra · Mark Addleman · Denice Alexander · Jennifer Anderson & Grady Fort · Elisabeth Andreason · Nina Aoni · Clara Arakaki · Jill Armbrust · Naomi Auerbach & Ted Landau · Lisa Bailey · Beverly con t r i bu tor s donors to the annual fund Gaston · Teresa B. Gerringer · Marlyn Gershuny · Kathleen Gesley · Mr. & Mrs. Jay Ghatge · Jim Gilbert · Susan Girard · Stephen & Deborah Goldblatt · Helene Good · Amy Goodheart · Barbara Gordon · Dan Grace · Christopher & Carol Gray · Dorothy Greene · Judy & Jeff Greenhouse · Bill Gregory · Roger Guy-Bray · Gary & Barbara Haber · Mary Hackenbracht · R. Glenn & Ann Hammonds · Debra Hara & Arthur Lee · Pat Harding · Stephen Harris · Amanda Hawes · Carolyn Hedgecock · Austin & Lynne Henderson · Mary Kay Henderson · Nancy Herrera · Carole S. Hickman · Nancy Higham · Gayl & Harlan Hirschfeld · Elizabeth Hodder · Derek Holstein · Stephanie Hom · Hiedeh Honari · Estie Sid Hudes · Neal & Charlotte Huntley · Lynda & Dr. J. Pearce Hurley · Lynn Ireland · Sandra Iwamoto · Jacqueline Jackson · Robert M. 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Christine Torrington · Joanne Trezek · Shirley R. Trimble · Paula E. Tschida · Daniel & Janis Tuerk · Mary Urry · Stephen Van Meter · Leslie Van Raalte · Elena Vasquez · Henry Velasco · Piet & Dana Vermeer · Kim Voss · Stanyan Vukovich · Grace Wahlberg · Wendy Walker · Julia Weaver & Charles Scull · Sana & Christopher Webb · Mark Weisman · William Weisman · Janet S. Wells · Joan M. Wetherell · Mark Whatley & Danuta Zaroda · Edwin & Ellen Whitman · Lois Whitney · Brad Whitworth · Doug Wiedwald · Christine Wilder-Abrams · Ruth Winkler · Ms. H. Leabah Winte · Anne Wooliever · Bruce Wright · Dr. & Mrs. Mark J. Yanover · Danita Yocom · Sarah Yost · Phyllis & Bob Zagone · Alexandria Zayer · Miriam Zeiger · Morris Zeldtich · Donald Zimmerman · David & Liane Zimny · Sandra Zrnic 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 43 con t r i bu tor s Sustaining members as of January 2013: Anonymous (4) Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Carole B. Berg Linda Brandenburger Jill Bryans Bruce Carlton & Richard G. McCall Stephen K. Cassidy Andrew Daly & Jody Taylor M. Laina Dicker Rich & Robin Edwards William Espey & Margaret Hart Edwards Carol & John Field Dr. Stephen E. Follansbee & Dr. Richard A. Wolitz Kerry Francis Dr. Harvey & Deana Freedman Paul T. Friedman Laura K. Fujii Marjorie Ginsburg & Howard Slyter Mary & Nicholas Graves Elizabeth Greene Richard & Lois Halliday Linda & Bob Harris Fred Hartwick 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 Susan Medak & Greg Murphy Toni Mester Pam & Mitch Nichter Sharon Ott Amy Pearl Parodi Barbara Peterson Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Michael & Sue Steinberg Karen Stevenson Dr. Douglas & Anne Stewart Jean Strunsky Phillip & Melody Trapp Janis Kate Turner Dorothy Walker 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 email@example.com. 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 December 2011 to January 2013. 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 2– 1 3 · issue 5 In honor of Susan Medak Terry Pink & John Blaustein Joanne Medak Anonymous, in honor of the Fritz Family Anonymous, in honor of Julie & Patrick Kennedy Pat Angell, in memory of Gene Angell Jeffrey Bornstein, in honor of Kerry Francis 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 E. Danielsen & Sean M. Tarrant Robert Engel, in memory of Natalie Seglin David & Eileen Fink, in honor of Rachel Fink Brooke Facente, in honor of Jane and Gary Facente Cynthia Fleury, In memory of Tyrone Collins Suzanne & Richard Gerson, in memory of Richard Heggie Richard & Sylvia Hammond, in honor of Leo Blitz & Family Carol & Tony Henning, in honor of Paul A. Henning Juraj & Elisabeth Hostynek, in honor of Andrej Hostynek Barbara E. Jones in memory of William E. Jones Judi and Buz Kanter, in honor of Susie Medak and Marge Randolph Julie Kastrup, in memory of Dan Murphy Debie Krueger, in memory of Alex Maffei Nadine Levin & Family, in honor of Judy Belk’s Birthday Lisa Loef, in honor of Scott Haber Carrol Mills, in memory of Stan Eremia Geri Monheimer, in honor of Sharon and Randy Kinkade Geri Monheimer, in memory of David Robinson Susan Montauk, in memory of Clare Montauk Thomas Neale, in memory of Jean Culhane David Pasta, in memory of Gloria Guth Lise Pearlman, in memory of Amalia Pearlman Elizabeth & Ted Peña, in honor of Oscar Peña, with thanks to Ben Hanna Laurel Przybylski, in memory of Maryann Herber Lois & Dan Purkett, in honor of Merton Johnson & Mary Rowe M Karen Racanelli, in memory of Martin Sosin Phyllis & Steve Reinstein, in honor of Laurie Barnes Mr. & Mrs. Leonard Rosenberg, in honor of Sherry & Scott Haber Anne Sanger-Kuvmicky, in memory of Pauline & Willie Sanger Veronica Schwalbach, in memory of Catherine Day Heather Sirk, in honor of Emily Small-Coffaro Janet Sovin, in memory of Flora Roberts Katrina & John Staten, in memory of Wallace Johnson Debbie & Bob Sternbach, in honor of Sally Smith Alisa Sudgen, in memoriam of my father Prof. Jeremy Thorner & Dr. Carol Mimura, in memory of James Toshiaki Mimura WRITE CLUB San Francisco, in honor of Steven Westdahl Ms. H. Leabah Winter, in memory of Barry Dorfman, MD The Zeiger Family, in memory of Phyllis Sagle a bou t be r k e l e y r e p staff and affiliations Artistic Director Tony Taccone Managing Director Susan Medak General Manager Karen Racanelli a r t i s t ic 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 Marcus Gardley Tarell McCraney Dominic Orlando KJ Sanchez 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 pat ron s e r v ic e s Patron Services Manager Katrena Jackson House Manager Debra Selman Assistant House Managers Natalie Bulkley · Emily Hartman · Aleta George · Michael Grunwald · Ayanna Makalani Concessionaires Leah Barish · Tim Bruno · Natalie Bulkley · Ashley Cleveland · Elena Cohen · Emily Fassler · Alex Friedman · Stephanie Graham · Emily Hartman · Mary Kay Hickox · Kimberly “Mik” Jew · Maria Jimenez · Devon LaBelle · Margot Leonard · Jamie McClave · Camille Prado · Jacob Marx Rice · Benjamin Sandberg · Elena Sanders · Amanda Spector · Andrew Susskind · Read Tuddenham · Nancy Villatoro · Ann Vollrath · Amanda Warner Usher Coordinators Nelson & Marilyn Goodman p roduc t ion Production Manager Tom Pearl Associate Production Manager Amanda Williams O’Steen Company Manager Jean-Paul Gressieux s tag e m a nag e m e n t Production Stage Manager Michael Suenkel Stage Managers Kimberly Mark Webb Leslie M. Radin Karen Szpaller Production Assistants Whitney G. Krause 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 Manager ashley dawn Assistant Properties Managers Gretta Grazier Jillian A. Green s c e n e s hop Technical Director Jim Smith Assistant Technical Director Colin Babcock Shop Foreman Sam McKnight Master Carpenter E.T. Hazzard Carpenter Jamaica Montgomery-Glenn s c e n ic a r t Charge Scenic Artist Lisa Lázár e l e c t r ic s Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane Kenneth Coté s ou n d Sound Supervisor James Ballen Sound Engineer Angela Don a dm i n i s t r at ion Controller Suzanne Pettigrew Director of Technology Gustav Davila Associate Managing Director/ Manager, The Ground Floor Karena Fiorenza Ingersoll Executive Assistant Andrew Susskind Bookkeeper Kristine Taylor Associate General Manager/ Human Resources Manager David Lorenc Human Resources Consultant Laurel Leichter Database Manager Diana Amezquita Management Fellow Sally Shen 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 Senior Campaign Manager Amber Jo Manuel Institutional Grants Manager Bethany Herron Special Events Manager Lily Yang Individual Giving Associate Joanna Taber Development Database Coordinator Jane Voytek Development Associate Beryl Baker b ox off ic e Ticket Services Director Christine Bond Subscription Manager & Associate Sales Manager Laurie Barnes Box Office Supervisor Terry Goulette Box Office Agents Destiny Askin · Rae Bittle · Christina Cone · Luisa Frasconi · Sherice Jones · Eliza Oakley · Tom Toro · Amanda Warner 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 / Associate Director of Marketing & Communications Terence Keane Art Director Cheshire Isaacs 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 Emiel Koehler Facilities Coordinator Lauren Shorofsky Building Engineer Thomas Tran Maintenance Technician Johnny Van Chang Facilities Assistants Kevin Barry Sabreen Freeman Sonny Hudson Sophie Li Carlos Mendoza Jesus Rodriguez 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 Cassie Newman Registrar Katie Riemann Faculty Cynthia Bassham · Jeffrey Bihr · Erica Blue · Rebecca Castelli · Sally Clawson · Laura Derry · Deborah Eubanks · Rachel Fink · Christine Germain · Nancy Gold · Gary Graves · Marvin Greene · Ben Hanna · Chrissy Hoffman · Aaron Jessup · Ken Kelleher · Will Klundt · Devon LaBelle · Julian Lopez-Morillas · Laura Lowry · Dave Maier · Patricia Miller · Michael Navarra · Madeleine Oldham · Slater Penney · Diane Rachel · Elyse Shafarman · Rebecca Stockley · Bruce Williams Outreach Teaching Artists Michael Barr · Mariah Castle · Sylvia Hathaway · Gendell HingHernandez · Ben Johnson · Hannah Lennett · Marilet Martinez · Sarita Ocon · Carla Pantoja · Lexie Papedo · 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, Chair Matty Bloom, Co-Chair Charlotte Martinelli, Co-Chair Fallaci Docents Charlotte Martinelli, Lead docent Matty Bloom Jean Holmes Dee Kursh Selma Meyerowitz Rhea Rubin Joan Sullivan 201 2–1 3 B e r k e l e y R e p F e l l ow s h i p s Company/Theatre Management Fellow Leah Barish Costume Fellow Timothy Bruno Development Fellow Jamie McClave Education Fellows Ashley Cleveland Amanda Spector Graphic Design Fellow Mary Kay Hickox Harry Weininger Sound Fellow Emily Fassler Lighting / Electrics Fellow Anthony Jannuzzi Marketing & Communications Fellow Jacob Marx Rice Peter F. Sloss Literary/ Dramaturgy Fellow Nora Sørena Casey Production Management Fellow Read Tuddenham Properties Fellow Ann Vollrath Scenic Art Fellow Zoe Gopnik-McManus Scenic Construction Fellow Ali Dineen Stage Management Fellow Rachel London Affiliations The director and choreographer are members 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. 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e p m ag a z i n e · 45 SAN DIEGO’S OLD GLOBE boa r d of t ru st e e s Marjorie Randolph B oa r d M e m b e r s Pr e s id e n t Thalia Dorwick, PhD e xecu tiv e vi c e Pr e s id e n t Helen Meyer Vi c e Pr e s id e n t UNDER THE STARS IN OUR BEAUTIFUL OUTDOOR THEATRE IN REPERTORY JUNE 2 – SEPTEMBER 29 Richard Shapiro Vi c e Pr e s id e n t Emily Shanks T re a s u r e r Scott R. Haber S ec re ta ry Roger A. Strauch C h air , T ru s t e e s Co m m it t e e Pamela Nichter C h air , Au d it co m m it t e e Pa s t Pr e 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 (619) 23-GLOBE (234-5623) www.TheOldGlobe.org 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 2– 1 3 · issue 5 Carrie Avery Steve Buster Martha Ehmann Conte Robin Edwards William T. Espey William Falik Lisa Finer David Fleishhacker Kerry L. Francis Paul T. Friedman Jill Fugaro David Hoffman, PhD Carole S. Krumland Dale Rogers Marshall Julie M. McCray Susan Medak Jack Schafer Jean Z. Strunsky Tony Taccone Gail Wagner 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 Sandra R. McCandless Dugan Moore Pat Rougeau Patricia Sakai Michael Steinberg Michael Strunsky Felicia Woytak Martin Zankel Founding Director Michael W. Leibert Producing Director, 1968–83 OG 012813 festival 1_3v.pdf F YI 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. Infrared listening devices are available at no charge in both theatre lobbies. Audio descriptions are available in the box office; please request these materials at least two days in advance of your performance date. 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. 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. Ticket exchange Theatre maps stage t h ru s t Only subscribers may exchange their tickets for another performance of the same show. Exchanges can be made online until midnight (or 7pm by phone) the day preceding the scheduled performance. Exchanges are made on a seat-available basis. stage seating sections: Request information To request mailings or change your address, write to Berkeley Rep, 2025 Addison Street, Berkeley, CA 94704; call 510 647‑2949; email firstname.lastname@example.org; or click berkeleyrep.org/joinourlist. If you use Gmail, Yahoo, or other online email accounts, please authorize patronreply@ berkeleyrep.org. ro da • premium • a • b stage stage stage seating sections: • premium • a • b 2 0 1 2– 1 3 · issue 5 · t h e b e r k e l e y r e pstage m ag a z i n e · 47