THE AVES
DIRECTED BY KNUD ADAMS
SEPTEMBER–OCTOBER 2025
THE RESERVOIR
BY
JAKE BRASCH
PEET’S THEATRE
When a queer twenty-something’s sobriety falters, his four hilarious grandparents become unexpected guides on his messy journey toward healing and purpose.
OCTOBER–DECEMBER 2025
THE HILLS OF CALIFORNIA
BY JEZ BUTTERWORTH
DIRECTED BY LORETTA GRECO
A CO-PRODUCTION WITH HUNTINGTON THEATRE COMPANY
WEST COAST PREMIERE | RODA THEATRE
Past and present collide as four sisters confront the shattered dreams of their ambitious mother in this acclaimed, darkly comic masterwork.
NOVEMBER–DECEMBER 2025
MOTHER OF EXILES
BY JESSICA HUANG
WORLD PREMIERE ODYSSEY | PEET’S THEATRE
A family’s supernatural connection across centuries defies deportation, borders, and disaster in this breathtaking epic triptych.
JANUARY–MARCH 2026
HOW SHAKESPEARE SAVED MY LIFE
BY JACOB MING-TRENT
DIRECTED BY TONY TACCONE
WORLD PREMIERE TOUR-DE-FORCE | PEET’S THEATRE
When America pushed him to the edge, Shakespeare’s words became an unlikely lifeline in this affirming journey of artistic salvation.
FEBRUARY–MARCH 2026
ALL MY SONS BY ARTHUR MILLER DIRECTED BY DAVID MENDIZÁBAL RODA THEATRE
Miller’s masterpiece is reimagined as a Puerto Rican family’s pursuit of prosperity reveals the devastating truth about who really pays for the American dream.
MARCH–MAY 2026
THE MONSTERS BY NGOZI ANYANWU WEST COAST PREMIERE | PEET’S THEATRE
Raw and riveting, estranged siblings wrestle with reunion and buried demons to reconnect, rebuild, and forgive.
MAY–JUNE 2026
THE LUNCHBOX
BOOK AND CO-LYRICS BY RITESH BATRA MUSIC AND CO-LYRICS BY THE LAZOURS
DIRECTED BY RACHEL CHAVKIN WORLD PREMIERE MUSICAL | RODA THEATRE
A mistaken food delivery in Mumbai sparks an exchange of notes that blossoms into a relationship that might save two lonely souls in this adaptation of the acclaimed film.
To ensure the best experience for everyone:
While always encouraged, masks are required inside the theatres during Sunday and Tuesday performances for the first three weeks of a show’s run.
Food and drink: Beverages in cans, cartons, or plastic cups with lids are welcome in the theatre during unmasked performances. Food is prohibited in the theatre during all performances.
Courtesy reminders: To avoid disruption to everyone, please turn off your cell phones, beeping watches, and electronic devices, and refrain from unwrapping cellophane wrappers during the performance. For the comfort of all patrons, please avoid wearing strongly scented personal products.
Photos: Photos may be taken in the theatre before and after the performance and during intermission. Photos and videos during the performance are strictly prohibited. Photos posted on social media must credit Berkeley Rep and the show’s designers.
Smoking and vaping: Berkeley Rep’s public spaces are smoke- and vape-free. Late seating and re-seating if you leave the theatre during the performance is not guaranteed and is at the discretion of the house manager.
One of the joys of live theatre is the collective experience . Audience members respond to the show in many different ways. We invite you to join together and enjoy the show! If there is anything we can do to make your experience more enjoyable, please see a member of the house staff.
Get closed captioning on your smartphone! Closed captioning is available for the following performances: evenings May 8, 9, 10, 11, 13, 14, and 15; and every matinee through June 5.
For detailed information on how to access and connect to Closed Captioning service, please consult lobby signage or ask an usher for an instruction card.
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PAUL HEPPNER
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Brand & Creative Manager
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Marketing & Communications Manager
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Accounting & Office Manager
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Production Designer
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Encore—Connecting Arts, Culture and Community.
One of the things I really admire about Berkeley Rep audiences is the collective appetite for work that plays with our sense of theatrical convention. And the Peet’s Theatre is so well suited to these kinds of experiments that put some of our notions of relationship between actors and audience to the test. This can be as simple as the prologue in Uncle Vanya (was the young woman vacuuming near the stage as the audience entered simply a stagehand late in completing their task? Or part of the story that was intended to heighten the awareness of the performers as members of an acting company, gathering to tell this story on this particular evening?), or as transparent as the challenge to some theatergoers to step onto the stage near the end of Fairview, reversing the traditional paradigm between the observers and the observed.
It is a pleasure to welcome Jiehae Park and Knud Adams to Berkeley Rep for the first time, and specifically into the Peet’s, which feels like such a useful container for some of the particular questions they are examining in the aves. In conceiving this production, it was vital to Jiehae and Knud that audiences have the opportunity to cross an imagined but important threshold into this shared space. Could we reconceive an audience pathway so that you can experience this familiar space in new ways? What is the function of silence on stage, which can often feel like simply a pause before the next person speaks? What is each of our relationship to our body as we move forward in time? And what of that journey is within our control? Or could be sometime soon?
I am delighted to welcome you to this final show of the 2024/25 season, and to get to contemplate these questions (and others), here, together, in real time.
Warmly,
Welcome to the season finale of Berkeley Rep’s 2024/25 Season! As we close this remarkable season with Jiehae Park’s the aves, I am reminded of why theatre remains an essential, transformative force. This world premiere exemplifies our commitment to innovative storytelling that challenges conventions, pushes the boundaries of theatre, and turns the ordinary into the extraordinary.
At Berkeley Rep, we take pride in producing audacious new works, fostering visionary artists, and engaging audiences in thought-provoking conversation. This season has been a testament to that mission with the electrifying hip-hop, live-looping musical Mexodus; a theatre/opera reimagining in The Matchbox Magic Flute; Jocelyn Bioh’s hit Broadway comedy Jaja’s African Hair Braiding; the visually stunning and imaginative The Thing About Jellyfish; a record-breaking staging of Uncle Vanya; and the acclaimed, investigative theatre piece Here There Are Blueberries. In addition, two Berkeley Reporiginated works appeared on Broadway (Swept Away and Cult of Love), and Goddess, which premiered here in 2022, is currently running Off-Broadway at The Public Theater.
But the journey does not end here. Next season promises an equally daring lineup of premieres, new works, and reimagined classics — works that ignite curiosity and spark dialogue. By subscribing, you secure the best seats, the best value, premium benefits and access, and an intimate experience of the extraordinary — be a part of the adventure.
Thank you for making Berkeley Rep a home for fearless artistry. There is great energy and momentum at your theatre right now, and that is due in no small part to your patronage and charitable support.
Enjoy the show, and we look forward to welcoming you back next season!
Tom Parrish Managing Director
Johanna Pfaelzer Artistic Director
Berkeley Repertory Theatre acknowledges and honors its presence on the unceded ancestral lands of the Chochenyo-speaking Ohlone people, now colonially known as Berkeley. The land from which we benefit continues to be a place of foremost importance to the Ohlone and all descendants of the Verona Band. Berkeley Rep is committed to actively centering antiracism and living our values by promoting the history and culture of the Ohlone People and sustaining an ongoing relationship which supports the art, resources, and values of indigenous peoples and tribes. We are grateful to our friends at the Sogorea Te’ Land Trust and the Confederated Villages of Lisjan for their support and guidance as we continue to educate ourselves and our community to uplift and support our indigenous communities .
Theatre Magic in the Classroom
BERKELEY
REP’S STORY BUILDERS PROGRAM
BY ASHLEY LIM, MARKETING AND REGISTRATIONS MANAGER, SCHOOL OF THEATRE
At Berkeley Rep’s School of Theatre, the power of storytelling thrives in the spark of joy on a child’s face as they learn to harness their creative potential to breathe life into their favorite stories. Berkeley Rep’s In-School Residencies program has been working in classrooms across all nine Bay Area counties for the past 20 years, with a special emphasis on serving students in under-resourced communities to make arts education as accessible as possible. This year alone, we’ve worked with over 1,500 students in grades TK–12 with workshops ranging from improv, acting, stage combat, and Berkeley Rep’s unique inschool residency program: Story Builders.
The concept for the 10-session workshop series is simple: take a story, any story, and involve every student in the class in creating the world of the play. Props are made from construction paper and felted headbands, characters are created so that each child has a part to play, and families are even invited to the classroom for a final showing of their creation. “For many, a lifelong love of art begins in grade school simply by having fun being creative with classmates,” explains Euan Ashley, Berkeley Rep’s In-
School Residency and Curriculum Supervisor. “Berkeley Rep’s Story Builders program invites students to work together and create a piece of theatre that is uniquely their own.”
“My favorite part of teaching Story Builders is seeing the creativity it brings out in the students. It’s a very interactive and multi-faceted way to experience theatre, and it’s incredible to watch it open them up and spark a love for it,” adds Berkeley Rep teaching artist, Erolina Kamburova, who embarked on her own theatre journey attending Berkeley Rep programming from a young age. “It reminds me of how transformative theatre was for me growing up—how it gave me a sense of belonging and a voice. Now, as a teaching artist, I’m grateful to pass that experience forward and nurture a space where kids can explore, connect, and express themselves freely.”
As the school year draws to a close for the summer, Berkeley Rep is already looking forward to meeting new students and bringing the magic of theatre-making to classrooms across the Bay Area. Fall workshops are booking now and filling quickly!
As a special thank you to our educator community, we are thrilled to offer 10% off any fall workshop when you book before June 9 via BerkeleyRep.org/In-School. We can’t wait to see you in the classroom!
Top: Berkeley Rep Teaching Artist Erolina Kamburova with students at Olinda Elementary School
PHOTO: CALVIN NGU
Three cheers
to an unforgettable night celebrating the arts!
On Saturday, March 29th, Berkeley Rep hosted its biggest party of the year at the Ritz-Carlton in San Francisco. With special performances by Brian Quijada, Nygel D. Robinson, and Madalynn Mathews, and special appearances from Academy Award nominee Colman Domingo, Tony Award-winner Ari’el Stachel, and a virtual Lin-Manuel Miranda and Shaina Taub, Berkeley Rep’s Ovation Gala was a smash hit. Supporters, trustees, and friends of the theatre toasted honoree Eisa Davis as we celebrated her incredible work. A highlight of the night: surprising Eisa with a joyful rendition of “September” by Earth, Wind, and Fire – one of her absolute favorite songs.
With the help of our supporters, we raised over $750,000, helping us ensure another wonderful year of Berkeley Rep arts and education programming. A huge thank you to all who made the Ovation Gala such a beautiful event!
Special thanks to Gold Sponsors Robin & Rich Edwards; Bruce Golden & Michelle Mercer; Daniel F. Goodman, MD; Marcia Grand; the Strauch Kulhanjian Family; and Gail & Arne Wagner. We also extend our thanks to Silver Sponsors Christopher Doane & Neal Shorstein, MD; Jill & Steve Fugaro; Sudha Pennathur & Ed Messerly; AT&T; District Homes; Peet’s Coffee; and Sutter Health. We are also grateful for our Bronze Sponsors and Hospitality Partners who made the evening possible.
Flying into the Future with OAK
Berkeley Rep is proud to welcome Oakland Airport (OAK) as a new season sponsor. This partnership celebrates our shared commitment to the San Francisco Bay Area and offers opportunities to connect audiences to the arts and travel in meaningful ways. Together, we’re proud to uplift the value of flying the East Bay Way — highlighting the ease, proximity, and efficiency of traveling through OAK, just 20 minutes from Berkeley and a gateway to destinations across the USA, including Hawaii, plus Mexico and El Salvador, too.
We’re thrilled to partner with OAK to bring the creative spirit of the East Bay to more people—both at the theatre and in the terminal—and to spotlight how the arts and travel can broaden horizons by building connection, access, and community.
Eisa Davis and Colman Domingo at the Ovation Gala.
FROM SCRIPT TO LIFE:
How Imagination Shapes Our World
BY PETER F. SLOSS ARTISTIC FELLOW XIAOYU (MARY) LIU AND BRET C. HARTE ARTISTIC FELLOW MANON McCOLLUM
In the aves
, playwright Jiehae Park immerses us in a near-future reality, following characters as they navigate a world both familiar and unsettlingly transformed. This aspect of the piece connects with a long history of playwrights imagining worlds where human ingenuity transcends modern-day limitations. The fact that some of these fictional “what if” scenarios have materialized into tangible events speaks to the power of imagination to shape our collective destiny. Here’s a look at a few plays that uncannily predicted the future.
UTOPIA, LIMITED, W.S. GILBERT AND ARTHUR SULLIVAN (1893)
This satirical operetta envisions a South Pacific island, Utopia, seeking to modernize by adopting British corporate and political structures. The operetta was the penultimate collaboration between theatrical titans Gilbert and Sullivan, investigating a government that takes the concept of “running a country like a business” to its disastrous conclusion. Though the play was written as a ripped-from-the-headlines satire of British society and late-stage imperialism, its insights about the imposition of Western society on the Global South and the increasing corporatization of govern-
Lennie James and Paapa Essiedu in a revival of A Number at the Old Vic, London, 2021
Early advertisement for Utopia, Limited.
PHOTO: ARENAPAL
ment have prescient parallels to today. As opposed to the operetta’s depiction of citizens becoming businesses, the 2010 Supreme Court ruling “Citizens United” granted personhood to corporations and opened the floodgates to greed and corruption. Likewise, the unchecked influence of multinational corporations in global politics mirrors the operetta’s critique of economic imperialism disguised as governance. The growing trend of privatizing essential public services, from healthcare to infrastructure also echoes Utopia’s flawed experiment in merging commerce with civic duty.
BACK TO METHUSELAH, GEORGE BERNARD SHAW (1921)
Shaw’s play begins in the Garden of Eden and progresses through different time periods, ultimately envisioning a future where humans live for centuries. In the latter parts of the play, set in 3000CE, society has split into two groups: long-lived, highly-evolved people and shorter-lived, “primitive” ones. The long-lived humans have lost interest in politics, war, and the trivial concerns of life. Finally, they evolve past mortality and live indefinitely, achieving Godlike status. We see echoes of that reality in today’s scientific breakthroughs, like Senolytic drugs which work to flush out senescent cells that degrade as we age, potentially slowing the effects of time. A more radical solution to aging is using lab-grown artificial hearts, livers, and lungs to replace our more failure-prone organs as we age. Though still highly experimental, these technologies mean that people may soon have to account for an additional 50 or even 100 years of life, and how that would impact society and the environment.
THE ADDING MACHINE, ELMER RICE (1923)
This expressionist drama follows Mr. Zero, a low-level accountant who has worked for 25 years at a grueling, monotonous job. Zero is replaced by a far more efficient automated adding machine, rendering both him and his skillset obsolete. This sends him into existential crisis — he becomes increasingly alienated from his loved ones and eventually murders his boss. He is tried and hanged, but heaven offers no escape. There he is put to work as an accountant and again “fired” and sent back to Earth for his soul to be recycled. It’s a story of alienation and greed, where we see countless parallels to the impending obsolescence of so many jobs due to AI. In fact, a McKinsey report predicts that in the next five years, up to 70% of workers’ tasks will be supplanted by generative AI. The question facing both Zero and today’s workforce is, “can there be a world where a person’s worth is not based on their job, or will automation always be a tool to oppress workers and maximize shareholder value?”
A NUMBER, CARYL CHURCHILL (2002)
A Number is a psychological thriller that explores identity, cloning, and parental responsibility. The character Bernard discovers that he is “B2,” one of several clones created to give his father a second chance at parenting, leading to the dissolution of their family and an eventual murder-suicide. Since the play was published, real-world children have been born with modified DNA. The controversial case of the first genetically-edited babies, born in 2018 under the
direction of Chinese scientist He Jiankui, reignited debates about the ethics of genetic modification and human identity. Bioethicists warn that while these technologies offer potential medical breakthroughs, they also raise concerns about consent, unforeseen consequences, and the commodification of human life. Churchill’s play remains eerily relevant as scientific advancement challenges society’s understanding of individuality and agency.
MARJORIE PRIME, JORDAN HARRISON (2014)
Marjorie Prime tells the story of an aging woman with memory issues and the AI hologram, or “prime” designed to resemble her husband and guide her through her final years. When she dies, her children create a “prime” of her. The play is an exploration of the blurry line between artificial and human intelligence, and whether it’s possible to have a real relationship with a being created with lines of code. Though it was written only ten years ago, some of the “futuristic” tech in this play now exists, with apps like SeniorTalk and ElliQ providing easy-to-use chatbots for the elderly, promoting mental activity and combating loneliness. We, like Marjorie’s children, are forced to confront whether something is lost when we have real love for “fake” people.
PRIVATE, MONA PIRNOT (2022)
Private imagines a dystopian future that is already inching closer to reality. In the world of the play, the government has eliminated the right to privacy, and a married couple must decide whether to hand over all their personal details to a tech company or lose out on a huge employment opportunity. In 2024, the Federal Trade Commission released a report revealing that big tech companies have harvested and sold far more of our private data than previously thought. Earlier this year, failed genealogy company 23andMe received the government’s permission to sell off users’ genetic information to the highest bidder. Private asks an uncomfortable question that we all must grapple with right now: how much is our privacy worth?
Theatre veteran Lois Smith in Marjorie Prime at Playwrights Horizons, New York, 2014
DM: Professionally, you started off performing and transitioned into writing. What motivated the choice and how does your experience as an actor inform your writing?
JP: I think a lot of writers start off as actors because acting feels the most accessible when we are younger. I went to grad school for acting and I was always the least actor-y actor. It became clear to me pretty quickly after graduating that the lifestyle of an actor was not something that felt stable enough or appealing as a longterm life goal, although I did love performing. But mostly what I loved was just being a part of the process. I loved being in rehearsal and figuring things out. And that feels related to writing. For me, trying to figure out big questions is the best part of writing. Because I was an actor for a long time, I have a deep desire to have honest, alive-feeling characters.
DM: What were some of your earliest artistic inspirations — either artists or works that have had an imprint on you and your aesthetic?
A Certain Kind of Attention
ASSOCIATE ARTISTIC DIRECTOR/DIRECTOR OF IN DIALOGUE DAVID MENDIZÁBAL
TALKS TO the aves PLAYWRIGHT JIEHAE PARK
DAVID MENDIZÁBAL: What made you want to be a theatre artist?
JIEHAE PARK: I didn’t speak English when I came to America. Like a lot of immigrant kids, I spent time just trying to figure out what this place is. Who am I? Where do I fit? Being an immigrant kid has an extra layer of adjusting to the language and to the culture. Theatre was always an escape for me. When I was a little kid, I’d go to our basement and put on a Disney soundtrack and dance by myself for hours, and it felt so joyful and safe. So, theatre was a place to feel imaginative, safe and playful for me.
JP: When I was growing up, I did what a lot of kids in the suburbs do, which was to get my hands on whatever I could that was available at the public library. I remember getting a book of off-Broadway plays and Christopher Durang’s The Marriage of Bette and Boo was in it, and I was like, “what is this?!” There were plenty of other plays that I read that didn’t register. But once in a while, you come across something that feels like, “oh my gosh, this is for me.”
That play was The Danube by María Irene Fornés. I didn’t know what it was, but it was amazing! That feeling of awe and excitement is what I still respond to as a theatregoer. And that spark of life is certainly something I hope to aspire to in the best moments of my plays. And then, on the other hand, I loved Broadway musicals. I had a double CD of The Phantom of the Opera that I played on a loop and sang along with every part. There was something about the openness and vulnerability of a musical that felt very different from the rest of my life. So, I feel like that downtown art
aesthetic and big hearted emotional musical theatre are a big part of what I respond to.
DM: What was the genesis of the aves ? How has it evolved through its development process?
JP: To explain the genesis, there’s the practical container story, and a subconscious story. The practical container story is that I went on a silent writing retreat facilitated by playwright Erik Ehn, and I spent the entire time writing a really bad play which was about an old couple in a postapocalyptic world covered in snow. I realized before I left that it was a really bad play, but it was necessary for me to write it. It felt like a mental detox. I think the subconscious questions underneath the play were about aging and relationships over a long period of time, and memory. Being an immigrant is such a big part of my identity. My memory of places and the peculiar distance of them is something that always swirls around in my consciousness.
I’d been reading all these books about the philosophy and science of time for a different project. Around the time I started writing the aves, I lived in Harlem just north of Central Park. I had this tiny little window that looked out onto the north side of Central Park, and I found that there was this guy who was always there every morning. I opened my computer to write, and I just noticed that the same guy was there every day. I watched the seasons change from that little window because he was there. The leaves were green, but then the leaves were falling, and then it was snowy. I think these human questions began to bubble up in my subconscious to make this play.
DM: I heard that this play was also about your family, and that you became a mom during its development. Can you share with us how being a child of immigrants and now being a mother has informed the play?
JP: I didn’t realize that I was pulling threads from my family until I had written it. There are a lot of relationship dynamics in the play that reflect the generation before me. I feel this question in my life, which
I think everybody does: if this is a dynamic that I learned, is it something that can be unlearned? To what extent is it beautiful and to what extent is it harmful? What is the potential for change within a relationship and within yourself, regardless of age? I think those two things go hand in hand. You can’t have change in a relationship without change in yourself. So that thread has become clearer to me as I work on it.
I have become a parent, and that changes my relationships, too. In most of my plays, characters don’t talk about parents. In those worlds, characters don’t seem like they have parents or children. I think this is a feeling that is relatable in the world that we live in today. We ask where the adults are, and realize the adults are us. But — oh no! — we’re also children. That’s a quality of, not childishness, but maybe childlikeness in all of the characters in the play. It’s a beautiful thing that they’re searching for themselves.
DM: Design and aesthetics are really important to you as a writer — in fact, a lot is written into the text about how the world should feel. How is your process as a writer shaped by the design process and what is that collaboration like for you and your director?
JP: I knew that the visual and sonic elements of the piece would be so important to the very specific, still, delicate feeling in which I wanted to hold the audience. I really want the audience to feel held by this play. So I tried to have designers be present from the earliest readings. In multiple workshops, we thought through the practicalities of the play and what possibilities there were for it to look and sound very abstract. Not designing for a specific space was very helpful in the play development and for future conversations. For this production, [director] Knud Adams and [scenic designer] Marsha Ginsberg have come up with a beautiful set that looks nothing like the previous iterations, but there is a soulful undercurrent at its core that is tied to an ongoing conversation that Knud and I have been having. Knud’s design eye is so impeccable,
so elegant and spare. The thing that lives and breathes for the ephemeral moments in time wouldn’t have been possible without the specific people involved in this design team.
DM: You and Knud have talked a lot about the stillness and the meditative space that you want to hold for the audience. How do you hope an audience will enter the theatre and what advice would you give an audience member who’s about to watch the play?
JP: I have noticed in myself recently a tendency to see a play like I’m consuming a product rather than joining an ancient, ritualistic human experience. But my love of theatre came from a place that is the opposite of that, which is a memory of being a child and going to see something and being like, wow. I cherish the feeling of awe so much when I’m an audience member. So, the hope for the aves experience is to spark a bit of that. How can we create a space where we allow audiences to feel like they can lean in, and be with their own bodies and pay attention in a way that is not asked of them or given to them in everyday life? I certainly don’t feel that gift in everyday life for myself. So, what does it mean to enter a different kind of space and to be in that space for a period of time with another group of people? I believe we’ve all had this feeling in a show where time stopped and we were all breathing together and feeling the same thing. I’m curious about that experience in the container of relative quietness. The play is not complete without the audience, and it asks of them a certain kind of attention that I think is very exciting.
BERKELEY REPERTORY THEATRE
JOHANNA PFAELZER, ARTISTIC DIRECTOR | TOM PARRISH, MANAGING DIRECTOR
presents
the aves
WRITTEN BY
JIEHAE PARK
DIRECTED BY
KNUD ADAMS
SCENIC DESIGN MARSHA GINSBERG
PUPPET DESIGN & FABRICATION
COSTUME DESIGN HAYDEE ZELIDETH
ERIK SANKO / PHANTOM LIMB COMPANY IN COLLABORATION WITH THE BERKELEY REP PROPS TEAM
LIGHTING DESIGN MASHA TSIMRING
SOUND DESIGN DJ POTTS
HAIR, WIGS, & MAKEUP DESIGN ALEXANDER CLASS FIGHT DIRECTOR DANI O'DEA CASTING tbd casting co.
STEPHANIE YANKWITT, CSA & NIA SMITH
STAGE MANAGER
LESLIE M. RADIN *
DIRECTOR OF MARKETING AND AUDIENCE SERVICES VOLEINE AMILCAR
DIRECTOR OF PRODUCTION AUDREY HOO
DIRECTOR OF THE SCHOOL OF THEATRE ANTHONY JACKSON
ASSISTANT STAGE MANAGER SOFIE MILLER *
ASSOCIATE PRODUCER — NEW WORK victor cervantes jr. GENERAL MANAGER SARA DANIELSEN
DIRECTOR OF FINANCE SAM LINDEN
DIRECTOR OF HUMAN RESOURCES AND DIVERSITY MODESTA TAMAYO
DIRECTOR OF DEVELOPMENT ARI LIPSKY
DIRECTOR OF OPERATIONS AMANDA WILLIAMS O’STEEN
the aves received a reading at the Alley Theatre Rob Melrose, Artistic Director and Dean R. Gladden, Managing Director
WORLD PREMIERE
Anonymous Stephen & Susan Chamberlin
Frances Hellman & Warren Breslau
Wayne Jordan & Quinn Delaney
William T. Espey & Margaret Hart Edwards
SEASON PRESENTING SPONSORS
Yogen & Peggy Dalal
Bruce Golden & Michelle Mercer
Jonathan Logan & John Piane
SEASON SPONSORS
Gisele & Kenneth F. Miller
SPONSORS
Rick Hoskins & Lynne Frame
ASSOCIATE SPONSORS
Rosalind & Sung-Hou Kim
ASSOCIATE ARTISTIC DIRECTOR DAVID MENDIZÁBAL
The Strauch Kulhanjian Family Gail & Arne Wagner
Jack & Betty Schafer Kelli & Steffan Tomlinson
Martin McNair & Margi Cellucci McNair
Understudies never substitute for listed performers unless a specific announcement or notice is made at the time of appearance.
* Member of Actors’ Equity Association, the union of professional actors and stage managers in the United States.
This theatre operates under agreements with the League of Resident Theaters, Actors’ Equity Association (the union of professional actors and stage managers in the United States), the Stage Directors and Choreographers Society, and United Scenic Artists.
Please turn off your cell phones, beeping watches, and electronic devices, and refrain from unwrapping cellophane wrappers during the performance.
The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights, and actionable under United States copyright law.
OPENING NIGHT: MAY 7, 2025
PEET'S THEATRE
Assistant Director
FOR THIS PRODUCTION
Assistant Scenic Designers
Xiaoyu (Mary) Liu (Peter F. Sloss Artistic Fellow)
. . . Michael Bennet Lewis, Kyu Shin
Assistant Costume Designer . . Amanda Geyer (Costumes Fellow)
Costume Shopper .
Assistant Lighting Designer
. . Matthew Malone
Renata Taylor-Smith (Electrics Fellow)
Assistant Sound Designers Mary Klenk, Kaileykielle Hoga (Harry Weininger Sound Fellow)
Puppet Fabrication Support & On-site Modifications
Production Assistant
Deck Crew
Wardrobe Crew
Lighting Programmer/ Board Op
Sound Engineers/A1
Jack Grable, Katelyn Fitt, Emma Buechner, Amelia Burke-Holt (Associate Props Supervisor), Jason Joo (Props Fellow)
Trinity Wicklund (Stage Management Fellow)
James McGregor (Head Stage Technician), Isaac Jacobs, Siobhán Slater
Barbara Blair (Supervisor), Caz Hiro
. Des Alcocer
Angela Don, Akari Izumi, Rebecca Satzberg
Scenic Fabrication by Berkeley Repertory Theatre Scenic & Paint Shops
Additional Scenery Fabricators
Additional Scenic Artists
. Carl Martin, Maggie Wentworth, Drea Ronquillo, Cameron Edwards, Cassidy Carlson (Scenic Construction Fellow)
Caitlyn Brown (Scenic Art Fellow)
Props Fabrication by Berkeley Repertory Theatre Properties Shop
Additional Prop Artisans Jack Grable, Katelyn Fitt, Sofie Miller, Emma Buechner, Jason Joo (Props Fellow)
Costumes Built by Berkeley Repertory Theatre Costume Shop
Additional Costume Technicians . . . Chris Weiland, Sophia Gallegos
Lighting Services provided by Berkeley Repertory Theatre Lighting Department
Additional Lighting Technicians
Emma Buechner, Brittany Cobb, A. Chris Hartzell, Jacob Hill, Hannah Linaweaver, Charlie Mejia, Riley Richardson, Taylor Rivers, C. Swan-Streepy, Matthew Sykes
Sound Services provided by Berkeley Repertory Theatre Sound and Video Department
Additional Sound Technicians Courtney Jean, Camille Rassweiler
Production Manager Kali Grau
Production Management Assistant Hannah Lineaweaver
Additional Casting Karina Fox
Company Manager Ryan Duncan-Ayala
Assistant Company Manager Katie Anthony (Company Management Fellow)
Medical Consultation for Berkeley Rep provided by
Mari Bell MPT (UCSF), Ed Blumenstock MD, Charissa Chaban DPT, Cindy J . Chang MD, Christina Corey MD, Neil Claveria PT, Patricia I . Commer DPT, Kathy Fang MD PhD, Steven Fugaro MD, Anjali Gupta MD (Kaiser), Olivia Lang MD (Berkeley Pediatrics), Allen Ling PT, Liz Nguyen DPT, Desiree A Unsworth DPT, Christina S Wilmer OD, Eric Yabu DDS, and Katherine C Yung MD
ARTISTIC
BERKELEY REP STAFF
Johanna Pfaelzer ....................................... Artistic Director
David Mendizábal Associate Artistic Director/Director of In Dialogue
victor cervantes jr Associate Producer – New Work
Karina Fox Associate Casting Director & Artistic Associate
Rebs Chan In Dialogue Coordinator
Todd Almond, Rafael Casal, Daveed Diggs, Dipika Guha, Richard Montoya, Nico Muhly, Lisa Peterson, Sarah Ruhl, Tori Sampson, Jack Thorne, Joe Waechter ................. Artists Under Commission
GENERAL MANAGEMENT AND COMPANY MANAGEMENT
Sara Danielsen General Manager
Ryan Duncan-Ayala Company Manager
Emily Betts General Management Associate
PRODUCTION MANAGEMENT
Audrey Hoo ....................................... Director of Production
Kali Grau ............................................. Production Manager
COSTUMES
Maggi Yule
Costume Shop Director
Kiara Montgomery Resident Design Associate
Star Rabinowitz Draper
Barbara Blair Wardrobe Supervisor
ELECTRICS
Frederick C. Geffken ................................ Lighting Supervisor
Sarina Renteria .......................... Associate Lighting Supervisor
Kenneth Coté ............................ Senior Production Electrician Des Alcocer Production Electrician
PROPERTIES
Jillian A. Green Properties Supervisor
Amelia Burke-Holt .................... Associate Properties Supervisor
Brittany Watkins ..................................... Properties Artisan
SCENE SHOP
Matt Rohner, Jim Smith ......................... Co-Technical Directors
Read Tuddenham Assistant Technical Director — Shop
Grant Vocks Assistant Technical Director — Engineering
August Lewallen, Zach Wziontka Scenic Carpenters
SCENIC ART
Lisa Lázár ............................................ Charge Scenic Artist
STAGE OPERATIONS
Julia Englehorn ......................................... Stage Supervisor
Gabriel Holman Associate Stage Supervisor
James McGregor Head Stage Technician
SOUND/ VIDEO
Lane Elms ................................... Sound and Video Supervisor
Rebecca Satzberg ............. Associate Sound and Video Supervisor
Angela Don ....................................... Senior Sound Engineer
Akari Izumi ............................................... Sound Engineer
BERKELEY REP SCHOOL OF THEATRE
Anthony Jackson Director of the School of Theatre
MaryBeth Cavanaugh Director of Classes and Summer Programming
Ashley Lim Marketing and Registrations Manager
AeJay Antonis Marquis Mitchell ...... Education Programs Associate Euan Ashley ......... In-School Residency and Curriculum Supervisor
Leah Sanginiti ............ Elementary Camp Programming Specialist
Edris Cooper-Anifowoshe, Bobby August Jr., April Ballesteros, L.M. Bogad, Phaedra Tillery-Boughton, Jessica Bettencourt, Diana Brown, Erica Blue, Rebecca Castelli, Rebs Chan, Iu-Hui Chua, Jiwon Chung, Amelia Costales-Downey, Deb Eubanks, Rachel Garlin, Nancy Gold, Gary Graves, Linda Girón, Marvin Greene, Susan Jane Harrison, Wayne Harris, George Higgins, Bailey Hopkins, Gendell Hing-Hernandez, Harper Iles, Paul Jennings, Erolina Kamburova, Jennifer LeBlanc, Dave Maier, Carolyn McCandlish, Amanda Nguyen, Kit Lunt, Jonathan Moscone, Basye Mummert, Joel Ochoa, Joe Orrach, Robert Parsons, Hans Probst, Julius Rea, Bri Reads, Pamela Rickard, Alexandra Rivers, Teresa Salas, M. Graham Smith, Hayley Sherwood, Joyful Simpson, Samuel Tomfohr, James Wagner, Joshua Waterstone, Dan Wolf, Phil Wong, Elizabeth Woolford ..................................... Teaching Artists
ADMINISTRATION
Tom Parrish Managing Director
Sam Linden ........................................... Director of Finance
Katie Riemann .............................. Associate Finance Director
Jennifer Light Payroll Administrator
Alanna McFall ................................................ Bookkeeper
Annie Stonebarger Executive Assistant
Victoria McNaughton ......................... Yale Management Fellow
Modesta Tamayo ........ Director of Human Resources and Diversity
DEVELOPMENT
Ari Lipsky ....................................... Director of Development
Laura Fichtenberg Associate Director of Development
Kelsey Scott ...................... Senior Institutional Giving Manager
Andrew Maguire .
Philanthropy Officer
Harper Brown ..................................... Annual Fund Manager
Isabella Chayet ..................... Corporate Partnerships Manager
Elaina Guyett Stewardship and Events Manager
Rodrick Edwards ............................. Development Coordinator
Cassidy Milano Development Operations Coordinator
OPERATIONS
Amanda Williams O’Steen ....................... Director of Operations
Peter Orkiszewski Associate Director of Operations
Adam Johnson ........................................ Facilities Manager
Thomas Tran Building Engineer
Jesus Rodriguez ..................................... Building Technician
Theresa Drumgoole, Wendi Lau
Sophie Li, Darrel De La Rosa .
.Facilities Assistants
Destiny Askin ......................................CRM Project Manager
Christina Cone Web and Database Specialist
Nicole Peña ................................ Medak and Rentals Manager
MARKETING AND COMMUNICATIONS
Voleine Amilcar ........ Director of Marketing and Audience Services
Heather Orth ...........................Associate Director of Marketing
DC Scarpelli Creative Director
Kevin Kopjak –
Prismatic Communications Public Relations Consultant
Lindsey Abbott ....................... Audience Development Manager
Kristi Deprin ................................... Digital Content Manager
Calvin Ngu Video and Multimedia Content Creator
Quinn Barringer ........................................ Graphic Designer
AUDIENCE SERVICES
Emily Byrne .................... Sales and Audience Services Manager
Saoirse Keogh .................................... Box Office Supervisor
pan ellington, Matthew Hayden, Kathlyn Ibazeta, Olga Khitarishvili, Jack Melcher, Em Parker, Sesar Sanchez, Celeste Wong Box Office Agents
Kelly Kelley ...................................... Front of House Director
Maddi Gjovik, Armando Herrera, Caitlyn Lee Patron Services Supervisors
Carlos Andrade, Julian Balcziunas, Lee Barrett,
Megan Bedig, Damian Buford, Steven Cole, Latasha Hayes, Camille Kobelin, Elisa Matalon, Alana Melvin, Zoe Mueller, Niya Paul, Aurora Pope, Nicolas Puorro, Tuesday Ray, Alana Scott, Kira Street, Kailani Zabala Patron Experience Representatives
2024/25 BERKELEY REP FELLOWSHIPS
Katie Anthony Company Management Fellow
Caitlyn Brown ........................................... Scenic Art Fellow
Cassidy Carlson Scenic Construction Fellow
Amanda Geyer .......................................... Costumes Fellow
Kaileykielle Hoga ....................... Harry Weininger Sound Fellow
Mondara Ixchel Education Fellow
Jason Joo ................................................ Properties Fellow
Xiaoyu (Mary) Liu
Peter F. Sloss Artistic Fellow
Manon McCollum ........................... Bret C. Harte Artistic Fellow
Rhea Mehta ............................ Production Management Fellow
Renata Taylor-Smith Electrics Fellow
Zach Terrillion ..................... Marketing and Development Fellow
Docents
Matty Bloom, Joy Lancaster, Selma Meyerowitz ....... Docent Chairs Ted Bagaman, Beth Cohen, Michelle Cordero, Miles Drawdy, Charles Evans, Tyrone Fleurizard, Randi Helly, Diana Insolio, Sue Kaplan, Jim Krampf, Mark Liss,Virginia McCarthy, Judith O’Rourke, Gigi Singer, Bridget Soto
Trinity Wicklund Stage Management Fellow
Bill Buell * Old Man
recurring in the latest season of Hulu’s hit show, LOVE, VICTOR and in Apple’s limited series MANHUNT.
Mia Katigbak * Old Woman
Broadway credits include Enemy of the People, Ink, Cyrano, Equus, The History Boys, Inherit the Wind, Urinetown, 42nd Street, Titanic, Tommy, Big River, and Annie. His Off-Broadway credits include Queens Boulevard; Rancho Viejo, Kin, Picasso at the Lapine Agile, and Tumacho. With The Public’s Shakespeare in the Park: Tartuffe, The Winter’s Tale, and Twelfth Night. Film and television include 7 Seconds, Sneaky Pete, God’s Pocket, Across the Universe, Spy Game, Welcome to the Dollhouse, The Love Letter, Requiem for a Dream, Quiz Show, Palindromes, Kinsey, Boardwalk Empire, 30 Rock, Blue Bloods, John Adams, Curb Your Enthusiasm, and Law & Order.
Eloise Cheves Girl
Eloise is thrilled to join the aves at Berkeley Rep for her first major stage outing. She attends the Oakland School for the Arts, with a pathway focus on Production Design and Theater. Eloise takes acting classes at Berkeley Rep School of Theatre and has previously participated in productions at Bay Area Children’s Theater and the Berkeley Playhouse. She loves creating art almost as much as performing on stage – building sculpture, writing her own plays, making costumes, and filming her original works. She’s an animal lover – with a particular penchant for axolotls –and dedicated cat-mom to her cats, Comet and Wolfie.
Daniel Croix * Young Man
Daniel made his professional debut in the New York Times Critic Pick: Kenny Leon’s Much Ado About Nothing, which he booked directly out of SUNY Purchase Conservatory. The historic production was the first entirely African-American cast at The Public Theater’s Shakespeare in the Park. He then went on to land the lead role in Tyler Perry’s new breakout series The Oval, where he stars as ‘Jason Franklin.’ Daniel can most recently be seen
Selected NYC theatre: Uncle Vanya (Lincoln Center); Infinite Life (Atlantic Theater; National in London); Henry VI (NAATCO, St. Clair Bayfield Award); Scenes From a Marriage (NYTW); Awake and Sing! (NAATCO, Obie Award). Virtual: What If If Only (Caryl Churchill, US Premiere), Russian Troll Farm. Other NYC: Public Theater, Clubbed Thumb, Transport Group, Ma-Yi, NYTW, New Georges, WP, Soho Rep. Regional: Long Wharf, Yale Rep, Two River Theater, Berkeley Rep, Guthrie. TV: How to Get Away With Murder,The Sinner. USA Fellow; Special Drama Desk Award; Fox Foundation Resident Actor Fellowship for Distinguished Achievement; Actor-Manager & Co-Founder, NAATCO.
Róisín
McCarthy Girl
Róisín is thrilled to be joining the cast of the aves! Recent credits include A Whynot Christmas Carol at American Conservatory Theater (Justice), The Handmaid’s Tale at San Francisco Opera (Gilead Girl), and Mary Poppins at South Bay Musical Theatre (Michael Banks). She trains with American Conservatory Theater’s Young Conservatory. Many thanks to the cast, crew, and creatives, and to her family and friends for their endless support.
Laakan McHardy *
Young Woman
Laakan is thrilled to be making her Berkeley Rep debut! Theatre: Off-Broadway: The Wolves (Lincoln Center Theater); Chains (Mint Theater); Regional: The Tempest (Guthrie Theater), Mac Beth (Seattle Rep); The Many Deaths of Nathan Stubblefield (Humana Festival, Actors Theatre of Louisville); Macbeth (ATL); A Christmas Carol (Repertory Theatre of St. Louis). Film/television: Succession (HBO), The Equalizer (CBS), The Other Two (HBO),
The Blacklist (NBC), FBI: Most Wanted (CBS), Madam Secretary (CBS), Tommy (CBS), 16 BARS; A Dresser (short). Training: BA, Mount Holyoke College; Professional Training Company at Actors Theatre of Louisville.
Nemma Adeni *
U/S Young Woman
Nemma is an actor and writer of Yemeni and Indian heritage whose work spans new plays, festival stages, and bilingual film. She recently played the lead in Memory Lane is a Desert Road (Eight Ball Theater Company, Los Angeles) and performed in Golden Thread’s ReOrient Festival, featured on KQED’s Best Bay Area Theater list. Her screen credits include Witness, supported by the Netflix Fund for Creative Equity. A Princeton-trained computer scientist, Nemma works in six languages and brings a strong command of dialect, improv, fluency with cross-cultural narratives, and expressive physicality rooted in social and traditional dance forms.
Jacob Henrie-Naffaa *
U/S Young Man
Jacob could not be more excited to work with Berkeley Rep. Jacob has been performing professionally since the age of seven and has been seen on Bay Area stages ever since. Recent credits include Cabaret (CenterRep), Returning to Haifa (Golden Thread Productions) and In the Heights (CenterRep, Berkeley Playhouse). Jacob also works on-camera, recently appearing in commercials for Jolibee and Samsung, as well as dozens of short films and web series. He’s currently working on his directorial debut short, My Girlfriend Does That Too, which he also wrote, produced and co-starred in, that will be releasing later this year. He’d like to thank his LEGO for their constant support. @henrienaffaa52
Howard Swain *
U/S Old Man
Howard moved to the Bay Area in 1976. Over the years he’s worked with A.C.T, Berkeley Rep, San Jose Rep, The Magic, Eureka,
Digital programs reimagined.
Visit the all new Encore+, now with an improved user experience rebuilt from the ground up. Available from these fine performing arts organizations:
San Francisco Bay Area
American Conservatory Theater
Berkeley Rep
San Francisco Opera
San Francisco Gay Men’s Chorus
San Francisco Symphony
Greater Seattle Area
The 5th Avenue Theatre
Seattle Children’s Theatre
Seattle Opera
Seattle Rep
Seattle Theatre Group
Seattle Shakespeare Company
Taproot Theatre Company
Village Theatre
and October
Word For Word, TheatreWorks, Aurora, The Jewel, SF Playhouse, and Marin Theatre, as well as the Oregon, Santa Cruz, California, and Marin Shakespeare Festivals. He appeared with New York Theatre Workshop in Rinde Eckert’s Horizon, and performed with the National Tours of Steve Martin’s Picasso At The Lapin Agile and Love, Janis. Television appearances include Nash Bridges and Hill St. Blues, and in such films as Cherry 2000, Miracle Mile, Teknolust, Night of The Scarecrow, and Valley Of The Heart’s Delight.
Mia Tagano *
U/S Old Woman
Local credits include Berkeley Rep ( Macbeth ), A.C.T. ( Love and Information ), and Cal Shakes (Hamlet and Nicholas Nickleby). Regional credits include Tamburlaine (DC’s Shakespeare Theatre), Tantalus (Denver Center), and Snow Falling on Cedars (Hartford Stage and Portland Center Stage). New York credits include Far East (Lincoln Center), 99 Histories (Cherry Lane Theatre), and Song of Singapore (Capital Repertory). Internationally, Mia toured the UK with the Royal Shakespeare Company in the 10-hour Tantalus closing at the Barbican in London. A member of AEA and SAG-AFTRA, Mia can be heard as Aunt Lily in Disney/Pixar’s film, Turning Red.
Jiehae Park
Playwright
Jiehae Park’s plays peerless and Hannah & the Dread Gazebo have been produced at Yale Rep, Primary Stages, Marin Theatre, and Oregon Shakespeare Festival, among others. Awards: Steinberg, Blackburn Finalist, Princess Grace, Weissberger, Leah Ryan, Edgerton. Current commissions: Playwrights Horizons, Yale Rep, Geffen. Residencies: MacDowell, Yaddo, Hedgebrook, McCarter/Sallie B. Goodman. TV: Hello Tomorrow!, The Morning Show (S4), Marvel’s Runaways, Command Z (dir. Steven Soderbergh, WGA nom). As a performer: Command Z, Celine Song’s Endlings (NYTW, ART), and Ripe Time/Naomi Iizuka’s adaption of Haruki Murakami’s Sleep (BAM Next Wave, Yale Rep). She has been a Tow and Hodder Fellow, Lincoln Center Theater writer in
residence, and is currently a NYTW Usual Suspect and New Dramatist (class of 2026).
Knud Adams Director
Knud is an Obie-winning director of artful new plays, based in New York City. He recently directed the acclaimed Broadway debut of Sanaz Toossi’s English, which Variety hailed as “one of the best plays of the decade.” He is the first director to premiere consecutive Pulitzer Prize-winners: English and Eboni Booth’s Primary Trust. Additional world premiere productions include: The Book of Mountains and Seas, I’m Revolting, Bodies They Ritual, The Headlands, Paris, Tin Cat Shoes, The Workshop, Asshole, and Tom & Eliza. Knud’s productions have been celebrated on “Best of the Year” lists by the Los Angeles Times, New York Times, New York Magazine, New Yorker, and Washington Post.
Marsha Ginsberg
Scenic Design
Marsha is a visual artist / stage designer working between performance, opera and photo/installation formats. She has designed spaces and clothes for live performances at theaters, opera houses and museums in New York City, Regionally and Internationally (Germany, Switzerland, France, Greece, UAE). Previously with Knud Adams: English (Broadway, Atlantic Theater); Primary Trust (Roundabout, NYC, La Jolla Playhouse); I’m Revolting (Atlantic Theater); Notes on my Mothers Decline (PlayCo at NYTW); Every Angels is Brutal (Clubbed Thumb). Recent regional work includes Lehman Trilogy at Shakespeare DC, Guthrie Theater and upcoming Milwaukee Rep; Data (Arena Stage). Upcoming: Sets and Costumes for Don Pasquale Opera Theater of St. Louis, Hildegard a new opera for LA Opera and Beth Morrison Projects. She was awarded Obie Awards, The Rome Prize, American Academy in Rome and multiple residencies at MacDowell Colony and Watermill Center. A dedicated educator, she is currently the Feltman Chair at Cooper Union, School of Architecture, NYC
Haydee Zelideth
Costume
Design
Haydee is a Chicana artist and costume designer. Clothes carry on public conversations with others and share stories about who we are, who we are not, and who we wish to be. They are a means of exploring how image can open up perceptions of race, class, socioeconomic status, and more—all of which is what most interests her. She grew up on both sides of the Mexican border and these experiences inform her point of view and how she approaches her work, giving depth, dimension and color to the specificities of someone’s life. @haydeezelideth
Masha Tsimring
Lighting
Design
Off-Broadway: Rheology, A Woman Among Women (Bushwick Starr); Six Characters (LCT3); Staff Meal (Playwrights Horizons); Grief Hotel (Clubbed Thumb); Sad Boys in Harpy Land (Playwrights Horizons/Abrons Art Center); Montag (Soho Rep). Regional: The Inspector (Yale Rep); Primary Trust (La Jolla Playhouse); Eternal Life, Part 1 (The Wilma); The Appointment (Lightning Rod Special); Dance/Opera: Plenum/Anima (LADP); Terce (Prototype); Me. You. We. They. (LA Dance Project/Paris Philarmonie); morning/mourning (Prototype/ HERE); Deepe Darknesse (Lisa Fagan/ Lena Engelstein/NYLA); Unstill Life (LA Dance Project); Rodelinda (Hudson Hall/Santa Fe Opera); Der Freischütz (Wolf Trap Opera). She is a proud member of USA829. More info at www.mashald.com.
DJ Potts
Sound
Design
Off-Broadway: Traverse32: Triple Threat; PAC NYC: Icons of Culture, Refuge: A concert Series; The Shed: Open Call; The Drama League of NYC: The Bull Jean Stories, Hello Again; Regional: Shakespeare Theatre Comapny: Kunene and The King; Chautauqua Theater Company: Fabulation, or The Re-Education of Undine; Vermont Northern Stage: King James. Education: The New School: Romeo & Juliet, Glass n’ Mirrors. Rutgers: Angela Davis School for Girls With Big Eyes, Holy Week.
Erik Sanko, Phantom Limb
Puppet Design & Fabrication
Erik Sanko is the co-founder and co-artistic Director of Phantom Limb Company. He has held teaching posts at The New School, NYU, and The Rhode Island School of Design and taught masters classes in puppetry at The Victorian College of the Arts in Melbourne, Akademiet For Utaemmet Kreativitet in Copenhagen, and NYU Abu Dhabi and held residencies at Harvard University, Dartmouth University, McMurdo Station in Antarctica, Figurteateret in Norway, and at The Robert Rauschenberg estate. He has a B.F.A. from Cooper Union and has been a puppet nerd since childhood. “Everywhere is the best seat.” –John Cage
Alexander Class
Hair, Wigs, & Makeup Design
Alexander is thrilled to embark on their debut journey at Berkeley Rep as the Wigs, Hair, and Makeup Designer. As a multidisciplinary Latinx artist hailing from the vibrant landscapes of Puerto Rico, Alexander is deeply committed to the art of storytelling, believing in the profound ability of hair and makeup to transform characters and narratives on stage. They extend heartfelt gratitude to their beloved Abuela, family, and friends for their steadfast encouragement and love throughout this creative journey. Selected credits in the Bay Area include Uncle Vanya, Hamilton (Philip Tour), Lehman Trilogy, Strange Loop, and Hippest Trip: The Soul Train Musical. In Puerto Rico, their notable credits include Evita, Into the Woods, The Sound of Music, and Steel Magnolias. www.whamwithclass.com
tbd casting co.
(Margaret Dunn, Tanis Parenteau, Nia Smith & Stephanie Yankwitt). Resident casting office for Soho Rep., where past productions include Give Me Carmelita Tropicana, Public Obscenities, and The Great Privation. Select upcoming film projects include the feature film Still Life and The Year of the Monarchs (Alex Dinelaris, Wr./Dir., Lexicon)). Recent/upcoming theater includes Bus Stop (CSC/ NAATCO), Indian Princesses (La Jolla
Playhouse), and Here There are Blueberries (National tour). tbd casting co. cast the award winning film In The Summers, which won the 2024 Grand Jury Prize at Sundance Film Festival, and was an official selection of Tribeca, Cartagena, and LA Liff Film Festival. @tbdcastingco
Leslie M. Radin *
Stage Manager
Leslie is thrilled to be back at Berkeley Rep after most recently stage managing Cult of Love, Clyde’s, The Good Book, and Fairview. She started at Berkeley Rep as the stage management intern in 2003 and has also worked at American Conservatory Theater, Aurora Theatre Company, California Shakespeare Theater, Center Repertory Company, and Santa Cruz Shakespeare. She has traveled with Berkeley Rep productions to the Hong Kong Arts Festival and the New Victory Theater in New York. Her favorite past productions include Aubergine, Angels in America, Bull in a China Shop, House of Joy, Sisters Matsumoto, The Great Leap, Passing Strange, The Lieutenant of Inishmore, and In the Next Room (or the vibrator play).
Sofie Miller *
Assistant Stage Manager
Sofie is delighted to return for another season with Berkeley Rep. Favorite productions include Angels in America, Kiss My Aztec, Imaginary Comforts, Latin History for Morons, Roe, Party People, and The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. Sofie has also worked regionally with Aurora Theatre Company, American Conservatory Theater, Magic Theatre, Presidio Theatre, Shakespeare Santa Cruz, and California Shakespeare Theater, and has stage managed concerts in NYC at Joe’s Pub and Urban Stages. Sofie holds a BA in Theater Arts and Post-Graduate Certificate in Theater Management from University of California, Santa Cruz.
Johanna Pfaelzer
Artistic Director
Johanna joined Berkeley Rep in 2019 as its fourth artistic director, following 12 years as artistic director of New York Stage and Film (NYSAF), a New York City-based developer of new
works for theatre, film, and television. Johanna is proud to have developed work by notable established and early career writers like Hamilton by Lin-Manuel Miranda; Goddess by Saheem Ali, Michael Thurber, and Jocelyn Bioh; The Humans by Stephen Karam; Hadestown by Anaïs Mitchell; The Wolves by Sarah DeLappe; The Invisible Hand by Ayad Akhtar; A 24-Decade History of Popular Music by Taylor Mac; The Homecoming Queen by Ngozi Anyanwu; The Great Leap by Lauren Yee; Doubt by John Patrick Shanley; The Fortress of Solitude by Michael Friedman and Itamar Moses; The Jacksonian by Beth Henley; and Green Day’s American Idiot. Johanna previously served as associate artistic director of American Conservatory Theater and is a graduate of Wesleyan University and the Actors Theatre of Louisville Apprentice Program. She lives in Berkeley with her husband, Russell Champa, and their son, Jasper.
Tom Parrish
Managing Director
Tom has served as a theatre leader and arts administrator for over 20 years, with experience in organizations ranging from multivenue performing arts centers to major Tony Award-winning theatre companies. Prior to Berkeley Rep, he served as executive director of Trinity Repertory Company, Geva Theatre Center, and Merrimack Repertory Theatre and as associate managing director/ general manager of San Diego Repertory Theatre. His work has been recognized with a NAACP Theatre Award for Best Producer and “Forty Under 40” recognition in Providence, Rochester, the Merrimack Valley, and San Diego. He received his MBA/ MA in Arts Administration from Southern Methodist University; BA in Theater Arts and Economics from Case Western Reserve University; attended the Commercial Theater Institute, National Theater Institute, and Harvard Business School’s Strategic Perspectives in Nonprofit Management; and is certified in Leading Diversity, Equity, and Inclusion by Northwestern University. He and his husband live in Berkeley.
THANK YOU to our supporters!
We thank the many organizations and individuals who enrich our community by championing Berkeley Rep’s artistic, education, and community engagement programs.
Institutional Funders
FOUNDATION
Anonymous (3)
The Sheri and Les Biller Family Foundation
Civic Foundation, Inc.
Davis/Dauray Family Fund
The William H. Donner Foundation, Inc.
The Ira and Leonore Gershwin Philanthropic Fund – Jean Strunsky, Trustee
Eva Gunther Foundation
The William and Flora Hewlett Foundation
JEC Foundation
Jewish Community Federation & Endowment Fund
Koret Foundation
Laurents/Hatcher Foundation
Libitzky Family Foundation
Jonathan Logan Family Foundation
The Maurer Family Foundation
Miranda Lux Foundation
Morris Stulsaft Foundation
The Bernard Osher Foundation
The Shubert Foundation
The Harold and Mimi Steinberg Charitable Trust
Tarbell Family Foundation
Taube Philanthropies
Ingrid D. Tauber Fund
Westridge Foundation
Woodlawn Foundation
Corporate & Hospitality Sponsors
SEASON PRESENTING SPONSORS
CORPORATE PARTNERS
Armanino LLP
Aurora Catering
Bank of Marin
SEASON SPONSORS
EXECUTIVE SPONSORS
SPONSORS
Comal
Covenant Wines
Hafner Vineyards
Hammerling Wines
Jewish Family and Children’s Services
The Morrison & Foerster Foundation
Palisades Canyon
Panoramic Interests
Pinx Catering
The Republic of Tea
The Resilience Campaign
PUBLIC FUNDING
Berkeley Civic Arts Program and Commission
National Endowment for the Arts
PERFORMANCE SPONSORS
Andrea Gordon Real Estate
BluesCruise.com
Perfusion Vineyard
Smile City Photo Booth
BENEFACTOR SPONSORS
Broc Cellars
City Baking Co.
Eureka!
Family Laundry
Gallagher Risk Management Services
Heroic Italian
JazzCaffè
Kermit Lynch
Lucia’s Berkeley
Picante
TheatreWorks
Berkeley Repertory Theatre gratefully recognizes the following contributors for their transformational contributions to The Resilience Campaign that support the organization’s future.
Anonymous
California Wellness Foundation
Stephen & Susan Chamberlin
Yogen & Peggy Dalal
Robin & Rich Edwards
David & Vicki Fleishhacker
Kerry Francis & John Jimerson
Jill & Steve Fugaro
Karen Galatz & Jon Wellinghoff
Bruce Golden & Michelle Mercer
Marcia Grand
Frances Hellman & Warren Breslau
Dugan & Philippe Lamoise
The Jonathan Logan Family Foundation
Sandra & Ross McCandless
Gisele & Kenneth F. Miller
Sudha Pennathur & Edward Messerly
Jack & Betty Schafer
Pat & Merrill Shanks
Michael & Sue Steinberg
The Strauch Kulhanjian Family
Kelli & Steffan Tomlinson
Gail & Arne Wagner
Linda & Steve Wolan
We thank the many individuals in our community who help Berkeley Rep produce adventurous, thought-provoking, and thrilling theatre and bring arts education to thousands of people every year. We gratefully recognize our donors at the Champion level and above, who made their gifts between September 1, 2023, and March 28, 2025. We also express our deep gratitude to all of the Friends of Berkeley Rep that we are unable to recognize here due to space limitations.
Sponsors Circle
SEASON PRESENTING SPONSORS
Anonymous
Stephen & Susan Chamberlin
Yogen & Peggy Dalal
Bruce Golden & Michelle Mercer
Jonathan Logan & John Piane
The Strauch Kulhanjian Family
Gail & Arne Wagner
SEASON SPONSORS
Frances Hellman & Warren Breslau
Wayne Jordan & Quinn Delaney
Gisele & Kenneth F. Miller
Jack & Betty Schafer
Kelli & Steffan Tomlinson
LEAD SPONSORS
Barbara Bass Bakar
Jill & Steve Fugaro
Marcia Grand
Mary Ruth Quinn & Scott Shenker
EXECUTIVE SPONSORS
Christina Crowley
Anne & Anuj Dhanda
Christopher Doane & Neal Shorstein, MD
Robin & Rich Edwards
Bill Falik & Diana Cohen
Kerry Francis & John Jimerson
Dr. Daniel F. Goodman
Melinda Haag & Chuck Fanning
Scott & Sherry Haber
Fred Levin
Melanie Maier
Sandra & Ross McCandless
Sudha Pennathur & Edward Messerly
Leonard X & Arlene B. Rosenberg
Pat & Merrill Shanks
Michael & Sue Steinberg
Chris & Mike Rupp, Descendant Cellars
Steven & Linda Wolan
SPONSORS
Anonymous (2)
Shelley & Jonathan Bagg
Walter Brown
David & Vicki Cox
William T. Espey & Margaret Hart
Edwards
Paul Friedman & Diane Manley
Karen Galatz & Jon Wellinghoff
Paul Haahr & Susan Karp
In Memory of Rob Schonholtz
Rick Hoskins & Lynne Frame
Rosalind & Sung-Hou Kim
Artistic Director’s Circle
PARTNER
Anonymous (3)
Valerie Barth
Italo & Susan Calpestri
Jennifer Chaiken & Sam Hamilton
John Dains
Venus David, in memory of Narsai David
Bill DeHart
Richard DeNatale & Craig Latker
Thomas W. Edwards & Rebecca Parlette-Edwards
Jerry Falk
Cynthia A. Farner
Linda Jo Fitz
Lisa Franzel & Rod Mickels
Karen Grove & Julian Cortella
Earl & Bonnie Hamlin
Lisa Herrinton
Lynda & Dr. J. Pearce Hurley
The Jackson Family Foundation
Teresa Kersten
Duke & Daisy Kiehn
Joel Linzner & Teresa Picchi
Rosa Luevano & Charles Marston
Elsie Mallonee
Mona Marbach
Marymor Family Fund
Judy Minor
Juan Oldham & Deborah Morgan
Lauri Paul & Mark Hamilton
Jeannie Pfaelzer & Peter Panuthos
Johanna Pfaelzer & Russell Champa
Jaimie Sanford & Ted Storey
Emily Shanks
Trevor & Anne-Marie Strohman
Ama Torrance & David Davies
Larry Vales
Sarah Van Roo
Elizabeth Werter & Henry Trevor
BENEFACTOR
Anonymous (7)
Norman Abramson, in memory of David Beery
Eric Allman & Kirk McKusick
George & Marcia Argyris
Michelle L. Barbour
Becky & Jeff Bleich
Ashvini Bhave & Kishore Bopardikar
Paul Brody
Luna Foundation
Linda Brown
Ronnie Caplane
Ardie & Mary Clark, in memory of Patricia Fox
Lisa Conte
Dr. Jim Cuthbertson
Barbara & Tim Daniels
Jack Klingelhofer
Suzanne LaFetra Collier
Erin McCune
Pam & Mitch Nichter
Jack & Valerie Rowe
Todd Rubin
Barbara Sahm & Steven Winkel
Patricia Sakai & Richard Shapiro
Joan Sarnat & David Hoffman
Sargina & Marc Silvani
Cynthia & William Schaff
Ed & Liliane Schneider
Felicia Woytak & Steven Rasmussen
ASSOCIATE SPONSORS
Anonymous (5)
Edith Barschi & Robert Jackson
Anna Bellomo & Josh Bloom
Marc Blakeman
Jeffrey & Karen Breslow
Lynne Carmichael
Cindy J. Chang, MD & Christopher Hudson
Sandra & Ken Eggers
David & Vicki Fleishhacker
Jennifer & Abe Friedman
Laura Graham
Arvada Darnell
Richard & Anita Davis
Ilana DeBare & Sam Schuchat
Corinne & Mike Doyle
William & Susan Epstein
Paul Feigenbaum & Judy Kemeny
James & Jessica Fleming
James & Jessica Fleming
Dean Francis
Sharon & Tom Francis
Dennis & Susan Johann Gilardi
Mio & Jon Good
Mary W Graves
Robert & Judith Greber
Anne & Peter Griffes
Migsy & Jim Hamasaki
Jeannene Hansen
Bob & Linda Harris
Dan & Shawna Hartman Brotsky
Elaine Hitchcock
Stan Hoffman
Bill Hofmann & Robbie Welling
Paula Hughmanick
& Steven Berger
Carla Javits
& Margaret Cecchetti
Marilyn & Michael Jensen-Akula
Muriel Kaplan & Bob Sturm
Bill & Lisa Kelly
Dana Kirkland
Peggy Kivel
Jane & Mike Larkin
Elise Haas
Richard N. Hill & Nancy Lundeen
Duke & Daisy Kiehn
Duke & Daisy Kiehn
Dugan & Philippe Lamoise
Eileen & Hank Lewis
Susan & Moses Libitzky
Helen M. Marcus, in memory of
David J. Williamson
Phyra McCandless & Angelos Kottas
Martin & Margi Cellucci McNair
Seth Mickenberg & Alfredo Silva
Julie Moreland
Tom Parrish & Steve Dow
Norman & Janet Pease
Sue Reinhold & Deborah Newbrun
Audrey & Paul L. Richards, in honor of Barbara Peterson
David S. H. Rosenthal & Vicky Reich
Dennis Ryan & Rebecca Sutter-Ryan
Monica Salusky & John K. Sutherland
Sarah E. Shaver
Shirlen Fund
Karen Smyda
Barbara Tomber
Wendy Williams
in memory of Lynn & Gerald Ungar
Sherrill Lavagnino & Scott McKinney
Andrew Leavitt & Catherine Lewis
Ellen & Barry Levine
Marcia C. Linn
Jay & Eileen Love
Gerry & Kathy MacClelland
Luna Foundation
Susanna & Brad Marshland
Henning Mathew
Miles & Mary Ellen McKey
Susan Mazzetti
Susie Medak & Greg Murphy
Robin Meezan
Stephanie Mendel
Carol Mimura & Jeremy Thorner
Andy & June Monach
Ronald Morrison
Shanna O’Hare & John Davis
Carol J. Ormond
Janet & Clyde Ostler
Judy O’Young, MD & Gregg Hauser
Sandi & Dick Pantages
Barbara L. Peterson
Leslie & Mark Ragsdale
Dr. Jason Ravenel & Leann Ravenel
Terri Remillard
Carla & David Riemer
Gary & Noni Robinson
Patrick Romani
Becky Saeger & Tom Graves
Jeane & Roger Samuelsen
Dan Scharlin & Sara Katz
Jackie Schmidt-Posner
& Barry Posner
Ruchira Shah & David Grunwald
David & Lori Simpson
Allan & Maria Smith
Ed & Ellen Smith
Audrey & Bob Sockolov
Henry Spencer & Nicky Cass
Alison Teeman & Michael Yovino-Young
Henry Timnick
Deborah & Bob Van Nest
Marcia & David Vastine
Gerald & Lynda Vurek-Martyn
Brian Watt & Daisy Nguyen
Beth Weissman
Susan West
Patricia & Jeffrey Williams
Faye Wilson
Mark Zitter
& Jessica Nutik Zitter
Friends of Berkeley Rep
CHAMPION
Anonymous (4) • Linda & Mike Baker • Celia Bakke • Michael Barnett and Judith Bloomberg • Don & Gerry Beers • Paul Bendix
• Eric Brink & Gayle Vassar • Fran Burgess • Robert & Margaret Cant • Stacey Carlo • Dr. Jon Carr • Keith & Maria Carson • Terri Clark and Marty Lay • Bart Connally • Constance Crawford • Karen & David Crommie • Josh Dapice • Richard & Anita Davis • Jacqueline Desoer • Carol DiFilippo • Joan M. Dove & Jim Daughn • Donald and Jeannette Dow • Ben & Mary Feinberg • Donald & Dava Freed • Marjorie Ginsburg & Howard Slyter • Mary Grogan • Sylvaine Guille • Thomas & Elizabeth Henry • Mr. Robert and Judy
Huret • May Johnston • Sudhir Kasanavesi • Susan Kolb • Janet
Kornegay & Dan Sykes • Woof Kurtzman & Liz Hertz • Mark & Roberta Linsky • Lois & Gary Marcus, in memory of Ruth Weiland, Mose & Selma Marcus • Paul Mariano & Suzanne Chapot • Geri Monheimer • Mina Morita • Jane Neilson • Judy Ogle • Judith & Richard Oken
• Bob & MaryJane Pauley • Kathleen Quenneville & Diane Allen • Tushar Ranchod • Todd & Susan Ringoen • John & Jody Roberts • Mitzi K. Sales • Lisa A. Salomon • Helen Schulak • Deborah Sedberry & Jeff Klingman • Susan Shafton • Laura Shennum • Amrita Singhal & Michael Tubach • Suzanne Slyman
• Betsy Smith • Cherida Collins Smith • Valerie Sopher • Jane & Jay
Taber Sam Test • Annie Ulevitch • William van Dyk & Margi
Sullivan • Kimberly Webb & Richard Rossi • Jonathan & Kiyo Weiss
• Susan Whitman & Mark Gergen • Irene Yen
ADVOCATE
Anonymous (16) • David Ahirhima • David Baer • Paula Bakalar • Alisa Baker • Irene Balcar • Linda Barron • Steven Beckendorf • Richard & Kathi Berman • Veronica Bettencourt • Patti Bittenbender • Brent Blackaby • Mark & Peggy Bley • James Blume & Kathryn Frank • Judy Blumenstein • Thomas Bosserman • Cathy Bristow • John Brennan & Stephanie McKown • Cathy Bristow
• John Brorsen • Aimee Brown • Jane V. Buerger • John Bundschuh & Deborah Sorondo • Robert P. Camm & Susan Pearson • Bruce Carlton • Daren Chan • Steven and Karin Chase • Laura Chenel • Barbara & Rodgin Cohen • Joan & Edward Conger • Cathy Corison and William Martin • Pam & Mike Crane • Rajen Dalal • Harry & Susan Dennis • Kathryn Doi • Lynne Dombrowski • Joe & Lisa Downes • Tammerlin Drummond • Daralyn Durie • Kevin Eggan • Sue J. Estey • Paul Finkle & Sue DeVinny • Martin & Barbara Fishman • James & Jessica Fleming • Carol & Tony Friscia • Chris R. Frostad • Lisa and Jack Fuchs Brett Gardner & Joe Stampleman • Rachel Garlin • Clara Gerdes & Ken Greenberg • Clara Gerdes & Ken Greenberg • Ellen Geringer & Chris Tarp Steven Goldberg & Sandee Blechman • Paul Goldstein & Dena Mossar • Judy & Sheldon Greene • Mark Greenstein • Karen Greig & Mike Frank • Don & Becky Grether • George P. Haley • Dennis & Juanita Harte • Paula Hawthorn & Michael Ubell Geoffrey Haynes • Tamra C. Hege • Jim
Helman & Linda Fried Helman • Donald Hershman • Al Hoffman & David Shepherd • Rachel & John Horsch • Hilary & Tom Hoynes • Maria Inchauspe • Patricia J. Ishiyama • Atsuko Jenks • Barbara & Peter Jensen • Alan Karras & David Schulz • Leslie Karren • Jeanne Killian • Ralph & Tonya Koenker • Lynn Eve Komaromi, in honor of the Berkeley Rep Staff • Diana & Jim Krampf • Andrea & Kenneth Krueger Juanita Kizor • Jennifer Kuenster & George Miers • Lucy Kuntz and Ned Fielden • Kevin & Claudine Lally • Wayne Lamprey & Dena Watson-Lamprey • Shirley Langlois • Susan Carol Ledford • Elizabeth Lewis • David Lindsay & Maggie
Ingalls • Jennifer S. Lindsay • Ari Lipsky & David Nahmias • Steve & Judy • Lipson Tom Lockard & Alix Marduel • Margo & Josh
Lowensohn • Peter Luk • Nancy Lumer • Ingrid Madsen & Victor Rauch • Rob and Diane Master • Don Mathews • M. Mathews & K. Soriano • Kevin McCarty • Amelie Mel de Fontenay • Ellen Meltzer and George Porter • Melinda & Ralph Mendelson • Zoe MercerGolden, in honor of Bruce Golden • Susan Morris • Ron Nakayama • Sandra Nichols • Daniel Null & Karen Williams Null • James O’Toole • Lynne Parode & Sterling Lim • Perttula Family • Patti Oji Haas • Malcolm & Ann Plant • Robert & Marcia Popper • Daniel & Barbara Radin • Elizabeth Raffin • Jackie Lynn Ray • Kalpana Reddy • Maxine Risley, in memory of James Risley • Michael Rocha • William Rogers • Shasta Roope • Tonya Roope • Deborah Dashow Ruth, in memory of Leo P. Ruth • Eve Saltman & Skip Roncal, in honor of Kerry Francis & John Jimerson • Dorothy Saxe • Eric & Lauren Schlezinger • Teddy & Bruce Schwab • J Deborah Sedberry & Jeff Klingman • Jacob Sevart • Emily D. Sexton • Brenda Buckhold Shank, M.D., Ph.D. • Steve & Susan Shortell • Beryl & Ivor Silver • Robert Sinha • Linda Snyder • Gary & Jana Stein • Carol Sundell • Margo & Drew Tammen • Kathy Taylor • Ruthann Taylor • John & Christine Telischak • Pate & Judy Thomson • Karen Tiedemann & Geoff Piller • Dana Tom & Nancy Kawakita • Glenn Urban • Jill Van Dalen • Leon Van Steen • Benny & Liz Varon • Dick & Beany Wezelman • Faye Wilson • Galen Wilson • Barbara & Mordechai Winter • H. Leabah Winter • Susan Wittenberg • Molly Wood • Wilma Wool • Moe & Becky Wright • Ned Zlatarev
The Michael Leibert Legacy Society
Berkeley Rep gratefully acknowledges the following individuals who have generously provided for the theatre in their estate plans:
Anonymous (9)
Norman Abramson & David Beery*
Sam Ambler
Carl W. Arnoult & Aurora Pan
Ken & Joni Avery
Nancy Axelrod
Edie Barschi
Neil & Gene Barth
Susan & Barry Baskin
Linda Brandenburger
Broitman-Basri Family
Bruce Carlton & Richard G. McCall*
Stephen K. Cassidy
Paula Champagne & David Watson
Terin Christensen
Sofia Close
Ed Cullen & Ann O’Connor
Andrew Daly & Jody Taylor
Narsai* & Venus David
Darren & Sunshine Deffner
M. Laina Dicker
Christopher Doane & Neal Shorstein, MD
Christopher Doane & Neal Shorstein, MD
Thalia Dorwick
Robin & Rich Edwards
Thomas W. Edwards
& Rebecca Parlette-Edwards
Bill & Susan Epstein
William Espey
& Margaret Hart Edwards
Bill Falik & Diana Cohen
Dr. Stephen E. Follansbee & Dr. Richard A. Wolitz
Catherine Fox
Kerry Francis
Dr. Harvey & Deana Freedman
Joseph & Antonia Friedman
Paul T. Friedman
Marianne Friedman
David Gaskin & Phillip McPherson*
Marjorie Ginsburg & Howard Slyter
Mary & Nicholas* Graves
Elizabeth Greene
Sheldon & Judy Greene
Don & Becky Grether
Barry* & Micheline Handon
Julie & Paul Harkness
Linda & Bob Harris
Fred Hartwick
Ruth Hennigar
Daria Hepps
Douglas J. Hill*
Peter Hobe & Christina Crowley
Hoskins/Frame Family Trust
Lynda & Dr. J. Pearce Hurley
Robin C. Johnson
Janice Kelly & Carlos Kaslow
Bonnie McPherson Killip
Lynn Eve Komaromi
Michael H. Kossman
Woof Kurtzman
Joy Lancaster & Martin Freedman
Scott & Kathy Law
Marcia C. Linn
Dot Lofstrom
Ingrid Madsen & Victor Rauch
Andrew Maguire
Helen M. Marcus
Dale* & Don Marshall
Rebecca Martinez
Sarah McArthur LeValley
Sandra & Ross McCandless
Suzanne & Charles McCulloch
John G. McGehee
Miles & Mary Ellen McKey
Ruth Medak
Susie Medak & Greg Murphy
Stephanie Mendel
Toni Mester
Shirley & Joe Nedham
Jane & Bill Neilson
Theresa Nelson & Bernard Smits
Pam & Mitch Nichter
Wallace Oman
Sharon Ott
Fr. David Pace
Amy Pearl Parodi
Barbara L. Peterson
Regina Phelps
Margaret Phillips
Mark J. Powers & Albert E. Moreno
Marjorie Randolph
Gregg Richardson
Bonnie Ring Living Trust
David Rovno, M.D.
Tracie E. Rowson
Deborah Dashow Ruth
Patricia Sakai & Richard Shapiro
Brenda Buckhold Shank, M.D., Ph.D.
Emily Shanks
Valerie Sopher
Michael & Sue Steinberg
Dr. Douglas & Anne Stewart
Jean Strunsky
Mary, Andrew & Duncan Susskind
Jim Tibbs & Philip Anderson
Henry Timnick
Guy Tiphane
Dana Tom & Nancy Kawakita
Phillip & Melody Trapp
Janis Kate Turner
Gail & Arne Wagner
Barry & Holly Walter
Weil Family Trust - Weil Family
Susan West
Steven & Linda Wolan
The Woolfson Blumenfeld
Living Trust
Karen & Henry Work
Anders Yang, JD
Martin & Margaret Zankel
* deceased
GIFTS RECEIVED BY BERKELEY REP
Estate of Suzanne Adams
Estate of Pat Angell, in memory of theater architect Gene Angell
Estate of Nina Auerbach
Estate of Helen C. Barber
Estate of Fritzi Benesch
Estate of Carole B. Berg
Estate of Nelly Berteaux
Estate of Jill Bryans
Estate of Paula Carrell
Estate of Victoria Carter
Estate of Nancy Croley
Estate of John & Carol Field
Estate of Ralph Garrow
Estate of Richard & Lois Halliday
Estate of Nancy Kornfield
Estate of Audrey J. Lasson
Estate of Zandra Faye LeDuff
Estate of Ines R. Lewandowitz
Estate of Jim Lillienthal
Estate of John E. & Helen A. Manning
Estate of Richard Markell
Estate of Sumner & Hermine Marshall
Estate of Margaret D. & Winton McKibben
Estate of Robert S. Newton, in honor of John T. & Jean Knox
Estate of Sheldeen G. Osborne
Estate of Timothy A. Patterson
Estate of Gladys Perez-Mendez
Estate of Margaret Purvine
Estate of Guy T. Roberts, Jr.
Estate of Leigh & Ivy Robinson
Estate of Gretchen Saeger
Estate of Stephen C. Schaefer, in honor of Jean and Jack Knox
Estate of Kevin Shoemaker
Estate of Peter Sloss
Estate of Louis & Bonnie Spiesberger
Estate of Harry Weininger
Estate of Grace Williams
Estate of Sheila Wishek
As of April 2025.
Berkeley Rep makes every effort to ensure the accuracy of these listings. If there is an error or you would like to adjust your listing, please contact us at 510 647-2905 or give@berkeleyrep.org.
LEAVE YOUR LEGACY
Join Chris Doane and Neal Shorstein to ensure a lasting future for Berkeley Rep.
Make a legacy gift today and become part of the Michael Leibert Legacy Society.
How to join? It’s easy!
Make a bequest: Defer a gift until after your lifetime. Name Berkeley Rep in your will (designate a specific amount, a percentage, or a share of the residue).
Gift of retirement assets: Avoid twofold taxation on your IRA or other retirement plans. Name Berkeley Rep as full or part beneficiary of the remainder of the assets after your lifetime.
To learn more, contact Philanthropy Officer Andrew Maguire at 510 647-2904 or amaguire@berkeleyrep.org.
MICHAE L LEIBERT LE GA CY SOCIETY
BERKELEY REP
“We
want to ensure that Berkeley Rep has the resources to continue programming exciting new projects and to provide emerging artists a place to flourish.” — Chris Doane and Neal Shorstein, MD
BERKELEY REP
