Berkeley Rep: the aves

MAY 2025

THE

BERKELEY REP MAGAZINE 2024/25 | ISSUE 7

THE AVES

BY JIEHAE PARK DIRECTED BY KNUD ADAMS

BERKELEY REP 2025/26 SEASON SEPTEMBER–OCTOBER 2025

FEBRUARY–MARCH 2026

THE RESERVOIR

ALL MY SONS

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.

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.

SUBSCRIBE TODAY! berkeleyrep.org 510 647-2949

WELCOME TO

BERKELEY REP

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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BERKELEY REP MAGAZINE IN THIS ISSUE

10 6

7

8

Contents 5 A Welcome from the Artistic and Managing Directors 6 Theatre Magic in the Classroom Berkeley Rep’s Story Builders Program 7 Three Cheers for a Successful Gala!

7 Flying into the Future with OAK 8 From Script to Life: How Imagination Shapes Our World 10 A Certain Kind of Attention: An Interview with Playwright Jiehae Park 12 Show Program: the aves 20 Donors

Connect with us at berkeleyrep.org @berkeleyrep

THE BERKELEY REP MAGAZINE | 2024 / 25 | ISSUE 7 The Berkeley Rep Magazine

CRE ATIVE DIRECTOR

is published at least seven

DC Scarpelli

times per season.

GR APHIC DESIGNER

Quinn Barringer PROJECT MANAGER

Heather Orth

CONTRIBUTORS

Harper Brown Ashley Lim Xiaoyu (Mary) Liu Manon McCollum David Mendizábal DC Scarpelli

CONTACT BERKELE Y REP

Box Office: 510 647-2949 Groups (10+): 510 647-2918 Admin: 510 647-2900 School of Theatre: 510 647-2972 info@berkeleyrep.org

2024/25 | Issue 7

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| H TE H EB E BR EK RE KL EE LY E YR R E PMM IN 4 4 | T EP AA GG AA ZZ IN EE

WELCOME

Welcome to the season finale

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.

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!

Warmly,

Johanna Pfaelzer Artistic Director

Tom Parrish Managing 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.

2024/25 | ISSUE 7 | 5

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 grow-

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.

ing up—how it gave me a sense of belonging and a voice. Now, as a teaching artist, I’m grateful to pass that experience for ward 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!

The concept for the 10-session workshop series is simple: take a story, 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 In6 | THE BERKELE Y REP MAGA ZINE

Top: Berkeley Rep Teaching Artist Erolina Kamburova with students at Olinda Elementary School

PHOTO: CALVIN NGU

any story, and involve every student in the class in creating the world of

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.

Eisa Davis and Colman Domingo at the Ovation Gala.

PHOTOS: (TOP) DREW ALITZER PHOTOGRAPHY; (BOTTOM) COURTESY OF OAKLAND AIRPORT

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.

Early advertisement for Utopia, Limited.

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

Lennie James and Paapa Essiedu in a revival of A Number at the Old Vic, London, 2021

In the aves 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.

8 | THE BERKELE Y REP MAGA ZINE

PHOTO: ARENAPAL

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-

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.

PHOTO: JOAN MARCUS, COURTESY PLAYWRIGHT’S HORIZONS

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?”

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

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 2024/25 | ISSUE 7 | 9

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 earli-

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 immi-

grant 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.

10 | THE BERKELE Y REP MAGA ZINE

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

PHOTO COURTESY JIEHAE PARK

est artistic inspirations — either artists or works that have had an imprint on you and your aesthetic?

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 pull-

ing 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.

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SHOW PROGRAM: the aves

aesthetic and big hearted emotional musical theatre are a big part of what I respond to.

SHOW PROGRAM: the aves

BERKELEY REPERTORY THEATRE JOHANNA PFAELZER, ARTISTIC DIRECTOR | TOM PARRISH, MANAGING DIRECTOR presents

the aves WRITTEN BY

JIEHAE PARK DIRECTED BY

KNUD ADAMS SCENIC DESIGN

COSTUME DESIGN

LIGHTING DESIGN

SOUND DESIGN

MARSHA GINSBERG

HAYDEE ZELIDETH

MASHA TSIMRING

DJ POTTS

PUPPET DESIGN & FABRICATION

HAIR, WIGS, & MAKEUP DESIGN

FIGHT DIRECTOR

CASTING

ERIK SANKO / PHANTOM LIMB COMPANY

ALEXANDER CLASS

DANI O'DEA

tbd casting co.

STEPHANIE YANKWITT, CSA & NIA SMITH

IN COLLABORATION WITH

THE BERKELEY REP PROPS TEAM STAGE MANAGER

ASSISTANT STAGE MANAGER

LESLIE M. RADIN *

SOFIE MILLER *

DIRECTOR OF MARKETING AND AUDIENCE SERVICES

ASSOCIATE PRODUCER — NEW WORK

GENERAL MANAGER

VOLEINE AMILCAR

victor cervantes jr.

SARA DANIELSEN

DIRECTOR OF PRODUCTION

DIRECTOR OF THE SCHOOL OF THEATRE

DIRECTOR OF FINANCE

DIRECTOR OF DEVELOPMENT

ASSOCIATE ARTISTIC DIRECTOR

AUDREY HOO

ANTHONY JACKSON

SAM LINDEN

ARI LIPSKY

DAVID MENDIZÁBAL

DIRECTOR OF HUMAN RESOURCES AND DIVERSITY

DIRECTOR OF OPERATIONS

MODESTA TAMAYO

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 SEASON PRESENTING SPONSORS

Anonymous Stephen & Susan Chamberlin

Yogen & Peggy Dalal Bruce Golden & Michelle Mercer Jonathan Logan & John Piane

Frances Hellman & Warren Breslau Wayne Jordan & Quinn Delaney

Gisele & Kenneth F. Miller

The Strauch Kulhanjian Family Gail & Arne Wagner

SEASON SPONSORS

Jack & Betty Schafer Kelli & Steffan Tomlinson

SPONSORS

Rick Hoskins & Lynne Frame ASSOCIATE SPONSORS

William T. Espey & Margaret Hart Edwards

12 | THE BERKELE Y REP MAGA ZINE

Rosalind & Sung-Hou Kim

Martin McNair & Margi Cellucci McNair

SHOW PROGRAM: the aves

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 the aves WILL BE PERFORMED WITHOUT AN INTERMISSION 2024/25 | ISSUE 7 | 13

SHOW PROGRAM: the aves

FOR THIS PRODUCTION Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Xiaoyu (Mary) Liu (Peter F. Sloss Artistic Fellow) Assistant Scenic Designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Michael Bennet Lewis, Kyu Shin Assistant Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amanda Geyer (Costumes Fellow) Costume Shopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matthew Malone

BOARD OF TRUSTEES William T . Espey PRESIDENT

Juan Oldham VICE PRESIDENT

Assistant Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Renata Taylor-Smith (Electrics Fellow)

Sudha Pennathur

Assistant Sound Designers . . . . Mary Klenk, Kaileykielle Hoga (Harry Weininger Sound Fellow)

VICE PRESIDENT

Puppet Fabrication Support

Leonard X Rosenberg

& On-site Modifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jack Grable, Katelyn Fitt, Emma Buechner,

TREASURER

Amelia Burke-Holt (Associate Props Supervisor), Jason Joo (Props Fellow) Production Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Trinity Wicklund (Stage Management Fellow) Deck Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James McGregor (Head Stage Technician), Isaac Jacobs, Siobhán Slater Wardrobe Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Barbara Blair (Supervisor), Caz Hiro Lighting Programmer/ Board Op . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Des Alcocer Sound Engineers/A1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Angela Don, Akari Izumi, Rebecca Satzberg Scenic Fabrication by Berkeley Repertory Theatre Scenic & Paint Shops Additional Scenery Fabricators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Carl Martin, Maggie Wentworth, Drea Ronquillo, Cameron Edwards, Cassidy Carlson (Scenic Construction Fellow) Additional Scenic Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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

Steven C . Wolan SECRETARY

Alfredo Silva CHAIR OF THE AUDIT COMMITTEE

Jill Fugaro CHAIR OF THE GOVERNANCE COMMITTEE

Henning Mathew CHAIR OF THE INVESTMENT COMMITTEE

Anna Bellomo Christina Crowley Christopher Doane Sandra Eggers Chuck Fanning Steven Goldin Scott Haber Sandra R . McCandless Tom Parrish Johanna Pfaelzer Todd B . Rubin Emily Shanks Allan Smith Sherry Smith Barbara Tomber Gail Wagner, MD Carlos Vadillo Brian Watt TRUSTEES

Rena Bransten Diana Cohen Robin Edwards William Falik David Fleishhacker Kerry Francis Paul T . Friedman Karen Galatz Bruce Golden David Hoffman Richard F . Hoskins Dugan Lamoise Jonathan C . Logan Melanie Maier Helen Meyer Peter Pervere Marjorie Randolph Patricia Sakai Jack Schafer William Schaff Richard M . Shapiro Michael Steinberg Roger A . Strauch Jean Z . Strunsky Felicia Woytak Martin Zankel SUSTAINING ADVISORS

Helen C . Barber A . George Battle Carole B . Berg Robert W . Burt Shih-Tso Chen Narsai M . David Thalia Dorwick, PhD Nicholas M . Graves Richard F . Hoskins Jean Knox Robert M . Oliver Stewart Owen Marjorie Randolph Harlan M . Richter Richard A . Rubin Emily Shanks Edwin C . Shiver Roger A . Strauch Gail Wagner Martin Zankel PAST PRESIDENTS FOUNDING DIRECTOR

Michael W . Leibert PRODUCING DIRECTOR, 1968–83

14 | THE BERKELE Y REP MAGA ZINE

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 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 . . . . . . . . . . . . . . . . . . . . Docents

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 Trinity Wicklund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stage Management Fellow

2024/25 | ISSUE 7 | 15

SHOW PROGRAM: the aves

BERKELEY REP STAFF ARTISTIC

SHOW PROGRAM: the aves

Bill Buell * Old Man

Making the Difference Between a Good Sale and a Great One.

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

Andrea Gordon Realtor® 510.421.6818 andrea@andreagordon.com DRE 01233563

Compass is a real estate broker licensed by the State of California and abides by Equal Housing Opportunity laws. License Number 01527235.

16 | THE BERKELE Y REP MAGA ZINE

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

recurring in the latest season of Hulu’s hit show, LOVE, VICTOR and in Apple’s limited series MANHUNT.

Mia Katigbak * Old Woman

S e l e c te d N YC t h e atre: 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),

Encore_Theatreworks_Generic_2020.pdf

4/1/20

10:47 AM

Master of Liberal Arts

C

M

Y

Nemma Adeni

* CM

U/S Young Woman

MY

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.

Start Your Next Chapter With a Part-Time, Evening Graduate Degree

Information Sessions in May, August and October

CY

CMY

K

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

Learn More and RSVP for an Info Session:

MLA.STANFORD.EDU

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

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, 2024/25 | ISSUE 7 | 17

SHOW PROGRAM: the aves

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.

1

SHOW PROGRAM: the aves

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 18 | THE BERKELE Y REP MAGA ZINE

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.

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.

2024/25 | ISSUE 7 | 19

SHOW PROGRAM: the aves

Erik Sanko, Phantom Limb

DONORS

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

PUBLIC FUNDING

Berkeley Civic Arts Program and Commission National Endowment for the Arts

Corporate & Hospitality Sponsors SEASON PRESENTING SPONSORS

SEASON SPONSORS

EXECUTIVE SPONSORS

SPONSORS

CORPORATE PARTNERS

PERFORMANCE SPONSORS

Armanino LLP Aurora Catering Bank of Marin 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

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

The Resilience Campaign Berkeley Repertory Theatre gratefully recognizes the following contributors for their transformational contributions to The Resilience Campaign that support the organization’s future.

Anonymous

Karen Galatz & Jon Wellinghoff

Sudha Pennathur & Edward Messerly

California Wellness Foundation

Bruce Golden & Michelle Mercer

Jack & Betty Schafer

Stephen & Susan Chamberlin

Marcia Grand

Pat & Merrill Shanks

Yogen & Peggy Dalal

Frances Hellman & Warren Breslau

Michael & Sue Steinberg

Robin & Rich Edwards

Dugan & Philippe Lamoise

The Strauch Kulhanjian Family

David & Vicki Fleishhacker

The Jonathan Logan Family Foundation

Kelli & Steffan Tomlinson

Kerry Francis & John Jimerson

Sandra & Ross McCandless

Gail & Arne Wagner

Jill & Steve Fugaro

Gisele & Kenneth F. Miller

Linda & Steve Wolan

20 | THE BERKELE Y REP MAGA ZINE

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

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) LEAD SPONSORS Shelley & Jonathan Bagg Barbara Bass Bakar Walter Brown Jill & Steve Fugaro David & Vicki Cox Marcia Grand William T. Espey & Margaret Hart Mary Ruth Quinn & Scott Shenker Edwards EXECUTIVE SPONSORS Paul Friedman & Diane Manley Christina Crowley Karen Galatz & Jon Wellinghoff Anne & Anuj Dhanda Paul Haahr & Susan Karp Christopher Doane & Neal Shorstein, MD In Memory of Rob Schonholtz Robin & Rich Edwards Rick Hoskins & Lynne Frame Bill Falik & Diana Cohen Rosalind & Sung-Hou Kim

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

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

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

in memory of Arvada Darnell Lynn & Gerald Ungar Richard & Anita Davis Sherrill Lavagnino Ilana DeBare & Sam Schuchat & Scott McKinney Corinne & Mike Doyle Andrew Leavitt William & Susan Epstein Paul Feigenbaum & Judy Kemeny & Catherine Lewis Ellen & Barry Levine James & Jessica Fleming Marcia C. Linn James & Jessica Fleming Jay & Eileen Love Dean Francis Gerry & Kathy MacClelland Sharon & Tom Francis Luna Foundation Dennis & Susan Johann Gilardi Susanna & Brad Marshland Mio & Jon Good Henning Mathew Mary W Graves Miles & Mary Ellen McKey Robert & Judith Greber Susan Mazzetti Anne & Peter Griffes Susie Medak & Greg Murphy Migsy & Jim Hamasaki Robin Meezan Jeannene Hansen Stephanie Mendel Bob & Linda Harris Dan & Shawna Hartman Brotsky Carol Mimura & Jeremy Thorner Andy & June Monach Elaine Hitchcock Ronald Morrison Stan Hoffman Shanna O’Hare & John Davis Bill Hofmann & Robbie Welling Carol J. Ormond Paula Hughmanick Janet & Clyde Ostler & Steven Berger Judy O’Young, MD Carla Javits & Gregg Hauser & Margaret Cecchetti Marilyn & Michael Jensen-Akula Sandi & Dick Pantages Barbara L. Peterson Muriel Kaplan & Bob Sturm Leslie & Mark Ragsdale Bill & Lisa Kelly Dr. Jason Ravenel Dana Kirkland & Leann Ravenel Peggy Kivel Terri Remillard Jane & Mike Larkin

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

2024/25 | ISSUE 7 | 21

SHOW PROGRAM: the aves DONORS

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.

DONORS

Friends of Berkeley Rep CHAMPION

ADVOCATE

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

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.

MAKE YOUR GIFT | berkeleyrep.org/give 510-647-2905 22 | THE BERKELE Y REP MAGA ZINE

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.

M I C H A EL LEI B ERT LEG A CY S O C I ETY BERKELEY REP

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

ANNOUNCING A.C.T.’S 2025/26 SEASON! “A UNIQUE THEATRICAL EXPERIENCE THAT STANDS OUT IN THE HORROR GENRE” —ALL ABOUT THEATRE

BY INS CHOI

DIRECTED BY WEYNI MENGESHA

A CO-PRODUCTION WITH CHICAGO SHAKESPEARE THEATER, SHAKESPEARE THEATER COMPANY, AND CENTER THEATER GROUP

SEP 18–OCT 19, 2025 TONI REMBE THEATER

WRITTEN BY

LEVI HOLLOWAY

DIRECTED BY

FELIX BARRETT

FEB 19–MAR 15, 2026

“EXTRAORDINARY” —TORONTO STAR

TONI REMBE THEATER WORLD PREMIERE

OCT 28–NOV 23, 2025 CURRAN THEATRE

A WORLD PREMIERE

||:GIRLS:||:CHANCE:||:MUSIC:|| BY

DIRECTED BY

EISA DAVIS

PAM MACKINNON

MARBY12–APRDIRECTED 19BY

EISA DAVISTHEATER PAM MACKINNON STRAND

IN ASSOCIATION WITH BROADWAYSF

BY

DAVID ADJMI

FEATURING ORIGINAL MUSIC BY

WILL BUTLER

MAR 12-APR 19, 2026

DIRECTED BY

DANIEL AUKIN

AMERICAN CONSERVATORY THEATER AND THE STREETCAR PROJECT PRESENT

A STREETCAR

STRAND THEATER

AN EXQUISITE AND ACHINGLY TRUE STORY OF FRIENDSHIP, SELF-DISCOVERY, AND THE SALVATION OF ART-MAKING. THE ROYAL SHAKESPEARE COMPANY AND NEAL STREET PRODUCTIONS PRESENT MAGGIE O’FARRELL’S

NAMED DESIRE

BY

TENNESSEE WILLIAMS

CO-CREATED BY AND STARRING

LUCY OWEN

CO-CREATED BY AND DIRECTED BY

NICK WESTRATE

JAN 21–FEB 1, 2026 TONI REMBE THEATER

ADAPTED BY

LOLITA CHAKRABARTI

DIRECTED BY

ERICA WHYMAN

APR 22–MAY 24, 2026 TONI REMBE THEATER “ELEGANT AND BEGUILING” —LONDON’S EVENING STANDARD

SUBSCRIPTIONS AVAILABLE NOW AT ACT-SF.ORG/SUBSCRIBE