Issuu

SEPTEMBER – OCTOBER 2026

THE

BERKELEY REP MAGAZINE 2026/27 | ISSUE 1

THE COOK

BY EDUARDO MACHADO DIRECTED BY DAVID MENDIZÁBAL

Extraordinary. Fearless. Live.

2026– 27 S E AS O N

Join us for performances as wide-ranging as your curiosity! Coming this Fall: The Australian Ballet in Oscar (Sep 25–27), weaving Oscar Wilde’s life and work into a ballet of romance and forbidden love.

Judy Collins (Oct 18) celebrates her remarkable six-decade career—“a lovely trip down memory lane” (Toronto Guardian).

The leading cultural critic and commentator Angela Davis (Oct 28) reflects on enduring visions of freedom.

William Kentridge’s The Head & the Load (Nov 12–15), declared by The New York Times as a “fiercely beautiful historical pageant.”

Cirque Kalabanté (Nov 28–29 Thanksgiving Weekend) in a high energy spectacle featuring mind-blowing acrobatics for the whole family. Ambrose Akinmusire & Aszure Barton’s A a | a B : B E N D (Dec 4–5), a wildly provocative dance work driven by trumpet and electronics.

THE AUSTRALIAN BALLET OSCAR©

calperformances.org

WELCOME TO

BERKELEY REP

THE BERKELEY REP MAGAZINE IN THIS ISSUE

To ensure the best experience for everyone: While always welcomed, masks are required inside the theatres during three select Sunday and Tuesday performances. 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.

YESENIA IGLESIAS IN THE COOK. PHOTO BY BEN KRANTZ; ART BY DC SCARPELLI.

Late seating: If you leave the theatre during the performance, re-seating 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.

12 28

Contents 5 A Welcome from the Artistic and Managing Directors 8 Flavors of Cuban History in The Cook 12 An Excerpt from Tastes Like Cuba: An Exile’s Hunger for Home 14 Show Program: The Cook 24 Thanking Our Supporters 28 Making Theatre: A Kitchen for The Cook

Connect with us at berkeleyrep.org @berkeleyrep

Get closed captioning on your smartphone! Closed captioning is available for the following evening performances: September 10, 11, 13, 15, and 16; and every matinee through October 8. 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. Captions powered by CCTheater, from AccessTech, LLC. (info@getaccesstech.com)

THE BERKELEY REP MAGAZINE | 2026/27 | ISSUE 1 The Berkeley Rep Magazine

CRE ATIVE DIRECTOR

is published at least seven

DC Scarpelli

times per season.

EDITOR- IN - CHIEF

Klaus Andrieu

CONTRIBUTORS

Michael Domitrovich Eduardo Machado Chantal Rodriguez DC Scarpelli

CONTACT BERKELE Y REP

Box Office: 510 647-2949 Groups (10+): 510 647-2918 Admin: 510 647-2900

GR APHIC DESIGNER

School of Theatre: 510 647-2972

Quinn Barringer

info@berkeleyrep.org

2026/27 | Issue 1

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4 | THE BERKELEY REP MAGAZINE

WEL COME

I F I R S T EN C O U N T ER ED Eduardo Machado’s work in 1991 at the Humana Festival of New American Plays at Actors Theatre of Louisville with the world premiere of In the Eye of the Hurricane. I was captivated by the family at the center of that story—funny and biting and steeped in politics that were not abstract in any way but lived on a daily basis. So when David Mendizábal mentioned The Cook as a play they had always wanted to direct, I was intrigued. Eduardo’s plays often (always) immerse us in history through relationships, and the questions raised by this piece are thematic extensions of those that appear in much of the work David has directed here at Berkeley Rep: from Sanctuary City to Mother Road to Mexodus to All My Sons—investigations of class, race, and colorism within communities, all told through a highly theatrical lens. As we prepared for the start of rehearsals, I was thinking about acts of service, perhaps even acts of devotion. Certainly Gladys, the titular cook, feels a sense of responsibility to Adria that transcends their relationship as servant and mistress of the house, as well as to the preservation of a way of life, a culture, a structure. For me, theatre-making is an act of devotion. It certainly calls upon each one of us—artists, staff, and audience—and requires a depth of investment of time, of energy, of emotion, of collaboration that moves me deeply. Thank you for sharing a commitment to this art form, and this work that we all make together.

Warmly,

Johanna Pfaelzer Artistic Director

WELCOME TO SEASON 59 at Berkeley Rep! This season, we explore stories that traverse time, looking back to look forward. They are stories of the before and after, of evolution and revolution, illuminating the choices that shape our lives, our communities, and the threads connecting us all. They remind us of our remarkable capacity for growth and transformation, and of our enduring human search for joy, connection, freedom, belonging, and purpose. Theatre rarely provides easy black and white answers. Instead, it helps us explore how to navigate the gray and invites us to sit with complexity, embrace ambiguity, and imagine new possibilities. It asks us to feel deeply, to laugh, to cry, to remember, and to be inspired—and, perhaps, to leave just a little different or more open-hearted and openminded than when we arrived. We begin that journey with Eduardo Machado’s contemporary classic The Cook, a sharp, funny, and quietly devastating play of sacrifice, devotion, and resilience through a period of immense change. The season continues with the West Coast premiere of the Tony Award- and Pulitzer Prize-winning Liberation, direct from its acclaimed Broadway run; the striking Southern Gothic work Covenant; and the not-to-be-missed world premiere musical The Interestings, featuring music and lyrics by Sara Bareilles. Meanwhile, another Berkeley Rep-born musical continues its own journey, as Galileo opens on Broadway this December—an inspiring reminder how the work nurtured here, that you saw first, can resonate on stages around the world. If you haven’t yet subscribed, now is the perfect time to join this community of theatregoers. With a full season of unforgettable performances—featuring some of the finest artists from the Bay Area, Broadway, and beyond—enjoy the best seats, the best prices, and the singular pleasure of supporting the artistic ambition and creative risk-taking that have defined Berkeley Rep for nearly six decades. Thank you for your patronage and support. Enjoy the show!

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.

2026/27 | ISSUE 1 |5

How Many Donors Does it Take to Change a Lightbulb? Each and every dollar donated to Berkeley Rep makes an impact.

5,325 Donors

Keep Our Lights On Every Year!

Did you know ticket sales cover only 35% of our budget? Donations help Berkeley Rep create captivating theatre for the Bay Area, provide arts education, support artists creating new work, and engage our community.

Where does your investment go? Remember Brian Quijada’s iconic tracksuit from Mexodus? Made from scratch by our costume shop, that suit took nearly 70 hours of labor and cost $500 in materials alone. And the beautiful home in the set for All My Sons took six of our carpenters three weeks to build, and it cost six times the average price of a new home in 1947—nearly $40,000! Of course, Berkeley Rep doesn’t just produce theatre, we create meaningful opportunities for Bay Area youth to participate in the arts. Hosting Teen Nights throughout our seven show season requires over $30,000 in subsidy and the tireless work of four staff members to coordinate. We wouldn’t have it any other way! As the old adage goes, it takes a village to raise a child—but for Berkeley Rep, it takes a whole community to create ambitious theatre right in our backyard. We are so grateful to our donors who show up to advance our non-profit mission, helping provide amazing theatrical experiences and opportunities for connection.

Join our donor family today and uplift the arts in your community. At left (top to bottom): Brian J. Quijada and his tracksuit in Mexodus; the cast of All My Sons takes their bows; a teen audience in the Roda Theatre.

Every PERSPECTIVE Has A

STORY

Theater has always invited us to see the world through someone else’s eyes. At St. Paul’s Towers, that same sense of discovery continues through conversations that challenge assumptions, neighbors who inspire new ideas, and a community that believes every perspective adds something meaningful. Because living well isn’t about standing still. It’s about remaining open to what’s still ahead.

Continue the Conversation at St. Paul’s Towers. 100 Bay Place, Oakland, CA 94610 stpaulstowers.org (510) 930-3313 Lic 011400627 COA 351

BY CHANTAL RODRIGUEZ As the US-born daughter of a Cuban exile who left in the years following the revolution, I first encountered the history of Cuba through family memory—stories of escape, political persecution, fear, trauma, and loss. Certain experiences were never spoken about and never questioned. In the kitchen however, I realized that my deepest connection to Cuba lives on my tongue—in the Cuban-inflected Spanish that I speak and in the meals that have fed not only my body, but also my hunger to understand Cuba’s past. The first time I heard the phrase moros y cristianos (“Moors and Christians”) was in reference to a delicious dish of black beans and rice. The name of this dish contains the colonial history of Spain, its cultural legacy in Cuba, and the ways that food can encode racialized and historical realities in a humble staple. Similarly, the classic cocktail Cuba Libre (“a free Cuba”) piqued my interest when I first heard it referred to as una mentirita (“a little lie”). Originating in Havana around 1900, shortly after the Spanish-American War when US influence and American products were newly prominent in Cuba, it consists of a highball of Cuban rum, poric moniker now captures a feeling, for many, that Cuba can never truly be free under communist rule. As a passionate, bilingual theatre kid, I also remember my curiosity about Cuban and Cuban-American history finding recognition in the pages of plays by Dolores Prida, María Irene Fornés, Nilo Cruz, and, most especially, Eduardo Machado. Premiering at INTAR Hispanic Arts Center in New York City in 2003, The Cook marks one of Machado’s most clear-eyed explorations of life

PHOTO: LIBRARY OF CONGRESS (PUBLIC DOMAIN)

Coca-Cola, and fresh lime juice. Its colloquial dias-

in Cuba. Set in El Vedado, the heart of the

verge of total transformation. While the

affluent, central business district in Havana

Santana estate celebrates the new year in

in the 1950s, Machado drops audiences into

luxury, Fidel Castro’s forces inch towards

the Santana family’s mansion kitchen where

the capital. Born in eastern Cuba to a land-

Gladys is the cook.

owning family, Castro studied law at the

In the decades following Spain’s defeat in

University of Havana, where he became

the 1898 Spanish-American war, El Vedado

active in nationalist politics and student

was transformed by American investors and

activism. He gained national attention after

those benefitting from Cuba’s sugar trade

leading the 1953 attack on the Moncada

boom. By the 1950s, under Fulgencio Batista’s

Barracks, a failed uprising that led to his

authoritarian regime, El Vedado reflected

imprisonment and later amnesty. After

the realities of Cuba’s concentrated wealth—

his release in 1955, Castro went into exile

Time changes. Time is always moving. The cookbook is always the same. filled with urban elites and foreign investors

in Mexico, where, over roughly a year and a

who reaped the profits while the working

half, he organized what became the July 26

class, especially in rural areas, faced extreme

Movement, named for the failed Moncada

poverty, high unemployment, and lack of

attack, and joined forces with other revolu-

public services.

tionaries, including Argentine doctor and

Seizing power through a military coup in

Marxist Ernesto “Che” Guevara. The stated

1952, Batista suspended constitutional pol-

aims of the July 26 Movement were to top-

itics and ruled through the military, police,

ple Batista, restore the 1940 Constitution and

and patronage networks. His rule was one

free elections, end repression and corrup-

marked by profound contradiction: Havana

tion, assert national sovereignty, and pursue

glittered with nightclubs, casinos, and

sweeping reforms—especially land redis-

American tourism while vast stretches of

tribution, labor protections, and expanded

the countryside remained desperately poor.

access to education, health care, housing,

While he was the first non-white president

and work for the poor.

in the country’s history, his government

Returning to Cuba in December 1956, he

did little to dismantle systemic racism.

launched a guerrilla campaign in the Sierra

These stark class and racial disparities ulti-

Maestra mountains to regroup and build

mately created the conditions for the Cuban

a rural insurgency. From 1957 to 1958, the

Revolution. For many Cubans, particularly

revolution grew—bolstered by urban resis-

the poor and Afro-Cuban communities who

tance—as Batista’s regime weakened. On

had been systematically excluded from the

January 1, 1959, Batista fled Cuba, and his

country’s prosperity, the revolution carried

government collapsed; Castro’s July 26

genuine hope. For the landowning and pro-

Movement and allied rebels entered Havana

fessional classes, it carried dread.

on January 2, and Castro arrived days later,

This is where Machado’s The Cook opens

soon becoming the country’s de facto leader.

on New Year’s Eve 1958, with Cuba on the

In The Cook, the departure of the Santana

Opposite: Fulgencio Batista arrives in Washington, DC, 1938

2026/27 | ISSUE 1 | 9

family (for whom Gladys has worked since

and Cuba was plunged into a prolonged eco-

she was 13 years old) is not a triumphant

nomic crisis marked by severe rationing,

escape—it is a fracture. Those who leave

fuel shortages, and scarcity of basic goods.

carry Cuba with them as a memory, a wound,

The US trade embargo, formalized in 1962

an idealized island that recedes further with

under President John F. Kennedy and main-

every passing year. Those who stay must

tained through successive administrations,

learn to live inside a revolution, navigating

ensured that no relief came from the north.

its promises and its demands.

Many Cubans experienced the Special Period

By 1961, the goals of the Cuban Revolution

not only as a material crisis, but also as a

were reframed within a socialist framework,

crisis of ideology, values, expectations, and

adding large-scale nationalization, central-

faith that the state could continue forward

ized planning, and the consolidation of a

on a path of progress. The experience of the

one-party state, presented by Castro as nec-

Special Period also highlights the resiliency

essary to defend the revolution and achieve

of the Cuban people which has become a

equality. Supported by the Soviet Union who

hallmark of its culture. Inventar y resolver

provided economic subsidies, supplied all

(“to invent and resolve”) was a common

of Cuba’s oil, purchased its sugar, and pro-

refrain for people desperately seeking solu-

vided significant military backing, Cuba

tions. In order to stimulate the economy,

achieved notable gains including near-uni-

the government legalized various self-em-

versal literacy, expanded access to medical

ployed jobs, including hospitality, in 1993.

care, and improvements in life expectancy.

The paladar became the first private sec-

At the same time, political pluralism was

tor experiment which at its inception was no

heavily restricted, there was total control

more than a few humble tables set in some-

of the press, and the heavy policing of any

one’s kitchen. The government imposed

form of dissent—actual or perceived. The

tight constraints on paladares including

regime viewed homosexuality as a bour-

a maximum of 12 seats, the hiring of only

geois decadence incompatible with the

immediate family members, limitations

revolution, leading to systemic gender

on ingredients like beef and seafood which

policing and brutal attempts at “re-educa-

were the property of the state, and the

tion” at forced-labor agricultural camps.

requirement that they had to operate out

Internees at these camps were forced into

of the owner’s primary residence. For Gladys,

10 to 12 hours of unpaid manual labor per

this era brings a different kind of challenge.

day, seven days a week. They were subjected

As the presumed owner of the mansion, she

to intense ideological indoctrination, phys-

and her husband Carlos, now a government

ical punishments, and psychological abuse,

official, are allowed to turn it into a paladar.

causing severe trauma and many cases of

While “the cookbook remains the same,” the

suicide. When Gladys’s cousin Julio declares

ingredients grow scarce—her fierce loyalties

“I thought the revolution would include me”

are pushed to their limits.

in Act II, the air of the kitchen is thick with

Reviving this play in 2026 speaks to how

the realities of the revolution for those who

the political landscape between the US and

did not adhere to its views.

Latin America is experienced in Cuba as

By Act III of The Cook, Cuba is in what is

a battleground for basic survival. Across

known as the Special Period in a Time of

successive US administrations, policy on

Peace. With the fall of the Soviet Union in

Cuba has swung between tightening and

1991, Soviet aid and trade abruptly collapsed

easing—sanctions, partial openings, and

10 | THE BERKELEY REP MAGAZINE

renewed pressure—while the island’s economy has remained exposed to shifts in Washington and to regional alliances. T h e Ja n u a r y 2 0 2 6 U S m i l i t a r y o p e ra t i o n i n C a ra c a s , which resulted in the ousting of Venezuelan President Nicolás Maduro, dealt the most recent economic blow to Cuba. Stripped of Venezuelan oil and facing new US blockades, the Cuban people continue to suffer increasingly severe fuel shortages and blackouts. Calls from President Trump that “Cuba is next” on the US foreign policy and military agenda have reignited decades-old debates. And while many Cuban exiles, and their descendants, hope to see a free Cuba in their lifetime, Cubans on the island continue to call for the right to take an active role in determining what their freedom looks like, lest it become una mentirita. U l t i m a t e l y, T he Cook, a n d Machado’s enduring belief in the power of theatre, implores us to remember the human stories behind partisan talking points and to see that the lasting impacts of revolutions often come into clear-

PHOTO: LIBRARY OF CONGRESS (PUBLIC DOMAIN)

est focus at the kitchen table.

Fidel Castro enters Havana, 1959

CHANTAL RODRIGUEZ (she/ella) is the associate artistic director of Yale Repertory Theatre and associate dean of the David Geffen School of Drama at Yale. She is the co-editor of Seeking Common Ground: Latinx and Latin American Theatre and Performance (Methuen Drama, 2021), “What’s Next for Latinx” volume 49.1 of Yale’s Theater Magazine (2019), and Encuentro: Latinx Performance for the New American Theater (Northwestern University Press, 2019). Chantal is a graduate of UCLA’s School of Theater, Film, and Television where she earned a PhD in theatre and performance studies, and Santa Clara University where she earned a BA in theatre and Spanish studies.

2026/27 | ISSUE 1 | 11

Gladys ran her business out of a grand Art Deco villa that had been meticulously kept up over the years. Her dining room had high ceilings and a long wooden table, with two smaller tables to the side. You could hear the echoes of her cooking in the kitchen as the sounds bounced off the shiny marble floors. The house specialty: garlic chicken, cut into pieces and roasted in the perfect mojo of lime, naranja ágria, and oregano. It was like the stuff at El Aljibe, but so much better. The sauce was stronger but not vulgar as it was in Miami. It was potent because it was

A N E XC E R P T F R O M

native, truly Cuban, almost dangerous. The sauce was sticky, the meat was juicy, and I was hooked. I was also partial to Gladys’s homemade ice cream. Julio insisted that Coppelia, the store we had passed on the way to the film festival, made the best ice cream

BY E D UA R D O M AC H A D O AND MICHAEL DOMITROVICH

Eduardo Machado was born in Cuba in 1953 and immigrated to the United States in 1961 at the age of eight. He began his career in theatre at 17, first as an actor before turning his focus to playwrighting. As an adult, Machado returned to

in Cuba. He loved their tropical flavors, guayaba, coconut, and mango best of all. While I appreciated their exotic tastes and smooth, light consistency, it was Gladys’s old-fashioned strawberry ice cream that I craved. With its dense, creamy, hand churned richness, it reminded me of Par-

Cuba after two decades in exile, and those visits

is, or at least Paris as it was ex-

would go on to deeply inform much of his work.

perienced by the women in my

The following excerpts are drawn from his 2007 memoir, Tastes Like Cuba, a poignant reflection on exile, identity, memory, and the search for home. In these passages, Machado recalls meeting a woman named Gladys in Havana in 2001, who would later inspire one of his most celebrated plays, The Cook, and shares one of her signature recipes. 12 | THE BERKELEY REP MAGAZINE

family: through couture bought at El Encanto or continental cuisine eaten at a fancy restaurant in downtown Havana. The truth is, Gladys made food that reminded me of my childhood more than anything I had ever eaten. Gladys herself remind-

ed me of my grandmother Manuela, beautiful, direct, and poised. Her black skin was smooth and flawless, her energy like that of a twenty-year-old even though she was well into her seventies when I first met her. I went to her house later than usual one night, after a siesta that went on a little too long. Fortunately for me that was the night that all the customers left before I finished my dinner. I sat and ate, and when I was done Gladys made café and sat down with me. I talked to her that night about her business and the insignificant details of both our lives. And then something caught my eye. I noticed a picture on the dining room wall of a striking blonde dressed in fifties couture. “Gladys,” I asked, “who is that?” “The lady who owned this house,” she answered. And then she looked at me. Her eyes said, “That’s it. Stop there,” and I knew that I was not permitted to ask anything else. That night I sat down and began to write The Cook, about a woman named Gladys who works in a beautiful mansion for a wealthy white woman who leaves Cuba right before the Revolution.

…

One morning I got a call from Gladys. Fidel rushed into my room and whispered, “Gladys wants to talk to you.” Oh no, I thought, she found out I was writing a play about her and wants to yell at me! I took the phone and heard her gentle voice. “I made you a plate of tamales and I am sending it over,” she said. “You know tamales are the only food we have left from the indigenous people that once lived here. Their souls comfort us when we eat tamales. I made you the tamales because I know you love this country.” The plate she sent had more than a dozen tamales on it. They were unbearably delicious, the perfect consistency: uniform and creamy, surprisingly chewy and savory when you got a bit of pork. Without knowing it, Gladys closed a circuit inside of me. She gave me the foundation I would build my entire play on: the power of food. I ate her tamales like I had eaten other tamales, but the experience was different. The little bundles of corn told a story, my story, the story of those that came before me, and the story I was trying to tell through my play.

Two 3- to 4-pound chickens, cut into parts 1 cup sour orange juice (or ½ cup orange juice and ½ cup lime juice) 1 tablespoon distilled white vinegar 12 garlic cloves, peeled and coarsely chopped 2 tablespoons salt 1 teaspoon ground black pepper 1 teaspoon dried oregano 1 teaspoon ground cumin Place the chicken parts in a container large enough to hold them all. In a small mixing bowl, combine the sour orange juice, vinegar, garlic, salt, pepper, oregano, and cumin. Stir gently, then pour the marinade evenly over the chicken. Cover with plastic wrap and refrigerate at least 1 hour, preferably overnight, mixing halfway through, so the chicken is evenly marinated. Preheat the oven to 450°F. Transfer the chicken to a roasting pan so that it sits in one layer. Pour the marinade evenly over the top. Roast in the lower third of the oven until the chicken is cooked, and the sauce begins to caramelize, about 45 minutes. Be sure to stir the chicken and shake the pan in the last 10 minutes of cooking to coat the chicken in sauce and prevent it from scorching. When it’s done, transfer the chicken into a warm platter and spoon the garlic sauce left in the pan evenly over the top. Serve with rice and beans. Makes 6 servings. 2026/27 | ISSUE 1 |13

SHOW PROGR AM: THE COOK

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

THE COOK WRITTEN BY

EDUARDO MACHADO DIRECTED BY

DAVID MENDIZÁBAL SCENIC DESIGN

COSTUME DESIGN

TANYA ORELLANA

LIGHTING DESIGN

TONI-LESLIE JAMES CASTING

STAGE MANAGER

DIRECTOR OF MARKETING AND AUDIENCE SERVICES

ASSISTANT STAGE MANAGER

EMMA WALZ*

DAVID MENDIZÁBAL

GENERAL MANAGER

victor cervantes jr.

DIRECTOR OF PRODUCTION

AUDREY HOO

ASSOCIATE ARTISTIC DIRECTOR/DIRECTOR OF IN DIALOGUE

DANI O'DEA

ASSOCIATE PRODUCER — NEW WORK

VOLEINE AMILCAR

WIGS & HAIR DESIGN

MATTHEW ARMENTROUT

INTIMACY CONSULTANT

ADI CABRAL

SOFIE MILLER*

LAURA FICHTENBERG

MIKAAL SULAIMAN

VOICE & DIALECT COACH

THE TELSEY OFFICE KARYN CASL, CSA

INTERIM DIRECTOR OF DEVELOPMENT

SOUND DESIGN & ORIGINAL MUSIC

MEXTLY COUZIN

SARA DANIELSEN

DIRECTOR OF THE SCHOOL OF THEATRE

DIRECTOR OF FINANCE

ANTHONY JACKSON

DIRECTOR OF HUMAN RESOURCES AND DIVERSITY

MODESTA TAMAYO

SAM LINDEN

DIRECTOR OF OPERATIONS

AMANDA WILLIAMS O’STEEN

THE COOK IS PRESENTED BY ARRANGEMENT WITH CONCORD THEATRICALS ON BEHALF OF SAMUEL FRENCH, INC. WWW.CONCORDTHEATRICALS.COM

Stephen & Susan Chamberlin Yogen & Peggy Dalal Bruce Golden & Michelle Mercer

SEASON PRESENTING SPONSORS Marcia Grand Frances Hellman & Warren Breslau Jonathan Logan & John Piane

Wayne Jordan & Quinn Delaney Jerome & Thao Dodson

SEASON SPONSORS Helen & John Meyer Sudha Pennathur & Edward Messerly

Arjay R. and Frances F. Miller Foundation The Strauch Kulhanjian Family Gail & Arne Wagner

SPONSORS Rosalind & Sung-Hou Kim

14 | THE BERKELEY REP MAGAZINE

Jack Klingelhofer

John & Valerie Rowe Jack & Betty Schafer

Gisela Chípe * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adria/Lourdes Daniel Duque-Estrada * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carlos Yesenia Iglesias * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gladys Georgina Morillo * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elena/Rosa Ashton Muñiz * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julio

UNDERSTUDIES Luis Kelly-Duarte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carlos *

Georgina Morillo * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gladys Monica Rose Slater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adria/Lourdes Omar Stewart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Julio Courtney Thomas* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elena/Rosa

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 Theatres, 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: SEPTEMBER 9, 20 26 PEE T ' S THE ATRE

2026/27 | ISSUE 1 | 15

SHOW PROGR AM: THE COOK

CAST

(in alphabetical order)

SHOW PROGR AM: THE COOK

FOR THIS PRODUCTION Assistant Director . . . . . . Emiliano Cáceres Manzano (Bret C . Harte Artistic Fellow) Assistant Scenic Designer (Studio) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Danielle DeLaFuente Assistant Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ollie Harbin (Electrics Fellow) Assistant Sound Designer . . . . . . . . . . . . . . Caro Yeung (Harry Weininger Sound Fellow) Production Assistant . . . . . . . . . . . . . . . . . . . . Jessica Garcia (Stage Management Fellow) Deck Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . James McGregor, Chris Russell, Siobhán Slater Wardrobe Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Caz Hiro, Mika Rubinfeld Wigs and Hair Crew . . . . . . . . . . . . . . . . . . Emily Haynes, Katrice Hughes, Raegina Joyner Production Electrician/Board Op . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Desiree Alcocer Sound Crew . . . . . . . . . . . . . . . . . . . . . . . . . . Angela Don (9/4–9/9), Conor Fortner (9/9–10/11) Scenic Fabrication by Berkeley Repertory Theatre Scenic & Paint Shops Additional Scenery Fabricators . . . . . . . . Austin Andrade, Isaac Jacobs, Carl Martin, Troy McClendon, Jen McFarlane, Drea Ronquillo Additional Scenic Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kenzie Bradley, Katie Holmes, Courtney Sutherland, E Wayman-Murdock Props Fabrication by Berkeley Repertory Theatre Properties Shop Additional Prop Artisans . . . . . . . . . . . . . Cassidy Carlson, Wyn Di Stefano, Hanbyul Joo Costumes Built by Berkeley Repertory Theatre Costume Shop Additional Costume Technicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Breanna Bayba (Draper), Chris Weiland & Hannah Velichko (First Hands), Nelly Flores (Stitcher), Kelly Koehn (Crafts Artisan) Lighting Services provided by Berkeley Repertory Theatre Lighting Department Additional Lighting Technicians . . . . . . . Grace Marie Yum Alexander, Brittany Cobb, Angelina Costa, Jack Grable, A. Chris Hartzell, Jacob Hill, Kaylee Geffken, Courtney Jean, Brittany Johnson, Hannah Linaweaver, Margaret Linn, Charlie Mejia, Zoya Nanale, Todd Loyd, Nori-Hayden Quist, Sarina Renteria, Riley Richardson, C. Swan-Streepy, Matthew Sykes, Trinity Wicklund Sound Services provided by Berkeley Repertory Theatre Sound and Video Department Additional Sound Technician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Courtney Jean Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Kali Grau Assistant Production Manager . . . Olivia Lehnert (Production Management Fellow) Company Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ryan Duncan-Ayala Assistant Company Manager . . . . . . . . . . . Lexa Ornes (Company Management Fellow) Producing Associate and Resident Casting Director . . . . . . . . . . . . . . . . . . . . . . Karina Fox Casting Assistant, The Telsey Office . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cesar Mendoza Medical Consultation for Berkeley Rep Provided by: Mari Bell MPT (UCSF), Ed Blumenstock MD, Charissa Chaban DPT, Cindy J . Chang MD (UCSF), 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

BOARD OF TRUSTEES Leonard X Rosenberg PRESIDENT

Christopher Doane VICE PRESIDENT

Jill Fugaro

VICE PRESIDENT

Sherry A. Smith VICE PRESIDENT

Becky Saeger TREASURER

Steven C. Wolan SECRETARY

Alfredo Silva

CHAIR OF THE AUDIT COMMITTEE

Sandra Eggers

CHAIR OF THE GOVERNANCE COMMITTEE

Henning Mathew

CHAIR OF THE INVESTMENT COMMITTEE

Juan Oldham

CHAIR OF THE FACILITIES COMMITTEE

William T. Espey

IMMEDIATE PAST PRESIDENT

Anna Bellomo Aimee Brown Walter Brown Christina Crowley Chuck Fanning Wanda Holland Greene Rosalind Kim Jonathan C. Logan Michael Mayer Sandra R. McCandless Kristin Pace Tom Parrish Johanna Pfaelzer Tushar Ranchod William Rogers Allan Smith Ann Smulka Ted Storey Barbara Tomber Carlos Vadillo Gail Wagner, MD Brian Watt TRUSTEES

Diana Cohen Robin Edwards William Falik Kerry Francis Paul T. Friedman Karen Galatz Bruce Golden Steven Goldin Scott Haber David Hoffman Richard F. Hoskins Dugan Lamoise Melanie Maier Helen Meyer Sudha Pennathur Peter Pervere Marjorie Randolph Patricia Sakai Jack Schafer William Schaff Emily Shanks Richard M. Shapiro Roger A. Strauch Jean Z. Strunsky Felicia Woytak

SUSTAINING ADVISORS

Helen C. Barber A. George Battle Carole B. Berg Robert W. Burt Shih-Tso Chen Narsai M. David Thalia Dorwick, PhD William T. Espey 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

16 | THE BERKELEY REP MAGAZINE

Johanna Pfaelzer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Artistic Director David Mendizábal . . . . Associate Artistic Director/Director of In Dialogue victor cervantes jr. . . . . . . . . . . . . . . . . . . . .Associate Producer – New Work Todd Almond, Rafael Casal, Daveed Diggs, Dipika Guha, Nico Muhly, Lisa Peterson, Brian Quijada, Nygel D. Robinson, Sarah Ruhl, Jack Thorne, Sanaz Toossi . . . 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

Joleen Addleman Loyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Costume Director Kiara Montgomery . . . . . . . . . . . . . . . . . . . . . . . . . .Resident Design Associate Star Rabinowitz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Draper Caz Hiro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Interim Wardrobe Supervisor ELECTRICS

Frederick C. Geffken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lighting Supervisor Kenneth Coté . . . . . . . . . . . . . . . . . . . . . . . . . . . . Senior Production Electrician Desiree Alcocer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Production Electrician PROPERTIES

Jillian A. Green . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Properties Supervisor Amelia Burke-Holt . . . . . . . . . . . . . . . . . . . . Associate Properties Supervisor Brittany Watkins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Properties Artisan SCENE SHOP

Jim Smith . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Technical Supervisor Grant Vocks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Technical Director Read Tuddenham . . . . . . . . . . . . . . . . . . . . . . . . . Associate Technical Director Zach Wziontka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lead Carpenter Cameron Edwards, August Lewallen . . . . . . . . . . . . . . . Scenic Carpenters SCENIC ART

Lisa Lázár . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Charge Scenic Artist STAGE OPERATIONS

Julia Englehorn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stage Supervisor Gabriel Holman . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Associate Stage Supervisor James McGregor . . . . . . . . . . . . . . . . . . . . . . . . . . . . Assistant Stage Supervisor Siobhán Slater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Staff Stage Technician SOUND/ VIDEO

Lane Elms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sound and Video Supervisor Rebecca Satzberg . . . . . . . . . . . . .Associate Sound and Video Supervisor Angela Don . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Senior Sound Engineer Conor Fortner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sound Engineer BERKELEY REP SCHOOL OF THEATRE

Anthony Jackson . . . . . . . . . . . . . . . . . . . . Director of the School of Theatre Ashley Lim . . . . . . . . . . . . . . . . . . . . . Marketing and Registrations Manager AeJay Antonis Marquis Mitchell . . . . . . . . . . . . . . . . . . Education Associate Euan Ashley . . . . . . . . . In-School Residency and Curriculum Supervisor Leah Sanginiti . . . . . . . . . . . . . . . . . . Elementary Camp Program Specialist Bobby August Jr., April Ballesteros, Diana Brown, Jon Burnett, Elizabeth Carter, Zoe Chien, Myra Chu, Jiwon Chung, Edris Cooper-Anifowoshe, Deborah Eubanks, Nancy Gold, Marvin Greene, Susan Jane Harrison, George Higgins, William Hodgson, Mondara Ixchel, Sullivan Jones, Rachel Ka'iulani Kennealy, Erica Klohen, Jennifer LeBlanc, Dave Maier, Rose McAvoy, Carolyn McCandlish, Amanda Nguyen, Al Niotta, Annie Obermeyer, Joel Ochoa, Joe Orrach, Chloë Parmalee-Laporte, Joyful Raven, Pamela Rickard, Hayley Sherwood, Phil Wong . . . . . . . Teaching Artists Matty Bloom, Joy Lancaster, Selma Meyerowitz . . . . . . . Docent Chairs Ted Bagaman, Michelle Boudreau, Beth Cohen, Michelle Cordero, Miles Drawdy, Nancy Drooker, Holly English, Charles Evans, Tyrone Fleurizard, Sergio Garcia, Randi Helly, Mary Lou Herlihy, Diana Insolio, Samantha Lopatin, Sue Kaplan, Jim Krampf, Mark Liss, Yvonne Martinez, Virginia McCarthy, Gigi Singer, Bridget Soto . . . . . . . . . . . . . . . . . . Docents

ADMINISTRATION

Tom Parrish . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Managing Director Sam Linden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Director of Finance Katie Riemann . . . . . . . . . . . . . . . . . . . . . . . . . . . Associate Director of Finance Jennifer Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Payroll Administrator Alanna McFall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bookkeeper Modesta Tamayo . . . . . . . . Director of Human Resources and Diversity Faith Elder . . . . . . . . . . . . . . .Human Resources and Diversity Coordinator Annie Stonebarger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Executive Assistant DEVELOPMENT

Laura Fichtenberg . . . . . . . . . . . . . . . . . . . . Interim Director of Development Kelsey Scott . . . . . . . . . . . . . . . . Associate Director of Institutional Giving Andrew Maguire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Philanthropy Officer Harper Brown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Annual Fund Manager Elaina Guyett . . . . . . . . . . . . . . . . . . . . . . . . Corporate Partnerships Manager Victoria McNaughton . . . . . . . . . . . . . . . . . . .Interim Development Manager Lucy Tafler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Special Events Manager Olga Khitarishvili . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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 Sophie Li . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Senior Facilities Assistant Theresa Drumgoole, Wendi Lau, 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 Darrin George . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Community Engagement and Partnerships Manager Calvin Ngu . . . . . . . . . . . . . . . . . . . . . . Video and Multimedia Content Creator Quinn Barringer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Graphic Designer Klaus Andrieu . . . . . . . . . . .Marketing and Communications Coordinator AUDIENCE SERVICES

Emily Byrne . . . . . . . . . . . . . . . . . . Associate Director of Audience Services Saoirse Keogh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Box Office Manager pan ellington, Kathlyn Ibazeta, Lauren Payne . . . . . . Box Office Leads Matthew Hayden, Sesar Sanchez, Ari Williams, Celeste Wong . . . . . . . . . . . . . . . . . . . . . . . . . . . Box Office Agents Jami Jones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Front of House Manager Sylvia Abrams-Wolffsohn, dean dawkins, Maddi Gjovik, Megan Rossoni . . . . . . . . . . . . . . . . . . . . . . . . . House Managers Julian Balcziunas, Latasha Hayes, Monika Holm, Tajah Jacobs, Kelland Li, Frances Manthorpe, Courtney Marchi, Elisa Matalon, Lauren McGatlin-Golier, Maria Mikheyenko, Alex Murphy, Renee-Valentina Pascua, Bine Buencamino Phung, Tuesday Ray, Kaylee Royster, Kira Street, Jessica Williams, Kailani Zabala . . . . . . . . . . . . . . . . . .Front of House Staff 2026/27 BERKELEY REP FELLOWSHIPS

Paige Boyon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Education Fellow Emiliano Cáceres Manzano . . . . . . . . . . . . . . .Bret C . Harte Artistic Fellow Vincent Chau . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scenic Construction Fellow Kinsey Erin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scenic Art Fellow Jessica Garcia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stage Management Fellow Ollie Harbin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Electrics Fellow Olivia Lehnert . . . . . . . . . . . . . . . . . . . . . . . . . . Production Management Fellow Nylarose Moore . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peter F . Sloss Artistic Fellow Kyral Ogazi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Costumes Fellow Lexa Ornes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Company Management Fellow Frank Seed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Properties Fellow Maeve Sheehan . . . . . . . . . . . . . . . . . . . . Marketing and Development Fellow Caro Yeung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Harry Weininger Sound Fellow

2026/27 | ISSUE 1 | 17

SHOW PROGR AM: THE COOK

BERKELEY REP STAFF ARTISTIC

SHOW PROGR AM: THE COOK

Gisela Chípe*

Yesenia Iglesias*

Georgina Morillo*

Adria/Lourdes

Gladys

Elena/Rosa, U/S Gladys

Gisela is thrilled to be making her Berkeley Rep debut! Her Broadway credits include POTUS, and her regional credits include Alley Theatre, Barrington Stage Co., Guthrie, Hartford Stage, Huntington, Papermill Playhouse, and Performance Space New York. Her film and TV credits include Little Man, Good Burger 2, The Diplomat, The Equalizer, The Unholy, AWKWAFINA is..., FBI, Law &Order: SVU, and Manifest. Her Spanish language credits include Wasp Network and Bel Canto; Portuguese language credits include the Olympic Games in Brazil. Gisela's producing credits include the award-winning This Boy's Vida, Black?, Con Dios, and The Graduate Series. She is a multi-award-winning Audiofile/ Kirkus Reviews audiobook narrator. She received her MFA from the University of Delaware's Professional Theatre Training Program. Para mi familia. @giselachipe

Daniel DuqueEstrada* Carlos Daniel is thrilled to be back at Berkeley Rep, after appearing in Mother Road in 2024. He has appeared Off-Broadway (Second Stage, The Women's Project) and at regional theatres across the country, including Acting Company Memberships at Dallas Theater Center, The Oregon Shakespeare Festival, and Trinity Repertory Company. Locally, Daniel has appeared at CalShakes, Shotgun Players, Marin Theatre Company, Oakland Theater Project, and The Magic Theatre, where he is also the producing director. He is the owner of Rosa Blanca Books, a mobile bookshop based in El Sobrante, California. He received his MFA from Brown University/Trinity Rep. Para mi madre, que siempre me he cultivado una rosa Cubana.

18 | THE BERKELEY REP MAGAZINE

Yesenia is a Washington, DC-based actor and educator from Bayamón, Puerto Rico. She is thrilled to be teaming up again with David Mendizábal for her Berkeley Rep debut! Select theatre credits include Public Charge (The Public Theater), Don’t Eat the Mangos (Huntington), Metamorphoses (Folger Shakespeare Theatre), At the Wedding (Studio Theatre), POTUS (Arena Stage), Primary Trust and Daphne’s Dive (Signature Theatre), and Kid Prince and Pablo (Kennedy Center), among others. Her work also has been featured in various commercials and audio books. She received her MFA from the University of Washington. She is grateful for her family's endless support and for Nicole at MMV!

Luis KellyDuarte* U/S Carlos Luis is a Nicaraguanborn actor and writer raised in the Bay Area and is ecstatic to be working at Berkeley Rep. Recent theatre credits include Shifty in Red Harlem (world premiere for Company of Angels), Lloyd Boateng in One Man, Two Guvnors (A Noise Within), and Antonio in Twelfth Night (Antaeus Theatre Co.). Previous credits include Macbeth in Macbeth (Off Square Theatre) and Mitch in A Streetcar Named Desire (Boston Court). His film and TV appearances include Archenemy, Shameless, and Animal Kingdom. He is a company member of Antaeus Theatre Company. Luis is grateful to God and his family, whose support is immeasurable. @authenticLKD

Georgina is an AfroDominicana actress from Harlem, New York. Passionate about bold storytelling that centers joy, truth, and underrepresented voices, she is thrilled to be performing at Berkeley Rep and grateful to share this story with its audiences. Favorite credits include The Mountaintop and A Midsummer Night’s Dream. She tours nationally with the Black Latina Movement in Black Latina: The Play and is a producer of NATIVES the Series. She trained at Syracuse University, Shakespeare’s Globe, the William Esper Studio, LAByrinth Theater Company, and INTAR Theatre. @_georginamorillo georginamorillo.com

Ashton Muñiz* Julio Ashton recently made their feature film debut in Maggie Gyllenhal’s The Bride. Their recent stage credits include The Inheritance (Broadway), 24-Decade History of Popular Music (St. Ann’s Warehouse), demons (Bushwick Starr), I Wanna F*ck Like Romeo & Juliet (59E59), as well as productions at Cherry Lane, NYTW, The Public, Second Stage, and more. Ashton's collaborations with visual artists have been featured around the world including Art Institute of Chicago, Centre National de la Danse, The Guggenheim, Lehmann Maupin, New Museum, Pace Gallery, and Swiss Institute. They trained at Ithaca College, Moscow Art Theatre School, Shakespeare & Company, and the Hillman Grad Mentorship Lab. @arshton

Monica Rose Slater U/S Adria/Lourdes Monica is a San Francisco-based Brazilian American actor, singer, and educator delighted

to be making her Berkeley Rep debut! Since moving to the Bay Area in 2021, she has performed with Berkeley Playhouse, the Eugene O'Neill Foundation, New Conservatory Theatre Center, Oakland Theater Project, SF Playhouse, Word for Word, and more. She produced and starred in Two Sisters and a Piano and the Brazilian chamber opera Domitila. She is especially drawn to musically and narratively rich interdisciplinary work centering Latine stories. Monica teaches voice privately and at the non-profit Cadence for Change. She holds a Masters of Music from the San Francisco Conservatory of Music. @monicaroseslater monicaroseslater.com

Omar Stewart U/S Julio Omar is a San Francisco-based actor thrilled to join the company of The Cook at Berkeley Repertory Theatre. His recent credits include Choir Boy (Shotgun Players) and Hot Wing King (New Conservatory Theatre Center).

Courtney Thomas* U/S Elena/Rosa Courtney is thrilled to be making her Berkeley Repertory Theatre debut. Her Off-Broadway credits include Emotional Creature (Signature Theatre) and Surely Goodness & Mercy (Keen Company). Her regional credits include Crowndation (Center Theatre Group), The Mountaintop (Geffen Playhouse), and Race (American Conservatory Theater). Her TV credits include TBS’ Foul Play with Anthony Davis, Grey’s Anatomy, How to Get Away with Murder, and Shameless. She received her BFA from Howard University's Chadwick Boseman College of Fine Arts; MFA from American Conservatory Theater. PRONOUNS: SHE/HER

Eduardo Machado Playwright Eduardo Machado was born in Cuba and his family settled in Los Angeles. He is the author of over fifty plays including The Floating Island Plays, Once Removed, Stevie Wants to Play the Blues, A Burning Beach, Havana is Waiting, The Cook, Mariquitas, Worship, Celia and Fidel, and Not About Me. His plays have been produced Off-Broadway and at regional theatres, as well as in Europe and South America. Select credits include the Actors Theatre of Louisville, American Place Theatre, Arena Stage, Cherry Lane, Ensemble Studio Theatre, Goodman, Hampstead Theatre, Hartford Stage, INTAR, Long Wharf Theatre, Mark Taper Forum, Seattle Rep, Theatre for the New City, and the Williamstown Theatre Festival. Mr. Machado previously taught playwriting as the head of playwriting at Columbia University and NYU Tisch School of the Arts, and was the artistic director of INTAR Theatre. Some of his plays are published by TCG and Samuel French. His food memoir Tastes Like Cuba: An Exile’s Hunger For Home, co-written with Michael Domitrovich, was published by the Penguin Publishing Group. He is now the co-artistic director of Suite 524, a new theatre company based in New York City.

Making the difference between a good sale and a great one. Andrea Gordon is a proud supporter of the Arts.

David Mendizábal Director David is a Lucille Lortel and Helen Hayes Award-winning director, designer, and the associate artistic director and director of In Dialogue at Berkeley Repertory Theatre. They serve as one of the producing artistic leaders of the Obie Award-winning The Movement Theatre Company and is a founding collective member of the Obie Award-winning Sol Project. Select directing credits include All My Sons (Berkeley Rep), the bandaged place (Roundabout Underground, NYSAF), Don’t Eat the Mangos (Huntington Theatre, Magic Theatre), Mexodus (Audible Theater), Mother Road (Berkeley Rep), and Sanctuary City (Berkeley Rep, Arena Stage). David directed and designed the costumes for the world premiere of Notes on Killing Seven

Andrea Gordon 510.421.6818

andrea@andreagordon.com DRE 01233563

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SHOW PROGR AM: THE COOK

Oversight, Management, and Economic Stability Board Members (Soho Rep). They are the recipient of a Princess Grace Award Honoraria. Alumnus of the Soho Rep Project Number One Residency, Ars Nova Vision Residency, Drama League Directors Project, LAByrinth Intensive Ensemble, Lincoln Center Theatre Directors Lab, artEquity, and TCG Leadership U. David is an alum of New York University’s Tisch School of the Arts at Playwrights Horizons Theatre School. @its_daveed | davidmendizabal.com PRONOUNS: THEY/HE

Tanya Orellana Scenic Design Tanya designs performance spaces for theatre, opera, and immersive installations. She is based in New York City and originally from San Francisco. Her work has been seen in venues across the US including Berkeley Rep, Denver Center for the Performing Arts, Geffen Playhouse, Getty Villa, The Guthrie, The Huntington Gardens, Huntington Theatre, The Kennedy Center, Pasadena Playhouse, and Yerba Buena Center for the Arts. Tanya is a core member of the award-winning ensemble Campo Santo, a member of Wingspace Design, and an organizing member of La Gente: The Latiné Theatre Production Network. She received an MFA in scenic design from CalArts. PRONOUNS: SHE/HER

Toni-Leslie James Costume Design Ms. James has designed 31 Broadway productions including Gypsy, Mother Play, Flying Over Sunset, Bernhardt/Hamlet, Come From Away, Jitney, Amazing Grace, Lucky Guy, The Scottsboro Boys, Finian's Rainbow, Ma Rainey's Black Bottom, King Hedley II, The Wild Party, Marie Christine, Footloose, The Tempest, Twilight: Los Angeles, 1992, Angels in America: Millennium Approaches & Perestroika, Chronicle of a Death Foretold, and Jelly’s Last Jam. Selected awards and nominations include four Tony Award nominations, the 2019 Drama Desk Award, the Hewes Design Lifetime Achievement Award, the Irene Sharaff Young Masters Award, and

20 | THE BERKELEY REP MAGAZINE

the Obie Award for Sustained Costume Design Excellence.

Mextly Couzin Lighting Design Mextly’s Broadway credits include JOB. Her Off-Broadway credits include The Potluck, Henry 6, Mexodus, Indian Princesses, BIGFOOT!, Rheology, N/A, Fiasco Theatre’s Pericles, A Good Day to Me Not to You, Here We Are (ALD), Straight Line Crazy, peerless, and Tambo & Bones. Her regional and US credits include Alley Theatre, Arena Stage, Baltimore Center Stage, Berkeley Rep, Centro de Bellas Artes Puerto Rico, La Jolla Playhouse, The Old Globe, Seattle Opera, and Woolly Mammoth. Her international credits include Théâtre des Champs-Elysées and Nuits de Fourvière. She is the co-founder of MXD Lighting and the 2023 recipient of The 1/52 Project grant. She received her MFA from the University of California, San Diego ’20. mextlycouzin.com

Mikaal Sulaiman Sound Design & Original Music Mikaal is a Tony Award-winning multidisciplinary artist working across theatre, film, television, and podcasts as a sound designer, composer, writer, and director. His Broadway credits include Death of a Salesman (2026), Art, Pirates! The Penzance Musical, The Roommate, An Enemy of the People, Doubt: A Parable, The Thanksgiving Play, Fat Ham, Death of a Salesman (2022), and Macbeth. His honors include a Tony Award, an Obie Award, a Creative Capital Award, and Henry Hewes Design Awards, as well as a Drama Desk Award nomination. mikaal.com

Matthew Armentrout Wigs & Hair Design Matthew's Broadway credits include Redwood, A Wonderful World, The Mother Play, Paradise Square (Drama Desk-nominee), Birthday Candles, Flying Over Sunset, Bernhardt/Hamlet, and The Sound Inside. His Off-Broadway work includes Kyoto (LCT), Ava: The Secret Conversations, The Last Bimbo of the Apocalypse, Merrily We Roll Along, and Othello. Regional credits

include All My Sons (Berkeley Rep), The Untitled Hunter S Thompson Musical (Signature Theatre), The Inspector (Yale Rep), 3 Summers of Lincoln (La Jolla Playhouse), Midnight in the Garden of Good and Evil (Goodman), Gatsby (ART), and A Transparent Musical (Center Theatre Group). His TV credits include The Marvelous Mrs. Maisel (Emmy-nominee).

The Telsey Office, Karyn Casl, CSA Casting With offices in both New York and Los Angeles, The Telsey Office casts for theatre, film, television, and commercials. The Telsey Office is dedicated to creating safe, equitable, and anti-racist spaces through collaboration, artistry, heart, accountability, and advocacy. Please visit thetelseyoffice.com for their credits.

Adi Cabral Voice & Dialect Coach Adi is pleased to return to Berkeley Rep having previously worked on Mother of Exiles and Mother Road. Their regional credits include The Importance of Being Earnest (OSF); Oedipus El Rey, Don’t Eat the Mangos, and Fat Ham (Huntington); The Heart Sellers (Cincinnati Playhouse); Laughs in Spanish (Horizon Theatre, Stages, Theatre Squared); Born with Teeth and OR, (Santa Fe Playhouse); Various (Utah Shakespeare Festival); and Mojada: A Medea in Los Angeles (Repertory Theatre of St. Louis). Additional credits include On Call (Prime) and Law & Order: SVU (NBC), as well as numerous audiobooks. SAG-AFTRA member. VASTA president. Professor of voice and movement at the University of Nevada, Reno. They hold an MFA in theatre performance from ASU. adicabral.com PRONOUNS: THEY/THEM

Sofie Miller * Stage Manager Sofie is delighted to return for another season with Berkeley Rep. Recent productions include How Shakespeare Saved My Life, The Hills of California, the aves, and The Matchbox Magic Flute. Favorite

PRONOUNS: SHE/HER

Emma Walz * Assistant Stage Manager Emma's Berkeley Rep credits include The Lunchbox, The Hills of California, The Reservoir, The Thing About Jellyfish, Galileo, Cult of Love, Clyde's, and the ripple, the wave that carried me home. Her work with American Conservatory Theater includes credits such as Girls Chance Music, A Streetcar Named Desire, Co-Founders, A Whynot Christmas Carol, A Christmas Carol, Poor Yella Rednecks, and The Wizard of Oz. Emma hails from Arizona, where she worked with All Puppet Players and The Phoenix Theatre Company.

Johanna Pfaelzer Artistic Director Johanna joined Berkeley Rep in 2019 as its fourth artistic director following 12 years as the artistic director of New York Stage and Film (NYSAF), a New York City-based organization dedicated to the development of new works for theatre, film, and television. Notable works developed under Johanna’s leadership at NYSAF include Hamilton by Lin-Manuel Miranda, 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, John Patrick Shanley’s Doubt, The Fortress of Solitude by Michael Friedman and Itamar Moses, The Jacksonian by Beth Henley, and Green Day’s American Idiot. In addition, Johanna has developed the work of many notable artists including Jocelyn Bioh, Zach Helm, Halley Feiffer, Billy Porter, Lucy Thurber, Duncan Sheik, V (formerly Eve

Ensler), Steven Sater, Jaclyn Backhaus, Patricia Wettig, and Marcus Gardley. Since arriving at Berkeley Rep, Johanna has produced multiple world premieres as well as projects that have gone on to notable future productions including Swept Away, Galileo, Mexodus, and Cult of Love. She was formerly a producing director of Zena Group and served for five years as the associate artistic director of American Conservatory Theater. Johanna is a graduate of Wesleyan University and the Actors Theatre of Louisville apprentice program and has taught in the MFA theatre program at Columbia University School of the Arts. 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 theatre 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.

Find Your Community Become a Berkeley City Club Member Today Restaurant & Bar | Social Club | Event Space | Historic Hotel berkeleycityclub.com

2026/27 | ISSUE 1 | 21

SHOW PROGR AM: THE COOK

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 American Conservatory Theater, Aurora Theatre Company, California Shakespeare Theater, Magic Theatre, Presidio Theatre, Shakespeare Santa Cruz, and TheatreWorks SV.

IN PARTNERSHIP WITH

PARTNER SPOTLIGHT F o r t h e p re s e n t at i o n o f T h e Cook, we’re proud to partner with CubaCaribe as our community partner for In Dialogue—a Berkeley Rep initiative dedicated to building meaningful civic and creative connections across the Bay Area. Co-founded in 2003, CubaCaribe is dedicated to preserving, promoting, and presenting the vibrant cultural and artistic traditions of the Caribbean and its diaspora. Through their programs, CubaCaribe supports the Bay Area’s community of Cuban and Caribbean artists—honoring cultural traditions while fostering innovation, creative exchange, and greater understanding of historically underrepresented arts and cultures. As part of our collaboration, Berkeley Rep will host a series of events with CubaCaribe celebrating Cuban culture. To learn more about CubaCaribe’s work visit cubacaribe.org To learn more about In Dialogue visit

berkeleyrep.org/in-dialogue-nkft 22 | THE BERKELEY REP MAGAZINE

PHOTO (TOP): LEX MEX

and our upcoming partnership events,

My love of theatre began at Berkeley Rep when I attended a school field trip shortly after the Peet’s Theatre opened. That experience sparked a passion that led me to study theatre in college and, years later, fulfill a dream by working at Berkeley Rep.

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

My husband Darren and I have chosen to make a legacy gift to Berkeley Rep to help sustain paid fellowships. We hope our support can play a meaningful part in helping talented young people gain access to opportunities that value their contributions and help build a more inclusive future for American theatre. — Sunshine Deffner Michael Leibert Legacy Society Member

To learn about creating your legacy at Berkeley Rep, please visit berkeleyrep.org/legacy or contact Philanthropy Officer Andrew Maguire at 510 647-2904 or amaguire@berkeleyrep.org

2026/27 | ISSUE 1 |23

T H A NK IN G OUR SUPP ORT ERS

THANK YOU

to our supporters!

CORPORATE & HOSPITALITY SPONSORS SEASON PRESENTING SPONSOR

We thank the many organizations and individuals who enrich our community by championing Berkeley Rep’s artistic, education, and community engagement programs.

LEAD SPONSORS

INSTITUTIONAL FUNDERS

SPONSORS

Anonymous (2) Jeffrey & Karen Breslow Aimee Brown Christopher Doane & Neal Shorstein, MD Robin & Rich Edwards William T. Espey & Margaret Hart Edwards

ASSOCIATE SPONSORS

Anonymous (4) Shelley & Jonathan Bagg Edith Barschi & Robert Jackson Anna Bellomo & Josh Bloom Lynne Carmichael Cindy J. Chang, MD & Christopher Hudson Bill DeHart & David Kamimoto Thomas W. Edwards & Rebecca Parlette-Edwards Jennifer & Abe Friedman Dennis & Susan Johann Gilardi Laura Graham Paul Haahr & Susan Karp Elise Haas William Isenberg Sy Kaufman & Kerstin Edgerton Omar Khan & Kamini Ramani

2026/27 | ISSUE 1 | 25

T H A NK IN G OUR SUPP ORT ERS

THE RESILIENCE CAMPAIGN

T H A NK IN G OUR SUPP ORT ERS

ARTISTIC DIRECTOR’S CIRCLE PARTNER

Anonymous (2) Italo & Susan Calpestri Venus David,

in memory of Narsai David

Richard DeNatale & Craig Latker Carol DiFilippo Jerry Falk Cynthia A. Farner Linda Jo Fitz Anne & Peter Griffes Shawna Hartman Brotsky & Daniel Brotsky Lynda & Dr. J. Pearce Hurley Carla Javits & Margaret Cecchetti Duke & Daisy Kiehn Sherrill Lavagnino & Scott McKinney Ellen & Barry Levine Susan & Moses Libitzky Rosa Luevano & Charles Marston Marymor Family Fund Henning Mathew Juan Oldham & Deborah Morgan Tom Parrish & Steve Dow Johanna Pfaelzer & Russell Champa Shelby Rachleff Monica Salusky & John K. Sutherland Emily Shanks Valerie Sopher Ama Torrance & David Davies

Larry Vales Sarah Van Roo Elizabeth Werter & Henry Trevor Felicia Woytak & Steven Rasmussen

BENEFACTOR

Anonymous (8) Eric Allman & Kirk McKusick Norman Abramson, in memory of David Beery

George & Marcia Argyris Michelle L. Barbour Michael Barnett & Judith Bloomberg Valerie Barth Brent Blackaby Becky & Jeff Bleich James Blume & Kathryn Frank Paul Brody Luna Foundation Walter & Denise Brown Linda Brown Bonnie Burt & Mark Liss Byers Family Naveen Chandra Ardie & Mary Clark, in memory of Patricia Fox

Nancy Clark Ed Cullen & Ann O’Connor Barbara & Tim Daniels Vivek Datta & Jonathan Rabago Richard & Anita Davis John DeVincentis & Dennis Mankin Donald & Jeannette Dow

THE MICHAEL LEIBERT LEGACY SOCIETY 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 Jan Chernoff & Isabel Wade 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 Thalia Dorwick Robin & Rich Edwards Thomas W. Edwards & Rebecca Parlette-Edwards Bill & Susan Epstein William Espey & Margaret Hart Edwards Merle & Michael Fajans 26 | THE BERKELEY REP MAGAZINE

Corinne & Mike Doyle Linda Drucker Sandra & Ken Eggers Holly English & Fred Smagorinsky William & Susan Epstein Paul Feigenbaum & Judy Kemeny Ben & Mary Feinberg James & Jessica Fleming Dean Francis Sharon & Tom Francis Lisa Franzel & Rod Mickels Jeryl Fry Mio & Jon Good Robert & Judith Greber Karen Grove & Julian Cortella Migsy & Jim Hamasaki Bonnie Hamlin Jeannene Hansen Bob & Linda Harris Richard N. Hill & Nancy Lundeen Elaine Hitchcock Stan Hoffman Bill Hofmann & Robbie Welling Jim & Xanthe Hopp The Jackson Family Foundation Bill & Lisa Kelly Dana Kirkland Andy Kivel & Susan Goldstein Peggy Kivel Andrew Leavitt & Catherine Lewis Marcia C. Linn Joel Lizner & Teresa Picchi Jay & Eileen Love Gerry & Kathy MacClelland

Elsie Mallonee Mona Marbach Carol McCullough & Shirley Wilkinson Miles & Mary Ellen McKey Mary McLaughlin Martin & Margi Cellucci McNair Susie Medak & Greg Murphy Toby Mickelson & Donald Brody Carol Mimura & Jeremy Thorner Andy & June Monach Leslie Moreland Julie Nachtwey, Compass Real Estate

Susan Newmeyer Pam & Mitch Nichter Shanna O’Hare & John Davis Carol J. Ormond Janet & Clyde Ostler Sandi & Dick Pantages Barbara L. Peterson Jean Pfaelzer & Peter Panuthos Randy Sue Pollock & Steve Kornetsky Yamini & Tushar Ranchod Marjorie Randolph Andrew Raskopf & David Gunderman Dr. Jason Ravenel & Leann Ravenel Terri Remillard Isabel & In Sik Rhee Audrey & Paul L. Richards, in honor of Mary O’Neil

Carla & David Riemer Gary & Noni Robinson

Kathy Rogers & Bob Kliger Patrick Romani David S. H. Rosenthal & Vicky Reich Todd Rubin Dennis Ryan & Rebecca Sutter-Ryan Dan Scharlin & Sara Katz Jackie Schmidt-Posner & Barry Posner Helen Schulak Deborah Sedberry & Jeff Klingman Donna Seidel Kiren Sekar Ruchira Shah & David Grunwald Shirlen Fund David & Lori Simpson Arlene & Matthew Sirott Allan & Maria Smith Ed & Ellen Smith Ann M. Smulka & Bob Blackburn Audrey & Bob Sockolov Linda & Robert Stiles Laura Svienty Alison Teeman & Michael Yovino-Young Henry Timnick Urban Serenity Initiative Deborah & Bob Van Nest Steven Wade Caren Weakley Beth Weissman Patricia & Jeffrey Williams Mark Zitter & Jessica Nutik Zitter

Berkeley Rep gratefully acknowledges the following individuals who have generously provided for the theatre in their estate plans:

Joy Lancaster Bill Falik & Diana Cohen Barbara Fisher & Martin Freedman Dr. Stephen E. Follansbee Scott & Kathy Law & Dr. Richard A. Wolitz Marcia C. Linn Catherine Fox Dot Lofstrom Kerry Francis Ingrid Madsen & Victor Rauch Dr. Harvey & Deana Freedman Andrew Maguire Joseph & Antonia Friedman Helen M. Marcus Paul T. Friedman Dale* & Don Marshall Marianne Friedman Rebecca Martinez David Gaskin* Sarah McArthur LeValley Sandra & Ross McCandless & Phillip McPherson* Suzanne & Charles McCulloch Denise Gillen John G. McGehee Marjorie Ginsburg Miles & Mary Ellen McKey & Howard Slyter Ruth Medak Mary & Nicholas* Graves Susie Medak & Greg Murphy Elizabeth Greene Stephanie Mendel Sheldon & Judy Greene Toni Mester Don & Becky Grether Shirley & Joe Nedham Barry * & Micheline Handon Jane & Bill Neilson Julie & Paul Harkness Theresa Nelson Linda & Bob Harris Fred Hartwick & Bernard Smits Ruth Hennigar Pam & Mitch Nichter Daria Hepps Wallace Oman Douglas J. Hill* Sharon Ott Peter Hobe & Christina Crowley Fr. David Pace Amy Pearl Parodi Hoskins/Frame Family Trust Barbara L. Peterson Lynda & Dr. J. Pearce Hurley Regina Phelps Robin C. Johnson Margaret Phillips Janice Kelly & Carlos Kaslow Mark J. Powers Bonnie McPherson Killip Lynn Eve Komaromi & Albert E. Moreno Michael H. Kossman Marjorie Randolph Woof Kurtzman Gregg Richardson

Bonnie Ring Living Trust GIFTS RECEIVED BY BERKELEY REP David Rovno, MD Estate of Suzanne Adams Tracie E. Rowson Estate of Pat Angell, Deborah Dashow Ruth in memory of theatre architect Patricia Sakai Gene Angell & Richard Shapiro Brenda Buckhold Shank, MD, PhD Estate of Nina Auerbach Estate of Helen C. Barber Emily Shanks Estate of Fritzi Benesch Valerie Sopher Estate of Carole B. Berg Michael* & Sue Steinberg Estate of Nelly Berteaux Dr. Douglas & Anne Stewart Estate of Jill Bryans Jean Strunsky Estate of Paula Carrell Mary, Andrew Estate of Victoria Carter & Duncan Susskind Estate of Robert Chase Jim Tibbs & Philip Anderson Estate of Nancy Croley Henry Timnick Estate of John & Carol Field Guy Tiphane Estate of Ralph Garrow Dana Tom & Nancy Kawakita Estate of Richard Barbara Tomber & Lois Halliday Phillip & Melody Trapp Estate of Ellen Jasnosz Janis Kate Turner Estate of Nancy Kornfield Gail & Arne Wagner Estate of Audrey J. Lasson Barry & Holly Walter Weil Family Trust—Weil Family Estate of Zandra Faye LeDuff Estate of Ines R. Lewandowitz Susan West Estate of Jim Lillienthal Steven & Linda Wolan Estate of John E. The Woolfson Blumenfeld & Helen A. Manning Living Trust Estate of Richard Markell Karen & Henry Work Estate of Sumner Anders Yang, JD & Hermine Marshall Martin & Margaret Zankel Estate of Margaret D. * deceased & Winton McKibben

CHAMPION

Anonymous (10) Kristine Anderson Philip Arca & Sherry Smith Linda & Mike Baker Monya Baker Celia Bakke Jeff & Karen Banks David Beckman Don & Gerry Beers Ashvini Bhave & Kishore Bopardikar Marc Blakeman Thomas Bosserman Eric Brink & Gayle Vassar Jane V. Buerger Fran Burgess Robert & Margaret Cant Ronnie Caplane Stacey Carlo Dr. Jon Carr Bruce & Gail Chizen Terri Clark & Marty Lay Bart Connally Henry Cook Kim Crane Constance Crawford Karen & David Crommie Dr. Jim Cuthbertson Thomas Cutillo & Priscilla Myrick Joshua Dapice Ilana DeBare & Sam Schuchat Harry & Susan Dennis Drs. Kevin & Susan Denny John & Janet Dodge

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 & 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 July 2026. 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.

Karen & David Dolder Joan M. Dove & Jim Daughn Noah & Sandra Doyle Martin & Barbara Fishman Suanne & Kirk Flatow Donald & Dava Freed Linda Schacht Gage & John Gage Kevin Gahagan Clara Gerdes & Ken Greenberg Marjorie Ginsburg & Howard Slyter Margot Golding Mary W. Graves Mary Grogan Henry L. Hecht Ruth Hennigar Thomas & Elizabeth Henry Susan L. Hill Sheri Hoeger Charlton Holland Mr. Robert & Judy Huret Barbara & Peter Jensen Marilyn & Michael Jensen-Akula May Johnston Jeanne Killian Tim Kochis Janet Kornegay & Dan Sykes Michael H. Kossman Woof Kurtzman & Liz Hertz Nancy Kux Kevin & Claudine Lally Ann Lincoln Jennifer S. Lindsay Tom Lockard & Alix Marduel Deborah Long Peter Luk Nancy Lumer Paul Mariano & Suzanne Chapot Susanna & Brad Marshland Chris Martin Rebecca Martinez Robert McCleskey Stephanie Mendel Judy Minor Geri Monheimer Ronald Morrison Daryoush Mortazavi & Caroline Razavi Jane Neilson Thomas Nelson & Jessica Wickens Judy Ogle Patti Oji Haas Judy O’Young, MD & Gregg Hauser Bob & MaryJane Pauley Debra Pughe John & Hannah Plowright Kathleen Quenneville & Diane Allen Kalpana Reddy Helen Richardson Todd & Susan Ringoen John & Jody Roberts William Rogers Jane Rokita Rhoda Rossman Chris & Mike Rupp, Descendant Cellars Valerie Russell Lisa A. Salomon Jeane & Roger Samuelsen Barbara & Jerry Schauffler Eric & Lauren Schlezinger Robert Sheppard Michelle C. Shonk Steve & Susan Shortell Kim Silva Amrita Singhal & Michael Tubach Suzanne Slyman Betsy Smith Cherida Collins Smith

George & Camilla Smith Robert & Jordan Stark Gary & Jana Stein David Surrenda & Lisa Rafel Jane & Jay Taber Fred & Kathleen Taylor Steve & Lori Taylor Sam Test Dana Tom & Nancy Kawakita Lisa Vandenberg Gerald & Lynda Vurek-Martyn Kimberly Webb & Richard Rossi Jane Weil Toni Weingarten Richard & Catherine West Susan West Dick & Beany Wezelman Susan Whitman & Mark Gergen Faye Wilson Michelle Winchester Losa Wong & Larry Mar Robert & Sheryl Wong Irene Yen Barbara Zimmer

THANK YOU

to all of the generous members of 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, 2025 and July 13, 2026. 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.

Don & Becky Grether George P. Haley Geoffrey & Marin-Shawn Haynes Geoffrey Haynes Stuart Heflin Tamra C. Hege Jim Helman & Linda Fried Helman Donald Hershman Al Hoffman & David Shepherd ADVOCATE Rachel & John Horsch Anonymous (15) David Baer Hilary & Tom Hoynes Alisa Baker Stephanie Isaacson Tracy Ballard Terrie, Nelson & Julia Ishiyama Karen Baratta in memory of Woof Kurtzman Susan & Barry Baskin Pam & Ted Johann Steven Beckendorf Thomas Johann Vinita Belani Ken Johnson Richard & Kathi Berman Pat Kelly & Jennifer Doebler Veronica Bettencourt Stephen Kerr Patti Bittenbender Elizabeth King Laura Blair & Mitchell Zeemont Mary King Rena Bransten Juanita Kizor John Brennan & Stephanie McKown Ralph & Tonya Koenker Cathy Bristow Susan Kolb Linda Burch Lynn Eve Komaromi, Robert P. Camm & Susan Pearson in honor of the Berkeley Rep Christina Campbell & Tim DeWolf Staff Jules Campbell Diana & Jim Krampf Rachel Chavkin Andrea & Kenneth Krueger Laura Chenel Jennifer Kuenster & George Miers June & Michael Cohen Lucy Kuntz & Ned Fielden Barbara & Rodgin Cohen Wayne Lamprey Andy Cohn & Dena Watson-Lamprey Joan & Edward Conger Crystal Land & William Miller Mary Anne Cook Shirley Langlois Pam & Mike Crane Arvada Darnell Tami Lau malcom davis Lisa Lázár & Robb Bauer David desJardins Susan Carol Ledford David Deutscher Dennis Lenehan Kathryn Doi Deborah Lewis & Martin H. Myers Tammerlin Drummond Mark & Roberta Linsky Daralyn Durie Ari Lipsky & David Nahmias Jeremy Fiance Steve & Judy Lipson Dr. Norma Fiedotin Margo & Josh Lowensohn Paul Finkle & Sue DeVinny Daniel Friedland & Azlynda Alim Kerri & Mark Lubin Ingrid Madsen & Victor Rauch Herb & Marianne Friedman Lois & Gary Marcus, Lauren Friedman Carol & Tony Friscia in memory of Ruth Weiland, Lisa & Jack Fuchs Mose & Selma Marcus Daniel Garber Mark Marin Brett Gardner & Joe Stampleman Ana Maria Martel Paul & Marilyn Gardner M. Mathews & K. Soriano Rachel Garlin Kevin McCarty Ellen Geringer & Chris Tarp Ash McNeely & Elisa Odabashian Steven Goldberg Ellen Meltzer & George Porter & Sandee Blechman Anu Menon Paul Goldstein & Dena Mossar Zoe Mercer-Golden, Karen Gottlieb in honor of Bruce Golden Pamela & Tim Gray Susan Morris Judy & Sheldon Greene Karen Greig & Mike Frank Elena Moser & Janet Linder

Toby Nady Ron Nakayama Stephen & Karen Nicholls Sandra Nichols Michael O’Donnell Barbara & Philip O’Hay Mitchell Ost Betsy & Bill Pace Thomas & Tina Parrish Jr. DiAnn Perko Charles & Linda Philipps Malcolm & Ann Plant Robert & Marcia Popper Craig & Seena Potter Roxann R. Preston Daniel & Barbara Radin Elizabeth Raffin Karen & Jeff Richardson Marc Rieffel Maxine Risley, in memory of James Risley Bruce Rohde Deborah Dashow Ruth, in memory of Leo P. Ruth Theresa Schrider Susan Schwartzwald Elizabeth (Libby) Seifel Usha Sekar Emily D. Sexton Christine Silver Lydia Simmons The Sippel/Farb Family Linda Snyder Anuradha Sridhar & Sridhar Sundaram Robert & Naomi Stamper Kay Stodd Carol Sundell Dr. Edward Sweet & Mr. Harold Stevens Margo & Drew Tammen Ragesh Tangri & Daralyn Durie John & Christine Telischak Edward & Carrie Thomas John Thomas Pate & Judy Thomson Dale Underwood & Kirsti Aho Glenn Urban Jill Van Dalen William van Dyk & Margi Sullivan Leon Van Steen Marcia & David Vastine Yoshiko Iwamoto Wada Brian Watt & Daisy Nguyen Jonathan & Kiyo Weiss Kirsten Weisser & Joe Tuman H. Leabah Winter Wilma Wool Moe & Becky Wright Peter Young Judy Zenoni 2026/27 | ISSUE 1 | 27

T H A NK IN G OUR SUPP ORT ERS

FRIENDS OF BERKELEY REP

M A K I N G T H E AT R E : MEE T T HE A RT IS A NS W H O BUIL D OUR SH O W S

Making a Kitchen for The Cook Our scene shop specializes in creating environments that envelop the audience in the world of the play. Given its importance to the show, the house (and especially the kitchen) that is Gladys’s domain in The Cook required a high level of authenticity. Our scenic artists were up to the task. “For years, I’ve had a nerdy passion for Cuban tile,” says Berkeley Rep’s charge scenic artist Lisa Lázár. “The tiles we’re replicating are encaustic, a tile-making process that’s been in use since the Middle Ages.” Encaustic tile is inlaid; the color isn’t just a top glaze, but a deep layer of differently-colored clays that create the pattern. This means that after decades, or even centuries, of foot traffic, the tiles still look like new. Many of Havana’s beautiful homes were made with this level of craftsmanship. It’s allowed them to retain much of their original look, even after years of fascism, revolution, and embargo. “There’s something about how a square turns and twists and creates a really dynamic composition with the most simple shapes. The tile shown here is based directly on tile from an old home in Havana,” Lisa explains. “We cut a stencil based on that design, and then we painted, using this template over and over again. “Of course, we could do this kind of project digitally,”—have it printed or cut out of vinyl—“but we want to replicate the handmade quality of the original.

“That’s the really lovely thing when you come to Berkeley Rep: every costume, every piece of scenery, every prop, literally everything the actors touch was handmade for that production by our artisans.” What this means, especially for shows like The Cook that require the depth of real-world textures, is that the audience experience becomes richer, more immersive, and more resonant—even if they don’t notice every detail. Welcome to Gladys’s kitchen. 28 | THE BERKELEY REP MAGAZINE

— DC S CARPELLI, CREATIV E DIRECTOR

Top to bottom: The beautiful maquette of Tanya Orellana’s set design; A cut stencil for tile painting; Scenic artist Katie Holmes painting tiles; The finished floor, cut for the stage of the Peet’s.

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When extraordinary artists visit Berkeley Rep for limited engagements, subscribers get priority, discounted access. Past events have included An Evening with David Sedaris, Laura Benanti’s Nobody Cares, Sasha Velour’s The Big Reveal Live Show!, W. Kamau Bell’s Who’s With Me?, and Conversations with Fran Lebowitz.

SEP 15–19, 2026

“My new show Choligarchy is bringing me back to my roots as a political comedian. This will be my most blistering and brutally honest show yet!” — MARGARET C H O

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AND SO MUCH MORE TO BE ANNOUNCED!

2026 TONY AWARD FOR BEST PLAY 2026 PULITZER PRIZE FOR DRAMA

OCT 23–NOV 29

LIBERATION BY BESS WOHL DIRECTED BY WHITNEY WHITE

A CO-PRODUCTION WITH GEFFEN PLAYHOUSE AND STUDIO THEATRE

WEST COAST PREMIERE | RODA THEATRE A daughter digs into her mother’s unfinished feminist revolution in this

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YOUR STORY STARTS AT BERKELEY REP Having served our community for over 25 years, the Berkeley Rep School of Theatre is committed to providing programming that engages, challenges, and inspires students of all ages. With programs serving youth, teens, and adults across all backgrounds and experiences, we are thrilled to inspire lifelong learning through the power of theatre and encourage every voice to tell their story. Our comprehensive programs include: Classes for Adults Youth (K–12) Classes and Summer Camps In-School Residency Workshops Student Matinees

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Visit berkeleyrep.org/school or call 510 647-2972.

ART BY DC SCARPELLI.

bitingly funny, intensely relevant play on freedom and inheritance.

2026/27 SEASON

STORIES OF THE BEFORE AND AFTER, OF EVOLUTION AND REVOLUTION. THE COOK BY EDUARDO MACHADO DIRECTED BY DAVID MENDIZÁBAL

SEP 4–OCT 11, 2026

LIBERATION BY BESS WOHL DIRECTED BY WHITNEY WHITE A CO-PRODUCTION WITH GEFFEN PLAYHOUSE AND STUDIO THEATRE

WEST COAST PREMIERE

OCT 23–NOV 29, 2026

COVENANT BY YORK WALKER DIRECTED BY TAYLOR REYNOLDS WEST COAST PREMIERE

NOV 6–DEC 13, 2026

THE INTERESTINGS MUSIC & LYRICS BY SARA BAREILLES BOOK BY MEG WOLITZER & SARAH RUHL BASED ON THE NOVEL BY MEG WOLITZER DIRECTED BY MICHAEL ARDEN MUSIC SUPERVISION BY NADIA DIGIALLONARDO PRODUCED IN ASSOCIATION WITH MATT ROSS

WORLD PREMIERE

JAN 31–MAR 21, 2027

HOLD ME IN THE WATER BY RYAN J. HADDAD DIRECTED BY DANNY SHARRON WEST COAST PREMIERE

MAR 12–APR 18, 2027

MEET THE CARTOZIANS BY TALENE MONAHON DIRECTED BY LORETTA GRECO A CO-PRODUCTION WITH THE HUNTINGTON

WEST COAST PREMIERE

MAY 21–JUN 27, 2027

LEOPOLDSTADT BY TOM STOPPARD DIRECTED BY CAREY PERLOFF WEST COAST PREMIERE

JUN 4–JUL 11, 2027

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YESENIA IGLESIAS IN THE COOK; PHOTO BY BEN KRANTZ; ART BY DC SCARPELLI. RYAN J. HADDAD IN HOLD ME IN THE WATER; PHOTO BY VALERIE TERRANOVA. THE INTERESTINGS ART BY LYNN BUCKLEY. ALL OTHER ART BY DC SCARPELLI.

AMERICAN CONSERVATORY THEATER PRESENTS AN EMMA RICE COMPANY, KAY & MCLEAN PRODUCTIONS AND JONATHAN CHURCH THEATRE PRODUCTIONS CO-PRODUCTION

ALFRED HITCHCOCK’S

ADAPTED AND DIRECTED BY EMMA RICE

“FUN, INTELLIGENT AND POWERED BY RICE’S JOYFUL WHIMSY” – THE GUARDIAN

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SEP 22–OCT 18 | TONI REMBE THEATER BASED ON THE TURNER ENTERTAINMENT CO. FILM NORTH BY NORTHWEST PRODUCED BY SPECIAL ARRANGEMENT WITH WARNER BROS. THEATRE VENTURES AND KAY & MCLEAN PRODUCTIONS ORIGINALLY CO-PRODUCED BY EMMA RICE COMPANY, YORK THEATRE ROYAL, HOME MANCHESTER, LIVERPOOL EVERYMAN & PLAYHOUSE AND ALEXANDRA PALACE THEATRE

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Danny Collins, photo by Richard Soublet

“THIS PRODUCTION IS A HECK OF A LOT OF FUN”– THE

Berkeley Rep: The Cook