Berkeley Rep: The Monsters by Berkeley Repertory Theatre

THE MONSTERS

WELCOME TO BERKELEY REP

To

ensure the best experience for everyone:

While always welcomed , masks are required inside the theatres during five 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.

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.

Get closed captioning on your smartphone! Closed captioning is available for the following evening performances: April 1, 3, 5, and 7; and every matinee through April 30.

For detailed information on how to access and connect to closed captioning service, please consult lobby signage or ask an usher for an instruction card.

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PAUL HEPPNER

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WHAT IS IT ABOUT SIBLINGS?

Inescapable, defining, bound for life, reflections, allies, antagonists. Someone with whom we (not always) share genetic material, history, lineage. Theatrical literature is filled with notable siblings, from Shakespeare’s twins to Chekhov’s Three Sisters, with the battling families of August Wilson’s The Piano Lesson and Tracy Letts’ August: Osage County as more recent examples.

As an only child (until I was 16 — through the beautiful intricacy of modern family life, I am now the middle of five!), I was always fascinated by the idea of having a teammate with whom I could navigate the mysteries of the world, or even of our parents, someone with a similar understanding of a shared experience. I realize this is largely a fantasy — that there are as many dysfunctional siblings as not, and just because you have been raised in the same family in no way guarantees love, alignment, or a mutual worldview.

I have had the privilege of developing Ngozi’s plays on two coasts now. We first worked together more than a decade ago on her beautiful play The Homecoming Queen, prior to its world premiere production in New York. And I’m thrilled to now welcome her to Berkeley Rep’s mainstage. Ngozi developed The Monsters during The Ground Floor’s Summer Residency Lab in 2024, and it is always deeply satisfying to see the projects that we have supported in their earliest stages come to fruition. And Berkeley audiences have the pleasure of getting to know Ngozi as an actor (the discipline for which she originally trained!) as well as a playwright.

Ngozi is a writer of love stories. Sometimes love between romantic partners, amongst friends, and in this case, within a family. Her dynamic embrace, full of passion, challenge, friction, and heart, extends to the audience. The Monsters brings us squarely into the realm of BIG and LIL.

Welcome to the cage!

Warmly,

Johanna Pfaelzer Artistic Director

COURAGE. THE MONSTERS

and our upcoming world- premiere musical The Lunchbox both feature that theme, which I find inspirational in these challenging times — what it takes to reach out, to connect, to forgive, to be vulnerable, to live. Each reminds us how seemingly modest gestures can make a profound, and sometimes unintended, impact.

I had the pleasure of seeing the acclaimed world premiere of Ngozi Anyanwu’s The Monsters in New York earlier this year, and it deepened my excitement about producing this West Coast premiere. Ngozi, who directed that production, now stars alongside Bay Area–born Sullivan Jones, under the direction of Tamilla Woodard. Raw and riveting, this sibling love story delivers an emotional knockout and wrestles with the demons we must face to reconnect, rebuild, and forgive.

We are especially proud that The Monsters was developed in The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work. Championing artists at pivotal moments and connecting their work to audiences in Berkeley and beyond is central to our mission.

Even as this production takes the stage, we are looking ahead to an extraordinary 2026/27 season. Subscriptions are now available, and I encourage you to secure your seats early. The season includes the world-premiere musical adaptation of Meg Wolitzer’s bestselling novel The Interestings, featuring a book by Meg Wolitzer and Sarah Ruhl, music and lyrics by Sara Bareilles, and direction by Michael Arden. Spanning decades of friendship, ambition, envy, love, and art, it promises to be the theatrical event of the season and is notto-be-missed. Full-season subscribers receive the best prices and seats, free exchanges, early access to special events, and other benefits designed to make your theatre-going flexible, affordable, and rewarding. Thank you to the thousands that have already signed up! Your presence and partnership make bold storytelling possible.

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.

THE NEXT GENERATION OF Theatregoers and Leaders

BY KARINA LIPE, 2025/26 SEASON EDUCATION FELLOW

As we move through the second half of our season, Berkeley Rep’s School of Theatre stays busy as ever. This includes our Teen Council, fast at work as they prepare for some exciting future events.

Berkeley Rep’s Teen Council is a leadership-based program that works to cultivate the next generation of theatre audiences and professionals by offering opportunities for teens to engage with Berkeley Rep’s various departments and shows. Teen Council is made up of 10-16 students from around the Bay Area who are eager to engage their peers through theatre arts. The Council is responsible for planning and executing “Teen Night” for each of the shows in Berkeley Rep’s season — a unique event by teens, for teens.

During Teen Nights, the Council hosts a viewing of a current mainstage show, organizes advocacy based on the show’s content, and features behind-the-scenes interviews with the world-class artists involved in the production. Teen Council members receive free admission to all of our shows and other teen programs as well as receiving exclusive access to

Berkeley Rep’s leadership staff panel, who share their experience and insights on how students can continue working in theatre as they transition out of high school.

In April, members of our Teen Council will attend Arts Advocacy Day in Sacramento. Here, they’ll get the opportunity to raise awareness and advocate for the arts, as well as participate in discussions with state lawmakers, peer organizations, and other change-makers throughout the state of California.

“Arts Advocacy Day was an incredibly empowering experience. It’s a vital way of connecting working artists to change-makers who care about the arts but haven’t had any exposure or knowledge of the field. Through Arts Advocacy Day, people can put faces to names around who is affected by certain legislation regarding the arts and gain new connections to support their votes on beneficial changes towards California artistic communities,” says 2024/25 season Education Fellow, Mondara Ixchel.

“Teen Council has grown into a space where teens don’t just respond to theatre, they help lead it,” says Ae-

Jay Antonis Marquis Mitchell, School of Theatre’s Education Programs Associate. “Over time, I’ve watched their curiosity sharpen into confidence and their questions reshape our practices. Their presence has expanded how Berkeley Rep listens, programs, and imagines community, reminding us that youth leadership should not be symbolic. It’s essential in shaping theatre’s now, not just its tomorrow.”

The theatre industry is constantly changing, and with that, new audiences are being introduced to Berkeley Rep’s groundbreaking storytelling. If you know a teen who is passionate about theatre, interested in fostering community, or looking to grow their leadership skills, encourage them to head to BerkeleyRep.org/TeenCouncil to apply for next year’s cohort and get involved!

Top: 2025/26 Season Teen Council cohort with Berkeley Rep’s Artistic Director Johanna Pfaelzer.

SKIP THE BABYSITTER. BRING THE FAMILY.

THEATRE EXPLORERS

Parents, we’ve got something special just for you! While you enjoy a Saturday matinee at Berkeley Rep, your K–5 student can dive into an exciting, age-appropriate workshop just next door at our School of Theatre. Led by professional teaching artists, these sessions include theatre games and hands-on art projects designed to spark imagination.

Learn More:

FOR THE LOVE OF THE FIGHT MIXED MARTIAL ARTS IN

THE MONSTERS

BY YASMIN EUBANKS

The Monsters isn’t just a story about mixed martial arts (MMA). Playwright Ngozi Anyanwu uses MMA as a means of processing trauma and rebuilding lost relationships. BIG and LIL are fighters, in every sense of the word, but they use fighting as a way of learning how to stay connected rather than pull away. In their story, the cage is not a battleground; it’s a classroom, a confessional, and a rehearsal space for survival.

But why MMA?

Mixed martial arts is a full contact sport that combines multiple martial arts disciplines including boxing, wrestling, Brazilian jiu-jitsu, Muay Thai, judo, and more. Mixed martial artists train tirelessly, learning the moves and strategies of these disciplines to formulate an individual style that uniquely suits each athlete. In addition to the extremely technical martial arts movements required, MMA training also requires athletes to learn endurance, control, discipline, trust, and awareness — much like an actor. MMA is not just about unleashing brutal techniques on an opponent — it requires constant negotiation between aggression and restraint, the same skills that BIG and LIL use both inside and outside of the cage.

MMA was once viewed as a fringe and “brutal blood sport without rules.”1 Its roots can be traced back to ancient Greece with a version of hand-tohand combat called the pankration, meaning “all power,” where savage contests of kicking, hitting, and strangling were allowed.2 However, modern MMA is more directly related to Brazilian “vale tudo” competitions that developed in the early twentieth century and involved full-contact combat sports Ancient Greek skyphos depicting the pankration.

with minimal rules.3 These early contests and competitions laid the groundwork for the popular sport we see on television today. MMA, as we now know it, gained international visibility in the 1990s with the emergence of televised competitions that brought different fighting styles together for competition. With the addition of strict rules and regulations, MMA has gradually turned into one of the world’s fastest growing sports of the modern world, with the Ultimate Fighting Championship (UFC) becoming the leading promoter of MMA events. Unlike boxing, which limits strikes to the head and body, or wrestling which prioritizes position over exhaustive defeat, MMA combines multiple disciplines to create an exciting, entertaining, and competitive matchup of styles. This blending of disciplines requires a precise, intentional physical awareness that goes beyond competition and into performance.

The play’s characters move from athletic practices to a deeper awareness of body, self, and relationships. For BIG and LIL, MMA becomes a ritualistic representation of their inner battles and the fight for their relationship. When choreographed for the stage, rather than simply mimicking real fights, MMA is about translating physical action into emotional catharsis and storytelling. This fight choreography requires intentional collaboration between the director and the fight choreographer as well as intense training for the actors tasked with balancing intricate choreography, pacing, precision, and emotional storytelling. The combat you see in the play becomes a physical expression of effort, intimacy, and vulnerability between siblings rather than the mainstream image of brutality that MMA often carries. As a practice rooted in emotional exposure, MMA shapes the dramatic world of The Monsters and allows the characters to fight as a practice of reconciliation and survival. In this world, fighting is a tool for healing and connection.

REFERENCES

YASMIN EUBANKS is a theatre practitioner and educator working at the intersection of performance, pedagogy, and culturally grounded storytelling. She holds a Master’s degree in theatre and performance studies from the University of Maryland, where her research examined the role of Black women as cultural intermediaries in the evolution of theatre and performance, with a focus on artists such as Beyoncé, Antoinette Nwandu, and Ava DuVernay. Her scholarship engages Black feminist theory, performance studies, and historiography, exploring how African spiritual and performative practices continue to shape modern theatrical forms. Professionally, Eubanks works as a theatre educator and practitioner, developing performance-based curricula that centers student voice, ensemble building, and culturally responsive pedagogy. She has served as a dramaturg, director, and teaching artist, with experience across secondary and community-based arts programs. Her work bridges academic research and applied practice, emphasizing theatre as both an artistic discipline and a communal practice rooted in history, presence, and embodied knowledge.

2. “Pankration.” Encyclopedia Britannica.

1. “Mixed martial arts (MMA) | UFC, Fighting Styles, Boxing, Techniques & Facts.” Encyclopedia Britannica.

3. TP Grant. “History of Jiu-Jitsu: Coming to America and the Birth of the UFC.” Bleacher Report.

MMA fighters at the 2019 One Championship in Bangkok, Thailand.

Before retiring, I sporadically attended Berkeley Rep but later became involved in volunteering as an usher with my husband, Martin Freedman. Wishing to do all I could to support the high standards of this valuable, local organization, I became a docent, allowing me to lead preshow talks and facilitate postshow discussions.

I want to contribute as an active volunteer and offer financial support into the future. Being a member of the Michael Leibert Society is my way of helping to assure theatrical experiences for future generations.

— Joy Lancaster

MICHAE L LEIBERT LE GA CY SOCIETY BERKELEY REP

To learn more about how to create your legacy at Berkeley Repertory Theatre, contact Philanthropy Officer, Andrew Maguire at 510 647-2904 or amaguire@berkeleyrep.org.

FROM THE GROUND FLOOR’S SUMMER RESIDENCY LAB TO THE MAINSTAGE:

Playwright Ngozi Anyanwu has lived with this story in more ways than one. After writing the play, shaping its early life as a director (including directing the world premiere production for Manhattan Theatre Club and Two River Theater), and now stepping into the work as an actor, Anyanwu brings a rare, full-circle relationship to the piece. In this conversation, Associate Producer of New Work victor cervantes jr. sits down with the actor and playwright of this production to discuss how the story has evolved across those roles, what it’s like to inhabit the world she first imagined, and what it means to bring the play to Berkeley Rep.

victor cervantes jr.: In the script, the play is titled The Monsters: a sibling love story. You often write about siblings, but I’m curious — what specifically drew you to telling this brother–sister story?

room, their backyard, their sibling. I’m always trying to make sure people feel seen.

Ngozi Anyanwu: I’m interested in intimacy in a familial way. I have always written attempts at love stories, or rather, at healing stories. I remember writing Good Grief and writing the brother-sister scene and thinking that I would love to write a whole play that is around this relationship. I think it might be my niche. I know there are big political things happening in the world — I think the way I engage politically is by humanizing people, and that starts at home. I’m interested in how people are actually living through these moments. A lot of the time, they’re not thinking about the big picture. They’re thinking about their

vcj: So much of these two characters are defined by their physicality and the restrictions the world imposes on them because of it. There is a moment in the play where BIG talks about not being understood or seen as human. What are you hoping people will take away from BIG and LIL?

NA: When I got out of undergrad, the writers we were really talking about were August Wilson, Lynn Nottage, and Suzan-Lori Parks. I loved their work, but I didn’t always see a place for myself in it. I write things I’m personally moving through, and I hope someone else might pick it up. This play is me saying, “I believe you. I don’t feel sorry for you. I think you’re beautiful. I think you’re necessary. I think you’re wonderful.”

Ngozi Anyanwu. continued: My brother, who inspired BIG, and I are really close. We don’t talk all the time, but some of our most intimate conversations happen between us, and a lot of those conversations break my heart. I was trying to make sure he felt seen and trying to create a marker for men like him, and for actors like him in the larger theatre world.

vcj: What you’re describing is one of the reasons we were drawn to the story and invited you to develop The Monsters through Berkeley Rep’s Ground Floor Summer Residency Lab in 2024. What does it feel like returning to a place that was part of the play’s development?

NA: Ground Floor was really about testing. It was short and intense, and it gave me space to just try things and not know. I could throw stuff at the wall, generate new writing, and ask a lot of questions about what the play actually wanted. People were just like, “What do you need?” and I could say, “I need this, I need that,” and then try it. That kind of room is rare. It helped me move forward with the piece feeling a lot clearer and a lot more confident about what it is. I’ve also known Johanna for a really long time. She’s one of the people who kind of started my New York playwriting career, so being at Berkeley always hits that way.

vcj: We are so grateful to have you at Berkeley Rep and for all your additions to the American theatrical canon. In that vein, what does that mean for this play, and for all your plays, to be known as “American plays?”

NA: It took me until maybe my third play to call myself a playwright. The turning point happened at my former university where I returned for a production of my play, Good Grief. They opened a brand-new theatre where my play would be the inaugural production — in a place where, at one point, I hadn’t been included in an actors showcase because of the lack of roles for me. A place where I was told, “We can’t just do a Black play for you.” And now I was being asked to show up and say, “This is theatre. This is what you’re supposed to aspire to.”

At that time, I was in the library reading Greek theatre, discovering August Wilson, discovering Suzan-Lori Parks. And now I know Suzan-Lori Parks. I know Wilsonites. That’s what it feels like. It feels like family albums, like markers of time. Good Grief was one of those markers. I self-produced it. Then I won a contest. Then I had a career. And now it’s part of the American theatre. That definition is and should be constantly evolving.

Previous spread: Ngozi attends the opening for the MTC production of The

Left: Ngozi in Good Grief at Center Theatre Group’s Kirk Douglas Theatre in Los Angeles.

Right: Ngozi at a press event for Manhattan Theatre Club’s production of The Monsters.

Monsters.

BERKELEY REPERTORY THEATRE

BERKELEY THEATRE

JOHANNA PFAELZER, ARTISTIC DIRECTOR | TOM PARRISH, MANAGING DIRECTOR

SCENIC DESIGN NINA BALL

CASTING KARINA FOX

ARTISTIC

IN A CO-PRODUCTION WITH LA JOLLA PLAYHOUSE

PRESENTS

THE MONSTERS BY NGOZI ANYANWU DIRECTED BY TAMILLA WOODARD

CHOREOGRAPHER ADESOLA OSAKALUMI

COSTUME DESIGN CELESTE JENNINGS

MIXED MARTIAL ARTS CONSULTANT SIJARA EUBANKS

CASTING KARINA FOX

DIRECTOR OF MARKETING AND AUDIENCE SERVICES VOLEINE AMILCAR

DIRECTOR OF PRODUCTION AUDREY HOO

LIGHTING DESIGN REZA BEHJAT

SOUND DESIGN BAILEY TRIERWEILER & UPTOWNWORKS

STAGE MANAGER KRISTY BODALL*

ASSOCIATE PRODUCER — NEW WORK victor cervantes jr.

DIRECTOR OF THE SCHOOL OF THEATRE ANTHONY JACKSON

ASSOCIATE ARTISTIC DIRECTOR/DIRECTOR OF IN DIALOGUE DAVID MENDIZÁBAL

SOUND DESIGN BAILEY TRIERWEILER/ UPTOWNWORKS

ASSISTANT STAGE MANAGER LUCAS BRYCE DIXON

GENERAL MANAGER SARA DANIELSEN

DIRECTOR OF FINANCE SAM LINDEN

DIRECTOR OF HUMAN RESOURCES AND DIVERSITY MODESTA TAMAYO

GENERAL MANAGER SARA DANIELSEN

DIRECTOR OF DEVELOPMENT ARI LIPSKY

DIRECTOR OF OPERATIONS AMANDA WILLIAMS O’STEEN

DIRECTOR OF DEVELOPMENT ARI LIPSKY

WEST COAST PREMIERE

DIRECTOR OF HUMAN RESOURCES AND DIVERSITY MODESTA TAMAYO

WEST COAST PREMIERE

DIRECTOR OF OPERATIONS AMANDA WILLIAMS O’STEEN

The world premiere production of The Monsters was originally produced by Two River Theater and Manhattan Theatre Club Justin Waldman, Artistic Director / Nora DeVeau-Rosen, Managing Director Lynne Meadow, Artistic Director / Chris Jennings, Executive Director

The Monsters was originally commissioned by Two River Theater John Dias, Artistic Director / Michael Hurst, Managing Director

The Monsters was developed with the support of New York Stage and Film.

The Monsters was originally commissioned by Two River Theater John Dias, Artistic Director / Michael Hurst, Managing Director

Developed with support from The Ground Floor at Berkeley Repertory Theatre, Berkeley, CA.

The Monsters was developed with the support of New York Stage and Film.

Developed with support from The Ground Floor at Berkeley Repertory Theatre, Berkeley, CA.

SEASON PRESENTING SPONSORS

Stephen & Susan Chamberlin Yogen & Peggy Dalal

Bruce Golden & Michelle Mercer

Marcia Grand Jonathan Logan & John Piane

SEASON SPONSORS

The Hearst Foundations

Frances Hellman & Warren Breslau

Wayne Jordan & Quinn Delaney

LEAD SPONSOR

ASSOCIATE SPONSORS

Arjay R. and Frances F. Miller Foundation The Strauch Kulhanjian Family

Gail & Arne Wagner

Jack & Betty Schafer

Kelli & Steffan Tomlinson

Edith Barschi & Robert JacksonCindy J. Chang, MD & Christopher HudsonPhyra McCandless & Angelos Kottas

UNDERSTUDIES

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: APRIL 2, 2026

PEET'S THEATRE THE MONSTERS WILL BE PLAYED WITHOUT AN INTERMISSION. BE WITHOUT

FOR THIS PRODUCTION

BOARD OF TRUSTEES

. . Chelsea Pace

Assistant Director Elena Sanchez (Peter F. Sloss Artistic Fellow) Fight Consultant . .

Assistant Lighting Designer Claire Chesne (Electrics Fellow)

Assistant Sound Designer

Riley Oberting (Harry Weininger Sound Fellow)

Production Assistant Todd Loyd

Deck Crew

Wardrobe Crew

Jack Grable, Hannah Linaweaver, Chris Russell, Gabriel Holman (Sub), Siobhán Slater (Sub)

Raegina Joyner, Mika Rubinfeld, Linda Wu (Sub)

Lighting Programmer/Board Op Desiree Alcocer

Sound Crew/A1

Angela Don, Conor Fortner

Scenic Fabrication by La Jolla Playhouse and Berkeley Repertory Theatre Scenic & Paint Shops

Additional Scenery Fabricators

Additional Scenic Artists

Austin Andrade, Cameron Edwards, Carl Martin, Troy McClendon, Drea Ronquillo, Krista Wright

Kenzie Bradley, Julie Ann Brown, Wyn DiStefano, Katie Holmes, Allie Kranyak, E Wayman-Murdock

Props Fabrication by Berkeley Repertory Theatre Properties Shop

Additional Prop Artisans

Cassidy Carlson, Hanbyul Joo, Sofie Miller

Costumes Built by Berkeley Repertory Theatre Costume Shop

Additional Costume Technicians . . Chris Weiland (First Hand/Stitcher)

Costume Shop Assistants . . Mika Rubinfeld, Trinity Wicklund

Lighting Services provided by Berkeley Repertory Theatre Lighting Department

Additional Lighting Technicians

Grace Marie Yum Alexander, Emma Buechner, Brittany Cobb, Angelina Costa, Kenneth Coté, Jack Grable, A. Chris Hartzell, Jacob Hill, Brittany Johnson, Hannah Linaweaver, Margaret Linn, Charlie Mejia, Nori-Hayden Quist, Taylor Rivers, C. Swan-Streepy, Matthew Sykes, Sarina Renteria, Riley Richardson, Trinity Wicklund

Sound Services provided by Berkeley Repertory Theatre Sound and Video Department

Additional Sound Technicians . . . .

. Courtney Jean

Production Manager Kali Grau Assistant Production Manager Alex Hamm (Production Management Fellow) Company Manager Ryan Duncan-Ayala Assistant Company Managers Bella Campos Hintzman, Katelin Shum (Company Management Fellow)

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

ARTISTIC

BERKELEY REP STAFF

Johanna Pfaelzer . . .Artistic Director

David Mendizábal Associate Artistic Director/Director of In Dialogue

victor cervantes jr. .Associate Producer – New Work

Karina Fox .Resident Casting Director & Artistic Associate

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

Ryan Duncan-Ayala

General Manager

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

Rachel Pollard Interim Wardrobe Supervisor

Caz Hiro . . . . .Associate Wardrobe Supervisor

Erin Taylor . . . .Lead Hair Technician

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

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 .Assistant Stage Supervisor

Siobhán Slater .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

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

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

Ari Lipsky

Director of Development

Laura Fichtenberg .Associate Director of Development

Kelsey Scott .Associate Director of Institutional Giving

Andrew Maguire . Philanthropy Officer

Harper Brown . Annual Fund Manager

Elaina Guyett Corporate Partnerships 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

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

Rodrick Edwards . 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 . Box Office Leads

Matthew Hayden, Jack Melcher, Lauren Payne, Sesar Sanchez, Celeste Wong .Box Office Agents

dean dawkins, Maddi Gjovik, Megan Rossoni, Trinity Wicklund . House Managers

Sylvia Abrams-Wolffsohn, Julian Balcziunas, Latasha Hayes, Armando Herrera, Camille Kobelin, Kelland Li, Frances Manthorpe, Courtney Marchi, Lauren McGatlin-Golier, Maria Mikheyenko, Bine Buencamino Phung, Nicolas Puorro,

Tuesday Ray, Kaylee Royster, Kira Street, Jessica Williams, Kailani Zabala .Front of House Staff

2025/26 BERKELEY REP FELLOWSHIPS

James Calhoun . . Costumes Fellow

Claire Chesne . . . .Electrics Fellow

Katie Genzer . .Bret C Harte Artistic Fellow

Alex Hamm .Production Management Fellow

Isla Hofmann .Scenic Construction Fellow

Khia Jefferson . .Marketing and Development Fellow

.Teaching Artists

Bobby August Jr., April Ballesteros, Diana Brown, Elizabeth Carter, Rebecca Castelli, Jiwon Chung, Edris Cooper-Anifowoshe, Devin A. Cunningham, Deborah Eubanks, Nancy Gold, Gary Graves, Marvin Greene, Susan Jane Harrison, George Higgins, Ramon Hernandez, William Hodgson, Mondara Ixchel, Sullivan Jones, Erolina Kamburova, Rachel Ka'iulani Kennealy, Adam KuveNiemann, Jennifer LeBlanc, Julian López-Morillas, Dave Maier, Rose McAvoy, Carolyn McCandlish, Al Niotta, Amanda Nguyen, Joel Ochoa, Joe Orrach, Pamela Rickard, Adrian Ruvalcaba, Teresa Salas, Hayley Sherwood, Joyful Simpson, Skyler Sullivan, Samuel Tomfohr, Phil Wong

Matty Bloom, Joy Lancaster, Selma Meyerowitz Docent Chairs

Ted Bagaman, Michelle Boudreau, Beth Cohen, Michelle Cordero, Miles Drawdy, Nancy Drooker, 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, Judith O’Rourke, Jeanette Pettibone, Gigi Singer, Bridget Soto Docents

Karina Lipe . . .Education Fellow

Riley Oberting

Harry Weininger Sound Fellow

Amelia Reyes-Gomez . . .Properties Fellow

Elena Sanchez . .Peter F Sloss Artistic Fellow

Katelin Shum . .Company Management Fellow

Olivia Spreen . .Stage Management Fellow

Courtney Sutherland .Scenic Art Fellow

FOR THIS PRODUCTION

Ngozi

Assistant Director Elena Sanchez (Peter F. Sloss Artistic Fellow)

Anyanwu *

Fight Consultant

LIL, Playwright

Ngozi is a multihyphenate storyteller coming fresh from her professional directing debut with The Monsters' world premiere at Two River Theater in conjunction with Manhattan Theatre Club in 2025. Her previous plays include Leroy and Lucy (Steppenwolf; Jeffrey award nominated), The Last of the Love Letters (Atlantic Theater), Good Grief (Vineyard Theatre, Center Theatre Group; NYT Critic’s Pick), and The Homecoming Queen (Atlantic Theatre; sold-out world premiere run and a NYT Critic’s Pick). Good Grief was on the Kilroys List 2016, a semifinalist for the Princess Grace Award, and a Humanitas Award-winner. Her play Nike… (Kilroys List 2017) was workshopped at The New Black Fest with The Lark, The Strand Festival with ACT, SPACE on Ryder Farm, and New York Stage and Film. Ngozi has been commissioned by NYU, The Old Globe, Two River Theater, Atlantic Theater, and Steppenwolf. She has received residencies from LCT3, National Black Theatre, SPACE on Ryder Farm, the Djerassi Resident Artists Program, The New Harmony Project, New York Stage and Film, and Page 73. She earned her BA at Point Park University and received her MFA in acting from UC San Diego.

Chelsea Pace

Assistant Lighting Designer Claire Chesne (Electrics Fellow)

Assistant Sound Designer Riley Oberting (Harry Weininger Sound Fellow)

Production Assistant Todd Loyd

Deck Crew

among others. In film, Sullivan recently starred as Muhammad Ali in the feature film Big George Foreman for Sony. In addition to his on-camera work, Sullivan has narrated award-winning audiobooks and voiced characters for major videogames.

Jack Grable, Hannah Linaweaver, Chris Russell, Gabriel Holman (Sub), Siobhán Slater (Sub)

BOARD OF TRUSTEES

William T Espey

PRESIDENT

Jill Fugaro

VICE PRESIDENT

Sudha Pennathur

PRESIDENT

VICE

Sherry A Smith

PRESIDENT

VICE

Leonard X Rosenberg

Wardrobe Crew Raegina Joyner, Mika Rubinfeld, Linda Wu (Sub)

celebrated work. One of her proudest screen achievements is her role as Willie Mae in MGM's historical drama Till, a project that deepened her passion for civil rights storytelling and culturally resonant narratives. Beyond acting, she channels her artistic vision into photography and interior design, expressing creativity both on and off screen.

TREASURER

Jamal James *

Lighting Programmer/Board Op Desiree Alcocer

Steven C Wolan

SECRETARY

u/s BIG

Sound Crew/A1 Angela Don, Conor Fortner

Scenic Fabrication by La Jolla Playhouse and Berkeley Repertory Theatre Scenic & Paint Shops

Additional Scenery Fabricators

Additional Scenic Artists

Alfredo Silva

Tamilla Woodard Director

CHAIR OF THE AUDIT COMMITTEE

Sandra Eggers

CHAIR OF THE GOVERNANCE COMMITTEE

Henning Mathew

CHAIR OF THE INVESTMENT COMMITTEE

Additional Prop Artisans

Austin Andrade, Cameron Edwards, Carl Martin, Troy McClendon, Drea Ronquillo, Krista Wright

Kenzie Bradley, Julie Ann Brown, Wyn DiStefano, Katie Holmes, Allie Kranyak, E Wayman-Murdock

Props Fabrication by Berkeley Repertory Theatre Properties Shop

Cassidy Carlson, Hanbyul Joo, Sofie Miller

Costumes Built by Berkeley Repertory Theatre Costume Shop

Additional Costume Technicians . . Chris Weiland (First Hand/Stitcher)

Costume Shop Assistants . . Mika Rubinfeld, Trinity Wicklund

Lighting Services provided by Berkeley Repertory Theatre Lighting Department

Additional Lighting Technicians Grace Marie Yum Alexander, Emma Buechner, Brittany Cobb, Angelina Costa, Kenneth Coté, Jack Grable, A. Chris Hartzell, Jacob Hill, Brittany Johnson, Hannah Linaweaver, Margaret Linn, Charlie Mejia, Nori-Hayden Quist, Taylor Rivers, C. Swan-Streepy, Matthew Sykes, Sarina Renteria, Riley Richardson, Trinity Wicklund

Jamal is thrilled to be working at Berkeley Rep for the first time understudying this beautiful new work! A recent transplant to LA, he is a proud member of AEA and SAG-AFTRA. Ravenous for all things storytelling, he has acted and toured all over the country (and sometimes outside of it!). Some of his favorite stage credits include The Taming of the Shrew (Shakespeare & Company); The Royale (Kitchen Theatre Company, Geva Theatre, American Players Theatre); Hamlet, Love’s Labour's Lost (American Players Theatre); A Case for the Existence of God (Forward Theater Company); The Color Purple (National Broadway tour); Beauty and the Beast, Violet: The Musical (Barter Theatre). His TV credits include Gotham, Blue Bloods, City on a Hill, and FBI: Most Wanted. Grateful to God, his friends and family, and to all who have hearts to care for others. TheJamalJames.com

Sound Services provided by Berkeley Repertory Theatre Sound and Video Department

Juan Oldham

CHAIR OF THE FACILITIES COMMITTEE

Emily Shanks

IMMEDIATE PAST PRESIDENT

Anna Bellomo

Aimee Brown

Christina Crowley

Christopher Doane

Chuck Fanning

Steven Goldin

Jonathan C Logan

Sandra R McCandless

Kristin Pace

Tom Parrish

Johanna Pfaelzer

William Rogers

Becky Saeger

Allan Smith

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

Scott Haber

David Hoffman

Tamilla is a resident director at Yale Repertory Theatre, Chair of the Acting Program at the David Geffen School of Drama at Yale, and the co-founder of the site-specific international partnership, PopUP Theatrics. Recent credits include Zora Neale Hurston’s world-premiere musical SPUNK at Yale Rep. Tamilla has directed at theatres nationally and internationally, including at WP Theater, Alliance Theatre, the Guthrie, Baltimore Center Stage, American Conservatory Theater, Folger Theatre, Classical Theatre of Harlem, and Clubbed Thumb, among others. Represented in film and other media by the concert film Weightless by Bay Area’s own The Kilbanes. Tamilla is a proud board member of the Society of Stage Directors and Choreographers, previously named one of 50 Women to Watch on Broadway, and is a recipient of the Josephine Abady Award from the League of Professional Theatre Women.

Richard F Hoskins

Dugan Lamoise

Additional Sound Technicians . . . . .

Sullivan Jones * BIG

Sullivan is an actor known for his work across television, film, and theatre. In television, Sullivan has appeared in award-winning series such as The Gilded Age (HBO), Atlanta (FX), Interior Chinatown (Hulu), Harlem (Amazon), Elsbeth (CBS), and the Netflix series Halston, among others. On stage, Sullivan made his Broadway debut in the 13-time Tony-nominated Slave Play, and has appeared in regional stage productions at the Williamstown Theatre Festival, The Denver Center, Baltimore Center Stage, Berkeley Rep, Long Wharf Theatre, TheatreWorks, and the African-American Shakespeare Company,

Carol J. McKenith

Courtney Jean

Melanie Maier

Helen Meyer

Adesola Osakalumi Choreographer

Peter Pervere

Marjorie Randolph

Patricia Sakai

u/s

LIL

Production Manager Kali Grau

Jack Schafer

William Schaff

Assistant Production Manager Alex Hamm (Production Management Fellow) Company Manager Ryan Duncan-Ayala Assistant Company Managers Bella Campos Hintzman, Katelin Shum (Company Management Fellow)

Carol is a dynamic actor and creative force known for her compelling character work across television, film, and stage. A proud Jersey Girl from Englewood, she brings authenticity, strength, and emotional depth to every role she portrays while expanding her voice behind the camera. Her television credits include Chicago Med (NBC), Outer Banks (Netflix), BMF (Starz), Gotham Knights (CW), and Saturdays (Disney), among others. On stage, she passionately embraced the work of August Wilson, portraying Dussie Mae in Ma Rainey’s Black Bottom, where she showcased her command of language and boldness within Wilson’s

Adesola's choreography credits include Skeleton Crew (Broadway, Manhattan Theatre Club); Akinola (Guggenheim); Sweetwater (National Black Theatre); The Wash (New Federal Theatre); Cullud Wattah, Coal Country, Othello (Public Theater); Leroy and Lucy (Steppenwolf); The Grove (Huntington Theatre); Syncing Ink (Victoria Theater); runboyrun, Eyewitness Blues (NYTW); Good Grief (Vineyard); Jam on the Groove (City Center & Minetta Lane); School of Rock (2003 film). He is the recipient of a Bessie Award and a Drama Desk nominee.

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

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

Nina Ball

Scenic Design

Nina is a scenic designer, visual artist, and educator based here in the Bay Area. Her credits include American Conservatory Theater, Oregon Shakespeare Festival, Seattle Repertory, Repertory Theatre of St. Louis, TheatreWorks, California Shakespeare Theater, People's Light, Shotgun Players, and San Francisco Playhouse, among many others. Notable productions include the West Coast premiere of Natasha, Pierre and the Great Comet of 1812 at Shotgun Players (SFBACC Award nominee), Romeo and Juliet, and How I Learned What I Learned at OSF. Other awards include TBA awards for Blasted at Shotgun Players and The Nether at SF Playhouse. Her affiliations include Scenic Design Faculty, Stanford University; Company Member, Shotgun Players; Artistic Associate, Marin Shakespeare Company; United Scenic Artists Local 829.

Celeste Jennings

Costume Design

Celeste is a passionate playwright and costume designer. Recent and upcoming designs include Fun Home (Huntington Theatre), As You Like It (Folger Theatre), Memnon (The Classical Theatre of Harlem), Minority (Women’s Project & Colt Coeur), Furlough’s Paradise (Geffen Playhouse), and Appropriate (The Old Globe). She’s a current Terrance McNally Fellow with Rattlestick Theatre and recently developed her play Potliqka. Her plays ‘Bov Water and Citrus were produced at Northern Stage and she developed a play with music, Contentious Woman (Relentless Award Honorable Mention) with PlayCo. Jennings holds an MFA in costume design from NYU Tish School of the Arts.

Reza Behjat

Lighting Design

Reza is an Obie Award-winning lighting designer and theatre artist based in New York. His previous work at Berkeley Rep includes English and Mother of Exiles. Broadway credits include English (Atlantic/Roundabout). His off-Broadway design credits include Atlantic Theater, BAM, Signature Theatre, Public Theater, The New Group, MCC, Playwrights Horizons, Primary

Stages, Audible, Page 73, Flea, Red Bull Theater, Ars Nova, and more. He has worked with regional theatres such as Guthrie Theater, Steppenwolf Theatre, Berkeley Rep, Old Globe, Milwaukee Rep, Seattle Rep, Hudson Valley Shakespeare, Wilma Theater, Arizona Theatre Company, Actors Theatre of Louisville, Geva Theatre, Long Wharf, and Alabama Shakespeare, among others. He is the recipient of Obie Awards in Design for English and Wish You Were Here, a Knight of Illumination Award for Nina Simone: Four Women, and a nominee for Drama Desk, Henry Hewes, and Jeff Awards.

Bailey Trierweiler & UpTownWorks

Sound Design

UptownWorks is a collaborative design team specializing in theatre, film, podcasts, installations, and other media. UptownWorks has worked with Berkeley Repertory Theatre, The Old Globe, Geffen Playhouse, La Jolla Playhouse, Roundhouse Theatre, Goodman Theatre, South Coast Repertory, Indianapolis Repertory Theater, Geva Theatre, NYTW, AMT, The Lortel, Ensemble Studio Theater, DCPA, Berkshire Theatre Group, Miami New Drama, Hartford Stage, Pittsburgh Public Theater, Baltimore Center Stage, Syracuse Stage, INTAR, WP Theater, Barrington Stage, National Black Theatre, Classic Stage Company, Studio and Signature Theatres DC. This design was led by Bailey Trierweiler (btsounddesign.com), Daniela Hart (uptownworksnyc.com), and Noel Nichols (noelnicholsdesign.com).

Karina Fox

Casting

Karina has been working as a casting director, producer, and director in the Bay Area since 2017. Now on her fourth season at Berkeley Rep, Karina has worked on the casting of over a dozen mainstage shows as well as The Ground Floor's Summer Residency Lab. Before joining Berkeley Rep in 2022, she was at Magic Theatre serving as the producing and casting director. Previous Magic Theatre casting credits include The Kind Ones, Monument, or Four Sisters (A Sloth Play), The Resting Place, and the Virgin Play Series (2018-2022).

Kristy Bodall *

Stage Manager

Kristy is a NYC-based stage manager and producer. Stage management credits include Mother of Exiles (Berkeley Rep), The Beastiary (Ars Nova), The Keep Going Songs (LCT3), Paris (Atlantic), The Maturation of an Inconvenient Negro (Cherry Lane), Ghost Quartet (NYTW), Material Witness (La MaMa), The Exalted (BAM); with Clubbed Thumb: Deep Blue Sound, Spindle Shuttle Needle, King Philip’s Head Is Still On That Pike Just Down The Road, Plano; with Pipeline Theatre Company: Playing Hot, Folk Wandering, Beardo, The Gray Man, Clown Bar; developmental work with the Public Theater, Second Stage, Playwrights Horizons, Center Theatre Group, and Fresh Ground Pepper.

Lucas Bryce Dixon

Assistant Stage Manager

Lucas' credits include Clyde’s (Berkeley Rep); Our Town, Hello, Dolly, Urinetown: The Musical, The Play that Goes Wrong, A Gentleman’s Guide to Love and Murder (Lyric Stage of Boston); Toni Stone, John Proctor is the Villain, The Band’s Visit, Fat Ham, The Lehman Trilogy, Clyde’s, Joe Turner’s Come and Gone, Common Ground Revisited, The Bluest Eye, Hurricane Diane, Yerma (The Huntington); Heroes of the Fourth Turning, BLKS (SpeakEasy Stage Company); Hair, Oliver!, Trayf, and Nixon’s Nixon (New Repertory Theatre).

La Jolla Playhouse

Co-Producer

La Jolla Playhouse is a place where artists and audiences come together to create what’s new and next in the American theatre, from Tony Award-winning productions, to imaginative programs for young audiences, to interactive experiences outside our theatre walls. Founded in 1947 by Gregory Peck, Dorothy McGuire, and Mel Ferrer, the Playhouse is currently led by Tony Award-winner Christopher Ashley, the Rich Family Artistic Director of La Jolla Playhouse, and Managing Director Debby Buchholz. The Playhouse is internationally renowned for the development of new plays and musicals, including mounting 120 world premieres, commissioning 70 new works, and sending 37 productions to Broadway, garnering a total of 42 Tony

Awards, as well as the 1993 Tony Award for Outstanding Regional Theatre. lajollaplayhouse.org

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.

BASED ON THE NOVEL BY MEG WOLITZER BOOK BY MEG WOLITZER & SARAH RUHL MUSIC AND LYRICS BY SARA BAREILLES DIRECTED BY MICHAEL ARDEN

MUSIC SUPERVISION BY NADIA DIGIALLONARDO

TICKETS AVAILABLE TO CURRENT 2025/26 SUBSCRIBERS NOW WHEN YOU RENEW FOR 2026/27 2026/27 SUBSCRIPTIONS GO ON SALE TO THE GENERAL PUBLIC APRIL 15. NON-SUBSCRIPTION TICKETS AVAILABLE FALL 2026.

SUBSCRIBE NOW TO SAVE AND GUARANTEE THE BEST SEATS! berkeleyrep.org

MMA Glossary

Cage octogon- or hexagon-shaped combat arena where MMA fights take place.

Choke submissions hold that impedes blood flow in the opponent’s neck arteries.

Clinch standing position with fighters facing each other, arms locking their upper bodies together.

Cornerman coach or training partner responsible for attending to and instructing a fighter between rounds.

Grappling any fighting that centers grabbing and pulling more than punching and kicking (wrestling, jiu-jitsu, judo).

Headlock wrestling move in which a fighter controls an opponent by securing an arm tightly around the opponent’s head and squeezing.

Jab straight punch thrown with the lead fist.

Judo grappling-focused martial art that relies on throws and takedowns to immobilize an opponent and set up a joint lock or choke submission.

Knockout fight result when a strike or combination of strikes renders a fighter unable to continue. “KO” for short.

MMA Mixed Martial Arts

Muay Thai martial art from Thailand that utilizes standup strikes (punches, elbows, kicks, knees), some delivered from in a clinch.

Octagon eight-sided cage in which UFC fights are fought. Other fight promotions use a cage of a different shape.

Rounds MMA fights typically are contested in three five-minute rounds, with one-minute breaks in between. Championship bouts and UFC main events are five five-minute rounds.

Strike punch, elbow, knee or kick — anything that hits an opponent.

Submission fight result when a fighter cannot escape a choke or joint lock and either taps out or verbally submits.

Takedown wrestling maneuver to take an opponent to the mat and seize control.

Tapout fight-ending move by a fighter who is caught in a choke or joint lock and wishes to submit, ending the bout.

UFC Ultimate Fighting Championship. The most prominent fight promotion in MMA, founded in 1993 and headquartered in Las Vegas.

Weight classes division categories used to match competitors against others of their own size:

Heavyweight The heaviest weight class. In MMA, these are competitors weighing 206–265 lb.

Light heavyweight 186–205 lb Middleweight 171–185 lb

REFERENCE: “A

Berkeley Rep’s educational programming is for everyone. Spring classes for youth, teens, and adults now enrolling.

berkeleyrep.org/classes

Jacob Ming-Trent in How Shakespeare Saved My Life.

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

Davis/Dauray Family Foundation

Dhanam Foundation

The William H. Donner Foundation

The Ira and Leonore Gershwin Philanthropic Fund — Jean Strunsky, Trustee

The Hearst Foundations

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 John Logan Foundation

The Maurer Family Foundation

Arjay R. and Frances F. Miller Foundation

Miranda Lux Foundation

Kenneth Rainin Foundation

The Shubert Foundation

The Harold and Mimi Steinberg Charitable Trust

Tarbell Family Foundation

Taube Philanthropies

Ingrid D. Tauber Fund

Venturous Theater Fund, a fund of Tides Foundation

Westridge Foundation

Woodlawn Foundation

PUBLIC FUNDING

City of Berkeley

CORPORATE & HOSPITALITY SPONSORS

SEASON PRESENTING SPONSOR

SEASON SPONSOR

LEAD SPONSORS

CORPORATE PARTNERS

Andrea Gordon Real Estate

Aurora Catering BluesCruise.com

Broc Cellars

City Baking Co.

Comal Next Door

Covenant Wines Eureka!

Family Laundry

Gallagher Risk Management Services

Hafner Vineyards

Hammerling Wines

Heroic Italian

JazzCaffè

Jupiter

Kermit Lynch

Latham & Watkins LLP

Lucia’s Berkeley

The Republic of Tea

Palisades Canyon

Panoramic Interests

Perfusion Vineyard

Picante

Pinx Catering

Smile City Photo Booth

Sobo Ramen

Almare Gelato Italiano

THE RESILIENCE CAMPAIGN

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

Anonymous

California Wellness Foundation

Stephen & Susan Chamberlin

Yogen & Peggy Dalal

Robin & Rich Edwards

David & Vicki Fleishhacker

Kerry Francis & John Jimerson

Jill & Steve Fugaro

SPONSORS CIRCLE

SEASON PRESENTING SPONSORS

Stephen & Susan Chamberlin

Yogen & Peggy Dalal

Bruce Golden & Michelle Mercer

Marcia Grand

Frances Hellman & Warren Breslau

Jonathan Logan & John Piane

Arjay R. & Frances F. Miller Foundation

The Strauch Kulhanjian Family

Gail & Arne Wagner

SEASON SPONSORS

Wayne Jordan & Quinn Delaney

Sudha Pennathur & Edward Messerly

Jack & Betty Schafer

Kelli & Steffan Tomlinson

LEAD SPONSORS

Anonymous

Christina Crowley

Jill & Steve Fugaro

Melanie Maier

Sandra & Ross McCandless

Mary Ruth Quinn & Scott Shenker

Len & Arlene Rosenberg

ARTISTIC DIRECTOR’S CIRCLE

PARTNER

Anonymous (2)

Dan & Shawna Hartman Brotsky

Italo & Susan Calpestri

Venus David, in memory of Narsai David

Richard DeNatale & Craig Latker

Corinne & Mike Doyle

Cynthia A. Farner

Linda Jo Fitz

Jeryl Fry

Anne & Peter Griffes

Lynda & Dr. J. Pearce Hurley

The Jackson Family Foundation

Carla Javits

& Margaret Cecchetti

Fred Levin

Ellen & Barry Levine

Jeff & Melissa Li

Joel Linzner & Teresa Picchi

Rosa Luevano & Charles Marston

Marymor Family Fund

Juan Oldham

& Deborah Morgan

Johanna Pfaelzer & Russell Champa

Shelby Rachleff

Audrey & Paul L. Richards, in honor of Barbara Peterson

Becky Saeger & Tom Graves

Monica Salusky & John K. Sutherland

Jaimie Sanford & Ted Storey

Emily Shanks

Valerie Sopher

Ama Torrance & David Davies

Larry Vales

Sarah Van Roo

Toni Weingarten

Elizabeth Werter & Henry Trevor

Felicia Woytak & Steven Rasmussen

BENEFACTOR

Anonymous (6)

Norman Abramson, in memory of David Beery

Eric Allman & Kirk McKusick

George & Marcia Argyris

Michelle L. Barbour

Michael Barnett & Judith Bloomberg

Valerie Barth

Becky & Jeff Bleich

Paul Brody

Luna Foundation

Linda Brown

Bonnie Burt & Mark Liss

Byers Family

Ronnie Caplane

Ardie & Mary Clark, in memory of Patricia Fox

Nancy Clark

Dr. Jim Cuthbertson

Barbara & Tim Daniels Arvada Darnell

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

Vivek Datta & Jonathan Rabago

Richard & Anita Davis

Carol DiFilippo

Donald & Jeannette Dow

Linda Drucker

Holly English & Fred Smagorinsky

William & Susan Epstein

Jerry Falk

Paul Feigenbaum & Judy Kemeny

Ben & Mary Feinberg

James & Jessica Fleming

Dean Francis

Sharon & Tom Francis

Kevin Gahagan

Dennis & Susan Johann Gilardi

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

Barbara & Peter Jensen

Bill & Lisa Kelly

Dana Kirkland

Andy Kivel & Susan Goldstein

Peggy Kivel

Sherrill Lavagnino & Scott McKinney

Andrew Leavitt & Catherine Lewis

Marcia C. Linn

Jay & Eileen Love

Gerry & Kathy MacClelland

Mona Marbach

Henning Mathew

Carol McCullough & Shirley Wilkinson

Miles & Mary Ellen McKey

Mary McLaughlin

Susie Medak & Greg Murphy

Toby Mickelson & Donald Brody

Carol Mimura & Jeremy Thorner

Andy & June Monach

Leslie Moreland

Ronald Morrison

Pam & Mitch Nichter

Shanna O’Hare & John Davis

Carol J. Ormond

Janet & Clyde Ostler

Kristin Pace

Sandi & Dick Pantages

Barbara L. Peterson

Jean Pfaelzer & Peter Panuthos

Randy Sue Pollock & Steve Kornetsky

Yamini & Tushar Ranchod

Marjorie Randolph

Dr. Jason Ravenel & Leann Ravenel

Terri Remillard

Isabel Rhee

Carla & David Riemer

Gary & Noni Robinson

Patrick Romani

Dennis Ryan & Rebecca Sutter-Ryan

Dan Scharlin & Sara Katz

Jackie Schmidt-Posner & Barry Posner

Helen Schulak

Deborah Sedberry & Jeff Klingman

Donna Seidel

Ruchira Shah & David Grunwald

Shirlen Fund

Kim Silva

David & Lori Simpson

Ed & Ellen Smith

Ann M. Smulka & Bob Blackburn

Audrey & Bob Sockolov

Laura Svienty

Dr. Edward Sweet & Mr. Harold Stevens

Alison Teeman & Michael Yovino-Young

Henry Timnick

Deborah & Bob Van Nest

Beth Weissman

Patricia & Jeffrey Williams

Mark Zitter & Jessica Nutik Zitter

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

Merle & Michael Fajans

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 *

Denise Gillen *

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, MD

Tracie E. Rowson

Deborah Dashow Ruth

Patricia Sakai & Richard Shapiro

Brenda Buckhold Shank, MD, PhD

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

Barbara Tomber

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 theatre 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 Robert Chase

Estate of Nancy Croley

Estate of John & Carol Field

Estate of Ralph Garrow

Estate of Richard & Lois Halliday

Estate of Ellen Jasnosz

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

FRIENDS OF BERKELEY REP

CHAMPION

Anonymous (6)

Kristine Anderson

Philip Arca & Sherry Smith

Linda & Mike Baker

Monya Baker

Celia Bakke

Jeff & Karen Banks

Don & Gerry Beers

Ashvini Bhave & Kishore Bopardikar

Marc Blakeman

Jane V. Buerger

Fran Burgess

Robert & Margaret Cant

Dr. Jon Carr

Terri Clark & Marty Lay

June & Michael Cohen

Bart Connally

Henry Cook

Constance Crawford

Karen & David Crommie

Ed Cullen & Ann O’Connor

Joshua Dapice

Ilana DeBare & Sam Schuchat

Harry & Susan Dennis

Drs. Kevin & Susan Denny

John & Janet Dodge

Karen & David Dolder

Martin & Barbara Fishman

Suanne & Kirk Flatow

Donald & Dava Freed

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 February 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.

Linda Schacht Gage & John Gage

Clara Gerdes & Ken Greenberg

Marjorie Ginsburg & Howard Slyter

Mary W Graves

Mary Grogan

Henry L. Hecht

Ruth Hennigar

Thomas & Elizabeth Henry

Susan L. Hill

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

Nancy Lumer

Paul Mariano & Suzanne Chapot

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Chris Martin

Rebecca Martinez

Stephanie Mendel

Judy Minor

Geri Monheimer

Daryoush Mortazavi & Caroline Razavi

Jane Neilson

Thomas Nelson & Jessica Wickens

Judy O’Young, MD & Gregg Hauser

Judy Ogle

Patti Oji Haas

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Jane Rokita

Rhoda Rossman

Chris & Mike Rupp, Descendant Cellars

Valerie Russell

Lisa A. Salomon

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Amrita Singhal

& Michael Tubach

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ADVOCATE

Anonymous (15)

David Baer

Alisa Baker

Tracy Ballard

Karen Baratta

Steven Beckendorf

Richard & Kathi Berman

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Patti Bittenbender

Laura Blair

& Mitchell Zeemont

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& Kathryn Frank

Thomas Bosserman

Rena Bransten

John Brennan

& Stephanie McKown

Eric Brink

& Gayle Vassar

Cathy Bristow

Robert P. Camm

& Susan Pearson

Christina Campbell

& Tim DeWolf

Jules Campbell

Laura Chenel

Barbara & Rodgin Cohen

Joan & Edward Conger

Mary Anne Cook

Mike & Pam Crane

Pam & Mike Crane

malcom davis

David desJardins

David Deutscher

Kathryn Doi

Tammerlin Drummond

Daralyn Durie

Dr. Norma Fiedotin

Daniel Friedland

& Azlynda Alim

Herb & Marianne Friedman

Lauren Friedman

Carol & Tony Friscia

Lisa & Jack Fuchs

Brett Gardner & Joe Stampleman

Paul & Marilyn Gardner

Rachel Garlin

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Paul Goldstein

& Dena Mossar

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Karen Greig & Mike Frank

Don & Becky Grether

George P. Haley

Geoffrey & Marin-Shawn Haynes

Geoffrey Haynes

Tamra C. Hege

Jim Helman

& Linda Fried Helman

Donald Hershman

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, 2024 and February 2, 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.

Al Hoffman & David Shepherd

Rachel & John Horsch

Hilary & Tom Hoynes

Terrie, Nelson & Julia Ishiyama

In Memory of Woof Kurtzman

Pam & Ted Johann

Thomas Johann

Stephen Kerr

Mary King

Juanita Kizor

Ralph & Tonya Koenker

Susan Kolb

Lynn Eve Komaromi, in honor of the Berkeley Rep Staff

Diana & Jim Krampf

Andrea & Kenneth Krueger

Jennifer Kuenster & George Miers

Lucy Kuntz & Ned Fielden

Wayne Lamprey & Dena Watson-Lamprey

Shirley Langlois

Tami Lau

Lisa Lázár & Robb Bauer

Susan Carol Ledford

Dennis Lenehan

Deborah Lewis & Martin H. Myers

Mark & Roberta Linsky

Steve & Judy Lipson

Margo & Josh Lowensohn

Peter Luk

Ingrid Madsen & Victor Rauch

Lois & Gary Marcus, in memory of Ruth Weiland, Mose & Selma Marcus

Mark Marin

Ana Maria Martel

M. Mathews & K. Soriano

Ash McNeely & Elisa Odabashian

Ellen Meltzer & George Porter

Zoe Mercer-Golden, in honor of Bruce Golden

Susan Morris

Elena Moser & Janet Linder

Julie Nachtwey, Compass Real Estate

Toby Nady

Ron Nakayama

Stephen & Karen Nicholls

Sandra Nichols

Michael O’Donnell

Barbara & Philip O’Hay

Mitchell Ost

Thomas & Tina Parrish Jr.

DiAnn Perko

Charles & Linda Phillipps

Malcolm & Ann Plant

Robert & Marcia Popper

Roxann R. Preston

Daniel & Barbara Radin

Elizabeth Raffin

Maxine Risley, in memory of James Risley

Kathy Rogers

William Rogers

Bruce Rohde

Deborah Dashow Ruth, in memory of Leo P. Ruth

Theresa Schrider

Susan Schwartzwald

Emily D. Sexton

Christine Silver

Lydia Simmons

The Sippel/Farb Family

Linda Snyder

Robert & Naomi Stamper

Kay Stodd

Carol Sundell

Margo & Drew Tammen

Ragesh Tangri & Daralyn Durie

John & Christine Telischak

Pate & Judy Thomson

Dana Tom & Nancy Kawakita

Dale Underwood & Kirsti Aho

Glenn Urban

Jill Van Dalen

William van Dyk & Margi Sullivan

Leon Van Steen

Marcia & David Vastine

Steven Wade

Brian Watt & Daisy Nguyen

Jonathan & Kiyo Weiss

H. Leabah Winter

Wilma Wool

Moe & Becky Wright

Judy Zenoni

MAKING THEATRE ARTISANS AND TRADITIONS BEHIND OUR SHOWS

FIGHT CHOREOGRAPHY

and its related disciplines go by many names: fight direction, stage combat, swordmastery, and even violence design. It has existed for as long as performance has existed and in every performance tradition and medium, from ancient, shamanistic ritual to big-screen spectacle. There are hundreds of styles and aesthetics available to the fight choreographer to meet the dramatic requirements of the on stage moment, and, traditionally, they all serve one purpose: to create the illusion of violence and danger without putting the performers at risk. This is especially important for a fight-centered production like The Monsters.

BY CREATIVE DIRECTOR DC SCARPELLI

REFERENCES:

GILBERT, RICHARD & DAVID BAREFORD. THEATRICAL VIOLENCE DESIGN, 1ST EDITION. ROUTLEDGE, 2024.

MARTINEZ, JD. COMBAT MIME. ROWMAN & LITTLEFIELD, 1982.

SUDDETH, WILLIAM. FIGHT DIRECTING FOR THE THEATRE. HEINEMANN DRAMA, 1996.

Background: Balli di Sfessania, Jacques Callot, 1622 — stylized dances depicting the medieval wars between Christians and Moors

While performance traditions in Asian cultures from Japan to Indonesia to India saw many martial art forms integrated into theatrical work, violence in ancient Greek drama was usually kept off stage — audiences saw only the aftermath. The earliest examples of on stage combat in our tradition can be found in ancient Roman comedies and subsequent medieval and Renaissance traditions like the Commedia Dell’ Arte, where stylized, stock characterizations and staging were the standard.

Top: Elizabethan actor and fencing master Richard Tarlton

Below: A Commedia Dell’ Arte ﬁght, 1891

The advent of modern fight choreography is often traced to Elizabethan England. “Fencing masters” like actor and director Richard Tarlton of Shakespeare’s King’s Men brought new levels of urgency, robustness, grace, and realism to physical staging, just as his contemporaries — not just Shakespeare but action-oriented playwrights like Christopher Marlowe and Ben Jonson — were bringing similar qualities to dramatic text. The discipline has continued to evolve in that direction ever since.

Recent depictions of hand-to-hand stage combat range in subject matter from 2012’s Rocky the Musical, (music and lyrics by Stephen Flaherty and Lynn Ahrens, book by Thomas Meehan and Sylvester Stallone), based on the 1976 film, to Marco Ramirez’s 2013 The Royale, which

“I’m interested in showing the grace and movement poetry that exists in the world of MMA while abstracting, bending & twisting it. Paying homage to the violence while turning it inside out.”

examines race relations in the boxing rings of the Jim Crow era, to Joy Wilkinson’s 2018 The Sweet Science of Bruising, which depicts women’s liberation through boxing in Victorian England.

— Adesola Osakalumi (above), Choreographer, The Monsters

MMA’s diverse origins — from Asian, European, African, and American martial arts — pose a unique challenge for the fight choreographer.

Fight choreography requires a deep read of the emotional, historical, and textual context of the fight(s) within the show, as well as knowledge of combat physiology, spatial relationships between the actors and the geometry of the stage and set. The primary concern is safety — accommodating the physical needs and limitations of the actors while also understanding the emotional place that both the characters and the actors will be in when the fight takes place. Based on those factors, a fight design is mapped out and the fight itself is realized in rehearsal through training and repetition. At some point in this rehearsal conversation, the fight crystallizes into a set series of steps and movements — choreography. The challenge: keep the dynamism and apparent spontaneity of the fight while making it repeatable in a safe and sustainable way for every performance in a run.

In the hands of award-winning, self-described “rhythmic storyteller” Adesola Osakalumi, the balance between grace and brutality, between dance and combat, continues to be struck beautifully in The Monsters.

Bottom:

Top: The Sweet Science of Bruising at Southwark Playhouse, London, 2023, with ﬁght and movement directed by Alison de Burgh

Center Theatre Group’s production of The Royale at the Kirk Douglas Theatre, Los Angeles, 2013, choreographed by Ameenah Kaplan

—LONDON’S EVENING STANDARD

AMERICAN CONSERVATORY THEATER PRESENTS

THE ROYAL SHAKESPEARE COMPANY AND NEAL STREET PRODUCTIONS PRODUCTION OF MAGGIE O’FARRELL’S ADAPTED BY LOLITA CHAKRABARTI DIRECTED BY ERICA WHYMAN APR 22–MAY 24