Berkeley Rep: Accidental Death of an Anarchist

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A sneak peek at Tribes 9 · Dario Fo: An open revolutionary 18 · The program for Accidental Death of an Anarchist 27


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A letter from the artistic director · 5

Foundation, corporate, and in-kind sponsors · 35

A letter from the managing director · 7

Individual donors to the Annual Fund · 36 Memorial and tribute gifts · 39


Michael Leibert Society · 39

R E P ORT Sneak peek at Tribes · 9 Face time with Tony · 10


Building an ensemble · 13

Staff and affiliations · 40

In honor of... · 15

Board of trustees and sustaining advisors · 41

FYI 18

F E AT U R E S Dario Fo: An open revolutionary · 18 The accidental death of an actual anarchist · 20

Everything you need to know about our box office, gift shop, seating policies, and more · 42

The clown jumped over the moon · 24


T H E B E R K E L E Y R E P M AG A Z I N E 201 3 –14 · I S S U E 5 The Berkeley Rep Magazine is published at least seven times per season.

Editor Karen McKevitt

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Contact Berkeley Rep Box Office: 510 647-2949 Groups (10+): 510 647-2918 Admin: 510 647-2900 School of Theatre: 510 647-2972 Click Email

Fascinated with the astonishing natural beauty of Lake George in upstate New York, Georgia O’Keeffe reveled in the discovery of new subject matter that energized her signature modernist style. From magnified botanical compositions to panoramic landscapes, this exhibition offers a deeper understanding of the spirit of place that was essential to O’Keeffe’s artistic evolution.

This exhibition is organized by The Hyde Collection, Glens Falls, New York, in association with the Georgia O’Keeffe Museum, Santa Fe, New Mexico. The exhibition is supported by the National Endowment for the Arts. The foundation sponsor is the Henry Luce Foundation.

F E B R UA RY 15— M AY 1 1 , 2 0 1 4 HE RB ST E X H I BI T I O N G A L L E R I E S

The presentation at the de Young is made possible by the Ednah Root Foundation, the San Francisco Auxiliary of the Fine Arts Museums, and the Lisa and Douglas Goldman Fund. Media Sponsors Georgia O’Keeffe, Petunias, 1925. Oil on board. Fine Arts Museums of San Francisco, museum purchase, gift of the M. H. de Young Family. © Georgia O’Keeffe Museum/Artists Rights Society (ARS), New York

Golden Gate Park •

PROL OG U E from the Artistic Director

I first met Dario Fo some 30 years ago. I picked

him up at the airport, and he immediately asked if I could take him and his party (he never went anywhere without a large, rambunctious entourage) to a restaurant. Any restaurant. We went to a Chinese place in the Mission where the group proceeded to consume mountains of food while shouting to/ at each other in Italian. People started to stare. Taking this as a personal challenge, Dario stood up and took stock of the room. To my shock and amazement, he began moving from table to table, introducing himself in Italian and then launching into a series of animal impressions. Donkeys, giraffes, dogs…by the time he got to the baboons everyone in the place was howling. He took phone numbers, told people about his show, and left to a standing ovation. It was one of the greatest, spontaneous performances I have ever seen. Fo’s plays (50 and counting!) bear that same distinction: you can read them all you want, but they only come alive in performance. They are built around his persona as a professional Fool, a court jester whose job is to expose the hypocrisy of the state and to satirize all forms of corruption. The Fool speaks the truth when no other person dares to: he creates jokes that are based in reality and relentlessly ridicules those who have lied, cheated, or killed to attain power. In that sense, the Fool is a teacher, and the conspiratorial laughter he creates with the audience is both relieving and alarming. Fo’s entire career has been dedicated to the creation of subversive laughter. He has famously taken on politicians, the police, and, his personal favorite, the pope. For his efforts he’s been vilified and adored, condemned as an outlaw and celebrated as champion of the people. At one point the State Department labeled him as a dangerous criminal, and for many years he was barred from entering the United States. Just before I met him, the ban was lifted and Fo was allowed to perform at theatres across the United States and at any restaurant he frequented. Accidental Death of an Anarchist, written in 1970, was first produced in America in the mid-’80s and has been performed the world over. This revival brings Steve Epp back to Berkeley, himself a Fool of the first order. He teams up again with expert director Christopher Bayes, who has spent a lifetime studying commedia dell’arte and observing the political machinations of our world. Together they reprise the story of a disastrous police investigation, one that seems all too common today. They’ve armed the Fool (called “maniac” in this play) with an updated political rant, just to make sure we’re all in on the fun. Fresh from Yale Rep where the play enjoyed great run, we welcome them back to Berkeley, along with the great Dario Fo. Sincerely,

Tony Taccone


Berkeley ◆ Kensington El Cerrito ◆ Albany Piedmont ◆ Oakland





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March 2014 Volume 46, No. 6

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PROL OG U E from the Managing Director

When you walked into the lobby today, you may have noticed posters for a play that hasn’t received much attention to this point. Yes, Berkeley Rep is very pleased to host the 10th-anniversary production of Brian Copeland’s Not a Genuine Black Man in April. If we’ve piqued your interest about this show, you may then have been struck by its location at the Osher Studio. What and where, you may ask, is that? Well, if you’ve never seen Brian Copeland, a terrific Bay Area artist, and if you’ve yet to see the Osher, then it’s probably time for you to see both! Our Osher Studio may be the most significant new performance space in downtown Berkeley. Back in 2003, Berkeley Rep’s rehearsal halls and offices were in a rather seedy building a block south of the Roda Theatre on Center Street. When that building was slated for demolition to make way for apartments, Berkeley Rep was able to secure a 20-year lease—thanks to the City of Berkeley’s cultural facility height bonus— in the new building. Berkeley Central opened last year with much-needed housing, an art gallery curated by our colleagues at Kala Art Institute, and three new halls on the first floor. Two of those halls became classrooms for the Berkeley Rep School of Theatre, allowing us to offer our programs to even more adults and children. These rooms are also used by other community arts organizations, including dance, music, and theatre companies. The Osher Studio is the third space at Berkeley Central. Intimate and informal, this black box theatre is perfect for small arts organizations who can’t otherwise afford to lease, equip, or maintain a downtown facility. Already the Osher Studio has hosted performances by the Bay Area Children’s Theatre, Ragged Wing Ensemble, Danse Lumière, Berkeley Symphony Orchestra, and now Brian Copeland. One of theSFLG best things about Berkeley Central is its Arts Passage, a covered walk101013 ACT 1_6v.pdf way that connects Addison Street to Center Street. Located just across the street from our box office, the Arts Passage will be open before and after all of Berkeley Rep’s performances, making it easier and quicker for you to walk between the Theatre and the parking lot on Center Street. Our new spaces at Berkeley Central are an added boost to the already burgeoning arts scene in downtown Berkeley. We’re excited to offer a downtown performance venue to the many small arts organizations in the East Bay and to expand our own school programming— with an easily accessible Arts Passage to boot. Best of all, our new Osher Studio allows us to present Brian Copeland’s seminal solo show Not a Genuine Black Man to new audiences. We hope to see you there starting April 23.

SFLG 101013 Berkeley 1_6v.pdf


Susan Medak

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Exciting auction lots include...

• Two tickets to Elton John’s 2015 Oscar Night Dinner and Party • A private cocktail party with Hershey Felder • A Chicago getaway with opening night tickets to Sting’s new musical • A London West End theatre experience • And much more!

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Saturday, April 19, 2014

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World-class wines, craft spirits, and delectable hors d’œuvres


Adventurous new plays from a Tony Award-winning theatre


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Nina Raine P H OTO BY J AC K L A D E N B U R G

Sneak peek: Tribes BY KAREN MCKEVITT

Nina Raine’s Tribes premiered to great acclaim at

London’s Royal Court Theatre, then jumped across the pond, landed off Broadway, and picked up a slew of nominations and awards—including the 2012 Drama Desk Award for Outstanding Play. Now it comes to Berkeley Rep in a new production helmed by Cal Shakes’ Jonathan Moscone. Brilliant, rich, daring, and rewarding—these are just a few adjectives that the press has showered on Tribes, the story of a profoundly deaf man learning to find his way in a world where everyone needs to be heard. In this comic drama, Billy’s family is a highly intellectual and argumentative bunch who all hear perfectly well (even if they don’t listen) and pretends that he can too. Only able to read lips, Billy (played by a Deaf actor) finds himself on a vast plain of loneliness—until he meets a girl. While Tribes asks us to explore how we listen, it’s also been praised for being “the real deal” for deaf audiences. Says Charlie Swinbourne of London’s Guardian, “The great achievement of the play is to dramatise something that is very hard to understand unless you have personal experience of it. What it’s like to be left out, as a child, then as an adult. Day in, day out. Just because you cannot hear. Tribes gives deaf people a voice.”

Tribes begins April 11. ASL-interpreted performances are Saturday, May 3 at 8pm and Saturday, May 10 at 2pm. Open-captioned performances are Thursday, May 8 at 8pm; Friday, May 9 at 8pm; and Sunday, May 11 at 2pm. Reserve your seats at, or call the box office at 510 647-2949, Tuesday through Sunday, noon to 7pm.

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Face time with Tony B Y PAU L I N E LU P P E R T

Tony Taccone, Berkeley Rep’s Michael Leib-

ert artistic director, has a lot going on this year (as usual). He’s scheduling plays for next season, and he’s got a few projects already in the hopper for the season after that. He’s shepherding new-play development. He’s directing longtime collaborator Tony Kushner’s latest opus, The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. He sees a lot of plays and it’s part of his job to hang out with a bunch of interesting artists (so he’s racking up frequent-flier miles). In addition to his work at Berkeley Rep, he’s also co-written a comedy with Dan Hoyle, Game On, which plays at San Jose Repertory Theatre from March 27 to April 19, and he’s directing Shakespeare’s The Tempest at Oregon Shakespeare Festival in Ashland, which opened in February. Incredibly, I got him to sit still for a few minutes to tell us more.

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Pauline Luppert: For those who don’t know a lot about what goes into planning a season for the theatre, how do you do it? Tony Taccone: First of all, the season never really stops being planned. It’s a year-round activity. It’s not like, “Oh! Now it’s time to plan a season.” It just doesn’t work like that. We’re pretty involved, not just in the season after this one [2014–15], but we’re already into 2015–16 with a couple of things. We have lots of projects that are always floating around out there. Plays come in, they go out. Some appear to be near to completion and then they just disappear for all kinds of reasons. So, “How do I plan a season?” is sort of like saying, “How do I live?” And it’s not just me. We all have our ears to the ground. If you came to me and said, “Hey I saw this play, it’s amazing!” we would check it out because especially since you don’t do it frequently, I’d pay more attention to it. I mean, if you did it every day I’d be like, “Pauline’s got another idea for a play. Great.” P H OTO CO U R T E S Y O F K E V I N B ER N E .CO M

[Rolling his eyes.] So, the ideas come from every which way. Now, with the reputation we have established, there are a lot more plays coming to us that are great ideas. Whether or not they can matriculate and be a production that we produce is a different thing. There are a lot more really good ideas that are in the pool than there were 10 years ago. I think that’s a testament to the work that we’ve done and the reputation that we’ve built with regard to new work in particular but also as a home for artists. Our audience is regarded as pretty special. The staff has a hugely great reputation—both the technical staff and the administrative staff—as being really supportive, and Berkeley Rep is known as a place where people want to come and have a good time and do their work and do it well. So, we’re being approached now by people who I couldn’t imagine would approach us 10 years ago. Certainly, 20 years ago it would have been absolutely impossible for me to imagine. Who’s approached you that you couldn’t have imagined 10 or 20 years ago? For me it really changed—and I know this is kind of totally oddball—but for me it changed when Robin Williams called us up a few years ago and said, “Hey, can I try out some new material there at Berkeley Rep?” That was so out of left field to me. I was like, “Robin Williams is thinking that Berkeley Rep would be a good a place to try out his stuff? That’s amazing!” Obviously, No Man’s Land, when Stuart Thompson called us and said, “Would you be interested in Ian McKellen and Patrick Stewart coming?” And I was like, “Uh, well, yeah. That’d be good.” But it all began earlier because we’ve been moving plays to New York a lot over the last 10 years or so. Basically we’re on certain people’s radar that we didn’t used to be on. I think we’re probably regarded as one of just a handful of theatres in the United States where people look first to see if we would have any interest in producing a play of theirs, which is usually a play that they think is either not quite ready or is edgy in some way. Our audience would be up for it. And we would be up for it. We’re not scared of that. In fact we sort of live for that because we traffic in different vocabularies now aesthetically. I think we’ve done a really good job of cultivating an atmosphere of openness. You can feel it. When you go to a lot of art institutions or cultural institutions across the country, frequently people are buying a pretty firm expectation. And when the art goes outside of the bounds of that expectation, people get really upset. We have some of that too, but because we’ve done so much new work, and because that is the norm, the “norm” is not set here. There is now a feeling that when people come, not only do they expect surprise, but actually a considerable number of people are disappointed if they don’t get surprise. That is phenomenal. I get as many letters of criticism for being conservative as I do for being radical or experimental or avant-garde, or whatever term you want to use. That is deeply gratifying to me.

Are there particular festivals or smaller theatre companies that you like to keep tabs on? I let Madeleine Oldham [resident dramaturg and director of The Ground Floor] and the rest of the artistic staff and some administrative staff get out there more often. That’s a bigger thrill for them. Les Waters [former associate artistic director at Berkeley Rep and current artistic director of Actors Theater of Louisville] is at Louisville now and that’s a big festival. But Madeleine is really all over that stuff. At this point in my life I have a lot of really good friends who run theatres. What I will do is at a particular time in the year, I’ll pick up the phone and make like 25 phone calls—not to people like Oskar Eustis at The Public Theater who I’m in constant contact with—but I’ll call Diane Paulus at American Repertory Theatre, and I’ll call Gordon Edelstein at Long Wharf Theatre, and I’ll call James Bundy at Yale, and I’ll call Martha Lavey at Steppenwolf, and Robert Falls at the Goodman, Chris Ashley at La Jolla Playhouse, and Michael Ritchie at the Mark Taper Forum. I’ll also call companies. I’ll be in touch with Moisés Kaufman at Tectonic Theater Project, and Emma Rice at Kneehigh, and Mary Zimmerman at Lookingglass Theatre. It’s ongoing. I have a general map, not only of the artists we’re always kind of following, but to see who else is out there. So our net is constantly cast out there.

Berkeley Rep is known as a place where people want to come and have a good time and do their work and do it well.

So how is it working with Tony Kushner again? Well, you know, it’s like working with a really old friend. I work with him in a way that I don’t work with anyone else because Tony is so clear about what he sees when he writes a play. I give him much greater rope—both in terms of the design process and in terms of the rehearsal process to speak and to interact both with actors and with designers. Most times those roles are pretty circumscribed by tradition. A playwright shows up for three days then goes away then comes back. With Tony I feel like it’s in everyone’s interest to hear the full measure of what he has to say because his particular intelligence is integrative and inclusive in a way that’s inspiring and disarming. I find that with Tony, I’m kind of a translator. An actor will ask a question, and Tony will give a 20-minute answer that is the most amazing answer, and then at the end of that I’ll say, “That means you should cross left.” I’m frequently both including the spectrum of his ideas and then trying to simplify things so people can play them. Tony’s work is very complicated. He is a person that believes in complication because that’s how he sees the world. And the world is a complicated place. How much time in a year do you spend outside of Berkeley? On average, I probably take one trip a month. Sometimes more. Sometimes less. In the last eight weeks I’ll have been to New York three times. That’s a lot for me. I go for different things. This last week I was there for the opening night of No Man’s Land, which was a very short trip and I only saw one other show. Next week, I’m CONTINUED ON NE X T PAGE 2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 1


going for meetings at The Public with different artistic directors around the United States and for auditions for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. The trip before that, I went for a workshop of a show we may be producing next season. So there’s a lot of work we’re doing that’s in process in New York or sometimes in LA, but mostly in New York. When I go to England I try to see work. I don’t go there very much. A number of my colleagues go there a lot and I’m envious of them, but for all of the traveling I do I’m kind of a homebody. Hotels lost their exotic interest to me a long time ago—unless they’re in Hawaii or in Cairo or someplace I’m vacationing in and then they’re fantastic! When Berkeley Rep commissions a play, like The House that will not Stand, do you have a closer shepherding-like relationship with the project? Absolutely. Yes, much closer. Although, with The Ground Floor now, we’re having more intimate creative relationships with more people.

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And what’s your role with The Ground Floor? You know, it’s been more than I thought only because I’m really interested. It’s been really fun. You put interest and fun together and people start hanging out. I didn’t expect to be so involved and I love it. I think it’s a fantastic event and a fantastic environment, you just want to hang out because there’s a ton of really interesting people that you’re not going to get to see a whole lot of in the rest of your life. So it’s really great to have your imagination and your mind stimulated. Look, we all need sustenance. We need to be sustained. And I think whenever you can get an opportunity of something which can do that, you gravitate toward that. It’s been really cool. Uh, yeah. Really cool, indeed.

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Building an ensemble Musical Theatre Scene Study teaches teens the art of collaboration BY ALEXANDRA WILLIAMS-FLECK

Classes at the Berkeley Rep School of

Theatre tend to be non-musical in nature. But every Friday the sound of young voices—some trained, others not—permeates the halls as 16 young students, eager to explore flats and sharps, comedy and tragedy, embark upon a unique adventure: Musical Theatre Scene Study. No parts have been assigned; all roles are up for grabs as students home in on musical-theatre process and technique. As a multimodal performance art, it pushes students, requiring them to mold their talent as they build solid foundations in singing, acting, and dance. And though this may evoke visions of elaborate sets and chorus lines, these bright young students are creating more than a song-and-dance routine. They’re building an ensemble. This is no simple feat with stylistically challenging songs from popular musicals such as The Sound of Music, West Side Story, and Les Misérables. Associate Director MaryBeth Cavanaugh describes the program as “Episodic in form and nonlinear. The class is only once a week so there’s no time to put on a full performance. But we pick selected scenes from a play that are conducive to growing ensemble work.” Because singing is very individual, the techniques taught are broadly designed to give students the necessary tools to bring out their instrument, their voice. While some students have had vocal training, for others, singing for an audience is one of the scariest things they will

ever do. To kick off this endeavor, musical theatre instructor Rebecca Castelli—who’s been heading the class for almost a decade—has students start at the beginning. She leads them through a series of exercises that focus on building a strong voice, including proper posture, projection, and releasing their sound. These exercises are repeated weekly until they are incorporated into the final performance. Students also explore various exercises in acting and movement. In one such exercise – “It’s Tuesday” – one student makes a bland comment, while another must overreact both vocally and physically. Another exercise, “Gibberish,” requires students to connect to action verbs without actual words. Students must communicate through action and tone, all while speaking gibberish. These exercises teach students to commit fully to the choices they make and the actions they take within a scene. As the weeks progress, students create a supportive and trusting environment, and the initial fear of singing for others is the first hurdle they overcome. Students set personal and group goals, sharing their expectations for the next 10 weeks, and Rebecca encourages them to express the difficulties that come with making themselves vulnerable—feeling very exposed—in front of others. Throughout their collaboration, students are encouraged to take an active role in their learnCONTINUED ON NE X T PAGE 2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 3

KATHIE LONGINOTTI REALTOR® and Berkeley Rep Subscriber


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ing, from providing constructive and positive feedback to having a say in what is created. In this way students feel valued and respected, and they have a real sense of ownership of the work. Each student brings a unique set of skills to the table, and as they bond over life as young adults and their shared interest in performance, they create a collaborative environment. As students explore techniques for preparing a scene and how to breathe life into a play, they invest themselves fully in their characters’ objectives. This dedication not only brings them wholly into the work, but also allows them to properly support their scene partners, so that when they take the stage, they create a believable world through which their characters navigate. And though Rebecca is at the head of the class, she looks to her students for further steps. They make decisions about work needed and choices to be made, and they implement them as a group. This gives students a strong sense of pride in the work they produce. Despite the rigorous nature of the class, students repeat Musical Theatre Scene Study an average of three to four times, making it one of the more popular programs at the School. In addition to tackling the music, students explore the finer points of costume and prop assembly. By the end, teens have delved deeply into the art of collaboration, emerging with firm-standing and long-lasting relationships that persist beyond the physical walls of the School. As one student explains, “You make a lot of connections with people, but at the same time you get a lot out of it. The experience you go through, from beginning to end, from being cast to performance, is really great and you always have a lot of fun.” This experience leaves students with more than a song and a two-step. They emerge with renewed confidence in themselves and their ability to work with others. Having learned to express themselves in a trusting and open environment, they are now unafraid to be the leader of the pack in other endeavors. As another student says, “It doesn’t matter what anyone else thinks as long as you’re happy with yourself. Don’t be scared…Nothing can go wrong as long as it’s right for you.”


In honor of… Gifts to Berkeley Rep that recognize a loved one or friend BY DARIA HEPPS

Bill and Barbara Jones P H OTO CO U R T E S Y O F B A R B A R A J O N E S

In every Berkeley Rep performance

playbill, we include a list of memorial and tribute gifts to the Theatre. Each of these gifts, made in memory or in honor of a friend, colleague, or loved one, tells a story. We decided to find out what some of those stories were. S H E I L A P UC K E T T My mother, Jean Murphy, had always gone to theatre. She was 95 when she moved from her home in San Diego into the Redwoods, an assisted-living facility in Mill Valley. When she asked my husband Myron and I where she should go for theatre, we said Berkeley Rep. She organized a group of other interested residents to attend matinees—eventually, the group was so big that they had to get a bus! We saw the shows before she did, so she would always call us to ask about them and report back to get everyone’s enthusiasm up. She appreciated the wide variety of topics covered in Berkeley Rep’s plays, and as an educator, she believed in what Berkeley Rep does for young people. (I also worked in schools and had many students who participated in Berkeley Rep’s programs.) She was 101 when she died, and four days before, she had been at Berkeley Rep. I made a gift in her memory because

this was something she loved. I hope that when my friends or people from the Redwoods see the program listing, they are reminded of my mother and think, Oh, I could do that. PE T E R M A I E R My wife Melanie and I have been enthusiastic subscribers for decades. We love the plays, and we know that ticket prices don’t cover their cost, so we make an annual gift to subsidize the theatre that we enjoy. Jill Fugaro is the wife of my physician, and when we heard that she was joining Berkeley Rep’s board of directors, we thought that a gift in her honor would pay tribute to my doctor and his family. PAT A NG E L L I met my future husband Gene Angell at UC Berkeley, where we each received BAs and MAs in architecture. He designed schools, libraries, stores, churches, apartments, residences, and theatres. For many years Gene and Ron Pratt designed sets for Bay Area theatres and often constructed them also. He became acquainted with Michael Leibert (Berkeley Rep’s founding artistic director), who was opening a small storefront space on College Avenue which Mike called “The 2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 5

R E P ORT B A R B A R A E . JON E S My husband William E. Jones and I were subscribers from College Avenue days, and the magic took hold! He was from Oregon, and during our courtship days, he always used to tell me about the wonderful theatre in Ashland. Music was his first love, and we attended operas and symphonies together, as well as live theatre—Ashland, Cal Shakes, and Berkeley Rep were all important to us. Both my husband and I were educators. Our, and my, support of the arts is a continuation of our interest in bringing good theatre and music to young people. We both felt this was a key to the future of our culture. I will continue to give in his name to places that we enjoyed together. Berkeley Rep gave us so much pleasure, and I hope that my gift will inspire others to support Berkeley Rep with gifts of their own.

See the full list of memorial and tribute gifts on page 39. If you would like to make a gift in honor or in memory of a friend or loved one, please visit support or contact Joanna Taber at 510 647–2906 or

p h oto by J A r Ed oAt E s

Theater.” In 1979 Gene assisted Mike in finding a suitable site for the new Berkeley Repertory Theatre. That year, construction was completed of the building on Addison Street now known as the Thrust Stage. Gene spent the last 30 years of his life chiefly as a theatre architect. His work includes Theatre on the Square, California Repertory Theatre, Spicebox Theatre, Berkeley Shakespeare Festival (now California Shakespeare Theater), Idaho Shakespeare Festival, Harbor Theatre, the Eureka Theatre, Aurora Theatre, and many theatre remodellings. Gene and I had been subGene Angell P H OTO CO U R T E S Y O F J I M W O O DY scribers to Berkeley Rep since its beginning. Gene died in 2007, and I continue to subscribe. Each year I give to several of “Gene’s Theatres” in his memory. Berkeley Rep is one.

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In the early 1950s, as the country stirred from its fascism-induced coma into a thriving republic, a young revolutionary burst onto the stages of Northern Italy with scathing satire. This was Dario Fo, on the cusp of a prolific career and lifelong partnership with a sophisticated Milanese actress, Franca Rame, who trod the same boards. Fo was born to a working-class family in 1926 in San Giano (or Sangiano), a small town on the shores of Lake Maggiore in the region of Lombardia. Fo’s father was a railway stationmaster, while his mother is often described as a “peasant” who was from a tradition of oral storytelling. Indeed it was his mother’s father, known affectionately to the community as Bristin (which loosely translates to “pepper seed”), who ushered Fo into the enchanting world of the fabulatori, local people such as fishermen, glassblowers, or vendors who would peddle their sometimes grotesque, often political, and usually paradoxical tales in public squares. Bristin would attract customers to his cart with his wit and wonder, selling his wares with an air of showmanship that would prove instrumental in building the foundations 1 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5

of narrative rhythm for Fo, whose first performances were versions of stories he had heard from the fabulatori. As for any child growing up in Europe at that period of time, Fo’s adolescence was dominated by the outbreak of the Second World War. His studies in architecture at the Brera Academy in Milan were interrupted when Fo was called up for military duty in service to the army of the Salò Republic, a puppet state for Nazi Germany loosely controlled by Mussolini. Deserting a cause he never believed in, Fo spent the last few months of the war in hiding while also assisting his parents in the Resistance movement, tending to wounded partisans and helping Allied prisoners and Jewish refugees escape across the nearby border of Switzerland. Returning to the Academy after the war, Fo found he had a diminished passion for architecture, and grew intoxicated by the intellectual discourse, creative endeavors, and political activism in the newly liberated Milan. He started reading Karl Marx and Antonio Gramsci (whose key arguments included the importance of intellectuals in creating a counter-current P H O T O B Y B E R T M AT T S S O N

of thought which would eventually overcome the ideological dominance of the ruling class), in addition to playwrights Bertolt Brecht and Federico García Lorca. He also began associating with Communist Party members, painters, writers, and actors. Before long, Fo drifted into theatre, applying his storytelling heritage and his aptitude for improvisation to act in various sketches and revue shows in the late 1940s. Under the influence of French farce, neo-realist cinema, and the work of dramatist Eduardo de Filippo, he began to shape his own aesthetic as an artist. Soon he retired his architectural ambitions altogether, withdrawing from his degree only a few exams shy of graduation. Fo’s big break came in 1950, when he presented some of his adapted stories to renowned actor Franco Parenti, including a comedic interpretation of the parable of Cain and Abel. Impressed by Fo’s gifts, Parenti enthusiastically welcomed him into his company. By the early 1950s, Fo’s series of comic performances collectively titled Poer Nano (translating to either “poor lad,” “poor wretch,” or “poor little thing”) was playing on larger stages, as well as being broadcast on the state radio channel. Parenti’s variety show is where Fo first laid eyes on Franca Rame, his future wife. Her photo in a company program struck him deeply, and when he saw her in three-dimensional form it only confirmed his suspicions: love at first sight. Not knowing how to approach her, he instead decided to ignore her in total, until she lost interest with that game and one day pinned him against a wall and kissed him. The pair married in 1954 and had their only child, Jacopo, one year later. Fo and Rame decided to move to Rome where they pursued work in cinema, with Fo penning scripts and the two acting alongside each other in front of the camera. Their time working in film, however, was met with limited success and questionable fulfillment, and they soon found themselves headed back to Milan to establish their own theatre company, Compagnia Fo-Rame. Rame herself was from a well-regarded theatrical family, and Fo found inspiration from some of their old material which required participation from the public, stating in the stage directions that the audience “had to” laugh or applaud at certain moments. An active audience was important to Fo, and the farces were a prime way for him to entertain them while also conveying his own political agendas in a nondidactic form. From 1958, the company wrote and produced comedies, such as Comica finale, taking their performances on extended tours around the country. This decade became known as Fo’s “bourgeois period” where, despite a little social prodding, his work was popular and even considered safe. A marked change came for Fo in 1967 when his play, La signora è da buttare (Throw the Lady Away), an attack on the American involvement in Vietnam, raised public ire and was met with heckles and even police involvement. Fo was threatened with arrest for some of the jokes deemed offensive to Lyndon Johnson, a foreign head of state. This may have been the catalyst for the dissolution of their company Compagnia FoRame and the formation of Nuova Scena, or New Scene. With the socialist debates and student revolts of 1968, the political climate in Italy was significantly different. Fo and Rame were ready to break away from what was popular and bourgeois, including their own company, despite the fact that by this time,

San Giano, Dario Fo’s birthplace



Fo was indisputably Italy’s most prominent playwright. It was this “revolutionary period” that yielded the most well-known works of Fo’s career, including Legami pure che tanto io spacco tutto lo stesso (Tie Me Up But I’ll Still Smash Everything) which condemned the Italian Communist Party for its compromises with capitalism, Mistero buffo (Comic Mystery) which mocked the church, Morte accidentale di un anarchico (Accidental Death of an Anarchist), and Non si paga! Non si paga! (Can’t Pay! Won’t Pay!), a critique on the exploitation of the proletariat. This new rebellious direction was met with forcible censorship, violence, and it even prevented Fo from entering the United States for an Italian theatre festival in 1980, when he was denied visas by the Reagan administration on the grounds of his “subversive” nature. Though, as scholars Farrell and Scuderi point out, “there was nothing subversive, or at least nothing covert, about Fo’s aims. He was as openly revolutionary as any man could be.” Despite adversity, the work of Fo (and Rame) has retained an undeniable relevance and lasting impact, which was truly acknowledged with his receipt of the Nobel Prize for Literature in 1997. When accepting his award, about a quarter of his speech consisted of him recounting a story that he heard from a fabulatore when he was a child in San Giano. Coming full circle to honor his roots, Fo never betrayed his humble origins by becoming the cliché of the populist, pretentious artist; he never sold his soul. Today, his work continues to demonstrate that a revolution can be more than just a destructive uprising. It can be open, it can be intellectual, and it can be fun. 2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 9





2 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5

Overhead interior view of the main hall of the Italian Banca Nazionale dell’Agricoltura (National Bank of Agriculture) on December 13, 1969, after a powerful bomb exploded there on the afternoon of December 12.

Dario Fo’s beloved farce satirizes a miscarriage of justice so outrageous that all one can do is laugh. What makes it all the more extraordinary is that it is based on true events. 2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 1

On December 12, 1969, a bomb exploded at the Piazza Fontana in Milan, in the headquarters of the National Agricultural Bank. It was a devastating terrorist event that killed 16 people and may have injured more than 100. Two more bombs went off simultaneously in Rome, and other undetonated explosives were found elsewhere in Milan. The Prime Minister of Italy at the time, Mariano Rumor, said that the explosions were “an act of barbarism which has no precedent in the history of the country,” and gave the investigators the permission “act with the maximum severity against those who want to poison the peace of the Italian people.” The police took his words to heart and immediately began detaining suspects from local anarchist groups. The bbc estimates that the Italian authorities ultimately made over 4,000 arrests in conjunction with the attack. One of these suspects was Giuseppe Pinelli, whose story informs the plot of Fo’s play. A railroad worker and an active member in his local anarchist chapter, Pinelli was arrested soon after the bombing and interrogated for three days without seeing a judge. At the end of the third day, he fell to his death from a fourth-floor window at police headquarters. Though the three police officers interrogating Pinelli were placed under investigation, his death was ultimately determined to be of “accidental” causes. This is only one instance of the many questionable circumstances surrounding the Piazza Fontana bombing. The trials and investigations continued for decades, and the twists and turns of justice along the way are worthy of their own play, too. Anarchist Pietro Valpreda was held for three years in preventative detention before finally being sentenced. It was only after 16 years of appeals and several mistrials that his name was cleared. Originally, the investigations focused solely on Milanese anarchist groups, but in the 1970s, three fascists working for the Italian secret police were tried in absentia, found to be guilty, and sentenced to life in prison. All three were later acquitted in the late 1980s. In 1998, evidence of foreign involvement emerged: a U.S. Navy officer, an Italian cia coordinator, and an officer in the U.S.-nato intelligence network were all implicated in the Piazza Fontana bombing, but none of them were ultimately sentenced. In 2001, members of the Italian right-wing political group Ordine Nuovo were convicted of the

During the Years


bombing, but those convictions were later overturned in 2004. As of the last trial in 2005, no one had actually been found guilty of the bombing. The attacks and surrounding scandal were unfortunately not isolated incidents of political unrest and government corruption. The decade following the Piazza Fontana bombing (roughly 1969 to 1979) has come to be known as the Anni di piombo, or the “Years of Lead.” Some suggest this name comes from the sheer volume of bullets that were fired during this time. There were constant confrontations between the various political factions in the country, instigated by decades of unrest within Italy boiling to the surface. During the postwar years, a boom in factory production drew families from the agricultural south up to the more cosmopolitan and industrialized north in droves. Cities were unready for this massive migration, and overcrowded slums sprung up around urban areas overnight. At the same time, the Communist Party gained more power in the central government and pushed for labor reform and more worker benefits. These population shifts combined with union-associated costs in the 1960s to create virulent inflation. The economic downturn came to a head in the “hot autumn” of 1969, when workers and students went on strike and occupied factories and classrooms, and mass demonstrations swept throughout Northern Italy. But the protests were not just about better wages and working conditions—they were also about challenging the conservative status quo. The church lost some of its cultural and political power as the general population secularized. Regular church attendance fell in the latter part of the 20th century, from about 70 percent in the mid–1950s to about 30 percent in the 1980s. Old-fashioned ideas about traditional family structures loosened as women gained more social rights, education, and power in the workforce. (Women in Italy did not have the right to vote until 1960, and the first divorce law was not passed until in 1970.) During the Years of Lead, neo–Fascist and right-wing groups sought to take power from the left and undermine the Communist Party’s recent labor advances. Derailed trains and terrorist bombs like the one at Piazza Fontana were blamed on the left, but many were actually perpetrated by the right, often in cahoots with the government. Atrocities were committed by all sides, however; one of the most notable was the kidnapping

Lead , neo-Fascist and right-wing

groups sought to take power from the left and undermine the Communist Party’s recent labor advances. Derailed trains and terrorist bombs like the one at Piazza


were blamed on the left, but many were actually perpetrated by the right, often in cahoots with the government. 2 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5

and assassination of the Christian Democrat Prime Minister Aldo Moro by the Red Brigades in 1978. Though this “strategy of tension” was motivated by domestic angling for power, there is evidence of international (read, American) interference in a Cold War effort to wrest power away from communists. Rather than bombs or bullets, theatre artists like Dario Fo used their art to call attention to the hypocrisies of those in power. He says about Accidental Death’s first appearance just a few years after the Piazza Fontana bombing: [The audience] split their sides laughing at the effects produced by the comical and at the same time satirical situations. But as the performance went on, they gradually came to see that they were laughing the whole time at real events, events which were criminal and obscene in their brutality: crimes of the state. So the grins froze on their faces and in most cases turned into a kind of grand guignol scream which had nothing liberating about it, nothing to make things palatable— on the contrary, it made them impossible to swallow. This style of provocative theatrical satire is not a relic of the 1970s—it remains a sharp political tool even today. As Fo observes, something about the form seems uniquely suited to Italy: “because of a particular historical and cultural process, the taste for satire touches a very deeply rooted feeling in the Italian public…. The taste for satire was not suppressed even by fascism—in fact it developed.” And despite advantages in media technology, theatre remains a preferred platform for political critique. Italian media is highly regulated by the government. The major television network, rai, is state-run, and former Prime Minister Silvio Berlusconi also founded Mediaset, one of Europe’s largest TV companies. Berlusconi, a billionaire media mogul who is also the head of the right-wing political party Forza Italia, has been accused of everything from tax evasion to bribery and solicitation of underage prostitutes. When comedians or satirists called attention to charges of corruption or outright criminality in Berlusconi’s administration, their programs were yanked from the airwaves. In November of 2004, comedian Sabina Guzzanti launched a TV program called Raiot satirizing the state-owned television network. Despite extremely high

numbers of viewers for its premiere episode, it was taken off of the network, and Guzzanti has since turned her program into a theatrical event. Il Partito d’Amore (The Party of Love) is another example of political critique moving from the screen to the stage. This long-running piece used real transcripts of interviews and parliamentary meetings to build its dialogue and ever-changing script. The twist? The parts were performed by actual sitting members of the Italian legislature. If politicians can try their hands at comedy, then so too can comedians try their hands at politics. After his pointed barbs were banned from the small screen, stand-up comedian Beppe Grillo took his political critiques to the streets and the internet. His popularity both in Italy and abroad grew to the point where he founded a new political movement in 2010— the Five Star Movement. Using the internet and word-ofmouth, it has garnered enormous support from Italians fed up with the corruption and excesses of the current government. The movement does not affiliate itself with either the traditional left or the right, and demands answers to tough questions about corruption, the environment, Italy’s inclusion in the EU, and the wars in Afghanistan and Iraq. In 2007, Grillo put together the first “V-Day” rally (here, the “V” stands for vaffanculo, Italian for “fuck off” or “fuck you”), excoriating corrupt politicians. Two million people showed up at the rally. During the 2010 regional elections, four councilors associated with the movement were elected, and in 2012 the movement received the third-highest number of votes overall and won the mayoral seat in Parma. It remains to be seen how the fledgling directdemocracy movement performs in office, but what is clear is that the people of Italy are ready for a change. If there is one thing that recent events have taught us, it’s that history repeats itself. Though the exact circumstances might change over time, both our capacity for corruption and the intense desire to bring it into the light remain intact. We are all somehow implicated in the triumphs and failings of our society, whether we are perpetrators or rebels or indifferent bystanders, but it is the artist who has the unique ability to hold up a mirror to our greatest flaws and make us truly see them.

Rather than bombs or bullets , theatre artists like Dario

Fo used their art to call attention to the

hypocrisies of those in power.

2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 3


Christopher Bayes: director, actor, designer, composer, clown. No, he doesn’t do birthday parties. Rather, he has embraced the art of clowning and commedia dell’arte —an Italian style of improvised comedy using masks that portray archetypal characters —since his time with the internationally acclaimed Theatre de la Jeune Lune, training with alumni of the prestigious Lecoq School in Paris. For Bayes, this fascination with physical exploration, the freedom to play and create with one’s body, has prompted fruitful collaborations between artists and innovative experiences for audiences. Juggling his busy schedule, Mr. Bayes took a moment to chat with us about how his career so far has led from Molière to Italian madmen, while instructing a few fledgling clowns in between.

24 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5

Gesture and language spring from the same source. I guess “the source” is the need to tell a story or the attempt to illuminate something about the human experience.

How would you describe the world of Accidental Death of an Anarchist? The play is built on a farce structure and takes place in two identical rooms. One is on the first floor and one is on the fourth. It is written to be played on one set and takes place in 1970. For me, who grew up in the ’60s and ’70s it had a kind of sitcom feel, like Barney Miller gone terribly wrong or The Honeymooners or I Love Lucy gone completely psycho. So we used this feeling as a kind of inspiration for the design elements. It feels very much of its time but also it is very clear that we are doing a period play in the present moment. There is a kind of acknowledgement of the theatrical conceit.

Why this play and why now? We have been wanting to do this play for a few years but couldn’t seem to get the rights. So we did Servant of Two Masters instead, which ended up touring the country and playing in five regional theatres over the last four years. Finally we managed to get the rights to do Anarchist and it has been a delight to work on it. I don’t think that there is a particular moment in time that we said, “Oh look at all of this corruption…. we need to do Dario Fo!” Corruption and cover-ups never seem to stop. They just seem to get stupider because we have grown to expect them. What makes a clown? The clown is an innocent, a beautiful creature full of hope and playfulness that springs from the backstage world of our imagination. The clown is the unsocialized self sent to show us the poetry and beauty that we have given away by becoming organized and responsible adults. It reminds us of possibility of play and the gleeful disaster. Can you teach someone to be funny? Yes. I do it every day. When did you know that physical comedy would become an area of focus for you? How did you discover your aptitude for it? I don’t really know. When I began as an actor almost all of my training had been in Stanislavsky-based work. Somehow it never seemed completely satisfying to me. I always felt like a bit of a liar. Then I began exploring some more physically based work—Noh theatre and the teachings of Jacques Lecoq. All of the sudden the world of the theatre, the architecture, and the actor-audience relationship began to make sense. The world of the Clown and Commedia came alive for me. And

people began to laugh at my idiotic shenanigans. All of the sudden I felt a kind of ownership of the work in a way that I had never felt before. There is also something about the abandon and fearlessness that physical comedy requires that appealed to me as a kind of celebration of the theatrical conversation. It is a kind of call and response that brings everyone together in the room. I think that we go to the theatre for that kind of experience.

How did your relationship with physicality affect your connection with verbal language? It all travels together. Gesture and language spring from the same source. I guess “the source” is the need to tell a story or the attempt to illuminate something about the human experience. If a story is told with more physicality it becomes a more visceral experience. Verbal storytelling tends to be more of a cerebral experience. What was your greatest experience in a theatre? Perhaps being brought up onstage for the curtain call on the opening night of Servant of Two Masters. I hadn’t taken a curtain call in 20 years. The audience looks so beautiful from up there. Especially when they are standing up and clapping with big smiles on their faces. I got to take a bow with my dear friend and co-conspirator of 30 years Steve Epp and a miraculous company of actors. It was a total surprise and very moving. What makes theatre fun? Fun makes theatre fun. When the actors are having fun, when we all feel a bit naughty or break some of the rules. Surprise. Or simply giving the gift of our performance away with a kind of reckless, gleeful abandon. Can you name some of the artists that inspire you? Elmer Fudd, Don Knotts, Roberto Benigni, Stan Laurel, George Carl, Terry Gilliam, Tom Waits, Jerry Garcia, Magritte, Mozart, The Lopsided Caravan of Misfit Toys, Eli and Cosmo. Annie. What’s next for Christopher Bayes? My big summer workshops are coming up in June. It’s an entire month of Clown and Commedia training in Brooklyn. I am always inspired by the courage that it takes for these actors just to get in the room. And then…who knows…perhaps Anarchist will travel more, or Servant of Two Masters may come back, or Doctor in Spite of Himself may go somewhere exciting. Or perhaps something entirely new and altogether surprising. 2 0 1 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 5

Next at berkeley rep

“It’s the best-written, best-plotted, deepest, most daring—and funniest— new play in recent years.” —wall s tree t journal



Nina Raine diRected by

Jonathan Moscone p r o d u C t i o n Co - S p o n S o r

Starts April 11 · Call 510 647-2949 · Click

Bank of the West SeASon SponSorS

Berkeley Repertory Theatre, in a co-production with Yale Repertory Theatre, presents



WRIT TEN BY DARIO FO ADAP TED BY GAVIN RICHARDS FROM A TR ANSL ATION BY GILLIAN HANNA DIREC TED BY CHRISTOPHER BAYES M ARCH 7–APRIL 20, 2014 RODA THE ATRE · M AIN SE A SON Accidental Death of an Anarchist is made possible thanks to the generous support of S E A S O N PRO D U CE R The Strauch Kulhanjian Family PRO D U CE R S Thalia Dorwick David & Vicki Fleishhacker A S S O CIAT E PRO D U CE R S William Espey & Margaret Hart Edwards John & Carol Field Hitz Foundation Steven & Patrece Mills Kaye & Randy Rosso

CAST Superintendent Liam Craig* Maniac Steven Epp* Feletti Renata Friedman* Pissani Allen Gilmore* Constables Eugene Ma* Bertozzo Jesse J. Perez* Musicians Aaron Halva and Travis Hendrix

PRODUC TION S TAFF Music Direction Aaron Halva Composers Aaron Halva and Nathan A. Roberts Scenic Design Kate Noll Costume Design Elivia Bovenzi Lighting Design Oliver Wason Sound Design Nathan A. Roberts and Charles Coes Projection Design Michael F Bergmann


Vocal Coach Walton Wilson Production Dramaturg Samantha Lazar Casting Director Tara Rubin Stage Manager Kimberly Mark Webb* *Denotes a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Partial support of open captioning is provided by Theatre Development Fund.

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BE R K E L E Y R E P PR E S E N T S Liam Craig


Liam previously appeared at Berkeley Rep in A Doctor in Spite of Himself, which he previously performed at Yale Rep along with The Servant of Two Masters, both directed by Chris Bayes. His New York credits include the Broadway production of Boeing-Boeing (understudying and performing the role of Robert) and off-Broadway productions of The Internationalist (Vineyard Theatre), Aunt Dan and Lemon (the New Group), Two Noble Kinsmen (The Public Theater), and Don Juan (Theatre for a New Audience). His regional theatre credits include The Happy Ones (Magic Theatre), The Government Inspector (the Shakespeare Theatre Company), The Wild Duck (Bard Summerscape), A Christmas Story (Actors Theatre of Louisville), The Scene (Hartford Stage and the Alley Theatre), The Lady from the Sea (Intiman Theatre), and Henry V (Shakespeare on the Sound). His television and film credits include Unforgettable, Mercy, Rescue Me, Boston Legal, Law & Order, Law & Order: Special Victims Unit, Late Night with Conan O’Brien, and The Royal Tenenbaums. Liam received his BA in English and theatre studies from Yale College and his mfa from nyu’s Tisch School of the Arts Graduate Acting Program.

Steven Epp M A N I AC

Steven had appeared at Berkeley Rep in A Doctor in Spite of Himself, Figaro, The Miser, The Green Bird, and Don Juan Giovanni. He was an actor, writer, and co-artistic director at Theatre de la Jeune Lune, winner of the 2005 Tony Award for Outstanding Regional Theatre, from 1983 to 2008. Title roles there included Tartuffe, Crusoe, Hamlet, Gulliver, Figaro, and The Miser, as well as major roles in Yang Zen Froggs, Romeo and Juliet, Cyrano, Children of Paradise, Scapin, Germinal, Don Juan Giovanni, The Three Musketeers, Twelfth Night, The Magic Flute, The Hunchback of Notre Dame, The Seagull, and The Little Prince. His Yale Rep appearances include Theatre de la Jeune Lune’s Children of Paradise: Shooting a Dream (1993), Truffaldino in The Servant of Two Masters (2010), and Sganarelle in A Doctor in Spite of Himself (2011). His other theatre credits include productions at the Guthrie Theater, La Jolla Playhouse, Trinity Repertory Company, Spoleto Festival, American Repertory Theater, Actors Theatre of Louisville, the Alley Theatre, 2 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5


Intiman Theatre, Center Stage, off-Broadway’s the New Victory Theater, the Shakespeare Theatre Company, PlayMakers, Seattle Repertory Theatre, and ArtsEmerson World Stages. Steven is the co-artistic director of the Moving Company. Steven holds a degree in theatre and history from Gustavus Adolphus College. He was a 1999 Fox Fellow, a 2009 McKnight Theatre Artist Fellow, and a Beinecke Fellow at Yale School of Drama. He lives in Minneapolis with his wife and three children.

The Misanthrope, Turnbo in Jitney, and he just completed a run as Hedley in Seven Guitars, all at Court Theatre in Chicago. Other favorite roles include Othello and Iago in Othello, Bynum in Joe Turner’s Come and Gone, Cyrano in Cyrano de Bergerac, James Hewlett in The African Company Presents Richard the Third, and Sizwe Banzi in Sizwe Banzi Is Dead.

Renata Friedman

Raised amongst polkas and hymns in Iowa, Aaron has since studied music in Cuba, Puerto Rico, Argentina, Greece, and Spain. He was last seen at Berkeley Rep in A Doctor in Spite of Himself (also at Intiman Theatre and Yale Repertory Theatre). His New York theatre credits include Red Noses by Peter Barnes, Four by Feydeau, The Bourgeois Gentleman, The Molière One Acts, Monsieur de Pourceaugnac, and The Love of Three Oranges by Carlo Gozzi (the Juilliard School); The Imaginary Invalid by Molière, The New Place by Carlo Goldoni, We Won’t Pay! We Won’t Pay! by Dario Fo, and a new adaptation of Molière’s The Reluctant Doctor of Love (New York University’s Tisch School of the Arts Graduate Acting Program). Regional credits include The Servant of Two Masters (Yale Repertory Theatre, the Guthrie Theater, ArtsEmerson, the Shakespeare Theatre Company, and Seattle Repertory Theatre) and The Molière Impromptu (Trinity Repertory Company). He also appeared in Ballywoonde at the Edinburgh Fringe Festival. Aaron’s film credits include Wall Street: Money Never Sleeps, as leader and arranger for Cuban music group Nu D’Lux.


Renata previously appeared at Berkeley Rep in A Doctor in Spite of Himself. Her other Bay Area credits include Upright Grand at TheatreWorks and Sleeping Rough at TheatreWorks New Works Festival. In New York, she’s appeared at Page 73, the New Victory Theatre, Aquila Theatre Company, Fringenyc, and Fringe Encores. She has also appeared in shows throughout the country at Yale Repertory Theatre, Actors Theatre of Louisville, Milwaukee Repertory Theater, the Humana Festival, Illusion Theater (Minneapolis), Barrington Stage Company, jaw (Portland Center Stage), Aquila Theatre national tour, the Icicle Creek Theater Festival at A Contemporary Theatre, the Orchard Project, and nearly a dozen productions in Seattle at Intiman Theatre, Seattle Repertory Theatre, act, and Seattle Children’s Theatre. A graduate of New York University, Renata is a 2011 Gregory Award nominee for Outstanding Actress and Seattle Magazine’s 2011 Actress of the Year.

Allen Gilmore PISSANI

Allen is happy to return to Berkeley Rep, where he appeared in A Doctor in Spite of Himself, directed by Chris Bayes, and The Arabian Nights and Argonautika, directed by Mary Zimmerman. Other collaborations with director Chris Bayes include The Servant of Two Masters at the Guthrie Theater and Yale Repertory Theatre, the Shakespeare Theatre Company, ArtsEmerson, and most recently Seattle Repertory Theatre; Scapin at the Idaho Shakespeare Festival, Intiman Theatre, and Court Theatre; The Comedy of Errors at Idaho Shakespeare Festival; Endgame at Court Theatre; and A Doctor in Spite of Himself at Intiman Theatre. He recently performed as Arsinoe in

Aaron Halva


Eugene Ma


Eugene is a multidisciplinary theatremaker based in New York. As an actor, he just finished playing Silvio in Chris Bayes’ production of The Servant of Two Masters at Seattle Repertory Theatre. He has also been seen performing at venues like La MaMa Experimental Theatre Club, Mabou Mines, the old Ohio Theater in Soho, Joe’s Pub, jack, the Stone, a loft in Williamsburg, Greenwood Cemetery, and even an art gallery in Budapest, working with the likes of Josh Fox, Orlando Pabotoy, Alan Tudyk, and the late Ruth Maleczech. As a director, Eugene’s recent credits include Mike Lew’s Ten Page Manifesto, Shane Sakhrani’s Hero

Hindustani, Molière’s The Imaginary Invalid, Mark Ravenhill’s pool (no water), and Thornton Wilder’s Childhood (as a clown show). Last year, he served as the composer and musician for All Which Way and That at Yale School of Drama, and composed and performed his Drama Desk–nominated “Silent Film” score for The Man Who Laughs at Urban Stages. A recent graduate of Tisch School of the Arts at nyu, Eugene is currently an apprentice teacher in physical comedy under Chris Bayes at Yale School of Drama and the Juilliard School.

Jesse J. Perez BERTOZZO

Jesse has been seen at Berkeley Rep in The Arabian Nights and Argonautika, both directed by Mary Zimmerman. His Yale Rep credits include In a Year with 13 Moons (2013), The Servant of Two Masters (2010), Lulu (2007), The Cherry Orchard (2005), and The Taming of the Shrew (2003). He has also appeared in New York shows such as Triple Happiness (Second Stage Theatre), Barrio Girl (Summer Play Festival), Recent Tragic Events (Playwrights Horizons), In the Penal Colony (Classic Stage Company), Up Against the Wind (New York Theatre Workshop), and Lucia di Lammermoor (the Metropolitan Opera). Jesse’s regional theatre productions include A Midsummer Night’s

Dream, Othello, and Much Ado About Nothing (Shakespeare on the Sound); Hard Weather Boating Party (Humana Festival of New Plays); Argonautika, Lookingglass Alice, and Cascabel (Lookingglass); Pericles and Candide (the Goodman Theatre, the Shakespeare Theatre Company); The Servant of Two Masters (the Shakespeare Theatre, the Guthrie Theater); and Hamlet (McCarter Theatre Center). His film and television credits include American Splendor, Enter Nowhere, Playing God, Kazaam, Person of Interest, Life on Mars, Law & Order, Law & Order: svu, The Job, and Third Watch. Jesse is a graduate of the Juilliard School.

Christopher Bayes DIREC TOR

Chris began his theatre career with the Tony Award–winning Theatre de la Jeune Lune, where he worked for five years as an actor, director, composer, designer, and artistic associate. In 1989 he joined the acting company of the Guthrie Theater for over 20 productions, including The Tempest, King Lear, Marat/Sade, The Triumph of Love, and his one-man show This Ridiculous Dreaming, based on Boll’s novel The Clown. His directing credits include Accidental Death of an Anarchist at Yale Repertory Theatre, as well as productions at Berkeley Rep (A Doctor in Spite of Himself, co-produced with Yale Repertory Theatre), Intiman Theatre, Seattle Repertory Theatre, Court Theatre, Trinity Repertory Company, Touchstone Theater, and Idaho Shakespeare Festival. His New York work includes here Arts Center, Performance

Space 122, Dixon Place, the Flea Theater, The Public Theater, the Juilliard School, nyu’s Graduate Acting Program, and the Atlantic Theater Company, where he designed the movement/choreography for John Guare’s new evening of short plays 3 Kinds of Exile. He served as movement director and creator of additional movement for the Broadway and national touring productions of The 39 Steps (the Roundabout’s American Airlines, Cort, and Helen Hayes theatres). He is a 1999/2000 Fox Fellow. He has served on the faculty of the Juilliard School and nyu’s Graduate Acting Program, was the head of movement and physical theater at The Brown/Trinity Consortium, and has taught workshops for Cirque du Soleil, the Big Apple Circus, The Public Theater’s Shakespeare Lab, and Williamstown Theatre Festival, among others. He is currently a professor at Yale School of Drama and head of physical acting.

Kate Noll


Kate is a third-year mfa candidate at Yale School of Drama, where her credits include set design for Cloud Nine and costume design for House Beast. Her other credits include Yale Cabaret, where she designed sets for Rey Planta, Funnyhouse of a Negro, The Fatal Eggs, Ermyntrude & Esmeralda, and costumes for Ain’t Gonna Make It and The Bird Bath. She was also the resident designer for the 2013 Summer Cabaret, designing sets for Tartuffe, Miss Julie, The Shoemaker’s Prodigious Wife, Heart’s

Extraordinary Performance. Proudly serving Berkeley, Albany, Kensington, El Cerrito, Emeryville, Oakland and Piedmont Lorri Arazi Leslie Avant Norah Brower Carla Buffington Jackie Care Stina Charles-Harris Carla Della Zoppa Francine Di Palma Leslie Easterday Gini Erck Debi Fitzgerrell Jennie A. Flanigan

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BE R K E L E Y R E P PR E S E N T S Desire, Drunk Enough to Say I Love You, and costumes for In the Bar at a Tokyo Hotel. Previously she assisted artist and director Doug Fitch with his Cunning Little Vixen for the New York Philharmonic, The Abduction from the Seraglio for the Teatro del Lago in Chile, and a new production of Peter and the Wolf. She has been a resident set designer at the Sundance Directors Lab, where she workshopped the films Little Birds, My Brother the Devil, and Beasts of the Southern Wild. She has lived in New York, Amsterdam, and Rome, where she practiced as a studio artist, stylist, and production designer for TV and film. Kate is a graduate of the Rhode Island School of Design with a degree in painting.

Elivia Bovenzi


Elivia is a third-year mfa candidate at Yale School of Drama, where her costume design credits include King Richard 2 and Cloud Nine. Other credits include The Yiddish King Lear (Yale Cabaret), Doctor Faustus Lights the Lights (assistant costume designer, Yale School of Drama), and Good Goods (assistant costume designer, Yale Repertory Theatre). She also designed costumes for Abyss, an epic classical music and dance performance created by Stephen Feigenbaum and Charlie Polinger, performed at Yale College. Prior to her time at Yale, Elivia worked as resident costume designer for Russell Sage College in New York, where she designed costumes for Peter Pan: The Musical, Urinetown, The Heiress, A Piece of My Heart, and Whose Life Is It Anyway? Prior to becoming a costume designer, Elivia studied acting and holds a BS in musical theatre from Russell Sage College.

Oliver Wason


Oliver designs lighting for theatre, dance, music, and most anything else. He is a current mfa candidate at the Yale School of Drama where he is in his final year. In New York his work has been seen at here Arts Center, the Incubator Arts Project, the Spoon Theater, Paradise Factory, the csv Cultural Center, La MaMa Experimental Theatre Club, and the Cherry Pit, among others. He was an assistant designer on productions with Playwrights Horizons, Second Stage, the Public Theater, Naked Angels, Page 73, Clubbed Thumb, and Lincoln Center. He is designing the upcoming production of A Little Night Music at Berkshire Theatre Festival. Visit

Nathan A. Roberts


Nathan is a multi-instrumentalist who specializes in creating original music and soundscapes for plays, often live on stage. He was a musician and sound designer for Yale Rep’s The Servant of Two Masters and has been 3 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5

enjoying designing sound for that production’s reincarnations at Seattle Repertory Theatre, ArtsEmerson, the Guthrie Theater, and the Shakespeare Theatre Company. His other recent credits include original sound and music for On Borrowed Time and Electric Baby (Two River Theater Company), Our Town (Ford’s Theatre), Twelfth Night and The Tempest (Hartford Stage), and live foley for It’s a Wonderful Life (Long Wharf Theatre). He also designs and builds musical instruments, with a special emphasis on flutes and hurdy-gurdies. Nathan received his mfa from Yale School of Drama and is a member of the theatre studies faculty at Yale College.

Charles Coes


Charles’ New York credits include Wanda’s Monster, Louis Armstrong: Jazz Ambassador, The Butterfly, Dreams of the Washer King, The Shot, The Realm, User 927, Up Up Down Down, and Stand Tall. Regional theatre credits include Passion Play at Yale Repertory Theatre; My Wonderful Day at the Wilma Theater; One Slight Hitch at Williamstown Theatre Festival; Parade at Ford’s Theatre; The Servant of Two Masters at the Shakespeare Theatre Company, the Guthrie Theater, ArtsEmerson, and Seattle Repertory Theatre; Annie and The Sound of Music at North Shore Music Theatre; and Electric Baby and On Borrowed Time at Two River Theater Company. He has also worked on art installations with Anne Hamilton, Abelardo Morell, and Luis Roldan, as well as aerial and aquatic spectaculars on Oasis of the Seas, Allure of the Seas, and other Royal Caribbean ships. He has served as an associate on the Broadway productions of Peter and the Starcatcher, Vanya and Sonia and Masha and Spike, Grace, Chinglish, In the Next Room (or the vibrator play), The Glass Menagerie, and Macbeth. He received his mfa from Yale School of Drama.

Michael F Bergmann


Michael is a third-year mfa candidate at Yale School of Drama, where he has designed Accidental Death of an Anarchist (Yale Repertory Theatre), Iphigenia Among the Stars, and Fox Play. He served as assistant projection designer on In a Year With 13 Moons at Yale Repertory Theatre and The Seagull and Angels in America, Part Two: Perestroika at the School of Drama. His other projection design credits include Creation 2011, Dracula, and Cat Club at Yale Cabaret; and Terre Rouge and The Marriage of Bette and Boo at Théâtre Glendon. He has consulted on numerous productions at the Yale Cabaret and other theatres. His other credits include directing Mute at the Toronto Fringe Festival and This Still Night at the Prague Fringe Festival, producing a variety of theatre and film projects including Under Milk Wood and Leer at Abrams Studio, and

profiles the short An Encounter. A proud Canadian, Michael holds a bfa from Ryerson University in Toronto and is an Eldon Elder fellow at Yale. Visit

Samantha Lazar


Samantha is a second-year mfa candidate at Yale School of Drama, where she served as dramaturg for The Cold in My Eye. She has worked in various capacities at Yale Cabaret, where her credits include MilkMilkLemonade, The Twins Would Like to Say, and Crave. Prior to going to Yale, she worked as a dramaturg and set designer in Philadelphia, where favorite credits include Red (Philadelphia Theatre Company), Ubu Roi (Renegade Classic Theatre), and Becky Shaw (Montgomery Theater). She has written performance reviews and criticism for Philadelphia-based publications and is currently a managing editor of Theater magazine. She holds a BA from the University of Pennsylvania.

Kimberly Mark Webb S TAG E M A N AG E R

Kimberly’s credits at Berkeley Rep include more than 75 productions over the last 30-plus years. His other work includes productions for Center Theatre Group, New York’s Joyce Festival, the Huntington Theatre Company, La Jolla Playhouse, Williamstown Theatre Festival, American Conservatory Theater, and Kansas City Repertory Theatre. Kimberly served as production stage manager at Theatre Three in Dallas for six years.

Tara Rubin Casting CASTING DIREC TOR

Tara has been casting at Yale Rep since 2004. Her upcoming Broadway projects include Bullets Over Broadway and Aladdin, and past Broadway productions include A Time To Kill; Big Fish; The Heiress; One Man, Two Guvnors (U.S. casting); Ghost; How to Succeed in Business Without Really Trying; Promises, Promises; A Little Night Music; Billy Elliot; Shrek; Guys and Dolls; The Farnsworth Invention; Young Frankenstein; The Little Mermaid; Mary Poppins; Les Misérables; Spamalot; Jersey Boys; The 25th Annual Putman County Spelling Bee; The Producers; Mamma Mia!; The Phantom of the Opera; and Contact. She has cast for the offBroadway shows Love, Loss, and What I Wore and Old Jews Telling Jokes. Tara has also worked for the Kennedy Center, La Jolla Playhouse, Dallas Theater Center, the Old Globe, Westport Country Playhouse, and Bucks County Playhouse. Her film work includes Lucky Stiff and The Producers.

Walton Wilson VO C A L C OAC H

Walton is head of voice and speech at Yale School of Drama. He was trained and desig-

nated as a voice teacher by master teacher Kristin Linklater and was trained and certified as an associate teacher by master teacher Catherine Fitzmaurice. He also studied with Richard Armstrong, Meredith Monk, and Patsy Rodenburg. As a voice/dialect coach, his New York credits include The Violet Hour and Golden Child on Broadway, the world premiere productions of The Laramie Project and The Laramie Project: 10 Years Later, and Endangered Species. Regional credits include productions at Actors Theatre of Louisville, American Repertory Theater, Long Wharf Theatre, McCarter Theatre Center, Shakespeare & Company, and Williamstown Theatre Festival. At Yale Rep, he has served as voice and dialect coach for In a Year with 13 Moons, A Doctor in Spite of Himself, Autumn Sonata, Battle of Black and Dogs, Notes from Underground, Boleros for the Disenchanted, The Evildoers, The Unmentionables, The Cherry Orchard, The Intelligent Design of Jenny Chow, The Black Monk, Medea/Macbeth/ Cinderella, Betty’s Summer Vacation, The Birds, and Richard III.

Yale Rep


Yale Repertory Theatre has produced well over 100 premieres — including two Pulitzer Prize winners and four other nominated finalists — by emerging and established playwrights. Eleven Yale Rep productions have advanced to Broadway, garnering more than 40 Tony Award nominations and eight Tony Awards. Yale Rep is also the recipient of the Tony Award for Outstanding Regional Theatre. Professional assignments at Yale Rep are integral components of the program at Yale School of Drama, the nation’s leading graduate theatre training conservatory. Established in 2008, Yale’s Binger Center for New Theatre is an artist-driven initiative that devotes major resources to the commissioning, development, and production of new plays and musicals at Yale Rep and across the country. The Binger Center has supported the work of more than 40 commissioned artists and the world premieres and subsequent productions of 15 new American plays and musicals. Recent and upcoming Yale–commissioned world premieres include Amy Herzog’s Belleville and The Realistic Joneses by Will Eno (opening on Broadway this spring), cited among the year’s Top Ten by The New York Times in 2011 and 2012 respectively, and this season’s These Papers Bullets, adapted by Rolin Jones from William Shakespeare’s Much Ado About Nothing, with songs by Billie Joe Armstrong. Visit

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Tony Taccone


During Tony’s tenure as artistic director of Berkeley Rep, the Tony Award–winning nonprofit has earned a reputation as an international leader in innovative theatre. In those 16 years, Berkeley Rep has presented more than 70 world, American, and West Coast premieres and sent 22 shows to New York, two to London, and now one to Hong 201 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 1

BE R K E L E Y R E P PR E S E N T S Kong. Tony has staged more than 35 plays in Berkeley, including new work from Culture Clash, Rinde Eckert, David Edgar, Danny Hoch, Geoff Hoyle, Quincy Long, Itamar Moses, and Lemony Snicket. He directed the shows that transferred to London, Continental Divide and Tiny Kushner, and two that landed on Broadway as well: Bridge & Tunnel and Wishful Drinking. Tony commissioned Tony Kushner’s legendary Angels in America, co-directed its world premiere, and this season marks his eighth collaboration with Kushner when he directs The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. Tony’s regional credits include Actors Theatre of Louisville, Arena Stage, Center Theatre Group, the Eureka Theatre, the Guthrie Theater, the Huntington Theatre Company, Oregon Shakespeare Festival, The Public Theater, and Seattle Repertory Theatre. As a playwright, Tony recently debuted Ghost Light and Rita Moreno: Life Without Makeup. His latest play, Game On, written with Dan Hoyle, will premiere in April 2014 at San Jose Repertory Theatre. In 2012, Tony received the Margo Jones Award for “demonstrating a significant impact, understanding, and affirmation of playwriting, with a commitment to the living theatre.”

Susan Medak


Susan has served as Berkeley Rep’s managing director since 1990, leading the administration and operations of the Theatre. She has served as president of the League of Resident Theatres (lort) and treasurer of Theatre Communications Group, organizations that represent the interests of nonprofit theatres across the nation. Susan chaired two panels for the Massachusetts Arts Council and has also served on program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan chairs the Downtown Berkeley Business Improvement District and serves as president of the Downtown Berkeley Association. She is the founding chair of the Berkeley Arts in Education Steering Committee for Berkeley Unified School District and the Berkeley Cultural Trust. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund. Susan serves on the faculty of Yale School of Drama and is a proud member of the Mont Blanc Ladies’ Literary Guild and Trekking Society. She lives in Berkeley with her husband.

Karen Racanelli


Karen joined Berkeley Rep in 1993 as education director. Under her supervision, Berkeley Rep’s programs for education provided live theatre for more than 20,000 students annually. In 1995, she became general manager, and 3 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5

since then has overseen the day-to-day operations of the Theatre. She has represented the League of Resident Theatres during negotiations with both Actors’ Equity Association and the Union of Stage Directors and Choreographers. Prior to her tenure at Berkeley Rep, Karen worked for Theatre Bay Area as director of theatre services and as an independent producer at several Bay Area theatre companies. She has served on the boards of Climate Theater, Overtone Theatre Company, Park Day School, and the Julia Morgan Center. Karen is married to arts attorney MJ Bogatin.

Liesl Tommy


After having directed the acclaimed production of Ruined in 2011, Liesl joined the artistic team at Berkeley Rep in 2013. She is an awardwinning director whose world premieres include Party People by Universes at Oregon Shakespeare Festival, The White Man—A Complex Declaration of Love by Joan Rang with DanskDansk Theatre in Denmark, Peggy Picket Sees the Face of God by Roland Schimmelpfennig at the Luminato Festival/Canadian Stage Toronto, Eclipsed by Danai Gurira at Yale Repertory Theatre and Woolly Mammoth Theatre Company, The Good Negro by Tracey Scott Wilson at The Public Theater and Dallas Theater Center, A History of Light by Eisa Davis at the Contemporary American Theatre Festival, Angela’s Mixtape by Eisa Davis at Synchronicity Performance Group, New Georges, and Bus and Family Ties at the Play Company for the Romania Kiss Me! Festival. Liesl’s other credits include California Shakespeare Theater, Huntington Theatre Company, Center Stage in Baltimore, Sundance East Africa, Manda Island, Kenya, Oregon Shakespeare Festival, La Jolla Playhouse, and Huntington Theatre Company, among others. Liesl serves as the program associate at Sundance Institute Theatre Program, focusing on its activities in East Africa, and she was recently made an artist trustee with the Sundance Institute’s board of trustees. She was awarded the inaugural Susan Stroman Directing Award from the Vineyard Theatre, the nea/tcg Directors Grant, and the New York Theatre Workshop Casting/Directing Fellowship. She is a native of Cape Town, South Africa.

Madeleine Oldham

R E S I D E N T D R A M AT U R G/ D I R E C T O R , T H E G R O U N D F LO O R

Madeleine is the director of Berkeley Rep’s recently launched Ground Floor and the Theatre’s resident dramaturg. She oversees commissioning and new play development, and dramaturged the world premiere productions of Passing Strange and In the Next Room (or the vibrator play), among others. As literary manager and associate dramaturg at Center Stage in Baltimore, she produced the

profiles First Look reading series and headed up its young audience initiative. Before moving to Baltimore, she was the literary manager at Seattle Children’s Theatre, where she oversaw an extensive commissioning program. She also acted as assistant and interim literary manager at Intiman Theatre in Seattle. Madeleine served for four years on the executive committee of Literary Managers and Dramaturgs of the Americas and has also worked with act (Seattle), Austin Scriptworks, Crowded Fire, the Eugene O’Neill Theatre Center, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage.

Amy Potozkin


A native New Yorker, Amy moved west in 1990 when she was hired to work for Berkeley Rep. Through the years she has also had the pleasure of casting projects for act (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for various indie films: Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and the upcoming Love and Taxes both by Josh Kornbluth; and the upcoming feature film Beyond Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist in residence. She has been a coach to hundreds of actors, teaches acting at Mills College, and leads workshops at Berkeley Rep’s School of Theatre and numerous other venues in the Bay Area. Amy is a member of csa, the Casting Society of America.

Michael Suenkel


Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 20th year as production stage manager. Some of his favorite shows include 36 Views, Endgame, Eurydice, Hydriotaphia, and Mad Forest. He has also worked with the Barbican in London, the Huntington Theatre Company, the Juste Pour Rire Festival in Montreal, La Jolla Playhouse, Pittsburgh Public Theater, The Public Theater and Second Stage Theater in New York, and Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss.

The Strauch Kulhanjian Family SEASON PRODUCERS

Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently chair of the trustees committee. He is chairman of the Roda Group (,

a venture-development company based in Berkeley, focused on cleantech investments, best known for launching and for being the largest investor in Solazyme, a renewable oil and bio-products company (Nasdaq: szym, Roger is chairman of the board of CoolSystems, a medical technology company, and a member of UC Berkeley Engineering Dean’s college advisory board. He is chairman of the board of trustees for the Mathematical Sciences Research Institute (msri); a member of the board of Northside Center, a mental-health services agency based in Harlem, New York City; and a co-founder of the William Saroyan Program in Armenian Studies at Cal. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three children.

Thalia Dorwick PRODUCER

Thalia became involved with the theatre when, at age 12, she wrote, produced, and starred in a Girl Scout play. Fortunately, she has been only a spectator since then. She is currently the president of Berkeley Rep’s board of trustees, and she also directs the Theatre’s docent program. She serves as a vice president of the board of trustees of Case Western Reserve University. She has a Ph.D in Spanish, taught at the university level for many years, and is the co-author of a number of Spanish textbooks. She retired in 2004 as editor-in-chief of McGraw-Hill Higher Education’s Humanities, Social Sciences, and World Languages group.

David and Vicki Fleishhacker PRODUCERS

David and Vicki Fleishhacker’s families trace their California roots back to the 1860s. Both have been involved in amateur theatre for decades. Vicki has long been active and performed with Children’s Theatre Association of San Francisco productions, most recently in Cinderella. David appeared in over a dozen musical productions as actor, singer, and lyricist, most recently in 42nd Street Moon’s Of Thee I Sing. He is currently on the board of Berkeley Rep and the San Francisco Symphony Youth Orchestra. David’s parents met in amateur theatre, and his father was instrumental in bringing American Conservatory Theater to San Francisco. Other family members have served on the boards of act and Magic Theatre.

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Wells Fargo


As a top corporate giver to Bay Area nonprofits for many years, Wells Fargo recognizes Berkeley Repertory Theatre for its leadership in supporting the performing arts and its programs. As the oldest and largest financial services company headquartered in California, Wells Fargo has top financial professionals providing business banking, investments, brokerage, trust, mortgage, insurance, commercial and consumer finance, and much more. Talk to a Wells Fargo banker today to see how we can help you become more financially successful.

Written and performed by Brian Copeland Directed by David Ford Special Presentation · Osher Studio STARTS APRIL 23

Additional Staff Assistant Director Jack Tamburri Deck Crew Sofia Dertimanis Matt Reynolds Thomas Weaver Scene Shop Ross Copeland Patrick Keene Geoffery Nolan Libby Read Tuddenham Stage Carpenter Courtney McCrary

Call 510 647-2949 Click 3 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5

We acknowledge the following Annual Fund supporters whose contributions from November 2012 through January 2014 helped to make possible the Theatre’s artistic and community outreach programs.

CON T R I BU TOR S institutional supporters

G IF T S O F $ 100,000 AN D AB OVE

G IF T S O F $2 5,000 –49,999

G IF T S O F $5,000 –9,999

The William & Flora Hewlett Foundation The James Irvine Foundation The Andrew W. Mellon Foundation The Shubert Foundation The Harold and Mimi Steinberg Charitable Trust

Anonymous The Ira and Leonore Gershwin Philanthropic Fund Wallis Foundation Woodlawn Foundation

Anonymous Berkeley Civic Arts Program East Bay Community Foundation Ann and Gordon Getty Foundation Ramsay Family Foundation

G IF T S O F $50,000 –99,999

Koret Foundation The Kenneth Rainin Foundation

The Bernard Osher Foundation National Endowment for the Arts


G IF T S O F $10,000 –24,999

G IF T S O F $12 ,000 –24,999 Bank of the West Mechanics Bank Wealth Management The Morrison & Foerster Foundation Union Bank

G IF T S O F $6,000 –11,999

G IF T S O F $2 5,000 –49,999

Armanino llp Chevron Deloitte Meyer Sound Oliver & Company Panoramic Interests Peet’s Coffee & Tea Schoenberg Family Law Group ubs U.S. Bank

G IF T S O F $750 –4,999 Alameda County Arts Commission/artsfund Joyce & William Brantman Foundation Civic Foundation Dramatist’s Guild Fund The Entrekin Foundation jec Foundation

G IF T S O F $3,000 –5,999 4U Sports Bayer usa Foundation Gallagher Risk Management Services The Safeway Foundation

G IF T S O F $1, 500 –2 ,999 Bingham McCutchen llp Macy’s

G IF T S O F $500 –1,499 Grizzly Peak Winery

Is your company a Corporate Sponsor? Berkeley Rep’s Corporate Partnership program offers excellent opportunities to network, entertain clients, reward employees, increase visibility, and support the arts and arts education in the community. For details visit or call Daria Hepps at 510 647-2904.


M AT C H I NG G I F T S act Catering Angeline’s Louisiana Kitchen Aurora Catering Autumn Press Back to Earth Organic Catering Belli Osteria Bistro Liaison Bobby G’s Pizzeria Bogatin, Corman & Gold build Pizzeria Café Clem Comal Cyprus Distillery No. 209 Domaine Carneros by Taittinger Donkey & Goat Winery East Bay Spice Company etc Catering Eureka!

Four Seasons Hotel San Francisco five Gather Restaurant Green Waste Recycle Yard Greene Radovsky Malone Share & Hennigh llp Hotel Shattuck Plaza Hugh Groman Catering Jazzcaffè Kevin Berne Images La Mediterranee La Note Latham & Watkins, llp Match Vineyards Mint Leaf Patricia Motzkin Architecture Paul Hastings Phil’s Sliders Picante

PiQ Pyramid Alehouse Quady Winery Raymond Vineyards Revival Bar + Kitchen Ricola usa St. George Spirits Sweet Adeline Tres Agaves Turkish Kitchen Venus Restaurant Zut! on 4th Hotel Shattuck Plaza is the official hotel of Berkeley Rep. Pro-bono legal services are generously provided by Latham & Watkins, llp.

The following companies have matched their employees’ contributions to Berkeley Rep. Please call the Development Department at 510 647-2906 to find out if your company matches gifts. Adobe Systems Inc. · Advent Software · Alexander & Baldwin · American Express · Apple · Argonaut Group, Inc. · at&t · Bank of America · Bechtel Corporation · BlackRock · Bristol Myers Squibb · Charles Schwab & Co, Inc · Chevron Corporation · Clorox · Constellation Energy · Franklin Templeton · Gap · Google · Hewlett Packard · ibm Corporation · JD Fine and Company · John Wiley & Sons, Inc. · Johnson & Johnson · kla Tencor · Lawrence Livermore National Laboratory · Lexis-Nexis · Macy’s Inc.· Matson Navigation Company · Microsoft · Morrison & Foerster · Motorola Mobility · mrw & Associates llc · norcal Mutual Insurance Company · Oracle Corporation · Perforce · Ruppenthal Foundation for the Arts · Salesforce. com · The Doctors Company · The Walt Disney Company · visa u.s.a., Inc. · Willis Lease Finance Corporation

201 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 35

CON T R I BU TOR S donors to the annual fund LEG E N D


in-kind gift


Great theatre is made possible by the generosity of our community. We gratefully acknowledge the following contributors to Berkeley Rep, who champion the Theatre’s artistic and outreach programs. To make your gift and join this distinguished group, visit or call 510 647-2906.

matching gift

P RODUC E R C I RC L E S E A S O N PRO D U CE R S $ 10 0,0 0 0 +

The Strauch Kulhanjian Family

Guy Tiphane Gail & Arne Wagner Barry Lawson Williams & Lalita Tademy



$ 5 0,0 0 0 – 9 9,9 9 9

$ 12 ,0 0 0 –2 4 ,9 9 9

Bruce Golden & Michelle Mercer Mary & Nicholas Graves Wayne Jordan & Quinn Delaney John & Helen Meyer Jack & Betty Schafer

Anonymous Barbara & Gerson Bakar Stephen Belford & Bobby Minkler Carole B. Berg David & Vicki Cox Thalia Dorwick Robin & Rich Edwards David & Vicki Fleishhacker Scott & Sherry Haber Jack Klingelhofer Susan & Moses Libitzky Sandra & Ross McCandless Dugan Moore Mary Ruth Quinn & Scott Shenker Patricia Sakai & Richard Shapiro Joan Sarnat & David Hoffman Liliane & Ed Schneider Felicia Woytak & Steve Rasmussen Martin & Margaret Zankel

E XECU TIV E PRO D U CE R S $ 2 5,0 0 0 –49,9 9 9

Rena Bransten Martha Ehmann Conte Bill Falik & Diana Cohen Kerry Francis & John Jimerson M Frances Hellman & Warren Breslau Pam & Mitch Nichter Stewart & Rachelle Owen Marjorie Randolph Dr. & Mrs. Philip D. Schild Michael & Sue Steinberg Jean & Michael Strunsky



$ 3,0 0 0 – 5,9 9 9

Anonymous (4) Tony Amendola & Judith Marx Edith Barschi Neil & Gene Barth Cynthia & David Bogolub Drs. Don & Carol Anne Brown Tracy Brown & Greg Holland Jim Butler Brook & Shawn Byers C. William Byrne M Lynne Carmichael Jennifer Chaiken & Sam Hamilton Earl T. Cohen & Heidi M. Shale Daniel Cohn & Lynn Brinton Constance Crawford Karen & David Crommie Richard & Anita Davis Lois M. De Domenico Ben Douglas Delia Fleishhacker Ehrlich M Nancy & Jerry Falk Carol A. Giles Earl & Bonnie Hamlin Vera & David Hartford Richard N. Hill & Nancy Lundeen James C. Hormel & Michael P. Nguyen Lynda & Dr. J. Pearce Hurley Kathleen & Chris Jackson Ashok Janah K Robert Kelling Duke & Daisy Kiehn Lynn Eve Komaromi Suzanne LaFetra Nancy & George Leitmann Don & Amy Louv M Peter & Melanie Maier Charlotte & Adolph Martinelli Grey Maus(e) Phyra McCandless & Angelos Kottas Susan Medak & Greg Murphy Eddie & Amy Orton Sandi & Dick Pantages Pease Family Fund Ivy & Leigh Robinson David S. H. Rosenthal & Vicky Reich Riva Rubnitz Beth & David Sawi Linda & Nathan Schultz Lisa & Jim Taylor James & Lisa White Steven Winkel & Barbara Sahm Sheila Wishek Sally Woolsey Alan & Judy Zafran


$ 1, 5 0 0 –2 ,9 9 9

Anonymous (9) Pat Angell Marcia & George Argyris Martha & Bruce Atwater Nina Auerbach Don & Gerry Beers M David Beery & Norman Abramson Caroline Booth Linda Brandenburger Broitman-Basri Family Thomas & Tecoah Bruce Kerry Tepperman Campbell Ronnie Caplane Stephen K. Cassidy & Rebecca L. Powlan Paula Champagne & David Watson LinChiat Chang K The Cheitlin Family Julie Harkness Cooke Penny Cooper & Rena Rosenwasser Ed Cullen & Ann O'Connor James Cuthbertson John & Stephanie Dains Ira Dearing Ilana DeBare & Sam Schuchat Francine & Beppe Di Palma Jerome & Thao Dodson Becky Draper Brooke Facente Merle & Michael Fajans Cynthia A. Farner Tracy & Mark Ferron Lisa & Dave Finer Ann & Shawn Fischer Hecht Martin & Barbara Fishman Linda Jo Fitz Frannie Fleishhacker Thomas & Sharon Francis Herb & Marianne Friedman Don & Janie Friend James Gala Karl & Kathleen Geier Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Bob Goodman Deborah & Howard Goodman Robert & Judith Greber William James Gregory Garrett Gruener & Amy Slater Richard & Lois Halliday Migsy & Jim Hamasaki Bob & Linda Harris Ruth Hennigar Tom & Bonnie Herman

3 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 5

A S S O CIAT E PRO D U CE R S $ 6,0 0 0 – 11,9 9 9

Anonymous (3) Edward Baker Shelley & Jonathan Bagg Valerie Barth & Peter Wiley M Steve & Blair Buster Susan Chamberlin Robert Council & Ann Parks-Council Tom Dashiell Oz Erickson & Rina Alcalay William Espey & Margaret Hart Edwards John & Carol Field Kristina Flanagan Virginia & Timothy Foo Paul Friedman & Diane Manley M Jill & Steve Fugaro Paul Haahr & Susan Karp M Doug & Leni Herst Hitz Foundation Ms. Wendy E. Jordan Jean & Jack Knox Wanda Kownacki Ted & Carole Krumland Zandra Faye LeDuff

Wendy Herzog K Howard Hertz & Jean Krois Gail & Bob Hetler Bill Hofmann & Robbie Welling The Hornthal Family Foundation Rick Hoskins & Lynne Frame Paula Hughmanick & Steven Berger George & Leslie Hume Mr. & Mrs. Harold M. Isbell Herrick and Elaine Jackson, The Connemara Fund Beth & Fred Karren Doug & Cessna Kaye Rosalind & Sung-Hou Kim Michael Kossman John Kouns & Anne Baele Kouns Helen E. Land Robert Lane & Tom Cantrell William & Adair Langston Randy Laroche & David Laudon Louise Laufersweiler & Warren Sharp Andrew Leavitt & Catherine Lewis Ellen & Barry Levine Bonnie Levinson & Dr. Donald Kay Jennifer S. Lindsay Tom Lockard & Alix Marduel Jonathan Logan Vonnie Madigan Helen Marcus & David Williamson Lois & Gary Marcus Michael Margolis Sumner & Hermine Marshall Rebecca Martinez Jill Matichak Janet & Michael McCutcheon Karen & John McGuinn Miles & Mary Ellen McKey Scott McKinney & Sherrill Lavagnino Michele R. McNellis Toby Mickelson & Donald Brody Roger & Satomi Miles John & Katrina Miottel Andy & June Monach Scott Montgomery & Marc Rand Marvin & Neva Moskowitz Patricia Motzkin & Richard Feldman Judy O'Young, MD & Gregg Hauser Judith & Richard Oken Steve Olsen Janet Ostler Joshua Owen & Katherine Robards Matt Pagel Gerane Wharton Park Bob & MaryJane Pauley Tom & Kathy Pendleton Gladys Perez-Mendez

Dixon Long Naomi & Bruce Mann K Dale & Don Marshall Martin & Janis McNair Stephanie Mendel Steven & Patrece Mills M Stewart & Rachelle Owen Mary Ann & Lou Peoples Peter Pervere & Georgia Cassel Leonard & Arlene Rosenberg Kaye & Randy Rosso Pat Rougeau Richard A. Rubin & H. Marcia Smolens Emily Shanks M Pat & Merrill Shanks Karen Stevenson & Bill McClave Jacqueline & Stephen Swire Patricia Tanoury Wendy Williams

Barbara Peterson Susie & Eric Poncelet David Pratt Elizabeth Ratner John Ravitch Jonathan & Hillary Reinis Bill Reuter & Ruth Major James & Maxine Risley John & Jody Roberts Carole Robinson & Zane O. Gresham Deborah Romer & William Tucker Marc Roth Boyard & Anne Rowe Enid & Alan Rubin Gaile B. Russ Dace P. Rutland Mitzi Sales & John Argue Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Stephen C. Schaefer Jackie & Paul Schaeffer Joyce & Jim Schnobrich Stephen Schoen & Margot Fraser Mark Shusterman, M.D. Edie Silber & Steve Bomse Beryl & Ivor Silver Amrita Singhal & Michael Tubach Kae Skeels Sherry & David Smith Stephen & Cindy Snow Louis & Bonnie Spiesberger K Stephen Stublarec & Debra S. Belaga Andrew & Jody Taylor Deborah Taylor Alison Teeman & Michael Yovino-Young Susan & David Terris Ama Torrance & David Davies Bernard & Denise Tyson Buddy & Jodi Warner Jonathan & Kiyo Weiss Beth Weissman Jim & Maria Weller Grace Williams Patricia & Jeffrey Williams Charles & Nancy Wolfram Ron & Anita Wornick Sam & Joyce Zanze Jane Zuercher

We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.

CON T R I BU TOR S donors to the annual fund PL AY W RI G H T S $ 1,0 0 0 –1, 49 9

Anonymous (7) · Peggy & Don Alter · Juli Betwee · Brian Bock and Susan Rosin · Harry Bremond & Peggy Forbes · Fred Brown & Barbara Kong Brown · Paula Carrell · Stan & Stephanie Casper · Naveen Chandra & James Lengel · Ed & Lisa Chilton · Terin Christensen · Richard & Linnea Christiani · Katherine Copic & Daniel Spoonhower M · Barbara & Tim Daniels M K · Ric de Barros · Alecia E. DeCoudreaux · Harry & Susan Dennis · Corinne & Mike Doyle · Debra Engel · Susan English & Michael Kalkstein · Bill & Susan Epstein · Gary Facente · Paul Feigenbaum & Judy Kemeny · Frannie Fleishhacker · Nancy H. Francis · Lisa Franzel & Rod Mickels · Christopher R. Frosta M · Judith & Alex Glass · Phyllis & Eugene Gottfried · Diana Grand & Jon Holman · Douglas Hardman & Karla Martin · Jennifer Heyneman Sousae · Adrienne Hirt & Jeffrey Rodman · Elaine Hitchcock · Barry & Jackie Hoffner · Randall Johnson · Barbara E. Jones · Tom & Mary Anne Jorde · Seymour Kaufman & Kerstin Edgerton · Christopher Killian & Carole Ungvarsky · Mary S. Kimbal · Steve Kispersky · R. Jay & Eileen Love · J.E. Luckett · Bruce Maigatter & Pamela Partlow · Joan & Roger Mann · Larry & Corinne Marcus · John E. Matthews · Erin McCune & Nicholas Virene · Daniel & Beverlee McFadden · John G. McGehee · Steven McGlocklin · Kirk McKusick & Eric Allman · Dennis & Eloise Middleton · Marc Elliott Mosko · Timothy Muller · Margo Murray · Claire Noonan & Peter Landsberger · Pier & Barbara Oddone · Richard Ostreicher & Robert Sleasman · Robyn & David Owen M · David & Julieta Peterson · Gregory C. Potts · Andrew Raskopf · Charles R. Rice · Edward & Jeanette

We gratefully recognize the following members of the Annual Fund whose contributions were received from December 2013 to January 2014 S U PP O R T E R S $ 2 5 0 –49 9

Anonymous (16) · Terry Pink Alexander & John Blaustein · Gay & Alan Auerbach · Barbara Jones & Massey J. Bambara · Susan & Barry Baskin · Richard & Ann Batman · Leslie & Jack Batson · Barbara Beck · Steven & Cynthia Beckendorf · Dorothy & Ervin Behrin · Steve Benting & Margaret Warton · Naomi Black · The Blackman Family · Judith Bliss & Gerald Huff · Barbara & Ray Breslau · Eugenia Brin · Francis Brooks · Jill Bryans · Lawrence & Marilyn Capitelli · Prudence Carter & Marianne Balin · Barbara & John Crary · Rev. Don & Lil Cunningham · Martha Eckert · Meredith & Harry Endsley · Malcolm D. Ewen · Ms. Barbara Fenichel · Sheilah & Harry Fish · Daniel Friedland & Azlynda Alim · Mary & Stan Friedman · Dr. Garwood Gee & Ms. Kathleen Fong · Arlene Getz · Glennis Lees & Michael Glazeski · Gail Gordon & Jack Joseph · Bonnie & Sy Grossman · R. Glenn & Ann Hammonds · Julie & Paul Harkness · Richard L. Hay · Joyce & Jack Sweitzer · Dorothy & Michael Herman · Lorraine Honig · Terry Huggins · Michael Ingerman & Madeleine Sloane · Roy Johnson · Amalia Kessler & Adam Talcott · James R. Kidder · Mary Ann Kiely · Allen King · Beverly

Roach · Horacio Rodriguez · Sheli Rosenberg · Rob & Eileen Ruby · John Sanger · Susie Sargent & Michael Webb K · Seiger Family Foundation · Neal Shorstein, MD & Christopher Doane · Dave & Lori Simpson · George & Camilla Smith· Annie Stenzel · Tim Stevenson & David Lincoln King · Nancy & Fred Teichert · Pate & Judy Thomson · Deborah & Bob Van Nest · Wendy Willrich · Steven & Linda Wolan · Lee Yearley & Sally Gressens · Sam & Joyce Zanze

AC TO R S $500–999

Anonymous (16) · Robert & Evelyn Apte · Fred & Kathleen Allen · Gertrude & Robert Allen · Shellye L. Archambeau & Clarence Scott · Naomi Auerbach & Ted Landau · Steven & Barbara Aumer-Vail · Todd & Diane Baker · Jonathan Berk & Rebecca Schwartz · Richard & Kathy Berman · Robert Berman & Jane Ginsburg · Caroline Beverstock · Steve Bischoff · Patti Bittenbender · Nancy Blachman & David desJardins · Dr. Kevin & Mrs. Riva Bobrowsky · Fraser Bonnell · Claudia Bravo & Alan R. Silverman · Marilyn Bray · Wendy Buchen · Rike & Klaus Burmeister · David Burnett · Robert & Janet Campbell M · Doug Carlston & Kathy Williams · Bruce Carlton · Davis Carniglia & Claire Baker · John Carr · Carolle J. Carter & Jess Kitchens · Michael C. Chang · Jeff Chanin & Karen Lovdahl · Kim & Dawn Chase · Patty Chin · Carol T. Christ · Karen Clayton & Stephen Clayton · Dennis Cohen & Deborah Robison · Leonard & Roberta Cohn · Ruth Conroy · Robert & Blair Cooter · Dee Cosetto · John & Izzie Crane · Copley Crosby · Teri Cullen · Robert & Loni Dantzler · Pat & Steve Davis · Abby & Ross Davisson · Daryl Dichek & Kenneth Smith · Edmund DuBois · Drs. Nancy Ebbert &

Phillips Kivel · Larry & Ruth Kurmel · Regina Lackner · Lisa Lázár · John Leys · Carolyn Maples · Aliza & Peter Metzner · Spencer & Roberta Michels · Theresa Nelson & Bernard Smits · Joseph & Berna Neumiller · Don Nix · Bruce & Risa Nye · James F. Pine · Lewis Perry · Beth Polland · Fred & Susan Pownall · Chuck & Kati Quibell · Paco Ramirez · David & Mary Ramos · Lucas Reiner & Maud Winchester · Joan & Al Rendon · Helen Richardson · Galen Rosenberg & Denise Barnett · Fred & Dolores Rudow · Dan Scharlin & Sara Katz · Jack & Margaret Schieble · Linda Schurer · Audrey & Bob Sockolov · Hans Stahlschmidt · Terry & Berenice Sullivan · Greg & Mary Tarczynski · Marsha G. Torkelson · Emily & Bob Warden · Arthur Weil · Harvey & Rhona Weinstein · Dick & Beany Wezelman · Dick White · Ann Willoughby · Moe & Becky Wright · Barak Yedidia

CO N T RIB U TO R S $ 15 0 –2 49

Anonymous (18) · Marcia Abrams · Charles & Joyce Anderson · Martha Conklin & Roger Bales · Frank & Lee Battat · Hebe & James Beard · Tracey Borst & Robert Menicucci · Tracy Brog · Pamela & Christopher Cain · William Chalkley · Rex Chase · Marilyn Berg Cooper · Priscilla K. Cooper · Jim & Jeanette Cottle · Mike & Pam Crane · Roberta D’Anneo & Scot Terry · Gail DeBoer · Jane Decker · Suzanne & Bruce Degen · Jacqueline Desoer · David Deutscher · Marvin Diamond · Karen & David Dolder · Kathy Down & Greg Kelly · Laura DowningLee & Marty Lee · Cheryl & Matthew Eccles · Brigitte & Louis Fisher · William & Andrea Foley · Catherine E. Fox · Patricia Fox · Michael & Sabina Frank · Kelli M. Frostad · Robert & Linda Garb · David Gaskin & Phillip McPher-

Adam Rochmes · Anita C. Eblé · Burton Peek Edwards & Lynne Dal Poggetto · Sue & Peter Elkind · Roger & Jane Emanuel · Gini Erck & David Petta · Patrick Flannery · Michael & Victoria Flora · Donald & Dava Freed · Stewart & Joyce Freedman · Kate & Ted Freeland · Paul Gill & Stephanie D’Arnall · Paul Goldstein & Dena Mossar · Robert Goldstein & Anna Mantell · Jane Gottesman & Geoffrey Biddle · Dan Granoff · Sheldon & Judy Greene · Don & Becky Grether · Dan & Linda Guerra · Eric and Elaine Hahn · Ann Harriman · Robert L. Harris & Glenda Newell-Harris · Kate Hartley & Mike Kass · Geoffrey & Marin-Shawn Haynes · Diane Hembry · Bill Hendricks · Daria Hepps · Irene & Robert Hepps · Judith Holland · Morgan Hough · Leonard & Flora Isaacson · Mr. & Mrs. Edwin Ives · Ken & Judith Johnson · Marc & Lisa Jones · Helmut H. Kapczynski & Colleen Neff · Roy Kaplan · Lisa & John Katovich K · Dennis Kaump · Jeff Klingman & Deborah Sedberry · Joan & David Komaromi · Janet Kornegay & Dan Sykes · Jennifer Kuenster & George Miers · Charles Kuglen · Woof Kurtzman & Liz Hertz · Henry & Natalie Lagorio · Thomas LaQueur · Mr. & Mrs. Richard Larsen · Ray Lifchez · Dottie Lofstrom · James Lyons · Judy MacDonald Johnston · Sarah McArthur & Michael LeValley · Betsy McDaniel · Tania & David Madfes · Sue & Phil Marineau · Sarah McArthur & Michael LeValley · Betsy McDaniel · Marie S. McEnnis · Sean McKenna · Alison McLean · Ash McNeely · Ruth Medak · Mary & Gene Metz · Caryl & Peter Mezey · Geri Monheimer · Rex Morgan & Greg Reniere · Brian & Britt-Marie Morris · Jerry Mosher · Moule Family Fund · Lance Nagel · Ron Nakayama · Kris Carpenter Negulescu · Jeanne E. Newman · Marlowe Ng & Sharon Ulrich · Hung

Nguyen · Jennifer Puck & Robert Nussbaum · Judith Ogle · Nancy Park · Pherwani Family · Malcolm & Ann Plant · Andrea Plastas · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Fred & Judy Porta · Donovan & Anna Prostrollo · Dan & Lois Purkett · Kathleen Quenneville K · Sheldon & Catherine Ramsay · Ian Reinhard · Paul & Margaret Robbins · Joshua Robison · Joan Roebuck & Anne McGrew · Deborah Dashow Ruth · Dairne Ryan · June & Bob Safran · Dorothy R. Saxe · Laurel Scheinman · Bob & Gloria Schiller · Mark Schoenrock & Claudia Fenelon · Teddy & Bruce Schwab · Brenda Buckhold Shank, M.D., Ph.D. · Margaret Sheehy · Mary Shisler K · Steve & Susan Shortell · Suzanne Slyman · Jerry & Dick Smallwood · Ed & Ellen Smith · Mark Smith & Pam Calloway · Sigrid Snider · Christina Spaulding · Robert & Naomi Stamper · Ms. Joelle Steefel · Herbert Steierman · Gary & Jana Stein · Lynn M. & A. Justin Sterling · Monroe W. Strickberger · Shayla Su M · Ellen Sussman & Neal Rothman · Jeff & Catherine Thermond · Michael Tilson Thomas & Joshua Robison · Prof. Jeremy Thorner & Dr. Carol Mimura · Karen Tiedemann & Geoff Piller · William van Dyk & Margi Sullivan · Gerald & Ruth Vurek · Louise & Larry Walker · Wendy Ward · Dena & Wayne Watson-Lamprey · Michael Weinberger & Julianne Lindemann · Carmi Weininger · Sallie Weissinger · Diane & Scott Wieser · Dr. Ben & Mrs. Carolyn Werner · Oliver Williamson · Fred Winslow & Barbara Baratta · Robert & Myrna Witt · Carol Katigbak Wong · Ron & Anita Wornick · Kent Wright K · Margaret Wu & Ciara Cox

son · Kathleen Gesley · Jennifer & Wayne Getz · Louise Gill · David & Michele Glass · Ian M. Goldstein · Barry & Erica Goode · John & Diane Gossard · Linda Graham · Sarah Greene · Kevin Hagerty & Candace del Portillo · Rosalind Hamar · Janice Hammond · Lisa Hane · April Hansen · Bruce & Donna Hartman · Linda Higueras · Douglas Hill & Jae Scharlin · Barbara Hirschler · Marilynn Hodgson · Jackie & Bob Hoffman · Carolyn Holm · Hiedeh Honari · Eleanor Hopewell · Bronwen & Neil Horton · Joanne & Roy Howard · Douglas Jensen · Margaret E. Jones · Ruth & Ben Joseph · Pauline Jue · Charles & Laurie Kahn · Brian & Edith Kearney · Cheryl Kojina & Kevin McNair · Glenn Krasner · David Lesnini · Jill L’Esperance · Karl & Betsy Livengood · Martie Conner · Sara McAulay & Elsa Garcia Pandavenes · Caroline McCall & Eric Martin · Susan & Nick McCully · The Medress Family Fund of the Jewish Community Foundation · Amelie Mel de Fontenay & John Stenzel · Howard & Nancy Mel · Richard Miller · Will & Sally Moore · Gregg & Ruth Morris · Cheryl Mouton · Albert Nahman · Jan O’Brien · Steven J. O’Donnell · Gene & Helen Oliver · Charles Olson & Yoko Watanabe · David Pasta · P. David & Mary Alyce Pearson · Maren Pedersen · Barbara Pereira · Barbara Peterson · Arthur Reingold & Gail Bolan · Laura Richardson · Wesley Richert · Marc A. Rieffel · The Rev. Dr. Bonnie Ring · Ruth Rosen & David Galin · Barbara Rosenblum · Kay Vinson Ruhland · Bruce Saldinger · Jaimie Sanford and Ted Storey · Thomas Savignano · Diane Schreiber & Bryan McElderry · Emily Sexton · Dr. & Mrs. Gary Shrago · Richard Silberman · Michael & Marsha Silberstein · Hugh & Aletha Silcox · Debbie Smith · Anne & Robert Spears · Mervyn Stein · Kathy Morgan Stewart · Kay H. Taber · Steven & Heidi Tanner

· Dr. & Mrs. Joseph Terdiman · Henry & Susan Veit · Arthur & Susan Walenta · Susan D. Ward · Tania Weingart · Claudia Wilken & John M. True · Ken Wiseman · Susan York

FRIE N D S $ 75 –149

Anonymous (44) · Robert & Karen Abra · Barry & Joanne Adcock · Mark Addleman · Susan Adler · Gene & Penny Zee Agatstein · Mark Amaro · Don Amsbaugh · Jeff Angell & Joan King-Angell · Carmen Aydelott · Jennifer Bain · Raymond Baker · David Barker & Margaret Mason · Kent Barnes · Lindy Barocchi · Stu & Louise Beattie · Richard & Carol Bee · Laura Belfiglio-Gold · Barbara Benware · Thomas G. Bertken · Steven Bertozzi · Laura Blair & Mitchell Zeemont · Kate Bloomer · Joel & Rochelle Blumenfeld · Daniel Bobrow · Bonnie Bogue · Beril Bohrer · Beverley Bolt · Angela Bortugno · Mary Ellen & George Boyet · Peter & Jean Bradshaw · Esta Brand · Robert & Barbara Brandriff · Elizabeth Breslin · Donald Brown · Dupsi Brown-Kuria · Helen Bulwik · Jean Burke · Ted Burton · Ann Butcher · Dennis Carrington · Anne Cawood · Jan & Isabel Chernoff · Michael Cichon · Brenda L. Cipriano · Marc & Jennifer Cohen · Teresa Countryman · Earl Crispell · Kerry & Lynn Curtis · Mr. & Mrs. Stefan Dasho · Mavis Delacroix · Carrice Delo · Jacqueline deSouza · Laura & Todd Dillard · O’Neil & Marcia S. Dillon · Steve Doherty · John & Betsy Donnelly · Charles & Jean Dormann · Anne Dorsey · Randy Earle · Maria & Peter Eberle · Michelle B. Edwards · Lara Eidemiller · David Eimerl · Joseph & Judith Epstein · Bill & Kathleen Failing · Caryll Farrer · Mr. & Mrs. Carl Farrington · Linda Feldman · Lisa Feldstein & Max Drukman · Cherielyn Ferguson · Laurel Ferns · Victor & Regina

201 3–1 4 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 7

CON T R I BU TOR S donors to the annual fund Fields · Rena & Jeff Fox · Molly Fraker · Peter & Ayelet Frank · Christie Fraser · Dick Friedman · Carlos Fuenzalida · Kate Funk · David & Susan Garfin · Kevan Garrett · Valerie Garry · Serina Garst · Jenny Geraty · Ellen Geringer & Chris Tarp · Marlyn Gershuny · David Gibson · Toby & George Gidal · Patty Glikbarg · Michael Goldbach & Zahra Mahloudji · Dr. & Mrs. Arnold Goldschlager · Keith Goldstein & Donna Warrington · Alison Gopnik · Sue & Eric Gordon · Gilbert & Sally Gradinger · James Graham · Dorothy Greene · Mary Hackenbracht · Eric Hahn · Randall Ham & Linda Wilford · Jeffrey M. Hamerling · Frede S. Hammes · Richard & Sylvia Hammond · Michael & Grace Hardie · Dr. & Mrs. Alan Harley · Dee Hartzog · Amanda Hawes · Margaret E. Hegg · Bill & Judy Hein · David Heller · Karen Hemmeter · Carol & Tony Henning · Philippe Henri · Kristi Hernandez · Nancy Herrera · Carole S. Hickman · Suzanne Hildenbrand · Lisa Hirsch · Joanna Hoffman · Kristina Holland · Rosalie Holtz · Barry Hovis · Brian Howell · David Hunn · Doris Iaroli · Linda Infelise · Lynn Ireland · Vickie Ishimaru · Jacqueline Ivens · Christine Izaret · Jacqueline Jackson · Ken Jaffee · Virginia & Robin Jaquith · Diana Jaye · The Jenkins Family · Grace Jimenez · Barbara Job · Carolyn Jones · Keasley, Autumn, Emerson & Elliott Jones · Sheila Kahan & Judith Bloom · David Salk & Leah Kaizer · Cynthia Katona · Allen & Samantha Katz · Jean Kay · James & Celia Kelly · Margaret Kendall · Ben Kerns · Dr. Kay Kleinerman · Ed Klinenberg & Anne McCune · Dan Klitsner · Susan Kolb · Neil & Peggy Kostick · Judith Lamberti, MD · Katherine Land · Lynn Landor · Joan Larson · Paula Lavine · Joan & Gary Lawrence · Emily Lee · Marguerite Lee & Martha Richards · Dr. Welton Lee · Sharon Legenza · Hayne & Catherine Leland · Ronald & Shoshana Levy · Colleen Lewis · Mark & Roberta Linsky · Annette C. Lipkin · Jean P. Lipton · Kim Liu · Kris Loberg · Dan & Emily Loeb · Steve & Linda Lustig · Babette Maccoby · Janet & Marcos Maestre · Sushma Magnuson · Hugh & Carol Maiocco · Bonnie Malicki · Michael & Loxie Manchester · Josephine Maxon · Richard McDougald & Jean Sanchirico · Daniel McGill · Steve & Patricia McMahon · Leon McNeedly · Brian McRee · Phyllis Menefee · Harry J. Mersmann · Karin Meyer & John Woodfill · David & Jane Meyers · Terry Meyers-Gibbins & John Gibbins · Carrol Mills · Stephanie Mooers · Peggy & John Mooney · Thomas C. Moore · Marie A. Moran · Susanna Morin-Groom · Cheryl Morris · Ms. Linda Moulton · Ethel Mussen · Melissa Nelken · Emily Newhouse · Kate Newkumet · Lisa Norris · E. E. & Deborah Nosowsky · Peter Nussbaum & Aleta Wallace · Gloria O’Dell · Gail Offen-Brown · Susan Ohanian · Linda Oliver · Susan Olney · Megan O’Reilly-Lewis · Alberto Ortega · Ralph Pais & Gayl Huston · David Presti & Kristi Panik · Roz Parenti · Meta Pasternak · Robert & Audrey Pedrin · Julia Pellegrini · Nancy Pemberton · Wendy Peterson · John R. Petrovsky · Anthony & Sarah Petru · Charles & Linda Phillips · Kathleen Pierce · Gail & Gerald Pogoriler · Riess & Tara Potterveld · Darlene Quinn · Nancy A. Rader · Daniel & Barbara Radin · Ann & Don Rathjen · William Rawson · Rose Ray & Robert Kroll · Erica Rayas · Martina Reaves · Rachel Resnikoff · Irene Riemann · Ronald Rogness · Helen & Garrett Romain · Alison Ross · David Buxbaum & Daniele Rossdeutscher · Marjorie Roth · Phyllis & David Rothman · Janice Roudebush · Dr. & Mrs. Richard Rozen · Eleanor Rush & Jim Puskar · Allan Sagle · Edna C. San Juan · Stuart Sapadin · Michael J. Savage · Herminia S. Sayre · Carolyn Scarola · Wendy Scheck · Nathaniel Schmelzer · Otto Schnepp · Dana & Peggy Shultz · Amy Segal · Jennifer Seid · John & Lucille Serwa · Connie & Gary Shapiro · Craig

Shear · Bronwen Shears-MacNab · Carole Sheft · Elizabeth T. Shun · Jill & Richard Sideman · Lucinda Sikes · Sharon Silva · Margaret Skornia · Gary Smith & Marian Kohlstedt · Ann M. Smulka & Bob Blackburn · Barbara Spack · Karen Spalding · Clinton Simpson III · Marietta Stuart · Dan Sullivan · Charles & Linda Swift · Jane Swinerton · La Vonne Taft · Joyce Tayer · Michael & Katherine Taylor · Dan & Mila Thomas · Carol Thompson · Marta Tobey · Janis Turner · Lisa Valentine · Ms. Sheila Valorose · Vicky Van Dewark · Barbara & William Vaughan · Mary Wadsworth · Adrian Walker · Bing Wang · Virginia Warnes · David Warren · Michael Watts · Phoebe Watts · Donna & Stewart Weinberg · Cliff Weingus & Mary Callahan · Mark Whatley & Danuta Zaroda · Evan White · Barry & Bonnie Willdorf · Randall Wilson · Tim Wise · Viviana Wolinsky · Ronald & Lona Wyatt · Carolyn & Larry Zaroff · Emily Zell

PAT RO N S $ 1 –74

Anonymous (4) · Jennifer Abrams · David Abramsky · Marilyn Acosta · Joy Addison · Joe & Esther Adler · Anna Leah Ah & Will Green · Peter Akraboff · Jennie Alexander · Laraine Allen · Jean Alspaugh · Suzette Anderson · Gayle Ansell · Peter & Margaret Armstrong · Justina Ashley · Richard & Debbie Ault · David & Vivian Auslander · Andrei Badulescu · Teddi & David Baggins · Dr. Tanya N. Baker & Mr. Jamie Heans · Vanessa Baker · Daniel Barash · Maureen Barbeau · June Barbera · Kathleen Barrows · Ann Basart · Susanne Baum · Joan Baylie & James Mullins · Francine Beall · Phyllis Beals · Wendy Bear · Linda & Bob Beckstrom · Natasha Beery & William B. McCoy · Julie Beley · Joanne Bell · Natasha Bell · Mary Lou & Thomas Bell · Alice Benet · Sylvia M. Bennett · Erica Benson · Ronald D. Berg · James Bergeron · Brenda L. Berlin · Maxine Berzok · Judi R. Berzon · Jayaram Bhat · Frances Birnbaum · Faxon Bishop · Carol Bledsoe & William Pursley · Al & Anne-Marie Bloch · Donald & Marleen Blomberg · Jennifer Boehler & Mark Anderson · John Bongiovanni · Randi Boorstein · Dvora & Neil Boorstyn · Karen & Steven Bovarnick · Bertram & Bernice Bradley · Sarah Brann · John Briggs · Eric Brink & Gayle Vassar · William & Ellen Broaders · Mary & Peter Brooks · Devi K. Brown · Kathleen Brown · Ken Bruckmeier · Pamela S. Burdman · Mary Burkhard · Dave & Diana Butler · Judith & Burton Calder · Adrienne Calomino · Candy Capogrossi · Elaine Caret · Elena Caruthers · Julia Casella · John Cassingham · Harrison Chang · Ruth Chang · Jan Cheng · Yuteh Cheng · Bessie Chin · W. Morris Chubb · Civiane Chung · Melania Ciapponi · Patricia Clark · Marjorie Cleland · Mrs. Barrett N. Coates · Rosemary Coburn · Eleanor D. Cohen · Lisa Cohen · Ronnie & Stuart Cohen · Ernestine Cohn · Michael Cohn · Barbara Cohrssen-Powell · Joan Cole · Bridget Collins · Serge Colombeau · Thelma Colvin · Leslie Connelly · C. Rebecca Contopoulos · Wendy Cooper · William Corley · Sally Cotton · Susan & Don Couch · Carolyn Cox · Aimee Crawford · William Creighton · Sean Culman · Judith Daar · Ralph Damato · Yang Dan · Deborah Davis · Doris Davis · Lisa Dawson-Steffen · Patricia de Jong · Donna De Souza · Gail Debellis · Robin Delaney · Jacqueline M. DeNevers · Sonya Derian · Jacqueline A. Devine · Hiram & Nora DeWitt · Dirk Dino · Kathleen Doherty · Marjorie Donalds · John Dunkelberg & Nancy Wolfe · Jeanne Dunn · Robert Durling · Alice Earl · William Edens · Renee Eisenbruch · Selena Ellis · Eric & Debra Ellisen · Jane Ellison · Zoe Elton · Marjorie Esquivil · James Evans · Leslie Eveland · Miranda & John Ewell · Roy Eyal · Jeff

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Falick · Richard Falk & Francine Falk-Allen · Elizabeth Fallon · Al & Sue Farmer · Nicole C. Fee · Ted Feldsher & Sally McLaughlin · Lois C. Feller · Nancy Fenton · Dorothy Fernandez & Lisa Stenmark · George Ferrick · Julian Field · Emily Filloy · Laura Finkler & Larry Walter · Karen Firestein · Debra Fitzgerald · Craig Flanery & Birgit Danila · Richard Foote · Marilyn Foreman · Leigh & Nancy Forsberg · Jules & Rose Fraden · Miriam & Gerald Friedkin · Leslie Fuchs · Clare Gallagher · Angie Garling · Ms. Antoinette Gathy · Janice & Chuck Gebhardt · Sam Gerson & Shelley Nathans · Mitchell Gitin · Barbara Goddard · Tolga Goktekin · David Gold · Arthur & Carol Goldman · Helen Goldsmith & Paul Garson Heller · Ilene Gordon · Will Gould · Elizabeth Grant · Elaine Graves · Tam & Larry Gray · Lorri Gray · Miriam Green · Sherry Green · Rosemary H. Greenberg · Elizabeth Greene · Zachary Griffith · Tom & Emily Griswold · Michael Grove · Donna M. Guenther, MD · Sibylle Gurler · Sarajane Hakenen · Bruce Hall · Katherine Hamel · Darcy Hamilton · Chris Hannafan · Carmel Hara · Molly HardestyMoore · Ann F. Hasse · Lizbeth Hasse · Gary Hayter & Sandra Fox · Alan & Carol Heald · Dottie Henderson · John Henkel · Stanley & Maria Hertz · Florence Higa · Bob R. Hill · Lois Hillman · Barbara Hirsch · Paul Hirsch · Barbara Hirschfeld · Mr. and Mrs. Peter Hoban · James & Deanne Hoekstra · Ms. Rae Holzman & Mr. Paul Juarez · Susannah Hong · Robin Huntington · George & Charlotte Huntley · Rebecca Husband · Patricia A. Hyde · Patricia James · Risa Jaroslow · Marisita & Tu Jarvis · Blandine Jerome · Lauren & Tim Johnson · Sally Johnson · Lynn Jones · Kathy Juarez · Lucas O. Juon · Margaret Kadoyama · Nancy M. Kalterdills · Nancy & Muigai Karigaca · Heidi Marie Kate · Randy H. Katz · Ellen Kaufman & David Weiner · Marjorie & Theodore Keeler · Jack Kenny · Javad Khakbaz · Gurukaur Khalsa · Shakir Khan · Deirdre Kidder · Angeli Kirk · Suzanne Kirk · Howard Kirsch · William G. Klink · Delianne Koops · Gerda Korner · Susan Kraft · Carolyn Krieg · Elroy & Dee Kursh · Mario E. Lamorte · Lanny J. Lampl & Sharon Hunter · Lorraine Land · Elizabeth Langlois · Fred Lebe · Bo Lee · Kewchang Lee, M.D. & Kevin DeYager · Sandra Leib · Carole Levenson · Myra Levenson · Debra J. Levin · Nancy Levine-Jordano · Jonathan Levitt · Sherman Lew · Mel & Bettie Lichtman · Sheila Lichtman · Terry Ligocki · Kevin Ligutom · Vivian Lily · Barbara Loften · Tom Logan · Agnes Lord · Valentina Loreto · Lori & Jeffrey Lowenthal · Barbara Lustig · Lea Lyon · Diana Lyster · Margaret MacDonald · Linda Mackinson · Joen Madonna · Joe-Ann Malta-Weingard · Elaine Marlow · Laurie Matt · Claire Max · Paul & Claire Maxwell · Perry McCarty Jr · Ray & Mary McDevitt · Jim McDonald & Myrna David · David McGrath · Andrew & Susan McKee · Frank McKeown · Catherine McLane · Debra McMahon · Paula McNally · Loran Mebine · Steven Medbery · Herb & Marilyn Meltzer · Amy Merrill · Jane Meyer · Seth Mickenberg · Henry Mindlin · Alyson Mitchell · Heidi C. Mock · Charles Mohn · Joseph Mollick · Susan Montauk · Ronald Moore · Mark Morris · Mark Morris · Phyllis Morrison · Neil Morse · Sherry Morse · Suzanne Moullen · Elisabeth A. Moulthrop · Mandy M. Murphy · Stephanie Myers · Christopher Nassopoulos · Thomas Neale · Arvalea Nelson · Barbara Nelson & Stephen Wright · Karen Nelson · Darko Neuschul · Dr. & Mrs. Ernest Newbrun · Judi Balter-Newell · Sora Lei Newman · Hanh Nguyen · Ms. Beverly A. Nidick · Nathan Noris & Kathryn Delwiche · Jennifer Norris · Ann Nye · Kathleen Nyhan · Susan Obayashi · Melissa O’Connor · Jim Oliver · Mary O’Malley · David

& Mary O’Neill · Phyllis M. Orlando · Kristina Osborn · Jayne Oshiro · Gary Ow · Patricia Padgett · Jiro Palmieri · Lindsey Pannell · Jacob & Genna Panzarella · Herman D. Papa · Laura Buzzo Paratore · William A. Pease · Judith Pelzner · Vera Penzl · Star Pepper · Linda Perkins · Mark Perlroth · Michael & Laura Perucchi · Elise Peterson Marks & Jeffrey Peterson · Dat Pham · Susan T. Pierpoint · Therese Pipe · Robert Pola · Stephen Popper & Elizabeth Joyce · Sarah Shea Potts · Bobbie Preddy · Richard Prescott · Rich Price · Gabriel Proo · Paul & Christine Prusiner · Holly Raan · Judith Rabbie · Veronica Rabuy · Cynthia Rahav · Daniel Ramirez · Teresa Ramirez · Ann & Joseph Ranish · Jennifer Rankin · Charles Raymond & Nancy Nagramada · Liz & Alan Rebensdorf · Monica Reesor · Ann Regan · Maureen Reilly · Stephanie Reisfeld · Mayra Renderos · Kala Renz · Dr. William E. Rhea · John R. Rhodes · Sandra Ried · Katherine Riemer · Margaret Riley & Kevin Depew · Susan Robertson · Carol Robinson · Frederick Rogers · Martin Rokeach · Lisa Romano · Maria & Ron Romano · Marc Rosaaen · Ed Rose · Ms. Mary Rudser · Carol Sabin · Mark & Judi Sachs · Lawrence Saidman · Judy Salpeter · Suzanne Samberg · Jennifer Sanchez · Mary Sanders · Jonathan & Kris Sandoe · Shelley J. Sandusky · Jullie Sautman · Cyrille Sauvain · Deborah Schantz · Beth Schiller · Robert Schmitt · Jean & Alan Schoenfeld · Henry R. Schott & Marilyn Little · Garth Schultz · Steven Schultz & Nancy Ulmer · Miriam Schwartz · Roberta Sears · Rita Senel · Ronald Shalhoup · Ruth Shapiro · Marilyn Shaul · Bonnie Shaw · Alice Sheehan · Adam Sherman · John Sherman · Kristen Sidell & Paul Abboud · Sheila Siegel · Caroline Sikorsky · Wendy Silvani · John Simonds · Katherine Sims · Rochelle Sklansky · Bridget Smith · Diane Smith · Maggie R. Smith · Suzanne Smithhammerli · Donna Smith-Harrison & Samuel Harrison · Lyrinda Snyderman · Pamela Sogge · Sharyn Solish & Michael Siegel · Anthony & Carol Somkin · Leon Somplinsky · Mary Ellen Southard · Claudia Spain · Rhonda Spencer · Dan Stamper-Kern · William Statsky · Jan & Jay Stecher · Carole Stein · Alan & Sala Steinbach · Bob & Clara Stern · Mimi Sternberg · Blake D. Stevenson · Mary Alice & Walt Stevenson · Corinne Stewart · Cynthia & David Stone · Sara Stone · Arlene Stucky · Patricia Sullivan · Joan Sussman · Susie Sutch · Cyle Swanstrom · Ian Swinson · Sandra Takagi · Mark Tanaka · Giovanna Tanzillo · William & Deborah Tarran · Delia Taylor · Gifford Teeple · Mary Teichmann · Catherine Bailey & Jack Telian · Kathy Tennant · Steve Thomasberger · Karl Thon · Dana Tillson · Oscia Timschell · Frederick P. Tollini Ph.D. · Ed & Barbara Tonningsen · Joanne Trezek · David Trubitt · Hong Tsui · Liz Varnhagen · Mary Vaskas & Sandra Roth · Elena Vasquez · Henry Velasco · Abegail Ventura · Paul Veres · Jose Vergara · Elizabeth Vezzani · Nanette Voluntine · Ann Wagner · Wendy Walker · Norma Walkley · Simone Wang · Marion C. Warner · Timothy Washburn · Margo Watson · Sana & Christopher Webb · Sharon Weinberg · Janet S. Wells · Barbara Wiggin · Maureen & Russell Wikander · Christine Wilder-Abrams · Alice Wilkins · Matthew J. Williams · Kent Wisner · Patricia Wood · Helen Wu · Larry & Mary Yabroff · Dr. & Mrs. Mark J. Yanover · Donald Zimmerman

CON T R I BU TOR S donors to the annual fund Sustaining members as of January 2014:

Anonymous (4) Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Neil & Gene Barth Carole B. Berg Linda Brandenburger Jill Bryans Bruce Carlton & Richard G. McCall Stephen K. Cassidy Andrew Daly & Jody Taylor M. Laina Dicker Thalia Dorwick Rich & Robin Edwards Bill & Susan Epstein William Espey & Margaret Hart Edwards Carol & John Field Dr. Stephen E. Follansbee & Dr. Richard A. Wolitz Kerry Francis Dr. Harvey & Deana Freedman

Dr. John Frykman Paul T. Friedman Laura K. Fujii David Gaskin & Phillip McPherson Marjorie Ginsburg & Howard Slyter Mary & Nicholas Graves Elizabeth Greene Jon & Becky Grether Richard & Lois Halliday Linda & Bob Harris Fred Hartwick Ruth Hennigar Douglas J. Hill Hoskins/Frame Family Trust Robin C. Johnson Lynn Eve Komaromi Bonnie McPherson Killip Scott & Kathy Law Zandra Faye LeDuff Ines R. Lewandowitz Dot Lofstrom Dale & Don Marshall Sumner & Hermine Marshall Rebecca Martinez Suzanne & Charles McCulloch

Miles & Mary Ellen McKey Margaret D. & Winton McKibben Susan Medak & Greg Murphy Toni Mester Shirley & Joe Nedham Pam & Mitch Nichter Sharon Ott Amy Pearl Parodi Gladys Perez-Mendez Barbara Peterson Regina Phelps Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Tom Roberts Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Valerie Sopher Michael & Sue Steinberg Karen Stevenson Dr. Douglas & Anne Stewart Jean Strunsky Henry Timnick Phillip & Melody Trapp

Janis Kate Turner Dorothy Walker Weil Family Trust — Weil Family Grace Williams Karen & Henry Work Martin & Margaret Zankel

Gifts received by Berkeley Rep:

Estate of Suzanne Adams Estate of Helen Barber Estate of Fritzi Benesch Estate of Nelly Berteaux Estate of Nancy Croley Estate of John E. & Helen A. Manning Estate of Richard Markell Estate of Margaret Purvine Estate of Peter Sloss Estate of Harry Weininger Estate of Grace Williams

Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise, planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity. For more information on becoming a member, visit our website at or contact Daria Hepps at 510 647-2904 or


The following members of the Berkeley Rep community made gifts in memory and in honor of friends, colleagues, and loved ones from November 2012 to January 2014.

In Memory of Helen Barber Shirley & Lew Albright Dr. & Mrs. Thomas Barber Clark & Francine Burnham Charles & Melanie Callander John & Barbara Callander Lucy Campbell Chan & Susan Chuongvan Anne M. Coffey Eugene Coffey Michael & Sheila Cooper Marilyn DeLorenzo Gini Erck & David Petta K. Bruce & Lois Friedman Kenneth W. Gerver Richard & Gretchen Grant The Bonkettes Larry & Susan Halperin Mrs. Barbara Heard Josh & Faye Jacobs Donald Jacobus Stewart A. Judson Allen & Kathleen Lauer John & Joni Lawler Nancy & George Leitmann Norman & Florence Lind Melinda Mendelson Laura W. Moran Carla R. Petievich Elizabeth Pigford Dr. & Mrs. Andrew Pollak Nancy Reynolds Julianne H. Rumsey Paul Sack Mitzi Sales & John Argue Jonathan & Sheryl Schreiber The Swain Family Edward & Susan Waller W. Clark Wurzberger In honor of Susan Medak Terry Pink & John Blaustein Doug & Leni Herst Joanne Medak In honor of Marge Randolph Bill & Susan Epstein Nina & Claude Gruen In honor of Leonard X Rosenberg Benita & Burton Boxerman Sheli Rosenberg

In honor of Marcia Smolens Jay & Susan Mall Susan Medak & Greg Murphy Anonymous, in honor of Julie & Patrick Kennedy Anonymous, in memory of Sky Parsons Pat Angell, in memory of Gene Angell Kristen Badgley, in memory of Helen Joo’s mother Barbara Beck, in memory of Jeff Beck Steven Bertozzi, in honor of Jane and Mike Larkin Allan & Muriel Brotsky, in memory of Dr. Leonard Gordon Jane Buerger, in memory of Judith A. Schmitz Gary & Diana Cramer, in memory of Doris Titus Anita & Herbert Danielsen, in honor of Sara Danielsen & Sean Tarrant Elizabeth Anne Doyle, in memory of John Doyle Melinda A. Drayton, in honor of Nandi Drayton Wendy Dwyer, in honor of The Dwyer Family Debra Engel, in honor of Barry Williams & Lalita Tademy Brooke Facente, in honor of Jane and Gary Facente Mr. & Mrs. Fink, in honor of Rachel Fink Don & Janie Friend, in honor of Bill & Candy Falik William Goodell, in memory of Carol G. Goodell Richard & Sylvia Hammond, in honor of Leo Blitz & Family Linda Headrick, in honor of Ann Brannen David Hester & Karen Jannetti Hester, in honor of Anna M. Morrison Juraj & Elisabeth Hostynek, in honor of Andrej Hostynek Barbara E. Jones in memory of William E. Jones Tom & Mary Anne Jorde, in honor of Pat Sakai & Dick Shapiro Roy Kaplan, in memory of Barbara Kaplan Julie Kastrup, in memory of Dan Murphy Lynn Eve Komaromi, in honor of the Berkeley Rep Staff Debie Krueger, in memory of Alex Maffei Elroy & Dee Kursh, in honor of Thalia Dorwick Regina Lackner, in memory of Ruth Eis Bo Lee, in honor of Dudley & Hetty Lee

Jonathan Levitt, in honor of Felicia Rose Levitt Sherman Lew, in honor of H.G. Lew Mary & Terry MacRae, in honor of the Libitzkys Peter & Melanie Maier, in honor of Jill Fugaro Chris Mehling, in honor of Wendy Williams Carrol Mills, in memory of Stan Eremia Geri Monheimer, in honor of Sharon and Randy Kinkade Susan Montauk, in memory of Clare Montauk Thomas Neale, in memory of Jean Culhane Pier & Barbara Oddone, in memory of Michael Leibert David Pasta, in memory of Gloria Guth Lise Pearlman, in memory of Amalia Pearlman Elizabeth & Ted Peña, in honor of Oscar Peña, with thanks to Ben Hanna Barbara Pereira, in honor of Ian & Alec McEachern Paul & Kerry Perez, in honor of Dixon Long Laurel Przybylski, in memory of Maryann Herber Sheila & Myron Puckett, in memory of Jean Murphy Lois & Dan Purkett, in honor of Merton Johnson & Mary Rowe M Veronica Rabuy, in honor of Zoe Inciong Maya Rath, in honor of Shirley & Philip Schild Ronald Rogness, in honor of Phyllis Rogness Deborah Dashow Ruth, in memory of Leo P. Ruth Veronica Schwalbach, in memory of Catherine Day Ethan & Kira Silverman, in honor of Ross & Sandy McCandless Heather Sirk, in honor of Emily Small-Coffaro Katrina & John Staten, in memory of Wallace Johnson Prof. Jeremy Thorner & Dr. Carol Mimura, in memory of James Toshiaki Mimura Marion C. Warner, in memory of Charles Warner Raymond Weisberg, in memory of Marilyn Weisberg Ms. H. Leabah Winter, in memory of Barry Dorfman, MD The Zeiger Family, in memory of Phyllis Sagle

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A BOU T BE R K E L E Y R E P staff and affiliations Michael Leibert Artistic Director Tony Taccone A R T I S T IC Associate Director Liesl Tommy Artistic Associate & Casting Director Amy Potozkin Artistic Associate Mina Morita Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Associate Julie McCormick Artists under Commission David Adjmi Glen Berger Jackie Sibblies Drury & Brian Carpenter Rinne Groff Dominic Orlando KJ Sanchez Naomi Wallace P RODUC T ION Production Manager Tom Pearl Associate Production Manager Amanda Williams O’Steen Company Manager Jean-Paul Gressieux S TAG E M A NAG E M E N T Production Stage Manager Michael Suenkel Stage Managers Cynthia Cahill Leslie M. Radin Karen Szpaller Kimberly Mark Webb Production Assistants Megan McClintock Amanda Warner S TAG E OP E R AT ION S Stage Supervisor Julia Englehorn P ROP E R T I E S Properties Supervisor Jillian A. Green Associate Properties Supervisor Gretta Grazier Properties Artisan Viqui Peralta S C E N E S HOP Technical Director Jim Smith Associate Technical Director Colin Babcock Shop Foreman Sam McKnight Master Carpenter E.T. Hazzard Carpenter Jamaica Montgomery-Glenn S C E N IC A R T Charge Scenic Artist Lisa Lázár

Managing Director Susan Medak

COSTUMES Costume Director Maggi Yule Draper Kitty Muntzel Tailor Kathy Kellner Griffith First Hand Janet Conery Wardrobe Supervisor Barbara Blair Assistant Costume Designer Amy Bobeda E L E C T R IC S Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane Kenneth Coté S OU N D Sound Supervisor James Ballen Sound Engineer Angela Don A DM I N I S T R AT ION Controller Suzanne Pettigrew Director of Technology Gustav Davila Associate Managing Director/ Manager, The Ground Floor Karena Fiorenza Ingersoll Executive Assistant Andrew Susskind Bookkeeper Kristine Taylor Associate General Manager/ Human Resources Manager David Lorenc Human Resources Consultant Laurel Leichter Database Manager Diana Amezquita DE V E L OPM E N T Director of Development Lynn Eve Komaromi Associate Director of Development Daria Hepps Director of Individual Giving Laura Fichtenberg Campaign Manager Libbie Hodas Institutional Grants Manager Bethany Herron Special Events Manager Lily Yang Individual Giving Associate Joanna Taber Development Database Coordinator Jane Voytek Development Associate Beryl Baker

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General Manager Karen Racanelli

PAT RON S E R V IC E S Patron Services Manager Katrena Jackson House Manager Debra Selman Assistant House Managers Natalie Bulkley · Aleta George · Emily Hartman · Ayanna Makalani · Anthony Miller · Read Tuddenham Concessionaires Leah Barish · Laurie Barnes · Natalie Bulkley · Samantha Burse · Emily Fassler · Renee Gholikely · Alana Godner-Abravanel · Wendi Gross · Emily Hartman · Mary Kay Hickox ·  Kimberly “Mik” Jew · Maria Jimenez · Nima Khoshnevis-Rad · Devon Labelle · Margot Leonard · Hanna Lennett · Jamie McClave · Sarah Nowicki · Jenny Ortiz · Benjamin Sandberg · Amanda Spector ·  Andrew Susskind · Read Tuddenham · Nancy Villatoro Usher Coordinators Nelson & Marilyn Goodman B OX OF F IC E Ticket Services Manager Destiny Askin Subscription Manager & Associate Sales Manager Laurie Barnes Box Office Supervisor Terry Goulette Box Office Agents Christina Cone · Samanta Cubias ·  Sherice Jones · Eliza Oakley · Aaron Walburg · Amanda Warner · Crystal Whybark M A R K E T I NG & C OM M U N IC AT ION S Director of Marketing & Communications Robert Sweibel Director of Public Relations Voleine Amilcar Art Director Nora Merecicky Video & Multimedia Producer Pauline Luppert Communications Manager Karen McKevitt Marketing Manager Kyle Sircus Audience Development Manager Sarah Nowicki Webmaster Christina Cone Program Advertising Ellen Felker

OP E R AT ION S Interim Facilities Director Lauren Shorofsky Building Engineer Thomas Tran Maintenance Technician Johnny Van Chang Facilities Assistants Sonny Hudson · Sophie Li · Carlos Mendoza · Jesus Rodriguez · LeRoy Thomas BERKELEY REP S C HO OL OF T H E AT R E Director of the School of Theatre Rachel L. Fink Associate Director MaryBeth Cavanaugh Jan & Howard Oringer Outreach Coordinator Dave Maier Community Programs Manager Benjamin Hanna School Administrator Kashara Robinson Registrar Katie Riemann Faculty Alva Ackley · Jeffrey Bihr · Erica Blue · Rebecca Castelli · Jiwong Chong · Iu-Hui Chua · Laura Derry · Deborah Eubanks · Lucille Freedman · Christine Germain · Nancy Gold · Gary Graves · Marvin Greene · Gendell Hing-Hernández · Andrew Hurteau · Aaron Jessup · Ben Johnson · Dave Maier · Julian López-Morillas · Patricia Miller · Edward Morgan · Michael Navarra · Madeleine Oldham · Slater Penney · Marty Pistone · Diane Rachel · Rebecca Stockley · Bruce Williams Outreach Teaching Artists Michael Barr · Mariah Castle · Gendell Hing-Hernández · Ben Johnson · Hannah Lennett · Marilet Martinez · Jack Nicolaus · Sarita Ocón · Carla Pantoja · Patrick Russell · Tommy Shepherd · Reggie White · Elena Wright Teacher Advisory Council Molly Aaronson-Gelb · Julie Boe · Amy Crawford · Beth Daly · Jan Hunter · Marianne Philipp · Richard Silberg · John Warren · Jordan Winer Docent Committee Thalia Dorwick, Director Matty Bloom, Core content Nancy Fenton, Procedures Jean Holmes, Visuals Charlotte Martinelli, Off-site contact & recruitment Accidental Death of an Anarchist Docents Charlotte Martinelli, Lead docent Sandy Greenberg Jean Holmes Dee Kursh Karen McKevitt Joan Sullivan Alexandra Williams-Fleck

201 3–14 B E R K E L E Y R E P F E L L OW S H I P S Bret C. Harte Young Director Fellow Jacob Harvey Company/Theatre Management Fellow Rae Surbagh Costume Fellow Franzesca Mayer Development Fellow Annalise Baird Education Fellows Gabriella Mingoia Alexandra Williams-Fleck Graphic Design Fellow Jared Oates Harry Weininger Sound Fellow Sarah Jacquez Lighting / Electrics Fellow Jack Horwitch Marketing & Communications Fellow Telma Sheppard Peter F. Sloss Literary/ Dramaturgy Fellow Sam Basger Production Management Fellow Emily Fassler Properties Fellow Ashley Nguyen Scenic Art Fellow Gena Whitman Scenic Construction Fellow Claudia Peterson Stage Management Fellow Sofie Miller

Affiliations The director is a member of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. The Scenic, Costume, Lighting, and Sound Designers in lort Theatres are represented by United Scenic Artists Local usa-829, iatse.

BOA R D OF T RU ST E E S Thalia Dorwick, PhD PRE S ID E N T

Helen Meyer


Jill Fugaro


Emily Shanks T RE A S U R E R

Scott R. Haber S ECRE TA RY

Roger A. Strauch


William T. Espey


Marjorie Randolph



Helen C. Barber A. George Battle Carole B. Berg Robert W. Burt Shih-Tso Chen Narsai M. David Nicholas M. Graves Richard F. Hoskins Jean Knox Robert M. Oliver Harlan M. Richter Richard A. Rubin Edwin C. Shiver Roger A. Strauch Warren Widener Martin Zankel


Carrie Avery Becky Bleich Martha Ehmann Conte David Cox Robin Edwards William Falik Lisa Finer David Fleishhacker Paul T. Friedman Bruce Golden David Hoffman Carole S. Krumland Dale Rogers Marshall Sandra R. McCandless Julie M. McCray Susan Medak Pamela Nichter Stewart Owen Leonard X Rosenberg Jack Schafer Richard Shapiro Jean Z. Strunsky Tony Taccone Gail Wagner Felicia Woytak S U S TAIN IN G A DVI S O R S

Carole B. Berg Rena Bransten Stephen K. Cassidy Diana J. Cohen John Field Kerry Francis Nicholas M. Graves Richard F. Hoskins Dugan Moore Pat Rougeau Richard A. Rubin Patricia Sakai Michael Steinberg Michael Strunsky Martin Zankel

Visit our neW bar f e at u r i n g

cr af t cock tail s c u r at e d b y

Founding Director Michael W. Leibert Producing Director, 1968–83

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Visit our website You can buy tickets and plan your visit, read our blog, watch video, sign up for classes, donate to the Theatre, and explore Berkeley Rep.

Emergency exits Please note the nearest exit. In an emergency, walk—do not run —to the nearest exit. Accessibility Both theatres offer wheelchair seating and special services for those with vision- or hearing-impairment. Assistive listening devices are available at no charge in both theatre lobbies. Scripts for the hearing impaired are available in the box office. Open captioning is available for at least one performance of every season production.

No food or glassware in the house Beverages in cans, bottles, or cups with lids are allowed. Please keep perfume to a minimum Many patrons are sensitive to the use of perfumes and other scents. Recycle and compost your waste Help us be more green by using the recycling and compost containers found throughout the Theatre. Phones / electronics / recordings Please make sure your cell phone, pager, or watch alarm will not beep. Doctors may check pagers with the house manager and give seat location for messages. Use of recording equipment or taking of photographs in the theatre is strictly prohibited. Please do not touch the set or props You are welcome to take a closer look at the set, but please don’t step onto the stage. Some of the props can be fragile, and are placed precisely. No children under 7 Many Berkeley Rep productions are unsuitable for young children. Please inquire before bringing children to the Theatre. No babes in arms. berkeleyrep @berkeleyrep berkeleyrep berkeleyrep

We’re mobile! Download our free iPhone or Google Play app — or visit our mobile site —to buy tickets, read the buzz, watch video, and plan your visit. Android


Tickets/box office Box office hours: noon–7pm, Tue–Sun Call 510 647-2949 Click anytime Fax: 510 647-2975 Under 30? Half-price advance tickets! For anyone under the age of 30, based on availability. Proof of age required. Some restrictions apply. Senior/student rush Full-time students and seniors 65+ save $10 on sections A and B. One ticket per ID, one hour before showtime. Proof of eligibility required. Subject to availability. Group tickets Bring 10–14 people and save $5 per ticket; bring 15 or more and save 20%. And we waive the service charge. Entourage tickets If you can bring at least 10 people, we’ll give you a code for 20% off tickets to up to five performance dates. Learn more at Student matinee Tickets are just $10 each. Learn more at For group, Entourage, and student matinee tickets, please call us at 510 647-2918. Sorry, we can’t give refunds or offer retroactive discounts.

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Educators Bring Berkeley Rep to your school! Call the School of Theatre at 510 647-2972 about free and low-cost workshops for elementary, middle, and high schools. Call Sarah Nowicki at 510 647-2918 for $10 student-matinee tickets. Call the box office at 510 647-2949 about discounted subscriptions for preschool and K–12 educators.

Theatre store Berkeley Rep merchandise and show-related books are available in the Hoag Theatre Store in the Roda Theatre.

Theatre maps stage


Ticket exchange Only subscribers may exchange their tickets for another performance of the same show. Exchanges can be made online until midnight (or 7pm by phone) the day preceding the scheduled performance. Exchanges are made on a seat-available basis.

Request information To request mailings or change your address, write to Berkeley Rep, 2025 Addison Street, Berkeley, CA 94704; call 510 647‑2949; email; or click If you use Gmail, Yahoo, or other online email accounts, please authorize patronreply@


seating sections: RO DA

• premium • a • b stage

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seating sections:

• premium • a • b stage

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BLENDS Art, Academia, And Family.

Jewelle and James Gibbs, professors from Cal and Stanford, know how to artfully blend their love of research, travel, family, and art. And they could write a book on it. In fact, they’ve edited and authored six books and traveled to over fifty countries. Collectively, the Gibbs are writing their next, best chapters at St. Paul’s Towers. To learn more, or for your personal visit, please call 510.891.8542. Collecting African art is a passion.

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