Berkeley Rep: Amélie, A New Musical

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Discover our 2015–16 season 8 · Making the everyday world feel magical 24 · The program for Amélie, A New Musical 26



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M E E T T H E C A ST & C R E W · 28



A letter from the artistic director · 5

Foundation, corporate, and in-kind sponsors · 40

A letter from the managing director · 7

Individual donors to the Annual Fund · 41 Michael Leibert Society · 44

R E P ORT 12

Discover our 2015–16 season · 8


Memories · 10

Staff, board of trustees, and sustaining advisors · 45

That was then... This is now · 12 Taking the lead in leadership · 14 The Ground Floor: New work in action · 16 F E AT U R E S 16

FYI Everything you need to know about our box office, seating policies, and more · 46

The reincarnation of story: Why a film like Amélie wants life in a different form · 18 Amélie finds her way · 20 Montmartre · 22 Making the everyday world feel magical · 24


T H E B E R K E L E Y R E P M AG A Z I N E 201 5–16 · I S S U E 1 The Berkeley Rep Magazine is published at least seven times per season.

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P ROL OG U E from the Artistic Director

Twenty years ago, musicals were of no interest

to me. Unlike many of my colleagues, who fell in love with the theatre by going to see shows on Broadway at a young age, I never caught the bug. My mother tried to change my mind by doing impressions of Mary Martin in the kitchen, but I remained unconvinced. Something about the style (all that earnest singing!) left me feeling alienated. As I reached my formative years in the ’60s, my prejudice only increased. The music seemed “canned,” the content trite, and the commercial intent overbearing. I developed a positively arrogant attitude on the subject, something that many of my friends have told me is not limited to my views on musicals. But things change. Maybe it was because my own generation started to create work that I found relatable, maybe it was the increased use of indigenous music, or maybe the content of musicals began to embrace the complications of the modern world…but somewhere in the ’90s I began to find the work interesting and then, lo and behold, irresistible. At Berkeley Rep we started producing plays like Polk County, Brundibar, Girlfriend, and American Idiot. And now we have Amélie. It’s not hard to see what attracted us to this project. The French film (2001) is, in many ways, remarkable. It has a singular narrative and visual style amplified by the swirling movement of the camera and an aggressive editing strategy. There is, thankfully, no way to imitate the movie on stage. More importantly to our minds, a musical version has the ability to capture the romantic heart of the story while re-imagining the visual focus through the eyes of an acting ensemble. In other words, it doesn’t feel forced. Amélie wants to make you sing. And so…. Of course, one needs a large raft of people with imagination, craft, and courage to realize these ambitions. Producers Tara Smith, Aaron Harnick, and Spencer Ross have worked tirelessly with us to bring this project into being. Pam MacKinnon is a masterful director who I’ve wanted to lure to our shores for many years. Esteemed playwright Craig Lucas (Prelude to a Kiss, Blue Window, Reckless) is a longtime friend whom we are truly happy to welcome back. Dan Messé and Nathan Tysen are the men behind the wonderful songs. Choreographer Sam Pinkleton is a natural whirling dervish. And the super-talented ensemble is led by the irrepressible Samantha Barks, whose visa luckily came through as the clock struck midnight. Together we are poised to deliver a new show to you, a musical theatre experience for modern times. We hope it gives you thrills and chills. Sincerely,

Tony Taccone

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August 2015 Volume 48, No. 1




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P ROL OG U E from the Managing Director

Welcome to Amélie, A New Musical,

the first production of our 2015–16 season— one that we’ve been eagerly anticipating. Every year I watch Tony Taccone put together the disparate projects that will eventually coalesce into a season. Each production starts out as an idea unto itself, with its own set of challenges and its own rewards. But as the season begins to come together the individual productions begin to take on some arch, some weird, sometimes mysterious sense of being connected to a larger scheme. There is a moment, usually when the budget is finally balanced and the calendar set in stone, that all seven plays and whatever special events we’ve nailed down all align, and it is suddenly obvious that Tony did, after all, have a plan. What makes this season different may only be the embarrassment of riches. The 2015–16 season is full of opportunities for surprise: two musicals, a Pulitzer Prize winner about race and identity, a delicate and affecting play about food and memory, an opportunity to showcase a local actress of international renown, a return to a childhood classic with Mary Zimmerman, and a homecoming for director Les Waters with playwright Sarah Ruhl. From where we sit, we’ll be watching how the ideas, the themes, the emotions, and the characters bump into each other, resonate with each other, and contrast or inform each other.... Because some of the surprise that comes from seeing a full season of plays is the experience of seeing the mashup that they create when they are seen as a whole. And when you subscribe to all seven plays, you save over the single ticket prices. Additional discounts are also available for the under-30 crowd as well as for educators. In some cases, the savings will be more than 50 percent off the single ticket value. We also offer a five-play package, or you can even create your own subscription of three or more plays. In addition, subscribers can exchange their seats as many times as necessary, without an exchange fee—we understand that life gets busy, after all. So, enjoy Amélie. And then come back for more! We’d love to see you again and again and again! Warmly,



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The world premiere of Amélie, A New Musical, Frances McDormand in Macbeth, Mary Zimmerman’s Treasure Island, the Pulitzer Prize–winning Disgraced, a fantastical Pirates of Penzance, and more — your adventure awaits!




Book by Craig Lucas · Music by Daniel Messé Lyrics by Nathan Tysen & Daniel Messé Musical direction by Kimberly Grigsby Musical staging and choreography by Sam Pinkleton Directed by Pam MacKinnon Limited Season · Roda Theatre Aug 28–Oct 4, 2015 · World premiere

Book by W. S. Gilbert · Music by Arthur Sullivan Directed and adapted by Sean Graney Co-adapted by Kevin O’Donnell Co-directed by Thrisa Hodits Music direction by Andra Velis Simon Limited Season · Osher Studio · Oct 16–Dec 20, 2015

Amélie captured our hearts in the five-time Academy Award– nominated film—now she comes to the stage in an inventive and captivating new musical. Embark on a mesmerizing journey with inquisitive and charmingly shy Amélie as she turns the streets of Montmartre into a world of her own imagining, while secretly orchestrating moments of joy for those around her.

Join the party in our new Osher Studio on Center Street with a delightfully immersive, lovingly loopy, and fantastically eccentric 80-minute take—think banjos, beach balls, and guitars— on Gilbert and Sullivan’s preposterous, topsy-turvy world. This buoyant, award-winning Pirates of Penzance by Chicago theatre rebels The Hypocrites is “spirited, affectionate, and nearly irresistible,” says the Boston Globe.



By William Shakespeare Directed by Daniel Sullivan Main Season · Roda Theatre Feb 19–Apr 3, 2016

Adapted and directed by Mary Zimmerman From the novel by Robert Louis Stevenson Co-production with Lookingglass Theatre Company Main Season · Thrust Stage Apr 22–Jun 5, 2016

Tony and Academy Award winner Frances McDormand stars as Lady Macbeth in Shakespeare’s murderous play about the lust for power and the fickleness of fate. Driven by an evil prophesy and his scheming wife, Macbeth kills the king and claims his crown, thus beginning a moral descent into a reign of terror. This thrilling new production is helmed by Tony and Obie Award winner Daniel Sullivan— dubbed the go-to guy for Shakespeare by the New York Times.

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Mary Zimmerman has mesmerized audiences with her exquisite adaptations of classic tales from the spellbinding Arabian Nights to the hypnotic White Snake. Now she takes us aboard the Hispaniola for a heart-pounding voyage filled with tales of swashbuckling gentlemen o’ fortune, a malicious mutiny led by infamous Long John Silver, and a deadly quest for fabled buried booty.



By Ayad Akhtar Directed by Kimberly Senior Produced in association with Goodman Theatre and Seattle Repertory Theatre Main Season · Roda Theatre Nov 6–Dec 20, 2015 · West Coast premiere

By Julia Cho Directed by Liesl Tommy Main Season · Thrust Stage Feb 5–Mar 20, 2016 · World premiere

Amir Kapoor is living the American Dream. But when he and his wife Emily, an artist influenced by Islamic imagery, host a dinner party for their friends and colleagues, lies and deception threaten to shatter Amir’s carefully constructed life of cultural assimilation. “A smart and provocative work of unusual daring,” lauds Newsday of this 2013 Pulitzer Prize winner.

An estranged son, a father who’s ill, a visiting uncle carrying their memories in tow, a woman without an appetite, and a refugee from a forgotten country—they all prove potent ingredients in this bittersweet and moving meditation from Julia Cho on family, forgiveness, and the things that nourish us. Obie Award–winning director Liesl Tommy helms this world premiere. Aubergine was originally commissioned by Berkeley Rep and developed in The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work.

FOR PETER PAN ON HER 70TH BIRTHDAY By Sarah Ruhl Directed by Les Waters Main Season · Roda Theatre May 20–Jul 3, 2016 · West Coast premiere Celebrated collaborators Sarah Ruhl and Les Waters bring us a fanciful and moving look at growing up versus growing old within a family. In the wake of their father’s death, five siblings are driven to reconnect with childhood dreams and confront the inevitability of the passage of time.


Clockwise Kathleen Chalfant plays the lead role in For Peter Pan on her 70th birthday; Frances McDormand as Lady Macbeth (photo by Alison Rosa); Matt Kahler as the Major-General in The Hypocrites’ Pirates of Penzance (photo by Evan Hanover); Ayad Akhtar, playwright of Disgraced (photo by Nina Subin); Julia Cho, playwright of Aubergine (photo by Jennie Warren); Steven Epp plays Long John Silver in Treasure Island 2 0 1 5 –1 6 · I S S U E 1 · T H E B E R K E L E Y R E P M AG A Z I N E · 9


Memories A brief look at Amélie’s voyage to the stage. First column Props painted blue; Zoe Gopnik-McManus copies Renoir masterpieces Second column Alyse Alan Louis, Randy Blair, Samantha Barks, Alison Cimmet, and Tony Sheldon in the rehearsal hall; Tim Malko and Eva Herndon working on costumes; The famous gnome in New York City; Anna McGahey creates backdrops Third column Photographer Kevin Berne shooting an element of the publicity photos; Fruit courtesy of the props artisans; Jay Lasnik creates realistic-looking leeks; Randy Blair, Maria-Christina Oliveras, and Carla Duren Fourth column Samantha Barks showing some love to the gnome; Frames in the scene shop; A frame from the TV commercial

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That was then… Our love affair with Berkeley Rep began 40 years ago when two college students entered (separately I might add) the College Avenue storefront, and that relationship has sustained through marriage, relocation, job changes, and growing children. As Langston Hughes said, “Well, I like to eat, sleep, drink, and be in love…like to work, read, learn, and understand life.” What better way than the theatre and what better place than Berkeley Rep. Rachelle and I are committed to supporting the storytellers and that’s why we are honored to support the Create Campaign. —S TEWART OWEN PRESIDENT, B ERKELE Y REP BOARD OF TRUS TEES 1 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 5 –1 6 · I S S U E 1

In 1980, with the generous support of the Bay Area community, Berkeley Rep moved from its humble storefront beginnings on College Avenue to its present-day home on Addison Street. The construction of the Thrust Stage marked a pivotal moment in the Theatre’s history, ushering in a new era of award-winning productions and increased audience attendance. Today, Berkeley Rep turns the page on a new chapter. Just like the transformative moments that preceded it, this one is bold and ambitious. Its impact will be significant — on artists, on audiences, on the community. Berkeley Rep will be home to one of the most vibrant and respected centers for the creation and development of new work in the country. The Create Campaign funds two key initiatives: the development of our Harrison Street campus into a center for new work and the renewal of our signature Thrust Stage into a top-notch venue for today’s artists and audiences. Construction is now underway on the Thrust Stage’s renovation. Your gift today to the Create Campaign, large or small, will bring the theatre into the 21st century with a state-of-the-art sound system from Meyer Sound, technological upgrades, and refurbished seating.

Left 1980: a new home on Addison Street Right 2015: a renovated theatre for the 21st century

This is now. Leave your mark and join us for the Thrust Stage rededication festivities in January 2016! $1,000 Be among our constellation of supporters featured in the Thrust Stage lobby $3,000 Name a seat in the Thrust Stage $5,000 Name two seats in the Thrust Stage $10,000 Inscribe a square in the Narsai M. David Courtyard

Every gift matters! To make a gift or pledge of support, visit or call 510 647-2906.

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For more information on Core Council and Teen Council please visit our website at teencouncil.


Taking the lead in leadership BY BERYL BAKER

If you haven’t heard of Berkeley Rep’s Teen

Council at Berkeley Rep’s School of Theatre, you’ve got to check it out. This nationally acclaimed program is designed to create, in effect, a mini theatre company: it is live theatre organized, operated, fundraised, marketed, and produced all by teens, with the professional guidance of our administrative and technical crews. It’s Berkeley Rep’s way to give local high school students access to real-time experience working in theatre. The program has flourished over the years and consequently, our Teen Council program has been a model for other arts education programs around the country. Now the School has taken it one step further: it’s teaching teens how to lead. Theatre has been and will always be a group effort. And it takes smart and communicative people to coordinate that group effort (or else a set piece might land on someone’s head). As Core Council member Genevieve Saldanha puts it, “Leadership is not the actions of just one person; it is the ability to work in collaboration with others effectively and efficiently. Leaders are not afraid to speak up for what they believe in, and in doing so they inspire and empower others.” It’s hard to pin down when exactly a good system comes together, especially if it’s an organic process developed over 1 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 5 –1 6 · I S S U E 1

years of testing and adjusting and testing again. But, I think most educators would agree that sustainable and impactful programing takes time and effort to solidify. Teen Council has had different leadership structures through the years, but it has settled into a new group that’s taking the lead in leadership: Core Council. So what is Core Council? It’s a group of teens selected by their peers to help produce all the programs of Berkeley Rep’s Teen Council, which serves over 400 teens per year. They plan over 100 events throughout Berkeley Rep’s season designed to engage teens in learning about and producing theatre. Core Council hosts Teen Nights at the Theatre, organizes trips to see plays at five different theatres throughout the Bay Area, produces their own Teen One-Acts Festival in the Osher Studio, and presents specialized workshops with professional guest artists. They advocate for the arts and arts education on the local and national levels (we hope to once again send Core Council representatives to the Theatre Communications Group Conference, held in Washington, DC next spring). Currently, we have 14 teens in Berkeley Rep’s Core Council; it’s a mix of sophomore, junior, and senior students from seven schools from around the Bay Area. This allows

Top row Adin Gilman-Cohen, Chloe Smith, Devin Elias, Genevieve Saldanha, Lucy Curran Middle row Bridey Bethards, Christian Santiago, Fiona Caverly, Max Hunt Bottom row Carmela Catoc, Joi Mabrae, Tess Deluchi, Maya Simon, Michael Letang P H OTO S BY T H E T EE N S

R E P ORT KATHIE LONGINOTTI REALTOR® and Berkeley Rep Subscriber

“Leaders are not afraid to speak up for what they believe in, and in doing so they inspire and empower others.”


— G E N E V I E V E S A L DA N H A

for a variety of perspectives within the group and allows Teen Council to have ambassadors and connectors in many districts. These are smart and energetic teens who know their peers can benefit from a performing arts education and are intimately aware that most schools are sorely lacking in this department. Make no mistake: Being a Core Council member is hard work. Being a leader in this program means committing to four monthly events as well as time spent researching, advocating, and marketing outside of their time at the School of Theatre. But, it is a safe space in which teens can learn real-world skills, like understanding what a budget actually looks like, how to fundraise and meet financial goals, how to direct and coordinate a group of people, how to speak eloquently and clearly about arts education, and most importantly, how to make theatre happen. As an added bonus, our program provides an intimate platform to gain one-on-one mentorship from theatre professionals and access to those who can in turn advocate for them. So next time you come to a show, keep your eyes peeled for these young leaders. They are the future of professional theatre and we’re excited to see where they will go next. 2 0 1 5 –1 6 · I S S U E 1 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 5


Top Liesl Tommy and Julia Cho Middle César Alvarez and Lucas Hnath Bottom Aysan Celik, Saori Tsukada, Jonathan Schenk, and Paula McGonagle in Naomi Iizuka and Rachel Dickstein’s sleep P H OTO S BY N O R A M ER EC I C K Y

The Ground Floor: New work in action BY MADELEINE OLDHAM

June 2015 saw the fourth edition of The Ground

The Ground Floor’s Summer Residency Lab is made possible by the generous contributors to the Create Campaign. Find out how you can support the development of new work at 1 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 5 –1 6 · I S S U E 1

Floor’s Summer Residency Lab come and go, and it was chock full of experiments, as any good lab should be. Artists joined us from all over the country, donning their proverbial white coats, to generate and test new material. This type of inquiry is something that can only be done in a collaborative setting. Some artists arrived with little to nothing at all written, and used the time to begin the work of realizing their ideas. One such team, composer César Alvarez and playwright Lucas Hnath, had never worked together before, and face time proved crucial to kick start their cabaret musical about a salsa singer who attempts to assassinate Fidel Castro. They wrote a few songs, imagined scenes that might want to be written, and developed an outline. Other projects came to us further along in their development. Julia Cho’s Aubergine already had its world premiere slated for Berkeley Rep’s 2015–16 season, directed by Liesl Tommy, so their residency focused on problem-solving that would give

them a jump on their upcoming rehearsal process. They brought in a Korean translator, and did very detailed work around the role that Korean language will play in the production. A common sentiment heard ringing through the hallways every June refers to “throwing spaghetti at the walls and seeing what sticks.” At the Summer Residency Lab, artists are encouraged to take risks, and try things they might not otherwise have the opportunity to try. After a process of trial and error, and then taking rigorous stock of what does and doesn’t work, a shape begins to emerge. Anaïs Mitchell wrote new songs for her musical Hadestown, and incorporated some narration. Naomi Iizuka and Rachel Dickstein developed a physical vocabulary for their adaptation of a Haruki Murakami short story. Anne Galjour wrote about 45 minutes of new material that she performed for various individuals and solicited feedback. Then, curious to hear how it would sound to a group, she read it in front of a small audience as the culmination of her time with us. Two projects made use of a site-specific approach. Jackie Sibblies Drury is writing a play about surveillance, and took advantage of an empty office space across the street to see how that might inform her text. Sean Christopher Lewis and Jennifer Fawcett turned the Harrison Street campus into a canvas for telling their ghost story. Storytelling took place in the trees and on the grass outside, inside the staff lockers, in furniture storage, and even in the bathroom. And the activity didn’t stop there. One group spun flags on the lawn, learning the language of color guard. Actor Danny Scheie yelled from the conference room, embodying an off-kilter tour guide. The paint deck became a boxing ring. These incredibly talented people made our walls vibrate with imagination. It’s an amazing thing to experience a work of art being made, and June provided an abundance of riches with 14 plays in progress finding their footing.

The application deadline for the 2016 Summer Residency Lab is November 1. Visit

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THE REINCARNATION OF STORY: Why a film like Amélie wants life in a different form BY MADELEINE OLDHAM

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From the earliest days of recorded theatre, stories have been told in

multiple incarnations. Aeschylus, Sophocles, Euripides, and a host of lesser-known Ancient Greek playwrights all took a crack at the Oedipus myth. Romeo and Juliet has provided source material for countless permutations, but it, in turn, can trace a line of ancestors back to storytellers like Ovid and Dante. Throughout history, one can identify a strong collective appetite for our stories to contain both the familiar and the new simultaneously. We want new things, but we want them to offer recognizable footholds. Perhaps this is because we desire ongoing relationships with our stories. A very common belief holds that only seven plots exist, and every story ever told is a variation on one of those themes. The origin of this idea is somewhat murky, but a basic Google search indicates its popularity nonetheless. So in essence, this theory says that pretty much everything generated is some form of adaptation. Whether you buy into that premise or not, the reinvention of tried-and-true material is clearly a mainstay of human cultural life. Scrolling through Broadway listings reveals quite a few contemporary musicals that began on the screen: The Lion King, A Gentleman’s Guide to Love and Murder (based on a movie called Kind Hearts and Coronets), An American in Paris, Kinky Boots, Aladdin, Finding Neverland, the list goes on. A good number of other musicals started as books or even plays. At the time of writing this article, at least half of the currently running shows were direct adaptations. This does not include jukebox musicals, which are arguably adaptations of a performer’s catalog, or works that consider themselves “influenced” or “inspired” by something without officially crediting its source material. Theatre isn’t the only medium to look for stories in other existing forms. Sometimes other disciplines will choose a play or a musical as the springboard for their art. Works like Fiddler on the Roof, The King and I, Chicago, Annie, and Bye Bye Birdie all had long lives as musicals and were later turned into films. That trend has only intensified as modern technology has increased the volume of screen production. (See sidebar.) Sometimes things even get a little bit meta: take Hairspray, for example. It started as a film by John Waters, which was adapted into a Broadway musical, which was in turn adapted into a musical film. The relationship between stage and screen has always been porous. Film began with silent movies that were accompanied by live instruments, thus combining the screen with live performance—arguably, the first movie musicals. When sound technology emerged, it didn’t take long for the magic of speaking to embrace the wonder of singing. The first official Hollywood musical was made in 1927 (Al Jolson in The Jazz Singer). The popularity of the form has waned since the golden age of the ’50s, but the genre has maintained a steady output nonetheless. The joys of each medium are unique. Translating a stage event to film provides the storytelling with a vast array of tools to play with: visual stimulation through cinematography and special effects, location changes as wide as the imagination can stretch, and practical advantages such as the ability to create things like crowd scenes or instantaneous transitions. It also provides the story with a much wider audience. A play can do very little of that, but it has its own list of what makes it unique. Theatre creates an intimate experience—the fact that live performers tell the story in real time connects us to the way people have shared stories with each other since the dawn of humanity. The spell conjured when someone transforms into someone else before your very eyes is a very particular kind of theatrical alchemy. When a performer does something impossible for most of us like adopting an impeccable non-native accent, making us believe they are a child, or executing the perfect pratfall, we’re given an opportunity, similar to the appeal of professional sports, to appreciate the magnitude of what a human body can do. We come away with an expanded notion of what we thought was achievable—what was impossible becomes possible. Clearly each form has something to offer the other. Despite this, some people still feel that this desire to translate existing work from one medium to another reflects a lack of imagination. But if we shift the lens just a bit and look at it from a different angle, perhaps it allows us to take a story to the next level. It could be a desire, conscious or not, to cement the legacy of a beloved story, and help it endure. Maybe by making multiple versions, we are creating today’s classics.

The stage gives to the screen as much as the screen gives to the stage. Some films made just since 2000 that were plays or musicals first include: August: Osage County Bug Closer Doubt Dreamgirls Frost/Nixon Hedwig and the Angry Inch Into the Woods Jersey Boys The Laramie Project Les Misérables Mamma Mia The Music Man Once Upon a Mattress Our Town Phantom of the Opera The Producers Proof Rabbit Hole Rent Sweeney Todd Venus in Fur

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Nothing is mysterious, no human relation. Except love. —Susan Sontag

Paris is the city of love—at least that’s what the movies say. It helps that Paris has many qualities that we associate with romance—bridges adorned with couples’ padlocks, attractive fashion, delicious wine and cheese, quaint historic neighborhoods—and so it becomes the site of many romances in the popular imagination and, maybe most strikingly, in cinema. One of the most iconic French romances, Amélie, was released in 2001 and remains the highest-grossing French-language film shown in the United States. Yet, people don’t often think of the love story in Amélie right away. They think about that intriguing girl with a sharp haircut whose imagination lights up the screen. Perhaps this is because the story really belongs to our protagonist as she discovers herself. Amélie is part of a long tradition of romantic films set in Paris, but it is also noticeably innovative because it makes her story of self-realization its focus.

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Often in American romantic films set in Paris the story rotates around two people finding each other. Three of the earliest quintessential ones are stories that are re-made and re-tooled again and again to this day: The Hunchback of Notre Dame (adapted in 1917 as The Darling of Paris), The Phantom of the Opera (1925), and The Three Musketeers (1921). Paris has captivated the American public each decade as the go-to place to find your soul mate in films such as Roberta (1935), Gigi (1958), Charade (1963), Last Tango in Paris (1972), Victor/ Victoria (1982), Moulin Rouge (2001), and Midnight in Paris (2011), among others. Although the female protagonist may have her moments of agency in these films, rarely is she driving the story or engaging in self-realization. The pursuit of love is the central focus, but love’s complexity is rarely on full display. Happily, the French have their own famous romance flicks, and they tend to be a bit more emotionally messy than ours. They also tend to be less male-driven. Well-regarded French romances include Children of Paradise (1945), Breathless (1960), The Umbrellas of Cherbourg (1964), The Story of Adele H (1975), Boyfriends and Girlfriends (1987), Love Me If You Dare (2003), and The Artist (2011), among others. One of most renowned films from this group, and a staple of the French New Wave movement, is Jules and Jim (1962). The film tells of the 25-yearlong love triangle between two best friends, Jules and Jim, and Catherine, the object of their affection. Catherine is a fiercely independent and wildly impulsive woman. She throws herself into the Seine when the two men belittle a female character in the Strindberg play they saw. She dresses up like a man and walks down the street with the best friends to see if she passes (she does). After her marriage with Jules wanes, she starts an affair with Jim, believing she can have the affections of both men. Yet even though Catherine appears to hold the power in her relationships and remains at the epicenter of the story, her actions seem to come from a place of restlessness and dissatisfaction—not from true desire. In contrast, Amélie is always acting from her desire—her genuine curiosity is her driving force and what defines her. In Jules and Jim what appears to be a story of a strong woman is instead a meditation on our inability to control others. The inexplicableness that defines love engulfs the threesome as they violently drift together and apart. In Full Moon in Paris (1984), another influential French romance, a female protagonist takes the focus as she searches to find a balance between love and independence. Louise, an enigmatic party girl, lives with her boyfriend Rémi in the suburbs outside Paris. Rémi doesn’t enjoy going out, so Louise keeps an apartment in Paris for her to crash at after a night of (chaste yet hip) adventure. She claims that she wants this apartment to be a place where she can spend time alone—she complains that everyone loves her too much, which doesn’t leave her much time to herself—but then ends up using the bed to have an affair on the night of a full moon. That incident makes her realize that she does in fact want to be with Rémi, but upon her return to the suburbs she finds that he is leaving her for someone else. Louise’s experiment leaves her without love or independence, and the end of the film finds her as she began: going to Paris and her social life. Louise embodies an attractive, autonomous Parisian woman, but her discomfort

with solitude stops her from understanding her true emotions. Amélie seems to have learned from Louise: she loves being alone and basks in her internal world. She may even go too far in that direction. A film that embodies how love makes us immensely vulnerable is A Pornographic Affair (1999), in which a man and woman— called only She and He—meet each other in a Paris hotel room to enact a specific sexual fantasy that we never see. Their relationship continues after their first tryst, much to their surprise, and they deepen their relationship through long conversations and “normal” sex. The French have a way of placing details of a relationship under a magnifying glass, and this film takes that tendency to the next level. Intimacy is crafted through free-flowing, easy, honest dialogue, and the couple falls in love despite knowing nothing about one another. She and He are solely defined by how they love (in this case, genuinely and intensely), and we never learn who they really are as people. They presume that they are building something out of their anonymous intimacy, but in fact it is their assumptions about each other that end their relationship. The film posits that ephemeral love is the most pure, and that within that purity exists a sea of fragility, attachment, fear, and unrealistic expectations. Amélie stands on the edge of that sea—scared to dive in, and understandably so. In A Pornographic Affair love is embraced as a shifting, sneaky entity— one that can’t truly grow without fully knowing the details, not to mention the name, of the person you are falling in love with. Amélie is rare in that the film appeals to an American audience that enjoys the focused pursuit of romance, but also shows the more French-like tendency to focus on distinctive characters. Amélie follows all the plot points of an American love story, but in a sideways fashion: rather than the boy meeting the girl and pursuing her, the girl doesn’t even meet the boy—she merely glimpses him—and she pursues him through a series of hide-and-seek tricks. Amélie shapes her individual story oh-so-quietly, almost accidentally. If we look closely, we see that Amélie has been controlling her own story all along— even before catching sight of the boy, Nino. All of her human relationships are conquered through her fanciful manipulation and careful orchestration. But when Amélie falls in love, she hits a wall. She doesn’t know what to do with a human problem she can’t solve—the ultimate mystery: love. Amélie spends the latter half of the story pursuing and being pursued by Nino, and the risky act of reaching out to connect with another human threatens to push her out of her shell. On the surface, this game of pursuit and complex tricks looks like another cute romantic comedy trope, but by the time we see Amélie fall in love we know her well. We know that she is painfully shy, so much so that she barely talks to her coworkers or neighbors. The simple act of reaching out to another person places our bashful protagonist in a very scary and vulnerable position. Unlike the leads in Jules and Jim or Full Moon in Paris, Amélie the woman is leading her own love story. In fact, through the act of falling in love, Amélie is changing from a girl who loves whimsy to a woman who is embracing the risks that come as a result of real-life dares. Through pursuing love—whether it fails or not—Amélie chooses to grow up. And that is where her story becomes truly unique. 2 0 1 5 –1 6 · I S S U E 1 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 1



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Most of Amélie, A New Musical takes place in Montmartre, a





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neighborhood in Paris known as an artistic and bohemian enclave. Montmartre boasts a collision of past and present, of quaint tradition and contemporary chic— embracing both the highbrow and the lowbrow. The geography of the area reflects these juxtapositions: a large cemetery sits down the street from a strip of nightclubs, storied artistic heritage coexists with pivotal moments in political history, and two historic churches reside on the hill above it all. There is no better location for this story that understands human beings in all of their beautiful, crass, effervescent, and uncouth glory. The neighborhood is filled with narrow, winding streets that curve up steep slopes, adding to its allure as a place to get lost (or as a place to follow people, as Amélie does). At the bottom of the hill is the Boulevard de Clichy 1 , which is lined with bars, kebab shops, and dozens of sex shops (like the one Nino works in). One of the main landmarks is the Moulin Rouge 2 , a dance hall that was constructed in 1889 and is the rumored birthplace of the cancan dance. Nearby is the Élysée Montmartre theatre (1807) 3 , a ballroom and concert venue that boasts a metal structure designed by Gustave Eiffel. In between the two famous venues sits Folies Pigalle near the Pigalle Metro 4 , the red-light district of Paris, where a nightclub owner discovered cabaret singer Edith Piaf. Many famous artists lived in Montmartre: Pierre-Auguste Renoir, Amedeo Modigliani, Claude Monet 5 , Pablo Picasso 6 , Vincent van Gogh, Erik Satie, Henri de Toulouse-Lautrec 7 , and Maurice Utrillo among others called the neighborhood home. Now street artists create portraits of tourists in the Place du Tertre 8 , turning artistic space that used to be staunchly anti-establishment into a commercialized zone. In addition to providing a haven for artists, Montmartre was home to a number of seminal political moments in the history of France. During the 1590 Siege of Paris, Henry IV stationed his artillery on the hills at Montmartre so his army could fire down into the city. In 1790, before Montmartre became part of Paris, the new revolutionary government declared it a self-sufficient area known as the Commune of Montmartre 9 . Montmartre joined the city of Paris in 1860, and in 1871 it was the location for the uprising of the Paris Commune 10 , a group of revolutionaries who took arms against the French government from March to May. During the French Revolution (1789–1799) an abandoned gypsum quarry slightly outside the center of town was used as a mass grave. It became an official cemetery 11 in 1825 and is the resting place of many great men and women in the arts and sciences: Hector Berlioz, Stendhal, Vaslav Nijinsky, Émile Zola, Léo Delibes, Edgar Degas, and more. Montmartre’s name—“Mountain of the Martyr”— comes from the martyrdom of Saint Denis, who was the Bishop of Paris and was beheaded around 250 AD on the signature hill where the stunningly white Basilique du Sacré-Coeur 12 now sits. Surrounding the basilica are terraced gardens where gypsum quarries once were, and a brightly colored carousel nestles into the greenery. The neighborhood’s main sources of income used to be quarries and vineyards (now only one vineyard remains), and around 300 windmills once dotted the landscape. Today, two windmills remain, giving the name “Two Windmills” to the café in which Amélie works 13 . The mélange of history, romance, death, and art in Amélie’s story could have no more perfect backdrop than Montmartre, one of the most vivacious neighborhoods in France.




The artists behind Amélie, A New Musical are a talented bunch with a deep love for the film that provides the musical’s source material. We had a chance to ask director Pam MacKinnon, book writer Craig Lucas, composer and co-lyricist Daniel Messé, and co-lyricist Nathan Tysen some questions about their journey with this musical and their relationship with the beloved titular character.

Lexi Diamond: What drew you to this story initially? Daniel Messé: In 2009, I was approached by producer Aaron Harnick with an exciting question: If I had the chance to write any musical adaptation, which story would I choose? I immediately blurted out “Amélie.” The film had been inspiring songs in me since I’d first seen it back in 2001. In fact, one of the songs that now exists in the score (“Thin Air”) was written based on scenes in the film long before I was ever given the opportunity to create this piece. I think what attracted me to this story back then is still what inspires me. This story deals with themes that have always resonated in my work: How does the past play out in our present lives? How do we connect to others? And how love is always, in the end, worth the risk. Pam MacKinnon: I was captivated by the music that Dan Messé had written. Then I rewatched the film. Amélie’s imagination, both as a girl and young woman, as a survival technique is at once so understandable, funny, and moving. Nathan Tysen: Amélie is one of my favorite films, and I jumped at the opportunity to collaborate with Dan. The way Jeunet [the film’s director] crafted such a specific visual word and tone is extraordinary. It is one of those movies that makes you see the world differently and appreciate all of its quirky beauty. We have some big shoes to fill with a stage adaptation, but I believe this team is up to the challenge. Craig Lucas: I was drawn by the difficulty of activating Amélie’s challenges, which were entirely cinematic as framed in the movie. Also, the idea of finding a way to theatricalize those challenges seemed hard enough to keep the years of development required for a new musical constantly interesting and engaging— that and the talents of the songwriters were the two big lures in the project.

Daniel Messé P H OTO BY N O R A M ER EC I C K Y

Craig Lucas P H OTO BY P E T ER B EL L A MY

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What was it like to discover and create the musical vocabulary for this production? Nathan: We knew it couldn’t sound like the movie score. This is definitely an American take on a French film so Dan very early on announced, no accordions! Fortunately, Dan’s music has a folksy whimsical vibe that easily lent itself to Amélie’s world. Our biggest discovery was just how much music the show required. At the beginning of our process, we only musicalized Amélie’s fantasies, but soon learned the story was more effectively told when sung. This process has definitely been one of trial and error as we have thrown out just as many songs as are currently in the show. Daniel: Luckily for the creative team, our director Pam helped foster one of the safest and most collaborative environments I have ever experienced. The sound and tone of this show is a direct result of all the people who have worked on it together.

How are you most like Amélie? Did you find any parts of yourself reflected in this character? Craig: If I’m not careful, I can easily isolate myself, as she does. And my self-centeredness and self-pity can result in fantasies such as her imagined martyrdom. I too live mostly in my imagination. Pam: Her imagination as a way to get through childhood, her belief that she is the smartest person in the room, and finally her vulnerable recognition that she needs others and that other people are as wondrous as her. Nathan: I have a tendency of getting trapped in my own head. I also love crème brûlée. Daniel: I am a lithe young French girl and so am actually exactly like Amélie.

Nathan Tysen

Have you ever played an Amélie-style game or trick on anyone? Daniel: Lately, I’ve been setting up mysterious quests for my kids that take them across nyc, searching for clues in a library book, or a piece of building statuary. I would like to try and make the everyday world feel as magical as possible for them. I hope that is what we’ve accomplished with Amélie the musical as well; may the world appear a little more wonder-filled when people are stepping out of the theatre. Craig: I do small subversive things most days but I’m not about to tell anyone what they are. In the film, we learn of many characters’ likes and dislikes— things that bring small pleasures or annoyances. What would be your list? Pam: I like the smell of my forearm that first hot day in May. I dislike overhearing strangers argue. I like recognizing a classic rock song in Muzak. I dislike hearing a classic rock song in a TV ad. I like falling to sleep with windows open to the sound of rain. Daniel: I like the smell of (far-away) skunks. I like riding my bike on freshly paved asphalt. I like the sound of glockenspiels and of lawn mowers. I do not like sitting on a warmedover seat that someone just left. Oh, and I very much like anthropomorphic animal videos. Nathan: I like: the smell of a new shower curtain liner, when umbrellas invert (on other people), and the smell of gasoline on your hands after fueling your car. I dislike: pulling packages out of boxes that are packed in Styrofoam, lotion between fingers, kids who knock on the glass at zoos or aquariums, and couples who don’t sit across from each other when eating out. Craig: I love lying down in a room behind a closed door with the sound of the surf or an electrical storm outside or, barring that, someone vacuuming elsewhere in the house. I like the smell of a sleeping dog’s paws. Nothing is more interesting to me than psychoanalytic literature—papers presented at obscure conferences. I like watching videos of Antonin Scalia getting all steamed up, expecting it to lead to one big aneurysm and soon. I despise people who walk behind me on the sidewalk talking louder than necessary. I always stop to let them pass and I think bad thoughts about them, hoping they will trip. People who get up during the curtain call to rush for a cab or the parking garage are not my kind of people; I would create a small island for these people to live on, away from the rest of us who wish to applaud and celebrate the performers.

Pam MacKinnon

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Amélie, A New Musical is made possible thanks to the generous support of SEASON SPONSORS

Jack & Betty Schafer The Strauch Kulhanjian Family


Edward M. Kaufmann E XECU TIV E S P O N S O R S

Stephanie & John Dains Kerry Francis & John Jimerson


David & Vicki Cox Dixon Long Dugan Moore Mechanics Bank Wealth Management A S S O CIAT E S P O N S O R S

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Ted & Carole Krumland Martin & Janis McNair

CAST Blind Beggar/Garden Gnome David Andino Amélie Samantha Barks Hipoloto Randy Blair Nino Adam Chanler-Berat Amandine/Philomene Alison Cimmet Young Amélie Savvy Crawford Gina Carla Duren Raphael/Bretodeaux John Hickok Georgette Alyse Alan Louis Suzanne Maria-Christina Oliveras Dufayel/Collignon Tony Sheldon Lucien Perry Sherman Joseph Paul Whitty Swings Shannon O’Boyle, Jacob Keith Watson

BAND Conductor, Keyboards Kimberly Grigsby Woodwinds Dana Bauer Violin Kathy Marshall Cello Vanessa Ruotolo Harp Wendy Tamis Guitar Schuyler McFadden Percussion Allen Biggs Bass Richard Duke Contractor Kevin Porter Copyist JoAnn Kane Music/Russell Bartmus Amélie takes place in Paris & her surroundings from 1975 through 1998. The cast and stage managers are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. All musicians in this production are members of Musicians Union Local 6, American Federation of Musicians.

Affiliations The director and choreographer are members 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.

Aaron Harnick, Triptyk Studios, and sbr Productions would like to thank David Broser, Apples and Oranges, Broadway Across America, Capacity Interactive, Carnahan Casting, Clint Bond Jr., Darin Smith, Andy White, Edward Kaufmann, Elyce Henkin, Guillaume Laurant, Iris and Michael Smith, Jean-Pierre Jeunet, Jeff Berg, Lauren Heirigs, Mark and Kim Smith, Polk & Co., Ricardo Hornos, Richards Climan Inc., Roy Furman, ShadowCatcher, SpotCo, Stage Entertainment, Stephanie Cowan, Terry Schnuck, The Araca Group, and The Orchard Project. 2 0 1 5 –1 6 · I S S U E 1 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 7

BE R K E L E Y R E P P R E S E N T S David Andino

B L I N D B E G G A R /G A R D E N G N O M E

David is overjoyed to take part in Amélie here at Berkeley Rep. His regional/tour credits include Broadway’s first national tour of Cinderella (Jean Michel) and The Buddy Holly Story at Little Theatre on the Square (The Big Bopper). His New York credits include Cloned! The Musical at New York Musical Theatre Festival 2014 (Tramell the Pigeon) and 50 Shades! off Broadway (Christian Grey). David is a proud alumnus of Viterbo University where he received his bfa in Musical Theatre. Visit him on Instagram @daveycapp and Twitter @onidnadivad.

Samantha Barks A MÉLIE

Samantha has played Mallory Kingsley in City of Angels (Donmar Warehouse), Velma Kelly in Chicago (Hollywood Bowl), Nancy in Oliver! (UK tour), Éponine in Les Misérables (Queen’s Theatre, West End), and Sally Bowles in Cabaret (Birmingham Rep). She has garnered rave reviews and acclaim for her performance as the iconic Éponine in Universal’s Les Misérables, directed by Tom Hooper starring alongside Hugh Jackman, Russell Crowe, Eddie Redmayne, Amanda Seyfried, and Anne Hathaway. Samantha’s other film credits include Natalka in Bitter Harvest (Pinewood Pictures), Lotte in A Hundred Streets (CrossDay Productions), and Emily Barstow in The Christmas Candle (Pinewood Pictures). She received the Breakout Award at Glamour magazine’s Women of the Year Awards, Best Female Newcomer by the Empire Awards, the Spotlight Award from the Hollywood Film Festival, and was nominated for Young British Performer of the Year by the London Critics Circle.

Randy Blair H I P O LO T O

Randy is thrilled to be making his Berkeley Rep debut. As an actor, he has appeared in the New York premieres of Adding Machine (Minetta Lane Theatre), Chaplin (Theatre Row), The Yellow Wood (the York Theatre Company), and The Tragic and Horrible Life of the Singing Nun (Theatre at St. Clements). Recent regional credits include House of Gold (Woolly 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 5 –1 6 · I S S U E 1


Mammoth Theatre Company), The 25th Annual Putnam County Spelling Bee (Alabama Shakespeare Festival), and Avenue Q (Weston Playhouse). Film and television credits include Law & Order, Strangers with Candy, Naked Brothers Band, and Across the Universe. Randy is also a writer, best known for the off-Broadway shows Gigantic (Vineyard Theatre), Perez Hilton Saves the Universe (Barrow Street Theatre), Spidermusical (Mint Theater Company), Beautiful Disaster (Joe’s Pub), Haute Mess (Ars Nova), and TV’s Billy on the Street.

Adam Chanler-Berat NINO

Adam recently finished the Public Theater’s run of The Fortress of Solitude where he played the lead role of Dylan (Lucille Lortel nomination). He created the role of Peter in the off-Broadway and Broadway productions of Peter and the Starcatcher. He also created the role of Henry in the off-Broadway production of Next to Normal and continued with the show through its Broadway run. Adam’s additional off-Broadway credits include the revival of Rent, Zorba! (Encores!), My Favorite Year, and Fly by Night. Adam stars in the web series It Could Be Worse and some recent TV credits include Elementary, Veep, and The Good Wife, as well as a role in cbs’ pilot Doubt.

Alison Cimmet

A M A N D I N E / P H I LO M E N E

This is Alison’s Berkeley Rep debut. She has been seen on Broadway in The Mystery of Edwin Drood, Bonnie and Clyde, Baby It’s You, and A Tale of Two Cities. Her other stage credits include John Guare’s 3 Kinds of Exile (world premiere at Atlantic Theater Company), the Witch in Fiasco Theater’s Into the Woods (Old Globe), Peach the Starfish in Finding Nemo: The Musical (Disney workshop, original cast recording), Sally Cato in Mame (starring Christine Baranski, Kennedy Center), Madame Thenardier in Les Misérables (North Carolina Theatre), Annie Oakley in Annie Get Your Gun (Carousel Dinner Theatre), and Viola in Twelfth Night (Prince Music Theatre). Alison has been seen on television in Deadbeat and Are We There Yet? and in the films March! and Chasing Taste. She is a graduate of Brown University and has studied for years with the Upright Citizens Brigade. For more, visit

Savvy Crawford YO U N G A M É L I E

After being in the workshop of Amélie, Savvy is excited to join Berkeley Rep. Having just turned 9, Savvy has multi-faceted acting experience in film, TV, theatre, voice-overs, and commercials. She is currently recording the starring role Dehlia in Nickelodeon’s new animated series The Thing about Babies. Earlier this year she appeared as Young Madonna in the star-studded music video, “Bitch I’m Madonna.” She also appeared in the film Kill for Me, with Dylan Baker and Bailey Chase, in the role of Charlotte. Savvy’s first television appearance was at age 5 in the sitcom Mike and Molly as Young Victoria. She studies dance, singing, and acting in New York City, but she also enjoys other pursuits. For two years she has been on her school’s running team, earning two blue first-place ribbons at their latest track and field championships. Savvy is also an avid gamer whose love of Minecraft is matched only by her creativity, and she enjoys tweeting and posting on Instagram @SavvyCrawford.

Carla Duren GINA

Carla is returning to Berkeley Rep where she played Sophie in Ruined and won a San Francisco Bay Area Theatre Critics Circle Award. This production also travelled to La Jolla Playhouse and the Huntington Theatre. Carla’s Broadway credits include L’il Inez in Hairspray and Snookie in 110 in the Shade. Her off-Broadway credits include Marilla in The Fortress of Solitude at the Public Theater and Paula in Brooklynite at the Vineyard Theatre. Her other regional credits include Annie in It Shoulda Been You at George Street Playhouse and Myrrhine in Give It Up at Dallas Theater Center. She can be seen in the films Knucklehead, Maid in Manhattan, and Dave Chappelle’s Block Party and recently appeared on TV’s Mysteries of Laura. Her album BlackFolkRockStar is available on iTunes and

John Hickok

Alyse Alan Louis

Shannon O’Boyle

On Broadway, John created the roles of Zoser in Elton John’s Aida, Governor Slaton in Parade, and Professor Bhaer in Little Women. He’s on all three cast albums. Recently, he played opposite Frank Langella in the Broadway revival of Man and Boy, and was also in Our Country’s Good and Accomplice. His New York and regional credits include John Adams in 1776, directed by Frank Galati at American Conservatory Theater; Horace Tabor in Kathleen Marshall’s Unsinkable Molly Brown at the Denver Center Theatre Company; Beauregard opposite Michelle Lee in Mame; Dillard Nations in Foxfire with James Whitmore; Todd in Eye of the Beholder opposite Kim Hunter; and Alan Raleigh in God of Carnage. He directed the world premiere of Burning Blue on London’s West End (winner of an Evening Standard Award and two Olivier Awards), as well as productions in Los Angeles, San Francisco, and New York. John has also taught Shakespeare at Bard College.

Alyse is excited to be making her Berkeley Rep debut. Her most recent credits include Rhoda in A New Brain (City Center Encores! Off Center) and Becky in the world premiere of The Civilians’ musical Pretty Filthy (Abrons Arts Center). She is an associate artist with The Civilians. On Broadway, Alyse played Sophie in Mamma Mia! Her other New York credits include productions at New York Musical Theatre Festival, La MaMa, and the Lucille Lortel. Her favorite regional credits include Janet in The Rocky Horror Show (Bucks County Playhouse), Wendla in Spring Awakening (Olney Theatre Center), Nerds (Philadelphia Theatre Company), and Pop! (Who Shot Andy Warhol?) (City Theatre, Pennsylvania).

Shannon is excited to join the Berkeley Rep family. She was recently seen on Broadway in Once the Musical. Her regional favorites include the title role of the new rock musical Lizzie (Playhouse Square) and Vivienne in Legally Blonde. Shannon is a proud graduate of the Baldwin Wallace University Conservatory of Music. More at and @shansoboyle.

R A P H A E L / B R E T O D E AU X



Maria-Christina Oliveras SUZANNE

Maria-Christina is thrilled to be making her Berkeley Rep debut. She has appeared on Broadway in Machinal and Bloody Bloody Andrew Jackson. Her other New York credits include Zorba (dir. Walter Bobbie) and the world premieres of Here Lies Love (dir. Alex Timbers), Pretty Filthy (dir. Steve Cosson), And Miles To Go (dir. Hal Brooks), Reading Under the Influence (dir. Wendy Goldberg), The Really Big Once (dir. David Herskovits), Slavey (dir. Robert O’Hara), and After (dir. Stephen Brackett), among

Extraordinary Performance. Proudly serving Berkeley, Albany, Kensington, Alameda, El Cerrito, Emeryville, Oakland and Piedmont Lorri Rosenberg Arazi Leslie Avant Anna Bahnson Norah Brower Carla Buffington Jackie Care Maria Cavallo-Merrion Stina Charles-Harris Carla Della Zoppa Leslie Easterday

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BE R K E L E Y R E P P R E S E N T S others. Her regional credits include Sundance, Williamstown Theatre Festival, the Huntington Theatre Company, CenterStage in Baltimore, Long Wharf Theatre, Denver Center Theatre Company, and Westport Country Playhouse. Maria-Christina’s film and television appearances include The Humbling, St. Vincent, Time Out of Mind, Manhattan Nocturne, Law & Order: svu and CI, Nurse Jackie, Damages, and Person of Interest. Dedicated to developing new work, she is the recipient of the Charles Bowden Actor Award from New Dramatists. She received her BA from Yale University and mfa from the National Theatre Conservatory.

Tony Sheldon


Tony is making his Berkeley Rep debut. A native of Australia where his many starring roles include Man of La Mancha, Dirty Rotten Scoundrels, The Producers, Private Lives, I Hate Hamlet, Noises Off, Into the Woods, and Torch Song Trilogy, Tony won a Theatre World Award and was nominated for the Tony, Drama Desk, Drama League, and Outer Critics Circle Awards for his Broadway debut as Bernadette in Priscilla, Queen of the Desert, a role he also played in Australia, New Zealand, London (Olivier Award nomination), and Toronto (Dora Award) for 1,750 performances. In New York he appeared in The Band Wagon at City Center Encores! and Saint Joan, The Millionairess, and Heartbreak House at Project Shaw, and regionally in Ever After at the Paper Mill Playhouse, My Fair Lady at the Guthrie Theater, Hello Dolly! at the Goodspeed Musicals, Victor/ Victoria at Houston Theatre Under the Stars, and Camelot at the Kennedy Center. His films include Freedom with Cuba Gooding, Jr. and Butterflies of Bill Baker with Will Chase.

Perry Sherman LU C I E N

Perry is thrilled to be making his Berkeley Rep debut. He most recently appeared in Toronto with Les Misérables (Marius). His New York credits include Avenue Q (Princeton/Rod) directed by Rick Lyon, and Wikimusical (New York Musical Theatre Festival). He was in the first national tours of Next to Normal and Spring Awakening. He is the writer/director of Extended Run, the web series. Perry received his training at Carnegie Mellon University.

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Jacob Keith Watson SWING

Jacob is incredibly excited to make his Berkeley Rep debut with Amélie! His New York credits include the Tony-nominated revival of Violet (Preacher/ Leroy/Billy Dean cover) with the Roundabout Theatre Company and the national/international tour of Chicago the Musical (Amos Hart). Other favorite credits include Bye Bye Birdie (Albert), As You Like It (Corin), Twelfth Night (Feste), Othello (Iago understudy), I Pagliacci (Beppe), and La Bohème (Rodolfo). Jacob is also a past winner of the prestigious Lotte Lenya Competition and the nats National Music Theater Competition.

Paul Whitty JOSEPH

Paul is thrilled to be making his Berkeley Rep debut. His regional credits include Be More Chill (Two River Theater), reasons to be pretty, Art (Crescent Stage), Circle Mirror Transformation (Pure Theatre), Doubt, and War of the Worlds (Village Rep). On Broadway he originated the role of Billy in the Tony Award-winning musical Once, giving over 1,000 performances on Broadway and also a handful at American Repertory Theatre, New York Theatre Workshop, and even in Tokyo! He was also in The Full Monty. His other New York credits include Bayonets of Angst (New York Musical Theatre Festival), Violet (City Center Encores! Off-Center), A Thick Description of Harry Smith (New Dramatists), and Twelfth Night (Sonnet Repertory Theatre). His film and television appearances include Song One, National Lampoon’s Beach Party at the Threshold of Hell, Law & Order: svu, and Guiding Light. Paul earned a bfa from University of North Carolina School of the Arts.

Craig Lucas AU T H O R

Craig’s plays include Missing Persons, Reckless, Blue Window, Prelude to a Kiss, God’s Heart, The Dying Gaul, Stranger, Prayer for My Enemy, The Singing Forest, The Lying Lesson, and Ode To Joy. His movies include Longtime Companion, The Secret Lives of Dentists, and The Dying Gaul, which he also directed. He wrote the libretti for The Light in the Piazza, An American in Paris, Three Postcards, and the opera Two Boys (Metropolitan Opera). He directed the world premiere of The Light in the Piazza, Harry Kondoleon’s Saved or Destroyed and Play Yourself, and the film Birds of America. Craig

has received three Tony nominations, the New York Film Critics Best Screenplay Award, the Sundance Audience Award, the Excellence in Literature Award from the American Academy of Arts and Letters, the Steinberg Award, three Obies (one for direction), and the Laura Pels Mid-career Achievement Award from pen; he has been a Pulitzer finalist.

Daniel Messé

C O M P O S E R /C O - LY R I C I S T/ C O - VO C A L A R R A N G E R

Dan is the founder and principal songwriter of the band Hem, which has garnered worldwide acclaim over the course of six studio albums. Starting as a diy project out of Dan’s bedroom, Hem was signed to DreamWorks Records by legendary music producer Lenny Waronker and has been featured in every major media outlet including the New York Times, the New Yorker, npr’s All Things Considered, Fresh Air with Terry Gross, and The Tonight Show with Jay Leno. In 2009 the Public Theater tapped Hem to score Twelfth Night for Shakespeare in the Park (starring Anne Hathaway and Audra McDonald, directed by Daniel Sullivan) for which they earned a Drama Desk Award nomination. Daniel has written four shows for Theatreworks usa (including Black Beauty and Nate the Great) with collaborator Mindi Dickstein. They were the recipients of a Jonathan Larson Grant from the American Theatre Wing and were commissioned by Playwrights Horizons to write the full-length musical Trip through the Harold and Mimi Steinberg Commissioning Program.

Nathan Tysen C O - LY R I C I S T

In 2014, Nathan was awarded both the Edward Kleban prize for most promising lyricist and the Fred Ebb award for excellence in musical theatre songwriting (co-won with collaborator Chris Miller). Selected works with Miller include Tuck Everlasting (opening on Broadway spring 2016), The Burnt Part Boys, Fugitive Songs, and two circuses for Ringling Bros. and Barnum & Bailey. Nathan also contributed songs to the revue Stars of David, collaborating with both Miller and Dan Messé. He is currently writing the book and lyrics for the rock musical Stillwater with music by his band Joe’s Pet Project. Television work includes songs for Sesame Street and The Electric Company. Nathan has worked for over a decade writing and directing for the Lovewell Institute for the Creative Arts, helping to create over a dozen new musicals with young adults. Originally from Salina, KS, Nathan now lives in Brooklyn, NY with his remarkable wife Kait. Please visit

Pam MacKinnon DIREC TOR

Pam won Tony and Drama Desk Awards and received an Outer Critics Circle nomination for

her direction of Edward Albee’s Who’s Afraid of Virginia Woolf? She also won an Obie Award and Tony and Lortel nominations for her direction of Bruce Norris’ Clybourne Park. She directed Edward Albee’s A Delicate Balance and Wendy Wasserstein’s The Heidi Chronicles on Broadway this season. Her many off-Broadway and regional credits include Bruce Norris’ The Qualms (Steppenwolf Theatre Company and Playwrights Horizons), Sarah Treem’s When We Were Young and Unafraid (Manhattan Theatre Club), Craig Lucas’ The Lying Lesson (Atlantic Theater Company), Horton Foote’s Harrison, TX (Primary Stages), and Itamar Moses’ Completeness (South Coast Repertory and Playwrights Horizons). Pam is an alumna of the Drama League, and the Women’s Project and Lincoln Center Theater Directors Labs, and is an associate artist at the Roundabout Theatre, as well as an executive board member of Stage Directors and Choreographers Society, and board chair of the nyc downtown company Clubbed Thumb.

Kimberly Grigsby


Kimberly’s recent credits include Here Lies Love (by David Byrne), The Fortress of Solitude (music and lyrics by Michael Friedman), and Brooklynite! (music and lyrics by Peter Lerman). Her Broadway music directing/conducting credits include Spider-Man: Turn Off the Dark; Spring Awakening; The Light in the Piazza (music and lyrics by Adam Guettel); Caroline, or Change; The Full Monty; You’re A Good Man, Charlie Brown; and Twelfth Night (music by Jeanine Tesori); and off Broadway, Coraline (music and lyrics by Stephin Merritt), Mother Courage and Her Children (music by Jeanine Tesori), and Songs from an Unmade Bed (lyrics by Mark Campbell). Other collaborations include My Life Is a Fairy Tale and Orphan of Zhao, both with music and lyrics by Stephin Merritt for Lincoln Center Festival, and Jeanine Tesori’s The Lion, The Unicorn and Me for Washington National Opera. She holds degrees from Southern Methodist University and Manhattan School of Music.

Sam Pinkleton






Sam is a New York City–based director and choreographer. As a choreographer his recent work includes Machinal (Broadway); Pretty Filthy (The Civilians); Kansas City Choir Boy (Prototype Festival, with Courtney Love); Natasha, Pierre, and the Great Comet of 1812 (Kazino); Heisenberg (Manhattan Theatre Club); Significant Other (Roundabout Theatre Company); Mr. Burns, A Post-Electric Play; Fly By Night; and Stage Kiss (Playwrights Horizons); Marie Antoinette (Soho Rep); I Promised Myself to Live Faster (Pig Iron/Humana Festival); hair: Retrospection (Kansas City Repertory Theatre); The Understudy (McCarter Theatre Center); The Lightning Thief (Theatreworks usa); Spring Awakening (Olney Theater Center); and Buyer and Cellar (Barrow Street Theatre/tour). He is an associate artist with The Civilians and Wit2 0 1 5 –1 6 · I S S U E 1 · 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 P R E S E N T S ness Relocation and is co-director of the Dance Cartel’s onthefloor. Sam teaches Bustin’ Moves at nyu. More at

David Zinn


At Berkeley Rep, David has designed costumes for Mother Courage and In the Next Room (or the vibrator play), and the sets and costumes for Girlfriend. On Broadway, he has recently designed the sets and costumes for Fun Home (Tony nomination), The Last Ship, and Seminar; costumes for Airline Highway (Tony nomination), Rocky, Good People, Other Desert Cities, and In the Next Room (or the vibrator play) (Tony nomination); and scenery for The Real Thing, Violet, and The Realistic Joneses. Off Broadway he has designed the sets and costumes for The Flick, Placebo, Circle Mirror Transformation, Choir Boy, Dogfight, Completeness, and The Four of Us, and scenery for 10/12, The Select, and The Sound and the Fury. David has also worked at the Mark Taper Forum, American Repertory Theatre, the Guthrie Theater, Yale Repertory Theatre, New York City Opera, Santa Fe Opera, Lyric Opera of Chicago, and many others.

Jane Cox


Jane recently collaborated with Pam MacKinnon on Dinner with Friends at the Roundabout Theatre in New York. Other recent New York theatre includes Machinal, for which she was nominated for a Tony and a Drama Desk Award in 2014, All the Way on Broadway, The Flick at Playwrights Horizons and Barrow Street (Henry Hewes Design Award), Allegro and Passion at Classic Stage Company, and The Mystery of Love and Sex at Lincoln Center. Jane has a longstanding collaboration with the Oregon Shakespeare Festival, is a member of the Monica Bill Barnes dance company, and teaches design at Princeton University. Projects this season include the new Go-Gos musical Head Over Heels, Hamlet in London, and Color Purple and Noises Off on Broadway.

Kai Harada


Kai’s Broadway designs include Gigi, Fun Home, On the Town, First Date, Follies (Drama Desk and Tony Award nominations), and Million Dollar Quartet. Other work includes Beaches (Drury Lane Theatre), Brooklynite (Vineyard Theatre), Little Dancer and First You Dream (the Kennedy Center), Zorro (Moscow and Atlanta), Hinterm Horizont (Berlin), Pirates of Penzance (Portland Opera), Head Over Heels and She Loves Me (Oregon Shakespeare Festival), Rent (5th Avenue Theatre), and Barbie Live! Associate design credits to Tony Meola include A Christmas Carol; Disney’s Der Glöckner von Notre Dame; Kiss Me, Kate; and Wicked. He was the audio consultant for Hedwig and the Angry Inch on Broadway. He received his education from Yale University. 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 5 –1 6 · I S S U E 1


Peter Nigrini


Peter’s Broadway credits include The Heidi Chronicles, The Best Man, Fela!, 9 to 5, and Say Goodnight Gracie. His other credits include Grounded and Here Lies Love (the Public Theater), Far From Heaven (Playwrights Horizons), The Elaborate Entrance of Chad Deity (Second Stage Theatre), Notes from Underground (Yale Repertory Theatre), The Grace Jones Hurricane Tour, Rent (New World Stages), Haroun and the Sea of Stories (New York City Opera), and Blind Date (Bill T. Jones). For Nature Theater of Oklahoma, No Dice and Life & Times (Burgtheater, Vienna). His current credits are Dear Evan Hansen (Arena Stage) and Real Enemies (bam Next Wave Festival).

Bruce Coughlin O R C H E S T R AT O R

Bruce’s Broadway credits include 9 to 5, The Light in the Piazza (Tony and Drama Desk Awards), The Wild Party, Urinetown, Grey Gardens, Annie Get Your Gun, Sound of Music, Once Upon a Mattress, and King and I (1996 ) — plus additional (contributing) orchestrations for Big Fish, On the Twentieth Century, Something Rotten, and On the Town. His regional and New York City credits include Assassins and Urinetown revivals (London), Floyd Collins (Playwrights Horizons), Giant (the Public Theater), Children of Eden (Paper Mill Playhouse), Finding Neverland (UK version), A Room with a View (the 5th Avenue Theatre), Tales of the City (American Conservatory Theater), Far From Heaven (Playwrights Horizons), and Nathan Tysen and Chris Miller’s The Burnt Part Boys (Playwrights Horizons). Opera credits include Grapes of Wrath, 27, and Morning Star (all Ricky Ian Gordon). Film credits include Hairspray (“Miss Baltimore Crabs”) and Fantasia 2000 (principal arranger). Bruce received a Tony Award (and two nominations), a Drama Desk Award (and seven nominations), and an Obie Award. He was an Obie Award judge for the 2014–15 season. Please visit

Jim Carnahan, csa CASTING

Jim previously cast American Idiot at Berkeley Rep prior to its Broadway engagement. Jim is also the director of artistic development at Roundabout Theatre Company, where his credits include On the Twentieth Century, The Real Thing, Cabaret, Violet, Machinal, The Winslow Boy, The Mystery of Edwin Drood, Cyrano de Bergerac, Harvey, Anything Goes, The Importance of Being Earnest, Mrs. Warren’s Profession, Sunday in the Park with George, The Pajama Game, 12 Angry Men, Assassins, Nine, and Big River. His other Broadway credits include Fun Home, Constellations, The River, You Can’t Take It with You, Rocky, The Glass Menagerie, Once, Matilda The Musical, Peter and the Starcatcher, The Mountaintop, On a Clear Day You Can See Forever, Jerusalem, Arcadia,

The Scottsboro Boys, A Behanding in Spokane, The Seagull, Boeing-Boeing, Spring Awakening, The Pillowman, Gypsy, and True West. Jim’s film credits include A Home at the End of the World and The Seagull, and his television credits include Glee (Emmy nomination).

Stephen Kopel, csa CASTING

Stephen’s Broadway credits include On the Twentieth Century, Violet, Beautiful-The Carole King Musical, The Winslow Boy, The Glass Menagerie, The Mystery Of Edwin Drood, Harvey, Don’t Dress for Dinner, Once, The Road to Mecca, On a Clear Day You Can See Forever, Anything Goes, The People in the Picture, Brief Encounter, The Scottsboro Boys, Sondheim on Sondheim, and Hedda Gabler. His off-Broadway credits include Indian Ink, Lennon: Through a Glass Onion, The Common Pursuit, The Milktrain Doesn’t Stop Here Anymore, The Tin Pan Alley Rag, Once, and The Scottsboro Boys. Regional credits include productions for Williamstown Theatre Festival, American Repertory Theater, the Guthrie Theater, North Carolina Theatre, the Denver Center Theatre Company, Ford’s Theatre, Chicago Shakespeare Theater, Hartford Stage, Marriott Lincolnshire, Bay Street Theatre, and the Old Globe. Stephen also serves as casting director for Roundabout Theatre Company, Encores! Off-Center, and Jim Carnahan Casting.

Bonnie Panson


Bonnie has stage managed over 25 Broadway shows, including Gigi; Bring It On; Spider-Man, Turn Off the Dark; Chicago; Dance of the Vampires; Blast!; Seussical; The Civil War; Bring in ’da Noise, Bring in ’da Funk; Starlight Express; and The Pirates of Penzance. She has toured extensively with Evita, Bring It On, and multiple tours of The Music of Andrew Lloyd Webber. Off-Broadway credits include A New Brain at Lincoln Center and The Last Five Years, directed by its composer, Jason Robert Brown. She is an adjunct professor at Columbia University in the mfa Stage Management program. Proud mom of college grad, Jenny Spicola.

Michael Suenkel


Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 22nd 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.

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 19 years, Berkeley Rep has presented more than 70 world, American, and West Coast premieres and sent 23 shows to New York, two to London, and one to Hong Kong. Tony has staged more than 40 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. Prior to working at Berkeley Rep, Tony served as artistic director of Eureka Theatre, which produced the American premieres of plays by Dario Fo, Caryl Churchill, and David Edgar before focusing on a new generation of American writers. While at the Eureka, Tony commissioned Tony Kushner’s legendary Angels in America and co-directed its world premiere. He has collaborated with Kushner on eight plays at Berkeley Rep, including 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, he debuted Ghost Light, Rita Moreno: Life Without Makeup, and Game On, written with Dan Hoyle. 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 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 serves on the board of the Downtown Berkeley Association (dba). 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.

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BE R K E L E Y R E P P R E S E N T S Theresa Von Klug


Theresa joined Berkeley Rep at the beginning of the 2015–16 season. She has over 20 years of experience in the New York not-for-profit performing arts sector where she has planned and executed events for dance, theatre, music, television, and film. Most recently she was the interim general manager for the Public Theater and general manager/line producer for Theatre for a New Audience, where she opened its new state-of-the-art theatre in Brooklyn, and filmed a major motion picture of the inaugural production of Julie Taymor’s A Midsummer Night’s Dream, released June 2015. Theresa has worked as a production manager at the New Jersey Performing Arts Center and New York City Center, including the famous Encores! Great American Musicals in Concert, and as a field representative/lead negotiator for the Association of Theatrical Press Agents and Managers. She holds a MS in Labor Relations and Human Resources Management from Baruch College.

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 The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work and the Theatre’s resident dramaturg. She oversees commissioning and new play development, and dramaturged the world premiere productions of The House that will not Stand, 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 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, csa


This is Amy’s 26th season at Berkeley Rep. Through the years she has also had the pleasure of casting plays 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 independent films, including Conceiv3 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 5 –1 6 · I S S U E 1


ing Ada, starring Tilda Swinton; Haiku Tunnel and Love & Taxes, both by Josh Kornbluth; and Beyond Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist in residence. She has been an audition coach to hundreds of actors and a presentation/communication coach to many businesspeople. Amy taught acting at Mills College and audition technique at Berkeley Rep’s School of Theatre, and has led workshops at numerous other venues in the Bay Area. Prior to working at Berkeley Rep, she was an intern at Playwrights Horizons in New York. Amy is a member of csa, the Casting Society of America, and was nominated for an Artios Award for Excellence in Casting for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures.

Jack & Betty Schafer SEASON SPONSORS

Betty and Jack are proud to support Berkeley Rep. Jack just rotated off the Theatre’s board and is on the boards of San Francisco Opera and the Straus Historical Society. He is vice-chair of the Oxbow School in Napa and an Emeritus Trustee of the San Francisco Art Institute where he served as board chair. Betty is on the boards of Earthjustice, Coro Foundation, Brandeis Hill Day School, Sponsors for Educational Opportunity (seo), San Francisco Community College Foundation, and Brandeis Hillel Day School. They live in San Francisco.

The Strauch Kulhanjian Family SEASON SPONSORS

Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently vice president of the board. 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 the UC Berkeley Engineering Dean’s college advisory board. He is chairman of the board of trustees for the Mathematical Sciences Research Institute; 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.

Edward M. Kaufmann LEAD SPONSOR

Edward M. Kaufmann received the Drama Desk Award 2014–15 in the category Outstanding Revival of a Play for The Elephant Man. He and his daughter Samara Kaufmann

support nonprofit theatre as directors of the Schneider-Kaufmann Foundation.

Stephanie & John Dains EXECUTIVE SPONSORS

Stephanie and John have been enjoying Berkeley Rep since moving to the Bay Area in 1987. Stephanie is a registered art therapist and retired in 2004 from the California School for the Blind where she ran the art program. She is the board chair of Art4Moore, which she started in memory of her mother. Art4Moore gives grants to provide art supplies and resources to schools and programs for teachers, students of all ages, the elderly, and the disabled. John is the ceo Emeritus of Helm Financial Corporation, which is now a part of Wells Fargo. He served on the board of Headlands Center for the Arts in Sausalito and Gateway High School, a charter school in San Francisco, and is on the board of trustees at Washington University in St. Louis, from where he and Stephanie both graduated.

Kerry Francis & John Jimerson EXECUTIVE SPONSORS

Kerry and John are excited to support Amélie, A New Musical. John is the operational discipline team Lead at Chevron’s Richmond refinery and has enjoyed the thought-provoking plays produced by Berkeley Rep. Kerry is a member of Berkeley Rep’s board of trustees, a partner at Deloitte, and a graduate of UC Berkeley.

Dave & Vicki Cox SPONSORS

Dave and Vicki have been active in the theatre world for nearly 30 years, first with the Guthrie Theater, where Dave was at one time chair of the board, and now with Berkeley Rep, where he is a board member. Vicki, a women’s rights activist, is a past national board member of Americans for the UN Population Fund and Planned Parenthood. The retired ceo of Cowles Media, Dave pursues interests in media and environmental causes. Previously, he was the board chair of Earthjustice and Link Media. The Coxes love Berkeley Rep’s dedication to risk-taking and its emphasis on contemporary plays, as well as its commitment to developing theatre works and artists.

Dixon Long SPONSOR

Dixon is professor and dean emeritus at Case Western Reserve University. He moved to California in 1990 and began attending Berkeley Rep productions soon after. His friendship with Thalia Dorwick, a cwru graduate, brought him into closer contact with the Theatre and encouraged him to become a docent, which he pursued for several years. He began supporting productions when Berkeley Rep’s Create Campaign began, as a way of making a more significant statement of interest. Dixon has been publishing fiction since 2001. His

eighth novel (All Things Change) was published in June, 2015. Dixon also writes about French markets (Markets of Paris, 2012) and has co-edited a new edition of Markets of Provence, scheduled for the spring of 2016.

Mechanics Bank Wealth Management SPONSOR

For more than a century, Mechanics Bank has been committed to helping people build prosperous communities as a trusted financial partner, forging lasting relationships through teamwork, respect, and integrity. The $3 billion independent bank, headquartered in the East Bay, offers personal banking, business banking, trust, and wealth management services throughout Northern California. For more information, please visit

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䐀刀䔀匀匀䔀匀 倀䄀一吀匀⼀䨀䔀䄀一匀 䨀䄀䌀䬀䔀吀匀 匀䌀䄀刀嘀䔀匀⼀匀䠀䄀圀䰀匀 一愀渀攀琀琀攀 䰀攀瀀漀爀攀 䌀漀漀欀椀攀 䨀漀栀渀猀漀渀 䴀愀樀攀猀琀椀挀 䬀愀礀 䌀攀氀椀渀攀 匀愀洀愀渀琀栀愀 匀甀渀最 䄀最愀瘀攀 䐀攀渀椀洀 䈀礀爀漀渀 䰀愀爀猀 刀漀渀攀渀 䌀栀攀渀 䈀愀椀氀攀礀 㐀㐀 䔀焀甀攀猀琀爀椀愀渀 娀攀氀搀愀 䄀猀椀愀渀 䔀礀攀 刀漀渀攀渀 䌀栀攀渀 䰀礀猀猀攀 匀栀甀瀀愀挀愀 匀圀䔀䄀吀䔀刀匀 吀攀搀 䈀愀欀攀爀 娀攀氀搀愀 䴀愀樀攀猀琀椀挀 圀栀椀琀攀 ⬀ 圀愀爀爀攀渀 愀氀愀爀琀攀 猀椀氀欀猀 䈀礀爀漀渀 䰀愀爀猀 刀攀瀀攀愀琀 吀伀倀匀 娀攀氀搀愀 倀愀椀渀琀攀搀 匀椀氀欀猀 戀礀  䴀漀渀琀愀最甀琀  䴀愀樀攀猀琀椀挀 䬀愀瘀椀琀愀 吀爀愀挀礀 刀攀攀猀攀 匀䬀䤀刀吀匀 䈀攀氀甀瘀愀 吀攀搀 䈀愀欀攀爀 䈀礀爀漀渀 䰀愀爀猀 倀攀琀椀琀 倀漀椀猀 䨀䔀圀䔀䰀刀夀 䐀愀渀愀 䠀攀爀戀攀爀琀 吀爀愀挀礀 刀攀攀猀攀 䜀攀漀爀最 刀漀琀栀 䬀漀渀瀀氀漀琀琀 倀攀琀椀琀 倀漀椀猀 吀攀搀 䈀愀欀攀爀 䈀攀渀ⴀ䄀洀甀渀 䈀䔀䰀吀匀⼀䈀䄀䜀匀 伀渀氀礀 䠀攀愀爀琀猀 吀爀愀挀礀 刀攀攀猀攀 䌀愀氀氀椀漀瀀攀 吀攀搀 䈀愀欀攀爀 ⠀䘀伀刀 䠀䤀䴀⤀ 娀攀氀搀愀 伀渀氀礀 䠀攀愀爀琀猀 匀愀爀愀栀 䌀愀瘀攀渀搀攀爀 匀琀爀攀攀琀猀 䄀栀攀愀搀 匀愀洀愀渀琀栀愀 匀甀渀最 䈀愀椀氀攀礀 㐀㐀 吀栀攀椀愀 䰀攀愀搀攀爀猀 椀渀 䰀攀愀琀栀攀爀

㌀ 㐀㠀 䌀氀愀爀攀洀漀渀琀 䄀瘀攀 䈀攀爀欀攀氀攀礀 ∠ 㔀㄀ ⸀㐀㈀ ⸀ 㜀 㐀 眀眀眀⸀瀀攀爀猀漀渀愀氀瀀椀稀愀稀稀⸀戀椀稀 ∠ 吀甀攀猀ⴀ匀愀琀 ㄀ ⴀ㘀 匀甀渀 ㄀㈀ⴀ㔀



Bay Area Rapid Transit (bart) is a 104-mile, automated rapid-transit system that serves more than 100 million passengers annually. bart is the backbone of the Bay Area transit network with trains traveling up to 80 mph to connect 26 cities located throughout Alameda, Contra Costa, San Francisco, and San Mateo Counties and the Bay Area’s two largest airports. bart’s all-electric trains make it one of the greenest and most energy-efficient systems in the world with close to 60 percent of its all-electrical power coming from hydro, solar, and wind sources. Many new projects are underway to expand bart, allowing it to serve even more communities and continue to offer an ecofriendly alternative to cars. As phase one of its eventual service to Milpitas, San Jose, and Santa Clara, its new Warm Springs Station will be opening by end of 2015.



kpix 5 shares a commitment with cbs News to original reporting. “Our mission is to bring you compelling, local enterprise journalism,” emphasized kpix/kbcw President and General Manager Bruno Cohen. “And just like Berkeley Rep, we’re passionate about great storytelling. We strive to showcase unique stories that reflect the Bay Area’s innovative spirit, incredible diversity, and rich culture as well as its challenges.” Sister station kbcw 44 Cable 12 airs the region’s only half-hour newscast at 10pm. Produced by the kpix 5 newsroom, “Bay Area NightBeat” offers viewers a fresh perspective on current events along with a lively—and often provocative —look at what the Bay Area is saying and sharing online and in social media. Both stations are committed to supporting valuable community organizations such as Berkeley Rep, and are proud to serve as season media sponsors.



AUG 28



Give the gift of Berkeley Rep Berkeley Rep gift certificates are guaranteed to delight. They’re easy to buy, easy to enjoy, and they never expire. You choose the value. They choose the show. 2 0 1 5 –1 6 · I S S U E 1 · T H E B E R K E L E Y R E P M AG A Z I N E · 35

BE R K E L E Y R E P P R E S E N T S Peet’s Coffee


Peet’s Coffee is proud to be the exclusive coffee of Berkeley Repertory Theatre and salutes Berkeley Rep for its dedication to the highest artistic standards and diverse programming. In 1966, Alfred Peet opened his first store on Vine and Walnut in Berkeley. His style of coffee was unlike anything Americans had tasted before— small batch roasting, fresh beans, superior quality, and a dark roast that produced a coffee that was rich and complex. Peet’s remains committed to the same quality standards today including locally roasting in the first leed ® Gold certified roastery in the nation.

Wells Fargo


As the top corporate philanthropist in the Bay Area (according to the S.F. Business Times), Wells Fargo recognizes Berkeley Repertory Theatre for its leadership in supporting the performing arts and its programs. Founded in 1852 and headquartered in San Francisco, Wells Fargo provides banking, insurance, investments, mortgage, and consumer and commercial finance. Talk to a Wells Fargo banker today to see how they can help you become more financially successful.

Additional staff Assistant costume designer Patrick Johnson Assistant director Morgan Green Assistant sound designer Maggie Burke Associate choreographer Chloe Treat Associate lighting designer Nick Soloyom Associate scenic designer Meredith Reis Costume shop Whitney Bulmer Eva Herndon Tim Malko Allison Mortimer Andrea Phillips Erin Reilly Christina Weiland Crafts Kelly Koehn Deck crew Gabriel Holman Bradley Hopper Matt Reynolds Thomas Weaver Electricians Kelly Kunaniec William Poulin Sarina Renteria Matt Reynolds Andrea J. Schwartz Caitlin Steinmann Molly Stewart-Cohn Seth Tuthall Thomas Weaver Lauren Wright Followspot operators William Poulin Catlin Steinmann Keyboard programmer Kevin Roland

Props Amelie Burke-Holt Zoe Gopnik-McManus Anya Kazimierski Jay Lasnik Karen McNulty Ashley Nguyen Rebecca Willis Puppet design and construction Amanda Villalobos Scene shop Ross Copeland Jen Costley Will Gering ET Hazzard Spencer Iascone Matthew Johns Patrick Keene Noah Lange Joe Mizzi Geno Montiero Jeff Palmer Read Tuddenham Baz Wenger Scenic artists Ana Maria Aburto Gina Braden Peet Cocke Molly Endries Lassen Hines Emma Lehman Adair MacCormack Mary McDonald Anna McGahey Elisa Quiñonez Sound engineers Dan Axe Adam Blomberg Xochitl Loza Annemarie Scerra Yonathan Yemini Sound mixer Craig Freeman Studio teachers Lua Hadar Jamie Keller

Production assistant Betsy Norton

Video crew Andrew Engle Sarina Renteria Micah Stieglitz Audrey Wright Lauren Wright

Production assistants (nyc) Alice Pollitt Trey Johnson Laura Nelson

Wardrobe Eva Herndon Andrea Phillips Christina Weiland

Production edit associate C. Andrew Bauer

Wig design Amy Bobeda

Projection system associate David Bengali

Medical consultation for Berkeley Rep provided by Cindy J. Chang MD, ucsf Assoc. Clinical Professor; and Steven Fugaro, MD.

Music associate Wiley DeWeese

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EMBRACE YOUR ARTISTRY Find over 40 unique classes for every age, interest, and ability this fall. Adult, teen, and youth classes start September and October—register today!



Book by W.S. Gilbert · Music by Arthur Sullivan Directed and adapted by Sean Graney Co-adapted by Kevin O’Donnell Co-directed by Thrisa Hodits Music Direction by Andra Velis Simon


Matt Kahler as the Major-General in The Hypocrites’ Pirates of Penzance P H OTO BY E VA N H A N OV ER


One of the greatest English painters of the nineteenth century, J. M. W. Turner was celebrated for his brilliant depictions of light, the virtuosity of his technique, and his extraordinary Romantic imagination. Experience the first major survey of Turner’s late career, when the artist displayed a fierce engagement with grand themes of nature, history, and religion. JUNE 20–SEPTEMBER 20, 2015

This exhibition is organized by Tate Britain in association with the Fine Arts Museums of San Francisco and the J. Paul Getty Museum. Presenting Sponsors: Cynthia Fry Gunn and John A. Gunn. Director’s Circle: Clare C. McEvoy Charitable Remainder Unitrust and Jay D. McEvoy Trust, and Estate of Merrill and Hedy Thruston. President’s Circle: Estate of Harold Dana Crosby Jr., and Ray and Dagmar Dolby Family Fund. Conservator’s Circle: The Diana Dollar Knowles Fund, and Lucinda Watson and Theodore Bell. Benefactor’s Circle: Tully and Elise Friedman, and Ms. Lisa Sardegna and Mr. David A. Carrillo. Patron’s Circle: Mr. Edward D. Baker III, Gretchen and John Berggruen, Carol and Shelby Bonnie, Mrs. George Hopper Fitch, Mr. David Fraze and Mr. Gary Loeb, Gerald Stanley Levinson and Robert Charles Armstrong, Maria Pitcairn, Dorothy Saxe, and the Berenice R. Spalding Charitable Trust. The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities

Joseph Mallord William Turner, Snow Storm—Steam-Boat off a Harbour’s Mouth (detail), exhibited 1842. Oil on canvas. Tate, London. Image © Tate, London 2015


Institutional Partners

G IF T S O F $ 10 0,0 0 0 A N D A B OV E The California Endowment The California Wellness Foundation The William & Flora Hewlett Foundation The James Irvine Foundation The Shubert Foundation The Harold and Mimi Steinberg Charitable Trust G IF T S O F $50,0 0 0 –9 9,9 9 9 Akonadi Foundation The Bernard Osher Foundation National Endowment for the Arts

We thank the many institutional partners who enrich our community by championing Berkeley Rep’s artistic and community outreach programs. We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who made their gifts between August 2014 and June 2015.

G IF T S O F $2 5,0 0 0 –49,9 9 9 Anonymous The Ira and Leonore Gershwin Philanthropic Fund Wallis Foundation Woodlawn Foundation G IF T S O F $ 10,0 0 0 –24,9 9 9 Koret Foundation MAP Fund Sierra Health Foundation

G IF T S O F $5,0 0 0 –9,9 9 9 Anonymous Berkeley Civic Arts Program Distracted Globe Foundation East Bay Community Foundation Ann and Gordon Getty Foundation Panta Rhea Foundation Ramsay Family Foundation The Ida and William Rosenthal Foundation G IF T S O F $750 –4,9 9 9 Alameda County Arts Commission/artsfund Berkeley Association of Realtors Joyce & William Brantman Foundation Civic Foundation The Entrekin Foundation jec Foundation



G I F T S O F $ 10 0,0 0 0 A N D A B OV E

G I F T S O F $ 3,0 0 0 – 5,9 9 9

Mechanics Bank Wealth Management The Morrison & Foerster Foundation

4U Sports Bayer Gallagher Risk Management Services Macy’s Union Bank


G I F T S O F $ 6,0 0 0 –11,9 9 9

Armanino llp City National Bank Deloitte LG Wealth Management llc Meyer Sound Oliver & Company Panoramic Interests Schoenberg Family Law Group U.S. Bank


G I F T S O F $ 5 0,0 0 0 – 9 9,9 9 9

American Express E XECU TIV E S P O N S O R S


G I F T S O F $ 12 ,0 0 0 –2 4 ,9 9 9


G I F T S O F $ 1, 5 0 0 –2 ,9 9 9

Bank of the West Cooperative Center Federal Credit Union

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.

G I F T S O F $ 2 5,0 0 0 –49,9 9 9

For details visit or call Daria Hepps at 510 647-2904.


act Catering Angeline’s Louisiana Kitchen Aurora Catering Autumn Press Bistro Liaison Bogatin, Corman & Gold C.G. Di Arie Vineyard & Winery Café Clem Comal Cyprus Dashe Cellars Domaine Carneros by Taittinger Donkey & Goat Winery Drake's Brewing Company East Bay Spice Company etc Catering Eureka! Farm League Design & Management Group

five Gather Restaurant Greene Radovsky Maloney Share & Hennigh llp Hafner Vineyard Hotel Shattuck Plaza Hugh Groman Catering & Greenleaf Platters Jazzcaffè Kevin Berne Images La Mediterranee La Note Latham & Watkins llp Match Vineyards Mayer Brown llp Pathos Organic Greek Kitchen Patricia Motzkin Architecture Phil’s Sliders Picante

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PiQ Public Policy Institute of California Quady Winery Revival Bar + Kitchen The Ritz-Carlton, San Francisco Shalleck Collaborative St. George Spirits Sweet Adeline Tigerlily Berkeley Venus Restaurant Whole Foods Market Hotel Shattuck Plaza is the official hotel of Berkeley Rep. Pro-bono legal services are generously provided by Latham & Watkins llp and Mayer Brown llp

M AT C H I NG G I F T S The following companies have matched their employees’ contributions to Berkeley Rep. Please contact your company’s HR office to find out if your company matches gifts. BlackRock · Bristol Myers Squibb · Charles Schwab & Co, Inc · Chevron Corporation · Clorox · Constellation Energy · Dolby · Gap · Genentech · Google · ibm Corporation · John Wiley & Sons, Inc. · kla Tencor · Lawrence Livermore National Laboratory · Macy's Inc. · Matson Navigation Company · Microsoft · Morrison & Foerster · norcal Mutual Insurance Company · Nvidia · Oracle Corporation · · Shell Oil · Sidley Austin llp, San Francisco · Synopsys · The Walt Disney Company · Union Bank, The Private Bank · visa u.s.a., Inc.


We thank the many individuals in our community who help Berkeley Rep produce adventurous, thought-provoking, and thrilling theatre and bring arts education to thousands of young people every year. We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who made their gifts between August 2014 and June 2015.

Donors to the Annual Fund

To make your gift and join this distinguished group, visit or call 510 647-2906.


$ 10 0,0 0 0 +

Jack & Betty Schafer The Strauch Kulhanjian Family


$ 5 0,0 0 0 – 9 9,9 9 9

Martha Ehmann Conte Bruce Golden & Michelle Mercer Mary & Nicholas Graves Wayne Jordan & Quinn Delaney John & Helen Meyer Stewart & Rachelle Owen Mary Ruth Quinn & Scott Shenker Steve Silberstein


$ 2 5,0 0 0 –49,9 9 9

Edward D. Baker Rena Bransten John & Stephanie Dains Bill Falik & Diana Cohen Kerry Francis & John Jimerson M Frances Hellman & Warren Breslau Edward Kaufmann Pam & Mitch Nichter Marjorie Randolph Jean & Michael Strunsky Michael & Sue Steinberg Guy Tiphane Gail & Arne Wagner


$ 12 ,0 0 0 –2 4 ,9 9 9


Anonymous Barbara & Gerson Bakar David & Vicki Cox Thalia Dorwick Robin & Rich Edwards David & Vicki Fleishhacker Paul Friedman & Diane Manley M Paul Haahr & Susan Karp Scott & Sherry Haber Jack Klingelhofer Dixon Long Sandra & Ross McCandless Dugan Moore Leonard X & Arlene B. Rosenberg Sheli & Burt Rosenberg, in honor of Leonard X Rosenberg Joan Sarnat & David Hoffman Liliane & Ed Schneider Norah & Norman Stone Felicia Woytak & Steve Rasmussen

$ 6,0 0 0 – 11,9 9 9

Anonymous (3) Shelley & Jonathan Bagg Edith Barschi Neil & Gene Barth Valerie Barth & Peter Wiley M Stephen Belford & Bobby Minkler Carole B. Berg Lynne Carmichael Susan Chamberlin Daniel Cohn & Lynn Brinton Robert Council & Ann Parks-Council Oz Erickson & Rina Alcalay William Espey & Margaret Hart Edwards M John & Carol Field, in honor of Marjorie Randolph Virginia & Timothy Foo Jill & Steve Fugaro Doug & Leni Herst, in honor of Susie Medak Hitz Foundation Christopher Hudson & Cindy J. Chang, MD Ms. Wendy E. Jordan Seymour Kaufman & Kerstin Edgerton Wanda Kownacki Ted & Carole Krumland Zandra Faye LeDuff Peter & Melanie Maier, in honor of Jill Fugaro Dale & Don Marshall Martin & Janis McNair

Steven & Patrece Mills M Mary Ann & Lou Peoples Peter Pervere & Georgia Cassel Barbara L. Peterson Kaye Rosso Pat Rougeau Patricia Sakai & Richard Shapiro Cynthia & William Schaff Emily Shanks Pat & Merrill Shanks Karen Stevenson & Bill McClave Lisa & Jim Taylor Wendy Williams Sheila Wishek Steven & Linda Wolan Martin & Margaret Zankel


$ 3,0 0 0 – 5,9 9 9

Anonymous (4) Becky & Jeff Bleich Cynthia & David Bogolub Kim Boston K Jim Butler Brook & Shawn Byers Ronnie Caplane Jennifer Chaiken & Sam Hamilton Constance Crawford Karen & David Crommie Lois M. De Domenico Daryl Dichek & Kenneth Smith, in memory of Shirley D. Schild Delia Fleishhacker Ehrlich Nancy & Jerry Falk Richard & Lois Halliday Earl & Bonnie Hamlin Vera & David Hartford James C. Hormel & Michael P. Nguyen Lynda & Dr. J. Pearce Hurley Kathleen & Chris Jackson Duke & Daisy Kiehn Louise Laufersweiler & Warren Sharp Christopher & Clare Lee Charlotte & Adolph Martinelli The McBaine Family Phyra McCandless & Angelos Kottas Miles & Mary Ellen McKey Michele & John McNellis Susan Medak & Greg Murphy, in honor of Marcia Smolens Eddie & Amy Orton Janet Ostler Sandi & Dick Pantages Pease Family Fund Kermit & Janet Perlmutter Ivy & Leigh Robinson David S. H. Rosenthal & Vicky Reich Beth & David Sawi Stephen Schoen & Margot Fraser Linda & Nathan Schultz Beryl & Ivor Silver

Audrey & Bob Sockolov Stephen Stublarec & Debra S. Belaga Sally Woolsey Mark & Jessica Nutik Zitter


$ 1, 5 0 0 –2 ,9 9 9

Anonymous (8) Marcia & George Argyris Nina Auerbach Linda & Mike Baker Michelle L. Barbour M Don & Gerry Beers M David Beery & Norman Abramson Annikka Berridge Brian Bock and Susan Rosin Caroline Booth Linda Brandenburger Broitman-Basri Family Don & Carol Anne Brown Katherine S. Burcham M Kerry Tepperman Campbell Stephen K. Cassidy & Rebecca L. Powlan Terin Christensen Julie & Darren Cooke Ed Cullen & Ann O'Connor James Cuthbertson Barbara & Tim Daniels M Jim & Julia Davidson Richard & Anita Davis Ilana DeBare & Sam Schuchat David & Helen Dichek Francine & Beppe Di Palma Becky Draper Susan English & Michael Kalkstein Bill & Susan Epstein, in honor of Marge Randolph Merle & Michael Fajans M Cynthia A. Farner Tracy & Mark Ferron Lisa & Dave Finer Ann & Shawn Fischer Hecht Linda Jo Fitz M Jacques Fortier

Thomas & Sharon Francis Herb & Marianne Friedman Don & Janie Friend, in honor of Bill & Candy Falik Christopher R. Frostad M James Gala Karen Galatz & Jon Wellinghoff Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Phyllis & Gene Gottfried Mrs. Gale K. Gottlieb Robert & Judith Greber William James Gregory Garrett Gruener & Amy Slater Ms. Teresa Burns Gunther & Dr. Andrew Gunther Migsy & Jim Hamasaki Bob & Linda Harris Ruth Hennigar In memory of Vaughn & Ardis Herdell Howard Hertz & Jean Krois Richard N. Hill & Nancy Lundeen The Hornthal Family Foundation, in honor of Susie Medak's leadership Rick Hoskins & Lynne Frame Paula Hughmanick & Steven Berger George & Leslie Hume Mr. & Mrs. Harold M. Isbell Ingrid Jacobson Beth & Fred Karren Doug & Cessna Kaye Bill & Lisa Kelly Rosalind & Sung-Hou Kim Jean & Jack Knox Lynn Eve Komaromi, in honor of the Berkeley Rep Staff John Kouns & Anne Baele Kouns Robert Lane & Tom Cantrell Randy Laroche & David Laudon Sherrill Lavagnino & Scott McKinney Andrew Leavitt & Catherine Lewis Ellen & Barry Levine

Bonnie Levinson & Dr. Donald Kay Erma Lindeman Jennifer S. Lindsay Tom Lockard & Alix Marduel John Maccabee K Vonnie Madigan Elsie Mallonee Naomi & Bruce Mann Helen Marcus & David Williamson Lois & Gary Marcus Sumner & Hermine Marshall Rebecca Martinez Jill H. Matichak Kirk McKusick & Eric Allman M Dan Miller Andy & June Monach Scott Montgomery & Marc Rand Marvin & Neva Moskowitz Daniel Murphy & Ronald Hayden Judith & Richard Oken Sheldeen Osborne Joshua Owen & Katherine Robards Judy O'Young, MD & Gregg Hauser Matt Pagel & Corey Revilla Bob & MaryJane Pauley Tom & Kathy Pendleton David & Bobbie Pratt Carol Quimby-Bonan Andrew Raskopf & David Gunderman Sue Reinhold & Deborah Newbrun Bill Reuter & Ruth Major Maxine Risley, in memory of James Risley John & Jody Roberts Carole Robinson & Zane O. Gresham Horacio & Angela Rodriguez Deborah Romer & William Tucker Boyard & Anne Rowe Enid & Alan Rubin, in honor of Rebecca Martinez Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Stephen C. Schaefer Jackie & Paul Schaeffer

Joyce & Jim Schnobrich Neal Shorstein, MD & Christopher Doane, in honor of Gail Wagner, MD Mark Shusterman, M.D. Edie Silber & Steve Bomse Dave & Lori Simpson Amrita Singhal & Michael Tubach Ed & Ellen Smith M Sherry & David Smith M Sigrid Snider Vickie Soulier Andrew & Jody Taylor Deborah Taylor Alison Teeman & Michael Yovino-Young Susan Terris Pamela Gay Walker/ Ghost Ranch Productions Buddy & Jodi Warner Jonathan & Kiyo Weiss Beth Weissman Steven Winkel & Barbara Sahm Charles & Nancy Wolfram Ron & Anita Wornick Sam & Joyce Zanze Jane & Mark Zuercher

LEGEND K in-kind gift M matching gift We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.

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BE R K E L E Y R E P T H A N K S Donors to the Annual Fund


$ 1,0 0 0 –1, 49 9

Anonymous (5) · Peggy & Don Alter · Pat Angell, in memory of Gene Angell · Naomi Auerbach & Ted Landau · Barbara Jones & Massey J. Bambara M · Leslie & Jack Batson · Robert & Wendy Bergman · Patti Bittenbender · Dr. S. Davis Carniglia & Ms. M. Claire Baker · Paula Carrell · Stan & Stephanie Casper · Leslie Chatham & Kathie Weston · Ed & Lisa Chilton · Patty & Geoff Chin · Terin Christensen · Phyllis Coring K · John & Izzie Crane M · Teri Cullen · Meredith Daane · Harry & Susan Dennis · Corinne & Mike Doyle · Paul Feigenbaum & Judy Kemeny · James Finefrock & Harriet Hamlin · Frannie Fleishhacker · Lisa Franzel & Rod Mickels · Donald & Dava Freed · Judith & Alex Glass · Ann Harriman, in memory of Malcolm White · Elaine Hitchcock · Bill Hofmann & Robbie Welling · Ken & Judith Johnson · Randall Johnson · Barbara E. Jones, in memory of William E. Jones · Thomas Jones · Christopher Killian & Carole Ungvarsky · Steve K. Kispersky · Janet Kornegay and Dan Sykes · William & Adair Langston · Linda Laskowski · Nancy & George Leitmann, in memory of Helen Barber · Meg Manske · John E. Matthews · Jerry Mosher · Margo Murray · Paul Newacheck · Claire Noonan & Peter Landsberger · Lynette Pang & Michael Man · Gerane Wharton Park · Charles R. Rice · Richard Rouse M · Mitzi Sales & John Argue · Seiger Family Foundation · Alice & Scott So · Ruth Simon · Douglas Sovern & Sara

We gratefully recognize the following members of the Annual Fund whose contributions were received from April to July 2015: S U PP O R T E R S

$ 2 5 0 –49 9

Anonymous (16) · Charles Adams · Clara Arakaki · Jennifer & Ross Asselstine · Lisa Bailey · David Barker & Margaret Mason M · Brian & Mary Bechtel M · Steven Beckendorf & Cynthia Hill · Mary Ann & Len Benson · Judith Bliss & Gerald Huff · Mr. & Mrs. David B. Boercker · Susan & Stephen Booth · Mary Bourguignon & Richard Wood · Robert & Barbara Brandriff · Alice Breakstone & Debbie Goldberg · Barbara & Ray Breslau · Geri & Martin Brownstein · Thomas & Tecoah Bruce · Joanie Ciardelli · John Coffin M · Bruce Conrad · Sue Cork · Jim & Jeanette Cottle · Laura Courtney & Neil Gutterson · Rollin & Pamela Coville · Armando Cuellar · Sheila Cullen · Jill & Evan Custer · Dawn Daro · Barbara Gross Davis · Peter de Petra · Mark P. de Souza · Diana Divecha · Kathy Down & Greg Kelly · Mary Eichbauer & Greg Gartrell · Roger & Margaret England · Don Erickson · Ms. Barbara Fenichel · Natalie Forrest & Douglas Sprague · Mr. & Mrs. Michael Frank · Christie Fraser · Dr. John Frykman · Dr. Garwood Gee & Ms. Kathleen Fong · Nancy Geimer & Chris Vance · Arlene Getz · Paul Gill & Stephanie D'Arnall · Gayle & Steve Goldman · Helene Good · Barry & Erica Goode · Marcia Goodman & Hank Levy · Gordon & Gini Griffin · Carol & Don Hardesty · Richard P. Hemann · Daria Hepps & Franco Faraguna · David Hernandez · Dixie Hersh · Elizabeth Hester K · Barbara Hirschler · Andrew Hirss · Dennis J. Hock · Marilynn Hodgson · Jeff Hoel · John & Elise Holmgren · Rosalie Holtz ·

Newmann · John St. Dennis & Roy Anati · Gary & Jana Stein · Annie Stenzel · Michael Tilson Thomas & Joshua Robison · Pate & Judy Thomson · Prof Jeremy Thorner & Dr. Carol Mimura · Deborah & Bob Van Nest · Wendy Willrich · Lee Yearley & Sally Gressens



Anonymous (17) · Denny Abrams · Fred & Kathleen Allen · Robert & Evelyn Apte · Ross E. Armstrong · Jerry & Seda Arnold · Gay & Alan Auerbach · Steven & Barbara Aumer-Vail · Mary Bailey · Todd & Diane Baker · Celia Bakke · Steve Benting & Margaret Warton · Richard & Kathy Berman · Robert Berman & Jane Ginsburg · Caroline Beverstock · Steve Bischoff · Ellen Brackman & Deborah Randolph · Eric Brink & Gayle Vassar M · Jill Bryans · Wendy Buchen · Barbara & Robert Budnitz · Don Campbell and Family · Robert & Margaret Cant · Bruce Carlton · Carolle J. Carter & Jess Kitchens · Kim & Dawn Chase · Dennis Cohen & Deborah Robison · Robert & Blair Cooter · Philip Crawford · Robert & Loni Dantzler · Pat & Steve Davis · Jacqueline Desoer · Noah & Sandra Doyle · Kristen Driskell · Linda Drucker & Lawrence Prozan M · Burton Peek Edwards & Lynne Dal Poggetto · Roger & Jane Emanuel · Meredith & Harry Endsley M · Gini Erck & David Petta · Michael Evanhoe · Malcolm D. Ewen · Brigitte & Louis Fisher · Jim & Cathy Fisher · Martin & Barbara Fishman ·

Joe Houska & Christine Paige · Alex Ingersoll & Martin Tannenbaum · Claudia & Daly Jordan-Koch · Pauline Jue · Charles & Laurie Kahn · Kathryn Kersey · Susan Klee & David Stoloff · Jeff Klingman & Deborah Sedberry · Cynthia Koenigsberg & Harry Patsch · Bill & Sally Lampi · Lynn Landor · Paula Lavine · David & Mari Lee · Claire & Brett Levay-Young · Gerald B. Levine · Sukey Lilienthal & David Roe · Dr. Ludwig H. Lin & Kieron Leslie · Marcia C. Linn · Steve & Judy Lipson · Laurie Lober & Bryan Tracy · Gerry & Kathy MacClelland · Tania & David Madfes · Josephine Maxon · David McClain & Merilyn Wong M · Linda McClain M · Janet & Michael McCutcheon · Robert McDowell · Phyllis Menefee · Mary Mizroch · Julie Montanari & David Pearson · Will & Sally Moore · The Morris Family: Susan, Kathy, Karen, Steve & Jaxon · William Muir M · Ronald & Irene Nakasone · Theresa Nelson & Bernard Smits · Jennifer Nixon & Charles Wood · Bruce & Risa Nye · Peggy O'Neill · David Pasta, in memory of Gloria J.A. Guth · Anthony & Sarah Petru · Regina Phelps · Virginia & Lucien Polak · Chuck & Kati Quibell · Celia Rabinowitz · John Ravitch · David & Suzanne Redell · Hector Richards · Marc A. Rieffel · William & Ray Riess · Rick & Stephanie Rogers · Kim Rohrer · Richard A. Rubin & H. Marcia Smolens · June & Bob Safran · Sonja Schmid · Ron & Esther Schroeder · Cynthia Sears · Judith & Robert Silverman · Renee Simi · Frances Singer · James Sokol · Mary Lou Solecki & Tim Wendt · Virginia Sykes · Ruthann Taylor · Tracy Thompson · William Turner · Mark Valentine & Stacy Leier-Valentine · Mr. Leon Van Steen · Carol Verity · Douglas Volkmer · Mr. & Mrs. John C. Wadman · Emily & Bob Warden · Mark Wasserman & Judy Freeman · Mr. & Mrs. William Webster · Keith R. Weed & Julia Molander · Robert T. Weston · Ted Westphal · Dick White · Susan & Harvey Wittenberg · Bob & Judi Yeager M

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

Patrick Flannery · Robert Fleri, in memory of Carole S. Pfeffer · Stephen Follansbee & Richard Wolitz · Dean Francis · Nancy H. Francis · Paul & Marilyn Gardner · Karl & Kathleen Geier · Glennis Lees & Michael Glazeski · Robert Goldstein & Anna Mantell · Susan & Jon Golovin · Linda Graham · Priscilla Green · Don & Becky Grether · Dan & Linda Guerra · John G. Guthrie · Ken & Karen Harley · Janet Harris · Dan & Shawna Hartman Brotsky M · Steven Horwitz K · Helmut H. Kapczynski & Colleen Neff · Patricia Kaplan · Marjorie & Robert Kaplan, in honor of Thalia Dorwick · Natasha Khoruzhenko & Olegs Pimenovs · Beth & Tim Kientzle M · Mary S. Kimball · Beverly Phillips Kivel · Joan & David Komaromi · Yvonne Koshland · Jennifer Kuenster & George Miers · Woof Kurtzman & Liz Hertz · Natalie Lagorio · Almon E. Larsh Jr · Ray Lifchez · Renee M. Linde · Mark & Roberta Linsky · Bruce Maigatter & Pamela Partlow · Joan & Roger Mann · Sue & Phil Marineau · Marie S. McEnnis · Sean McKenna · Christopher McKenzie & Manuela Albuquerque · Brian McRee · Ruth Medak · Geri Monheimer · Rex Morgan & Greg Reniere · Brian & Britt-Marie Morris · Ronald Morrison · Patricia Motzkin & Richard Feldman · Moule Family Fund · Ron Nakayama · Kris & Peter Negulescu · Jeanne E. Newman · Judy Ogle · Carol J. Ormond · Mary Papenfuss & Roland Cline · Brian D. Parsons · P. David Pearson · Lewis Perry · Suzanne Pierce, in honor of Carol D. Soc ·

James F. Pine M · F. Anthony Placzek · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Susie & Eric Poncelet · Roxann R. Preston · Linda Protiva · Dan & Lois Purkett · Kathleen Quenneville · David & Mary Ramos · Sheldon & Catherine Ramsay · Adam Rausch K · Helen Richardson · Wesley Richert · Paul & Margaret Robbins · Ronald & Karen Rose · Marie Rosenblatt · Jirayr & Meline Roubinian · Deborah Dashow Ruth, in memory of Leo P. Ruth · Eve Saltman & Skip Roncal, in honor of Kerry Francis & John Jimerson · Dorothy R. Saxe · Laurel Scheinman · Bob & Gloria Schiller · Mark Schoenrock & Claudia Fenelon · John & Lucille Serwa · Brenda Buckhold Shank, M.D., Ph.D. · Margaret Sheehy · Steve & Susan Shortell · Margaret Skornia · William & Martha Slavin M · Carra Sleight · Suzanne Slyman · Jerry & Dick Smallwood · Cherida Collins Smith · Louis & Bonnie Spiesberger · Robert & Naomi Stamper · Herbert Steierman · Monroe W. Strickberger · Karen Tiedemann & Geoff Piller · William van Dyk & Margi Sullivan · Gerald & Ruth Vurek · Jon K. Wactor · Louise & Larry Walker · Kate Walsh & Dan Serpico · William R. Weir · Robert & Sheila Weisblatt · Sallie Weissinger · Dr. Ben & Mrs. Carolyn Werner · Elizabeth Werter & Henry Trevor · Fred Winslow & Barbara Baratta · Laura & Ernest Winslow · Carol Katigbak Wong · Evelyn Wozniak · Moe & Becky Wright · Margaret Wu & Ciara Cox · Sandra Yuen & Lawrence Shore


Keh & Jonathan Hue · Joyce Keil · Mike & Mary Jo Kelly · John & Barbara Kenney · Lindy Khan & Amiram Givon · Janet King & Tom Corlett · Susan Kinloch · Doris Kinsley · Eva Klein · Ron & JoAnn Koopman · Janet Kranzberg · Shirley Langlois · Virgina Layton · Dr. Welton Lee · Maureen K. Lenahan · Gloria Letelier · Evelyn Levin · Rosanne Levitt · Diane Levy · John Leys · John Link & Phyllis Goldsmith · John D. Loder · Cheryl & Laurence Lyons · Robert & Dorothy Mack · Martin Malkin · Gary & Carole Manners · Mike & Pat Martin · Richard McCray · Daniel & Beverlee McFadden · Steve Merlo · Nancy Montague · Mary & Dennis Montali · John Moore · Susanna MorinGroom · Barbara Mowry · Ethel Mussen · Herbert & Sondra Napell · Joseph & Berna Neumiller · Stacy Nii-Eastly & John Eastly · Jennifer Normoyle · Margaret O'Halloran & Christopher Lutz · Lester Olmstead-Rose · Kristin & David Olnes · Susan & Paul Opsvig · Linda & Gregory Orr · Stephen E. Palmer · Barbara Pereira, in honor of Ian & Alec McEachern · James Pillsbury · Fred & Judy Porta · Steven Potter · Dianne M. Prichard · William & Joan Pridgen · Danilo Purlia & Catherine Kuss · Michael & Davida Rabbino · Lynne D. Raider · Melinda Ramm · Arthur Reingold & Gail Bolan · Martha Richards K · Margaret Riley, in memory of William Ian Fraser · Edward & Irene Rimer · Mr. & Mrs. Edward Rinne · Geraldine Riordan · Dr. Lynn Robertson · Mr. & Mrs. Michael J. Romo · Peter Sandmann · George & Linda Sensabaugh · Lynn Seppala · Louise Shalit · Brett Sharenow · Wendy Silvani · Sol Simkin · Madeleine Sloane · Barbara Slotnik & Steve Kerns · Lillis & Max Stern · David & Ruth Stimson · Sally & William Sutcliffe · Suzanne & Svend Svendsen · G. Barbara Tabak · Bonnie Taylor · Christine Telischak · Suzanne Titus-Johnson · Rick Trautner · Will Travis · Ann l. Vercoutere · Mary Wadsworth M · Ann Wagner · Marvalee & David Wake · Virginia Warnes · Ellen Weber · Mrs. James Weinberger · Jefferson & Sarah Wilbur · Andrew T. & Linda V. Williams · Ann Williamson · Bill C. Wong · Mark L. Woodberry · Paul Wyman · Julie & Jerry Yaffee · Susan York

$ 15 0 –2 49

Anonymous (28) · Mark Aaronson & Marjorie Gelb · Mr. & Mrs. Dick Abel · Gerry Abrams · Joe & Esther Adler · Paula & Art Alm · Bonnie Andersen · Brian Andersen, Michelle Jolly, Bill Walker & Mary Wisnewski · Catherine Bailey & Jack Telian · Carole & Michael Ballachey · Dale Barnes, in honor of John Jimerson & Kerry Francis · Jane Barrett · Nina Barton · Laura Basha · Alvin Baum · Lloyd & Carolyn Baysdorfer · Carolyn Beasley · Barbara Beck, in memory of Jeff Beck · Sandra Bernard · Thomas G. Bertken · Jayaram Bhat · Jurg & Christel Bieri · Pat & Mary Boyle · Bernice Bradley · Helene Burgess & Cy Epstein · Valarie & John Burgess · Lee & George Burnett · Jules Campbell · Robert & Janet Campbell · Philip Catalfo & Michelle Lerager · Anthony Chiu & AJ Shepard · Harry Chomsky & Amy Apel · Greg & Barbara Ciapponi · Carol & Orlo Clark · Barbara Clayton & Marc Nelson · Gene & Ann Clements · Zeo E. Coddington · Faith & Bob Cushman · Roberta D'Anneo & Scot Terry · Danielle & Didier de Fontaine · Allan Defraga · Paul Demeester · Patrick DeNeale · Lynn Deregowski · O'Neil & Marcia S. Dillon · David Durham · Janet Eadie · Jeanene E. Ebert · Greg Ehrensing · Kevin Elstob · Betty & Ken Fehring · Barry & Cheri Feiner · Michelle Ferguson · Monica & David Finigan · Stephanie Flaniken & Mark Randolph · Julie A. Florin-Kline · Gail Forgash · Marianne & Walter Frey · Dick Friedman · Lisa Fuller & Dirk Tengrotenhuis · Kevin Gahagan · Victor Galis · Prof. & Mrs. Nelson H. Graburn · Randall Ham & Linda Wilford · Janice Hammond · Roy & Ann Hammonds Jr. · Neil Handelman & Karyn O'Mohundro · Lola H. Harris · Lisa Heer · Thomas Hird · Gayl & Harlan Hirschfeld · Jan Hobbel · Beth H. Hoenninger · Carolyn Holm & Hratch Kouyoudjian · Miranda Holmes · Page & Joseph R. Holmes · Eleanor Hopewell · Frances Hopson · Roberta Immel · Ron & Virginia Iverson · Ken Jaffee · Donald Jen & Margaret Ritchey · Susan Jessee · Ann L. Johnson · Armond & Kathy Jordan · Sheila Kahan · Vivian


Donors to the Annual Fund


$ 75 –149

Anonymous (28) · Phyllis Abad · Patricia Allard · Anita & Jim Allardice · Claire Allphin · Ms. K. Tiana Alnas-Benson · Susan & Jerry Angel · Jeff Angell & Joan King-Angell · Mrs. Julia Antoniades · Judy Aptekar · Mr. & Mrs. Louis Armstrong-Dangles · Ann Marie Arndt · Bruce Badash · Kristen Badgley, in memory of her mother Dot Miller · Barbara Barer · Kent & Carolyn Barnes · Marie Bartee · Barbara Baum · Stu & Louise Beattie · Stacey L. Bellis · Audrey M. Berger · Holly & Martin Bern · Rene Biba · Elaine Binger · Anita Bloch · Bethel Bodine · Joan Bodway · Bates Botting · James Bovee · Peter & Jean Bradshaw · Joan Broer · Terry Bronson · Patricia Brown · Ken Bruckmeier · Steven & Alison Burke · Franchesca Callejo · Robert Camm · Charles & Gretchen Carlson · Jamie Carlson · Terrance Carroll · Dr. & Mrs. Michael Cassidy · Heidi Cavagnolo · Dr. G. Cavallaro & Mr. K. Pfeiffer · Daniel & Penny Cawthon · Paula Champagne & David Watson · Bessie Chin · Nancy S. Clancy · Joe & Leonardo Connell · Shirley Cook · Ralph Cooke · Jacob Corn & Lisa Prach · Janis Cosor · Thomas & Suellen Cox · Rich Craig · Katherine Creighton · Catherine Crystal & Eric Crystal · Nancy Cuesta · Mr. & Mrs. Dermott Cullen · Jerry Current · Robert Currier · Marie Davies · Linda Deer · Brigitte Devaux · Veronica & Tom Devitt · John Diller & Melissa Levine · top dog, in honor of Freedom · Steve Doherty · Sebastian & Jennifer Doniach · Valerie Doyle · Daniel Druckerman · Inna Dubchak · Lori Duncan · Philip & Susan Durfee · David Eimerl, in memory of Geoffrey · Nancy Ellenbogen & Joel Lurie · Maureen Fitzgerald & Douglas Dohrer · Tina Fleming · S. Floore · Marvin Freid · Walt French · Lanora Friedman · Judy & Bill Fujimoto · Don Fujino · Nancy Galloway · Beth Garbutt · Loretta D. Garcia · George Gemignani · Jenny Geraty · Clara Gerdes · Sandra Gerstel · Anders Glader · Patty Glikbarg · Steve & Marian Gold · Steven Goldberg · Elaine Goldman · William Goldstein · Herbert Goodman · Gayle Gow · Stephen Graham · Susan Greef · Nancy J. Greenberg · Claudia Greif · Cheryl Guyer & Marty Kahn · Kate Haberland · Dan Haddick & Joanna Budnicko · Mr. Thomas R. Hall · April Hansen · Chuck & Susie Hanson · Michael & Grace Hardie · Pat Harding · Denise N. Hart · Dee Hartzog · Katherine Haynes-Sanstad · Jean Hayward · Linda Headrick, in honor of Ann Brannen · Alan & Carol Heald · Nancy Heastings & Colleen Vermillion · Craig Heimark · David Hendricks · Stanley & Maria Hertz · Jane Hicks · Suzanne Hildenbrand · Susan L. Hill · Jordan Hiratzka · Charlton Holland · Patsy Hom · Shu Huang · Joann Hummel · Walter Husmann · Dr. & Mrs. Charles E. Jackson · Carl & Carolyn Janson · Leonard Johnson · Lynn Jones · Randy Jones · Roxy Jones · Warren J. Kaplan · Evelyn Katchman · Monica Katz-Lapides · Paul D. Kelley · Joanne Kelly · Helen Kennedy · James B. Kennedy · Victoria Khadjenouri · Lawrence & Carolyn Klein · Patricia S. Kline · Bruce Knopf · Christopher Knudsen · Bruce Koch · Marianne Koch · Dale Koepp · Marit Lash · Kurt Latta · William Leach · Marguerite Lee & Martha Richards · Jean Levin · Robert Levin MD · Sara Levin · Helen Ann Licht · Ken & Judy Linhares · Mary Brooks Linton · Glenda Lisk · Paul & Barbara Liston · Cynthia Lloyd · Bruce & Myrna Lockey · Liz Long · Kerri & Mark Lubin · Steve & Linda Lustig · Joseph N. Marcellino · Kim & Barbara Marienthal · Linda Marker · Sharon McCool · Suzanne & Charles McCulloch · David McGrath · Nora McGuinness · Mr. & Mrs. Joe C. McKenzie · Winton & Margaret D. McKibben · Jack McPhail · Douglas & Mary McWilliams · Susan Messina · Margaret & John Meuris · Carrol

Mills, in memory of Stan Eremia · Silvia Montoya · Mr. & Mrs. Craig Moody · Susan Moss · Kathleen & Tim Murphy · Cynthia Naton & Richard Soennichsen · Shirley Negrin · Deborah Nelson · Amy Newman · Wendy Niles · Judith & David Niver · Peter Nussbaum & Aleta Wallace · Jim & Marcia Nybakken · Michael Oday · Gloria O'Dell · Terence & Melanie O'Hare · David & Mary O'Neill · Peggy Orlin & Paul Davis · Joseph R. Palsa · Ann Pearson · Elizabeth & Ted Peña · Norma Perlstein · Liana Perrault · Ruth Phillips · Mr. & Mrs. William Plageman · Don & Virginia Poulton · Hank & Sarah Pruden · Mahendra Ranchod · Dr. Diana Rebman · Dr. & Mrs. Stanley Reich · Teresa L. Remillard · Dave Richanbach · Jean Richardson · Lucille Richey, in memory of Truitt A. Richey · Robert Riekman · Margaret Rienzi · The Rev. Dr. Bonnie Ring · Jeff & Ann Roberts · Karl & Theresa Robinson · Marianne B. Robison · Agnes Rogacsi · Barbara & Jay Rogers M · Mary Rooney-Zarri & Philip Zarri · Wendy Rosov · L. M. Rubinoff · Larry E. Ruff · Kathleen Russell · Elizabeth Ryan · Gayna Sanders · Bobbi Schear & Jim Reed · Drs. James Scherer & Edie Folb · Craig Schmid · Otto Schnepp · Tamar Schnepp · Roland & Aase Schoen · Ed & Jenifer Schoenberger · Laurie Schumacher & Holly Sears · William & Janet Schumann · Veronica Schwalbach · Karen Scott · Gary Sears · James L. Seeman · Geri Shanteau · Katerina Shapiro · Jeff & Charlie Sharp · Chris Sheehan · Boris Shekhter · Susan Sherk · Lee & Mary Shilman · Claudette Sigg · Laine Silber · John Simonds · James Simpson & Tamara Wood · Ellen Smith · Mike Smith · Pam Smith · William Lonon Smith · Donna Smith-Harrison & Samuel Harrison · Elaine Sobel · Gloria Sparrow · Nancy Spero & Norm Brand · Julie Stahl · Angelika E. Stalman · Kira Steifman · Leslie Stenger · Nan Stigter · Cecilia Storr & Mark Chaitkin · Aina Stunz · Jane Summer · Marge Sussman & Cindy Shamban · Steven Swift · La Vonne Taft · Carol Tanenbaum & John Adams · Helga Tarver · Marion Taylor · Lawrence Tjernell · Marta Tobey · Mark Toney · Marci & Eugene Tucker · James S. & Gayle G. Tunnell · Anna Vagin & Bruce Heller · John & Helene Vilett · Thomas & Suzanne Vinzent · Stanyan Vukovich · Mary Waddington · Edwin A. Waite · Neil Weinstein · Murray Weiss · Joanne Westendorf & Sandy Wilbourn · Timothy Westergren · Karen White · Alice Wilkins · Marilyn Willats · Nancy S. Wolfe · Sandra Woliver · Ruth Wrentmore · Louise Yokoi · Margaret Zabel


$ 1 –74

Anonymous (31) · Joyce Abbott · Michael F. Abell · David Abramsky · Susan Adams · Mehrdad Afrahi · Stephanie Ahlberg · Carmen & James Aiken · Paul Alpert · Mark Amaro · Ann Arfsten · Joel Armstrong & Joan Gilbert · David Arpi & Natalie Gubb · Patricia Ascher · Carolyn Ash · Carlos Avenancio · Teddi & David Baggins · Robert Bailey · Suzanne L. Baird · Rachel Bakker · Heather Barber · Cindy Beckley · Jennifer Bell · Joanne Bell · Lynn Bell · Corinne S. Berendt · Roy C. Bergstrom · Barbara Berkeley · Kevin G. Bermudez · Arthur Bernstein · Barry Biderman · Katherine Bini · Elizabeth Birka-White · Nancy Bisio · Heather Blackmore · Shalom & Marilyn Blaj · Susan Blank · Jennifer & Frank Block · Sanda Blockey · John H. Booker Sr. · Wanda J. Borges · Peter Bradley · Cheryl M. Brandon · Lori Breunig · Ms. Marcia Brockbank · Barbara J. Brown · Byron Brown · Angela Brunton · Anne Buckley · Maureen Burchert · Julie & Stan Burford · Robert Burke · Shawn P. Burke · Michael Burles · Elise Burmeister Getz · Linda Cain · Katherine R. Campbell · Eileen Carey · David B. Carter · Harry & Ellen Carter · Ed Carville ·

Joseph & Susan Cerny · Francesca P. Cervantes · Bea Chapman · Emily Chesley · Ted Chiao · Celeste Chin · Julie Y. Chin · Alvin Claiborne · Kevin Clark · Mary L. Clark · Jason Cohen · Leslie Cohen · Diane Cookston · Karin A. Corfee · Kathleen Correia · Jon Corshen · Hillary & Chris Costin · John Cove · James L. Cowan · Delinda Dane · Patricia Daniels · Robert Davies · Harold A. Davis · Bunny Davis · Gail Debellis · Richard A. Denton · Irene Desonie · Joyce T. deVries · Maria E. Dichov · Sharon Dickson · Samuel Diener · Tom Diettrich · Jay Dillemuth · Dirk Dino · Francine Donner · Eve Donovan · Connor Douglass · Joan S. Doust · Deborah Doyle · Madelyn S. Dreyer · Judith Duffy · Kathleen Dumas · Alisa Duncan · Thomas Dunscombe · Judith A. Dunworth · Mark & Judy Eckart · Cynthia L. Eckstein · Julie O. Edwards · Elizabeth & Ann Elliott · Bernice Ellison · Ben Encisco · Richard England · David Fankushen · Roberta Fanning · Al & Sue Farmer · Rowena Farrell · Tracy G. Farrington · Bella Feldman · Linda A. Feldman, in memory of Robert Feldman · Irene M. Fenton · Vladimir Fishman · Debra Fitzgerald · Barbara B. Floyd · Robert Fogliasso · Dr. & Mrs. Hassan Fouda · Sally Francis · Joe Fredrick · Shira Freehling · Barbara Friede · Jeanne Friedman K · Vicky Friedman · Tom & Gail Frost · Frank & Sarah Fuller · Denise Fuson · Joseph & Michelle Gabriel · Linda Gallaher-Brown · Bonnie Gamble · Deborah Garcia · Angie Garling · Doris Gates · Richard Gentry · Bernadette Geuy · Jeanne Gilpatrick · Gerald Glendenning · Charles Goetzl & Eric Fine · Joseph & Linda Goglio · David Gold · Arthur & Carol Goldman · Marjorie Goldware · Del Gonzales · Lauren M. Goodrich · James Gosling · Richard Greene · Zachary & Carolyn Griffith · Carl Grimm · Susan Guerrero · Abheek Gupta · Mr. John B. Gussman · Charles & Barbara Hadenfeldt · Ingileif Hallgrimsdottir · Jeanne Halpern · Heather Halprin · Katherine E. Hamel · Lawrence Hammer · LiHe Han · Gary Harbison · Helen Haris · Margaret Harrington · Caroline P. Haslanger · Sharon Hayden · Marilyn Hayward · Mrs. Karen Heather · Elyse Heilshorn · John & Julie Helms · William Herkelrath · Peter Hobe & Christina Crowley · Arlene F. Hoffman · Kristina Holland · Zelda Holland · Pamela Hollings · Don & Janice Holve · Biljana Horn · Wilma S. Horwitz · Pamela Hudson · Patricia Hull · June Hunt · Anne Huyett · Bonnie Hyatt · Larry Hyman · William Jackson · Roger Jaeckel · Kathy Jarrett · Julie Jeffry · Yolanda Jenkins · Kate Jessup & Igor Zagatsky · Christine Johnson · David J. Johnson · Bob & Sylvia Jones · Allan B. Joseph · Gwenda Joyce · Jeanne Jullion · Lorena Kai · Gary Kelson · Karen Kent · Stephen F. Kent MD · Adrian King · Ms. Judith P. Klinman · Angeli Kirk · Max Kirkeberg · Melody R. Knapp · Marilyn Zoller Koral · Claudia Kruse · Brooke Kuhn · Terry Kulka · Hannah Kusterer · Susan D. Lambert · Jane Lamont · Sandy Larson · Joan Lasselle · Reema K. Lateef · Thomas L. Lawson · Susan Layman · Susan Ledford · Dorothy Lee · Courtney Lehmann · Harold & Gloria Leitstein · Victoria Leonard · Deanna Leong · Heidi Lerner · Cathy Lerza · Karen Lester · Kenneth Letsch · Feralee & Charles Levin · Adrienne W. Lewis · Michele & Micah Liedeker · Andrea Linder · James & Lisa Litchfield · Fred & Amy Loebl · Barbara Loften · Marilyn Luotto · Nancy & John Lyons · Diana Lyster · Jo & Joe Macaluso, in memory of son David · Dana Rae & Bruce MacDermott · Ms. Dolores MacKinnon · Pamela Maffei · Carole Main · Beth Malik · Carol Mammon, in memory of Paula Sechrist · Allan Mann · Melvin Matsumoto · Lucia Matzger · Paul & Claire Maxwell · Ms. Jean McClellan · Kathleen McCowin · Mary McCutcheon · Leah McKibbin · Marcia McLean · Eugenia E. McNaughton · Michael McNulty · Suzy Mead · Harry J.

Mersmann · Karen L. Metz, Leon Farley, Wendy Fountain & Donald Klingbeil · Sam Meyer · Harriett Michael · Steven Michaels · Dana Lee Miller · Danessa Miller · Patrick & Jane Miller · Andrea Mitchell · Robert Moench · Katherine B. Mohr · Jane B. Moore · Katherine Moore · Tim Moore · Gabrielle Morris · Ellen Moyer · Laura Munter · Robin Murray · Beth Myers · Julie L. Navarro · Thomas Neale, in memory of Jean Culhane · Sora Lei Newman · Caroline Nguyen · Wendy Nishizaki · Bela Nuss · Roger Nyberg · Marcia Nyman · Ann OLeary · Crystal Olson · Louise Oram · Judith O'Rourke · Joan Orrell-Valente · Kristina Osborn · Georgia Otterson · Joel Paul · Laurie Payne · James Peterson · Therese M. Pipe · John & Carol Pitts · Cristy J. Pollak · Bradford Pollock · Roderick Ponath · Stephen Popper & Elizabeth Joyce · Darlene Pratt · Mary E. Price Ph.D. · Mark & Debra Prinz-Delapaine · Kathleen Quinn · Carol Rader · Florence & Paul Raskin · Gary M. Raucher · Christina Redse · Lynda Rexroat · Alexis Rhorer · John & Diane Rice · John Richmond · John R. Rickford · Arlene Roberton · Rhonda Rodgers · Laura L. Ross · John Rostkowski · Elisabeth Rothenberger · Joan Ruderman · Delia Ruiz · Lisha Ruud · Dairne Ryan · Mark & Judi Sachs · Dawn Sagorski · Cipriano Salazar · Suzanne Samberg · Jennifer Sanchez · Dan Sands · Nancy Saunders · Patricia & Clifford Saunders · Dave Savidge · Karen M. Scarpulla · Pixie Hayward Schickele · Nina Schindler · Claudio Schiner · Thomas C. Schneider · Melissa Schoen · Henry R. Schott & Marilyn Little · Susan C. Schwartz, in honor of Nancy Shapiro · William Schwartz · Paul H. Sedway · Iris E. Segal · Carl Segall · Duncan Sennott · Marcia Settel · Anne Shanto · Irwin & Annette Shapiro · Murali Sharma · Lisa Sharman · Brigitte Shearer · Michael Sherman · Winston Shi · Nadia Shihab · Leila M. Shockley · Marian Shostrom · Ann Shrieve · Ashley Smiley · Audrey M. Smith · Dana Smith · Staci A. Smith · Mark & Etai Sondag · Ward & Deborah Spangler · Cherrill Spencer · Hildie Spritzer · Sally Steele · Philip H. Stephens · Mary Steward · Corinne Stewart · Marti Stites · Christy Story · Jan Strother · Karen Stroud · Dennis Styne & Donna Petre · Patricia Sullivan · Andrew & Mary Susskind K · Susie Sutch · Janis Sutcher · Angela Sutkaitis · Renee Swayne · Miriam Swernoff · Marjorie Swiencicki · Benilda Taft-Kiewek · Sylvia Tedesco · Scott M. Thacher · Julia B. Thomas · Catherine Thompson · Jean Thomson · Karl Thon · Diana Tillinghast · Veronica Tincher · Helen Tomashevich · Sharon M. Trevorrow · Shirley R. Trimble · Lynn Tsumoto · Ernst & Lois Brandwynne Valfer · Mr. & Mrs. Robert Van Galder · Joyce van Ginkel · Glen Vaughan · Margaret Vincent · Meg Volpe · Nanette & Jack Voluntine · Lena Vuong · Laurence & Ruth Walker · Nancy Walsh · Mary Waltz · Joan Waranoff · Gary W. Ware · John Watkins & Barbara Maricle · Wendy Watling · Marge Watson · Laurence & Evelyn Wegienka · Barbara Weiss · Lisa Weitekamp · Janet Weitz · Susan K. Wheeler · Pam Whitman · Paula Whitton · Jay Wiener · Maureen & Russell Wikander · Bernice Wilhelm · Biney Willcutt · Cathy Wilson · William & Brenda Winston · Charlene & Jerry Wolf · Ms. Beth Wolinsky · Dolores Wong · Wilma Wool · Chia-Yung Wu · Sharon Yoloye · Linda Zaruba · Steven & Victoria Zatkin · Margaret & Rick Zawadski · Marisha Zeffer · Anne Zelinsky

2 0 1 5 –1 6 · I S S U E 1 · T H E B E R K E L E Y R E P M AG A Z I N E · 43

Sustaining members as of July 2015:

The Society welcomes the following new members: David Rovno

Anonymous (6) Norman Abramson & David Beery Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Neil & Gene Barth Carole B. Berg Linda Brandenburger Broitman-Basri Family Jill Bryans Bruce Carlton & Richard G. McCall Stephen K. Cassidy Paula Champagne & David Watson 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 Joseph & Antonia Friedman Paul T. Friedman Dr. John Frykman 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 Lynda & Dr. J. Pearce Hurley 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 John G. McGehee Miles & Mary Ellen McKey Margaret D. & Winton McKibben Susan Medak & Greg Murphy Stephanie Mendel Toni Mester Shirley & Joe Nedham Pam & Mitch Nichter Sheldeen G. Osborne Sharon Ott Amy Pearl Parodi Barbara Peterson Regina Phelps Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Tom Roberts Tracie E. Rowson Deborah Dashow Ruth Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Valerie Sopher

Michael & Sue Steinberg Dr. Douglas & Anne Stewart Jean Strunsky Henry Timnick Guy Tiphane Phillip & Melody Trapp Janis Kate Turner Dorothy Walker Weil Family Trust—Weil Family 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 Gladys Perez-Mendez 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

EXPLORE BEHIND-THE-SCENES Go backstage Meet the makers See how theatre is made Large or small, every gift counts. Give today. 4 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 5 –1 6 · I S S U E 1


BE R K E L E Y R E P STA F F Michael Leibert Artistic Director Tony Taccone

Managing Director Susan Medak

ARTISTIC Associate Director Liesl Tommy Artistic Associate & Casting Director Amy Potozkin Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Manager Sarah Rose Leonard Ground Floor Visiting Artistic Associate Sara Kerastas Artists under Commission David Adjmi · Todd Almond · Christina Anderson · Glen Berger · Julia Cho · Jackie Sibblies Drury · Rinne Groff · Dave Malloy · Lisa Peterson

Box Office Agents Nathan Brown · Christina Cone · Julie Gotsch · Jasmine Malone · Eliza Oakley · Amanda Warner

P R ODUC T ION General Manager Theresa Von Klug Associate General Manager/ Human Resources Manager David Lorenc Production Manager Peter Dean 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 Leslie M. Radin · Karen Szpaller · Julie Haber · Kimberly Mark Webb Production Assistants Sofie Miller · Betsy Norton · Amanda Warner S TA G E OP E R AT ION S Stage Supervisor Julia Englehorn P R OP 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 Carpenter Jamaica Montgomery-Glenn SCENIC ART Charge Scenic Artist Lisa Lázár COSTUMES Costume Director Maggi Yule Associate Costume Director Amy Bobeda Draper Alex Zeek

Tailor Kathy Kellner Griffith First Hand Janet Conery Wardrobe Supervisor Barbara Blair ELECTRICS Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane Kenneth Coté S OU N D A N D V I DE O Sound Supervisor James Ballen Sound Engineer Angela Don Video Supervisor Alex Marshall 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 Sarah Williams Executive Assistant Andrew Susskind Bookkeeper Kristine Taylor Payroll Administrator Rhonda Scott Human Resources Consultant Laurel Leichter Database Manager Diana Amezquita Systems Assistant Debra Wong 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 Director of Special Events Julie Cervetto Institutional Grants Manager Bethany Herron Special Events Manager Kelsey Hogan Individual Giving Manager Joanna Taber Development Database Coordinator Jane Voytek Development Operations Associate Beryl Baker Executive Assistant Emma Nicholls B OX OF F I C E Ticket Services Director Destiny Askin Subscription Manager Laurie Barnes Box Office Manager Richard Rubio Ticket Services Supervisor Samanta Cubias

M A R K E T I NG & C OM M U N I C AT ION S Director of Marketing, Communications, and Patron Engagement Polly Ikonen Director of Public Relations Voleine Amilcar Marketing Director Peter Yonka Art Director Nora Merecicky Communications Manager Karen McKevitt Audience Development Manager Sarah Nowicki Webmaster Christina Cone Video & Multimedia Producer Christina Kolozsvary Program Advertising Ellen Felker Interim Senior House Manager Debra Selman Assistant House Managers Natalie Bulkley · Aleta George · Tuesday Ray · Ayanna Makalani · Mary Cait Hogan · Anthony Miller · Sarah Mosby Interim Concessions Manager Hugh Dunaway Concessionaires Jessica Bates · Natalie Bulkley · Samantha Burse · Steve Coambs · Emerald Geter · Devon Labelle · Kelvyn Mitchell · Benjamin Ortiz · Jenny Ortiz · Alonso Suarez

Gendell Hing-Hernández · Andrew Hurteau · Ben Johnson · Bruce Ladd · Julian Lopez-Morillas · Dave Maier · Reid McCann · Jack Nicolaus · Keith Pinto · Marty Pistone · Amy Potozkin · Diane Rachel · Christian Roman · Rolf Saxon · Elyse Shafarman · Rebecca Stockley · Elizabeth Vega Jan and Howard Oringer Teaching Artists Gendell Hing-Hernández · Dave Maier · Jack Nicolaus · Carla Pantoja · Patrick Russell · Elena Wright · Patricia Wright Teen Core Council Bridey Bethards · Carmela Catoc · Fiona Caverly · Lucy Curan · Tess DeLucchi · Devin Elias · Adin Gilman-Cohen · Max Hunt · Michael Letang · Joi Mabrey · Genevieve Saldanha · Christian Santiago · Maya Simon · Chloe Smith Docent Co-Chairs Matty Bloom, Content Joy Lancaster, Recruitment Selma Meyerowitz, Off-Sites and Procedures Amélie, A New Musical Docents Ellen Kaufman, Lead Docent Francine Austin · Matty Bloom · Selma Meyerowitz · Rhea Rubin · Rebecca Woolis

201 5–16 B E R K E L E Y R E P FELLOWSHIPS Bret C. Harte Young Director Fellow Molly Houlahan Company/Theatre Management Fellow Emilie Pass Costume Fellow Anna Slotterback Development Fellow Loren Hiser Education Fellow Jamie Yuen-Shore OP E R AT ION S Graphic Design Fellow Facilities Director Itzel Ortuño Mark Morrisette Harry Weininger Sound Fellow Facilities Manager Sam Fisher Lauren Shorofsky Lighting / Electrics Fellow Building Engineer Harrison Pearse Burke Thomas Tran Marketing & Maintenance Technician Communications Fellow Johnny Van Chang Lorenz Angelo Gonzales Facilities Assistants Peter F. Sloss Literary/ Sophie Li · Carlos Mendoza · James Dramaturgy Fellow Posey · Jesus Rodriguez · LeRoy Thomas Katie Craddock Production Management Fellow BERKELEY REP Katherine DeVolt S C HO OL OF T H E AT R E Properties Fellow Director of the School of Theatre Samantha Visbal Rachel L. Fink Scenic Art Fellow Associate Director Melanie Treuhaft MaryBeth Cavanaugh Scenic Construction Fellow Community Programs Manager Shannon Perry Benjamin Hanna Stage Management Fellow Communications and Community James McGregor Partnerships Manager Kashara Robinson Registrar Katie Riemann Community Programs Administrator Modesta Tamayo Faculty Alva Ackley · Susan-Jane Harrison · Bobby August Jr. · Erica Blue · Rebecca Castelli · Jiwon Chung · Sally Clawson · Laura Derry · Deborah Eubanks · Maria Frangos · Christine Germain · Nancy Gold · Gary Graves · Marvin Greene ·

President Stewart Owen Vice President Roger A. Strauch Treasurer Emily Shanks Secretary Leonard X Rosenberg. Chair, Trustees Committee Jill Fugaro Chair, Audit Committee Kerry L. Francis Immediate Past President Thalia Dorwick, PhD Board Members Carrie Avery Edward D. Baker Martha Ehmann Conte David Cox Robin Edwards Lisa Finer David Fleishhacker Kerry L. Francis Paul T. Friedman Karen Galatz Bruce Golden David Hoffman Jane Marvin Sandra R. McCandless Susan Medak Pamela Nichter Richard M. Shapiro Jean Z. Strunsky Tony Taccone Gail Wagner Felicia Woytak Past Presidents 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 Sustaining Advisors Carole B. Berg Rena Bransten Diana J. Cohen William T. Espey William Falik John Field Nicholas M. Graves Scott Haber Richard F. Hoskins Carole Krumland Dale Rogers Marshall Helen Meyer Dugan Moore Mary Ann Peoples Peter Pervere Marjorie Randolph Pat Rougeau Patricia Sakai Jack Schafer Michael Steinberg Michael Strunsky Martin Zankel

F OU N DI NG DI R E C T OR Michael W. Leibert Producing Director, 1968–83

2 0 1 5 –1 6 · I S S U E 1 · T H E B E R K E L E Y R E P M AG A Z I N E · 45



Please arrive on time. Late seating is not guaranteed.

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Visit our website You can buy tickets and plan your visit, 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.

No food or glassware in the house Beverages in cans or cups with lids are allowed.

Accessibility Both theatres offer wheelchair seating and special services for those with vision or hearing loss. Assistive listening devices are available at no charge in both theatre lobbies. Scripts are available in the box office.

No smoking The use of e-cigarettes is prohibited in Berkeley Rep’s buildings and courtyard. berkeleyrep


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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.

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.

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.

Ticket exchange Subscribers may exchange their tickets for another performance of the same show— for free! Online or by phone. Nonsubscribers may also exchange their tickets, but an exchange fee and reasonable restrictions will apply, by phone or in person only. All exchanges can be made until 7pm the day preceding the scheduled performance. All 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@

Please keep perfume to a minimum Many patrons are sensitive to the use of perfumes and other scents. Phones / electronics / recordings Please make sure your cell phone or watch alarm will not beep. 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, but please don’t step onto the stage. Bringing children to the Theatre Many Berkeley Rep productions are unsuitable for young children. Please inquire before bringing children to the Theatre. All attendees must have a ticket: no lap-sitting and no babes in arms.

Theatre maps RO DA

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