Berkeley Rep: Disgraced

An interview with Ayad Akhtar 16 · Obliterating the ego 20 · The program for Disgraced 23

THE BERKELEY REP M AGA ZINE 2 015 –16 · I S S U E 3

“City National helps keep my financial life in tune.”

So much of my life is always shifting; a different city, a different piece of music, a different ensemble. I need people who I can count on to help keep my financial life on course so I can focus on creating and sharing the “adventures” of classical music. City National shares my passion and is instrumental in helping me bring classical music to audiences all over the world. They enjoy being a part of what I do and love. That is the essence of a successful relationship.

City National is The way up® for me.

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Find your way up.

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M E E T T H E C A ST & C R E W · 24

BE R K E L E Y R E P P R E S E N T S DI S GRAC E D · 2 3

P ROL O G U E

CON T R I BU T OR S

A letter from the artistic director · 5

Foundation, corporate, and in-kind sponsors · 33

A letter from the managing director · 7

Individual donors to the Annual Fund · 34 Michael Leibert Society · 36

R E P ORT 12

From chi to sea · 9

A BOU T BE R K E L E Y R E P

Theatre for social change · 10

Staff, board of trustees, and sustaining advisors · 37

Spotlight on kpix · 13 F E AT U R E S Wrestling with Disgraced: An interview with Ayad Akhtar · 16 16

FYI Everything you need to know about our box office, seating policies, and more · 38

Islamophobia · 19 Obliterating the ego: Islamic art and the West · 20

20

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 3 The Berkeley Rep Magazine is published at least seven times per season.

Editor Karen McKevitt

For local advertising inquiries, please contact Ellen Felker at 510 548-0725 or efelker@berkeleyrep.org.

Art Director Nora Merecicky

COV ER : B ER N A R D W H I T E (P H OTO BY PAU L E L L ED G E)

Graphic Designer Itzel Ortuño

Writers Katie Craddock Loren Hiser Sarah Rose Leonard Sarah Nowicki Jamie Yuen-Shore

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

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Conleth Hill as Macbeth

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Frances McDormand as Lady Macbeth P H OTO BY A L I S O N R O S A

AUBERGINE

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MACBETH

By William Shakespeare Directed by Daniel Sullivan Starts Feb 19

TREASURE ISLAND

Adapted and directed by Mary Zimmerman From the novel by Robert Louis Stevenson Co-production with Lookingglass Theatre Company Starts Apr 22

Julia Cho, playwright of Aubergine P H OTO BY J E N N I E WA R R E N

FOR PETER PAN ON HER 70TH BIRTHDAY

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Steven Epp as Long John Silver in Mary Zimmerman’s Treasure Island SEASON SPONSORS

P ROL OG U E from the Artistic Director

I was raised to be an American. My

father was Italian from Brooklyn, my mom Puerto Rican and raised in Spanish Harlem. They were both relatively poor and had very large extended families. They identified strongly with their bloodlines: Spanish and English were both spoken at home while the cursing was done in Italian. Raucous family celebrations featured vigorous, competitive, and very loud demonstrations of ethnic pride from both sides of the clan.

But as grounded as they were in their particular cultures, more than anything else, my parents aspired to be Americans. Raised during the Depression and coming into adulthood just after World War II, they hurled themselves into pursuing the American dream. For most of their lives, they were the beneficiaries of a growing economy, affordable housing, and a strong public school system for their children.

The cost of that assimilation was that over the course of time, they slowly sublimated their ethnic identities. While they never denied their heritage, it became less of a prominent feature. Class identification transcended ethnicity, and the values of the dominant white culture seeped more and more into aspects of our lives.

Which leads me to tonight’s play. Disgraced follows the story of Amir, a Pakistani American lawyer who hides his Muslim background for personal and professional reasons. When the truth is exposed, all hell breaks loose. The foundations of his successful law practice begin to crumble and the contradictions of his political views explode his relationships. In the blink of an eye, the armor that Amir has built to protect his identity as an American is stripped away, and he is left to grapple with the remnants of his tattered and torn history. It’s a brutal and exciting story, given astonishing voice and shape by playwright Ayad Akhtar, director Kimberly Senior, and the entire creative team.

The events of Disgraced have been compressed for dramatic purposes. And the situation facing Muslims in America today is fraught with suspicion and judgment.

Most of us will never have to deal with encounters as volatile as the one presented tonight. But we all carry our histories in ways that we don’t fully comprehend or even acknowledge. When challenged or threatened, those histories can emerge with startling speed, revealing parts of ourselves we’ve kept hidden. Disgraced compels us to constantly deepen our understanding of the past, of our personal and collective history, so that we may move with clarity and empathy into the future.

Sincerely,

Tony Taccone

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November 2015 Volume 48, No. 3

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P ROL OG U E from the Managing Director

You very likely received an envelope

in the mail from Berkeley Rep recently. Yes, a real snail mail envelope! And it may still be sitting on your desk, unopened, with a pile of similar letters, waiting for your year-end ritual of assessing which nonprofit organizations play a meaningful role in your life or in the life of your community. Am I right?

You now know how I handle my year-end contributions.

Those solicitations pile up on my desk as December 31 looms close. I finally set aside a time to weigh the merits of each organization, considering which I will make a priority, which I will forgo, which will see an increase in my support, and which may have seen my last gift.

We labor over our letter to you. Every word is parsed and every appeal refined.

And yet, for all our effort, I know that you get dozens of solicitations and our appeals may never see anything more than your waste basket! Actually, one of the things we know about our Berkeley Rep audience is that you are an unusually involved and community-minded crowd, which is one reason you have so many choices when it comes to philanthropy.

But I hope that you will take our request seriously. As you know, the Thrust Stage has been closed this fall for a much-needed renovation. Over the last 35 years, the Thrust Stage has seen over 15,000 performances and its fair share of wear and tear.

Now, we’re breathing new life into our signature theatre with a new energy-efficient infrastructure, a state-of-the-art sound system, and upgraded amenities that will improve your theatregoing experience. What’s not changing is the intimacy between performer and audience member that makes seeing a show in the Thrust so special.

The renovation is being fully funded by contributions to the Create Campaign from patrons like you.

SFLG 101013 ACT 1_6v.pdf In 1980, we opened the Thrust Stage with the generous investment of this community. This January, we will re-open the theatre to a new generation of theatregoers, and we need your support to help make it happen.

When you return home today, I hope you’ll open that envelope marked Berkeley Rep and include us in your year-end philanthropy.

Wishing you a joy-filled New Year!

SFLG 101013 Berkeley 1_6v.pdf

Warmly,

Susan Medak

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COMING SOON:

A THEATRE FOR THE

21ST CENTURY THE THRUST STAGE REOPENS

JANUARY 2016

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MAKE YOUR MARK

Help us complete the historic renovation of the Thrust Stage and provide artists and audiences with exceptional theatre experiences for years to come.

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on the renovated Thrust Stage with a special naming opportunity: GIFTS OF $1,000+

Place your name in our constellation of supporters in the Thrust lobby.

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Place your personal dedication on a square in the Narsai M. David Courtyard.

This holiday season, give a special gift and honor the theatre lover in your life with a personal inscription at the renovated Thrust Stage.

Make your gift today.

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R E P ORT

From CHI to SEA

Left to right The inside of Seattle Repertory Theatre’s Bagley Wright Theatre (photo by Seattle Repertory Theatre), the exterior of Berkeley Repertory Theatre (photo by Nora Merecicky), and the exterior of Goodman Theatre (photo by Danny Huizinga)

BY SARAH NOWICKI

If you think New York reigns

supreme when it comes to theatre, this might be a good time to expand your horizons. While we all know there’s a wealth of interesting plays being staged around the Bay Area, there’s something to be said about the dynamic theatrical hubs of Chicago and Seattle.

Three plays in Berkeley Rep’s 2015–16 season have ties to the Windy City—The Hypocrites’ Pirates of Penzance, Mary Zimmerman’s Treasure Island, and the Pulitzer Prize–winning Disgraced, which traveled from Goodman Theatre to Berkeley and will reach its final destination at Seattle Repertory Theatre.

So what is it about these two cities that make for some of the most engaging theatre around?

Chicago’s rich theatrical history dates back to the early 1800s, though the city has undergone several dramatic revitalizations before becoming a major destination for the performing arts. From the establishment of the Chicago Theater in 1837, to the building of the Chicago Opera House and other performance venues after the Great Fire tore through the city in 1871, to the rise of the Little Theater movement in 1912, Chicago has never been afraid to redefine its relationship with the stage.

Today, Chicago remains the only city to house five Tony Award– winning regional theatres still producing—Goodman Theatre, Lookingglass Theatre, Steppenwolf Theatre, Victory Gardens Theater, and Chicago Shakespeare Theater. As longtime Chica-

go Tribune theatre critic Chris Jones noted in an interview with Backstage.com, “Chicagoans are proud of their theater—even if they don’t go; [theater’s] what we’re known for, they take pride in it.”

Meanwhile, Seattle is blessed with a community of enthusiastic theatre makers. Though many of the Emerald City’s arts organizations suffered during the economic downturn, local actors, directors, and playwrights find inspiration for creating work through collaboration. Theatre Puget Sound, a Seattle– based service organization, helps connect theatre professionals to projects being produced at not only larger companies like Seattle Repertory Theatre or act —A Contemporary Theatre, but also up-and-coming organizations, which are often influenced by what each individual artist involved in a production brings to the table. In a city seen as having a moderately reasonable cost of living compared to other metropolises, Seattle performers often find room to embrace projects without the added pressure of trying to make ends meet. While not all artistic endeavors produce a lucrative return, the involvement of artists at all experience levels bolsters the community to continue to create and grow together.

So the next time you’re contemplating booking a plane ticket to the East Coast to catch the latest Broadway premiere, take a moment to consider what’s making headlines in the art world nearby—these cities are closer than you think.

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R E P ORT

Theatre of the Oppressed P H OTO S BY I T ZEL O R T U Ñ O

Theatre for social change

BY JA MIE Y UEN-SHORE

While scrolling through the variety of classes

offered at Berkeley Rep’s School of Theatre, many prospective theatre students may stop and wonder, “What exactly is Theatre of the Oppressed, and is it a class I might be interested in?” Next to audition techniques and playwriting, Theatre of the Oppressed may be a less familiar offering to some. In fact, Theatre of the Oppressed is the most familiar kind of theatre.

“In Theatre of the Oppressed we say, ‘Everyone can do theatre, even professional actors,’” jokes Jiwon Chung, School of Theatre instructor and former president of the national organization for Theatre of the Oppressed. “What we mean by that is that theatre is innate to human beings; it’s as natural as speaking, moving, feeling, thinking, playing, dancing, singing. In fact, it’s probably what made us human. To be seen, witnessed, to share experience, to empathize, to problem solve, to create beauty and meaning, these are fundamental human qualities.

Theatre is what makes us conscious, social beings.”

Conceived by Brazilian director Augusto Boal in the early 1970s, Theatre of the Oppressed, or TO, is a collection of games, techniques, and exercises that utilize theatre as a vehicle for personal and social transformation. Jiwon explains, “Theatre of the Oppressed is the tool that allows me to get to the heart of oppression, to see it, and to effectively 1 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 3

do something about it. In TO we learn how to see imbalance, how to name it, how to analyze it, and how to transform it—collectively.”

In TO classes, students reenact, analyze, and reshape experiences from their lives. They learn effective techniques to demechanize, or deconstruct, rote habitual behaviors; dynamize, or animate, lived experiences with movement, sounds, and words; and codify, or depict, oppression so that it is visible and can be acted on.

Jiwon has worked with lots of different students and has observed the impact TO can have on their lives, whether working on becoming more thoughtful in one’s daily transactions or confronting larger instances of trauma. Jiwon describes, “In one workshop, a person had been incarcerated under horrific, unjust circumstances. We did a series of exercises, followed by a form of sculpting the body in blindness, called cire perdue—lost wax. It’s a process where you form an image of yourself under oppression, then create a series of transformative molds that change the image successfully.

They said the work allowed them to transform their experience, to begin to trust other humans again, and to have the tools to continue to transform. It’s not therapy, that’s not our CO N TIN U E D O N PAG E 12

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CO N TIN U E D FRO M PAG E 10

objective, but we know that art can be healing. Cheaper than therapy, deeper than therapy, I sometimes say.”

First offered in 2013, the class has been taken by educators, lawyers, healthcare providers, social workers, and people simply interested in leading more mindful lives. MaryBeth Cavanaugh, associate director of the School of Theatre, is excited that the School can provide this kind of class to the Bay Area community.

“I watched Jiwon take an acting workshop at Berkeley Rep, quite a few years ago, and was struck by his openness and presence,” she says. “I then took one class with him and felt that his teaching and his class would not only complement our offerings, but expand them. I’ve watched him bring complete strangers, from diverse backgrounds, to unification. I feel that it is vital for the School to offer classes that can expand one’s personal expression as well as their political point of view.”

The School strives to meet the needs and interests of every student, whether they’re seeking to apply theatre skills to their profession or to their everyday lives. TO offers this opportunity and creates a space for engaging with theatre on a very personal level.

When asked how each Theatre of the Oppressed class comes to a close, Jiwon replies, “We connect physically and energetically. We ground our energy, connect to each other, breathe, sigh, release. We may share a word or two.

Then we let go with the understanding that we continue to accompany each other and that we will come together again—deeper and more powerfully.

The work for justice and healing continues. It never ends. We build the path by walking.”

Interested in learning more about what classes the School of Theatre has to offer? Visit berkeleyrep.org/classes.

Registration for winter classes begins mid-November and classes start January 11.

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R E P ORT

Susan Wolin from kpix visits Berkeley Rep’s shop P H OTO BY I T ZEL O R T U Ñ O

Spotlight on KPIX

BY LOREN HISER

For almost 50 years Berkeley Rep has been dedi-

cated to creating new work that invites audiences and artists to explore new ideas and challenge their assumptions. The work is unparalleled, and our audiences and partners are even more so.

Creating great theatre is a team effort; the term “it takes a village” really is no joke. From the playwright and the director, to our audiences of supporters and sponsors, our community comes together to witness exhilarating art. It will come as no surprise that corporate sponsorship, as well as the contributions of individuals, plays a vital role in the life of Berkeley Rep. We had the opportunity to sit down with Susan Wolin, a member of Berkeley Rep’s Corporate Council and a business development specialist at kpix 5 and kbcw (both owned and operated by cbs SF, which is one of Berkeley Rep’s season sponsors), for an interview to discuss her relationship with Berkeley Rep, as well as the relationship between the theatre and the (small) screen.

Why does kpix 5 support Berkeley Rep? kpix 5 has a commitment to the community. We’re a local station, and even though we carry national network programs,

we’re all about local involvement, local news, and having opportunities to engage with the community in different ways.

Berkeley Rep is part of that.

Why did kpix 5 choose to become a season sponsor?

Berkeley Rep is a fabulous partner. We have relationships with a number of arts groups, but Berkeley Rep really takes it seriously. The organization gives us an opportunity to really engage with the Theatre, and the people who come to the Theatre, on a very personal level. Berkeley Rep’s image and everything that you do is something we’re proud to align ourselves with.

One of the perks of your sponsorship is being able to host an event at Berkeley Rep for your executives, clients, or audience. Why is it valuable to you?

Engaging with our clients socially is fun and valuable.

Most stations have Giants tickets, but being able to share a theatrical experience with a client—a memorable theatrical experience—is very different. It’s a nice treat for us to be able to offer our clients and friends.

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CO N TIN U E D FRO M PR E VI O U S PAG E

KATHIE LONGINOTTI REALTOR® and Berkeley Rep Subscriber

510.981.3032 www.AtHomeEastBay.com

The arts come alive at College Prep!

“The organization gives us an opportunity to really engage with the Theatre, and the people who come to the Theatre” — S U S A N WOL I N BU S I N E S S DE V E L OPM E N T S P E C I A L I ST, K P I X

What is your favorite play that you’ve seen at Berkeley Rep? If you had asked me a month ago I would have said Tartuffe. Now having seen Amélie, though, it’s a dead heat.

I have to see if I can beg an extra pair of tickets….

E MG CollegePrep A private high school for grades 9-12 Our approach to learning requires collaboration, patience, and creativity—all within a kind and joyful community.

• Average academic class size of 14 • More than $2 million given annually in need-based financial aid • 82% of faculty with advanced degrees • 100% of graduates attend 4-year colleges and universities

Be inspired. Refine your thinking. Express yourself.

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Anything you want people to know about kpix 5?

I think that it’s going to be on everyone’s horizon that February 7, 2016 is Super Bowl Sunday on kpix 5.

What isn’t so much on everyone’s horizon is that we have been working for a year and a half to make sure that the Super Bowl event is all inclusive…for the entire Bay Area…. So, very much like a play, people are showing up for the final product. They don’t see how much work has gone into it. That’s what the Super Bowl has been for kpix 5, and I’m very much looking forward to watching that game.

Fulfill your philanthropic mission and reach your target demographics while supporting the Theatre’s compelling plays and innovative education programs. Explore corporate partnership at berkeleyrep.org/support.

“With euros on hand, we could head straight for the slopes.”

Pack your wallet before you travel abroad.

It’s a smart idea to arrive at your foreign destination ready for fun, with local money in your pocket. That way, you can easily pay for taxis, tips, and meals without the hassle of exchanging currency.

Foreign currency is available at your local Wells Fargo location. And, if we don’t have the currency you need, the store can order the currency for you from over 100 countries — with competitive exchange rates, updated daily.

Best of all, Wells Fargo checking and savings account holders aren’t charged a service fee when buying foreign currency (delivery charges may apply for certain currency orders), and we can often buy back any unused foreign currency banknotes.

Start packing!

Find a store near you that carries foreign currency on hand at wellsfargo.com/foreigncurrencylocations. wellsfargo.com

Outside of the U.S., Wells Fargo does not have offices that provide services to retail or small business customers. For assistance with personal accounts when traveling internationally, find the number to call from outside the U.S. by visiting wellsfargo.com/help/international-access-codes or visit us online at wellsfargo.com/resource_center/travel. © 2015 Wells Fargo Bank, N.A. All rights reserved. (1407601_16100)

P H OTO BY N I N A S U B I N

Wrestling with Disgraced: An interview with Ayad Akhtar

BY SARAH ROSE LEONARD

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Ayad Akhtar won the Pulitzer Prize for

Disgraced in 2013, after it ran at lct3/Lincoln Center Theater and before it transferred to Broadway. But Disgraced’s success is only one part of this prolific writer’s multifaceted career.

His novel, American Dervish, has been published in over 20 languages and garnered a 2012 Best Book of the Year from Kirkus Reviews. He has written two other critically acclaimed plays, and his screenplay, The War Within, was nominated for the Independent Spirit Award for Best Screenplay. Ayad is currently working on various commissions and adapting Disgraced for hbo. He dropped by Berkeley Rep on his way back from a writer’s retreat and gave Literary Manager Sarah Rose Leonard a glimpse of how fast his brain works and how quickly he can jump up on a chair when speaking emphatically.

Sarah Rose Leonard: What inspired you to write Disgraced?

Ayad Akhtar: I was possessed. I mean, it just came out of me. At some point I could not stop hearing this guy Amir’s voice and could not understand what he was telling me or why he was speaking, why he kept saying these things. You know Faulkner once said, “All I do is follow my characters around and write down what they say.” That was really the first time I had that experience.

Can you name some of your influences?

I had this high school teacher who changed my life and made me want to become a writer. Everything I do is in homage to her. One of the things that she did was expose me to European Modernism. I read Robert Musil and Kafka and Rilke and Proust and Camus and Sartre and Heinrich Böll and Thomas Mann and just on and on and on. It instilled in me this idea that being a great writer was writing like a European modernist. It took me 15, 17, 19 years, until my mid-to-early 30s to understand that idea was blocking me from my entire experience as a person. The preoccupation with astonishing and impressing, the aesthetic, that literary poetic of modernism was in the way not only of me and my subject matter, but why I wanted to do this thing in the first place. I felt touched by stories. I didn’t care about being impressed by them. I felt touched by them. When I started to understand this, everything began to change for me. I finally began to find myself as a writer and what I found was my natural inclination toward thrillers and melodrama and potboilers. I don’t want the audience connected only in the mind—I want it in the body and everywhere. Narrative, intellectual, emotional, anticipatory connections. I want seduction. I want all of it.

You have said that your work falls more on the side of entertainment. How did you decide that was the need you wanted to fill?

I say that as a tactic because I don’t subscribe to the division between high and low that pervades literary culture. Especially, to some degree, in the theatre. I feel that by situating my work as entertainment—when it is so clearly preoccupied by philosophical issues and political issues —that I’m foregrounding the way in which I’m ultimately trying to connect to an audience. I’m not particularly interested in having a dialogue

with theatrical tradition and history. I have no problem with it.

I’m just not interested in it. To me what’s interesting about the theatre is the living, breathing connection to an audience here and now. By calling the work entertainment, I’m foregrounding the centrality of the audience’s experience of my work. It’s strategic.

I understand Disgraced is part of a larger body of work. Can you talk about what you are exploring?

I’m now four works into a seven-work series which is exploring contemporary life from the perspective of Muslim American identity. And each of the works has a very different take on it. There’s The Who & The What, which is about a very devout family in Atlanta struggling with their progressive daughter, who is also devout, but progressive. Disgraced deals with the rejection of faith and secularism. American Dervish deals with mysticism (that’s the novel that I wrote). And The Invisible Hand, with political extremist ideology. I’m exploring it from all the various angles.

“People walk away from this play moved, and confused, and angry.

Sometimes they are very deeply satisfied, other times very deeply unsatisfied.” —AYA D A K H TA R What makes you know what form your work wants to take?

I typically write in three forms: for the screen, the theatre, or the page. And each of them has a different kind of interiority. Movies tell you through the cutting, through the camera angle selection, through the image size, through the flow of images. The director makes most of those decisions for you.

A novelist similarly does the same thing through language. In theatre, you are given greater freedom, but you’re also more on the outside. And that creates a different kind of interiority that’s particularly conducive to a collective experience. So each idea has its own sense of self. Some ideas want to be described. For others, you want to be absorbed in the experience. And with still others, you want to be confronted and challenged in some way.

What interests you about the similarities between religion and the financial world? I’m thinking about the substitution of religion for money in The Invisible Hand and Amir’s pursuit of financial well-being as a secular Muslim in Disgraced.

Those are the two central issues of our times. I think that the language of finance and the dilemmas of faith are the two central narrative axes of the collective psyche of the fading, late, capitalist empire that we are. For me, it is not a matter of a conscious choice to write about that; it’s the emanation of a natural interest on my part. I read the Wall Street Journal every day. I have been preoccupied with issues of faith most of my life. I think that, actually, writing about the financial world 2 0 1 5 –1 6 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 7

say that Islam and the West are not compatible, which is a point of view that some people have. And I think that he falls on the side of, “I don’t want to have anything to do with Islam.

Because I saw a lot of stuff growing up that I hated, and I don’t want to recapitulate it.” It’s a position a lot of people take with

“The play is enacting the process of representation, the process of polarization, the process of splitting.” —AYA D A K H TA R

is writing about religious ideology. I think that free-market capitalism has all of the hallmarks of religious ideology: assumptions about reality, enacted rituals, the expectation that certain rituals will lead to certain outcomes when it’s patently the case that it never does, vociferous belief, and the marshaling of national and personal resources to justify unproven and unprovable assumptions about reality. Eight hundred years ago, we could’ve talked about the reigning ideological order guiding individuals and nations, and we would’ve called it the church. Today we call it the economy.

How does this play out for Amir in Disgraced?

Amir is a guy who wants to make it. Amir is somebody who doesn’t know who he is. He thinks that he can do what many Americans do, which is to cut themselves off from the Old World and renew themselves in the New World. We celebrate that renewal as the great American story. Seven or eight generations in, you have kids that are leaving families from one coast and going to another and finding surrogate families and surrogate communities. Rupture from the old self, renewal of the self in a new world: that’s the American story. Amir finds himself in the unfortunate predicament of being Muslim, Muslim for whatever it means to him, in the post-9/11 world, and that paradigm of the American story is not offered to him. All he can experience is the mourning of the rupture. He cannot be celebrated for his renewal. So that’s the dilemma. I think that the play, in a way, speaks to the trouble of failing to mourn the rupture. Which we do not do as Americans. We don’t like mourning, and we don’t like acknowledging what we’re leaving behind.

You’ve drawn a line between assimilation and self-denial with Amir’s character. What interests you about the flip side of assimilation?

I think that Amir sees some inherent tension between liberal, secularist, contemporary, capitalist democracy and Islamic ideology as he experienced it growing up. I think he’d 1 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 3

regard to Catholicism, and with regard to Judaism, with regard to whatever religion they come from. It’s just that we can’t talk about Islam these days because nobody can really see it outside the “Us and Them. Are they our friends or are they our foes? Is Islam against me or for me? Should I be scared or should I not be scared?” There’s a whole universe of stuff

outside of what you’re feeling about whether you should be afraid or not. But the discourse we are now involved in is all about either defending or attacking Islam. So Amir has fallen right into it and he is playing along with this paradigm in order to create space for himself.

Can you talk about the relationship between anti-Semitism and Islamophobia in the play?

This is a complicated one because of my personal history.

I, a Muslim kid, grew up and the first author who spoke to me was Chaim Potok, and then I learned how to write from Philip Roth and Woody Allen and Seinfeld. The Jewish American experience has taught me how to understand my own experience as a Muslim. So there’s a real paradox there, because

Left to right Bernard White (Amir) and Nisi Sturgis (Emily); Bernard White, Nisi Sturgis, Zakiya Young (Jory) and J. Anthony Crane (Isaac); and Nisi Sturgis, Bernard White, and J. Anthony Crane in Disgraced at Goodman Theatre P H OTO S BY L IZ L AU R E N

Islamophobia In Ayad Akhtar’s Disgraced,

there is an inherent tension between Judaism and Islam for many complicated reasons. I believe that Islam basically comes from Judaism, so on some level, Islam has always had to differentiate itself, just like Christianity. I don’t know how you can construe that the Jews killed Christ from the story of Pontius Pilate, but somehow that’s the message. That seems to be more about Christianity trying to distance itself from the very central, problematic issue that Jesus is Jewish. Similarly, in Islam, it is very difficult to distance yourself from the texts.

I mean the Quran is constantly referring to the Old Testament.

It is constantly telling the stories of the Old Testament in this fragmentary form as if to imply that the first readers and the first hearers of the Quran already knew the stories. So in some ways, it’s really a secondary source glossing on the Old Testament. It’s like an Arab Talmudic version of the Old Testament. So there’s this inherent tension there. And I go into much greater detail in a more personal narrative way in American Dervish, but I think that Disgraced is picking up the thread of this long-standing brotherhood between Judaism and Islam, and of course the contemporary issue of Israel and Palestine, which figures only more and more strongly in the geopolitics of the world today.

The play has now been in your life for about three and a half years. How has your relationship with it changed over time?

I understand it finally. When it went up in Chicago, I didn’t understand what I had written. And then when it got to Lincoln Center and I did it in New York, I started to understand it

Islamophobia —a prejudice against Islam and Muslims—is never named but is ever–present. Although the term itself is relatively new—common usage began in the mid-1990s—America’s awareness of the concept has been growing since 9/11. Religious bias has always been a part of society; prejudice and hate crimes against Muslims began as early as the Crusades. The emotional and physical violence inflicted during centuries of battle has remained in place to this day. Recent reported civil rights cases include the defacing of mosques, harassment of worshipers leaving their place of prayer, violent hate crimes, discrimination in the workplace, acts of prejudice in educational environments, and unfounded arrests. Islamophobic hate crimes peaked during the recession; scapegoating is more pervasive in times of fear. One recent example occurred in September 2015, when 14-year-old Ahmed Mohamed brought a homemade clock to school to show his engineering teacher; the clock ticked in his English class, and school officials reported him to the police for having a bomb. He was handcuffed, taken to a juvenile detention center, and questioned before he was eventually released to his parents. He was suspended from school for three days. Thankfully, this story has a silver lining. President Obama wrote on Twitter, “Cool clock, Ahmed, want to bring it to the White House? We should inspire more kids like you to like science. It’s what makes America great.” Ahmed visited the White House on October 19 for Astronomy Night, an event bringing together scientists, engineers, astronauts, teachers, and students to spend an evening stargazing from the South Lawn.

America’s complex relationship with Islamophobia is a slow, shifting one that changes shape depending on the current political moment.

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P H OTO S V I A A C R E AT I V E CO M M O N S L I C E N S E D I A M O N D P H OTO S BY (C LO C K W I S E F R O M T H E TO P) S T E V E J U R V E T S O N , PAU L K EL L ER , V I C TO R G R I G A S , H I S H A M B I N S U WA I F, T U X Y S O, L A R RY E W I N G , T I M O R E S PA L L A R G A S , A N D DY N A M O S Q U I TO C E N T ER S TA R P H OTO BY A I E M A N K I M H J I B O R D ER S TA R P H OTO BY R O G ER S F U N D

Obliterating the ego: Islamic art and the West B Y K AT I E C R A DD O C K

Major works of Islamic art and architec-

ture include the Taj Mahal, the Alhambra, the Dome of the Rock, and the Great Mosque of Córdoba with its “pillars and arches” that make “you feel like praying,” as Emily describes in Disgraced. Emily, a white, non-Muslim, American artist, paints in a style inspired by Islamic art. While Emily’s embracing of the Islamic art tradition raises tricky questions about creative ownership, Islamic art itself comprises a rich, vast body of work, and can be appreciated around the world. Although many works of Islamic art may be familiar to Western audiences, Western perceptions of Islamic art can be reductive.

For instance, a common misconception in the West holds that Islamic art is largely “nonrepresentational” because Islam prohibits figural imagery (art depicting human or animal forms).

While there are Hadith, or sayings, attributed to the Prophet Muhammed that warn against the risks of figural imagery because it may encourage idolatry, the Quran itself does not prohibit artistic figural imagery. On the contrary, there is a significant body of figural Islamic art across time periods and media.

Art history, a discipline developed in the West, privileges figural representation above other artistic modes. While much Islamic art is indeed non-figural, to call it “nonrepresentational” is inaccurate; non-figural art may represent ideas, concepts, and relationships. Instead of asking why Islamic art is non-figural, local professor Carol Bier, a historian of Islamic art, posits that we should turn the question around to ask, “Why, in the Western world, is there such an incredible preoccupation with figural imagery?” This prejudice extends to academic programming —universities will typically add art history courses in Indian or Chinese art, which have more figural traditions, sooner than courses in non-figural traditions. Yet when discussing the development of Abstract Expressionism and Modernism in the 20th century, the academy rarely acknowledges that the principles of those forms—such as abstraction, rhythm, repetition, and non-figural representation—were established in Islamic art hundreds of years earlier.

Islamic artists also struggle to gain traction in the Western museum establishment. Ninety-one-year-old Iranian artist Monir Shahroudy Farmanfarmaian has been creating gripping works of mosaic-style geometric abstraction for over four

decades. A resident of Tehran who lived half her life in New York City, Farmanfarmaian’s pieces innovatively marry Islamic art traditions and Modernism. It was only this spring that she finally had her first solo exhibition in a major New York museum—a retrospective of her work at the Guggenheim that included 80 of her faceted mirror sculptures and geometric drawings created between 1974 and 2014. The New York Times’ Randy Kennedy noted, “To say that the show…has been a long time in coming would not only be an understatement but an object lesson in several kinds of history, [including] the West’s long-wary relationship with [Islamic] art.”

Instead of conceiving of Islamic art as “nonrepresentational,” we can think of it as both predominantly textual and deeply mathematical.

Rather than focusing on the ways in which Islamic art departs from European traditions, we can better understand the art by examining it on its own terms. Instead of conceiving of Islamic art as “nonrepresentational,” we can think of it as both predominantly textual and deeply mathematical.

Calligraphy is arguably the central element of Islamic art; Islamic artists exploit the Arabic script to transform texts— historically, often passages from the Quran—into multitudes of exquisite designs. As Islamic mathematicians, astronomers, and scientists made thrilling discoveries and contributions to their fields in the 11th and 12th centuries, Islamic artists created complex geometric patterns across a variety of media that emphasized both adherence to form and pattern, and the eye-catching interruption of those patterns through judicious symmetry-breaking. As Emily asserts, unlike Renaissance forms, which “put the individual at the center of the universe and made a cult out of the personal ego,” the Islamic tradition is still “connected to a wider, less personal perspective.”

Where Western forms are largely borne of a tendency to prize the individual above all else, Islamic art often expresses a more expansive, collectivist outlook.

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N E X T AT B E R K E L E Y R E P

aubergine

BY JULIA CHO DIRECTED BY TONY TACCONE STARTS FEB 5 Aubergine was commissioned by Berkeley Rep and developed in The Ground Floor, Berkeley Rep’s Center for the Creation and Development of New Work.

SEASON SPONSORS

Berkeley Repertory Theatre, in association with Goodman Theatre and Seattle Repertory Theatre, presents the West Coast premiere of

Ayad Akhtar directed by Kimberly Senior by

NOVEM B ER 6– DECEM B ER 20, 2015 RODA THE ATRE · M AIN SE A SON Disgraced is made possible thanks to the generous support of

B E RKE LE Y RE PE RTO RY TH E ATRE TO NY TACCO N E , MICHAEL LEIB ERT ARTIS TIC D IREC TO R SUSAN M E DAK , M ANAGIN G D IREC TO R

CAST Isaac J. Anthony Crane Abe Behzad Dabu Emily Nisi Sturgis Amir Bernard White Jory Zakiya Young

SEASON SPONSORS

Jack & Betty Schafer Michael & Sue Steinberg The Strauch Kulhanjian Family

LE A D S P O N S O R S

Frances Hellman & Warren Breslau Stewart & Rachelle Owen E XECU TIV E S P O N S O R S

Bill Falik & Diana Cohen

PRODUC TION S TAFF Scenic Design Costume Design Lighting Design Sound Design Casting Dramaturg Stage Manager Assistant Stage Manager

John Lee Beatty Jennifer Von Mayrhauser Christine A. Binder Jill DuBoff Adam Belcuore Jonathan L. Green Julie Haber Michael Suenkel

SPONSORS

Thalia Dorwick David Hoffman & Joan Sarnat Felicia Woytak & Steve Rasmussen A S S O CIAT E S P O N S O R S

Shelley & Jonathan Bagg

The actors and stage managers are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Disgraced was developed in part at the New Writers New Plays residency at Vineyard Arts Project (Ashley Melone, Founder and Artistic Director).

New York premiere produced by Lincoln Center Theater, New York City, 2012.

Original Broadway production produced by The Araca Group, Lincoln Center Theater, Jennifer Evans, Amanda Watkins, Richard Winkler, Rodger Hess, Stephanie P. McClelland, Tulchin/Bartner Productions, Jessica Genick, Jonathan Reinis, Carl Levin/Ashley De Simone/TNTDynaMite Productions, Alden Bergson/Rachel Weinstein, Greenleaf Productions, Darren Deverna/Jere Harris, and The Shubert Organization, The David Merrick Arts Foundation.

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

Disgraced had its world premiere in January 2012 at American Theater Company, Chicago, Illinois (PJ Paparelli, Artistic Director).

Disgraced is presented by special arrangement with Dramatists Play Service, Inc., New York.

This production was mounted by Berkeley Repertory Theatre and Goodman Theatre.

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

profiles

J. Anthony Crane

Nisi Sturgis

Zakiya Young

Anthony’s Broadway credits include The Country House and Sight Unseen (Manhattan Theatre Club), The Winslow Boy (Roundabout Theatre Company), and Butley with Nathan Lane. His off-Broadway credits include Modern Orthodox, Relativity, and The Brothers Karamazov. His regional credits include Scar in the first national tour of The Lion King, The Music Man (Theatre Under the Stars), Spamalot (Wynn Las Vegas), The Odd Couple (Dallas Theater Center), Absalom (Humana Festival of New Plays at Actors Theatre of Louisville), Farragut North and 50 Words (Contemporary American Theater Festival), Sight Unseen (the Old Globe), and Lost In Yonkers (Papermill Playhouse). Anthony has also appeared in The Recruiting Officer and Our Country’s Good (Buffalo Theater Ensemble).

Anthony has also appeared in The Recruiting Officer, Our Country’s Good, Mary Poppins, All My Sons, Twelfth Night, The Taming of the Shrew, The Glass Menagerie, Long Day’s Journey into Night, and Closer. Film and television credits include The War of the Roses, Life on Mars, Ugly Betty, The Practice, Third Watch, jag, Six Degrees, Frasier, csi, and The Big Easy. Anthony is a graduate of Northwestern University.

Nisi’s New York credits include The 39 Steps, Intimate Apparel, Dysphoria, and The Less We Talk. Her regional credits include In The Next Room (or the vibrator play) (Cleveland Play House); A Doll’s House, Who’s Afraid of Virginia Woolf?, Life of Riley, Pentecost, Taming of the Shrew, Much Ado About Nothing, and Pericles (the Old Globe); Mrs. Warren’s Profession, Pride and Prejudice, Doubt, You Can’t Take It with You, and Richard III (Denver Center Theatre Company); A Streetcar Named Desire, To Kill a Mockingbird, Arms and the Man, Our Town, and Trelawny of the Wells (Shakespeare Theatre of New Jersey); Hamlet and Emma (Pioneer Theatre Company); Failure: A Love Story and Macbeth (Illinois Shakespeare Festival); Twelfth Night (Arkansas Shakespeare Theatre); and Trying (Merrimack Repertory Theatre). Her television credits include the recurring role of June Thompson on hbo’s Boardwalk Empire.

Nisi received her mfa from the Old Globe.

Zakiya’s Broadway credits include Stick Fly, The Little Mermaid, and The Radio City Christmas Spectacular.

Her off-Broadway credits include Storyville (Audelco Award nomination for Outstanding Performance in a Musical—Female) and Tenderloin at the York Theatre Company, The Lightning Thief at the Lucille Lortel Theatre, Chasing the Bird at the Joyce Theater, and Greenwood at the New York Musical Theatre Festival. Her regional credits include Good People at George Street Playhouse and Seattle Repertory Theatre, Aida at Music Theatre Wichita and Starlight Theatre, It’s a Bird…It’s a Plane…It’s Superman at Dallas Theater Center, White Christmas at Syracuse Stage, and Little Miss Sunshine at La Jolla Playhouse. Zakiya’s television credits include Orange Is the New Black, Made in Jersey, This American Life—Live at bam (video and radio), and the web series Submissions Only. Please visit zakiyayoung.com.

Bernard White

Ayad Akhtar

Bernard’s off-Broadway credits include The Tempest and The Death of Garcia Lorca (the Public Theater/New York Shakespeare Festival), The Who & The What and Blood and Gifts (Lincoln Center Theater), Landscape of the Body (Signature Theatre Company), and Sakharam Binder (Play Company). His regional credits include Troilus and Cressida and Henry V (Oregon Shakespeare Festival); Art (East West Players); The Who & The What, The Seven, and Dogeaters (La Jolla Playhouse); Wings of Desire (American Repertory Theater/Toneelgroep Amsterdam); and Blithe Spirit and Lucy and the Conquest (Williamstown Theatre Festival). Bernard’s film credits include Miss India America, Captain America: The Winter Soldier, Vino Veritas, It’s Kind of a Funny Story, Alvin and the Chipmunks, Quarantine, The World Unseen, American Dreamz, Land of Plenty, Raising Helen, The Matrix Reloaded/Revolutions, Scorpion King, Pay It Forward, and City of Angels. His TV credits include recurring roles on The Brink and Silicon Valley (in third season) in addition to Madame Secretary, Grey’s Anatomy, Touch, Castle, The Good Wife, n.c.i.s., and over 100 more.

Ayad’s plays include Disgraced (Broadway, lct3/Lincoln Center Theater, 2013 Pulitzer Prize for Drama, and 2013 Obie Award for Extraordinary Achievement), The Who & The What (lct3/Lincoln Center Theater and La Jolla Playhouse), and The Invisible Hand (New York Theatre Workshop/the Repertory Theatre of St. Louis). Also a novelist, Ayad is the author of American Dervish, published in 2012 by Little, Brown and Company, also in 20 languages worldwide. He co-wrote and starred in The War Within (Magnolia Pictures), which was released internationally and nominated for an Independent Spirit Award for Best Screenplay. As an actor, Ayad also starred as Neel Kashkari in hbo’s adaptation of Andrew Ross Sorkin’s book Too Big to Fail. He studied at Brown University and Columbia University’s School of the Arts.

I S A AC

Behzad Dabu ABE

Behzad’s Chicago credits include The Matchmaker, Disgraced, The Christmas Carol (Goodman Theatre); Inana, Blood and Gifts, and The History Boys (TimeLine Theatre Company); Samsara (Jeff nomination for Best Supporting Actor) and Disconnect (Victory Gardens Theater); Disgraced (American Theater Company); Twelfth Night (First Folio Theatre); Holes (Adventure Stage Chicago); and We Live Here (Theatre Seven of Chicago).

His film and television credits include Chicago P.D., You’re So Talented, King Rat, and Imperfections. He is a member of the Chicago Inclusion Project and an associate artist with TimeLine Theatre Company. Behzad attended Columbia College Chicago and is represented by Paonessa Talent. Please visit behzaddabu.com.

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E M I LY

AMIR

J O RY

P L AY W R I G H T

Kimberly Senior DIREC TOR

Kimberly directed the Broadway premiere of Disgraced, which she previously directed off Broadway at Lincoln Center Theater.

Her other off-Broadway credits include The Who & The What (Lincoln Center Theater).

Her regional credits include Little Gem (City Theatre), Murder on the Nile and A Few Good Men (Peninsula Players), Mauritius (Theatre Squared, Fayetteville, AR), and The Who & The What (La Jolla Playhouse). Her many Chicago credits include Disgraced and Rapture, Blister, Burn (Goodman Theatre); Marjorie Prime, The Diary of Anne Frank, Hedda Gabler, and The

Letters (Writers Theatre, where she is a resident director); 4000 Miles and The Whipping Man (Northlight Theatre); Want and The North Plan (Steppenwolf Theatre Company); Inana, My Name is Asher Lev, All My Sons, and Dolly West’s Kitchen (TimeLine Theatre, where she is an associate artist); Disgraced (American Theater Company); The Great God Pan, After the Revolution, Madagascar, The Overwhelming, and The Busy World Is Hushed (Next Theatre); and Waiting for Lefty (American Blues), among others. Kimberly is adjunct faculty at Columbia College, and is a proud member of sdc.

John Lee Beatty

SCENIC DESIGNER

John’s Broadway credits include Disgraced, The Heidi Chronicles, Chicago, The Nance, Outside Mullingar, Venus in Fur, Other Desert Cities, Good People, Rabbit Hole, After Midnight, The Color Purple, Doubt, Proof, The Sisters Rosensweig, Talley’s Folly, Fifth of July, A Delicate Balance, The Heiress, Last Night of Ballyhoo, Ain’t Misbehavin’, and Abe Lincoln in Illinois. His recent off-Broadway credits include Dada Woof Papa Hot, Shows for Days, The City of Conversation, and Much Ado About Nothing and King Lear in Central Park. Designer of more than 100 Broadway shows, he is the recipient of multiple Tony, Obie, Outer Critics Circle, and Drama Desk Awards and is a member of the Theater Hall of Fame.

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Jennifer Von Mayrhauser COSTUME DESIGNER

Jennifer’s Broadway credits include Disgraced, Wit, Rabbit Hole, Knock Knock, Hay Fever, The Heidi Chronicles, Night of the Iguana, Talley’s Folly, Da, Execution of Justice, Baby, Beyond Therapy, and Angels Fall. Her off-Broadway credits include work with Lincoln Center Theater, Manhattan Theatre Club, Playwrights Horizons, Second Stage Theatre, and Circle Repertory Company. She received an Obie Award for Sustained Excellence. Her film credits include Hateship Loveship, The Private Lives of Pippa Lee, The Ballad of Jack and Rose, Captain Ron, The Hand That Rocks the Cradle, I’m Not Rappaport, Lean on Me, The Real Blonde, and Mystic Pizza. Jennifer’s television credits include The Slap, Unforgettable, Under the Dome, and Law & Order (Emmy nomination).

Please visit jennifervonmayrhauser.com.

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Christine A. Binder

LIGHTING DESIGNER

Christine’s Chicago credits include Lookingglass Alice and Death Tax (Lookingglass Theatre Company), An Issue of Blood (Victory Gardens Theater), A Kid Like Jake (About Face Theatre), and Swan Lake (Joffrey Ballet). Her opera designs include work at the Lyric Opera of Chicago, Chicago Opera Theater, San Diego Opera, New York City Opera, Pittsburgh Opera, Houston Grand Opera, as well as the recent Eugene Onegin for Grand Theatre de Geneve in Switzerland. Upcoming designs include Heir Apparent (Chicago Shakespeare Theater), Eugene Onegin (Houston Grand Opera), Thaddeus and Slocum: A Vaudeville Adventure (Lookingglass), and Cinderella (Joffrey Ballet).

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BE R K E L E Y R E P P R E S E N T S Christine received Jeff Award nominations for her work with Court Theatre, Lookingglass, and Northlight Theatre.

Jill DuBoff

SOUND DESIGNER

Jill designed the sound for Berkeley Rep’s production of Mother Courage. Her Broadway credits include Hand to God, The Heidi Chronicles, Picnic, Wit, Other Desert Cities, Good People, The Constant Wife, The Good Body, and Bill Maher: Victory Begins at Home. Her off-Broadway credits include work at Lincoln Center Theater, Manhattan Theatre Club, Atlantic Theater Company, Vineyard Theatre, mcc Theater, Playwrights Horizons, the Public Theater, Second Stage Theatre, New York Theatre Workshop, Women’s Project Theater, New Georges, the Flea Theater, Cherry Lane Theatre, Signature Theatre Company, Clubbed Thumb (affiliate artist), and Penguin Rep Theatre. Her regional credits include work with Bay Street Theater, La Jolla Playhouse, Cincinnati Playhouse, Westport County Playhouse, Portland Stage Company, Long Wharf Theatre, New York Stage and Film, Humana Festival of New Plays at Actors Theatre of Louisville, Williamstown Theatre Festival, and the Adirondack Theatre Festival. Radio credits include Studio 360, Naked Radio, and Radiolab. Jill has received the Ruth Morley Design Award, an Obie Award for Sustained Excellence, and a Lilly Award. She has also been nominated for Drama Desk and Henry Hewes Awards and is an adjunct professor at Sarah Lawrence College. Jill is the audio producer for the New Yorker magazine.

Adam Belcuore CASTING

Adam has been the casting director at Goodman Theatre since 2003. As a casting director, he has also worked with Chicago Children’s Theatre, Actors Theatre of Louisville, Northlight Theatre, Seattle Children’s Theatre, Writers Theatre, and About Face Theatre. He is a founding member of Serendipity Theatre Collective and served as its artistic director until 2005. During his tenure he created 2nd Story, the hybrid storytelling, wine, and music event that is now the company’s namesake and primary focus. He currently serves on 2nd Story’s advisory board.

Julie Haber

S TAG E M A N AG E R

Julie is delighted to return to Berkeley Rep after stage managing You, Nero and Ballad of Yachiyo, both in co-production with South Coast Repertory. She has stage managed at many regional theatres around the country, including four summers at Santa Cruz Shakespeare (formerly Shakespeare Santa Cruz).

She served as administrative stage manager at American Conservatory Theater and as company stage manager at South Coast Rep. She 26 · 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 3

profiles

enjoys doing children’s theatre at MainStreet Theatre Company. She received her mfa from Yale School of Drama and has taught stage management at UC Irvine, UC San Diego, CalArts, and Yale. Julie is a proud member of Actors’ Equity.

Michael Suenkel

A S S I S TA N T S TAG E M A N AG E R / P R O D U C T I O N S TAG E M A N AG E R

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

MICHAEL LEIBERT ARTISTIC DIREC TOR

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

M A N AG I N G D I R E C T O R

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.

Theresa Von Klug

G E N E R A L M A N AG E R

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.

Peter Dean

P R O D U C T I O N M A N AG E R

Peter arrived at Berkeley Rep in 2014 after a 20-year career in New York, Boston, and Denver. Prior to trekking across the country to find home, Peter was serving as production manager at the Public Theater, where favorite works include Here Lies Love, Father Comes Home from the War Parts 1–3, Mobile Shakespeare, and The Tempest as well as musical collaborations with Sting, the Roots, and The

Eagles. Peter also spent time in New York helping Alex Timbers to develop Rocky the Musical, The Last Goodbye, and the cult classic Dance Dance Revolution the Musical. Other favorites include working with Edward Albee to remount The Sandbox and The American Dream at their original home at the Cherry Lane Theater, Little Flower of East Orange directed by the late Phillip Seymour Hoffman, and being a part of the development team for The Ride, an interactive four-mile traveling performance in the heart of Times Square. Regionally Peter has had the honor of working with the Huntington Theatre Company, American Repertory Theater, Commonwealth Shakespeare, Trinity Rep, Hasty Pudding Theatricals, Colorado Ballet, Central City Opera, and the Denver Center Theatre Company. Peter is a graduate of Otterbein University.

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

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

D I R E C T O R O F C A S T I N G/ A R T I S T I C A S S O C I AT E

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 Conceiving 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

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.

Extraordinary Performance.

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

profiles

Michael & Sue Steinberg

Bill Falik & Diana Cohen

Michael and Sue have been interested in the arts since they met and enjoy music, ballet, and live theatre. Michael, who recently retired as chairman and chief executive officer of Macy’s West, served on Berkeley Rep’s board of trustees from 1999 to 2006 and currently serves on the board of directors of the Jewish Museum. Sue serves on the board of the World of Children. The Steinbergs have always enjoyed regional theatre and are delighted to sponsor Berkeley Rep this season.

Bill and Diana have been subscribers and supporters of Berkeley Rep since its earliest days on College Avenue. Diana joined the board of trustees in 1991 and served the Theatre for 10 years; she currently serves on the board of trustees of Cal Performances.

As a family therapist, she worked in private practice for 25 years before retiring to focus on her painting. Bill has been a real-estate and land-use lawyer practicing in the San Francisco Bay Area for the past 40 years and has been serving as trustee for Berkeley Rep for the past nine years. He currently is the managing partner of Westpark Associates, which creates master-planned communities in the greater Sacramento region. For the past 10 years, Bill has been an adjunct professor at UC Berkeley Law School and a member of the professional faculty at Haas Business School.

Bill has served on Berkeley Rep’s board since 2006. Bill and Diana are actively involved in philanthropic activities throughout Northern California. They have three grown children, all of whom live in the Bay Area.

SEASON SPONSORS

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 (rodagroup.com), a venture-development company based in Berkeley focused on cleantech investments, best known for launching Ask.com and for being the largest investor in Solazyme, a renewable oil and bio-products company (Nasdaq: szym, solazyme.com). 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.

Frances Hellman & Warren Breslau LEAD SPONSORS

Warren and Frances are avid watchers of live theatre, which includes Berkeley Rep and an annual pilgrimage to London’s West End. Having loved Berkeley Rep for years, they are thrilled to sign on as sponsors of Disgraced.

They are very proud of the cutting-edge, exceptional theatre that Berkeley Rep continuously produces. Frances’ day job is as Professor of Physics at UC Berkeley and Warren is a machinist and welder at 5th Street Machine Arts.

Stewart & Rachelle Owen LEAD SPONSORS

Rachelle and Stewart are honored to sponsor Disgraced. Rachelle is a social worker by training, serves on the boards of Bay Area Community Services (bacs) and the Berkeley Community Fund and volunteers for the Red Cross.

Stewart is a former vice chairman of Young & Rubicam and partner/owner of mcgarrybowen. He serves as president on Berkeley Rep’s board of trustees and as a board member for a number of startups including Ruby’s Rockets, JustGoGirl, and Revelator Coffee Company.

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EXECUTIVE SPONSORS

Thalia Dorwick SPONSOR

Thalia became involved with the theatre when, at age 12, she wrote, produced, and starred in a Girl Scout play. Fortunately, she has been only a spectator since then. She is past president of Berkeley Rep’s Board of Trustees, and she also directed the Theatre’s Docent Program for many years. She believes that Berkeley Rep, where she has enjoyed performances for decades, is the best theatre in the Bay Area.

She serves as a vice president of the Board of Trustees of Case Western Reserve University.

She has a PhD in Spanish, taught at the university level for many years, and is the co-author of a number of Spanish textbooks. She retired in 2004 as editor-in-chief of McGraw-Hill Higher Education’s Humanities, Social Sciences, and World Languages group. She is currently engaged in relocating to Florida and Pennsylvania and will miss Berkeley Rep’s productions enormously.

David Hoffman & Joan Sarnat SPONSORS

David is a consulting research professor of mathematics at Stanford and a Berkeley Rep trustee. He was an associate director of the Mathematical Sciences Research Institute (msri) in Berkeley and has been involved in producing museum shows about mathematics in the United States, France, and China. Joan is a clinical psychologist and psychoanalyst in private practice in Berkeley.

Felicia Woytak & Steve Rasmussen SPONSORS

Felicia and Steve believe that high-quality programs in the arts and education are

essential to a vibrant community. They are strong supporters of Berkeley Rep because of its outstanding contribution to the production of thought-provoking and risk-taking theatre, as well as its enormous contributions to arts education at the Berkeley Rep School of Theatre and in Bay Area schools. Felicia is a member of Berkeley Rep’s board of trustees.

She is a real-estate investor/developer and together with her husband, Steve Rasmussen, owns Palisades Vineyards in Napa Valley. In addition, Steve is a national and international consultant in mathematics education and curriculum development.

BART

SEASON SPONSOR

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-TV (Channel 5) SEASON SPONSOR

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.

Peet’s Coffee

SEASON SPONSOR

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

SEASON SPONSOR

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 Deck crew Gabriel Holman Props Anya Kazimierski Noah Kramer Rebecca Willis

The

Monster-Builder

BY AMY FREED | DIRECTED BY ART MANKE BAY AREA PREMIERE STARTS NOVEMBER 6 AURORATHEATRE.ORG | 510.843.4822 2081 ADDISON STREET DOWNTOWN BERKELEY

Scene shop Roger Chapman Will Gering Noah Lange Carl Martin Colin Suemnicht Read Tuddenham Wardrobe Barbara Blair Andrea Phillips

Special thanks to Carol Bier, Munir Jiwa, Som Pourfarzaneh, and Graduate Theological Union.

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

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Wrestling with Disgraced CO N TIN U E D FRO M PAG E 19

BERKELEY REP GIFT CERTIFICATES BECAUSE WE THINK THE HOLIDAYS NEED MORE DRAMA. Easy to buy, easy to use.

Stop by the box office or visit berkeleyrep.org/giftcert Gift certificates can only be redeemed for show tickets

better. I get so many troubled responses.

People walk away from this play moved, and confused, and angry. Sometimes they are very deeply satisfied, other times very deeply unsatisfied. And they want me to explain it to them. And I say to them, “Look, I’m the writer, and it took me three years to understand what I wrote.” I think that you just gotta sit with it for a little while. Because I cannot explain to you the ways in which the play is interfacing with your own prejudices and causing a kind of reaction that you then see mirrored onstage. Which you then have to relate to in some embodied way that is no longer about your mind. And then you have to grapple with that experience afterwards.

If you’re a Muslim-lover, then you have to go talk about how I am a self-hating writer. And if you’re a Muslim-hater, then you have to go off and say, “I know what I’m talking about, because I’m the one telling the truth about these Muslims.” So that complex dynamic of how meaning begins to take shape in this very personal way for every audience member is something that has taken me a very long time to understand. The play is enacting the process of representation, the process of polarization, the process of splitting.

There’s no meaning to the play. It doesn’t mean anything. It’s an experience for the audience to have.

What do you hope people walk away with?

What I do hope is that this public event of conflict and tragedy can find an audience that has lost itself in that experience, and both recognizes itself and does not recognize itself in what they saw. And are so moved or troubled or confused by what they saw, but convinced by the truth of what they saw, that they cannot forget it once they leave the theatre. And the trouble that the play has released into them is something that causes them to keep asking the question, “What’s wrong?

Is something wrong with the play? Is something wrong with the world that the play is talking about? Is there something wrong with me? Is something wrong with America? Is something wrong with the writer?”

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Find new, dynamic theatre classes for youth, teens, and adults of all levels.

Register today for over 40 unique offerings beginning January 11. berkeleyrep.org/classes

FINANCIAL AID AVAILABLE FOR YOUTH/ TEEN CLASSES

BE R K E L E Y R E P T H A N K S

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 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 September 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 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

COR P OR AT E S P ON S OR S SEASON SPONSORS

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

SPONSORS

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

CO R P O R AT E PA R T N E R S

G I F T S O F $ 6,0 0 0 –11,9 9 9

LE A D S P O N S O R

G I F T S O F $ 5 0,0 0 0 – 9 9,9 9 9

American Express

PE R FO R M A N CE S P O N S O R S

G I F T S O F $ 12 ,0 0 0 –2 4 ,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

B U S IN E S S M E M B E R S

G I F T S O F $ 1, 5 0 0 –2 ,9 9 9

Bank of the West BluesCruise.com Cooperative Center Federal Credit Union

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

G I F T S O F $ 2 5,0 0 0 –49,9 9 9

Is your company a Corporate Sponsor? Berkeley Rep’s Corporate Partnership program offers excellent opportunities to network, entertain clients, reward employees, increase visibility, and support the arts and arts education in the community.

For details visit berkeleyrep.org/support or call Daria Hepps at 510 647-2904.

I N-K I N D S P ON S OR S

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 Gecko Gecko 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 Phil’s Sliders Picante PiQ Public Policy Institute of California Quady Winery

Revival Bar + Kitchen The Ritz-Carlton, San Francisco 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.

Adobe Systems Inc. · Advent Software · American Express · Apple · Applied Materials · Argo Group · AT&T · Bank of America · 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 · Salesforce.com · Shell Oil · Sidley Austin llp, San Francisco · Synopsys · The Walt Disney Company · Union Bank, The Private Bank · visa u.s.a., Inc. 2 0 1 5 –1 6 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 3

BE R K E L E Y R E P THANKS

Donors to the Annual Fund

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 September 2015.

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

S P ON S OR C I RC L E SEASON SPONSORS

$ 10 0,0 0 0 +

Marjorie Randolph Jean & Michael Strunsky Guy Tiphane Gail & Arne Wagner

LE A D S P O N S O R S

$ 12 ,0 0 0 –2 4 ,9 9 9

Jack & Betty Schafer Michael & Sue Steinberg The Strauch Kulhanjian Family $ 5 0,0 0 0 – 9 9,9 9 9

Martha Ehmann Conte Bruce Golden & Michelle Mercer Mary & Nicholas Graves Frances Hellman & Warren Breslau Wayne Jordan & Quinn Delaney Ms. Wendy E. Jordan Jane Marvin/Peets Coffee John & Helen Meyer Stewart & Rachelle Owen Mary Ruth Quinn & Scott Shenker Steve Silberstein

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

$ 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 Edward Kaufmann Pam & Mitch Nichter

A S S O CIAT E S P O N S O R S

$ 6,0 0 0 – 11,9 9 9

SPONSORS

Anonymous Barbara & Gerson Bakar Susan Chamberlin 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

Anonymous (3) Shelley & Jonathan Bagg Edith Barschi Neil & Gene Barth Valerie Barth & Peter Wiley M Carole B. Berg Lynne Carmichael Daniel Cohn & Lynn Brinton Julie & Darren Cooke Robert Council & Ann Parks-Council Oz Erickson & Rina Alcalay William Espey & Margaret Hart Edwards M Tracy & Mark Ferron 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 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 Steven & Linda Wolan Martin & Margaret Zankel

A R T I S T IC DI R E C T OR’ S C I RC L E PA R T N E R S

$ 3,0 0 0 – 5,9 9 9

Anonymous (4) Stephen Belford & Bobby Minkler 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 Karen Galatz & Jon Wellinghoff 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 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 Deborah Taylor Patricia & Jeffrey Williams Sheila Wishek Sally Woolsey Mark & Jessica Nutik Zitter

B E N E FAC TO R S

$ 1, 5 0 0 –2 ,9 9 9

Anonymous (10) Marcia & George Argyris Nina Auerbach Linda & Mike Baker Michelle L. Barbour M Don & Gerry Beers M David Beery & Norman Abramson Annikka Berridge BluesCruise.com Brian Bock and Susan Rosin Caroline Booth Linda Brandenburger Broitman-Basri Family Don & Carol Anne Brown Katherine S. Burcham M Stephen K. Cassidy & Rebecca L. Powlan Terin Christensen Ed Cullen & Ann O'Connor James Cuthbertson Meredith Daane M 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 Lisa & Dave Finer Ann & Shawn Fischer Hecht Linda Jo Fitz M

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Patrick Flannery Jacques Fortier Thomas & Sharon Francis Herb & Marianne Friedman Don & Janie Friend, in honor of Bill & Candy Falik Christopher R. Frostad M James Gala Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Phyllis & Gene Gottfried 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 Bill Hofmann & Robbie Welling M 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 Erin McCune 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 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.

BE R K E L E Y R E P T H A N K S

Donors to the Annual Fund

CH A M PIO N S

$ 1,0 0 0 –1, 49 9

Anonymous (5) · Peggy & Don Alter · Pat Angell, in memory of Gene Angell · Ross E. Armstrong · 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 · Harry & Susan Dennis · Corinne & Mike Doyle · David & Monika Eisenbud · 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 · 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 · Woof Kurtzman & Liz Hertz · William & Adair Langston · Linda Laskowski · Nancy & George Leitmann, in memory of Helen Barber · Jay & Eileen Love · Meg Manske · John E. Matthews · Jerry Mosher · Margo Murray · Paul Newacheck · Claire Noonan & Peter Landsberger · Judy Ogle · Lynette Pang & Michael Man · Gerane Wharton Park · Charles R. Rice · Richard Rouse M · Mitzi Sales & John Argue · Seiger

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

$ 2 5 0 –49 9

David & Vivian Auslander · Tracey Borst & Robert Menicucci · Ellen Dietschy & Alan Cunningham · Joanne Dow · Joseph & Judith Epstein · Sharon & Eric P. Ewen · Nancy H. Ferguson · Michele & David Glass · George & Mary Hake M · Laurie Hill · Fred Lipschultz · Igor Maslennikov · Edward & Adeline McClatchie · Katherine McKenzie · Patricia & John Mengel · Liana Perrault M K · Charles & Linda Phillips · Geri Rossen · Phyllis & David Rothman · James Skelton · Mark & Judy Yudof

CO N T RIB U TO R S

$ 15 0 –2 49

Anonymous (4) · Carmen Aydelott · Gary Barth · Jeffry & Diane Bernstein · Adriane & Barry Bosworth · Fran Burgess · Cynthia S. Darling · Brigitte Devaux M · Cheryl & Matthew Eccles · Michael & Vicky Flora · Rosalind Hamar · Kyle Hinman · Carolyn Jones · Nancy Kornfield · R U. Litteneker · Miriam Maxwell · Sara McAulay & Elsa Garcia Pandavenes · Marilyn Radisch · Robert Ripps & Steven Spector · John & Kyoko Robinson · Tracie E. Rowson · Pamela Watkins · Sue Weinstein · Kuniko Weltin-Wu

FRIE N D S

$ 75 –149

Anonymous (10) · Bill & Marsha Adler · Tom Allen & Beth Levison · Roy C. Bergstrom · Joan & Howard Bloom · Claudia Bravo & Alan R. Silverman · Sandra Briggs · Cathy Brown · Barbara Brenner Buder · Nancy S. Clancy ·

Family Foundation · Alice & Scott So · Joshua & Ruth Simon · Douglas Sovern & Sara 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

A DVO C AT E S

$500–999

Anonymous (17) · Denny Abrams · Fred & Kathleen Allen · Gertrude E. Allen · Robert & Evelyn Apte · Jerry & Seda Arnold · Gay & Alan Auerbach · Steven & Barbara Aumer-Vail · 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

Kerry & Lynn Curtis · Lynn Delker · Karen & David Dolder · Randy Earle · Mary Ford & Robert Lewis · Linda Fried & Jim Helman · Mr. & Mrs. Jack M. Garfinkle · Alan Gellman & Arlene Zuckerberg · Amy & Michael Gerbus · Lori Hanninen & Jeff Wheaton · William Harvey · Amanda Hawes · Lee Helms · Philippe Henri · Paul Hirsch & Kira Pascoe-Moreno · Derek Holstein · Juraj & Elisabeth Hostynek, in honor of Andrej Hostynek · Sandy Jaffe · Muriel Kaplan & Bob Sturm · Peggy Kivel · Cheryl Kojina · Joel H. Kreisberg · Benjie Lasseau · Joan & Gary Lawrence · Wilson Lee & May Ng Lee · Larry & Nancy Ludgus · Fran & David Mog · Mark Moore · Thomas C. Moore · Gerald T. Moran · Robin Olivier · Roy & Susan Otis · Joseph R. Palsa · Opher Peled · Wendy Peterson · Lyne Plamondon · Belinda Presser · Nancy Rader & Dick Norgaard · Richard, Dominic & The Pets · John Saari · Heather Schlaff · Jan Schreiber · Willa Seldon · Marian Shostrom · Juliann Sum · Jane Swinerton · Carol Takaki · David J. Thomas · Frederick Tollini · Teresa Turner · Mary Van Voorhees · Elena Vasquez · Louis Weckstein & Karen Denevi · Donna & Stewart Weinberg · Patricia Wood · Patrick Woods & Kathleen Clark · Peter Yonka & Evalyn Baron

PAT RO N S

$ 1 –74

Anonymous (15) · Dr. Paul Abrinko & Dr. Monika Eckfield · Joy Addison · Linda Agerter · Judith Gumbo Albert, in memory of David Dobkin · Dolores Ali · Pamela Allen & Chris Millon · Celia Anderson · Karen L. Anderson · Judy & Lawrence Andow · Leslie Avant · Dennis Banks & Richard Foglia · Martela Beck · Julie Beley · Benita Benavides · Gordon Benner & Andrea Faber · Gene M. Berdichevsky · Olga Beregovaya · David Bezanilla · Robert Bhisitkul · Millard Billings · Steven R. Binder & Barbara Anscher · Deborah Bishop · Carol Bledsoe & William Pursley · Jennifer Boehler & Mark Anderson · Christopher Bogart · Benita & Burton Boxerman, in honor of Leonard Rosenberg · Ms. Marilyn Braiger · John & Karen Briggs ·

& Cathy Fisher · Martin & Barbara Fishman · 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 · 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 · 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 · Gary Roof & Douglas Light · Ronald & Karen Rose · Marie Rosenblatt · Geri Rossen · 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 · Adrian & Sylvia Walker · 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

Carol Brownstein · Barbara Burg · Nancy & Les Burger · James Calonico · Stephen A. Caravello · David B. Carter · Lori A. Cassels · Louise Castaldi · Gina Cattalini · Anita Cazin · Tiela Chalmers · Cliff Chan · Susan Chapman · Marsha & Richard Chisholm · W. Morris Chubb · Sandra Chutorian · Sally Clarke · George & Sheri Clyde · Nancy Coe · Dr. Ronald A. Cohen · Ernestine Cohn · Elliott M. Collins · Amy M. Cook · Mr. Douglas T. Corbin · Judy H. Coy · Elena Czubiak · Paul Dana · Carolyn de Oliveira · Jim DeFrisco · Mary deLuna · Audrey Doocy · Cheryl Douglas · Cynthia A. Duesberg · Denise Erickson · Margery Eriksson · Jean Ferrario · Matt Fidanque · Laura Finkler & Larry Walter · Robert & Marilyn Friend · Richard Frobose · Gwyneth Galbraith · Bonnie Gamble · Kevan Garrett · Judith Gatewood · Blake Gentry · Linda Gilbert · Roberta Goldberg · Kelley Gove · Edward Granger · Leah Greenblat · Maggie Greenblatt · Mari Griffin · Robin Gross · Bruce Hall · Francis Hall · Jennifer Hannah · John A. Hardman · Cameron P. Hempstead · Ms. Barbara Heroux · Lois Hillman · Ralph Holker & Carol Hochberg-Holker · Steven Holly · Jennifer Hsu · Giovanna Jackson · Jay James · John Johnson · Arnold Josselson · Jane Kaplan · Ellen Kaufman & David Weiner · Leigh Kimberg · Ed Klinenberg & Anne McCune · Gerald Klor · Alix Kottke · Daniel Kuo · Andrea Lampros · Mary Lanier · Cynthia Larsen · Peter LaTorre · David Leischner · Debra Lewis · Shirley Lincoln · Judith Warren Little · Karl & Betsy Livengood · John Lobato · Mr. & Mrs. Paul Lovoi · Larry Lozares · Kathryn Macbride · Claire Magowan · Margaret R. Maloney · Margaret Mancuso · Elise Marks · Sherry Markwart · Mr. William Martinelli · Nancy & Wayne Marzolf · Mr. & Mrs. Warren McCausland · Dylan O. McCombs · Catherine McLane · Kathleen McNamara · James & Janice Meeder · June Melchior · Marilia Mercader · Adrienne Moberly Vilaubi · Nancy Monnig · Anne Monty · Susan & Tom Moore · Penelope More · Carol Moretti · Brad Mulvey · Michael Murphy · Beverly Nidick · Carolyn O’Connor · Lauren E. O’Connor · Shelli Oreck · Christine

Pagano · Jenny Park · Luke & Maureen Parkhurst · Heather Pedersen · Robert Pola · Eric Pomert · Rosanna Poret · Matthew Prast · Felisa Preskill & Zachary Scholz · Elisabeth Redon · James Rembert · Susan Rockwell · Alison Ross · Sylvia Roye · Peter Rudy · Dr. Barry Alan Russell · William Ryan · Barbara Ryken · Peter Samis · Garth Schultz · Gayle Sells · Jon Silvers & Dana Mitroff Silvers · Iva D. Smith · William C. Soley · Eleanor Tandowsky · Scott M. Thacher · Sharon Toth · Norihiro Uda · Agnes Van Boeschoten · Nancy Vinson · Peter E. Walker · Sara C. Walsh · Philip Walters · Simone Wang · Cliff Weingus · Janet S. Wells · Joan G. White · Peter Whitehead · Barbara J. Wilkes · Ruth Winkler · Gary Witherell · Stanley M. Yantis · Irene Yen · Donna & Clifford Yokomizo · William Yragui · Mengnan Yu · Samuel Zabor & Kimberly Rowe · Karl Zimmer

2 0 1 5 –1 6 · I S S U E 3 · 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 T H A N K S Donors to the Annual Fund Sustaining members as of September 2015:

The Society welcomes the following new members: Julie & Paul Harkness

Anonymous (6) Norman Abramson & David Beery Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Neil & Gene Barth Susan & Barry Baskin 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 David Rovno 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 berkeleyrep.org/mls or contact Daria Hepps at 510 647-2904 or dhepps@berkeleyrep.org.

Bring extraordinary theatre to life.

Large or small, every gift counts. Give today. berkeleyrep.org/give

The cast of Amélie, A New Musical (photo courtesy of kevinberne.com)

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

BOA R D OF T RU ST E E S

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

Managing Director Susan Medak

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

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

P R ODUC T ION 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 Amanda Mason · Sofie Miller · Betsy Norton 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 Carpenters Patrick Keene Jamaica Montgomery-Glenn SCENIC ART Charge Scenic Artist Lisa Lázár COSTUMES Costume Director Maggi Yule Associate Costume Director/ Hair and Makeup Supervisor 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 General Manager Theresa Von Klug Associate General Manager/ Human Resources Manager David Lorenc 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 Systems & Applications Director 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 Box Office Agents Sophia Brady · Nathan Brown · Christina Cone · Laurel Dickman · Julie Gotsch · Amanda Mason · Eliza Oakley

Diane Rachel · Christian Roman · Rolf Saxon · Elyse Shafarman · Rebecca Stockley · Elizabeth Vega Jan and Howard Oringer Teaching Artists Erica Blue · Carmen Bush · Khalia Davis · Amber Flame · Safiya Fredericks · Gendell Hing-Hernández · Dave Maier · Michelle Navarette · Jack Nicolaus · Carla Pantoja · Marcelo Pereira · Radhika Rao · Salim Razawi · Patrick Russell · Lindsey Schmelzter · Teddy Spencer · Simon Trumble · Elena Wright · Patricia Wright · Michelle Wyman Teen Core Council Bridey Bethards · Carmela Catoc · Fiona Deane-Grundman · Lucy Curran · 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 Disgraced Docents Selma Meyerowitz, Lead Docent Monica Fox · Helen Gerken · Dee Kursh · Stephen Miller · Rhea Rubin · Catherine Warren

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 OP E R AT ION S Emilie Pass Facilities Director Costume Fellow Mark Morrisette Anna Slotterback Facilities Manager Development Fellow Lauren Shorofsky Loren Hiser Building Engineer Education Fellow Thomas Tran Jamie Yuen-Shore Maintenance Technician Graphic Design Fellow Johnny Van Chang Itzel Ortuño Facilities Assistants Harry Weininger Sound Fellow Sophie Li · Carlos Mendoza · James Sam Fisher Posey · Jesus Rodriguez · LeRoy Thomas Lighting / Electrics Fellow Harrison Pearse Burke BERKELEY REP Marketing & S C HO OL OF T H E AT R E Communications Fellow Director of the School of Theatre Lorenz Angelo Gonzales Rachel L. Fink Peter F. Sloss Literary/ Associate Director Dramaturgy Fellow MaryBeth Cavanaugh Katie Craddock Community Programs Manager Production Management Fellow Benjamin Hanna Katherine DeVolt Communications and Community Properties Fellow Partnerships Manager Samantha Visbal Kashara Robinson Scenic Art Fellow Registrar Melanie Treuhaft Katie Riemann Community Programs Administrator Scenic Construction Fellow Shannon Perry Modesta Tamayo Stage Management Fellow Faculty James McGregor 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 · Gendell Hing-Hernández · Andrew Hurteau · Ben Johnson · Bruce Ladd · Julian Lopez-Morillas · Dave Maier · Reid McCann · Jack Nicolaus · Keith Pinto · Marty Pistone · Amy Potozkin ·

President Stewart Owen Vice Presidents Roger A. Strauch Jean Z. Strunsky 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 Paul T. Friedman Karen Galatz Bruce Golden David Hoffman Jane Marvin Sandra R. McCandless Susan Medak Pamela Nichter Richard M. Shapiro 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 Marjorie Randolph 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 William Schaff 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 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 7

FYI

Latecomers

Please arrive on time. Late seating is not guaranteed.

Connect with us online!

Theatre info

Considerations

Visit our website berkeleyrep.org 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.

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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 berkeleyrep.org 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 berkeleyrep.org/entourage.

Student matinee Tickets are just $10 each. Learn more at berkeleyrep.org/studentmatinees.

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 info@berkeleyrep.org; or click berkeleyrep.org/joinourlist. If you use Gmail, Yahoo, or other online email accounts, please authorize patronreply@ berkeleyrep.org.

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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T H RU S T

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seating sections: premium premium a a b b seating sections: OSHER STUDIO

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seating sections: 3 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 3

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A.C.T.'s WINTER/SPRING season— 4 - P L AY P A C K A G E S S TA R T AT $ 1 3 A P L AY .

A One-Man Show About Two Jazz Legends

A New Blues-Infused Musical

SATCHMO AT THE

WALDORF

BY TERRY TEACHOUT DIRECTED BY GORDON EDELSTEIN STARRING JOHN DOUGLAS THOMPSON Photo by T. Charles Erickson

An Outrageous and Offbeat Comedy

BY WILL ENO DIRECTED BY LORETTA GRECO

CREATED BY JON BEAVERS, KRISTOFFER DIAZ, CASEY HURT, IAN MERRIGAN, AND RAMIZ MONSEF DIRECTED BY SHANA COOPER An Exuberantly Romantic Musical

WRITTEN AND COMPOSED BY JASON ROBERT BROWN DIRECTED BY MICHAEL BARRESSE

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