Berkeley Rep: The Far Country

FIVE CAMPS. ONE UNFORGETTABLE SUMMER. BERKELEY REP SUMMER PROGRAMS NOW ENROLLING!

THEATRE INTENSIVE: PLAY CREATION

GR 6–8 | JUN 10–JUN 28

THEATRE CAMP: PLAY CREATION

GR 1–5 | SESSION 1: JUL 8–JUL 12 | SESSION 2: JUL 15–JUL 19

FILMMAKING INTENSIVE

GR 9–12 | JUN 10–JUN 21

THEATRE INTENSIVE: PLAY CREATION

GR 9–12 | JUL 8–JUL 26

GR 9–12 | JUL 22–AUG 2

MUSICAL THEATRE INTENSIVE

WELCOME TO BERKELEY REP!

To ensure the best experience for everyone:

While always encouraged, masks are required for audiences in our theatres on all Sundays (matinees and evenings) and Tuesdays throughout our 2023/24 season.

Food and drink: Beverages in cans, cartons, or plastic cups with lids are welcome in the theatre for Wednesday through Saturday performances only. Food is prohibited in the theatre during all performances.

Courtesy reminder: To avoid disruption to everyone, please turn off your cell phones, beeping watches, and electronic devices, and refrain from unwrapping cellophane wrappers during the performance. For the comfort of all patrons, please avoid wearing strongly scented personal products.

Photos: Photos may be taken in the theatre before and after the performance and during intermission. Photos and videos during the performance are strictly prohibited. Photos posted on social media must credit Berkeley Rep and the show’s designers.

Smoking and vaping: Berkeley Rep’s public spaces are smoke- and vape-free. One of the joys of live theatre is the collective experience . Audience members respond to the show in many different ways. We invite you to join together and enjoy the show! If there is anything we can do to make your experience more enjoyable, please see a member of the house staff.

Get closed captioning on your smartphone! Closed Captioning is available for the following performances: 3/10, 3/20, and every matinee. Use your smartphone to scan this QR code: Then, switch your WiFi to the network CCTheaterPeets. Password: cctheater1 When the CC page appears, choose English captions. If you’d like assistance, please see an usher or house manager.

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Encore—Connecting Arts, Culture and Community.

Encore Media Group acknowledges that we are on the lands of the Duwamish People, and their other Coast Salish relations—past and present. We recognize that these lands are unceded and we support the Duwamish Tribe in their struggle to gain Federal Tribal Recognition. We honor with gratitude the land itself. This acknowledgement does not take the place of authentic relationships with Indigenous communities, which we seek to build. We hope that this step of honoring these lands, and the First People of Seattle who remain their stewards, will help us become better neighbors to the Duwamish Tribe and all the people who have called the Pacific Northwest home since time immemorial.

I’m so proud to welcome Lloyd Suh’s beautiful play home to the Bay Area. The Far Country gives us access to our region’s particular history and an opportunity to reckon with the experiences of past generations, to understand the forces at work that motivated their decisions, and the impact (intended and not) on the generations to come. And while I can claim no shared history with these characters, there are so many aspects of Lloyd’s play that I find personally resonant and deeply moving. My grandfather came through Ellis Island, not Angel Island, but like Moon Gyet was driven from his homeland by war, poverty, and political dissent. And like Moon Gyet, he struggled to make a home here, to find his footing first within his community of immigrants — many of whom, like him, had recently arrived from eastern Europe and Russia — and then within the country.

Lloyd has spoken of his work as a means of connecting his parents to his children, of creating a continuum between generations. For me, The Far Country is also a chance to connect the many of us whose parents and grandparents came to America from distant locales, driven by a desire to create opportunity for the children who would succeed them. How can we acknowledge the disparate aspects of our history and current lives and recognize the elements that connect us? In this region that has long drawn ambitious dreamers and visionaries, what are the stories we can share with our children to give them an understanding of the extraordinary voyages that enabled them to claim this as home?

Welcome to The Far Country and thank you for joining us to share in this journey.

Warmly, Johanna Pfaelzer Artistic Director

Thank you for joining us for The Far Country, the second of three California stories this season. This summer, we will journey to California’s Central Valley with Octavio Solis’ Mother Road, inspired by John Steinbeck’s The Grapes of Wrath.

It has been a fantastic season so far. After playing at 102.8% capacity, our production of Harry Clarke is now running in London. The special, limited engagements of Alex Edelman’s Just for Us and W. Kamau Bell Gets His Act Together also played to sold-out houses. Berkeley Rep has incredible momentum, and subscribing is the best way to guarantee you don’t miss our most exciting shows.

We are busily planting the seeds for next season’s projects, planning and working to balance our artistic ambition, community impact, and financial resources. As you have come to expect from Berkeley Rep, next season will feature top-notch storytelling sure to inspire, provoke, entertain, and create cherished memories.

While our team is putting together the finishing touches, new this year, we are offering Early Bird access to 2024/25 season subscriptions before we announce next season in mid-April. Renew for the full season before April 15, and not only will you lock in our best prices, saving at least 25% off individual ticket prices, your loyalty will be rewarded with waived subscription fees and the chance to win four tickets to the opening night reception and performance of Galileo. Your Early Bird subscription secures your same seats (if you are renewing for the same day and time) and makes you first-in-line for any change requests. We hope you will take advantage of this opportunity.

Enjoy the show!

Tom Parrish Managing Director

Berkeley Repertory Theatre acknowledges and honors its presence on the unceded ancestral lands of the Chochenyo-speaking Ohlone people, now colonially known as Berkeley. The land from which we benefit continues to be a place of foremost importance to the Ohlone and all descendants of the Verona Band.

Berkeley Rep is committed to actively pursuing our values as an antiracist institution. We are committed to living our values by promoting the history and culture of the Ohlone people and sustaining an ongoing relationship which supports the art, resources, and values of indigenous peoples and tribes.

We are grateful to our friends at the Sogorea Te’ Land Trust and the Confederated Villages of Lisjan for their support and guidance as we continue to educate ourselves and our community to uplift and support our indigenous communities .

Celebrating Theatre’s Unsung Heroes

Honoring Berkeley Rep’s Volunteers During National Volunteer Month

By Beatriz Hernandez

In honor of National Volunteer Month, we at Berkeley Rep recognize the hundreds of volunteers who help ensure our audiences get the best theatre experience possible. From ushers to docents, to board members and sustaining advisors, those who choose to generously donate their time to our theatre help make our work possible.

You may be most familiar with our ushers — perhaps they showed you to the seat you’re currently reading this from. You may be joining a postshow discussion (after matinees) with one of the docents to talk about the show you just witnessed.

Creating live theatre takes the effort of many more people than most realize. Berkeley Rep’s usher program alone is comprised of nearly 800 volunteers, many of whom serve an average of 15 to 25 years.

“The usher program has taught me many forms of communication, deepened my emotional intelligence, and expanded my appreciation of volunteers. I volunteer myself; it has made me a better volunteer,” said Front of House Director Kelly Kelley. “They possess a wealth of information, dramaturgy, and love to speak to patrons about our productions. They are our biggest fans.”

Our volunteer docents provide space for lively post-show discussions.

“Patrons realize that their thoughts and reactions are important too and are recognized by other people. They also realize that their

Joy Lancaster (left) volunteers in The Mendel Room

Tuesday Ray is ready to help patrons with assisted listening devices

Ushers ready to greet patrons

engagement with the theatre is the key to regional theatre’s success,” said Selma Meyerowitz, one of the three co-chairs of the docent program at Berkeley Rep.

Docents start working on a play about two months before it opens. Work includes attending meetings, researching aspects of the play, and writing a summary of the research. Docents prepare questions for the post-show discussions they facilitate and attend practice and trainings in facilitation.

“The docent program was established to enhance the patrons’ experience of a play,” said Joy Lancaster, a volunteer usher, and another co-chair of the docent program. “Participants’ comments expressing gratitude and sharing that they have gained a deeper understanding of a play verify that for me.”

For more information on how to volunteer at Berkeley Rep, visit berkeleyrep.org/about/get-involved/.

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Selma Meyerowitz leads a conversation with audience members

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LOOKING TO THE PAST TO CONNECT THE FUTURE

Playwright Lloyd Suh has been telling Asian stories for most of his career. From The Chinese Lady, which tells the story of Afong Moy, the first Chinese woman in the United States, to The Heart Sellers, which explores the Asian immigrant experience in the 1970s following the landmark Hart-Celler Act of 1965, his work interrogates U.S. history to understand our present and dream a new tomorrow for Asian Americans. With his latest play, The Far Country, a finalist for the 2023 Pulitzer Prize, Lloyd examines the Chinese Exclusion Act and its impact on immigration and the lives of the almost 175,000 Chinese people who passed through Angel Island. Berkeley Rep staff sat down with Lloyd for a conversation about The Far Country and how he feels the past informs the future. Here are highlights from the conversation:

ON THE ORIGINAL INSPIRATION FOR THE PLAY

I’ve been writing about Asian-American history for a while kind of accidentally. I never set out to. I would be doing research for one play, and I’d come across a story that stuck with me and I couldn’t shake it. I had to sit with it longer and I had to write about it. Then doing more research would lead to another story and another story. And the whole time everything was circling around the exclusion era. It felt like that was the fulcrum where so much of what we know now in terms of geographies, formations of Chinatowns, economic and legislative realities,

and stereotypes have their roots. So, I knew I wanted to write about it somehow. I just never felt ready, or it always felt so big. But then I had a commission for Atlantic Theater Company, and I was like, okay, I have support, I’m among friends. And I just said it aloud. I said this play is going to be about the exclusion era and Angel Island. And in saying that aloud, I committed to doing it. Once I committed to the idea, I started to mentally do what one must do to honor the weight of what that is. I was in San Francisco in November 2019 for my production of The Chinese Lady at the Magic Theatre, and when you go out the back door at the Magic you can see Angel Island and I was like “Okay, I’m going to go.” I went with the mission of feeling the ghosts and the weight of that history. And I left feeling ready to write it.

ON WRITING PLAYS THAT CONNECT HISTORY AND PEOPLE

Writing about this specific era of history over several plays made me realize that they’re all connected to each other. And that isn’t something that I was conscious of while writing them. But when I look at these plays all together, The Chinese Lady, The Heart Sellers, and The Far Country, I think about the reason I even set out to do this in the first place. I have aging parents and growing children. In writing, I was trying to find a way to tell my parents’ story to my children, to connect all of us, my parents, my children, and myself on this continuum.

Every one of these plays is rooted in history, and yet in every one of these plays, somebody talks about the future. And when they talk about the future, I think they’re talking about the next play to follow, but they’re also talking about us. So, for any Asian American, or

American, or anyone who’s interested in engaging with that history, it means engaging with what it means to be a citizen, what it means to be part of that continuum. And especially for Asian Americans, who I think a lot of us have been separated from this history, I want them to feel like it belongs to them. I want actors to feel like these are their plays, their stories, and that audiences feel this story is theirs, too.

ON REVISITING THE PLAY FOR BERKELEY REP

I’m totally rewriting the middle section. I felt like I never really got it, and the version we staged in New York did what it needed to do, but I feel like I made choices based on time and practicalities in a way that I felt like if I get another crack at this, I’m going to try something bigger. So, I’m trying something that’s more of my original impulse, which is that it’s a combination of an oral history and a kind of conjuring that reflects Moon Gyet’s experience on Angel Island. Sometimes it’s hard to hear history when it’s told to you as facts, but when it’s presented to you as questions, it changes the way we engage with it. It makes us ask our own questions. So, I feel like the previous version was like, “Hey, let me tell you about Angel Island,” and here it’s going to be more of “This is what it felt like.” That’s the impulse. I’m trying to make it more tactile, more experiential.

ON HOW THE PAST RESONATES TODAY

I wrote a very quick first draft, impulsive, incomplete, just scenes really, that we read at the end of January 2020 at the Atlantic. And then suddenly in March 2020 there was no prospect of doing theatre and

writing a play felt like a silly thing to do. So, in writing during that time, there are so many things that I think are unavoidable in the play: isolation, loneliness, disconnection, but also engaging with history. Engaging with this country or this world’s relationship with what it is to be a person, a citizen in a country that has the history that we have, particularly around race, how legislation ties in with all of that, and where legislation comes from. That was what was on the news every day. And so that was part of what was in my head every day.

In 2020, feeling that this play might not be done anytime soon, I started to think about the audience as a future tense thing. I started to think about what’s portable. What is something that can mean something to anybody anytime? And so, I started thinking about what it is just to think about the past and to think about the future. I like to think whenever any of the characters in these plays talk about the future, their grandchildren, or great-grandchildren that me or my peers could sit in the audience and think, “Oh, that’s

me. They’re talking about me.” I feel like that’s my relationship to the future tense that I think about when I’m writing these plays. I’m thinking about my 8-year-old when he’s my age. Is this going to mean anything to him? How can I make it mean something? I want this history to be something people can own and feel like it’s theirs. I want my 8-year-old to feel connected to these stories and be like “Yeah, this is part of me.”

PHOTO: KARIN SHOOK

NEAR & FAR

A Timeline of Chinese Immigration to San Francisco

BY REBS CHAN

Why did Chinese migrants move to the United States, and what was the immigration process like? Lloyd Suh’s The Far Country begins in 1909 and charts three generations of Chinese immigrants across 21 years. By highlighting a few key historical events, both in California and across the Pacific, the following timeline contextualizes the story of The Far Country ’s characters and illuminates the many injustices imposed upon Chinese migrants.

1839–1842: First Opium War and the Treaty of Nanking

Background: Chinese immigrants at the San Francisco custom-house, P. Frenzeny, Harper’s Weekly, 1877

A war between China and Britain over foreign merchants in China selling opium, a banned substance. The war ended with the 1842 Treaty of Nanking, which gave Britain many economic advantages over China and established Hong Kong as a crown colony.

1849: California Gold Rush

Following a series of natural disasters and China’s economic defeat in the First Opium War, the discovery of gold in California sparked the first wave of Chinese immigration to the U.S.

1850: Foreign Miners License Law and San Francisco Chinatown

Anti-immigrant sentiment among white miners pushed the California legislature to pass the 1850 Foreign Miners License Law, which charged all nonU.S. citizen miners $20 per month ($812 in 2024 USD). Although the law was quickly repealed, the prohibitive fee led many Chinese immigrants to leave the mining camps and establish the United States’ first Chinatown in San Francisco.

1856–1860: Second Opium War

British dissatisfaction with China’s implementation of the Treaty of Nanking led to this war, which ended when the British and French captured Beijing and forced the transfer of the Kowloon Peninsula from China to Britain.

1863–1869: The Transcontinental Railroad

An estimated 15,000 to 20,000 Chinese immigrants worked on the construction of the western half of the Transcontinental Railroad, spanning from California to Utah. The Central Pacific Railroad paid them significantly less than their white American and European counterparts.

1875: The Page Act

This act was the first restrictive federal immigration law in the United States, introducing the concept of “legal” vs. “illegal” immigration. Among other restrictions, it forbade the “importation” of Asian women into the United States “for the purposes of prostitution,” an assumption often made by U.S. immigration officials.

1878: In re Ah Yup

Ah Yup, a Chinese immigrant, argued that he was “white,” since the existing laws allowed only for the naturalization of white people and Black people. In this resulting landmark decision, The Ninth Circuit in California ruled that those of the “Mongolian race” were not “white” and therefore ineligible to naturalize.

1882: Chinese Exclusion Act

The Chinese Exclusion Act instated a 10-year ban on the immigration of laborers from China and prevented Chinese nationals from attaining citizenship. It was also the first law which mandated that new arrivals be inspected at a port of entry. In 1882, before the law took effect, more than 39,000 people of Chinese heritage immigrated to the U.S. In 1887, only 10 Chinese immigrants entered the country.

1892: The Geary Act

The Geary Act renewed Chinese exclusion for 10 more years and required Chinese nationals to carry an identification document. In 1902, Chinese exclusion was extended for 10 more years, and in 1904, it was extended indefinitely.

1906: The 1906 Earthquake and Paper Sons

The 1906 Earthquake and consequent fire destroyed all the birth and immigration documents from San Francisco’s Hall of Records, sparking the phenomenon of “paper sons,” a practice in which new Chinese immigrants purchased documentation papers to falsely identify themselves as the children of Chinese American citizens.

1910: Angel Island Immigration Station Opens

Between 1910 and 1940, approximately 175,000 Chinese immigrants arriving in San Francisco were sent to Angel Island. There, they were subjected to an intense interrogation and appeal process, during which they were detained for a period of several weeks to two years. In contrast, European immigrants, who were segregated from the non-European immigrants, were detained from a few days to a few weeks.

1924: The Immigration Act

Public and political concern about increasing immigration numbers led to the enactment of this federal law. Northern Europeans were favored, Southern and Eastern Europeans faced severe immigration quotas, and Asians were completely excluded from immigration.

1940: Angel Island Immigration Station Closes

Amidst slowing immigration numbers and a fire that destroyed Angel Island Immigration Station’s administrative building, officials closed the facility.

1943: Repeal of the Chinese Exclusion Act

In the midst of WWII, during which the U.S. and China were allies, Congress repealed the Chinese Exclusion Act and instated a new immigration quota of around 105 visas per year for Chinese immigrants.

1983: The Creation of the Angel Island Immigration Station Foundation

In 1970, the government planned to demolish the Angel Island Immigration Station, but the discovery of poetry carved into the barrack walls renewed interest in preserving the site. In 1983, the barracks opened to the public and members of the community-led Angel Island Immigration Station Historical Advisory Committee created the Immigration Station Foundation to continue efforts of both preserving the site and amplifying the contributions of Pacific Coast immigrants.

SCENIC DESIGN WILSON CHIN

BERKELEY REPERTORY THEATRE

Johanna Pfaelzer, Artistic Director | Tom Parrish, Managing Director presents the West Coast premiere of

THE FAR COUNTRY

BY LLOYD SUH

DIRECTED BY JENNIFER CHANG

COSTUME DESIGN

HELEN Q. HUANG

PROJECTIONS

HSUAN-KUANG HSIEH

LIGHTING DESIGN MINJOO KIM

MOVEMENT

ERIKA CHONG SHUCH

STAGE MANAGER ALYSSA K. HOWARD*

SOUND DESIGN AND ORIGINAL MUSIC FAN ZHANG

CASTING KARINA FOX

ASSISTANT STAGE MANAGER EMILY BETTS

World Premiere Presented by Atlantic Theatre Company, New York City, 2022

THE FAR COUNTRY is presented through special arrangement with TRW PLAYS, 1180 Avenue of the Americas, Suite 640, New York, NY 10036. trwplays.com.

SEASON SPONSORS

Stephen & Susan Chamberlin

Yogen & Peggy Dalal

Bruce Golden & Michelle Mercer

Frances Hellman & Warren Breslau

Wayne Jordan & Quinn Delaney

Gisele & Kenneth F. Miller

Jack & Betty Schafer

The Strauch Kulhanjian Family

Gail & Arne Wagner

EXECUTIVE SPONSOR

The Sheri and Les Biller Family Foundation

SPONSORS

Rick Hoskins & Lynne Frame

ASSOCIATE SPONSORS

Cindy J. Chang, MD & Christopher Hudson

Rosalind & Sung-Hou Kim

Phyra McCandless & Angelos Kottas

CAST

(in alphabetical order)

Moon Gyet Tommy Bo*

Gee/Three Feodor Chin*

Dean/Inspector John Keabler*

Yip/One Whit K. Lee*

Low/Two Tess Lina*

Yuen/Four Sharon Shao*

Harriwell/Interpreter Jonathan Rhys Williams*

UNDERSTUDIES

(in alphabetical order)

Moon Gyet Andrew Ge

Gee/Three/Yip/One Alex Hsu*

Low/Two/Yuen/Four Kina Kantor*

Harriwell/Interpreter/Dean/Inspector Aaron Wilton*

*Indicates a member of Actors’ Equity Association, the union of professional actors and stage managers in the United States This theatre operates under agreements with the League of Resident Theatres, Actors’ Equity Association (the union of professional actors and stage managers in the United States), the Stage Directors and Choreographers Society, and United Scenic Artists.

Please turn off your cell phones, beeping watches, and electronic devices, and refrain from unwrapping cellophane wrappers during the performance.

The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights, and actionable under United States copyright law.

March 8-April 14, 2024

Peet’s Theatre

THIS SHOW HAS A 15-MINUTE INTERMISSION

Tommy Bo

Moon Gyet

Berkeley Rep debut. Off-Broadway: Snow in Midsummer (Classic Stage Company). Regional: The Brothers Paranormal (Olney Theatre Center), The Great Leap (Portland Center Stage). Film & TV: Law and Order: Organized Crime, FBI: Most Wanted, Hit and Run, Master, and Boogie. @prettydumbboys

Feodor Chin

Gee/Three

Feodor Chin is a native San Franciscan and Los Angeles-based actor. Regional: Rules of Seconds (LATC), Macbeth (A Noise Within), The Joy Luck Club (TheatreWorks), Maude Night (Upright Citizens Brigade, LA). Film/TV: Scrambled, Big Little Lies, St. Denis, American Auto, Welcome to Chippendales, Pam & Tommy, Good Trouble, The Affair, Jane the Virgin. Voiceover: What If…?, Futurama, Overwatch, League of Legends, Hit-Monkey, Uncle from Another World, Ghost of Tsushima. Awards: AudioFile Magazine Earphones Awards, SOVAS Award. Education: BA, UCLA. Twitter and Instagram: @feochin feodorchin.com

John Keabler

Dean/Inspector

New York: Cherry Lane Theatre. Regional: The Shakespeare Theatre of New Jersey, The Shakespeare Theatre of DC, Contemporary American Theater, Perseverance Theatre, Pennsylvania Shakespeare Festival, Syracuse Stage, The Old Globe, Portland Stage Company, Olney Theatre Center, Theatrical Outfit, Virginia Stage Company, Florida Studio Theatre, Creede Repertory. Film: Sugar (starring Alice Ripley); Faith, Love and Whiskey. Television: Madam Secretary, 30 Rock, Nascar: The Rise of American Speed, The Men Who Built America, All My Children. Awards: Best Son Ever Award (sometimes) from his mother. Training: The Old Globe. John would like to thank his wife Katie and the twins — Vaughn and Juddson. JohnKeabler.com and @JohnnyKeabs on the socials.

Whit K. Lee Yip/One

Whit K. Lee is thrilled to be at Berkeley Rep with the West Coast premiere of The Far Country. Off-Broadway: Atlantic Theatre Company — The Far Country, Pan Asian Repertory — Citizen Wong, Classic Stage Company — Assassins, Christmas Carol: A Radio Play — CBU Actors Studio. Regional: Capitol Rep — Secret Hour (Broadway World: Best Supporting Actor), Steppenwolf — The Doppelgänger, Actors Theatre of Louisville — A Christmas Carol, Adirondack Theatre Festival — The Chinese Lady. Television: Beyond, Kaleidoscope, Orange Is the New Black, Law & Order: SVU. Film: Grounded, Wall Street English. Thank you to my family and my dream team, Susan Campochiaro Confrey — CBU Management & Padraic — JC William Agency for their love and support.

Tess Lina Low/Two

Tess Lina is thrilled to make her Berkeley Rep debut in The Far Country. Theatre credits include a co-production with the Denver Center and the Royal Shakespeare Company, working with the late Sir Peter Hall and John Barton; Mark Taper Forum; South Coast Rep; La Jolla Playhouse; Laguna Playhouse; San Jose Rep; The Guthrie Theatre. Film/TV credits include For All Mankind (recurring), How to Get Away with Murder (recurring), S.W.A.T., Revenge, House, CSI, NCIS, and Danika with Marisa Tomei. A graduate of Juilliard Drama Division, Tess is an acting coach, voiceover artist, and proud mom of two boys.

Sharon Shao Yuen/Four

Sharon Shao (she/they) is a Bay Area-native actor, musician, and teaching artist. Local credits: The Good Book (u/s, Berkeley Rep), The Winter’s Tale and Good Person of Szechwan (Cal Shakes), Chinglish (SF Playhouse), The Paper Dreams of Harry Chin (SF Playhouse, SFBATCC featured actress award), Man of God and Vinegar Tom (Shotgun Players), and The Tempest and Hamlet (Oakland Theater Project). She received her BA in Theatre Arts and Psychology from UC Santa Cruz. Sharon

would like to dedicate this show to her beloved late mother, Huiping Liu, and thanks her friends and family for their endless support. IG: @shao_dynasty, sharonshao.biz

Jonathan Rhys Williams

Harriwell/Interpreter

Jonathan Rhys Williams joins Berkeley Rep for the first time with this production. San Francisco Bay Area credits include TheatreWorks (Tuck Everlasting, Charley’s Aunt, Violet, Triumph of Love, and Under Milkwood), San Jose Stage (Disgraced, The Night Alive, Bloody Bloody Andrew Jackson, Rock and Roll, Biedermann and the Firebugs, A View from the Bridge, Cumberland Blues), Aurora Theatre Company (Creditors, Thérèse Raquin, The Homecoming), American Musical Theatre, San Francisco Shakespeare Festival, Tahoe Shakespeare Festival, and others. Jonathan is a co-founder of Capital Stage Company, which continues to serve the Greater Sacramento Area. Jonathan also serves as executive director of The Tabard Theatre Company in San Jose.

Andrew Ge

U/S Moon Gyet

Andrew Ge (he/him) is jazzed to be making his debut at Berkeley Repertory Theatre. Ge was last seen in Center Theatre Group’s production of A Christmas Story: The Musical at The Ahmanson Theatre in Downtown LA. Other select credits include Mamma Mia! (East West Players), Cinderella (5-Star Theatricals), Shanghai’s World Emporium (Huntington Library), Arcane: The Live Immersive Experience (Secret Cinema/Riot Games). TV/film: The Slumber Party (Yo Fiesto), Blue Suit (Wong Fu Presents), Beneath the Banyan Tree (VOD). English voice: The Devil’s Plan (Netflix), Dream (Netflix), Girl from Nowhere (Netflix). Certified matcha geek. @thisisge

Alex Hsu

U/S Gee/Three/Yip/One

Alex Hsu is thrilled to make his Berkeley Rep debut. National tours: Irving Berlin’s White Christmas (dir. Walter Bobbie) and The King and I (dir. Baayork Lee). Regional: The Headlands and Tales of the City: A New Musical (ACT), Little Shop of

Horrors, Gypsy, Pacific Overtures (TheatreWorks SV), The Great Leap (San Jose Stage), Chinglish (San Francisco Playhouse), Miss Saigon (Westchester Broadway), Me and My Girl (Marin Theatre Company). Film/ TV credits include I (Almost) Got Away with It, East Side Sushi, and Protection Detail. As a choreographer, Alex has been nominated for several BATCC and TBA awards.

Kina Kantor

U/S Low/Two/ Yuen/Four

Kina Kantor is an actor, artist, and cellist originally from and based in the Bay Area. Kina is thrilled to return to Berkeley Rep (The Great Wave — U/S). She regularly works with Bay Area theatre companies such as TheatreWorks (Mrs. Christie), San Francisco Playhouse (The Paper Dreams of Harry Chin, The Great Khan, Tiny Beautiful Things), Magic Theatre, American Conservatory Theater, San Francisco Mime Troupe, Crowded Fire, Word for Word, and PlayGround SF. Kina is also a company member of the Actor’s Reading Collective (ARC) and has taught at the Academy of Art University in SF. @kinakantor (she/her)

Aaron Wilton

U/S Harriwell/ Interpreter/Dean/ Inspector

Aaron Wilton is an awardwinning Bay Area actor. Regional: George Street Playhouse’s Inspecting Carol (with Peter Scolari & Dan Lauria), Aurora Theatre Company’s John Gabriel Borkman (with Karen Grassle), the lead in Hudson Stage Company’s After All (with Broadway’s Walter Charles & Susan Pellegrino), West Coast premiere of Bloody Bloody Andrew Jackson at San Jose Stage Company. Film: Jexi, The Boat Builder, Messrs. Television: Criminal Minds, Sunset Glory: Doolittle’s Heroes. Video games: Mafia: Definitive Edition, Watch Dogs 2, The Godfather II, Battlefield: Hardline, the NBA2K series. Commercials: Taco Bell, Xfinity, Wells Fargo, Blue Shield, Charles Schwab, Chase, Cisco, Adobe, EA Games, Pixar, Tejava.

Lloyd Suh Playwright

Lloyd Suh is also the author of The Chinese Lady, The Heart Sellers, Bina’s Six Apples, and many others. His work has been produced in NY with Atlantic Theater Co., Public Theater, Ma-Yi, NAATCO, Ensemble Studio Theatre, and others; regionally at the Huntington, Alliance, Denver Center, Magic Theatre, and others; and internationally at the Cultural Center of the Philippines and with PCPA in Seoul, Korea. He is a recipient of a Guggenheim Fellowship, Harold & Mimi Steinberg Playwright Award, Herb Alpert Award in the Arts, Horton Foote Prize, and was a 2023 Finalist for the Pulitzer Prize in Drama.

Jennifer Chang Director

Berkeley Rep debut. Proud Bay Area native. Upcoming: What Became of Us at Atlantic Theater Company. Recent work: King of The Yees at Signature Theatre in D.C. (Helen Hayes nom Best Production); The Heart Sellers (world premiere) at Milwaukee Rep; American Fast at City Theatre; The Great Leap at Round House Theatre; On Gold Mountain at LA Opera; Vietgone (LA Drama Critics Circle Award: Directing); new play development at Center Theatre Group, Williamstown Theatre Festival, South Coast Rep, Geffen Playhouse, Pasadena Playhouse, Ashland New Plays Festival, O’Neill National Playwrights Conference, Chalk Rep. Associate professor at UCLA. Fellowships: Drama League, Old Globe Classical Directing. Training: MFA, UCSD; BFA NYU. changinator.com

Wilson Chin Scenic Design

Berkeley Rep: Clyde’s and Aubergine. Broadway: Cost of Living, Pass Over (Drama Desk, Lortel, Hewes Award nominations), Next Fall . Off-Broadway: Sunset Baby and A Bright New Boise (Signature Theatre), Jonah (Roundabout), The Animal Kingdom (The Connelly), This Land Was Made (Vineyard), Space Dogs (MCC, Lortel Award nomination), Teenage Dick (Ma-Yi/Public), Sakina’s Restaurant (Audible). Opera: Turandot (Washington National Opera), Lucia di Lammermoor (Lyric Opera of Chicago), Eine Florentinische Tragödie/Gianni Schicchi (Canadian Opera, Dora Award). Film/ television: Pass Over (dir. Spike Lee), Game Theory with Bomani Jones (HBO), Blindspot (NBC). @wilsonchindesign

Helen Q. Huang Costume Design

Helen Q. Huang is an award-winning costume designer whose credits include Oregon Shakespeare Festival, Denver Center, Alley Theatre, South Coast Rep, Seattle Rep, Guthrie Theater, Arena Stage, Ford’s Theatre, Round House Theatre, Utah Shakespeare Festival, Children’s Theatre Company, Classic Stage Company, Disney Entertainment, and The Washington Ballet. Awards: Helen Hayes Award, Henry Award, Anderson, Hopkins Award and Ivey Award. Helen is a professor of Costume Design at University of Maryland, College Park. helenqhuang.com

Minjoo Kim

Lighting Design

Minjoo Kim is excited to make her debut at Berkeley Rep. New York credits include Demon at The Bushwick Starr. Selective regional credits include Fat Ham at Studio Theatre, Ink at Round House, King of The Yees at Signature Theatre, The Brothers Paranormal at Olney Theatre, American Fast at City Theatre, The Chief at Pittsburgh Public Theater, The Royale at Kansas City Rep, Violet at TheatreSquared, Life Sucks at Cygnet Theatre. International credits include, in South Korea, Crimson Girl (Dongsoong Art Center) and Die or Not (Seoul Art Space Mullae), and in China, Mask on/off (Shanghai Dramatic Arts Centre). Her work The Royale was selected for the National Exhibit at Prague Quadrennial in 2023. minjoo-design.com

Fan Zhang

Sound Design and Original Music

Berkeley Rep: Sanctuary City. Recent Off-Broadway: The Far Country and Paris (Atlantic), At the Wedding (Lincoln Center), This Land Was Made (Vineyard), Snow in Midsummer (Classic Stage), Our Dear Dead Drug Lord (Second Stage & WP), Pumpgirl (Irish Rep), Suicide Forest (Ma-Yi), On That Day in Amsterdam (Primary Stages), Behind the Sheet (Ensemble Studio), The Trail of the Catonsville Nine (Transport Group). Regional: Shakespeare Theatre Company in D.C., Arena Stage, Steppenwolf Theatre Company, Milwaukee Rep, Capital Rep, Artists Repertory Theatre, American Repertory Theater, Long Wharf, City Theatre in Pittsburgh, Portland Center Stage, Studio Theatre in D.C., Two River Theater, Westport

Country Playhouse, Williamstown Theatre Festival, Yale Rep, Huntington Theatre, and Old Globe. Head of the sound program at Purdue University. Education: MFA, Yale School of Drama. fanzhangsound.com

Hsuan-Kuang Hsieh Projections Design

Hsuan-Kuang Hsieh is a Taiwanese multimedia artist, currently based in Los Angeles. Her artistic repertoire spans experimental film, projection art, photography, and video installations, exploring a variety of mediums. As a projection designer, she collaborates with entertainment companies and theatres, crafting visual immersive experiences for live performances. Tacos La Brooklyn (LATC), The Great Jheri Curl Debate (East West Players, Stage Raw Award), Letters from Home (Merrimack Repertory Theatre, Elliot Norton Awards nomination), Until, Until, Until… (NY Performa Biennial), Magical Night in the Museum (Shanghai Oriental Art Center), TERRA (LACDC), Currents (Los Angeles Chamber Orchestra). She received her MFA at California Institute of the Arts. HsuanKuang.com

Erika Chong Shuch Movement

Erika Chong Shuch is a choreographer, director, and performance maker whose work spans devised experimental performance and social practice, and produces unexpected forms of audience engagement. Shuch co-founded For You, a performance collective that brings diverse strangers together and makes performances as gifts. For You has been commissioned to create work by Court Theatre, The Momentary, and Oregon Shakespeare Festival with support from Creative Capital and NEFA. Erika has worked as a choreographer for theatres including Arena Stage, Round House Theatre/Getty Villa, Theatre for a New Audience, Hudson Valley Shakespeare, Pittsburg Public, Portland Center Stage, American Conservatory Theater, Folger Theatre, Oregon Shakespeare Festival, and Kennedy Center. Erika is a Fellow at Headlands Center for the Arts and a guest artist at Stanford University.

Karina Fox Casting

Karina has been working as a casting director, producer, and director in the Bay Area since 2017. Before joining Berkeley Rep as the associate casting director and artistic associate in 2022, she was at Magic Theatre serving as the producing and casting director. Previous Magic Theatre casting credits include The Kind Ones; Monument, or Four Sisters (A Sloth Play); The Resting Place; and The Virgin Play Series (2018–2022).

Alyssa K. Howard Stage Manager

Berkeley Rep debut. NYC (selected): Angel Island (Prototype Festival), Poor Yella Rednecks (MTC), Lady M (Heartbeat Opera), Public Obscenities (Soho Rep), The Far Country (Atlantic Theater), ONCE UPON A (korean) TIME (MaYi Theater), Golden Shield (MTC), Wolf Play (Soho Rep), Nollywood Dreams (MCC), for colored girls… (Public Theater), Henry VI (NAATCO), Teenage Dick (Ma-Yi/Public), Glass Guignol (Mabou Mines). Other: Beth Morrison Projects, BAM, NYSAF, Page73, National Sawdust, Playwrights Horizons, Vineyard Theatre, Northern Stage, Berkshire Theatre

MAY 5–JUN 16, 2024

BOOK BY DANNY STRONG

MUSIC AND LYRICS BY MICHAEL WEINER & ZOE SARNAK

DIRECTED BY MICHAEL MAYER

CHOREOGRAPHED BY DAVID NEUMANN

Four-time Tony Award nominee Raúl Esparza stars in a dazzling world-premiere musical helmed by Tony Award winner Michael Mayer (Spring Awakening, American Idiot, Swept Away). Galileo is an explosive collision of science and faith, truth and power, and will likely join the constellation of world premieres that traveled from Berkeley Rep to Broadway — be the first to see it here!

Group, Connecticut Repertory Theatre, Yale Rep, McCarter Theatre, Orlando

Shakes. MFA: Yale School of Drama. BA: Williams College. IG: @shiningatthetop

Emily Betts

Assistant Stage Manager

Emily Betts is thrilled to return to Berkeley Rep after working on the ripple, the wave that carried me home; Cambodian Rock Band; Let the Right One In; POTUS; Harry Clarke; and The Ground Floor fall and summer residency labs Other theatre credits: A Christmas Carol, The Headlands (American Conservatory Theater); Indecent (Arden Theatre Company); and The Rose Garden (Philadelphia Fringe Festival). Emily was the Production Management Fellow for Berkeley Rep’s 2021/22 season and received a BFA in Directing, Playwriting, & Production from The University of the Arts in Philadelphia (go birds!). Endless gratitude to Mom, Dad, Zach, and the incredible Berkeley Rep staff.

Johanna Pfaelzer

Artistic Director

Johanna joined Berkeley Rep in 2019 as its fourth artistic director, following 12

years as artistic director of New York Stage and Film ( NYSAF ), a New York City-based developer of new works for theatre, film, and television. Johanna is proud to have developed work by notable established and early career writers like Hamilton by Lin-Manuel Miranda; Goddess by Saheem Ali, Michael Thurber, and Jocelyn Bioh; The Humans by Stephen Karam; Hadestown by Anaïs Mitchell; The Wolves by Sarah DeLappe; The Invisible Hand by Ayad Akhtar; A 24-Decade History of Popular Music by Taylor Mac; The Homecoming Queen by Ngozi Anyanwu; The Great Leap by Lauren Yee; Doubt by John Patrick Shanley; The Fortress of Solitude by Michael Friedman and Itamar Moses; The Jacksonian by Beth Henley; and Green Day’s American Idiot . Johanna previously served as associate artistic director of American Conservatory Theater and is a graduate of Wesleyan University and the Actors Theatre of Louisville Apprentice Program. She lives in Berkeley with her husband, Russell Champa, and their son, Jasper.

Tom Parrish

ADDITIONAL PRODUCTION CREDITS

REBS CHAN (BRET C. HARTE ARTISTIC FELLOW)

ASSISTANT DIRECTOR

REBECCA ANNE JANNEY

ASSOCIATE COSTUME DESIGNER

SOPHIE LYND (LIGHTING FELLOW)

ASSISTANT LIGHTING DESIGNER

BELLE ALATORRE (HARRY WEININGER SOUND FELLOW)

ASSISTANT SOUND DESIGNER

MILO BLUE

DECK CREW

CHRIS RUSSEL

AUTOMATION OPERATOR

CAZ HIRO

WARDROBE CREW

DESIREE ALCOCER

LIGHT BOARD PROGRAMMER/OPERATOR

ANGELA DON

SOUND BOARD OPERATOR

ISAAC JACOBS | ROBIN MAEGAWA | CARL MARTIN

KOURTNEY MCCRARY | SEAN MILLER

DREA RONQUILLO | TYLER SMITH

MAGGIE WENTWORTH

LAUREL CAPPS (SCENIC CONSTRUCTION FELLOW)

SCENE SHOP

KENZIE BRADLEY | JULIE ANN BROWN

WYN DI STEFANO | ALLIE KRANYAK

CAYLA RAY-PERRY | ALEXANDRIA XIONG

E WAYMAN-MURDOCK (SCENIC ART FELLOW)

SCENIC ART

ADAM CLAY | SOFIE MILLER | BRITTANY WATKINS

KATIE OWEN (PROPS FELLOW)

PROPS

LEAVE A LEGACY OF ARTISTIC EXCELLENCE

Members of the Michael Leibert Society are dedicated supporters who have included Berkeley Repertory Theatre in their estate plans. These gifts help to secure the Theatre’s future and ensure that for generations to come, Berkeley Rep will be creating ambitious theatre that entertains and challenges its audiences.

Managing Director

JANET CONERY | NELLY FLORES | MILENA GEARY

COSTUME SHOP

SHY BANIANI | BRITTANY COBB | RICHARD FONG

JACK GRABLE | ANN-CHRISTINE HARTZELL

TIFFANY HERNANDEZ-ALBERTO | JASON JOO

CHARLIE MEJIA | C. SWAN-STREEPY

MATTHEW SYKES | RILEY RICHARDSON

TAYLOR RIVERS | BEN VISINI

LIGHTING

COURTNEY JEAN | CAMILLE RASSWEILER

OLIVIA VAZQUEZ SOUND

KAYLA BADIA (PRODUCTION MANAGEMENT FELLOW)

ASSISTANT PRODUCTION MANAGER

FAITH ELDER (COMPANY MANAGEMENT FELLOW)

ASSISTANT COMPANY MANAGER

MEDICAL CONSULTATION FOR BERKELEY REP PROVIDED BY

AGI E. BAN DC | JOHN CARRIGG MD

CINDY J. CHANG MD | CHRISTINA COREY MD

NEIL CLAVERIA PT | PATRICIA I. COMMER DPT

KATHY FANG MD PHD | STEVEN FUGARO MD

OLIVIA LANG MD | ALLEN LING PT | LIZ NGUYEN, DPT CHRISTINA S. WILMER OD AND KATHERINE C. YUNG, MD

For more information, please contact Andrew Maguire, Philanthropy Officer at 510-647-2904 or amaguire@berkeleyrep.org.

Tom has served as a theatre leader and arts administrator for over 20 years, with experience in organizations ranging from multi-venue performing arts centers to major Tony Award-winning theatre companies. Prior to Berkeley Rep, he served as executive director of Trinity Repertory Company, Geva Theatre Center, and Merrimack Repertory Theatre and as associate managing director/general manager of San Diego Repertory Theatre. His work has been recognized with a NAACP Theatre Award for Best Producer and “Forty Under 40” recognition in Providence, Rochester, the Merrimack Valley, and San Diego. He received his MBA/MA in Arts Administration from Southern Methodist University; BA in Theater Arts and Economics from Case Western Reserve University; attended the Commercial Theater Institute, National Theater Institute, and Harvard Business School’s Strategic Perspectives in Nonprofit Management; and is certified in Leading Diversity, Equity, and Inclusion by Northwestern University. He and his husband live in Berkeley.

SPECIAL THANKS TO ED TEPPORN

DANIELLE WETMORE

SUSAN MOFFAT

THANK YOU TO OUR COMMUNITY PARTNERS

ANGEL ISLAND IMMIGRATION

THANK YOU to our supporters!

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

Institutional Funders

FOUNDATION

Anonymous (3)

The Sheri and Les Biller Family Foundation

The California Wellness Foundation

Civic Foundation, Inc.

Davis/Dauray Family Fund

The William H. Donner Foundation, Inc.

The Ira and Leonore S. Gershwin Philanthropic Fund

The William and Flora Hewlett Foundation

JEC Foundation

Koret Foundation

Laurents/Hatcher Foundation

Jonathan Logan Family Foundation

The Maurer Family Foundation

The Bernard Osher Foundation

The Shubert Foundation

Taube Philanthropies

Woodlawn Foundation

Corporate & Hospitality Sponsors

SEASON SPONSORS

EXECUTIVE SPONSOR SPONSORS

Donkey & Goat Winery

Mechanics Bank Wealth Management

Semifreddi’s

Wells Fargo Foundation

CORPORATE PARTNERS

Armanino LLP

Aurora Catering

Bank of Marin

Comal

Covenant Wines

Hugh Groman Catering

The Morrison & Foerster Foundation

The Resilience Campaign

PUBLIC FUNDING

Alameda County Arts Commission ARTSFUND

Berkeley Civic Arts Program and Commission

California Arts Council

National Endowment for the Arts

State of California

PERFORMANCE SPONSORS

Andrea Gordon Real Estate

Bayer

BluesCruise.com

BENEFACTOR SPONSORS

Ayaba Wines

Eureka!

Gallagher Risk Management Services

Heroic Italian

Kermit Lynch

Lucia’s Berkeley

Perfusion Vineyard

Picante

Residence Inn Downtown Berkeley

Revival Bar + Kitchen

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

California Wellness Foundation

Stephen & Susan Chamberlin

Robin & Rich Edwards

David & Vicki Fleishhacker

Kerry Francis & John Jimerson

Jill & Steve Fugaro

Karen Galatz & Jon Wellinghoff

Bruce Golden & Michelle Mercer

Marcia Grand

Frances Hellman & Warren Breslau

Dugan & Philippe Lamoise

The Jonathan Logan Family Foundation

Sandra & Ross McCandless

Gisele & Kenneth F. Miller

Jack & Betty Schafer

Pat & Merrill Shanks

Michael & Sue Steinberg

The Strauch Kulhanjian Family

Kelli & Steffan Tomlinson

Gail & Arne Wagner

Linda & Steve Wolan

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 people every year. We gratefully recognize our donors at the Champion level and above, who made their gifts between September 1, 2022 and January 12, 2024. We also express our deep gratitude to all of the Friends of Berkeley Rep that we are unable to recognize here due to space limitations.

Sponsors Circle

SEASON SPONSORS

Stephen & Susan Chamberlin

Yogen & Peggy Dalal

Bruce Golden & Michelle Mercer

Frances Hellman & Warren Breslau

Wayne Jordan & Quinn Delaney

Gisele & Kenneth F. Miller

Jack & Betty Schafer

The Strauch Kulhanjian Family

Kelli & Steffan Tomlinson

Gail & Arne Wagner

LEAD SPONSORS

Anonymous

Barbara Bass Bakar

Kerry Francis & John Jimerson

Marcia Grand

Mary Ruth Quinn & Scott Shenker

Allan Smith/Peet's Coffee

Michael & Sue Steinberg

EXECUTIVE SPONSORS

Anonymous

Anne & Anuj Dhanda

Bill Falik & Diana Cohen

Scott & Sherry Haber

Melanie Maier

Sandra & Ross McCandless

Pat & Merrill Shanks

Christopher Doane & Neal Shorstein, MD

Jean & Michael Strunsky

Steven & Linda Wolan

SPONSORS

Shelley & Jonathan Bagg

David & Vicki Cox

Christina Crowley

Robin & Rich Edwards

Jill & Steve Fugaro

Karen Galatz & Jon Wellinghoff

Melinda Haag & Chuck Fanning

Paul Haahr & Susan Karp

Rick Hoskins & Lynne Frame

Ms. Wendy E. Jordan

Rosalind & Sung-Hou Kim

Jack Klingelhofer

Suzanne LaFetra Collier

Susan & Moses Libitzky

Ed Messerly & Sudha Pennathur

Artistic Directors Circle

PARTNER

Anonymous (4)

Edward D. Baker

Byers Family

Italo & Susan Calpestri

Jennifer Chaiken & Sam Hamilton

Karen & David Crommie

Richard DeNatale & Craig Latker

Thomas W. Edwards & Rebecca Parlette-Edwards

Merle & Michael Fajans

Cynthia A. Farner

Linda Jo Fitz

Lisa Franzel & Rod Mickels

Dennis & Susan Johann Gilardi

Rico & Maya Green

Karen Grove & Julian Cortella

Richard N. Hill & Nancy Lundeen

The Jackson Family Foundation

Duke & Daisy Kiehn

Peggy Kivel

Randy Laroche & David Laudon

Joel Linzner & Teresa Picchi

Rosa Luevano & Charles Marston

Elsie Mallonee

Marymor Family Fund

Peter Pervere & Georgia Cassel

Pure Dana Fund

Sue Reinhold & Deborah Newbrun

Barbara Sahm & Steven Winkel

Jaimie Sanford & Ted Storey

Emily Shanks

Shirlen Fund, in memory of

Shirley & Philip Schild

Ed & Ellen Smith

Deborah & Bob Van Nest

Elizabeth Werter & Henry Trevor

Sheila Wishek

BENEFACTOR

Anonymous

Norman Abramson, in memory of David Beery

Eric Allman & Kirk McKusick

George & Marcia Argyris

Linda & Mike Baker

Michelle L. Barbour

Ashvini Bhave & Kishore Bopardikar

Becky & Jeff Bleich

Broitman-Basri Foundation

Ronnie Caplane

Constance Crawford

Dr. Jim Cuthbertson

Barbara & Tim Daniels

Richard & Anita Davis

Ilana DeBare & Sam Schuchat

Bill DeHart

Corinne & Mike Doyle

Jack & Valerie Rowe

Chris & Mike Rupp, Descendant Cellars

Joan Sarnat & David Hoffman

Felicia Woytak & Steven Rasmussen

ASSOCIATE SPONSORS

Anonymous (2)

Edith Barschi & Robert Jackson

Lynne Carmichael

Cindy J. Chang, MD & Christopher Hudson

Narsai & Venus David

William T. Espey & Margaret Hart Edwards

David & Vicki Fleishhacker

Steven Goldin

Dr. Daniel F. Goodman

Elise Haas

Earl & Bonnie Hamlin

Lynda & Dr. J. Pearce Hurley

Fred Karren, in memory of Beth Karren

Sy Kaufman & Kerstin Edgerton

Dugan & Philippe Lamoise

Linda Drucker

Sandra & Ken Eggers

William & Susan Epstein

Jerry Falk

The Flatows

Dean Francis

Sharon & Tom Francis

Herb & Marianne Friedman

Mio & Jon Good

Mary Graves

Robert & Judith Greber

Migsy & Jim Hamasaki

Dan & Shawna Hartman Brotsky

Tamra C. Hege

Ruth Hennigar

Thomas & Elizabeth Henry

Elaine Hitchcock

Bill Hofmann & Robbie Welling

Paula Hughmanick & Steven Berger

Marilyn & Michael Jensen-Akula

Bill & Lisa Kelly

Dana Kirkland

Stephen F. Kispersky

Michael H. Kossman

Jane & Mike Larkin, in memory of Lynn & Gerald Ungar

Jay & Eileen Love

Susanna & Brad Marshland

Rebecca Martinez

Henning Mathew & Michelle Deane

Eileen & Hank Lewis

Ali Long, In Honor of T. Dixon Long

Helen M. Marcus, in memory of

David J. Williamson

Phyra McCandless & Angelos Kottas

Erin McCune

Martin & Margi Cellucci McNair

Juan Oldham & Deborah Morgan

Tom Parrish & Steve Dow

Norman & Janet Pease

Johanna Pfaelzer & Russell Champa

Gary & Noni Robinson

Arthur & Toni Rembe Rock

Leonard X & Arlene B. Rosenberg

David S. H. Rosenthal & Vicky Reich

Patricia Sakai & Richard Shapiro

Cynthia & William Schaff

Sarah E. Shaver

Audrey & Bob Sockolov

Salomon Strategic Development

Susan West

Wendy Williams

Miles & Mary Ellen McKey

Susie Medak & Greg Murphy

Stephanie Mendel

Andy & June Monach

Geri Monheimer

Muriel Mora

Pam & Mitch Nichter

Carol J. Ormond

Janet & Clyde Ostler

Sandi & Dick Pantages

Barbara L. Peterson

Richard A. Rubin & H. Marcia Smolens

Monica Salusky & John K. Sutherland

Jeane & Roger Samuelsen

Dan Scharlin & Sara Katz

Jackie Schmidt-Posner & Barry Posner

Jon and NoraLee Sedmak

David & Lori Simpson

Karen Stevenson & Bill McClave

Alison Teeman & Michael Yovino-Young

Henry Timnick

Larry Vales

Kimberly Webb & Richard Rossi

Beth Weissman

Patricia & Jeffrey Williams

Mark Zitter & Jessica Nutik Zitter

Friends of Berkeley Rep

CHAMPION

Anonymous (5)

• Michael Barnett and Judith Bloomberg

ADVOCATE

Anonymous (13)

• Philip Arca & Sherry Smith

• Berit Ashla & Aron Cramer

Vassar

• Jon Carr

• Caroline Beverstock

• Eric Brink & Gayle

• Don & Gerry Beers

• Paul Feigenbaum & Judy Kemeny

• Anne M. Baele • Celia Bakke Deborah Barrera & John Steinbuch

• Paul Bendix • Patti Bittenbender • John Brennan & Stephanie McKown • Cathy Bristow • Tracy Brown & Greg Holland

• Sally Freedman

• Marjorie Ginsburg & Howard

• Donald & Dava Freed

Slyter

• Anne & Peter Griffes

• Henry L. Hecht

Alan Karras & David Schulz • Janet Kornegay & Dan Sykes

Shirley Langlois • Sherrill Lavagnino & Scott

Woof Kurtzman & Liz Hertz

McKinney • Andrew Leavitt & Catherine Lewis • Ellen & Barry

Levine

• Marcia C. Linn

Tom Lockard & Alix Marduel

Lois & Gary Marcus, in memory of Ruth Weiland

Marcus

Jane Neilson

Mose & Selma

Shanna O'Hare & John Davis

O'Young, MD & Gregg Hauser • Bob & MaryJane Pauley

L. Remillard • John & Jody Roberts

Mitzi K. Sales

Saxe • Amrita Singhal & Michael Tubach

Judy

Teresa

Dorothy

Suzanne Slyman

Cherida Collins Smith • Lisa Salomon • Valerie Sopher

Henry

Spencer & Nicky Cass • Gary & Jana Stein

Trevor & Anne-

Marie Strohman • Sam Test • William van Dyk & Margi Sullivan

• Gerald & Lynda Vurek-Martyn • Brian Watt & Daisy Nguyen

Jonathan & Kiyo Weiss

• Jane V. Buerger • Fran Burgess • Robert & Margaret Cant • Bruce Carlton • Laura Chenel • John Clawson & Teri Behm

• Barbara & Rodgin Cohen • Bart Connally • Pam & Mike Crane • Lynne Dal Poggetto • Harry & Susan Dennis

Jacqueline Desoer • Dr. Donald J. Dodelson • Adrienne M. Edens • Ben & Mary Feinberg • Martin & Barbara Fishman • Mary & Stan Friedman

• Chris R. Frostad • Ellen Geringer & Chris Tarp • Jane Gottesman & Geoffrey Biddle • Karen Greig & Mike Frank • Don & Becky Grether • Ellen Haddock • Dennis & Juanita Harte • Al Hoffman & David Shepherd • Barbara & Peter Jensen • May Johnston • Jeanne Killian • Robert Kinosian • Susan Kolb • The Komoroske Family • Andrea & Kenneth Krueger

Susan Carol Ledford • Jennifer S. Lindsay • Steve & Judy Lipson • Paulette Lueke & Robert McCully • Gerry & Kathy MacClelland Paul Mariano & Suzanne Chapot • M. Mathews & K. Soriano • Christopher McKenzie & Manuela Albuquerque

• Steven & Patrece Mills • Judy Minor • Ron Nakayama • Thomas Nelson • Judy Ogle • Patti Oji Haas • Judith & Richard Oken

• Geraldine Paddock • Lynne Parode & Sterling Lim • Tina & Thomas Parrish • Regina Phelps • Susie & Eric Poncelet • Kathleen Quenneville & Diane Allen • Daniel & Barbara Radin • Elizabeth Raffin • Lisa Regul & Rand Hawkins • Orna Resnekov & David Tennenhouse • Maxine Risley, in memory of James Risley • Deborah Dashow Ruth, in memory of Leo P. Ruth • Gretchen Saeger • Helen Schulak • Teddy & Bruce Schwab • Deborah Sedberry & Jeff Klingman • Jacob Sevart • Steve & Susan

Shortell • Christine Silver • Betsy Smith • George & Camilla Smith • Linda Snyder • Monroe W. Strickberger • Ragesh Tangri & Daralyn Durie • Fred & Kathleen Taylor • Ruthann Taylor • John & Christine Telischak • Karen Tiedemann & Geoff Piller

Dana Tom & Nancy Kawakita • Sarah Van Roo • Liz Varnhagen • Marcia & David Vastine • Rhona & Harvey Weinstein • Peter Wiley • H. Leabah Winter

The Michael Leibert Society

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

Anonymous (9)

Norman Abramson & David Beery*

Sam Ambler

Carl W. Arnoult & Aurora Pan

Ken & Joni Avery

Nancy Axelrod

Edie Barschi

Neil & Gene Barth

Susan & Barry Baskin

Linda Brandenburger

Broitman-Basri Family

Bruce Carlton & Richard G. McCall*

Victoria Carter*

Stephen K. Cassidy

Paula Champagne & David Watson

Terin Christensen

Sofia Close

Andrew Daly & Jody Taylor

Narsai & Venus David

M. Laina Dicker

Thalia Dorwick

Robin & Rich Edwards

Thomas W. Edwards & Rebecca Parlette-Edwards

Bill & Susan Epstein

William Espey & Margaret Hart Edwards

Bill Falik & Diana Cohen

Dr. Stephen E. Follansbee & Dr. Richard A. Wolitz

Kerry Francis

Dr. Harvey & Deana Freedman

Joseph & Antonia Friedman

Paul T. Friedman

Laura K. Fujii

David Gaskin & Phillip McPherson*

Marjorie Ginsburg & Howard Slyter

Mary & Nicholas* Graves

Elizabeth Greene

Sheldon & Judy Greene

Don & Becky Grether

Richard & Lois Halliday

Barry* & Micheline Handon

Julie & Paul Harkness

Linda & Bob Harris

Fred Hartwick

Ruth Hennigar

Daria Hepps

Douglas J. Hill*

Peter Hobe & Christina Crowley

Hoskins/Frame Family Trust

Lynda & Dr. J. Pearce Hurley

Robin C. Johnson

Janice Kelly & Carlos Kaslow

Bonnie McPherson Killip

Lynn Eve Komaromi

Nancy Kornfield

Michael H. Kossman

Woof Kurtzman

Scott & Kathy Law

Jim Lillienthal*

Dot Lofstrom

Andrew Maguire

Helen M. Marcus

Dale* & Don Marshall

Rebecca Martinez

Sarah McArthur LeValley

Sandra & Ross McCandless

Suzanne & Charles McCulloch

John G. McGehee

Miles & Mary Ellen McKey

Ruth Medak

Susie Medak & Greg Murphy

Stephanie Mendel

Toni Mester

Shirley & Joe Nedham

Jane & Bill Neilson

Pam & Mitch Nichter

Sharon Ott

Fr. David Pace

Amy Pearl Parodi

Barbara L. Peterson

Regina Phelps

Margaret Phillips

Marjorie Randolph

Gregg Richardson

Bonnie Ring Living Trust

David Rovno, M.D.

Tracie E. Rowson

Deborah Dashow Ruth

Patricia Sakai & Richard Shapiro

Brenda Buckhold Shank, M.D., Ph.D.

Emily Shanks

Kevin Shoemaker*

Theresa Nelson & Bernard Smits

Valerie Sopher

Michael & Sue Steinberg

Dr. Douglas & Anne Stewart

Jean Strunsky

Mary, Andrew & Duncan Susskind

Jim Tibbs & Philip Anderson

Henry Timnick

Guy Tiphane

Dana Tom & Nancy Kawakita

Phillip & Melody Trapp

Janis Kate Turner

Gail & Arne Wagner

Barry & Holly Walter

Weil Family Trust - Weil Family

Susan West

Steven & Linda Wolan

The Woolfson Blumenfeld

Living Trust

Karen & Henry Work

Anders Yang, JD

Martin & Margaret Zankel

*deceased

GIFTS RECEIVED BY BERKELEY REP

Estate of Suzanne Adams

Estate of Pat Angell, in memory of theater architect Gene Angell

Estate of Nina Auerbach

Estate of Helen C. Barber

Estate of Fritzi Benesch

Estate of Carole B. Berg

Estate of Nelly Berteaux

Estate of Jill Bryans

Estate of Paula Carrell

Estate of Nancy Croley

Estate of John & Carol Field

Estate of Ralph Garrow

Estate of Audrey J. Lasson

Estate of Zandra Faye LeDuff

Estate of Ines R. Lewandowitz

Estate of John E. & Helen A. Manning

Estate of Richard Markell

Estate of Sumner & Hermine Marshall

Estate of Margaret D. & Winton McKibben

Estate of Robert S. Newton, in honor of John T. & Jean Knox

Estate of Sheldeen G. Osborne

Estate of Timothy A. Patterson

Estate of Gladys Perez-Mendez

Estate of Margaret Purvine

Estate of Guy T. Roberts, Jr.

Estate of Leigh & Ivy Robinson

Estate of Stephen C. Schaefer, in honor of Jean and Jack Knox

Estate of Peter Sloss

Estate of Harry Weininger

Estate of Grace Williams

BERKELEY REP STAFF

Johanna Pfaelzer

Tom Parrish

ARTISTIC DIRECTOR MANAGING DIRECTOR

Frederick C. Geffken LIGHTING SUPERVISOR

Sarina Renteria ASSOCIATE LIGHTING SUPERVISOR

Kenneth Coté SENIOR PRODUCTION ELECTRICIAN

Desiree Alcocer PRODUCTION ELECTRICIAN

PROPERTIES

Jill Green

PROPERTIES SUPERVISOR

Amelia Burke-Holt

ASSOCIATE PROPERTIES SUPERVISOR

Lisa Mei Ling Fong

PROPERTIES ARTISAN

SCENE SHOP

Matt Rohner · Jim Smith

CO-TECHNICAL DIRECTORS

Read Tuddenham

HEAD CARPENTER

Patrick Keene

SCENE SHOP SUPERVISOR

Grant Vocks

DRAFTSPERSON

August Lewallen · Zach Wziontka

SCENIC CARPENTERS

SCENIC ART

Lisa Lázár

CHARGE SCENIC ARTIST

STAGE OPERATIONS

Julia Englehorn

STAGE SUPERVISOR

Gabriel Holman

ASSOCIATE STAGE SUPERVISOR

James McGregor

HEAD STAGE TECHNICIAN

SOUND/ VIDEO

Lane Elms

SOUND AND VIDEO SUPERVISOR

Chase Nichter

ASSOCIATE SOUND AND VIDEO SUPERVISOR

Angela Don

SENIOR SOUND ENGINEER

Akari Izumi

SOUND ENGINEER

ADMINISTRATION

Jared Hammond

FINANCE DIRECTOR

Katie Riemann

ASSOCIATE FINANCE DIRECTOR

Jennifer Light

PAYROLL ADMINISTRATOR

Alanna McFall

BOOKKEEPER

Kate Horton

EXECUTIVE ASSISTANT

Modesta Tamayo

DIRECTOR OF HUMAN RESOURCES AND DIVERSITY

DEVELOPMENT

Ari Lipsky

DIRECTOR OF DEVELOPMENT

Laura Fichtenberg

ASSOCIATE DIRECTOR OF DEVELOPMENT

Kelsey Scott

SENIOR INSTITUTIONAL GIVING MANAGER

Andrew Maguire

PHILANTHROPY OFFICER

Marcela Chacón

INDIVIDUAL GIVING MANAGER

Isabella Chayet

CORPORATE PARTNERSHIPS MANAGER

Elaina Guyett

STEWARDSHIP AND EVENTS MANAGER

Emily Betts

DONOR STEWARDSHIP COORDINATOR

Cassidy Milano

DEVELOPMENT OPERATIONS COORDINATOR

MARKETING AND COMMUNICATIONS

Voleine Amilcar

DIRECTOR OF MARKETING AND COMMUNICATIONS

Karen McKevitt

COMMUNICATIONS AND DIGITAL CONTENT DIRECTOR

Heather Orth

ASSOCIATE DIRECTOR OF MARKETING

DC Scarpelli

CREATIVE DIRECTOR

Kevin Kopjak –

Prismatic Communications

PUBLIC RELATIONS CONSULTANT

Lindsey Abbott

AUDIENCE DEVELOPMENT MANAGER

Calvin Ngu

VIDEO AND MULTIMEDIA CONTENT CREATOR

Beatriz Hernandez

MARKETING ASSOCIATE

FACILITIES AND OPERATIONS

Mark Morrisette

DIRECTOR OF FACILITIES

Adam Johnson

FACILITIES MANAGER

Thomas Tran

BUILDING ENGINEER

Jesus Rodriguez BUILDING TECHNICIAN

Theresa Drumgoole · Wendi Lau

Sophie Li · Darrel De La Rosa

FACILITIES ASSISTANTS

Amanda Williams O’Steen

DIRECTOR OF OPERATIONS

Destiny Askin

CRM PROJECT MANAGER

Christina Cone

WEB AND DATABASE SPECIALIST

Nicole Peña

BUILDING MANAGER

PATRON SERVICES

Derik Cowan

DIRECTOR OF TICKETING AND SALES

Gianna Francesca Vescio

BOX OFFICE SUPERVISOR

pan ellington · Joelle Joyner-Wong

Alanna McFall · Aya Newman

Em Parker · Dom Refuerzo

Christy Spence

BOX OFFICE AGENTS

Kelly Kelley

FRONT OF HOUSE DIRECTOR

Maddi Gjovik · Nina Gorham

PATRON SERVICES SUPERVISORS

Emma Allen-Landwehr · Alicia Battle

Megan Bedig · Steven Cole

Matthew Hayden · Latasha Hayes

Armando Herrera · Jeremy Johnson

Caitlyn Lee · Jennifer Light

Ana-is Lino · Kalani Murray

Maura Oliverira · Kathleen Parsons

Angela Phung · Nicolas Puorro

Tuesday Ray · Anna Riggin

Melissa Scheulin · Alana Scott

Debra Selman · Sloane Sim · Linda Wu

Anna Vorobyeva · Kailani Zabala

PATRON EXPERIENCE REPRESENTATIVES

BERKELEY REP SCHOOL OF THEATRE

Anthony Jackson

DIRECTOR OF THE SCHOOL OF THEATRE

Dylan Russell

ASSOCIATE DIRECTOR OF THE SCHOOL OF THEATRE

MaryBeth Cavanaugh

DIRECTOR OF CLASSES AND SUMMER PROGRAMMING

Ashley Lim

MARKETING AND REGISTRATIONS MANAGER

Elizabeth Woolford

CURRICULUM AND EDUCATION PROGRAM MANAGER

AeJay Antonis Marquis Mitchell

EDUCATION PROGRAMS ASSOCIATE

Bobby August Jr. · Rolanda D. Bell

Diana Brown · Erica Blue

Rebecca Castelli · Iu-Hui Chua

Jiwon Chung · Robin Dolan

Jim Edgar · Deb Eubanks

Rachel Garlin · Nancy Gold

Gary Graves · Marvin Greene

Gendell Hing-Hernandez

William Thomas Hodgson

Harper Iles · Erolina Kamburova

Clara Kamunde · Jennifer LeBlanc

Dave Maier · Eleanor Maples

Carolyn McCandlish · Patricia Miller

Blue Pascopella · Hans Probst

Pamela Rickard · Alexandra Rivers

Tessa Rosen · Teresa Salas

Joyful Simpson · Samuel Tomfohr

James Wagner

TEACHING ARTISTS

Matty Bloom · Joy Lancaster

Selma Meyerowitz

DOCENT CHAIRS

Ted Bagaman · Michelle Barbour

Beth Cohen · Michelle Cordero

Miles Drawdy · Charles Evans

Alice Galoob · Kimberly Gilles

Randi Helly Muriel Kaplan

Sue Kaplan · Ellen Kaufman

Jim Krampf · Richard Lingua

Mark Liss · Virginia McCarthy

Elaine Miller · Judith O’Rourke

Gigi Singer · Thomas Sponsler

Susan Wansewicz · Linda Williams

DOCENTS

2023/24 BERKELEY REP FELLOWSHIPS

Belle Alatorre

HARRY WEININGER SOUND FELLOW

Kayla Badia

PRODUCTION MANAGEMENT FELLOW

Gabrielle Bañuelos

COSTUMES FELLOW

Louis Blachman

BRET C. HARTE ARTISTIC FELLOW

Laurel Capps

SCENIC CONSTRUCTION FELLOW

Rebecca Chan

PETER F. SLOSS ARTISTIC FELLOW

Rodrick Edwards

MARKETING AND DEVELOPMENT FELLOW

Faith Elder

COMPANY MANAGEMENT FELLOW

Anthony Lopez

STAGE MANAGEMENT FELLOW

Sophie Lynd

LIGHTING FELLOW

Katie Owen

PROPERTIES FELLOW

E. Wayman-Murdock

SCENIC ART FELLOW

BOARD OF TRUSTEES

MAKING THEATRE

The proximity of Angel Island to Berkeley Rep offered the company of The Far Country the extraordinary opportunity to immerse themselves in the world of the play. On their second day of rehearsal, the company ferried to the island where they received a personal tour of the museum from Ed Tepporn, executive director of the Angel Island Immigration Station Foundation. After lunch, the cast read the two interrogation scenes on site. They reported after that the trip was “an extremely powerful experience” and that they sensed history in a “uniquely intense way.”

A NOTE FROM YOUR CREATIVE DIRECTOR: For the past 13 years, the words you’ve read throughout Berkeley Rep’s communications have been shaped by Karen McKevitt, our communications director. As she moves on, Berkeley Rep thanks and salutes her for her service and excellence. For my part, she’s the finest Editorin-Chief I’ve ever worked with. We will miss you, Karen, and we wish you only (and always) the best! —

Clockwise from bottom: Lloyd Suh, Jennifer Chang, Whit K. Lee, John Keabler, Feodor Chin, Tommy Bo, Jonathan Rhys Williams, Tess Lina, Sharon Shao

Sharon Shao, Kina Kantor

Jennifer Chang

PHOTOS: ALLISON PARAISO

SATURDAY, APRIL 13, 2024

Join us as we raise a glass to celebrate the transformative power of storytelling.

Single tickets are available now starting at $850. Visit berkeleyrep.org/ovation for more information or to reserve your tickets today!

OVATION GALA HONOREES

Michael Mayer belongs to a small group of individuals who have transformed the American Theatre. At the 2024 OVATION Gala, we will honor Michael’s championship of innovative storytelling and his dedication to new work, including Berkeley Rep’s upcoming world premiere, GALILEO. We will also salute Yogen and Peggy Dalal for their incredible commitment to musical theatre and new play development in the United States.

You won’t want to miss our biggest event of the year that provides critical support to Berkeley Rep’s artistic and education programs. We hope to see you there!

Questions? Email rsvpevents@berkeleyrep.org .