Berkeley Rep: Macbeth by Berkeley Repertory Theatre

An interview with Director Daniel Sullivan 16 · A primer on medieval Scottish royalty 18 · The program for Macbeth 25

THE BERKELEY REP M AGA ZINE 2 015 –16 · I S S U E 5

“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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M E E T T H E C A ST & C R E W · 26

BE R K E L E Y R E P P R E S E N T S MAC B ETH · 2 5

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 · 41

A letter from the managing director · 7

Individual donors to the Annual Fund · 42 Michael Leibert Society · 44

R E P ORT 13

Teacher talk · 11

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

Investing in a legacy of joy and bravery · 13

Staff, board of trustees, and sustaining advisors · 45

F E AT U R E S The bloody smoking sword: An interview with Director Daniel Sullivan · 16 Hail to Thee, Thane of Cawdor! A primer on medieval Scottish royalty · 18 16

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

The gadfly: Meet Macbeth Dramaturg Barry Kraft · 20 Pleasing a new monarch with a new play · 22

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 5 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 Graphic Designer Itzel Ortuño

Writers Katie Craddock Barry Kraft Sarah Rose Leonard Emma Nicholls Kashara Robinson

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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P ROL OG U E from the Artistic Director no place for sissies.” Neither is Macbeth. Shakespeare’s play about a man who murders his way to the throne and then careens toward madness is at once a thinly veiled parable about the court of James I and a violent meditation on conscience. With every ensuing murder Macbeth’s mind erodes, his spirit is corrupted, his heart destroyed. Lady Macbeth, exhorting her conflicted husband to seize the bloody time, falls victim to her own hallucinations and is finally swallowed by darkness. All the while, the world is slipping off its axis: witches utter odd prophecies as the invisible forces of nature become visibly unnatural, a reflection of the chaos created by human beings bent on slaughter. This is a play with few surprises, a lot of blood, and no hint of a happy ending. But, of course, being a play by Mr. William Shakespeare, the text is replete with spectacular poetry, relentless theatricality, and enough humanity to make us keep watching. Like a great haunted house, we want to see what’s in every room, to take a peek at characters eating through their lives as they wrestle with greed, loyalty, power, sacrifice, and, yes, love. To conjure such a theatrically dark universe you need artists with tremendous talent, rigorous craft, and unflinching spirit. Happily, we have assembled such a group. Dan Sullivan is one of our great directors, having done almost every play in the canon multiple times. He is flanked by the incomparable duo of Conleth Hill and Frances McDormand, who have graced our lives on the big screen in countless unforgettable performances, but who grace our stage for the first time. Together they lead a small army of superb designers and actors into the forbidden landscape of Macbeth. They aim to take no prisoners. For our part, we can only hope that any and all parallels to the modern world are not irrevocable, and that our desire to move civilization out of our present darkness and into the light…may yet win the day. Sincerely,

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March 2016 Volume 48, No. 5

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Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2016 Encore Media Group. Reproduction without written permission is prohibited.

P ROL OG U E from the Managing Director

It’s been quite a season already, and we

still have two shows to go. From Amélie to The Hypocrites’ Pirates of Penzance and Ayad Akhtar’s Disgraced, followed by Julia Cho’s Aubergine, we’ve done our absolute best to take you on a roller coaster ride of fine theatre—from the sublime to the ridiculous, from the refined to the raw, from irresistible love to unbridled wrath, and from propulsive enthusiasm to quiet contemplation. Now we bring you one of the great plays of the western canon, in a production that features the talents of a remarkable ensemble. We’ve been very proud of these productions, and you, our audience, have told us that you are more than satisfied. One of the best gifts I was given over the holidays was the call from an audience member who had just seen Disgraced and was moved enough to leave a message with her intense response to the show. She was still thinking about the play after having left the theatre, and it had resonated with her at her very core. This wasn’t the only call or message of thanks, and I count myself as a very lucky person to be the beneficiary of those calls. Though we’re looking forward to Mary Zimmerman’s Treasure Island and Sarah Ruhl’s For Peter Pan on her 70th birthday, we’ll be announcing—at the beginning of March—some of the shows that will comprise our 2016–17 season. If you’re a subscriber, you’ll be receiving your renewal packets in the mail so you can sign up for another exhilarating season of plays. Don’t put it off! We do our best to reward our subscribers’ loyalty with flexibility and affordability. We’ve had to turn away folks from sold-out performances this season, but subscribers could rest assured they wouldn’t be left out. And, of course, they enjoy the best prices. In recent years, it has been heartening to see the growth of our under-30 subscription base, and we’ve even seen growth in attendance among those young couples who are so busily juggling careers and their new families. It is a delight to be the “date night” for couples in search of an adult night away from the kids! So, in March check your mailbox, your inbox, or Berkeley Rep’s website to discover several shows in our 2016–17 season. Subscribers, renew and guarantee that you will enjoy a program that we expect will be as appealing as what you’ve already seen this year. (We also welcome new subscribers, of course!) Commit to date night with your loved one, family night with more of your loved ones, theatre nights with those friends with whom you’ve been wanting to spend more time, or even a night of quiet reflection by yourself. Either way, don’t miss out. Join us for next season’s adventure. Warmly,

Susan Medak

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PROUD PARTNER

What’s Berkeley Rep have in store next season?

STAY TUNED FOR OUR 2016–17 SEASON ANNOUNCEMENT! Featuring the return of your FAVORITE WHIMSICAL ARTISTS,

EYE-OPENING and MIND-EXPANDING world premieres, and the latest SMASH HITS. Join us for another season of

EXHILARATING, ADVENTUROUS, ENTERTAINING, and PROVOCATIVE shows. SUBSCRIBE AND SAVE over single ticket prices

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R E P ORT

Teacher talk BY KASHARA ROBINSON

At Berkeley Rep’s

School of Theatre, the mission of fostering students’ creative and artistic potential relies heavily on the staff of nearly 100 professional teachers and teaching artists who lead classes, workshops, and programs for students of all ages ranging from Gen Z to Baby Boomers. Three teachers from the School’s roster—Rebecca Castelli, Julian López-Morillas, and Bobby August, Jr.—give insight into their experience teaching and how it has informed their work as educators, performers, and students themselves. What is the benefit of continued training for artists? Rebecca: I strongly believe that there is always more to learn and that you can learn different things from

“...however accomplished you are, you can always broaden your horizon or deepen your understanding.” — J U L I A N LÓPE ZMOR IL L A S different teachers. I also believe that wherever you are in your life will affect where you are in your art. By continuing to train, an artist might come upon the

same concept that they encountered a few years ago, but find that they interact with the concept in a new and deeper way. Julian: I was surprised last year to have a very accomplished and successful actor ask to audit my Shakespeare class. He was obviously miles ahead of everyone else in the group in technique and experience, but he went through the basic approach to verse that I teach along with everybody else, asked questions, and worked on his text with humility and intelligence. He reminded me that however accomplished you are, you can always broaden your horizon or deepen your understanding. What have you learned about yourself through teaching? Rebecca: I have learned so much by helping my students deal with fear. It becomes very clear to me how detrimental fear is in the mind of an artist, and it reminds me to be mindful of the presence of fear in my own work. Fear pretty much stops us in our tracks. Teaching has also taught me how to be more present in the room, and that while it’s always good to have a plan, you had better be ready to scrap it and do something completely different based upon the needs of the people in the room. Have you found other ways of sharing your knowledge outside of the traditional classroom? Bobby: I’ve taught workshops and team building for many organizations CO N TIN U E D O N N E X T PAG E 2 0 1 5 –1 6 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 1

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

outside the classroom. More companies seem to be realizing the importance of communication and creativity in the workplace. Theatre artists excel with inspiration and collaboration, and the tools we work with—being present, listening, taking chances, making your partner look good—are applicable in all facets of life. Rebecca: Beyond my classroom work, I dialect coach for individual actors as well as theatrical productions. I have also taught seminars for court interpreters, both on vocal health and accent reduction. Julian: Recently I’ve written reader’s notes from an actor/director perspective on A Midsummer Night’s Dream, Romeo and Juliet, and Macbeth for the Shakespeare Pro app. The app affords access to the complete works, the First Folio editions, a Shakespeare biography, glossary, and tools for study. What’s an example of a breakthrough you’ve witnessed a student experience? Rebecca: One of my favorite stories of a student’s growth didn’t happen in one moment, or one semester, but rather over several years. The student joined my program in fifth grade, and was extremely shy and hesitant about performing. I had to push this student to participate, and at times I questioned both my effectiveness as a teacher and also why the student was in the class,

“Her work on the piece was breathtakingly honest and compelling to watch, and the whole class was blown away.” — R E BECC A C A ST E L L I as it seemed to make her so miserable! The student kept returning, though, and finally enrolled in the School’s Summer Theatre Intensive. We were doing compositions with Chekhov monologues, 1 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 5

and of course, this student was last to go. I didn’t expect much, honestly, but was just happy that she agreed to get up and perform in front of the others. Surprise! Her work on the piece was breathtakingly honest and compelling to watch, and the whole class was blown away. It seemed to me like she had been watching and taking in all these theatrical concepts, and she was finally ready to use them. In your own training, what was your favorite class? Julian: At Carnegie-Mellon, where I studied directing, the best and most useful directing class I ever had was a costume history class. You can never predict what training is going to emerge as important! Rebecca: I take improvisation classes at the School of Theatre, and I’ve learned so much from the teacher about being in the moment, embracing mistakes, and being a generous scene partner. She is very present as a teacher—very honest and real with her students. I strive for that kind of mindfulness in my own teaching. At the end of each class session, what do you hope the students will walk away with? Julian: I always hope I’ve given my students a set of tools that they can employ to get through to the meaning, dynamic and effective delivery of any Shakespeare text, and to appreciate the complexity and vividness of the characters that he created. Rebecca: At the end of each session, I hope that students walk away with a little more confidence in themselves and in their ability to create theatre. Bobby: Theatre has changed my life for the better in so many ways. I hope my students are able to see how the tools we utilize in class can positively influence their lives—both on and off the stage.

Study with these teachers and others this spring! Register today for youth, teen, and adult classes beginning April 4. berkeleyrep.org/classes

Paul and Julie Harkness, Michael Leibert Society members

R E P ORT

Investing in a legacy of joy and bravery BY EMMA NICHOLLS

Julie and Paul Harkness, Michael Leibert

Society members, Berkeley Rep subscribers for a combined 48 years, and 49ers/Giants fans, share their thoughts with Executive Assistant Emma Nicholls on performance, arts education, and expanding horizons.

How did you first get involved with theatre? Julie: In the ’60s, the Presidio had a little theatre on their base that they supported. They were doing Marat/Sade and they needed a large cast. I had eight lines and with my tiny, crazy bit I won a local Best Actress award. Paul: In my major debut, I also had eight lines! I started at Cal State East Bay as a technical theatre major. One day there was a shortage of actors and I was the only one who would do it. The play bombed, but the invisible hand of the dramatic arts pulled me in. The discipline of the theatre gave my life some structure. You two have been teaching acting to homeschooled children for the last five years. What do you think theatre offers young people? Paul: Theatre is a great tool for self-confidence. Their humanity is expanded by their experience in the theatre.

What does Berkeley Rep provide for audiences? Julie: It can open people’s minds to new ideas and to current problems. Paul: Theatre allows us to open up to world issues. It’s like what Shakespeare said about holding up a mirror to nature. You want to call yourself a human? Well, this is what you look like at your best, this is what you look like at your worst.

“Theatre allows us to open up to world issues.” —PAU L H A R K N E S S What Berkeley Rep play has had the greatest impact on opening your mind to new ideas? Julie: Disgraced. It was just so relevant to how people are dealing with all of their feelings and their fears. Paul: In a way, it takes courage to be a Berkeley Rep subscriber. You have to confront your values and your belief systems. American Buffalo blew me out of the water. Berkeley Rep picks plays that open your consciousness to world conflict—not just regional or national. CO N TIN U E D O N N E X T PAG E

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music

dance

theater

Cal Performances U N I V E R S I T Y

O F

C A L I F O R N I A ,

2015/16

S E A S O N

B E R K E L E Y

Alvin Ailey American Dance Theater Robert Battle, Artistic Director Masazumi Chaya, Associate Artistic Director

You are planning to divide the majority of your estate amongst four theatres. What draws you to these companies? Julie: These theatres have given so much to us in our enjoyment and personal growth and have brought us together with friends. We like Shakespeare in particular, and all the productions that can give you clearer insight, even if you have known the play for 40 years. It’s exciting to come away saying, “Wow! I had never seen that before!” Paul: They are top-drawer theatres. It’s like going to school—it keeps in focus everything we know about acting, directing, and what a play can be. It adds to the whole history of our experience in the theatre.

“‘What has given us the most joy in our life together?’ And it just had to be our theatres.”

Featuring four Bay Area premieres, including two by Robert Battle, plus Revelations and other audience favorites.

March 29–April 3 Z E L L E R B A C H H AL L Corporate Sponsor: Mechanics Bank

—J U L IE H A R K N E S S

Billy Collins and Aimee Mann

Why did you decide to put theatres in your will at all? Julie: We just had to sit down finally and talk about the future. I just said “What has given us the most joy in our life together?” And it just had to be our theatres. Paul: Our children are our theatre companies. That’s who we watched grow up, that’s who we nourish and send to college, it’s who we support. It wasn’t hard to take the extra step.

Former U.S. Poet Laureate Billy Collins and Indie rock singer-songwriter Aimee Mann come together for a rare evening of poetry, acoustic music, and conversation about the creative process.

April 24 Z E L L E R B A C H H AL L

Edgar Oliver

Helen and Edgar A hilarious and heartbreaking story of a strange childhood in Savannah, Georgia, told by the celebrated raconteur Edgar Oliver

May 5–8 Z E L L E R B A C H P LAYHOUSE

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Season Sponsor:

To learn more about how to make great theatre your legacy, visit berkeleyrep.org/ support/mls

Oscar de la Renta THE RETROSPECTIVE

M A R 1 2 – M AY 3 0 , 2 0 16 Oscar de la Renta’s designs celebrated the best in us— beauty, optimism, and confidence. See more than 130 ensembles in the first major retrospective to pay tribute to one of the most beloved and influential fashion icons of our time. HERBST EXHIBITION GALLERIES This exhibition is organized by the Fine Arts Museums of San Francisco with the collaboration of Oscar de la Renta LLC. Presenting Sponsors: Cynthia Fry Gunn and John A. Gunn. Director’s Circle: Diane B. Wilsey. Curator’s Circle: Lisa and Douglas Goldman Fund, The Diana Dollar Knowles Foundation, Marissa Mayer and Zachary Bogue, and Carl and Yurie Pascarella. Benefactor’s Circle: Paula and Bandel Carano, Stephanie and Jim Marver, Neiman Marcus, and Jennifer and Steven Walske. Patron’s Circle: Mrs. Carole McNeil and Mr. and Mrs. Joseph O. Tobin II. Additional support is provided by Mrs. George Hopper Fitch, and Mr. and Mrs. William Hamilton. Photo: Steven Meisel / Art + Commerce

The bloody smoking sword: An interview with Director Daniel Sullivan BY SARAH ROSE LEONARD

Daniel Sullivan is one of America’s

most consummate Shakespearean directors. In the past decade he has directed The Merry Wives of Windsor, A Midsummer Night’s Dream, All’s Well That Ends Well, Julius Caesar, Twelfth Night, As You Like It, The Comedy of Errors, King Lear, and Cymbeline at the Public Theater’s Delacorte Theater in Central Park, and notably transferred his park production of The Merchant of Venice to Broadway in 2010. Sullivan was raised in San Francisco, attended San Francisco State, briefly moved to New York in his 20s, and then found his way to Seattle Repertory Theatre, where he was the artistic director from 1981 to 1997. In the late 1990s he made a permanent move to New York, where he has since worked steadily directing classical work and esteemed new plays on and off Broadway. This production is Sullivan’s first time staging Macbeth, one of Shakespeare’s most famous works. Before rehearsals Literary Manager Sarah Rose Leonard spoke with Dan about the themes of ambition, fear, and madness in the legendarily murderous drama. Sarah Rose Leonard: Why did you want to direct Macbeth at this point in your career? Daniel Sullivan: I have seen three or four productions in the last 10 years or so, and I just began to see the play as more interesting than I previously thought it was. Macbeth’s constant questioning of what he’s doing, and that very human flaw of ambition, is something we can all identify with. Ambition draws us; it can become terribly hypnotic and can make us bad. If you make that first step, as Macbeth does, the whole play then is basically consequence. I think that’s dramatically interesting. 1 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 5

Other murderous figures in Shakespeare don’t question their actions—they actually take joy in them, and that’s not something that Macbeth does. He’s simply trying to fix the thing that he’s already put in motion, and it continues to go awry for him. More than anything, there’s a consciousness to him. As he says, “I have no spur to prick the sides of my intent, but only vaulting ambition, which o’erleaps itself....” But the fact is that he still goes forward…in fact, there’s no returning from what he’s done, and I think he knows that. What do we know about the Macbeths’ relationship to violence before their first murder? It’s interesting that our introduction to Macbeth is hearing about how he beheaded his rival and stuck his head on a pike. And the very next thing is Lady Macbeth hearing the news and saying he’s got too much of the milk of human kindness. I think we have to understand that this was simply part of the conventions of war—Shakespeare is just trying to say that he was a good soldier. Even in Shakespeare’s time, bodies were

...it’s the thing that she’s unleashed, who in some way she doesn’t recognize anymore... drawn and quartered in the town square and hung there for days. So it’s not as though our terror at the idea of beheading was shared by the Elizabethan audience. Her talking about him having the milk of human kindness is, I think, more about what we hear later when he tries to back out of what they have decided to do.

It’s interesting that the scene where he decides to go forward with the murder isn’t in the play—you don’t really know if the murder plot comes from Lady Macbeth or if it comes from him. It’s an interesting omission and you have to sort of guess at it. Could you share some thoughts on the Macbeths’ marriage—particularly in relation to other Shakespearean romantic pairings? What is usual, or unusual, about their dynamic? They’re unique in the passion they have for one another. Mired within their murderousness, they are two people taking care of each other. But something happens, and it’ll be an interesting thing to explore—he basically separates from her in terms of his plotting; once he gets the murderers on board to kill Banquo, he is no longer consulting her. And so that partnership starts to wither in some way. We always wonder what it is that drives her crazy because she is so much the instigator. But I think it’s more about him than it is about what she’s done—it’s the thing that she’s unleashed, who in some way she doesn’t recognize anymore—the idea of the milk of human kindness in Macbeth seems to have been buried and she no longer really knows him. Macduff is often seen as a moral foil for Macbeth. How do you see Macduff functioning in relation to Macbeth? Macduff is an interesting character because in the scene with Malcolm, he is accepting some of the most egregious things about Malcolm until he finally can’t take it anymore. He ends up looking with huge disappointment at him, but still trying to make it work. There is the politician in Macduff. And the large question is: What happens at the end of the play? Is it really as positive as it states? Is the future politically going to be what it has been—is Malcolm going to end up being a great leader? We’re not quite certain that we’re left in the hands of angels at the end of the play. There’s this undercurrent of evil no matter who you’re on stage with in the play. Right. Trustworthiness is very much an issue, from the beginning of the play. We don’t know where Banquo stands. There’s that really interesting scene with Lennox and the lord where you don’t quite know: is Lennox on his side? Is he promoting Macbeth? Is he testing these guys by saying these things? Fear drives so much of the play. The fear of not knowing who your partner is is a huge thing in the play.

Daniel Sullivan P H OTO CO U R T E S Y O F K E V I N B ER N E .CO M

How do you make sense of this play given the instability of the medieval Scottish time period? James came into English royalty as a Scottish king, and the idea of joining England and Scotland together was something that Shakespeare certainly wasn’t going to go against, but there’s an ambivalence in it. What I find so wonderful about Shakespeare is that even though he was able to play up to a king like James, at the same time he left a lot of unanswered questions about what was going to happen in the future. We’re doing the play in its period, in the Dark Ages. I feel it’s really about the bloody smoking sword. I think that certainly it’s a world that begins to live with a kind of fear that bad things can happen at any time. But I’m not here to underline those themes. I simply feel that we identify with it, as something that’s very much present in our world today. Can you talk about the role of fate in the play? Fate is created; it’s not something that exists. One of the things that I disagree with [literary critic] Harold Bloom about in terms of the witches is that they don’t make things happen…. I believe they absolutely do. Without them, I don’t think the play would take place. The witches are the driving force. Oh, very much so. You can see it as a test—they see this huge ambition in this man, and they promote it. You can see it as some sort of universal, that everyone has this potential; let’s see what we can do to pull it out of him. But they have agency in the play. I don’t think this world would collapse without their pushing it. Macbeth wouldn’t do what he does, I believe, if it weren’t for the seeing eye of the witches knowing what his flaw is, and promoting it from the beginning. I mean, if Macbeth came back from the war and had not met the witches who suggest to him what the future is going to be, would he kill Duncan? I think that’s a big question. 2 0 1 5 –1 6 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 7

HAIL TO THEE, THANE OF CAWDOR!

A primer on medieval Scottish royalty B Y K AT I E C R A DD O C K

There are few surviving literary or historical chronicles of the early rulers of Scotland; its early history is almost labyrinthine in its complexity and contestability. We do know that five major tribes—the Picts, Gaels or Scots (who were actually from Ireland), Angles, Britons, and Norsemen—occupied Scotland before they were first unified under Kenneth MacAlpin. Each tribe had its own traditional system for determining its rulers, and these systems were not entirely harmonious. For example, the Picts likely used matrilineal succession, where the Scots did not permit succession through maternal bloodlines. The story of medieval Scottish succession, therefore, is rife with arguments, confusion, and full-on battles. Kenneth MacAlpin began a royal succession known today as the House of Alpin—17 kings who reigned in Scotland for almost 200 years, from approximately 843 until 1034. The House of Alpin followed tanistry, a Gaelic custom for passing on titles and lands. Under tanistry, the king was elected by family heads in an assembly. The family heads concurrently elected a tanist, or heir-apparent, so if the king died or became unfit to rule, the tanist could become king immediately, avoiding a period of chaos and preventing a dangerous power vacuum. These assemblies mandated that a king must be fully grown and sound of mind and body; once elected, he would rule for the rest of his life. In a significant departure from the English primogeniture system, the tanist was not necessarily the king’s firstborn son; rather, any qualified male relation

The story of medieval Scottish succession, therefore, is rife with arguments, confusion, and full-on battles. (brother, cousin, nephew) could be elected. In the case of the House of Alpin, tanist Giric impatiently killed off his predecessor Aed to become king; several others are rumored to have done the same during the first centuries of Scottish royalty. Scottish society in the High Middle Ages (a period roughly between 900 and 1300) was a legally stratified feudal system. “Laws of the Brets and Scots,” a codification document from the period, describes five castes: king, mormaer, 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 5

toísech (thane), ócthigern (a non-noble freeman who owned land or livestock), and serf (before the 12th century, Scotland also recognized a sixth group—that of the mug, or slave). The mormaers and thanes had similar roles, though the mormaers ranked above thanes, falling right beneath the king of Scotland. It is generally thought that for the purposes of Macbeth, Shakespeare condensed the classes of mormaers and thanes into merely thanes to describe the rank of characters such as Macbeth and Macduff—one large, noble, land-holding class just below the king filled with nephews and cousins, all of

These assemblies mandated that a king must be fully grown and sound of mind and body... whom could potentially inherit the throne of Scotland. These lords controlled most of Scotland’s northern territory and ruled over their lands like kings of provinces: they were the secular and religious leaders of their territories, supervising law and maintaining order, and had their own warrior societies. They were expected to pay a regular cain, or tribute, to the king of Scotland—usually in the form of weaponry, livestock, and taxes collected from peasants. They were also expected to provide conveth, or food and hospitable accommodations for the king whenever he wished to visit. When required, these lords would give up their local armies in service of the king’s battles and expositions. The House of Alpin came to an end with Malcolm II, who left no male heirs. Duncan I, the son of Malcolm II’s daughter Bethóc, began the House of Dunkeld. Early in Duncan’s reign, Macbeth was recorded as Duncan’s dux, which could mean both “duke” and “war leader,” implying that Macbeth may have been Duncan’s right-hand military man. When Duncan led an army into Macbeth’s northern domain of Moray, Duncan was killed in battle against Macbeth, and Macbeth succeeded him as king. Duncan followed his relative and predecessor Kenneth MacAlpin and many of the early Scottish kings in burial at the Isle of Iona’s Rèilig Odhrain, an ancient island burial ground off the western coast of Scotland. Macbeth was the last of these kings to be buried on the Isle of Iona after Malcom III, Duncan’s son, killed him.

M ACBET H FA M ILY T R EE KENNETH IV

KENNETH II

M A L COL M I I

SI WA R D

BE T HÓC

DOA DA

SI N E L

GRUOC H

M AC BE T H

DU NC A N

M A L COL M I I I

E DG A R

B A NQUO

DONA L B A I N

A L E X A N DE R I

F L E A NC E

DAV I D I

M A RG A R E T

WA LT E R ST UA RT

ROBE RT I I

JA M E S I V JA M E S I 2 0 1 5 –1 6 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 9

The gadfly: Meet Macbeth Dramaturg Barry Kraft BY SARAH ROSE LEONARD

Barry Kraft is a rare breed: He is one of the few Shakespeare dramaturgs on the planet. He has spent the bulk of his professional life—and childhood—immersed in the Bard’s writings as an actor and avid reader. He comes to Berkeley Rep’s production of Macbeth from the Oregon Shakespeare Festival, where he helps directors, actors, and designers navigate historical context and tricky language. Literary Manager Sarah Rose Leonard talked with Barry about the process of dramaturging a Shakespeare play and the elusive, enduring power of one of his most famous works, Macbeth. Sarah Rose Leonard: I hear you’ve acted in all 38 of Shakespeare’s plays. Is that correct? Barry Kraft: I have, and many of them several times. That’s incredible. How did dramaturgy come into your life? My first Shakespeare play was when I was 12 years old; it was one of John Carradine’s last Hamlets. He came through my hometown of Laguna Beach with his core company and auditioned locals for the peripheral roles. I was cast as the 2 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 5

prologue to the play within a play, The Murder of Gonzago. And I thought, “Shakespeare, wow!” It was life-changing. I started reading, and studying, and seeing, and I was totally imbued with Shakespeare—everything: criticism, amateur productions, listening to it on records; I just couldn’t get enough. And I have a very retentive memory, so much of Shakespeare stayed in my head. And as the years and decades went by, I became a font of knowledge (sometimes unwelcome, sometimes welcome). It was back in the end of the ’92 season, Henry Woronicz, who was the artistic director of osf (Oregon Shakespeare Festival), said, “How would you like to be a dramaturg?” I guess somebody had talked to him and said, “Kraft’s very helpful in rehearsals.” So he said, “Why don’t you—” because they didn’t have an official dramaturg then—“Why don’t you be [our] dramaturg?” So I said to Henry, “What’s that?” And Henry said, “I don’t know either, but we’re going to find out together,” which I loved. And I said, “But I want to keep on acting!” There’s a thing in our culture—very seldom are you allowed to be a recognized practitioner in two different fields. They say, “You’re this, so you can’t be that.” It’s really awful—instead of widening the horizons, they squeeze them in on you. And I said, “We’ll find out what a dramaturg is, but I still want to act.” Just imagine if someone had said to Shakespeare 400 years ago, “You can only be one of these: an actor, a poet, a playwright, or a shareholder in the Globe Theatre—now choose!” How much poorer his life would have been! For many seasons at osf, I would take a small part in a play, like John of Gaunt in Richard II, and I would dramaturg it at the same time—or the Poet in Timon of Athens. So the shift was very gentle. So after a time I said to myself, “I’ve acted in all the plays. Why not just focus on dramaturgy?” It’s a shorter gig and leaves more time for travel and other interests. When you’re dramaturging a show, whether or not you’re acting in it, how do you prepare for the production? With Shakespeare, the big difference is that half of his plays are published in at least two forms (usually just two—the early quartos during his lifetime, except for Othello, and then the great first folio in 1623 that contains 36 of the plays, half of

them never before published). With many of those plays, there are gigantic differences in the original texts. So the first thing I do with those plays that have two or more original forms is I make a parallel examination and highlight each instance of what I think is a meaningful difference. It could be in just a wording, it could be in the character who’s saying the speech— whenever there’s a difference between quarto and folio, I put it out on paper and then present it to the director. Before we start we decide which of these choices, quarto or folio, we might want to do. Now, in the case of Macbeth, there’s only one source, it’s just the folio. There I don’t do a quarto/folio comparison, but I of course read, and reread, the play minutely. Then I make notes of the meanings of the words—I use anywhere from five editions to 17, as when I dramaturged King Lear. I try to find the clearest definition of obsolete words or allusions that the actors can use. And if a couple, or several, editors disagree about the meaning, I gather all of those meanings so the director, the actor, and I can collaborate on what is actually being said at that precise moment, for the needs of that specific production. When you’re in the rehearsal room, what are you focusing on? One of the things I do is usually sit next to the director and listen to the questions that the actors come up with, and I will give an answer when it seems appropriate. Sometimes it’s hard for dramaturgs in the room to do that, because the director and the actor are hot at it, and the dramaturg has something to say that lends light, but it’s very hard sometimes to break in on the director-actor conversation. I call myself a

I call myself a “gadfly” at the Festival, and I base it on Socrates’ defense... “gadfly” at the Festival, and I base it on Socrates’ defense, “I’ve been charged with corrupting the youth of Athens. I haven’t done any such thing; Athens is like a very large and lazy horse, and what I do is go in like a gadfly and pester it, and I ask questions, and I make the city answer, and in the end you may swat me and kill me”—which, of course, they did; he had to drink the hemlock—“and then you’ll go on sleeping for the rest of your life.” So sometimes what I have actually done, after I’ve told the director I’m a bit of a gadfly, I’ll go, “Bzzzz!” And they can say, “Not now!” or whatever, but they know the dramaturg has something to offer at that moment. Most of the directors I’ve worked with many, many times, I have an ease with about knowing when to come in. Do you find historical context important for Shakespeare’s plays? It really depends on the specific play. In a play like Macbeth, I’m reading Holinshed’s Chronicles, realizing that Shakespeare had two different stories, with names slightly changed, about the murder of the king and the retribution. I find that fascinating. A prince of a scholar, Alan Dessen, told me decades ago, “When you’re looking, Barry, at the original source

and what Shakespeare did, it’s fun to see where Shakespeare copies slavishly, but it’s far more interesting to see where he alters his source to interject his own viewpoint.” So far, the

...unlike Romeo and Juliet, Othello, King Lear, and Hamlet, Macbeth dies isolated from his nearest and dearest. most interesting thing I’ve found in the Holinshed is that the Macbeth character was competently on the throne for 10 years after having murdered his predecessor. So you think, “What does Shakespeare achieve by having these events take place over no more than a year or two, enough time for Macbeth to make himself a tyrant who everybody hates and wants to depose? What does that mean in terms of speed of the play?” So with the historical context for Macbeth, I’m interested in the court of James, the witch trials, James’ interest in witches, Banquo, and James being a descendant of Banquo and all of that—the equivocation, the trials of the Gunpowder Plot—all of that stuff. What’s something you’ve learned about Macbeth that’s surprised you? It must’ve been Jonathan Bate who made the observation that, unlike Romeo and Juliet, Othello, King Lear, and Hamlet, Macbeth dies isolated from his nearest and dearest. Romeo and Juliet are practically in each other’s arms; Othello is strangling the object of his love; King Lear is holding his daughter in his arms; and Horatio is right there at the final seconds, receiving the injunction from Hamlet, “And in this harsh world draw thy breath in pain,/To tell my story.” But Lady Macbeth dies isolated, and Macbeth dies isolated from her, and I thought, yes, that is surprising. It’s obvious, but I had never considered it before. What is a burning question you have about this play right now? I’m thinking about the movie American Sniper. It’s the story of a soldier—a man who is eminently good at picking off the enemies, and then he comes home and he can’t find a way to interject himself into peacetime society, his family, and friends. I think this is the story of war. This play of Macbeth is so troublesome to me—it’s a burning question of how you can go off and kill, in hand-to-hand combat, so many humans, and get such high praise for doing so, and then come back and say, “Well, why is it bad now? If I perceive this person to be my enemy, and I could be king—as I seem fated to be—why is it a bad thing to exercise my skill in taking him off?” And this is why it’s deeply troubling to me. I was a conscientious objector—I refused induction during the Vietnam War—but I’ve been thinking about war and warfare all of my life. How do you go from being a killer of human beings, with ease, to ingratiating yourself in society and saying, “No, that is a wrong activity now, even though it was right before, and it could be right again”? 2 0 1 5 –1 6 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 1

Pleasing a new monarch with a new play

T R EE I L LU S T R AT I O N CO U R T E S Y O F W EL LCO M E I M AG E S

BY BARRY KRAFT

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

Early in the play, three wayward/weïrd sisters en-

counter the Scottish warriors Macbeth and Banquo and speak predictions “of noble having and of royal hope” to Macbeth. Banquo, feeling more than a bit neglected, demands of them, “If you can look into the seeds of time/And say which grain will grow, and which will not,/Speak then to me.” The remainder of the play sprouts from the growth of the seeds planted, or foreseen, by those three strange women. “The seeds of time” is a resonant phrase, meaning in part the sources of future events. If poet-playwright William Shakespeare had the power of looking into the seeds of time, what might he have seen upon the death of Queen Elizabeth on March 24, 1603? For starters he would have seen (as would practically everyone else) the smooth ascension of the 36-year-old King James VI of Scotland to the throne—thus becoming King James I of England. But could Shakespeare have foreseen that the new King would prove to be even more fond of the theatre than Elizabeth was, and that within two months of donning the crown, James would bring Shakespeare’s acting company directly under his royal patronage? Actually “royal protection” rather than “royal patronage” would be a more precise term to describe the connection between court and theatre. If London’s city magistrates had their way, there would be no theatre at all: players and playgoers, they firmly believed, were elements of a sinful, dirty business— the Devil’s domain. Only by means of the useful fiction that the plays performed at public theatres were extended rehearsals, practice trials to prepare the works for court consumption, was theatre permitted to exist. However, only when performing at court before the King (usually during holiday seasons) would the King’s Men—as Shakespeare’s company would come to be known—receive lavish royal rewards for their efforts. All other times the company had to rely on gate receipts to make ends meet. We imagine that Shakespeare, motivated by necessity and curiosity, began to enquire into the habits, history, likes, and dislikes of this new English monarch, two years his junior. He studied his quarry with a keen eye. For instance, James had been heard to say that he disliked long plays, and eyewitnesses had observed him slumbering through them. Duly noted. Then there was the royal practice of “touching for the King’s Evil.” From the time of Edward the Confessor (1042) the condition of the “King’s Evil”—tuberculosis of the lymph nodes in the neck—was allegedly cured by the laying on of royal hands. King James was always pleased to exercise this power. Duly noted. And what about genealogy, family trees? King James I boasted to have traced his royal Scottish lineage

from a (mythical) Banquo’s (mythical) son Fleance, on up to himself. Duly noted. More importantly, there was the matter of witchcraft. James had an almost morbid fascination with witches, witch trials, witchcraft. He believed that his own life and concerns had been put into jeopardy on several occasions through the agency of witch sorcery. He had attended witch trials, avidly

Actually “royal protection” rather than “royal patronage” would be a more precise term to describe the connection... cross-examined and testified against supposed witches, and had administered capital punishment to the unfortunate women his courts found guilty of practicing witchcraft. In 1597, James wrote and published his own contribution on the subject: Demonology, in Form of a Dialogue. Duly noted. All well and good. But now, how were these disparate duly noted Jamesian threads to be knotted together into an actual and actable performance piece that would be well received by the monarch? It might seem that one crucial element was missing—the plot. Creating a storyline was never a problem for Shakespeare: he simply hitched his imagination and poetic skill to whatever readily available vehicle he fancied—be it another author’s play, poem, tale, biography, history, etc.—and drove off in his own direction. Only a handful of the 40 plays he wrote, or occasionally collaborated upon, feature an original plot. (In today’s world, the Bard would be behind bars for plagiarism.) Plot creation wasn’t his skill: what he did with plots was! In the case of Macbeth, he dipped back into a favorite source he had often used for his English history plays—Raphael Holinshed’s Chronicles of England, Scotland and Ireland, 2nd edition, 1587. Shakespeare lifted most of the facts of Macbeth’s career from Holinshed’s history, but for details of the murder of King Duncan he substituted Holinshed’s account of the murder of an earlier Scottish king. Shakespeare’s most dynamic alterations of the chronicle history were to severely truncate and blacken Macbeth’s 10 years of well-governed ruling over Scotland following Duncan’s murder, and to make the character of Banquo—King James’ ancestor—innocent, when in Holinshed he was chief amongst Macbeth’s “trusty friends” who aided him in dispatching Duncan.

In mid-autumn of 1605 a near catastrophe almost claimed the lives of King James, his family, his ministers, and the members of both houses of Parliament. Its aftermath would give Shakespeare the focus he needed to coalesce all of the observed Jamesian threads into a compelling dramatic unity. A small group of Catholic gentlemen, embittered by King James’ failure to extend toleration to adherents of their faith, saw to it that a vault situated beneath the House of Lords was packed with 36 barrels of gunpowder along with iron bars. On November 4, the night before James was to appear in person to open a new session of Parliament, conspirator Guy Fawkes was arrested in the vault with all the implements needed to blow the whole shebang sky high. Under excruciating torture, Fawkes gave the names of his co-conspirators who were then hunted down, tortured, tried (with the King watching the judicial proceedings unobserved), then hanged and quartered. The link to Macbeth was the last man to be hanged. Father Henry Garnet, a Jesuit priest, knew of the Gunpowder Plot, but under constraint of the Catholic seal of the confessional was silenced from speaking out. A handful of years before James was crowned King of England, Garnet had written A Treatise of Equivocation which justified the morality of giving misleading or ambiguous statements under oath. To equivocate, to juggle words with multiple meanings so as to avoid incriminating oneself, or revealing the secrets of the confessional, or committing the sin of lying under oath was defensible behavior, Garnet believed. In a flash Shakespeare must have realized his own art was that of the equivocator: from the lowest pun to the highest flights of metaphor, duplicity was the stock of his trade, the marrow of his being. Hence, as well as peppering his new play with references to equivocation, he fashioned the very fabric of Macbeth out of the material of duplicity, of doubleness.

Plot creation wasn’t his skill: what he did with plots was! We can hope his new play (probably performed at court in the summer of 1606), was amply rewarded by King James. For if Shakespeare was able to look into the seeds of time, he would have seen an outbreak of plague that summer which would effectively close the theatres for the following two and a half years. Might this have been the origin of the curse said to haunt Macbeth? 2 0 1 5 –1 6 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 3

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

The cast of Treasure Island P H OTO BY R I C H H EI N

A CO - PRO D U C TIO N WITH LO O KIN G G L A SS TH E ATRE COM PANY

“Zimmerman remains a superior storyteller” —CHICAGO TRIBUNE

ADAPTED AND DIRECTED BY

Mary Zimmerman

FROM THE NOVEL BY ROBERT LOUIS STEVENSON

STARTS APRIL 22 · PEET ’S THEATRE SEASON SPONSORS

Berkeley Repertory Theatre presents

William Shakespeare directed by Daniel Sullivan by

FEB RUARY 19 –APRIL 10, 2016 RODA THE ATRE · M AIN SE A SON Macbeth is made possible thanks to the generous support of SEASON SPONSORS

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

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 Duncan/Porter/Doctor James Carpenter* Lennox Scott Coopwood*† First murderer/Servant to Derek Fischer Duncan/Messenger Bleeding captain/Seyton/ Gene Gillette* Lord/Old man Macbeth Conleth Hill* Banquo/Siward/Lord Christopher Innvar* Donalbain/Lord/Soldier Eddie Ray Jackson* Macduff/Lord Korey Jackson* Mentieth/Messenger Paul Jennings Ross/Third murderer Billy Eugene Jones*

LE A D S P O N S O R S

Bruce Golden & Michelle Mercer Helen & John Meyer/Meyer Sound Stewart & Rachelle Owen

Macduff’s son Leon Jones Malcolm Adam Magill Witch/Gentlewoman Rami Margron* Lady Macbeth/Witch Frances McDormand* Angus/Second murderer Nicholas Pelczar* Fleance/Servant/Siward’s son Tyler Pierce*

SPONSORS

Carole B. Berg Susan Chamberlin Robin & Rich Edwards Sandra & Ross McCandless Leonard X & Arlene B. Rosenberg A S S O CIAT E S P O N S O R S

Hitz Foundation Sue Reinhold & Deborah Newbrun Linda & Steven Wolan

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.

Lady Macduff/Witch Mia Tagano* Ensemble Paul Henry, Devin O’Brien

PRODUC TION S TAFF Scenic Design Costume Design Lighting Design Composition/Sound Design Video Design Dramaturg Fight Direction Voice Coach Casting

Douglas W. Schmidt Meg Neville Pat Collins Dan Moses Schreier Alexander V. Nichols Barry Kraft Dave Maier Lynne Soffer Amy Potozkin, csa, and Tara Rubin, csa Stage Manager Michael Suenkel*

*Indicates a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. †

Understudy for Macbeth

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

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

D U N C A N/ P O R T E R / D O C T O R

James last appeared at Berkeley Rep in Head of Passes and has performed in over 30 productions at the Theatre during his 12-year tenure as an associate artist. His other Bay Area credits include American Conservatory Theater, Aurora Theatre Company, Cutting Ball Theater, Magic Theatre, Marin Theatre Company, San Jose Repertory Theatre, Shakespeare Santa Cruz, Shotgun Players, and TheatreWorks. He is currently in his 12th season as an associate artist with California Shakespeare Theater. His other regional credits include work at Arizona Theatre Company, the Huntington Theatre Company, Intiman Theatre, the Old Globe, Oregon Shakespeare Festival, and Yale Repertory Theatre. He is the recipient of the Bay Area Theatre Critics Circle’s Barbara Bladen Porter Award for Excellence in the Arts and its Lifetime Achievement Award and in 2010 was named a Lunt-Fontanne Fellow. James’ film and TV credits include Nash Bridges, Metro, and The Rainmaker, and the independent projects Presque Isle, Singing, and For the Coyotes.

Scott Coopwood

L E N N O X / U N D E R S T U DY M AC B E T H

Scott’s regional favorites include the title roles in Hamlet, Macbeth, Cymbeline, King John, and Cyrano de Bergerac, as well as Iago in Othello; Edmund in King Lear; Angelo in Measure for Measure; Charlie in The Scene; Kippy in Take Me Out; Shylock in The Merchant of Venice; Jacques in As You Like It; Trigorin in The Seagull; Benedick, Don John, and Dogberry in Much Ado About Nothing; Petruchio in The Taming of the Shrew; Harry Brock in Born Yesterday; Brennan in Frost/Nixon; Edward in Someone Who’ll Watch Over Me; and Johan in Groundswell. He has performed at Arkansas Repertory Theatre; Artists Repertory Theatre; Capital Repertory Theatre; San Jose Repertory Theatre; Center Repertory Company; Capital Stage; the Utah, Orlando, and Lake Tahoe Shakespeare Festivals; Arizona Theatre Company; Marin Theatre Company; Portland Center Stage; the Seattle and Marin Shakespeare Companies; Shotgun Players; and SF Playhouse; as well as work with the Toronto, Windsor, and Oregon Symphony Orchestras. Scott is also co-executive director of Shakespearience!, a Bay Area nonprofit education program for kids. 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 5

profiles

Derek Fischer

F I R S T M U R D E R E R / S E R VA N T T O D U N C A N/M E S S E N G E R

Derek has been an understudy at Berkeley Rep multiple times and is now excited and honored to be making his official Berkeley Rep debut. He has worked with numerous companies throughout the Bay Area, including SF Playhouse, California Shakespeare Theater, PianoFight, Sleepwalkers Theatre, Town Hall Theatre Company, the Bay One Acts Festival, Cutting Ball Theater, and others. His favorite productions include Storefront Church, Of Mice and Men, The White Plague, The Chairs, The Bald Soprano, and The Pond.

Gene Gillette

B L E E D I N G C A P TA I N/ S E Y T O N/ LO R D/ OLD MAN

Gene recently completed the national tour of War Horse in which he played Ted Narracot for the National Theatre of Great Britain. Other work includes Thurio in The Two Gentlemen of Verona at the Shakespeare Theatre Company, Stanley in A Streetcar Named Desire (Ovation Award) at Theatreworks in Colorado, Padraic in The Lieutenant of Inishmore (Ovation Award) and Bobby Reyburn in Coyote on a Fence (Ovation Award) at Curious Theatre Company, Pale in Burn This at Shakespeare Santa Cruz, Jock in the world premiere of columbinus at Round House Theatre/Perseverance Theatre, the title role in Hamlet at Denver Civic Theatre, Tybalt in Romeo and Juliet and Oliver in As You Like It at Folger Theatre, Branko in Honey Brown Eyes at the Working Theater, and Burke in Anna Christie on a barge in Red Hook, Brooklyn with Spleen Theatre, where he serves as co-artistic director. His TV work includes The Good Wife, Person of Interest, Elementary, and Law & Order: svu. He holds an mfa from the Shakespeare Theatre Company’s Academy for Classical Acting at George Washington University.

Paul Henry ENSEMBLE

Paul is thrilled to be making his Berkeley Rep debut with Macbeth having previously understudied Pericles, Prince of Tyre and Party People. His recent regional credits include Claudius/Ghost in Hamlet for SF Shakes on Tour; Juan in Man of La Mancha and the Percussionist for Peter and the Starcatcher, both at pcpa - Pacific Conservatory Theatre; The Constable in Fiddler on the Roof at Pacific Coast Repertory Theatre; and Harry Bailey in It’s a Wonderful Life: The Musical at Sacramento Theatre Company. Paul holds a BA in Acting from csu, Fresno and is a graduate of pcpa. You can see Paul this summer as he joins the company of the Illinois Shakespeare Festival in Twelfth Night, Hamlet, and Peter and the Starcatcher. Visit paulhenry.me to learn more.

Conleth Hill M AC B E T H

Conleth is an acclaimed actor on stage, film, television, and radio, as well as a writer and director. His film credits include Perrier’s Bounty, Intermission, Salmon Fishing in the Yemen, Woody Allen’s Whatever Works, The Shore (Oscar, Best Live Action Short), Shooting for Socrates, The Good Word, A Patch of Fog, The Truth Commissioner, and Two Down. His television credits include Varys in hbo’s award-winning Game of Thrones, Suits, Goodbye Mr. Chips, That Day We Sang, Inside Number Nine, Foyle’s War, Blue Heaven, The Life and Times of Vivienne Vyle, and Arthur and George. His theatre credits include A Midsummer Night’s Dream, Whistle in the Dark, Conversations on a Homecoming, Waiting for Godot, The Home Place, and Uncle Vanya, all at Lyric Theatre Belfast. He also appeared at the National Theatre in Democracy, Philistines (Olivier Award nomination), The Seafarer (also Broadway, Tony Award nomination, Drama Desk Award), All’s Well That Ends Well, The White Guard, and The Cherry Orchard. His West End credits include Mel Brooks’ The Producers (Olivier Award), Shoot the Crow, and Quartermaine’s Terms, and his West End and Broadway performance in Stones in His Pockets earned him Irish Times, Olivier, Dora, Drama Desk, Theatre League, Outer Critics Circle, and Whatsonstage.com awards, as well as Theatrical Management Association and Tony Award nominations. Hill has also written for television and theatre, and has directed three productions of David Ireland’s comedy Can’t Forget About You.

Christopher Innvar

Eddie Ray Jackson

Korey Jackson

Christopher is making his Berkeley Rep debut. Other collaborations with Daniel Sullivan include King Lear at the Delacorte Theater and Sharr White’s The Snow Geese for Manhattan Theatre Club. Other nyc credits include Broadway runs of Victor/Victoria, Les Misérables, The Threepenny Opera, 110 in the Shade, The People in the Picture, and Porgy and Bess. Off-Broadway projects include the title role in Floyd Collins at Playwrights Horizons, Chuck Mee’s Big Love at Signature Theatre Company, Simon Stephens’ Harper Regan at Atlantic Theater Company, and lead roles for Red Bull, Transport Group, Lincoln Center, the Women’s Project, and Vineyard Theatre. Regional theatre work includes productions at Steppenwolf Theatre Company, the Guthrie Theater, Yale Repertory Theatre, McCarter Theatre Center, and Long Wharf Theatre. He is an affiliated artist with the Shakespeare Theatre Company and a founding associate artist with Barrington Stage Company where his directing credits include The Whipping Man, The Other Place, and Shining City.

Eddie Ray was last seen at Berkeley Rep in X’s and O’s (A Football Love Story) and reprised his role as Man 4 at Center Stage in Baltimore. He was seen off Broadway at Classic Stage Company in Much Ado About Nothing (Don Pedro). His regional credits include Oregon Shakespeare Festival in The Heart of Robin Hood (Much Miller); Marin Theatre Company in Fences (Cory) and Fetch Clay, Make Man (Muhammad Ali), a coproduction with Round House Theatre; Magic Theatre in Pen/Man/ Ship (Jacob); and American Stage Theatre Company in Intimate Apparel (George). Eddie Ray received an mfa in Theatre, acting emphasis, from Columbia University.

Korey is thrilled to be making his Berkeley Rep debut in this production of Macbeth. Other credits include Wild with Happy (the Public Theater), Far from Heaven (Playwrights Horizons), School for Wives (Two River Theater), and Sex of the Baby (Access Theater). Film/TV credits include 5 Flights Up starring Morgan Freeman and Diane Keaton (Focus), The Good Wife (cbs), The Following (fox), Law & Order: svu (nbc), Homeland (Showtime), Nurse Jackie (Showtime), Royal Pains (usa), and the upcoming second season of Daredevil (Netflix). He is a graduate of nyu’s Graduate Acting Program where he originated the title role in the world premiere of Tony Kushner’s Henry Box Brown Play. He is also a recipient of the Leonore Annenberg Artist Fellowship.

B A N Q U O/ S I WA R D/ LO R D

D O N A L B A I N/ LO R D/ S O L D I E R

M AC D U F F/ LO R D

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

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

M E N T I E T H/M E S S E N G E R

Paul is delighted to be returning to Berkeley Rep, where he was last seen onstage as the Sturgis Drang understudy in Troublemaker, or the Freakin Kick-A Adventures of Bradley Boatright. Recent local credits include Richard III in Dick 3 (San Francisco Theater Pub), Judge Danforth in The Crucible (Custom Made Theatre Co.), Pilate in The Last Days of Judas Iscariot, and Jake in H2O (Aluminous Collective). His television credits include John Wayne Gacy in Behind the Screams: Killer Clown. In 2013, Paul was selected as an International Fellow at Shakespeare’s Globe, London.

Billy Eugene Jones

R O S S/ T H I R D M U R D E R E R

profiles

Gala. During his school’s annual concert he conducts up to two pieces. Leon believes he will pursue acting and theatre as a career, and his dream is to be in a Broadway musical. Leon’s hobbies include singing, watching action movies, stage combat, and live plays.

Adam Magill M ALCOLM

Adam is making his Berkeley Rep debut. His Bay Area credits include Stupid Fucking Bird (SF Playhouse), The Whale (Marin Theatre Company), The Mousetrap (Shotgun Players), Dr. Jekyll & Mr. Hyde (City Lights Theater Company), and Shiner (FaultLine Theater). He is a graduate of the Foothill Theatre Conservatory.

Rami Margron

W I T C H/G E N T L E W O M A N

Billy’s Broadway credits include A Raisin in the Sun, The Trip to Bountiful, The Big Knife, The Mountaintop, Passing Strange, Radio Golf, and Gem of the Ocean. He appeared off Broadway in Pitbulls (audelco nomination for Best Actor at Rattlestick Playwrights Theater), The Jammer (Atlantic Theater Company), In the Footprint (the Civilians), and Waiting for Godot and Three Sisters (Classical Theatre of Harlem). His regional credits include The Good Negro (Goodman Theatre); Stick Fly (Elliot Norton nomination for Best Supporting Actor at Arena Stage and the Huntington Theatre Company); Richard II, Death of a Salesman, and Breath, Boom (Yale Repertory Theatre); Othello (California Shakespeare Theater); and Spunk (Actors Theatre of Louisville). Other regional credits include Two River Theater, the Alliance Theatre, Hartford Stage, and numerous productions at Dallas Theater Center. Billy is a graduate of Yale School of Drama.

Rami is pleased to be returning to Berkeley Rep after playing The Bawd, Batman, and others in Pericles, Prince of Tyre. She has performed locally with California Shakespeare Theater, Crowded Fire Theater, Intersection for the Arts, the Magic Theatre, Marin Theatre Company, Mugwumpin, Pacific Repertory Theatre, Pear Theatre, San Francisco Shakespeare Festival, Shotgun Players, Town Hall Theatre Company, Willows Theatre Company, Woman’s Will, Word for Word, and a handful of dance companies. She studied acting at the Bennett TheatreLab in San Francisco, clown and buffoon in Paris, and over 20 styles of dance and movement in the U.S., Haiti, Cuba, Brazil, and Indonesia. She is a company member of Crowded Fire and Rara Tou Limen Haitian dance company, and she co-hosts The Shout, a monthly storytelling event in Oakland.

Leon Jones

Frances McDormand

At age 7, Leon began acting in plays such as The Lion King as Rafiki the monkey. While attending California Shakespeare Theater’s Summer Conservatory, he played Edmund in King Lear. He regularly participates in the Martin Luther King, Jr. Oratorical Festival and has performed violin and vocals at Yoshi’s in Oakland. He also performed for Libby Schaaf, mayor of Oakland, at the Education Fund

On Broadway, Frances received the Tony, Drama Desk, and Outer Critics Circle Awards for her performance in David Lindsay-Abaire’s Good People directed by Daniel Sullivan. Other stage appearances include The Country Girl directed by Mike Nichols on Broadway, Caryl Churchill’s Far Away directed by Stephen Daldry at New York Theatre Workshop, her Tony–nominated performance as Stella in A

M AC D U F F ’ S S O N

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L A DY M AC B E T H/ W I T C H

Streetcar Named Desire, The Sisters Rosensweig directed by Daniel Sullivan at Lincoln Center Theater, The Swan at the Public Theater, A Streetcar Named Desire (this time as Blanche) at the Gate Theatre in Dublin, and Dare Clubb’s Oedipus. With the Wooster Group, she performed in To You, The Birdie!; North Atlantic; and Early Shaker Spirituals. Films include The Good Dinosaur, Moonrise Kingdom, Promised Land, Miss Pettigrew Lives for a Day, Friends with Money, North Country, Laurel Canyon, Something’s Gotta Give, Almost Famous, Wonder Boys, Madeline, Primal Fear, Short Cuts, Lone Star, Beyond Rangoon, Paradise Road, Mississippi Burning, Hidden Agenda, Darkman, and in collaboration with Joel and Ethan Coen, Burn After Reading, The Man Who Wasn’t There, Fargo (for which she received an Academy Award), Raising Arizona, Blood Simple, and the upcoming Hail Caesar!. With her company Hear/Say, Frances produced Every Secret Thing and Olive Kitteridge (which received eight Emmy Awards including Outstanding Limited Series and Leading Actress) and is developing a screen adaptation inspired by Michael Pollan’s book Omnivore’s Dilemma.

Devin O’Brien ENSEMBLE

Devin is pleased to be joining Berkeley Rep for the first time. He has recently performed with a host of Bay Area theatres, including Aurora Theatre (Mud Blue Sky), Encore Theatre at Z Space (Hookman), and New Conservatory Theatre Center (Die Mommie Die!). He also serves as a company member with Sonoma Valley Shakespeare. You can see him next at SF Playhouse in Red Velvet. He received his BA in Theatre Arts from Cal Poly–San Luis Obispo.

Nicholas Pelczar

A N G U S/ S E C O N D M U R D E R E R

Nicholas is pleased to be making his Berkeley Rep debut. Bay Area credits include Major Barbara, Arcadia, War Music, Rock ’n’ Roll, and A Christmas Carol at American Conservatory Theater; The Whale, Jacob Marley’s Christmas Carol, The Whipping Man, Othello, The Glass Menagerie, and boom at Marin Theatre Company; The Pitmen Painters at TheatreWorks; Hamlet and As You Like It at Pacific Repertory Theatre; A Midsummer Night’s Dream at San Francisco Shakespeare Festival; The Lyons, Marius, and Dublin Carol at Aurora Theatre Company; and A Midsummer Night’s Dream, Pygmalion, Hamlet, The Tempest, Titus Andron-

icus, The Taming of the Shrew, Macbeth, Much Ado About Nothing, The Life and Adventures of Nicholas Nickleby, Othello, All’s Well That Ends Well, and The Importance of Being Earnest at California Shakespeare Theater. He is a graduate of act’s Master of Fine Arts Program.

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Tyler Pierce

EBCF

F L E A N C E / S E R VA N T/ S I WA R D ’ S S O N

Tyler appeared at Berkeley Rep in How to Write a New Book for the Bible and Crime and Punishment. He also appeared in King Lear, Henry IV, Two Gentlemen of Verona, and Dracula (Utah Shakespeare Festival); Everything You Touch (Theatre @ Boston Court); How to Write a New Book for the Bible, Death of a Salesman, and Death of the Author (South Coast Repertory); Hasty Pudding (Ojai Playwrights Conference); Handle with Care, The Road to Appomattox, and I’ll be Back Before Midnight (the Colony Theatre); How to Write a New Book for the Bible (Seattle Repertory Theatre); Venus in Fur (B Street Theatre); Good People (Geffen Playhouse); Gronholm Method (Falcon Theatre); Death of a Salesman (the Old Globe); A Streetcar Named Desire (the Guthrie Theater); The Night Is a Child (Milwaukee Repertory Theater and Pasadena Playhouse); Dracula and A Christmas Carol (Actors Theatre of Louisville); Macbeth, Pericles, A Midsummer Night’s Dream, Lorenzaccio, and The Tempest (the Shakespeare Theatre Company); Youth Inc. (McCarter Theatre Center); and Fat Pig and The Internationalist (the Studio Theatre). Please visit tylerpierce.wix.com/actorsite.

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Mia is making her Berkeley Rep debut. Most recently appearing in the West Coast premiere of Love and Information at American Conservatory Theater, she has also performed locally with Magic Theatre (Every Five Minutes), TheatreWorks (M. Butterfly and Loudest Man on Earth), California Shakespeare Theater (The Life and Adventures of Nicholas Nickleby and Hamlet), and San Francisco Shakespeare Theatre (Twelfth Night). Her regional stage credits include Tamburlaine and Edward II at the Shakespeare Theatre Company, Snow Falling on Cedars at Portland Center Stage and Hartford Stage, and Tantalus, a 10-hour co-production with the Denver Center for the Performing Arts and the Royal Shakespeare Company. Her New York credits include 99 Histories at Cherry Lane Theatre and Far East at the Lincoln Center for the Performing Arts, directed by Daniel Sullivan. Her TV and film credits include All My Children, Law & Order, Tantalus – Behind the Mask, and John Barton’s

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BE R K E L E Y R E P P R E S E N T S Shakespeare Sessions. Mia received her mfa in Acting from the University of Washington.

Daniel Sullivan DIREC TOR

Daniel won the 2001 Tony Award for Best Direction of a Play for Proof, and he was most recently nominated for another Tony in 2011 for The Merchant of Venice, starring Al Pacino. Daniel most recently directed The Country House, The Snow Geese, Orphans, and Glengarry Glen Ross on Broadway. For the Public Theater, he directed A Comedy of Errors, As You Like It, All’s Well That Ends Well, Twelfth Night, A Midsummer Night’s Dream, Stuff Happens, and The Merry Wives of Windsor.

Douglas W. Schmidt SCENIC DESIGNER

Of the over 200 productions designed by Douglas in the past 50 years, he has 50 Broadway credits including the original production of Grease, which for many years held the record for the longest-running show in the history of Broadway. His history with Director Daniel Sullivan dates back to the early 1970s when both were on the staff of the Repertory Theatre of Lincoln Center. In addition to working together at that venue they also collaborated over the years on productions at Seattle Repertory Theatre and Manhattan Theatre Club. Locally his work has been seen at American Conservatory Theater and last summer for California Shakespeare Theater’s production of The Mystery of Irma Vep. Last year Douglas was honored with the United States Institute for Theatre Technology Award for Distinguished Achievement in Scene Design and the Robert L.B. Tobin Award for Sustained Excellence in Theatrical Design. His production of The Sound of Music recently opened to rave reviews at the Ahmanson Theatre in Los Angeles and began a two-year tour of the United States.

Meg Neville

COSTUME DESIGNER

Meg’s recent Berkeley Rep credits include One Man, Two Guvnors (also at South Coast Repertory); Party People (Bay Area Theatre Critics Circle nomination); Tribes; The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures; and X’s and O’s (A Football Love Story) (also at Center Stage in Baltimore). She also worked on Pericles, Prince of Tyre; Ghost Light; In the Wake; Yellowjackets; Eurydice (also at Second Stage Theatre and Yale Repertory Theatre); tragedy: a tragedy; Suddenly Last Summer; Dinner with Friends; Closer; and The Life of Galileo. Her recent productions at Oregon Shakespeare Festival include Long Day’s Journey Into Night, The Cocoanuts (also at the Guthrie Theater), Taming of the Shrew, and Ghost Light. Meg is an associate artist with California Shakespeare Theater, where she has designed numerous produc3 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 5

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tions including, recently, Twelfth Night. Other Bay Area theatre credits include Marin Theatre Company, the Cutting Ball Theater, American Conservatory Theater, San Jose Repertory Theatre, Joe Goode Performance Group, and Magic Theatre. She has also worked at Atlantic Theater Company, Brooklyn Academy of Music, Chicago Opera Theater, NY Stage and Film, Hartford Stage, Kirk Douglas Theatre, Portland Stage Company, and Dallas Theater Center. Meg is a graduate of Brown University and the Yale School of Drama. She resides in San Francisco with her husband and children Daisy, Sunny, and Nate.

Pat Collins

LIGHTING DESIGNER

Pat’s Berkeley Rep credits include The Misanthrope and Twilight: Los Angeles, 1992. On Broadway she designed such shows as Orphans, Good People, How the Grinch Stole Christmas, Sight Unseen, Doubt, Proof, The Heidi Chronicles, The Sisters Rosensweig, I’m Not Rappaport, The Threepenny Opera, Ain’t Misbehavin’, and others. She has designed the lighting for many productions at regional theatre companies, among which are Arena Stage, Center Stage in Baltimore, McCarter Theatre Center, Steppenwolf Theatre Company, Manhattan Theatre Club, the Lincoln Center, the Old Globe, the Alley Theatre, Goodman Theatre, Hartford Stage, Ford’s Theatre, and others. In the field of opera, Pat has designed for such companies as the Metropolitan Opera, San Francisco Opera, Santa Fe Opera, the Royal Opera House (Covent Garden), the Paris Opera, the Bayerisches Staatsoper (Munich), and others.

Dan Moses Schreier

COMPOSER/SOUND DESIGNER

Dan’s Broadway credits include The Visit (starring Chita Rivera), A Gentleman’s Guide to Love and Murder, Act One, Sondheim on Sondheim, A Little Night Music, Gypsy (Patti Lupone), Radio Golf, John Doyle’s production of Sweeney Todd, A Catered Affair, Gem of the Ocean, Pacific Overtures, Assassins, The 25th Annual Putnam County Spelling Bee, Into the Woods, Topdog/ Underdog, Dirty Blonde, The Tempest (Patrick Stewart), and Bring in ’da Noise, Bring in ’da Funk. His off-Broadway credits include Road Show, Homebody/Kabul, Floyd Collins, and others. He composed music for The Merchant of Venice with Al Pacino, Julius Caesar with Denzel Washington, The Tempest with Patrick Stewart, and Dan Hurlin’s Disfarmer at St. Ann’s Warehouse. Dan received four Tony Award nominations, three Drama Desk Awards, an Obie Award for Sustained Excellence, and has recently been commissioned to compose a musical with Brian Selznick (The Invention of Hugo Cabret) based on Brian’s book, The Houdini Box.

Alexander V. Nichols VIDEO DESIGNER

Alex is returning to Berkeley Rep for his 33rd production. His Broadway credits include Wishful Drinking, Hugh Jackman—Back On Broadway, and Nice Work If You Can Get It. His off-Broadway productions include In Masks Outrageous and Austere, Los Big Names, Horizon, Bridge & Tunnel, Taking Over, Through the Night, and In the Wake. Alex has worked at regional theatres throughout the country, including American Conservatory Theater, Mark Taper Forum, National Theatre of Taiwan, Oregon Shakespeare Festival, and La Jolla Playhouse, among others. His dance credits include resident designer for Pennsylvania Ballet, Hartford Ballet, and American Repertory Ballet; lighting supervisor for American Ballet Theatre; and resident visual designer for the Margaret Jenkins Dance Company since 1989. His designs are in the permanent repertory of San Francisco Ballet, Boston Ballet, Alvin Ailey American Dance Theater, Hubbard Street Dance, Hong Kong Ballet, Singapore Dance Theatre, odc/sf, and the Royal Winnipeg Ballet. Alex’s other projects include the museum installation Circle of Memory, a collaboration with Eleanor Coppola, presented in Stockholm, Sweden, and the video and visual design for Life: A Journey Through Time, a collaboration with Frans Lanting and Philip Glass, presented at the Concertgebouw, Amsterdam.

Barry Kraft

D R A M AT U R G

In 28 seasons as actor and dramaturg at the Oregon Shakespeare Festival, Barry has dramaturged nearly 50 Shakespeare productions as well as Equivocation, The Cure at Troy, and Arcadia, among others. Numerous acting credits include osf, the Colorado Shakespeare Festival, the Utah Shakespeare Festival, the Old Globe, San Jose Repertory Theatre, Berkeley Shakespeare Festival, and American Conservatory Theater, among others. He has been in 87 full productions of all Shakespeare’s 38 plays (more than 100 roles). He has written Shakespeare Insult Generator and has recorded several books on tape for Blackstone Audio, including Ovid’s Metamorphoses. Barry is also a teacher and a guest lecturer.

Dave Maier

FIGHT DIREC TOR

A five-time recipient of the San Francisco Bay Area Theatre Critics Circle Award for Fight Direction, Dave has choreographed violence for a dozen Berkeley Rep productions, including One Man, Two Guvnors; Party People; The House that will not Stand; Troublemaker, or the Freakin Kick-A Adventures of Bradley Boatright, and The Lieutenant of Inishmore. He is the resident fight director for San Francisco Opera and California Shakespeare Theater. His work has also been seen at American Conservatory Theater, La Jolla Playhouse, Marin Theatre

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BE R K E L E Y R E P P R E S E N T S Company, SF Playhouse, Aurora Theatre, Magic Theatre, and Shotgun Players, among others. As an instructor of theatrical combat, Dave has taught classes and workshops for Stanford University, UC Berkeley, UC Santa Cruz, St. Mary’s College of California, San Francisco Conservatory of Music, and Pixar University. He is currently teaching stage combat classes at Berkeley Rep’s School of Theatre.

Lynne Soffer

VO I C E C OAC H

Lynne has served as dialect/text coach on over 265 productions at American Conservatory Theater, San Francisco Opera, Magic Theatre, California Shakespeare Theater, Marin Theatre Company, TheatreWorks, the Old Globe, Dallas Theater Center, Arizona Theatre Company, Arena Stage, Seattle Repertory Theatre, and Denver Center, among others, including over 35 productions for Berkeley Rep. Her film and television credits include Fruitvale, Metro, Duets, The Land of Milk and Honey, and America’s Most Wanted. Lynne is also a professional actor, acting teacher, and director and is the recipient of the 2011 Actors’ Equity Lucy Jordan Humanitarian Award.

Amy Potozkin, csa

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 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 Artios Awards for Excellence in Casting for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures and One Man, Two Guvnors.

Tara Rubin, csa CASTING

Tara has been casting at Yale Rep since 2004. Her Broadway projects include Bullets Over 3 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 5

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

Michael Suenkel

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 Theatre, 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.

Jack & Betty Schafer SEASON SPONSORS

Betty and Jack are proud to support Berkeley Rep. Jack just rotated off the Theatre’s board and is on the boards of San Francisco Opera and the Straus Historical Society. He is vice-chair of the Oxbow School in Napa and an emeritus trustee of the San Francisco Art Institute where he served as board chair. Betty is on the boards of Earthjustice, Coro Foundation, Sponsors for Educational Oppor2 0 1 5 –1 6 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 3

BE R K E L E Y R E P P R E S E N T S tunity (seo), San Francisco Community College Foundation, and Brandeis Hillel Day School. They live in San Francisco.

Michael & Sue Steinberg SEASON SPONSORS

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.

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 venturedevelopment 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.

Bruce Golden & Michelle Mercer LEAD SPONSORS

Michelle and Bruce have been ardent supporters of Berkeley Rep since 1993, when they moved with two young children in tow to Berkeley. Their favorite evenings at Berkeley Rep were usually the discussion nights where often friends would join them as well. Michelle and Bruce always felt that Berkeley Rep was an exceptional Bay Area cultural treasure as it was willing to support courageous new works and nurture innovative young playwrights. In 2002, Bruce and Michelle moved to London, where they nourished themselves on a steady diet of English theatre (note the proper spelling) until they could return to their beloved Berkeley Rep. They are delighted once again to be back in the very center of leading-edge theatre and are honored to be lead producers for two of this season’s great productions. Their two now grown children are also tremendous theatre junkies and will hopefully be joining Bruce and Michelle for some of this season’s performances. 3 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 5

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Helen & John Meyer/Meyer Sound

Susan Chamberlin

John and Helen Meyer founded Meyer Sound in 1979 to make high-quality, professional sound systems. The company is now a global leader offering a full-range of innovative audio solutions including the patented Constellation Acoustic System recently installed in the Peet’s Theatre. Global offices support clients such as prestigious concert halls, sports stadiums, and airports, as well as restaurants, corporate boardrooms, and university classrooms around the world. All products are manufactured at the company’s Berkeley headquarters with premium materials and rigorous quality control. Meyer Sound breakthroughs have garnered more than 40 U.S. and international patents and a string of top industry awards including the prestigious R&D 100. A lifelong passion for culture and community drives John and Helen Meyer’s generous support of performing arts organizations locally and worldwide. The Meyers have subscribed to Berkeley Rep since the Theatre’s inception, and Helen has served as an integral member of the Theatre’s board of trustees for 18 years.

Susan is a retired architect and project manager. Currently she, along with her husband Steve, directs the work of their family foundation. She also serves on the board of the Oakland Museum of California and is the vice-chair of the UC Berkeley Foundation board of trustees.

LEAD SPONSORS

Stewart & Rachelle Owen LEAD SPONSORS

Rachelle and Stewart are honored to sponsor Macbeth. Rachelle is a social worker by training, serves on the board of Bay Area Community Services 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 the Berkeley Rep board and on the boards of a number of startups including Ruby’s Rockets, JustGoGirl, and Revelator Coffee Company.

Carole B. Berg SPONSOR

Carole is a former president and longtime member of Berkeley Rep’s board of trustees since 1987, currently serving as a sustaining advisor. She founded and twice co-chaired the highly successful Narsai Toast, which has now become the Speakeasy gala. She has served as a past president of the Marin Symphony Association, a founding member of the Berkeley Festival and Exhibition, and as a trustee for numerous Bay Area arts and community organizations, among them American Bach Soloists, Berkeley Community Fund, Cal Performances, Community Music Center, Kronos Quartet, Marin Theatre Company, Philharmonia Baroque Orchestra, San Francisco Performances, and San Francisco Symphony Youth Orchestra Committee. A former music major, she has a passion for the performing arts, the Warriors, and the Oakland A’s, not necessarily in that order.

SPONSOR

Robin & Rich Edwards SPONSORS

Robin and Rich have been strong supporters of Berkeley Rep for more than 20 years when they started serving on the gala committee (on which they continue to serve). Rich was co-chair of the Narsai Toast for five years. Robin retired from active law practice as a partner of Dentons US llp four years ago and joined Berkeley Rep’s board in early 2012. Rich retired in 1998 as a senior partner of SF’s Robertson Stephens & Co., a high-tech-focused investment bank, and became a professional photographer. Both Rich and Robin have been very active as board members and fundraisers for numerous Bay Area nonprofit organizations. They now spend about half the year traveling the world by sea.

Sandra & Ross McCandless SPONSORS

Sandra McCandless is a long-standing Berkeley Rep board member who has served as co-chair of the corporate committee and as a member of the executive and compliance committees. Sandra represents management in employment matters as a partner of the global law firm Dentons US llp. She is also a neutral arbitrator for the American Arbitration Association. Sandra has been named one of the Most Influential Women in Bay Area Business by the San Francisco Business Times. Sandra is also a leader of the American Bar Association, the largest professional services organization in the world, and has served on its board of governors and chair of its finance committee. Ross teaches science and mathematics at Mount Diablo High School and is an avid dancer and birdwatcher. The McCandless’ love of theatre dates back to Sandra and Ross’ joint performance at Harvard College in William Saroyan’s Hello Out There. Their daughter Phyra McCandless and son-in-law Angelos Kottas are also enthusiastic members of the Berkeley Rep family.

Leonard X & Arlene B. Rosenberg SPONSORS

Len is a partner in the Palo Alto and San Francisco offices of Mayer Brown llp, an international law firm, where he is the co-head of the West Coast real estate practice and a leader of the cross-border real estate investment practice. He is a member of Berkeley Rep’s board of trustees and is currently secretary of the board. Len also heads the local alumni chapter

of his alma mater, Brandeis University, and serves on the Alumni Association board of directors. Arlene, a recovering lawyer, serves on the boards of the couple’s local educational foundation and their synagogue, Peninsula Temple Sholom. Len and Arlene have two teenaged sons and a lot of miles on their car. Now removed from the cold winters and thriving theatre scene of their former home, Chicago, Len and Arlene have enjoyed deepening their attachment to Berkeley Rep over the years, and are delighted to be sponsoring Macbeth.

The Bernard Osher Foundation PRODUC TION SPONSOR

The Bernard Osher Foundation, supporting higher education and the arts, was founded in 1977 by Bernard Osher, a respected businessman and community leader. The Foundation provides scholarship funding at colleges and universities across the nation, with a recent emphasis on assisting reentry students. In addition, the Foundation supports a national network of lifelong learning institutes for seasoned adults on the campuses of 119 institutions of higher education. The Foundation also benefits programs in integrative medicine at Harvard University, Northwestern University, ucsf, and Vanderbilt University in the United States as well as at the Karolinska Institute in Sweden. Finally, an array of performing arts organizations, museums, and select educational programs in the San Francisco Bay Area and the state of Maine receive Foundation grants. Barbro Osher, Honorary Consul General of Sweden in California, chairs the Foundation’s Board of Directors.

KATHIE LONGINOTTI REALTOR® and Berkeley Rep Subscriber

510.981.3032 www.AtHomeEastBay.com

BART

SEASON SPONSOR

Bay Area Rapid Transit (bart) is the backbone of the Bay Area transit network and serves more than 100 million passengers annually. bart’s all-electric trains make it one of the greenest and most energy-efficient transit systems in the world. Visit bart.gov/bartable to learn more about great destinations and events that are easy to get to on bart (like Berkeley Rep!). At bart.gov/bartable, you can get discounts, enter sweepstakes offering fantastic prizes, and find unique and exciting things to do just a bart ride away. While you’re there, be sure to sign up for bartable This Week, a free, weekly email filled with the latest and greatest bartable fun.

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 halfhour 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 Berke-

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EXPRESS YOUR DISCOVER THE BEST OF YOUR ARTISTIC SELF WITH OVER 40 THEATRE CLASSES FOR EVERY AGE, LEVEL, AND INTEREST.

New youth, teen, and adult classes start April 4 —register today!

Summer Theatre Intensive GRADES 6–8 • JUN 20–JUL 15 GRADES 9–12 • JUL 19–AUG 12

berkeleyrep.org/classes financial aid available for youth/teen classes

Filmmaking & Acting Intensive GRADES 9–12 • JUL 18–AUG 5

berkeleyrep.org/summerintensive

financial aid available

ley Rep, and are proud to serve as season media sponsors.

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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. Peet’s is honored to support Berkeley Rep’s renovation of the new, state-of-the-art Peet’s Theatre. In 1966, Alfred Peet opened his first store on Vine and Walnut in Berkeley, and Peet’s has been committed to the Berkeley community ever since. As the pioneer of the craft coffee movement in America, Peet’s is dedicated to small-batch roasting, superior quality beans, freshness, and a darker roasting style that produces a rich, flavorful cup. Peet’s is locally roasted in the first leed® Gold certified roaster 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.

Assistant fight director Megan Messinger Assistant lighting designer Steven Sorenson

R E A L T O R S

GRUBBCO.COM AS H 20 LA 16 ND

Additional staff

The GRUBB Co.

Assistant scenic designer Maya Linke Costume shop Allison Mortimer Deck crew Melina Cohen-Bramwell Gabriel Holman Matt Reynolds Electrics Melina Cohen-Bramwell Gabriel Holman Brad Hopper Will Poulin Minerva Ramirez Matt Reynolds Sarina Renteria Corey Schaeffer Andrea J. Schwartz Kourtney Snow Caitlin Steinmann Molly Stewart-Cohn Thomas Weaver Lauren Wright Production assistant Sofie Miller

Twelfth Night Great Expectations The River Bride Roe Timon of Athens The Yeomen of the Guard Vietgone Richard II Hamlet The Wiz The Winter’s Tale

Amy Kim Waschke in The Winter’s Tale

ELEVEN PLAYS IN THREE THEATRES • FEBRUARY 19-OCTOBER 30

800-219-8161 • osfashland.org

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Additional staff CO N TIN U E D

Props artisans Amelia Burke-Holt Zoe Gopnik-McManus Noah Kramer Rebecca Willis Scene shop Ross Copeland Brian Fugelsang William Gering Noah Lange Carl Martin Sam Sheldon Colin Suemnicht Read Tuddenham Scenic artists Lassen Hines Chris Jee Anya Kazimierski Noah Kramer Noah Lange Emma Lehman Anna McGahey Andrea Phillips Studio teacher Victoria Northridge sdcf Sir John Gielgud Fellow Chika Ike Video crew Sarina Renteria Audrey Wright Lauren Wright Wardrobe Megan Finley Christina Weiland U.S. immigration representation provided by the Law Office of Lisa Palter (lisasvisas.com).

MEET US IN THE BAR! Join us for signature cocktails curated by East Bay Spice Company, wine paired with each play, craft beer, and delectable treats. Open before and after the show, and during intermission

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 5

Intimate. Eclectic. Adventurous.

ANNOUNCING

SF OPERA LAB SEASON ONE Join us for the inaugural season in the Dianne and Tad Taube Atrium Theater at the Diane B. Wilsey Center for Opera.

WINTERREISE

SVADBA-WEDDING

Schubert’s Romantic song cycle of longing and loneliness is taken to new heights in this multimedia collaboration between South African artist William Kentridge, baritone Matthias Goerne and pianist Markus Hinterhäuser.

A Serbian bride-to-be and her friends prepare for her wedding day in this a cappella opera with co-music directors Dáirne Ní Mheadhra and John Hess. Michael Cavanagh directs this exuberant new production.

ChamberWORKS

VOIGT LESSONS

Franz Schubert March 11–13 • $125

April 7 and 20 $35 •

Members of the San Francisco Opera Orchestra perform two eclectic and intimate nights of music and song featuring the 2016 Adler Fellows. Highlights include the premiere of “Bourne to Shelley” by Shinji Eshima (April 7), and Adler Julie Adams performing works by Previn, Chausson and Ponchielli (April 20).

Ana Sokolović April 2–10 • $75

May 6 and 8 $45 •

The superstar soprano’s one-woman show, developed with playwright Terrence McNally and director Francesca Zambello, weaves songs and arias into a vivid and moving account of her life and career with music direction by Kevin Stites.

Winterreise is sponsored, in part, by The Sarah Ratchye and Edward Frank Family Foundation. Svadba-Wedding is sponsored, in part, by Dianne and Tad Taube.

THE TRIPLETS OF BELLEVILLE CINE-CONCERT BenoÎt Charest April 14–23 • $25

Be transported to 1920s Paris and Le Jazz Hot in a live performance of the original score during a screening of this beloved animated film.

sfoperalab.com (415) 864-3330

Veterans Building 401 Van Ness Ave., Fourth Floor The Taube Atrium Theater is equipped with the Meyer Sound Constellation® acoustic system. Media Sponsor

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 MYTHICAL NEW AMERICAN MUSICAL

THE WEST COAST PREMIERE OF BROADWAY’S BRILLIANT NEW COMEDY

MAR 9–APR 3 AT THE GEARY THEATER

FEB 3–APR 10 AT THE STRAND THEATER

A FUNNY AND HEARTBREAKING MUSICAL ABOUT FINDING “THE ONE”

DAVID STRATHAIRN RETURNS TO A.C.T.

Chester Bailey

Photo by Kevin Berne

MAY 11–JUN 5 AT THE GEARY THEATER

MAY 25–JUN 12 AT THE STRAND THEATER

ACT-SF.ORG/JOIN

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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 December 2014 and January 2016. 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 G IF T S O F $50,0 0 0 –9 9,9 9 9 Akonadi Foundation The Reva and David Logan Foundation National Endowment for the Arts The Bernard Osher Foundation The Harold and Mimi Steinberg Charitable Trust

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

G IF T S O F $2 5,0 0 0 –49,9 9 9 Anonymous BayTree Fund Edgerton Foundation The Ira and Leonore S. 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

Institutional Partners

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 twanda 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

$ 12 ,0 0 0 –2 4 ,9 9 9

Anonymous Barbara & Gerson Bakar Carole B. Berg Maria Cardamone & Paul Matthews 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 Joan Sarnat & David Hoffman Liliane & Ed Schneider Norah & Norman Stone Janis Turner Felicia Woytak & Steve Rasmussen

Anonymous (3) Shelley & Jonathan Bagg Edith Barschi Neil & Gene Barth Valerie Barth & Peter Wiley Lynne Carmichael Daniel Cohn & Lynn Brinton Julie & Darren Cooke Robert Council & Ann Parks-Council Daryl Dichek & Kenneth Smith, in memory of Shirley D. Schild 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 Mary & Nicholas Graves 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 Susan Medak & Greg Murphy, in honor of Marcia Smolens John & Helen Meyer / Meyer Sound Steven & Patrece Mills M Mary Ann & Lou Peoples Peter Pervere & Georgia Cassel Barbara L. Peterson Sue Reinhold & Deborah Newbrun 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 Linda & Steven 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) Marcia & George Argyris 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 Delia Fleishhacker Ehrlich Nancy & Jerry Falk Karen Galatz & Jon Wellinghoff Richard & Lois Halliday Earl & Bonnie Hamlin Vera & David Hartford Renee Hilpert K Richard N. Hill & Nancy Lundeen James C. Hormel & Michael P. Nguyen, in honor of Rita Moreno Lynda & Dr. J. Pearce Hurley Kathleen & Chris Jackson Duke & Daisy Kiehn Rosalind & Sung-Hou Kim Louise Laufersweiler & Warren Sharp Christopher & Clare Lee Charlotte & Adolph Martinelli Phyra McCandless & Angelos Kottas Miles & Mary Ellen McKey Michele & John McNellis Toby Mickelson & Donald Brody 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 Vickie Soulier Stephen Stublarec & Debra S. Belaga Deborah Taylor Pamela Gay Walker/ Ghost Ranch Productions 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 (9) Mel Adamson K Naomi Auerbach & Ted Landau Nina Auerbach Linda & Mike Baker Michelle L. Barbour 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 Leslie Chatham & Kathie Weston 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

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Bill & Susan Epstein, in honor of Marge Randolph Merle & Michael Fajans Cynthia A. Farner Lisa & Dave Finer Ann & Shawn Fischer Hecht Linda Jo Fitz M Patrick Flannery James & Jessica Fleming 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 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 Ingrid Jacobson Beth & Fred Karren Doug & Cessna Kaye Bill & Lisa Kelly Steve K. Kispersky 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 Dan Miller Andy & June Monach Scott Montgomery & Marc Rand Jerry Mosher 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 Gerane Wharton Park Bob & MaryJane Pauley Tom & Kathy Pendleton David & Bobbie Pratt Carol Quimby-Bonan Andrew Raskopf & David Gunderman Bill Reuter & Ruth Major Maxine Risley, in memory of James Risley John & Jody Roberts 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 Dan Scharlin & Sara Katz 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 Cherida Collins Smith Ed & Ellen Smith Sherry & David Smith Sigrid Snider David G. Steele Andrew & Jody Taylor Alison Teeman & Michael Yovino-Young Susan Terris Jonathan & Kiyo Weiss Beth Weissman Wendy Willrich 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 (6) · Gertrude E. Allen, in memory of Robert Allen · Peggy & Don Alter · Pat Angell, in memory of Gene Angell · Ross E. Armstrong · Barbara Jones & Massey J. Bambara M · Leslie & Jack Batson · Patti Bittenbender · Dr. S. Davis Carniglia & Ms. M. Claire Baker · Paula Carrell · Stan & Stephanie Casper · Ed & Lisa Chilton · Patty & Geoff Chin · Chris & Martie Conner · Phyllis Coring K · Mike & Pam Crane · Teri Cullen · Abby & Ross Davisson · Harry & Susan Dennis · Robert Deutsch · Corinne & Mike Doyle · David & Monika Eisenbud · Paul Feigenbaum & Judy Kemeny · Frannie Fleishhacker · Lisa Franzel & Rod Mickels · Donald & Dava Freed · Judith & Alex Glass · Ann Harriman, in memory of Malcolm White · Elaine Hitchcock · Mr. & Mrs. Harold M. Isbell · Ken & Judith Johnson · Randall Johnson · Barbara E. Jones, in memory of William E. Jones · Thomas Jones · Marilyn Kecso · Christopher Killian & Carole Ungvarsky · Janet Kornegay and Dan Sykes · Woof Kurtzman & Liz Hertz · William & Adair Langston · Linda Laskowski · Glennis Lees & Michael Glazeski · Nancy & George Leitmann, in memory of Helen Barber · Jay & Eileen Love · Meg Manske · John E. Matthews · Brian & Britt-Marie Morris · Margo Murray · Paul Newacheck · Claire Noonan & Peter Landsberger · Judy Ogle · Lynette Pang & Michael Man · Charles R. Rice · Richard Rouse M · Mitzi Sales & John Argue · Teddy & Bruce Schwab · Seiger Family Foundation · Alice & Scott So · Joshua & Ruth Simon · Douglas Sovern & Sara Newmann · John St. Dennis & Roy Anati · Gary & Jana Stein · Annie

We gratefully recognize the following members of the Annual Fund whose contributions were received in December 2015 and January 2016: S U PP O R T E R S

$ 2 5 0 –49 9

Anonymous (5) · Terry Pink Alexander & John Blaustein, in honor of Susie Medak · Richard & Ann Batman · Dr. Joan Bradus & Mr. Dale Friedman M · Lawrence & Marilyn Capitelli · Joanne Casey · John & Izzie Crane M · Dawn and Phil Daro · Michael Ehrenzweig & Josh Bettenhausen · Malcolm D. Ewen · Richard & Barbara Fikes · Daniel Friedland & Azlynda Alim · Karl & Kathleen Geier · Gail Gordon & Jack Joseph · Bonnie & Sy Grossman · Marilynn Hodgson · Juli Kauffman · Jalyn & Lance Lang · John Leys · Christine Macomber · Peggy & John Mooney · Rex Morgan & Greg Reniere · Jennifer Palangio · Fred & Susan Pownall · Brian Saliman · Sonja Schmid · Rune Stromsness · Joyce & Jack Sweitzer · Mark Whatley & Danuta Zaroda

CO N T RIB U TO R S

$ 15 0 –2 49

Anonymous (6) · Ann Bauman · Charles Benedict · Dupsi Brown-Kuria · R. Nelson Byrne · William Chalkley · Jean Conger · Nancy N. Conover · Rena Davidow · Jim & Cathy Fisher · Marlyn Gershuny · David Gibson M · Judy & Jeff Greenhouse · Robert Hass · Joanne Howard, in memory of Roy Howard · Elizabeth Jasny · Jean Kay · Amalia Kessler & Adam

Stenzel · Michael Tilson Thomas & Joshua Robison · Pate & Judy Thomson · Alistair & Nellie Thornton · Deborah & Bob Van Nest · Lee Yearley & Sally Gressens

A DVO C AT E S

$500–999

Anonymous (20) · Denny Abrams · Fred & Kathleen Allen · Kerrie Andow · 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 · Gun Bolin · Ellen Brackman & Deborah Randolph · Diane Brett · Eric Brink & Gayle Vassar M · Jill Bryans · Wendy Buchen · Barbara & Robert Budnitz · Don Campbell and Family · Dr. Paula Campbell · Robert & Margaret Cant · Bruce Carlton · John Carr · Carolle J. Carter & Jess Kitchens · Laura Chenel · Kim & Dawn Chase · Karen Clayton & Stephen Clayton · Dennis Cohen & Deborah Robison · Robert & Blair Cooter · Philip Crawford · Sharon & Ed Cushman · Jill & Evan Custer · Robert & Loni Dantzler · Pat & Steve Davis · Jacqueline Desoer · Noah & Sandra Doyle · Kristen Driskell · Linda Drucker & Lawrence Prozan · Burton Peek Edwards & Lynne Dal Poggetto · Roger & Jane Emanuel · Meredith & Harry Endsley M · Gini Erck & David Petta · Michael Evanhoe · James Finefrock & Harriet Hamlin · Brigitte & Louis Fisher · Martin & Barbara Fishman · Patrick Flannery · Robert Fleri, in memory of Carole S. Pfeffer · Stephen Follansbee & Richard Wolitz · Midge Fox K · Dean Francis · Nancy H. Francis · Harvey & Deana Freedman · Paul & Marilyn Gardner ·

Talcott · Kimberly Landes, in honor of Al & Carole Johnson · David Lesnini · The Medress Family Fund of the Jewish Community Foundation · Anthony Meier · Spencer & Roberta Michels · Gregg & Ruth Morris · Jim Murphy · Gerald and Ellen Oicles · Ralph Pais & Gayl Huston · Daniel Palmerlee · Robert & Audrey Pedrin · Beth Polland · Paco Ramirez · Marcia Ribner · Joe Rudy M · Emily D. Sexton · Dr. & Mrs. Gary Shrago · Debbie Smith · Richard & Darlene Smith · Donald Stang & Helen Wickes · Jane & Jay Taber · Jules Tippett · Henry & Susan Veit · Laurie Walter

FRIE N D S

$ 75 –149

Anonymous (10) · Ida and Myles Abbott · Robert & Karen Abra · Barry & Joanne Adcock · Elizabeth & Robert Andersen · John & Kaaren Antoun · Judy & Robert Aptekar · David Arpi & Natalie Gubb · Vanessa Baker · Michael & Della Barnett · Phil & Jane Batson · Linda & Bob Beckstrom · Richard & Carol Bee · Robin & Edward Blum · Eric B. Brown · Mary Campisi · John E. Caner · Ken Waldeck & Paula A Clark · Todd Douglas, in honor of The Dickerhoff Family · Edmund L. DuBois · Michelle B. Edwards · Marjorie Esquivil · Catherine & John Faust · Laury Fischer & Sue Schweik · Ellen & Jon Florey · Catherine E. Fox · David & Susan Garfin · Harold & Gail Glassberg · Susan & Steve Grand · Lynn Greenberg & Michael Rothschild · Ruth N. Greenwald · Eric Hahn · Halprin/Khaligh · Christina Halsey · Richard & Sylvia Hammond, in honor of Leo & Lidewey Blitz · Austin & Lynne Henderson · Lisa Herrinton · Winifred Hess · Charles Howard, in memory of the Howard Family · Estie Sid Hudes · Lynn Ireland · Barbara B Job · Marjorie & Theodore Keeler · Carli Kim · Debie Krueger, in memory of Alex Maffei · Judith Lamberti, MD · Sushma

Tim Geoghegan · Robert Goldstein & Anna Mantell · Susan & Jon Golovin · Jane Gottesman & Geoffrey Biddle · Linda Graham · Priscilla Green · Don & Becky Grether · Dan & Linda Guerra · John G. Guthrie · Ken & Karen Harley · Janet Harris · Dan & Shawna Hartman Brotsky M · Geoffrey & Marin-Shawn Haynes · Irene & Robert Hepps · 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 · Jeff Klingman & Deborah Sedberry · Judith Knoll · Joan & David Komaromi · Yvonne Koshland · Jennifer Kuenster & George Miers · Natalie Lagorio · Jane & Michael Larkin · Almon E. Larsh Jr · Henry Lerner · 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 · Ronald Morrison · Patricia Motzkin & Richard Feldman · Moule Family Fund · Ron Nakayama · Kris & Peter Negulescu · Jeanne E. Newman · Pier & Barbara Oddone, in memory of Michael Leibert · Peggy O'Neill · Carol J. Ormond · Mary Papenfuss & Roland Cline · Nancy Park · Brian D. Parsons · James Pawlak · P. David Pearson · Bob & Toni Peckham, in honor of Robert M. Peckham, Jr. · Lewis Perry · Suzanne Pierce, in honor of Carol D. Soc · F. Anthony Placzek · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Susie & Eric Poncelet · Roxann R. Preston · Rich Price · Linda Protiva · Laurel & Gerald Przybylski · Dan & Lois

Purkett · Kathleen Quenneville · David & Mary Ramos · Sheldon & Catherine Ramsay · Adam Rausch K · Arthur Reingold & Gail Bolan · 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 · Joyce & Kenneth Scheidig · Laurel Scheinman · Bob & Gloria Schiller · Mark Schoenrock & Claudia Fenelon · John & Lucille Serwa · Lyman Shaffer · Brenda Buckhold Shank, M.D., Ph.D. · Margaret Sheehy · Steve & Susan Shortell · Margaret Skornia · William & Martha Slavin · Carra Sleight · Suzanne Slyman · Jerry & Dick Smallwood · Louis & Bonnie Spiesberger · Robert & Naomi Stamper · Herbert Steierman · Monroe W. Strickberger · Prof Jeremy Thorner & Dr. Carol Mimura · 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 · Buddy & Jodi Warner · Dena & Wayne Watson-Lamprey · Mike Weinberger & Julianne Lindemann · Harvey & Rhona Weinstein · 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

Magnuson & Leif Magnuson · Joann Malta-Weingard · Jim McDonald & Myrna David · David W McMurry · Gary Meyer · Carrol Mills, in memory of Stan Eremia · Ethel Mussen · Andre & Ellen Neu · Caroline Putnam · Ann & Joseph Ranish · Donald Riley & Carolyn Serrao · Nancy Rodriguez-Bell · Ruth Rosen & David Galin · Ann Rosenberg & Lorenzo Kampel · Nicole Sanchez & Grace Sanchez Noonan · Marsha Silberstein · Joan Steber · Shayna & Elliott Stein · Shirley J. Svihra · Joyce Tayer · Michael & Katherine Taylor · Dan & Mila Thomas · Douglas Tilden · Oscia Timschell · Eric Ting & Meiyin Wang · Roseanna Torretto · M. Christine Torrington · Jose Vergara · Mary Wadsworth · Jim Wenninger · Margaret Wheeler · Patricia Wipf · Stan Zaks

Insel · Robert Jenkins · Samuel Jinich · Bruce Johnson & Brooke Kuhn · Anne & Jeffery Katz · Kara Krone & Kevin Ligutom · Geoffrey Lasky · Dr. Doreen Leighton · Colleen & Brian Lewis · Jean Rowe Lieber · Michael Lim · Katherine Lorber · Kevin Loughlin · Karen Lowhurst · Marcie MacDonough · Julie Mattoon · Joyce K. Mendel · Trevor Meyerowitz · Terry Meyers-Gibbins & John Gibbins · Chris Miller · Danessa & Steve Miller · Reid Miller · Farrokh Modabber · Patricia Mondloch · Raymond Montoya · Tim Moore · Veronica Morelos · Thomas Owen · Sara L. Pahlke · Doris Peacock, in memory of Michael Duden, actor · Linda Perkins · Ginny Preston · Paul & Christine Prusiner · Judith Rabbie · Brandon Racer · Daniel & Barbara Radin · Teresa Ramirez · Gary M. Raucher · Richard B. Ressman · Thomas Ropelewski · Josh Rotenberg · Frances Roth · Suzanne Samberg · Suzanne Sattergren · Maxine Sattizahn · Julia Scannell · Jamie Schein · William Schnitzer · Benjamin Schwartz · David & Pauline Schwartz, in memory of Dr. Philip & Shirley Schield · Elizabeth Schwerer · Alexander Scott · Kathleen Scott · Ryne Scott · Jerry Shluker · Will Stockard · Robert Strochak · Barbara Sullivan · Joyce Suter · Susanna Tadlock · Michael Teichman · Tanya Telson · Ed & Barbara Tonningsen · Robert & Christen Treuhaft · Joanne A. Trezek · Shirley R. Trimble · Grace Wahlberg · Andre L. Wilson & Robert E. Perry · Brad Witherspoon · Edith Zakai

PAT RO N S

$ 1 –74

Anonymous (8) · Don & Bette Anderson · James & Rebecca Austin · Lisa Bacani · Charles Belov · Catherine Benedict · Lucia Blakeslee · Ann Blessing · Susan A. Blew · Maryalice Bonilla · Anne Bosshardt · Benita & Burton Boxerman, in honor of Leonard X Rosenberg · Sarah Brann · William Brown · Carl Brush · Michael Buchanan · Meredith Charlson, in memory of Daniel Stone · Julie Chew · Sandra Cioppa · Eleanor D. Cohen · Jane E. Connors · Mary & Matthew Connors · Wendy Cooper · Sean Culman · David Currie · Ms. Ellen Daniell · Guy Dunham · Ruth Dunham · Lisa Earl · Mariko Eastman · Bernadette Finch · Phillip Fleishman · Rinat Fried · Ernest Galvan · Ann Cirksena & Polly Gassler · Sidney & Eleanor Glass · Astrid & Mark Goldman · Helen Goldsmith & Paul Garson Heller · Mr. & Dr. Martin Goldstein · James M. Hall · Mr. Steven Hamman · Rosemary Hegarty · Robin Horner · Ann Humphrey · Charlotte & Neil Huntley · Mary Lou Hutson · John F. Inciardi · Barbara

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BE R K E L E Y R E P T H A N K S Donors to the Annual Fund Sustaining members as of January 2016:

The Society welcomes the following new members: Thomas W. Edwards & Rebecca Parlette-Edwards

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 Julie & Paul Harkness 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 L. 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.

Extraordinary theatre. All because of you.

Ensure more great theatre by exceptional artists with your gift to the Annual Fund. As a donor, you’ll receive special perks like behind-the-scenes tours, free goodies at concessions and much more!

Give today. berkeleyrep.org/give · 510 647-2906

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

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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 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 TCG Artist-in-Residence Reggie D. White Associate Artist Liesl Tommy Artists under Commission David Adjmi · Todd Almond · Christina Anderson · Glen Berger · Jackie Sibblies Drury · Rinne Groff · Dave Malloy · Lisa Peterson · Sarah Ruhl · Joe Waechter 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 Assistant Technical Director Matt Rohner Shop Foreman Sam McKnight Master 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

Managing Director Susan Medak

Draper Alex Zeek Tailor Kathy Kellner Griffith First Hand Janet Conery Wardrobe Supervisor Barbara Blair

Box Office Manager Richard Rubio Ticket Services Supervisor Samanta Cubias Box Office Agents Sophia Brady · Nathan Brown · Christina Cone · Julie Gotsch · Eliza Oakley

ELECTRICS Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane Kenneth Coté

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 Winograd Ikonen Director of Public Relations Tim Etheridge 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 Jessica Charles · Steven Coambs · Aleta George · Tuesday Ray · Ayanna Makalani · Mary Cait Hogan · Sarah Mosby Interim Concessions Manager Hugh Dunaway Concessionaires Jessica Bates · Samantha Burse · Steven Coambs · Alisha Ehrlich · Sarah Mosby · Benjamin Ortiz · Jenny Ortiz · Sandy Valois

S OU N D A N D V I DE O Sound Supervisor James Ballen Sound Engineers Angela Don Annemarie Scerra 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 Yale Management Fellow Adam Frank 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 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

Marvin Greene · Susan-Jane Harrison · Andrew Hurteau · Julian LópezMorillas · Dave Maier · Patricia Miller · Jack Nicolaus · Slater Penney · Marty Pistone · Diane Rachel · Christian Roman · Rolf Saxon · Elyse Shafarman · Arje Shaw · Joyful Simpson · Rebecca Stockley · Reggie White 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 · 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 Macbeth Docents Matty Bloom, Lead Docent Richard Lingua, Assistant Lead Sandy Greenberg · Dee Kursh · Dale Marshall · Selma Meyerowitz · Joan Sullivan

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

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 David Cox Robin Edwards Lisa Finer David Fleishhacker Paul T. Friedman Karen Galatz Bruce Golden David Hoffman Jonathan C. Logan Susan Karp 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 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

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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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@berkeleyrep

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

Tickets/box office Box office hours: noon–7pm, Tue–Sun Call 510 647-2949 Click 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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