Berkeley Rep: No Man's Land

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The secrets of stage magic 10 · Harold Pinter: A man of conviction 20 · The program for No Man’s Land 27





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First performance, 8pm Summer Intensive Session 2 final performance, 7:30pm Opening night dinner, Hotel Shattuck Plaza, 5pm Opening night, 7pm Final performance, 8pm


4 Teen Council Meeting, 5pm 5 Unscripted Happy Hour, Harrison campus, 5:30pm 8 Middle School Sneak Peek 15 Sunday Sampler, 1pm 20 Teen Night, Vanya and Sonia and Masha and Spike, 6:30 20 First performance, Vanya and Sonia and Masha and Spike, 8pm 23 Fall classes start 25 Opening night dinner, Vanya and Sonia and Masha and Spike, 6pm 25 Opening night, Vanya and Sonia and Masha and Spike, 8pm


NO M AN’ S L AND BY HAROLD PINTER DIREC TED BY SEAN M ATHIA S B E R K E L E Y R E P P R E S E N T S NO MAN’ S LAND · 27 M E E T T H E C A ST & C R E W · 28 P ROL O G U E A letter from the artistic director · 5 A letter from the managing director · 7 R E P ORT Sneak peek: Vanya and Sonia and Masha and Spike · 9 Secrets of stage magic · 10

School of Theatre event Donor appreciation event


Intro to Berkeley Rep’s School of Theatre · 12 A nonprofit’s tale · 15 F E AT U R E S Pause: The legacy of silence · 18 Harold Pinter: A man of conviction · 20 From "Writing for the Theatre," 1962 · 24 CON T R I BU T OR S Foundation, corporate, and in-kind sponsors · 35


Individual donors to the Annual Fund · 36 Michael Leibert Society · 38 Memorial and tribute gifts · 38

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A BOU T BE R K E L E Y R E P Staff and affiliations · 40

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

Board of trustees and sustaining advisors · 41

For local advertising inquiries, please contact Ellen Felker at 510 548-0725 or Editor Karen McKevitt Art Director Nora Merecicky Graphic Designer Mary Kay Hickox


Writers Beryl Baker Benjamin Hanna Jacob Marx Rice Karen McKevitt Harold Pinter Nora Sørena Casey

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

Everything you need to know about Berkeley Rep’s box office, gift shop, seating policies, and more · 42


Ella The Musical Book by

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rOB ruggierO & Dyke garrisOn Musical arrangements by

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PROL OG U E from the Artistic Director

“What the hell is going on?” In a Harold Pinter play, everything is true. And everything is false. Everything is real. Or perhaps not real. There are no traditional boundaries that define behavior, no clear lines of demarcation to tell us what we should believe. There are only actions, actions expressed through stark imagery and spoken language that seem to slip and slide between different realms of consciousness. The effect is startling and eerie, at once terrifying and hilarious. One minute we’re watching a horror movie and the next a vaudeville sketch. Like a mystery play where the major clues have been removed, it’s ultimately up to us to decide the narrative of the story. In lesser hands, this technique would be an unmitigated disaster. But Harold Pinter was a brilliant artist. His spectacular skill as a writer was wedded to his obsessive explorations of power and territory. His characters are always on the hunt, circling around each other, sniffing for the smell of fear or submission. Even the most casual exchanges are fueled with an underlying need for control. The result is a series of theatrical games, sometimes menacing and sometimes ludicrous, where the rules may change as quickly as the results. But these little games exist in the context of the larger game, the game of life, where all results remain elusive, where “understanding” is fleeting, and where moments of dizzying clarity are subsumed by the shroud of unknowing. Mastering the complexity of Pinter’s work requires an extraordinary creative team. It goes without saying that the cast assembled here, featuring Ian McKellen, Patrick Stewart, Billy Crudup, and Shuler Hensley, are among the world’s finest actors. Under the inspired direction of Sean Mathias and his superb designers, we have every expectation that this production of No Man’s Land will be strikingly memorable. The show travels from here to New York, where it will play in repertory with Waiting for Godot. A glorious match of plays that led the charge in re-defining modern drama and challenged the very notion of entertainment. I can think of no better way to re-examine these plays than with these players.

GLIMMER, GLAMOUR, GLEAM A sumptuous array of sparkling textiles— metallic brocades, beaded French laces, satins, velvets and embellishments.

We couldn’t be more proud of being a part of it. Sincerely,

Tony Taccone


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August 2013 Volume 45, No. 9

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Paul Heppner President Mike Hathaway Vice President Deborah Greer Executive Assistant Erin Johnston Communications Manager April Morgan Accounting Jana Rekosh Project Manager/Graphic Design Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 800.308.2898 x105 Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2013 Encore Media Group. Reproduction without written permission is prohibited.

PROL OG U E from the Managing Director

Many of you are here tonight as firsttime subscribers. You are joining a cadre of 14,000 Bay Area patrons (and a few from the far reaches of Texas, Southern California, Oregon, and New York!) who put Berkeley Rep on their calendars four, five, or seven nights a year. What you may find is that, like so many other subscribers, you become hooked and start adding more and more dates, and adding special non-subscription shows, pre-show docent presentations, post-show discussions, and Page to Stage interviews with playwrights and actors. Or, like virtually every other subscriber, you’ll take full advantage of our flexible exchange policy and change your dates when you are called out of town, find that you’re double-booked, or when your Berkeley Rep show is the same night as your parent/teacher conference. I think you’ll find that our ace box office team is there to help you, whether it is finding the best seats available on your preferred night or answering your questions about whether this is the show you want to share with your mother-in-law. While our online ticket services are available 24 hours a day, and our website is chock full of information designed to help you get the most out of every production, being as we are in the theatre, we actually enjoy providing real-time, live, person-to-person service. On behalf of all of us at Berkeley Rep, our artists, our staff, and our board, I welcome you. What we value most about our subscribers is that you have joined us on a journey this year, a journey that will take you from tonight’s enigmatic masterpiece by Pinter to the wacky world (how else to describe it!) of Christopher Durang in Vanya and Sonia and Masha and Spike, to the elegiac study by Mona Golabek in The Pianist of Willesden Lane, and the exquisitely soulful exploration of limitless love in Tristan & Yseult. And that is just the first half of the season. I hope you will find, as we do, that while each play stands on its own, when seen together as part of a continuum, they jostle against each other. Like a single piece of music, they harmonize, they repeat and refract themes. And, if we’ve done our job, at the end of your season, you’ll find that your heart has been touched and your mind has been challenged. As we like to say, “you’ll leave a little different.” Welcome to Berkeley Rep. Warm regards,

Susan Medak


Berkeley ◆ Kensington El Cerrito ◆ Albany Piedmont ◆ Oakland





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2013– 14

Amy Kim Waschke and Christopher Livingston in the 2012–13 hit The White Snake ph oto co u r t e s y o f m el lo pi x .co m

Featuring the winner of the 2013 Tony Award for Best Play, an exquisite love story from the creators of The Wild Bride, the off-Broadway sensation Tribes, a West Coast premiere from Tony Kushner, and more. Packages start at just $25 per ticket. Call 510 647-2949 Click

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Sneak peek

Vanya and Sonia and Masha and Spike BY KAREN MCKEVITT

Berkeley Rep’s hilarious next show, Vanya and Sonia and Masha and Spike, has won a slew of awards: the Outer Critics Circle, New York Drama Critics Circle, Drama League, Drama Desk, and the crème de la crème, the 2013 Tony Award for Best Play. So it’s safe to say that Christopher Durang’s latest comedy is a sure-fire hit. As the title suggests, Vanya and Sonia… gives a wink and nod to Chekhov—but you need not be familiar with the venerable Russian playwright’s work. If you have some quirky relatives or have ever been at an unforgettable family event filled with rivalry and racket, then you’re intimately familiar with crazy antics that inspired the playwright. “I don’t have any siblings,” Durang told last June. “But both of my parents did. I want to choose this time to not say which side of the family argued over time. But they definitely inspired me in terms of siblings who argue.” And boy, do Vanya and Sonia and Masha know how to Vanya and Sonia and Masha and Spike argue —and argue absurdly. The starts on September 20. For the best seats New York Times calls the play and other valuable perks, subscribe to “deliriously funny,” adding that our 2013–14 season now. Single tickets “the theater erupts in booming go on sale starting August 25. Visit gusts of laughter that practically, or call 510 647-2949, shake the seats.” Tuesday through Sunday, noon to 7pm. “I knew I was going to write something comic,” Durang says of the lemon-bitter Sonia, whose verbal repartee with her brooding brother has audiences in stitches a mere three pages into the script. Masha had long since escaped the family’s farmhouse in search of screen stardom, and suddenly returns one day with a sizable ego, delusions, and one very buffed boy toy— that’s Spike. When the group is invited to a costume party up the street in the old Dorothy Parker house, the fireworks really begin.

Anthony Fusco, Sharon Lockwood (right), and Lorri Holt (bottom) star in Vanya and Sonia and Masha and Spike 2 0 1 3–1 4 · S P E C I A L P R E S E N TAT I O N · T H E B E R K E L E Y R E P M AG A Z I N E · 9


Secrets of stage magic BY JACOB M AR X RICE

Much of what happens in the theatre could easily be mistaken for magic. Actors walk off stage left and reappear seconds later from stage right wearing completely different outfits. Phones ring even though there is nobody on the other end of the line. Chairs, tables, and even walls transform from one scene to the next. Like all good magic, the audience sees the effect but not how that effect is achieved. They may perhaps catch a glimpse of a shadowed silhouette flitting between scenes, spectral forms that have long since scattered by the time the lights come up on the actors. But these brief and baffling glimpses only hint at the extraordinary complexity needed to create a Berkeley Rep show like No Man’s Land.

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Clockwise from top right: Angela Don (sound engineer), Cynthia Cahill (stage manager), and Robbie Tann in Troublemaker, or The Freakin Kick-A Adventures of Bradley Boatright

Technicians Everyone backstage may be magicians, but the light and sound technicians are as close to sorcerers as you’re likely to find. With the push of a button, these technicians can conjure a bright summer morning with birds chirping and the sun streaming through dappled leaves. Another flash of their fingers and we’re watching a sunset, or trapped inside on a rainy day, or surrounded by the soft sound of crickets in the deep blue of a late autumn night. All of these effects are created by the designers, but it is up to the technicians to make sure that they happen the same way every night. “Our job is to execute the designer’s vision consistently for every show,” explains Angela Don, Berkeley Rep’s sound engineer. Production Electrician Kenneth Coté, who runs the light board for many Berkeley Rep shows, puts it even more simply, “We are the fingers of the designer.” To make sure the performance runs smoothly, the technicians double-check every piece of equipment before every show. But even with all the checks in the world, things still go wrong. When that happens, it’s up to the technicians to fix them as quickly and invisibly as possible. Angela fondly recalls a crazy night during Berkeley Rep’s smash hit American Idiot when an overzealous actor accidentally kicked one of the guitars: “We had to quickly restring it backstage, in the dark, in time for the next person playing it to get back on stage.” Thankfully, they were up to the task. “We got it done in time, and nobody noticed,” Angela assures. Even when something goes wrong, Berkeley Rep's technicians make it look and sound great. Wardrobe If clothes make the man, the wardrobe crew has to create a whole cast of characters every night. Achieving this creation eight times a week is no easy feat: “Nobody wears their clothes as much as an actor wears their costume. Nobody would wear the same designer T-shirt eight times a week. It just wouldn’t happen,” explains Wardrobe Supervisor Barbara Blair. “The clothes take a beating onstage, and our job is to make them look fresh, like it’s the first time they’ve been worn.” This job becomes even more complicated when the actors switch costumes in the middle of the play. During these transitions, every second counts because the audience is waiting, blissfully unaware of the mad scramble going on backstage. “An actor walks off and we have sometimes as little as 15 seconds to change every piece of clothing and get them back onstage. We have to work in teams: somebody on the shoes, somebody on the skirt, somebody on the jacket, somebody on the wig. It’s like Nascar,” jokes Barbara. And like Nascar, the wardrobe crew has all sorts of tricks to make things go faster. “You might see someone wearing a multi-piece suit on stage that looks like a normal suit, but it’s actually a single piece of clothing,” reveals Barbara. “The shirt collar and front are sewn into the jacket and the tie velcros in at either side. The whole thing can come off in seconds and they can be back on stage wearing something completely new.” These tricky tools make the seemingly impossible happen right before your eyes.

Stage manager With so many people working together to make the show possible, it’s important to have someone in charge. That responsibility falls to the stage manager, whose job is to make sure, in the words of Production Manager Tom Pearl, “that everyone from every department knows exactly when to do their jobs.” Needless to say, that’s a lot of work. “It’s a very delicate lie we preserve for two hours,” admits Michael Suenkel, Berkeley Rep’s production stage manager. “Every single element, from lights and sound to the set changes to when an actor steps on stage, it all has to go at the right time. Everything is thought through and everything is precise.” To accomplish this precision, the stage manager watches from a special room at the back of the theatre. Following along with a script, he or she calls out what each department should be doing when they should be doing it. These cues are transmitted via headset to ensure perfect coordination. These headsets also allow the stage manager to alert people if something goes wrong. When a doorknob unexpectedly fell off in Mandy Patinkin’s hand during Berkeley Rep’s production of Compulsion, for example, Michael signaled the deck crew, who were able to hold the other side of the door while Mandy Patinkin screwed it back in. Everyone covered so smoothly that audience thought it was part of the show. Deck crew Hidden behind the set lurks the deck crew, the team responsible for the movement and placement of every prop, piece of furniture, even the walls and ceilings. Their specific tasks vary depending on the production: from restocking the liquor cabinet in No Man’s Land to, in Berkeley Rep’s recent hit Chinglish, rearranging entire rooms while riding a spinning platform and dodging motorized chairs. No matter what the show, if it’s on stage and not human, it’s the deck crew’s responsibility. According to Production Manager Tom Pearl, “They do everything from cleaning the stage and setting props and sets for the performance to actually running the show, moving all of the elements around, and operating any machinery.” And, as if that wasn’t enough of a challenge, they have to do it all in the dark. Making it work requires patience, practice, and precision. The stage carpenter, who is in charge of the deck crew, starts by working with the stage manager to plan every change that has to happen backstage. Then the deck crew practices over and over again so that they’ll be fully prepared once the actors start rehearsing onstage. Once technical rehearsals start, things really get going. “It’s like trench warfare,” explains Stage Supervisor Julia Englehorn. “You are stuck in the trench with your buddies for 16 hours a day, oftentimes in extremely tiny spaces. You’ve got your buddy’s back, your buddy has your back, and whatever happens you’re going to do the show.” But while the preparation may be brutal, the final result is sleek, beautiful, and efficient. “It’s like a choreographed dance backstage during performances,” reports Amanda Warner, who has worked deck crew on several shows with Berkeley Rep. “Everyone is moving together. We know each other’s paths for each transition. It becomes perfect.” So perfect in fact, that the audience usually doesn’t even know it’s happening. 2 0 1 3–1 4 · S P E C I A L P R E S E N TAT I O N · T H E B E R K E L E Y R E P M AG A Z I N E · 1 1


Intro to Berkeley Rep’s School of Theatre

Feeling inspired? Learn more about all of these exciting programs at or call 510 743-2972.


The School of Theatre building is neatly tucked between Berkeley Rep’s box office and the Aurora Theatre, housed in the historic Golden Sheaf Bakery. Even today, after over 10 years, people knock on the door daily and say, “I didn’t know Berkeley Rep had a school—what do you do?” Some are new to the area, and some have been longtime supporters of Berkeley Rep. And it’s a difficult question because there isn’t just one simple answer. An integral part of Berkeley Rep’s mission, the School opened in 2001 and its programming is as eclectic as its season, serving over 23,000 people throughout the Bay Area last year. So how can you get in on the action? Here are just a few ways:

Take a class

Have a kid or grandkid who is constantly putting on plays in the living room? Ever thought of writing your own play? Why not have her explore her creativity in a Saturday morning class while you take a playwriting course in the same building? We offer over 100 classes throughout the year in acting, musical theatre, playwriting, and more in our state-of-the-art School of Theatre spaces on Addison Street and the new Arts Passage at Berkeley Central. Professional, working artists teach students of all ages and from all levels of experience. You might have even seen some of these artists on Berkeley Rep’s stages! 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 3–1 4 · S P E C I A L P R E S E N TAT I O N

Bring an artist to your school Do you remember your first introduction to the theatre? Invite one of our professionally trained teaching artists to lead a free or low-cost workshop in your school. The program reaches students in grades K–12 and covers many California content standards through creative activities. Last year alone, Berkeley Rep teaching artists visited over 130 Bay Area schools. Tell a teacher about this great resource to bring the arts into your community.

Discuss with a docent

Join the Teen Council

Want to know more about a play before you see it? Attend a free pre-show docent talk before Tuesday and Thursday evening performances of subscription productions and learn more about the artists and their theatrical process. Or, stay after any matinee and participate in a docent-led post-show discussion. Our docents also visit libraries and community spaces throughout the Bay Area, giving talks that share information about our productions. P H OTO BY C H E S H I R E I S A AC S

Know teens that love the theatre? Invite them to a Teen Council meeting or event. Teen Council provides a creative space for teens to explore every facet of the theatre with tremendous support from Berkeley Rep’s staff. The first Wednesday of every month teens meet to address trends in the theatre and plan upcoming events. During the school year, Berkeley Rep subscription productions have a Teen Night where students pay just $10 to see the show, eat a tasty meal, and interview some of the top theatremakers in the country.

Bring a busload

Want to introduce students in your community to their award-winning hometown theatre? Local teachers can attend a discounted Berkeley Rep matinee show with their entire class. These exclusive performances offer post-show discussions with the cast, and students are also provided complimentary study guides. studentmatinees


Inspire the next generation Know a bright young artist ready to jump into the professional theatre world? We have one of the most prestigious theatre fellowship programs in the country. Every year, 16 young theatre professionals are offered 11 months of hands-on training and mentorship by our professional staff. The fellowship program is a steppingstone for placement at theatres across the country—many of Berkeley Rep’s staff members have come from the fellowship program. 2 0 1 3–1 4 · S P E C I A L P R E S E N TAT I O N · T H E B E R K E L E Y R E P M AG A Z I N E · 1 3

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Berkeley Rep’s beginnings at a storefront on College Ave. in 1968


A nonprofit’s tale

Berkeley, international runs, and back again BY BERYL BAKER

I think we should all breathe a sigh

of relief I didn’t go with “The Next Generation of Donors” for the title. And I understand if you skipped to the actors’ biographies rather than read this first—it’s taking everything in my power not to mention a holodeck, a balrog, or the X-Mansion. But, I figured since what brings you here is the fact that you want to see masterful storytellers at work—and that you trust that this will not be the Christmas nativity play put on by your niece’s school that you try to avoid every year—it’d be a good time to give you the story of the Theatre you’re sitting in and why we’re able to bring No Man’s Land to you. The story of Berkeley Rep might not be one you’re already familiar with—or perhaps you’ve been attending the Theatre since its inception. Back in 1968 a UC Berkeley theatre student named Michael Leibert began putting on shows in the University’s international student If you want to see more stories housing unit, appropriately being told by incredible actors and named International are interested in supporting the House. Thanks to the Theatre with a gift, please visit our support of his wife Flicka website at or McGurrin, he would then contact me, Beryl Baker at (510) go on to open a small 647-2902. I’d be happy to take your storefront theatre with donation and also talk about all roughly 150 seats on things geeky. College Avenue, just a mile further south from campus. It’s safe to say that 45 years later things have changed. We now have 200,000 people walking through our doors annually, including 14,000 subscribers), and 65 world premieres under our belt. We serve more than 23,000 students and host dozens of community groups, thanks to 1,000 volunteers and more than 330 artists, artisans, technicians, and administrators. As if that weren’t enough, we’ve started to export plays to other countries—our wildly successful and critically acclaimed production of Chinglish had a sold-out run in Hong Kong’s 1,200-seat Lyric Theatre last March. And that small storefront? It was a great starter home, but as of 2001 we’ve expanded into two theatre houses, one 2 0 1 3–1 4 · S P E C I A L P R E S E N TAT I O N · T H E B E R K E L E Y R E P M AG A Z I N E · 1 5


The arts come alive at College Prep

The College Preparatory School A private high school for grades 9-12 6100 Broadway Oakland CA 94618 510.652.4364

school building, and three black box studios all just two blocks away from the UC Berkeley campus where the company originated. Numbers are fun, but the calculable successes are just a sign of a growing CP 061713 Yes, artswe1_6v.pdf momentum behind Berkeley Rep’s achievements. have incredibly hardworking artisans, technicians, administrators, and incoming artists. But our success is intrinsic to the community that surrounds us. It’s a symbiotic relationship, wherein each year the quality of the programming is absolutely dependent on the people who continue to support it. Our donors, subscribers, and other patrons keep telling us they have faith in what we’re doing by coming back each year; that long list of world premieres wouldn’t be so long if the people watching them stopped coming; and those world premieres certainly would not have been produced in the first place had it not been for our donors. While ticket proceeds make up a 60% of our budget the remainder is all donations. In other words, almost half of our operating budget is based on the generosity of people like you. However, we don’t want to just break even. Just because we’re a nonprofit it does not mean we aren’t invested in increasing funds or expanding the company to well into the future. We want to increase the quality of our programming and provide even more opportunities for people of all ages and backgrounds to enjoy theatre, as much as possible each season. Our Annual Fund goes a long way in giving directly back to the community that gives to us.

Our success is intrinsic to the community that surrounds us. It’s a symbiotic relationship, wherein each year the quality of the programming is absolutely dependent on the people who continue to support it. When you donate, think of it as an investment in a better Bay Area. By giving to the Annual Fund you are automatically supporting outreach programs for youth— many of whom are from low-income households—in over 100 Bay Area schools; ticket discounts for students, educators and seniors; scholarships for local students to enroll in our School of Theatre’s nationally acclaimed programming; and of course, world-class theatre productions. We are dependent on individuals who stand up, show their support, and give what they can to help us thrive. In the last decade alone government support of Berkeley Rep has shrunk by 93 percent. Yet, our programming aims higher each year to bring adventurous and inspirational work to our audiences. We’ve introduced you to work from around the country and the world featuring incredible performers, like Kneehigh Theatre’s The Wild Bride, Hershey Felder’s George Gershwin Alone, and the stunning Henry Woronicz in An Iliad. We’ve featured new works that foster artistic growth and showcase the talented actors and artisans who live in our own backyard. It’s incredible, and we want to keep it going. This is where you come in. This is your theatre. So, keep coming back after this show. It’ll be worth it, we promise you. This is your space to think, to be challenged, and of course to be entertained with shows like the upcoming Vanya and Sonia and Masha and Spike— which won the Tony Award for Best New Play (read more on page 9) —and the world premiere of The House that will Not Stand, a passionate play that we commissioned from an Oakland native, or any of the five other plays that make up our exhilarating 2013–14 season. 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 3–1 4 · S P E C I A L P R E S E N TAT I O N

leave a little different

It’s ambitious, but we’re trying to change the world, one play at a time. To help, visit


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As audience members, we have some basic expectations when we go to the theatre. Even for the most avant-garde productions, there is a belief that at least one person is going to get up on stage and say some words. We’ll look, and we’ll listen. So perhaps it’s not surprising that the phenomenon of a person being on stage and not talking is often met with dismay. The expectation that art centers on a definite action or event has built up over centuries of work from musicians, painters, sculptors, and storytellers of all kinds. So audiences were shocked in 1952 when composer John Cage presented his piece 4’33’’, during which a man came on stage and did not play the piano for four minutes and 33 seconds. “In one short piece, Cage broke from the history of classical composition and proposed that the primary act of musical performance was not making music, but listening,” pbs concluded in an article from their American Masters series. Cage’s compositions were in dialogue with the work of other artists, like the conceptual artist Marcel Duchamp and the abstract painter Robert Rauschenberg, who captured a 20th-century sensibility that—amidst world wars, the rise of fascism, and consumer culture—art had a responsibility to provoke questions and challenge expectations. These free-thinkers often elevated everyday objects to the level of art, leaving audiences to discover for themselves whether or not they found that elevation significant. In Duchamp’s presentation of a urinal in an art museum, Rauschenberg’s paintings without images, and Cage’s concert without sound, the lack of interpretive work on the part of the artist turned a greater responsibility over to the audience to find meaning. The theatre was shaken by something similar in 1953. On Broadway Damn Yankees and Cat on a Hot Tin Roof were playing, but in a small theatre in Paris the curtain opened to a man in a bowler hat trying to put on a boot … a couple of times … without success. Whereas typically audiences were

Pinter’s characters often vie for power wordlessly, and pauses have an ominous quality, expressing a conflict unvoiced and unresolved. swept away by high-stakes plots and dramatic character journeys, Samuel Beckett’s play without a plot, Waiting for Godot, deliberately rejected these standards of theatre. “The play bored some people acutely,” wrote one reviewer of the original English production, but it was its inherently “boring” nature that allowed it to explore human existence in a new way on stage. One of the pivotal instruments of this dramatic overhaul was Beckett’s use of pauses and silences. The negative space of language played a different role once the storytelling was not concerned with relaying information. Character revelations in Godot happened as often through the breakdown of language as through dialogue, and the event of non-articulation was presented as a poignant dramatic force. But silence, so familiar in our own lives, was suddenly perplexing on stage. For some, the interpretative space of this silence proved nothing more than a void; for others, it cut to the heart of human experience. Harold Pinter was one of the latter, as he expressed to a cast member after seeing a production of Beckett’s Endgame: “You know, it’s not what you were saying to each other, it’s what was happening in between that gave me tickles up my spine.” What Pinter saw “in between” the dialogue influenced how he employs and abandons language in his own work. In plays such as No Man’s Land, Pinter’s characters often vie for power wordlessly, and pauses have an ominous quality, expressing a conflict unvoiced and unresolved. The importance of storytelling through the breakdown in language is clear, as scripts are littered with dashes, ellipses, and stage directions calling for quiet (in CO N TIN U E D O N PAG E 3 4 2 0 1 3–1 4 · S P E C I A L P R E S E N TAT I O N · T H E B E R K E L E Y R E P M AG A Z I N E · 1 9


HAROLD PINTER A man of conviction

Harold Pinter’s plays often lead us

into the unknown—blending comedy, terror, sound, and silence to explore (but never define) human existence. Yet the uncertainty in these works is not a product of the playwright’s confusion. Across the years, Pinter earned a formidable reputation for the strength of his convictions, and his fierce, restless spirit shaped all aspects of his life: “I don’t think Harold would accept anything, except the laws of cricket, without question,” said his second wife, Lady Antonia Fraser. His relentless inquiry and brazen attitude made Pinter a theatrical maverick. Born in east London on October 10, 1930, Pinter was an only child with a large extended Jewish family. Ordinary boyhood pursuits like reading and playing sports were disrupted by the events of World War II: he was evacuated out of London on several occasions, and also lived there through some of the heaviest bombings of the blitz. Although Pinter was not religious, more personal conflict intermittently marked his life whenever he met with anti-Semitism, ranging from street fights as a boy, to bar fights as a young man, to heated arguments later in life. The support of a close-knit group of male friends also shaped his adolescence, and their youthful arguments and activities included Pinter’s first foray into theatre. Teenage performances as Romeo and Macbeth, lauded in the school and local newspaper, inspired Pinter to turn to the Royal Academy of Dramatic Art when his Latin wasn’t up to par for prestigious universities. 2 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L P R E S E N TAT I O N

Pinter spent 1948 at the Royal Academy and hated it—by the end of the year he tended to skip class and drift through the streets of London reading, writing poetry, and watching cricket, and he did not return after the second term. That same year, at age 18, he was called up for military service. “I was aware of the suffering and of the horror of war, and by no means was I going to keep it going,” Pinter recalled. “I said no.” With no religious or moral affiliation to justify his claim as a conscientious objector, he was arrested and fined multiple times before the government changed its policy. While Pinter remained adamant in his rejection of military and educational institutions, he had yet to find a place in society where he belonged. His interest in writing poetry resulted in a few publications in 1950, but he failed to gain much traction as a poet. Pinter also aspired to act for the bbc, but his unsolicited inquiries got little response, and he spent several years primarily dirt poor and jobless. “I always have an image of Harold striding down the street in his navy-blue coat with a rage against the world,” recalled an old girlfriend of that time. “But it was also a rage for life, a rage to do something, a rage to achieve something.” That something was on its way in 1951, when Pinter joined the classical acting legend Anew McMaster’s theatre company and set off on a tour of Ireland, beginning his career in the theatre in earnest. He spent most of his 20s acting with different repertory companies, taking on larger roles as he received the training he had failed to get at the Royal Academy. His acting career remained low-profile but steady;

Playwright Harold Pinter ph oto by m a r t i n ro s en b aum

Pinter’s personal life picked up steam in 1956 when he met the actress Vivien Merchant during a production of Jane Eyre (she as Jane and he as Rochester) and after the end of their season together, the two were married. Pinter formed another pivotal relationship during those tours—not face to face, but within the pages of a book. He picked up Murphy, the debut novel of Samuel Beckett, in an Irish library. Beckett’s style transformed the theatrical landscape in 1953 with Waiting for Godot and deeply influenced Pinter, as did Yeats, Joyce, Eliot, and Kafka. After years of quietly writing poetry, Pinter made his playwriting debut in 1957 with a one-act called The Room, in which the presence of all these authors could be felt. Yet even in that initial work Pinter’s distinct voice shone through: “The play makes one stir uneasily in one’s shoes and doubt, for a moment, the comforting solidarity of the earth,” wrote one reviewer. The distinct style of The Room received positive, if limited, attention, and the next year Pinter was approached by a young producer for another play. He delivered The Birthday Party, and its London premiere in 1957 is the stuff of theatre legend—people hated it. Pinter’s style of dialogue catalyzed much of the uproar, with its interweaving of banalities, repetitions, pauses, and nonsequiturs, as in this early exchange: MEG: W hat time did you go out this morning, Petey? PETEY: Same time as usual. MEG: Was it dark?

PETEY: No, it was light. MEG: B ut sometimes you go out in the morning and it’s dark. PETEY: That’s in the winter. MEG: Oh, in winter. Today, audiences might recognize the humor and elegance of such dialogue, which seems absurd, ordinary, and poetic all at once. But at the time it was greeted by a flurry of walk-outs and negative reviews, with one notable exception. Harold Hobson’s write up in the Sunday Times (published the day after the play closed) heralded a different reception of this cryptic work. Hobson celebrated its originality and humor, and he trumpeted the universal resonance of the story, in which two ominous men appear to confront Meg and Petey’s innocuous tenant. “There is something in your past—it does not matter what—that will catch up to you,” wrote Hobson. “One day there is the possibility that two men will appear. They will be looking for you and you cannot get away. And someone will be looking for them too. There is terror everywhere.” Perhaps it’s not surprising that audiences were not as quick as Hobson to embrace Pinter’s unique style, later dubbed the “comedy of menace.” After all, The Birthday Party challenged how communication worked on the stage. As playwright Tom Stoppard said: One thing plays [before Pinter] had in common: you were supposed to believe what people said up there. 2 0 1 3–1 4 · S P E C I A L P R E S E N TAT I O N · T H E B E R K E L E Y R E P M AG A Z I N E · 2 1

Playwright Harold Pinter ph oto by m a r t i n ro s en b aum

If somebody comes in and says, ‘Tea or coffee?’ and the answer is ‘Tea,’ you are entitled to assume that somebody is offered a choice of two drinks, and the second person has stated a preference. With Mr. Pinter there are alternatives, such as the man preferred coffee but the other person wished him to have tea, or that he preferred the stuff you make from coffee beans under the impression that it was called tea. By dismantling the conventions of dialogue, Pinter broke open the dramatic possibilities of language on stage. A bold conviction not to cater to audiences or to anyone else enabled him to push drama into this new terrain. He faced challenges each step of the way, yet forced others to look for answers from his work, not from the playwright, and to reconcile themselves to a scarcity of facts. “I remember asking Pinter about my character. Where does he come from? Where is he going to?” recalls actor Alan Ayckbourn. “And Harold just said, ‘Mind your own fucking business. Concentrate on what’s there.’” In spite of his uncompromised belief in his work, the commercial failure of The Birthday Party was rough on the Pinters, especially as they were tight on money and now had a young son. In the following years, Pinter was working as an actor and radio and television writer, as well as writing for the stage: the short play A Slight Ache was commissioned and broadcast on the radio by the bbc in 1958, and his one-act The Dumb Waiter made its debut in Germany in 1959. 2 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L P R E S E N TAT I O N

The 1959 premiere of his next full-length play, The Caretaker, signaled a change in the winds of fortune. “The Caretaker, on the face of it, is everything I hate most in the theatre—squalor, repetition, lack of action, etc.—but somehow it seizes hold of you,” said the playwright Noël Coward, speaking for many. “Nothing happens except that somehow it does.” The elliptical meanings, pauses, and strong sense of foreboding that had been censured in The Birthday Party were greeted this time with national accolades. Pinter describes the major difference in his approach to this latest play with his typical sardonic attitude: “I cut out the dashes and used dots instead.” As the subsequent celebration of The Birthday Party suggests, it was not the work that had changed but rather the audience, who were now receptive to the dramatic undercurrent of hostility (so epitomized by the playwright that it birthed the term “Pinteresque”) mixed with terse dialogue, absurd moments, and biting humor. His career was cemented in 1964 with The Homecoming, but Pinter continued to explore new terrain, both in his writing and in his role in the theatre. Plays written in his late 30s, such as Landscape and Silence, abandoned the brash sexuality of The Homecoming to explore isolation and memory. Even as Pinter’s thematic scope broadened, he once remarked that all of his plays were about “the weasel under the cocktail cabinet,” and No Man’s Land is no different. It is as darkly funny as it is a biting commentary about the distance between where we may have meant to go in our lives and where we find ourselves now. Early in the play, Spooner’s admonition that he speaks to

It was not the work that had changed but rather the audience,

who were now receptive to the dramatic undercurrent of hostility mixed with terse dialogue, absurd moments, and biting humor

Hirst “with this startling candor” not only demonstrates the character’s ticklish verbosity, but also Pinter’s ability to both undermine and sympathize at a line. The dry crackle of his wit punctuates the slower burn of loneliness and loss and mighthave-beens. Those years also saw Pinter’s introduction to the cinema after years of writing for radio and television. From 1963 onward, Pinter wrote over 20 films, including many adaptations that captured the essence of such lauded novels as The French Lieutenant’s Woman and The Handmaid’s Tale in crisp images for the screen. This ability to embrace a variety of writers’ works also manifested itself in his numerous directing credits, ranging from James Joyce’s Exiles to Coward’s Blithe Spirit to his own work, and Pinter served as the associate director of the National Theatre from 1973 to 1983. This was also a time of great change in his personal life: he and Vivien were divorced, and in 1980 he married Lady Antonia Fraser. Pinter’s political beliefs soon began to pull him into the limelight. Later plays such as One for the Road in 1984 and Mountain Language in 1988 interwove a distinctly political element into his trademark style, an element that was made explicit in his public identity. “I understand you’re interested in me as a playwright. But I’m more interested in myself as a citizen,” Pinter said in an interview in 1988. “We still say we live in free countries, but we damn well better be able to speak freely. And it’s our responsibility to say precisely what we think.” He exercised this right often—for example, when visiting Istanbul in 1985 with Arthur Miller to protest human

rights abuses or when fostering dialogues with leading writers about Margaret Thatcher’s government. Pinter was also a vehement critic of the United States’ foreign policy, which he found deeply destructive and hypocritical, and which he attacked vigorously in his acceptance speech for the Nobel Prize for Literature in 2005. After a long battle with cancer, Pinter died in 2008 at age 78. His love of writing, his passion for the theatre, his abhorrence of war, and even his commitment to cricket (he ultimately managed a club) were all unfaltering. Yet if the road looks straight, it is not because it was an easy path to follow, but because Pinter refused to swerve. He remained unapologetic in the face of criticism, with a determination that was guided by genius and aided by stubbornness. Pinter was a drama school dropout, a conscientious objector, an innovative writer, a precise director, a strident political activist, a contentious celebrity, and ultimately one of the cornerstone voices of the theatre. Yet when we watch one of his plays, these labels can drop away, allowing each of us to have our own response to the unique sensibility—dark, uncertain, and evocative—which remains his strongest legacy. Beneath his distinct stylistic voice lies a universal yearning to understand human relationships and the world they create. It’s a world that, as Pinter saw it, is not a safe or comforting place, and his belief echoes the uncertainty, fear, and loneliness we sometimes encounter in our own lives. When confronting such a bleak portrait of reality, it can be tempting to look away, but it’s safe to say that’s not what Harold Pinter would do. 2 0 1 3–1 4 · S P E C I A L P R E S E N TAT I O N · T H E B E R K E L E Y R E P M AG A Z I N E · 2 3




WINNER! 2013 Tony Award for Best Play

Written by Christopher Durang 路 Directed by Richard E.T. White Starts Sep 20 路 Call 510 647-2949 路 Click

Berkeley Repertory Theatre presents



NO MAN’ S LAND BY HAROLD PINTER DIREC TED BY SEAN M ATHIA S AUGUST 3–31, 2013 RODA THE ATRE · SPECIAL PRESENTATION No Man’s Land is made possible thanks to the generous support of S E A S O N PRO D U CE R S Rena Bransten Martha Ehmann Conte Mary & Nicholas Graves Wayne Jordan & Quinn Delaney John & Helen Meyer Marjorie Randolph Jack & Betty Schafer The Strauch Kulhanjian Family SEASON SPONSORS



Hirst Patrick Stewart Spooner Ian McKellen Foster Billy Crudup Briggs Shuler Hensley

UNDE R S TUDIES Spooner/Hirst Joel Leffert Foster/Briggs Colin Ryan

PRODUC TION S TAFF Scenic & Costume Design Stephen Brimson Lewis Lighting Design Peter Kaczorowski Original Music & Rob Milburn & Sound Design Michael Bodeen Projection Design Zachary Borovay Hair & Wig Designer Tom Watson Dialect Consultant Elizabeth Smith Casting Ilene Starger & Zoe E. Rotter Production Stage Manager William Joseph Barnes Assistant Stage Manager Michelle Heller Director Sean Mathias The actors and stage manager are members of Actors' Equity Association, the Union of Professional Actors and Stage Managers in the United States. Ian McKellen is appearing with the permission of Actors’ Equity Association. No Man’s Land was rehearsed at Berkeley Rep and the New 42nd Street Studios in New York. 2 0 1 3–1 4 · S P E C I A L P R E S E N TAT I O N · T H E B E R K E L E Y R E P M AG A Z I N E · 2 7



Billy Crudup has appeared on Broadway in the 2011 revival of Arcadia (Tony Award nomination), The Coast of Utopia (Outer Critics Circle nomination, Drama Desk nomination, Tony Award), The Pillowman (Tony nomination), The Elephant Man (Outer Critics Circle nomination, Tony nomination), The Three Sisters (Drama Desk nomination), Bus Stop, and the original production of Arcadia (Theatre World Award, Outer Critics Circle nomination, Clarence Derwent Award). His off-Broadway credits include The Metal Children, The Resistible Rise of Arturo Ui, Measure for Measure, and Oedipus. His film credits are Rudderless, The Convincer, Too Big to Fail, Eat Pray Love, Watchmen, Public Enemies, Dedication, Mission Impossible III, Trust the Man, The Good Shepard, Stage Beauty, Big Fish, Almost Famous, Jesus’ Son (Best Actor Award, Paris Film Festival; Independent Spirit Award nomination), Sleepers, Everyone Says I Love You, Grind, World Traveler, Charlotte Gray, Princess Mononoke, The Hi-Lo Country, Waking the Dead, Inventing the Abbotts, Without Limits (National Board of Review Award), and Moment Avenue. Billy is a graduate of the University of North Carolina at Chapel Hill (BA) and New York University (mfa).

Shuler Hensley BRIGGS


Following his acclaimed performance in The Whale (Obie and Lucille Lortel Awards; Outer Critics Circle, Drama League, and Drama Desk nominations), Shuler Hensley was seen in the Kennedy Center’s production of The Guardsman, directed by Gregory Mosher. He has previously appeared on Broadway as The Monster in Young Frankenstein (also the U.S. national tour), Kerchak in Tarzan, Jud Fry in Oklahoma! (also at the National Theatre and London’s West End; Tony, Drama Desk, Outer Critics Circle, and Olivier Awards), and Javert in Les Misérables. He has been seen off Broadway in Fiorello! (Encores! Great American Musicals in Concert), The Whale (Obie and Lucille Lortel Awards; Outer Critics Circle, Drama League, and Drama Desk nominations), Silence! The Musical, Sweet and Sad (Drama Desk Award for Outstanding Ensemble), That Hopey Changey Thing, and The Great American Trailer Park Musical.

His other credits include Ghost Brothers of Darkland County (the Alliance Theatre), All About Us (Westport Country Playhouse), The Phantom in The Phantom of the Opera (Hamburg, Germany), and The Most Happy Fella (American Songbook at Lincoln Center). Opera appearances include Wozzeck (Curtis Institute of Music) and Regina (Kennedy Center). He recently appeared in Carousel at Avery Fisher Hall with the New York Philharmonic, which was nationally broadcast on PBS. Other orchestra engagements include the Philadelphia Orchestra, San Francisco Symphony, and the New World Symphony Orchestra. His TV credits are The Americans, Ed, Deadline, Gary Powers, Law & Order: Special Victims Unit and Criminal Intent, and The Jury. His film appearances include After.Life; The Legend of Zorro; Van Helsing; The Bread, My Sweet; and Opa! Upcoming film projects are Odd Thomas and Cruiser. He is a proud member of Actors’ Equity Association.

Ian McKellen SPOONER

Ian McKellen has been honored with more than 40 international awards for his performances on screen and stage. When last onstage in San Francisco in Shakespeare’s Richard III, he was adapting the play for the cinema, which was filmed entirely on location in London. He was born in 1939 and raised in the industrial north of England. He started acting professionally in 1961. He has regularly been leading man for the Royal Shakespeare Company and the National Theatre of Great Britain and on the West End stage in Shakespeare and a wide range of classic and new plays. For Sean Mathias, he was Max in Bent, Uncle Vanya, and an outrageous Widow Twankey in the Old Vic’s Christmas pantomime. McKellen has often worked on stage in the usa. In New York, he won every available award for his Salieri in Peter Shaffer’s Amadeus (1981). His solo show Acting Shakespeare packed theatres across the States and is now a teaching aid throughout the country. In 2001, he returned to Broadway in Dance of Death, again directed by Sean Mathias, and hosted Saturday Night Live. He was inducted into the American Theater Hall of Fame in 2004. Most recently, he played King Lear for the rsc at the Brooklyn Academy of Music. McKellen has starred in more than 40 movies. In 1996, he co-produced, coscripted, and starred in his film adaptation of Richard III. After Stephen King’s Apt Pupil, he achieved his first Oscar nomination as film

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director James Whale in Gods and Monsters. He was the villain in The Da Vinci Code, the mutant Magneto in four X-Men films (with Patrick Stewart), and the wizard Gandalf in The Lord of the Rings trilogy and again in the record-breaking The Hobbit, An Unexpected Journey. His latest venture is Vicious, the UK itv sitcom with Derek Jacobi. His full career details can be found at

Patrick Stewart HIRST

Patrick Stewart most recently appeared on stage in Edward Bond’s Bingo at the Young Vic and Chichester Festival Theatre, and as Shylock in a 2011 RSC production of The Merchant of Venice, directed by Rupert Goold. His previous collaboration with Goold, in the title role of Macbeth, played Chichester, London, bam, and then Broadway, earned an Evening Standard Award and Tony and Olivier nominations. Stewart is an Honorary Associate Artist with the rsc, having appeared in over 60 productions, including most recently a 2008 production of Hamlet playing Claudius opposite David Tennant (Olivier Award), and repertory productions of Antony and Cleopatra and The Tempest in 2005. In 1978, he won an Olivier Award for his performance in Peter Brook’s production of Antony and Cleopatra and was nominated for his role in The Merchant of Venice. He also appeared in the now legendary Peter Brook production of A Midsummer Night’s Dream. On Broadway and West End stages, Stewart has appeared in A Life in the Theatre, The Master Builder, The Ride Down Mt. Morgan, and The Tempest. For his acclaimed solo production of A Christmas Carol, Stewart played over 40 characters, garnering an Olivier, Drama Desk, and What’s on Stage Award. Perhaps best known as Captain Jean-Luc Picard of Star Trek: The Next Generation, both on television and film, and as Professor Charles Xavier from the X-Men films, Stewart has also enjoyed a successful film and television career, earning Golden Globe, Emmy, and sag Award nominations. Screen appearances include King of Texas; Jeffrey; Dune; Excalibur; LA Story; Robin Hood: Men in Tights; Conspiracy Theory; Extras (for which he earned an Emmy nomination); The Lion in Winter; I, Claudius; and Tinker Tailor Soldier Spy. His vocal talents have been heard on The Simpsons, American Dad, and Family Guy, and as narrator of Seth MacFarlane’s hit comedy, Ted. Stewart recently completed production on the Israeli film Hunting Elephants and the film adaptation of Stephen Belber’s Match and will soon reprise his role as Professor Xavier in X-Men: Days of Future Past. P H OTO BY R O B ER T A S C R O F T



Billy Crudup


Sean Mathias DIREC TOR


Sean Mathias has received global acclaim from Northern Ireland to New Zealand, from the West End to Broadway. He has earned an Edinburgh Fringe First Award, a Prix de la Jeunesse at the Cannes Film Festival, a London Critics’ Circle Award, and an Evening Standard Award, as well as nominations for Olivier and Tony Awards. He was artistic director of the Theatre Royal Haymarket in 2009–10 where he staged Waiting for Godot starring Ian McKellen and Patrick Stewart, and the debut production of Breakfast at Tiffany’s.

Harold Pinter P L AY W R I G H T


Harold Pinter was born in London in 1930. He lived with Antonia Fraser from 1975 until his death on Christmas Eve 2008. (They were married in 1980.) He wrote 29 plays including The Birthday Party, The Caretaker, The Homecoming, and Betrayal; 21 screenplays including The Servant,

The Go-Between, The French Lieutenant’s Woman, and Sleuth, and directed 27 theatre productions, including James Joyce’s Exiles, David Mamet’s Oleanna, seven plays by Simon Gray, and many of his own plays including his last, Celebration, paired with his first, The Room, at The Almeida Theatre, London in the spring of 2000. In 2005 he received the Nobel Prize for Literature. Other awards include the Companion of Honour for services to Literature, the Legion D’Honneur, the Laurence Olivier Award, and the Moliere D’Honneur for lifetime achievement. In 1999 he was made a Companion of Literature by the Royal Society of Literature. He received honorary degrees from 18 universities.

Stephen Brimson Lewis

Marat/Sade, Private Lives, Inadmissible Evidence, Once in a While the Odd Thing Happens, Uncle Vanya, Mrs. Klein, and American Clock. Stephen is an associate artist with the Royal Shakespeare Company and has designed Antony and Cleopatra, Julius Caesar, All’s Well That Ends Well, Merry Wives: The Musical, A Midsummer Night’s Dream, Othello, Believe What You Will, The Taming of the Shrew, The Tamer Tamed, Timon of Athens, Macbeth, King John, and Much Ado About Nothing (Evening Standard Award nomination). He has also designed for the Royal Opera House, Deutsche Staatsoper, Sydney Opera House, Vienna State Opera, and Monte Carlo Opera, and was production designer on Bent (Film Four International/ MGM) and Macbeth (rsc/Ch4/illuminations).


Peter Kaczorowski

Stephen’s recent West End credits include The Trevor Nunn season at Theatre Royal Haymarket: The Lion in Winter, The Tempest, and Flare Path. He also designed Waiting for Godot (UK and international tour), An Ideal Husband, Dirty Dancing (Europe, Canada, U.S. and UK tours), Ghosts, Stephen Fry’s Cinderella, Becket, Design for Living (Olivier Award), Arsenic and Old Lace, and costumes for Acorn Antiques: The Musical! On Broadway, Stephen received Drama Desk and Tony Award nominations for Indiscretions and won an Olivier Award for the National Theatre production (as Les Parents Terribles). His further National Theatre productions include A Little Night Music, Rose,

Previously for Berkeley Rep, Peter designed Waiting for Godot (1989) and The Speed of Darkness (1990), both directed by Tony Taccone. He continues to work for most of the other leading regional theatre companies in the U.S., as well as for New York resident companies like Lincoln Center, Roundabout, Manhattan Theatre Club, The Public Theater, Playwrights Horizons, Signature Theatre Company, Second Stage Theatre, and Encores! On Broadway, No Man’s Land and Waiting for Godot will represent Peter’s 50th and 51st productions. His other Broadway credits include The Assembled Parties; Breakfast at


PREMIER SERVICE FOR A PREMIER AUDIENCE Lorri Arazi Leslie Avant Norah Brower Carla Buffington Jackie Care Stina Charles-Harris Carla Della Zoppa

Francine Di Palma Leslie Easterday Gini Erck Jennie A. Flanigan Nancy Hinkley Maureen Kennedy Jack McPhail Denise Milburn

Bob & Carolyn Nelson Ann Nichols Nancy Noman Amy Robeson Ira & Carol Serkes Geri Stern Diane Verducci

Serving Berkeley, Albany, Kensington, El Cerrito, Emeryville, Oakland and Piedmont

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BE R K E L E Y R E P PR E S E N T S Tiffany’s; Nice Work if You Can Get It; Wit; The Road to Mecca; Venus in Fur; Anything Goes; A View from the Bridge; Waiting for Godot (with Nathan Lane and Bill Irwin); Grey Gardens; The Producers; Kiss Me, Kate; Contact; and Steel Pier. In opera, Peter comes to Berkeley directly from Seattle where he just re-mounted the Ring Cycle. He has lit productions for the Met, New York City Opera, San Francisco Opera, Los Angeles Music Center Opera, Houston Grand Opera, Santa Fe Opera House, and Opera Theatre of St. Louis. Abroad, he has designed at the Royal Opera House, Scottish Opera, Opera North, Maggio Musicale Fiorentino, L’Arena di Verona, Teatro La Fenice, Bonn, Lisbon. Peter is the recipient of Tony, Drama Desk, Outer Critics, and Henry Hewes Design awards.


Rob and Michael’s Broadway credits include music composition and sound for Breakfast at Tiffany’s, The Miracle Worker, One Flew Over the Cuckoo’s Nest, and The Speed of Darkness; music for My Thing of Love; and sound for Who’s Afraid of Virginia Woolf, Superior Donuts, reasons to be pretty, A Year with Frog and Toad, Ma Rainey’s Black Bottom, Hollywood Arms, King Hedley II, Buried Child, The Song of Jacob Zulu, and The Grapes of Wrath. Their off-Broadway credits include music and sound for Checkers, How I Learned to Drive, Inked Baby, After Ashley, Boy Gets Girl, Red, Space, The Notebooks of Leonardo da Vinci, Marvin’s Room; sound for Family Week, Brundibar, The Pain and the Itch, and Jitney; and music direction and sound for Eyes for Consuela and Ruined. They have created music and sound at many of America’s resident theatres (often with Chicago’s Steppenwolf Theatre), plus the Comedy Theatre in London’s West End, the Barbican Center, the National Theatre of Great Britain, the Cameri Theatre in Tel Aviv, the Subaru Acting Company in Japan, and festivals in Toronto, Dublin, Galway, Perth, and Sydney.

Zachary Borovay


Zachary’s work was last seen at Berkeley Rep Anna Deavere Smith’s Let Me Down Easy. His recent Broadway credits include Rock of Ages (also London, Australia, Toronto, Las Vegas, U.S. national tour, and Norwegian Cruise Lines), Ann (also Kennedy Center), Evita (also national tour), Elf, Lombardi (Drama Desk nomination), To Be Or Not to Be, A Catered Affair (Drama Desk nomination), and Xanadu (also national tour and Japan). He also has designed for many regional theatre shows, including Chaplin at La Jolla Playhouse, Nerds at Philadelphia Theatre Company, The Radio City Christmas Spectacular, Peepshow at Planet

Hollywood in Las Vegas, and Voyage de la Vie at Resorts World International in Sentosa, Singapore. Zachary is a formally trained musician (Berklee College of Music ’95) and is a trustee on the executive board of United Scenic Artists. Visit

Tom Watson


Tom is head of the wig and makeup department at the Metropolitan Opera. He has designed wigs for more than 55 Broadway productions. His current and recent Broadway designs include Annie; The Big Knife; The Assembled Parties; An Enemy of the People; Picnic; A Christmas Story; Harvey; Million Dollar Quartet; Rock of Ages; Wicked; How to Succeed in Business Without Really Trying; The Addams Family; Promises, Promises; South Pacific; Sondheim on Sondheim; A View from the Bridge; and Sunday in the Park with George.

William Joseph Barnes


Billy has been actively engaged as a production stage manager on Broadway for the past 20 years. He is pleased and proud to have the following shows to his credit: I’ll Eat You Last; The Anarchist; One Man, Two Guv’nors; Hair (and national tour); A View from the Bridge; 9 to 5; Boeing-Boeing; A Chorus Line; Three Days of Rain; The Odd Couple; Glengarry Glen Ross; Laugh Whore; Assassins; Take Me Out; The Tale of the Allergist’s Wife; True West; Art; Proposals; Master Class; and Love! Valour! Compassion! He is grateful to Stuart Thompson, Sean Mathias, and Berkeley Rep for inviting him on this truly exciting theatrical adventure.

Michelle Heller


Michelle is excited to be doing her first show at Berkeley Rep. She just concluded La Hija de Rappaccini with Gotham Chamber Opera, which performed at the Brooklyn Botanic Garden. Her recent productions have included Breakfast at Tiffany’s and Annie on Broadway, Misery at Bucks County Playhouse, as well as productions at Williamstown Theatre Festival and the Old Globe. Michelle is a proud graduate of the University of Maryland.

Elizabeth Smith


Elizabeth’s Broadway credits include Mrs. Warren’s Profession, Arcadia, The Importance of Being Earnest, Top Girls, The Homecoming, Julius Caesar, Cymbeline, The Coast of Utopia, The Rivals, Henry IV, The Invention of Love, Twelfth Night, Ivanov, Racing Demon, Arcadia, Sight Unseen, The Retreat from Moscow, Tartuffe, Uncle Vanya, Night Must Fall, London Assurance, Tommy, My Fair Lady, Beauty and the Beast, Me and My Girl, Piaf, Rose, and Dracula.

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Her off-Broadway credits include The Comedy of Errors, Humble Boy, House and Garden, Hamlet, Fen, The Importance of Being Earnest, The Road to Mecca, and Cloud Nine. She has also worked at regional theatres such as the Long Wharf Theatre, Arena Stage, Hartford Stage, the Guthrie Theater, Williamstown Theatre Festival, and Glimmerglass Opera. Elizabeth is a former faculty member of the Juilliard School and Bard College.

Ilene Starger & Zoe E. Rotter CASTING

On Broadway, Ilene served as casting director for Sean Mathias’ productions of Marlene, The Elephant Man, Dance of Death, Breakfast at Tiffany’s (also West End), as well as The Diary of Anne Frank, Dirty Blonde, and Closer (Artios Award for Outstanding Achievement in Casting). Her film credits include School of Rock (Artios Award), Sleepy Hollow, A Simple Plan, Parent Trap, First Wives Club, Marvin’s Room, Robin Hood: Prince of Thieves, No Way Out, The Pink Panther, The Pink Panther 2, Music & Lyrics, Two Weeks’ Notice, and Night at the Museum (Artios Award). For television, she has cast Witness to the Mob, The Great Gatsby, Earthly Possessions, and Amy & Isabelle. A member of ampas, she is also the former vice president of casting for Disney/Touchstone Pictures. Zoe’s theatrical casting credits include Breakfast at Tiffany’s (with Ilene Starger), Einstein on the Beach (world tour), Wild Swans (American Repertory Theatre/Young Vic), Seven Homeless Mammoths Wander New England (Two River Theater Company) and the Selected Shorts series at Symphony Space. Her film credits include The Girl in the Book and BearCity, as well as the short films Landlocked, This is Poetry, and Socks and Bonds.

Joel Leffert

U N D E R S T U DY S P O O N E R / H I R S T

Joel was recently seen in The Talking Band’s Marcellus Shale off Broadway at La MaMa Experimental Theatre Club; as Rothko in Red at Theatreworks in Colorado Springs; as Scrooge in A Christmas Carol at the Public Theatre in Lewiston, Maine; as Danforth in The Crucible at Bay Street Theatre in Sag Harbor; and as Claudius in Hamlet at Hip to Hip Theatre Company. On Broadway and at the National Theatre in London, he was in the world premiere of Tennessee Williams’ Not About Nightingales, directed by Trevor Nunn. His other off-Broadway appearances include Hard Times at Pearl Theatre Company, The Gardens of Frau Hess for Jewish Repertory Theatre, the title role in Richard III for Sala-

mander Rep, and Mark Lear in Vaclav Havel’s The Memorandum for The Actors Company Theatre. Joel’s TV and film credits include 666 Park Avenue, Law & Order, Six Degrees, Deconstructing Harry, Green Lights, The Killing Floor, and Falling Star.

Colin Ryan

KATHIE LONGINOTTI REALTOR® and Berkeley Rep Subscriber

U N D E R S T U DY F O S T E R / B R I G G S

Colin has been seen in New York productions of Twelfth Night, Waiting for Godot, This Lime Tree Bower, Bill & Lenny, Protest, Julius Caesar, Othello, and Brecht on Brecht. His regional credits include Henry V, A Streetcar Named Desire, Pride & Prejudice, A Christmas Carol, Disney’s Beauty & the Beast, The Malcontent, King John, Romeo & Juliet, The Ladies Man, The Three Musketeers, A Laughing Matter, She Stoops to Conquer, and The Complete Works … (Abridged). Colin received an mfa from the Shakespeare Theatre’s Academy for Classical Acting.

Tony Taccone


Tony is the artistic director of Berkeley Rep. During his tenure, the Tony Award–winning nonprofit has earned a reputation as an international leader in innovative theatre. In those 15 years, Berkeley Rep has presented more than 60 world, American, and West Coast premieres and sent 18 shows to New York, two to London, and now one to Hong Kong. Tony has staged more than 35 plays in Berkeley, including new work from Culture Clash, Rinde Eckert, David Edgar, Danny Hoch, Geoff Hoyle, Quincy Long, Itamar Moses, and Lemony Snicket. He directed the shows that transferred to London, Continental Divide and Tiny Kushner, and two that landed on Broadway as well: Bridge & Tunnel and Wishful Drinking. Tony commissioned Tony Kushner’s legendary Angels in America, co-directed its world premiere, and has collaborated with Kushner on seven projects. His regional credits include ATL, Arena, Center Theatre Group, the Eureka Theatre, the Guthrie, the Huntington, Oregon Shakespeare Festival, The Public, and Seattle Rep. In 2012, Tony was selected to receive the Margo Jones Award for “demonstrating a significant impact, understanding, and affirmation of playwriting, with a commitment to the living theatre.” As a playwright, Tony recently debuted Ghost Light and Rita Moreno: Life Without Makeup.

Susan Medak


Susan has served as Berkeley Rep’s managing director since 1990, leading the administration and operations of the Theatre. She has served as president of the League of Resident Theatres (lort) and treasurer of Theatre Communications Group, organizations that represent the interests of nonprofit theatres across the nation. Susan chaired two panels for the Massachusetts Arts Council and


delve deeper

Go beneath the surface in a theatre class this fall! Starting September 23, there are opportunities for students of all ages and levels of experience to explore their passions and potential at the School of Theatre. Visit or call 510 647-2972 for more info

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BE R K E L E Y R E P PR E S E N T S has also served on program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan chairs the Downtown Berkeley Business Improvement District and serves as president of the Downtown Berkeley Association. She is the founding chair of the Berkeley Arts in Education Steering Committee for Berkeley Unified School District and the Berkeley Cultural Trust. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund. Susan serves on the faculty of Yale School of Drama and is a proud member of the Mont Blanc Ladies’ Literary Guild and Trekking Society. She lives in Berkeley with her husband.

Karen Racanelli


Karen joined Berkeley Rep in 1993 as education director. Under her supervision, Berkeley Rep’s Programs for Education provided live theatre for more than 20,000 students annually. In 1995, she became general manager, and since then has overseen the day-to-day operations of the Theatre, supervising the box office, company management, and IT. She has represented the League of Resident Theatres during negotiations with both Actors’ Equity Association and the Union of Stage Directors and Choreographers. Prior to her tenure at Berkeley Rep, Karen worked for Theatre Bay Area as director of theatre services and as an independent producer at several Bay Area theatre companies. She has served on the boards of Climate Theater, Overtone Theatre Company, and Park Day School, and is currently on the board of the Julia Morgan Center. Karen is married to arts attorney MJ Bogatin, and they have two children.

Madeleine Oldham

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

Madeleine is the director of Berkeley Rep’s Ground Floor and the Theatre’s resident dramaturg. As literary manager and associate dramaturg at Baltimore Centerstage, 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. Madeleine served for four years on the executive committee of Literary Managers and Dramaturgs of the Americas and has also worked with act (Seattle), Austin Scriptworks, Crowded Fire, the Eugene O’Neill Theatre Center, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage.

Amy Potozkin


Amy is in her 23rd season with Berkeley Rep. She has also had the pleasure of casting projects for act (Seattle), Arizona Theatre Company, Aurora, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Rep, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for the film Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and the upcoming Love and Taxes by Josh Kornbluth; and the upcoming feature film Beyond Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist-in-residence. She has been a coach to hundreds of actors, teaches acting at Mills College, and leads workshops at Berkeley Rep’s School of Theatre and numerous other venues in the Bay Area.

Michael Suenkel


Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 19th 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, the Juste Pour Rire Festival in Montreal, ljp, Pittsburgh Public Theater, The Public and Second Stage Theatres in New York, and Yale Rep. For the Magic, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss.

Rena Bransten


Rena Bransten, a New Yorker by birth, came to the Bay Area in 1955 with her husband, a native San Franciscan. Having attended Smith College as an art history major, she became a partner in the Quay Ceramics Gallery and later opened the Rena Bransten Gallery. The gallery has been in operation for almost 40 years and is now being led by her daughter, Patricia Bransten. During her years in business, Rena also served as a board member for several nonprofit organizations including the San Francisco Museum of Modern Art, the Oakland Museum of California, Yerba Buena Center for the Arts, and Berkeley Rep. Rena enjoys attending Berkeley Rep with her children and grandchildren and meeting the people who have made it an exciting theatrical experience over the years.

Martha Ehmann Conte SEASON PRODUCER

Martha is thrilled to support this season of groundbreaking regional theatre at Berkeley Rep. A season ticket holder for many years,

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Martha recently joined Berkeley Rep’s board of trustees and is really enjoying the behindthe-scenes view it affords her. Otherwise, Martha devotes half of her time to caring for her four incredible children, ages 4 to 15, and the other half to friends, family, and civic engagement, including board and advisory work with prbo Conservation Science, the Golden Gate Parks Conservancy, and Gateway Public Schools, as well as political advocacy. Before having her second child, Martha worked in brand-strategy consulting. She is a graduate of Princeton University.

Mary & Nicholas Graves SEASON PRODUCERS

Nick and Mary live in San Francisco and enjoy many days and evenings each year in Berkeley and at Berkeley Rep. Nick is a past president of the Theatre’s board of trustees and serves on the boards of several other nonprofits in the Bay Area. He is retired from the San Francisco–based asset management firm Osterweis Capital Management. Mary was awarded her doctor of education by Rutgers University in 2005. She is a past voting member of the Girl Scouts of the USA.


John and Helen have been Berkeley Rep subscribers for more than 30 years. They own and operate Meyer Sound Laboratories, Inc., a Berkeley–based company that designs and manufactures professional audio equipment and provides electro-acoustical architectural services. Meyer Sound employs over 350 people in its offices in Berkeley, Nashville, Canada, Germany, Mexico, Spain, Brazil, Portugal, China, Dubai, and Australia. Helen has served on Berkeley Rep’s board of trustees for the past 14 years and also serves on board for Mark Morris Dance Group. John is a fellow of the Audio Engineering Society and recently received the Silver Award for outstanding technical contributions to his field. He is also the recipient of an R&D 100 Award for measurement technology. The Meyers are delighted to play a part in outstanding theatre at Berkeley Rep.

Marjorie Randolph SEASON PRODUCER

Marjorie is president of Berkeley Rep’s board of trustees and a longtime supporter of the Theatre. She recently moved back to Berkeley after retiring as head of worldwide human resources for Walt Disney Studios. During her tenure at Berkeley Rep, she has produced 29 plays. A member of the California Bar and a former president of California Women Lawyers, she serves on the National Advisory Panel of the Institute for Research on Women and Gender at Stanford University.

Jack & Betty Schafer SEASON PRODUCERS

Betty and Jack are proud to support Berkeley Rep. Jack, one of the Theatre’s board members, also sits on the boards of the Jewish Community Endowment, San Francisco Opera, and the Straus Historical Society. He is co-chair of the Oxbow School in Napa and an emeritus trustee of the San Francisco Art Institute, where he served as board chair. Betty, a retired transitions coach, has resumed her earlier career as a nonfiction writer and poet. She serves on the boards of Brandeis Hillel Day School, Coro Foundation, Earthjustice, and jvs and represents the Jewish Community Foundation on a national allocation committee.

The Strauch Kulhanjian Family SEASON PRODUCERS

Roger Strauch is a former president of Berkeley Rep’s board of trustees and a current member. He is chairman of the Roda Group (, a venturedevelopment company based in Berkeley and best known for launching, PolyServe, and Sightspeed. Roger serves on the board of CoolSystems, and his firm is the largest investor in Solazyme, a renewable oil and bio-products company based in south San Francisco (nasdaq:szym, Roger is a member of the engineering dean’s college advisory boards of Cornell University and UC Berkeley. He is vice-chairman of the board of trustees for the Mathematical Sciences Research Institute (msri) 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.



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Patrycja Kujawska and Stuart Goodwin in The Wild Bride p h o t o co u r t e s y o f k e v i n b e r n e .co m

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The San Francisco Chronicle is the largest newspaper in Northern California and the second largest on the West Coast. Acquired by Hearst Corporation in 2000, the San Francisco Chronicle was founded in 1865 by Charles and Michael de Young and has been awarded six Pulitzer Prizes for journalistic excellence. The Chronicle is committed to coverage of 2 0 1 3– 1 4 · S P E C I A L P R E S E N TAT I O N · T H E B E R K E L E Y R E P M AG A Z I N E · 3 3

local issues and those topics with national impact such as economy, politics, technology, ecology, as well as breaking news, crime, education, national and foreign news. SFGate. com publishes San Francisco Chronicle news coverage and features online, and adds more features not available in the print version, such as breaking news, staff and user-generated blogs, reader forums, photo galleries, sports scoreboards, and classifieds. Combined with, the San Francisco Chronicle reaches 1.7 million Bay Area adults each week.

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Associate sound designer Christopher Cronin

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

Associate projection designer Caite Hevner


Assistant director Andrew Britt Associate costume designer China Lee Associate lighting designer Gina Scherr Associate scenic designer Paul Weimer

Carpenters Patrick Keene, BJ Lipari, Joe Mizzi, Geoff Nolan, Stephanie Shipman, Read Tuddenham Costume shop Nelly Flores, Alex Zeek

Electrics Kim Bernard, Stephanie Buchner, Melina Cohen-Bramwell, Zoltan DeWitt, Jeff Dolan, Kelly Kunaniec, Will Poulin, Andrea Schwartz, Molly Stewart-Cohn, Thomas Weaver, Lauren Wright Props artisan Viqui Peralta Scenic artists Mel Bratz, Alexandra Friedman, Zoe Gopnik-McManus, Lassen Hines, Christopher Jee, Anya Kazimierski, Alexandra Kranyak, Margot Leonard, BJ Lipari Sound engineer Brendan Aanes Wardrobe Sarah Wakida SDCF observer Paula D’Alessandris TCG directing fellow Maureen Towey

(Pause): The legacy of silence CO N TIN U E D FRO M PAG E 19

fact, the extended “Pinter Pause” is now its own force in the theatre). They aren’t merely suggestions: Pinter famously told one of the actors in The Homecoming, “Michael, I wrote dot, dot, dot and you’re giving me dot, dot.” The idea of expressing the wrong type of silence may strike us as odd, but in fact, director Peter Hall (who also directed the English premiere of Godot) once held an entire “dot-and-pause” rehearsal for The Homecoming to make sure the actors understood the different forms of quiet. Hall worked in the belief that, fraught with tension and loaded with meaning, silence ushers in its own unique mode of dramatic interaction. Just as Pinter drew inspiration from Beckett to create his own distinct pauses and stillness, contemporary playwrights continue to build on this legacy of silence. Language ebbs and flows within every play, creating a myriad of different styles. For instance, Berkeley Rep’s recent production of Dear Elizabeth, adapted from series of letters, included a number of unvoiced moments inspired by the source material. “I was interested in the moments between the letters, moments of story, and silence,” said

the playwright, Sarah Ruhl, whose other works such as Eurydice (in which a character silently builds a house out of string) often rely on nonverbal storytelling. “I think language is extraordinary and we manage to say some extraordinary things, but there are some things that are beyond words,” said Les Waters, who directed both Dear Elizabeth and Eurydice at Berkeley Rep. “I like the mystery of leaning forward into silence and trying to figure out what’s going on.” But as the divisive reception of Annie Baker’s recent play The Flick at Playwrights Horizons in New York suggests, not everyone shares a desire to lean into that mystery. Baker’s three-hour play followed the lives of movie theatre employees, and she was inspired by these characters in exploring the absence of speech. “I’m just trying to accurately portray the people who live in the movie theater inside my head, and I guess there are a lot of moments of not-talking in that movie theater inside my head. All the walking and sweeping and mopping and dustpan-banging,” Baker said. “But I wouldn’t call that silence.” Without providing language to lead audiences

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through these moments, Baker and director Sam Gold let audiences discover for themselves what to make of these ordinary activities on stage. The play delved into the precedent of silence set by artists like Cage, Pinter, and Beckett to provoke even the most theatre-savvy to explore what it is that they are willing to listen for. In our lives, we spend so much time sending and receiving information that it’s rare to embrace a moment of stillness. Yet just as there is a type of meaning that only language can illuminate, so too there is a type of understanding that only silence can reveal. When actors are talking, we can listen to them speak. But when language falls away, part of what we listen to is internal. Confronted with silence, we are forced to make active, interpretative choices about what we are witnessing. The characters are watching one another and we are watching them. This tension unites the entire theatre. At the same time, it leaves each audience member alone. In that solitude we might find confusion, fear, mystery—or all those things— but whatever we find, we discover in intimate honesty.

We acknowledge the following Annual Fund supporters whose contributions from April 2012 through June 2013 helped to make possible the Theatre’s artistic and community outreach programs.

CON T R I BU TOR S institutional supporters G IF T S O F $ 100,000 AN D AB OVE

G IF T S O F $2 5,000 –49,999

G IF T S O F $5,000 –9,999

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

Anonymous The Ira and Leonore Gershwin Philanthropic Fund Walter & Elise Haas Fund Koret Foundation Wallis Foundation Woodlawn Foundation

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

G IF T S O F $50,000 –99,999 The Bernard Osher Foundation

G IF T S O F $10,000 –24,999 Crescent Porter Hale Foundation National Endowment for the Arts The Kenneth Rainin Foundation Paul Wattis Foundation


G IF T S O F $3,000 –5,999

G IF T S O F $12 ,000 –24,999

4U Sports Gallagher Risk Management Services Heritage Capital Private Asset Management Macy’s The Safeway Foundation

Bank of the West Mechanics Bank Wealth Management The Morrison & Foerster Foundation Union Bank

G IF T S O F $6,000 –11,999

G IF T S O F $2 5,000 –49,999

G IF T S O F $750 –4,999 Joyce & William Brantman Foundation Civic Foundation Dramatist’s Guild Fund JEC Foundation

G IF T S O F $1, 500 –2 ,999

Armanino McKenna LLP Charles Schwab & Co. Deloitte Meyer Sound Oliver & Company, Inc. Panoramic Interests Peet’s Coffee & Tea Schoenberg Family Law Group STG Asset Management, Inc. UBS U.S. Bank

Aspiriant Bingham McCutchen LLP

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

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


M AT C H I NG G I F T S Act Catering Aurora Catering Autumn Press Back to Earth Organic Catering Belli Osteria Bobby G’s Pizzeria Bogatin, Corman & Gold Café Clem Comal Cyprus Darling Flower Shop Distillery No. 209 Domaine Carneros by Taittinger Donkey & Goat Winery etc Catering Four Seasons San Francisco Gather Restaurant

Gecko Gecko Green Waste Recycle Yard Guittard Chocolate Company Hotel Shattuck Plaza izze Sparkling Juice Company Kevin Berne Images La Note Latham & Watkins, llp Left Coast Catering Madécasse Match Vineyards Meyer Sound Mint Leaf Patricia Motzkin Architecture Phil’s Sliders Picante PiQ

The following companies have matched their employees’ contributions to Berkeley Rep. Please call the Development Department at 510 647-2906 to find out if your company matches gifts.

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

Alexander & Baldwin · American Express · Amgen · Apple · Argonaut Group, Inc. · at&t · Bank of America · Bank of the West · Bristol Myers Squibb · Charles Schwab Corporation · Chevron Corporation · Clorox Company · Franklin Templeton · Gap · Google · Hewlett Packard · ibm Corp. · JD Fine and Company · John Wiley & Sons, Inc. · Johnson & Johnson · Lawrence Livermore National Laboratory · Levi Strauss · Lexis-Nexis · Macy’s Inc. · Microsoft · Morrison & Foerster Foundation · Motorola · MRW & Associates llc · norcal Mutual Insurance Company · Patagonia · Ruppenthal Foundation for the Arts · S.D. Bechtel, Jr. Foundation · Salesforce · Schwab Charitable Fund · Sony Corporation of America · The Doctors Company · VISA u.s.a., Inc. · Willis Lease Finance Corporation

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CON T R I BU TOR S donors to the annual fund Great theatre is made possible by the generosity of our community. We gratefully acknowledge the following contributors to Berkeley Rep, who champion the Theatre’s artistic and outreach programs. To make your gift and join this distinguished group, visit or call 510 647-2906.

LEG E N D in-kind gift M matching gift K


$ 5 0,0 0 0 & U P

Rena Bransten Martha Ehmann Conte Wayne Jordan & Quinn Delaney Mary & Nicholas Graves John & Helen Meyer Marjorie Randolph Jack & Betty Schafer The Strauch Kulhanjian Family


$ 2 5,0 0 0 –49,9 9 9

Thalia Dorwick Bill Falik & Diana Cohen Kerry Francis & John Jimerson Frances Hellman & Warren Breslau Pam & Mitch Nichter Dr. & Mrs. Philip D. Schild Michael & Sue Steinberg Jean & Michael Strunsky

Guy Tiphane Gail & Arne Wagner


$ 12 ,0 0 0 –2 4 ,9 9 9

David & Vicki Cox Robin & Rich Edwards David & Vicki Fleishhacker Virginia & Timothy Foo Jill & Steve Fugaro Bruce Golden & Michelle Mercer Scott & Sherry Haber Jack Klingelhofer Dugan Moore Patricia Sakai & Richard Shapiro Joan Sarnat & David Hoffman Martin & Margaret Zankel


$ 6,0 0 0 – 11,9 9 9

Anonymous (6)

The Alafi Family Foundation Shelley & Jonathan Bagg Barbara & Gerson Bakar Steve & Blair Buster Robert Council & Ann Parks-Council Tom Dashiell Oz Erickson & Rina Alcalay William Espey & Margaret Hart Edwards John & Carol Field Kristina Flanagan Paul T. Friedman & Diane Manley M Doug & Leni Herst Hitz Foundation Ms. Wendy E. Jordan Jean & Jack Knox Wanda Kownacki Ted & Carole Krumland Zandra Faye LeDuff Dixon Long Dale & Don Marshall

Sandra & Ross McCandless Martin & Janis McNair Stephanie Mendel Steven & Patrece Mills M K Mary Ann & Lou Peoples Peter Pervere & Georgia Cassel Leonard & Arlene Rosenberg Kaye & Randy Rosso Pat Rougeau Jack & Valerie Rowe Richard A. Rubin & H. Marcia Smolens Liliane & Ed Schneider Emily Shanks M Pat & Merrill Shanks Sally Smith & Don Burns Karen Stevenson & Bill McClave Patricia Tanoury Wendy Williams Saul Zaentz

D ONOR C I RC L E PRE S ID E N T S $ 3,0 0 0 – 5,9 9 9

Anonymous (1) Tony Amendola & Judith Marx Edith Barschi Neil & Gene Barth Valerie Barth & Peter Wiley M Stephen Belford & Bobby Minkler Judy Belk Drs. Don & Carol Anne Brown Tracy Brown & Greg Holland C. William Byrne M Lynne Carmichael Jennifer Chaiken & Sam Hamilton Susan Chamberlin Earl T. Cohen & Heidi M. Shale Karen & David Crommie Ed Cullen & Ann O’Connor Richard & Anita Davis Lois M. De Domenico Benjamin Douglas Delia Fleishhacker Ehrlich M Nancy & Jerry Falk Grey Maus(e) Paul Haahr & Susan Karp M Ann & Shawn Fischer Hecht Earl & Bonnie Hamlin Richard N. Hill & Nancy Lundeen James C. Hormel Kathleen & Chris Jackson Anne Kaiser K Robert Kelling Duke & Daisy Kiehn Lynn Eve Komaromi Leonard Merrill Kurz Suzanne LaFetra Nancy & George Leitmann Peter & Melanie Maier Charlotte & Adolph Martinelli Phyra McCandless & Angelos Kottas Susan Medak & Greg Murphy Eddie & Amy Orton Sandi & Dick Pantages Pease Family Fund Len & Barbara Rand Ivy & Leigh Robinson David S. H. Rosenthal & Vicky Reich Howard S. Rowen & Ryan C. Reeder/ UBS Financial Services Riva Rubnitz

Gaile B. Russ Beth & David Sawi Linda & Nathan Schultz Steven Winkel & Barbara Sahm Sheila Wishek Steven & Linda Wolan Sally Woolsey Felicia Woytak & Steve Rasmussen

D IREC TO R S $ 1, 5 0 0 –2 ,9 9 9

Anonymous (8) Jim & Ginger Andrasick Pat Angell Ross E. Armstrong Martha & Bruce Atwater Nina Auerbach Richard & Debbie Ault K Jane & Bill Bardin Don & Gerry Beers M David Beery & Norman Abramson Becky & Jeff Bleich Cynthia & David Bogolub Caroline Booth Linda Brandenburger Broitman-Basri Family Thomas & Tecoah Bruce Kerry Tepperman Campbell Stephen K. Cassidy & Rebecca L. Powlan LinChiat Chang K The Cheitlin Family Andrew Combs Julie Harkness Cooke Constance Crawford Ed Cullen & Ann O’Connor James Cuthbertson John & Stephanie Dains Ilana DeBare & Sam Schuchat Brooke Facente Merle & Michael Fajans Cynthia A. Farner Tracy & Mark Ferron Lisa & Dave Finer Linda Jo Fitz Frannie Fleishhacker Thomas & Sharon Francis Herb & Marianne Friedman James Gala Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter

Daniel & Hilary B. Goldstine Deborah & Howard Goodman Dan Granoff Robert & Judith Greber William James Gregory Garrett Gruener & Amy Slater Richard & Lois Halliday Migsy & Jim Hamasaki Bob & Linda Harris David & Vera Hartford Ruth Hennigar Tom & Bonnie Herman Wendy Herzog K Gail & Bob Hetler The Hornthal Family Foundation Rick Hoskins & Lynne Frame Paula Hughmanick & Steven Berger George & Leslie Hume Lynda & Dr. J. Pearce Hurley Herrick & Elaine Jackson, The Connemara Fund Beth & Fred Karren Rosalind & Sung-Hou Kim Mary S. Kimball Michael Kossman John Kouns & Anne Baele Kouns Helen E. Land Robert Lane & Tom Cantrell Randy Laroche & David Laudon Louise Laufersweiler & Warren Sharp Ellen & Barry Levine Bonnie Levinson & Dr. Donald Kay Jennifer S. Lindsay Tom Lockard & Alix Marduel Jonathan Logan Vonnie Madigan Naomi & Bruce Mann Lois & Gary Marcus Sumner & Hermine Marshall Rebecca Martinez Jill Matichak Karen & John McGuinn Miles & Mary Ellen McKey Scott McKinney & Sherrill Lavagnino Toby Mickelson & Donald Brody Roger & Satomi Miles Gregory Miller John & Katrina Miottel Andy & June Monach Scott Montgomery & Marc Rand

We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics. 3 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · S P E C I A L P R E S E N TAT I O N

Patricia Motzkin & Richard Feldman Judith & Richard Oken Janet Ostler Joshua Owen & Katherine Robards Gerane Wharton Park Bob & MaryJane Pauley Tom & Kathy Pendleton Gladys Perez-Mendez David Pratt Jonathan & Hillary Reinis Bill Reuter & Ruth Major James & Maxine Risley John & Jody Roberts Carole Robinson & Zane O. Gresham Deborah Romer & William Tucker Boyard & Anne Rowe Enid & Alan Rubin Dace P. Rutland Mitzi Sales & John Argue Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Stephen C. Schaefer Jackie & Paul Schaeffer Joyce & Jim Schnobrich Stephen Schoen & Margot Fraser Edie Silber & Steve Bomse Amrita Singhal & Michael Tubach Kae Skeels Sherry & David Smith Stephen & Cindy Snow Jennifer Heyneman Sousae Louis & Bonnie Spiesberger M Stephen Stublarec & Debra S. Belaga Andrew & Jody Taylor Deborah Taylor Alison Teeman & Michael Yovino-Young Susan & David Terris Ama Torrance & David Davies Buddy & Jodi Warner Jonathan & Kiyo Weiss Beth Weissman Jim & Maria Weller Jeffrey A. White Grace Williams Patricia & Jeffrey Williams Charles & Nancy Wolfram Jane Zuercher

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

Anonymous (2) · Donald & Margaret Alter · Marcia & George Argyris · Ric de Barros · Juli Betwee · Dr. & Mrs. Gerald & Carol Block · Jennifer & Brad Bowers · Maria Cardamone · Paula Carrell · Paula Champagne & David Watson · Naveen Chandra · Ed & Lisa Chilton · Richard & Linnea Christiani · Katherine Copic & Daniel Spoonhower M · Barbara & Tim Daniels M K · Harry & Susan Dennis · Francine & Beppe Di Palma · Ann Doerr · Corinne & Mike Doyle · Becky Draper · David & Monika Eisenbud · Gary Facente · Paul Feigenbaum & Judy Kemeny · Cary and Helen FitzGerald · Christopher R. Frostad M · Karl & Kathleen Geier · Phyllis & Eugene Gottfried · Gareth & Ruth Hill · Adrienne Hirt & Jeffrey Rodman · Elaine Hitchcock · Bill Hofmann & Robbie Welling · Harold & Lyn Isbell · Randall Johnson · Barbara E. Jones · Christopher Killian & Carole Ungvarsky · Mary S. Kimball · William & Adair Langston · Andrew M. Leavitt & Catherine C. Lewis · Eileen & Jay Love · Larry & Corinne Marcus · John E. Matthews · Erin McCune & Nicholas Virene · Daniel & Beverlee McFadden · John G. McGehee · Kirk McKusick & Eric Allman · Dan Miller · Marc Elliott Mosko · Margo Murray · Claire Noonan & Peter Landsberger · Steve Olsen · Richard Ostreicher & Robert Sleasman · Robyn & David Owen M · Judy O’Young, MD & Gregg Hauser · Ken & Dorothy Paige · David & Julieta Peterson · Susie & Eric Poncelet · Charles R. Rice · Horacio Rodriguez · Sheli Rosenberg · Susan Rosin & Brian Bock · Susie Sargent & Michael Webb K ·

We gratefully recognize the following members of the Annual Fund whose contributions were received in April 2013 through June 2013. S U PP O R T E R S $ 2 5 0 –49 9

Anonymous (9) · Terry Pink Alexander & John Blaustein · Bonnie Andersen · Jill Armbrust · Steven Birnbaum · Mr. & Mrs. David B. Boercker · Valarie & John Burgess · Jim & Jeanette Cottle · Dianne Crosby · Joyce S. Cross · Sheila Cullen · Marvin Diamond · Cele & Paul Eldering M · Judith Erdberg IV · Ted Feldsher & Sally McLaughlin · Brigitte & Louis Fisher · David & Sara Fleisig · Stephen Follansbee & Richard Wolitz · Natalie Forrest & Douglas Sprague · Michael & Sabina Frank · Diana Graham & Jack Zimmermann · Bernice Greene · John G. Guthrie · Julie Harris & Audrey Sockolov · Lola H. Harris · Dennis J. Hock · Mr. & Mrs. Richard Larsen · David & Mari Lee · Ludwig H. Lin, md · Martie Conner · Christopher McKenzie & Manuela Albuquerque · Susanna Morin-Groom · Susan Morris · Ronald Morrison · Linda L. Murray & Carl Schemmerling · Bill & Jane Neilson · Joseph & Berna Neumiller · Peggy O’Neill · Virginia & Lucien Polak · Lynne D. Raider · Hector Richards · Peggy Rosson · Timothy A. Satterwhite · Esther & Ron Schroeder · Roche Schulfer · Marjorie Shapiro · Carra Sleight · Terry & Berenice Sullivan · Gerald & Esme Tarder · Ruthann Taylor · Christine Telischak · Nick Themely · Mr. Leon Van Steen · Mr. & Mrs. John C. Wadman · Mary Wadsworth M

CO N T RIB U TO R S $ 15 0 –2 49

Anonymous (8) · Mark Aaronson & Marjorie Gelb · Brian Andersen, Michelle Jolly, Bill Walker & Mary Wisnewski · Lisa Bailey ·

Randee & Joseph Seiger · Neal Shorstein, MD & Christopher Doane · Mark Shusterman, M.D. · Kim Silva · Dave & Lori Simpson · George & Camilla Smith · Jennifer Hayneman Sousae · Annie Stenzel · Tim Stevenson & David Lincoln King · Nancy & Fred Teichert · Pate & Judy Thomson · Deborah & Bob Van Nest · Wendy Willrich · Lee Yearley & Sally Gressens · Sam & Joyce Zanze · The Zeiger Family

AC TO R S $500–999

Anonymous (23) · Bob & Evelyn Apte · Steven & Barbara Aumer-Vail · David Balabanian · Barbara Jones Bambara & Massey J. Bambara · Leslie & Jack Batson · Jonathan Berk & Rebecca Schwartz · Robert Berman & Jane Ginsburg · Caroline Beverstock · Steve Bischoff · Patti Bittenbender · Dr. Kevin & Mrs. Riva Bobrowsky · Fraser Bonnell · Claudia Bravo & Alan R. Silverman · Marilyn Bray · Wendy Buchen · Rike & Klaus Burmeister · Robert & Janet Campbell M · Ronnie Caplane · Charles & Kristine Cardall · Bruce Carlton · Carolle J. Carter & Jess Kitchens · Michael C. Chang · Jeff Chanin & Karen Lovdahl · Kim & Dawn Chase · Patty Chin · Dennis Cohen & Deborah Robison · Blair & Robert Cooter · Ruth Conroy · John & Izzie Crane M · Barbara & John Crary · Copley Crosby · Teri Cullen · Robert & Loni Dantzler · Pat & Steve Davis · David desJardins & Nancy Blachman · Jackie Desoer · Dan Dougherty · Edmund DuBois · Drs. Nancy Ebbert & Adam Rochmes · Jeanene E. Ebert M · Anita C. Eblé · Burton Peek Edwards & Lynne Dal Poggetto · Michael Beverly Ballard · Paul Bendix · Paul Birman & Jeanne Miernyk · Beverly Braxton · Barbara & Ray Breslau · Dr. G. Cavallaro & Mr. K. Pfeiffer · Colston Chandler · Hortensia Chang · Yvonne Chong · Rich Craig · Nancy Cuesta · Jim DeFrisco · Kate Deschamps · Brigitte Devaux · Lori & Gary Durbin · Thomas W. Edwards & Rebecca Parlette-Edwards · Sally-Ann & Ervin Epstein, Jr. · Don Erickson · Betty & Ken Fehring · William & Andrea Foley · Gail Forgash · Lisa Fuller & Dirk Tengrotenhuis · Lucia Gilbert · Steven Goldberg · Helene Good · Marcia Goodman & Hank Levy · Joan & LeRoy Green · Janice Hammond · Michael Hanemann · Don & Molly Hermes · Thomas Hird · Jeff Hoel · Marie F. Hogan & Douglas A. Lutgen · Page & Joseph R. Holmes · Estie Sid Hudes · Ken Jaffee · Sheila Kahan & Judith Bloom · Charles & Laurie Kahn · Jean Kay · Joyce Keil · Pat Kelly & Jennifer Doebler · Eva Klein · Bruce Koch · Janet Kranzberg · Maureen K. Lenahan · Jean Levin · Harvey & Wendy Leiderman · Marcia C. Linn · Patricia Lusk · Jeffrey K. Martin · Sara McAulay & Elsa Garcia Pandavenes · Kevin McCarty · Mary McConnell & Don Nimura · Daniel McGill · Brian McRee · Betsy Mellins & Paul Mendelman · Constance Mueser · Ethel Mussen · Stacy Nii-Eastly & John Eastly · Stephen E. Palmer · Regina Phelps · Kate Pletter · Judy Radin & Chris Johnson · David & Suzanne Redell · Vanessa Reid · Audrey & Paul Richards · William & Ray Riess · Mr. & Mrs. Edward Rinne · Dr. Lynn Robertson · Agnes Rogacsi · Jirayr & Meline Roubinian · L. M. Rubinoff · Louise Russell · Helen Rutledge · Anne Schonfield · Mr. Ellis B. Schulist · Joan Schwalbe · Louise Shalit · Frances Singer · Mary Lou Solecki · Monica Stone · Rosalinda & Michael Taymor · Henry Timnick · Stephen Van Meter · Robin Wand & Phil Neville · Keith R. Weed & Julia Molander · Sharon Weinberg · Mrs. James Weinberger · Elizabeth Werter · Ann Williamson · David Wood & Kathy Garrison · Mark L. Woodberry

Ehrenzweig · Cele & Paul Eldering M · Roger & Jane Emanuel · Bill & Susan Epstein · Gini Erck & David Petta · Barbara & Marty Fishman · Michael Flora · Nancy H. Francis · Lisa Franzel & Rod Mickels · Donald & Dava Freed · Paul Gill & Stephanie D’Arnall · Judith & Alex Glass · Bonnie Goldsmith & Allan Griffin · Ian M. Goldstein M · Robert Goldstein & Anna Mantell · Rob & Susie Goodin · Sheldon & Judy Greene · Dan & Linda Guerra · Eric & Elaine Hahn · Harriet Hamlin · Ann Harriman · Kate Hartley & Mike Kass · Dee Hartzog · Richard L. Hay · Geoffrey & Marin-Shawn Haynes · Howard Hertz & Jean Krois · Irene & Robert Hepps · Marilynn Hodgson · Rosalie Holtz · Morgan Hough · Leonard & Flora Isaacson · Mr. & Mrs. Edwin Ives · Ken & Judith Johnson · Helmut H. Kapczynski & Colleen Neff · Ken Katen · Seymour Kaufman & Kerstin Edgerton · Dennis Kaump · Steve Kispersky · Jeff Klingman & Deborah Sedberry · Carla Koren & Neal Parish · Jennifer Kuenster & George Miers · Woof Kurtzman & Liz Hertz · Henry & Natalie Lagorio · John Leys · Ray Lifchez · Bertram Lubin & Vivian Scharlach · James Lyons · Mary A. Mackey · Tania & David Madfes · Bruce & Pamela Maigatter · Joan & Roger Mann · Helen Marcus & David Williamson · Sue & Phil Marineau · Josephine Maxon · Nancy McCormick · Marie S. McEnnis · Sean McKenna · Alison McLean · Ruth Medak · Leslie Mesones · Caryl & Peter Mezey · Harrison Miller & Clare McCamy · Rita Moreno · Barbara Morgan · Juliet Moser · Jerry Mosher · Moule Family Fund · Ron Nakayama · Jeanne E. Newman · Marlowe Ng

& Sharon Ulrich · Hung Nguyen · Pier & Barbara Oddone · Judith Ogle · Nancy Park · Lewis Perry · Barbara Peterson · James F. Pine M · Malcolm & Ann Plant · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Paul Popenoe · Donovan & Anna Prostrollo · Chuck & Kati Quibell · Sheldon Ramsay · Lucas Reiner & Maud Winchester · Ian Reinhard · Paul & Phyllis Robbins · Gary Roof & Douglas Light · Deborah Dashow Ruth · Dairne Ryan · John Sanger · Dorothy R. Saxe · Bob & Gloria Schiller · Paul Schneider K · Mark Schoenrock & Claudia Fenelon · Teddy & Bruce Schwab · Brenda Buckhold Shank, M.D., Ph.D. · Margaret Sheehy · Mary Shisler K · Steve & Susan Shortell · Suzanne Slyman · Jerry & Dick Smallwood · Ed & Ellen Smith · Sigrid Snider · Dr. Scott & Mrs. Alice So K · Christina Spaulding · Dr. Suzy J. Spradlin K · Robert & Naomi Stamper · Herbert Steierman · Lynn M. & A. Justin Sterling · Rocky & Gretchen Stone · Monroe W. Strickberger · Tracy Thompson · Karen Tiedemann & Geoff Piller · Mark Valentine & Stacy Leier-Valentine · Marsha Van Broek K · William van Dyk & Margi Sullivan · Gerald & Ruth Vurek · Louise & Larry Walker · Wendy Ward · Dena & Wayne Watson-Lamprey · Michael Weinberger & Julianne Lindemann · Carmi Weininger · Sallie Weissinger · Dr. Ben & Mrs. Carolyn Werner · Oliver Williamson · Fred Winslow & Barbara Baratta · Robert & Myrna Witt · Susan & Harvey Wittenberg · George & Kathy Wolf · Ron & Anita Wornick · Kent Wright K · Margaret Wu & Ciara Cox


Joyce · Jean & Jack Port · Barbara Porter · Ted Priola & Maggie Petersen · Lisa Pryor · Nancy A. Rader · Dr. Diana Rebman · Hannah Reed · Mr. & Mrs. Rudolph Reich · Gregg Richardson & Lee Mingwei · Wesley Richert · Helen Romain M · Jennifer Rose · William & Lee Rust · Laura & Bernard Ryan · Drs. James Scherer & Edie Folb · George Schmidt · Julie & Mark Schneider · Otto Schnepp · Ed & Jennifer Schoenberger · Ana & Stanley Scott · Debra Shapazian · Ms. Susan Sherk · Lee & Mary Shilman · Pam Smith · Margaret Spaulding · Doug & Kritsen Stanton · John H. Steiner · Johanna Stigter · Benilda Taft-Kiewek · Bonnie Taylor · Susan Taylor · Mary Teichmann · Diana Travis · Shirley R. Trimble · Melissa Trousdale & Shawn O’Connor · Leslie Valas · Thomas & Suzanne Vinzent · Mary Waddington · Virginia Warnes · Jill Warren · Kim Rohrer · Karen & Stephen Wiel · Bill C. Wong · Evie & Gordon Wozniak · Dr. & Mrs. Mark J. Yanover

$ 75 –149

Anonymous (18) · Denise Abrams & David Harrington · Edmund Alvey · Mark Amaro · Charles & Joyce Anderson · Peah & Allan Armstrong · Carmen Aydelott · Sharon Babot · Larry & Barbara Babow · Kristen Badgley · Beryl Baker K · Jane Karren Baker · Sharon Bard · Barbara Barer · Richard Bay · Audrey M. Berger · Sandra Bernard · Jurg & Christel Bieri · Laura Blair & Mitchell Zeemont · Noel R. Blincoe · David & Pamela Bluhm · Bethel Bodine · Joan Bodway · Tracey Borst · Sharon Boysel · Carol Brown · Phil Brown & Carol LaPlant · Jan & Bob Burdick · Steven & Alison Burke · Robert & Karen Cabrera · Grace Chen · Paula A. Clark · June & Michael Cohen · Kitty Cole · Joe & Leonardo Connell · Dawn Daro · General Scott Davie · Steve Doherty · Elizabeth Anne Doyle, in memory of John Doyle · Pat & Ted Eliot · Joseph & Judith Epstein · Miranda & John Ewell · Virginia Fauvre · Sally Flinchbaugh · Mr. & Mrs. John Foran · Karen Frasier-Kolligs & Walter Kolligs · Susan & Sean Gallagher · Gayle & Steve Goldman · Dr. & Mrs. Arnold Goldschlager · Sue & Eric Gordon · Ruth N. Greenwald · Claudia Greif · Barbara and Barry Gross · Joe Harper · Susan H. Heldman · Kristi Hernandez · Susan L. Hill · J. Hui · Richard Ingalls · Ron & Virginia Iverson · Christine Izaret · Carl & Carolyn Janson · Roxy Jones · Judy Kantor · George & Patricia Kaplan · Pat & Chris Kenber · Lindy Khan & Amiram Givon · Janet King & Tom Corlett · Susan Kinloch · Lawrence & Carolyn Klein · Christopher Knudsen · Marit Lash · Wilson Lee & May Ng Lee · Ken & Judy Linhares · Martha & Arthur Luehrmann · Barbara Zerbe Macnab · Gordon & Carol Manashil · Linda Marker · Dr. & Mrs. Steven R. Mayfield · Mr. & Mrs. Joe C. McKenzie · Joseph & Carol McLaughlin · Kathy McLean · Cynthia Naton & Richard Soennichsen · Glen Nethercut · Robert Newcomer & Susanne Light · Stephen & Karen Nicholls · Andy Norton · Michael O’Hare · Gene & Helen Oliver · Lynne Parode · Maria Paterno · Ann Pearson · Elaine Penzer · Therese Pipe · Linda Plecha · Stephen Popper & Elizabeth

PAT RO N S $ 1 –74

Anonymous (12) · Joyce Abbott · Angelina Acevedo · Joe & Esther Adler · Susan Aldrich · Jennie Alexander · Lauren M. Anduri · Kathy Armstrong · Mr. & Mrs. Louis ArmstrongDangles · Christine Bachich · Christine Bacon · Norman Bailiff & Fran Cooper · Sara Barbieri · Louise Barrett · Carole Barry · Mr. & Mrs. Robert Belote · Allison Berding · Ronald D. Berg · Steve Bicknese · Mr. & Mrs. Ross W. Blue · Jean Bolen · Beverley Bolt · Denise Bostrom · Nicole Brennan · Renata Breth & Steve Osborn · Joan Broer · Mr. & Mrs. Bruce Bryson · Katherine Byrne · Catherine Camp · Mr. & Mrs. Donald B. Campbell · Eileen Care · Raul A. Cernea · Joseph & Susan Cerny · Cliff Chan · Douglas Chan · Alberta Chew · May Choi · Cathleen Chuck · Michael Cichon · Cathy Coleman · Eleni Coltos · Danalla Combs · Mr. Paul Craig · Sean Culman · Mr. & Mrs. William G. Cusick · Fredda Damast · Mr. & Mrs. Stefan Dasho · Deborah Davis · Thea Davison & Chris Baskett · Joan De Vries · Robin Delaney · Frank Dellario · Irene Desonie · Seth Dickson · O’Neil & Marcia S. Dillon · John

2 0 1 3– 1 4 · S P E C I A L P R E S E N TAT I O N · T H E B E R K E L E Y R E P M AG A Z I N E · 3 7

CON T R I BU TOR S donors to the annual fund Dineen · Mr. & Mrs. Lawrence and Catherine Dinnea · Audrey Doocy · Dorothea Dorenz · Deborah Doyle · Michael Dranginis · Philip & Susan Durfee · Alycia Dymond · Anne Eisenberg · Terri Elkin · Ann Elliot · Kathleen Failing · David Fankushen · Kathryn Farley · Mr. & Mrs. Carl Farrington · Bronya Feldmann · Mary Beth Ferrari · Karen Ivy Fiene · Winnie Fink · Debra Fitzgerald · John Frediani · Mathew & Caroline Frierman · Tom Gandesbery · Loretta D. Garcia · Dr. Willis Gelston · Dildar D. Gill-Pisani · Cristiana Giordano & Jill Geller · Tolga Goktekin · David Gold · Marina Goldberg · Matthew Grant · Mr. & Mrs. Gray · Bettyanne Green · Kelly Greenne · Carl Grimm · Mr. John B. Gussman · Cheryl Guyer & Marty Kahn · Mr. Thomas R. Hall · Jeanne Halpern · Marjorie Hamm & Angela Bottum · Mark Hammond · Chuck & Susie Hanson · Naomi Hanson · Stanley J. Hartzell · Patricia Heagy · Charisse Heath · Judith Hebert · Deborah & Ronald Heckart · Mark Heckman · Eleanor Hein · Dottie Henderson · Ms. Barbara Heroux · Martha Hertelendy ·

Florence Higa · Paul Hirsch · Vivian Hirshen · Stephen Hopkins · Wilma S. Horwitz · Robert Hreha · Jurdy Hughes · David Hunn · June Hunt · Tom Ihrig · Susan Irvine · Cheryl Jacques · Joanne Jagoda · Goska & Julia Jarrett · John Jordan · Mr. & Mrs. M. Kaplan · Karen Karten · Kerry Kay · Claire Kelm & Joseph Giammarco · Karen Kent · Marlene & Ilan Keret · Julia Ann King · Jenifer & Grayson Kirtland · Gretchen Klug · John Kresge · Nancy Helen Kromm · M. David & Carol Kroot · Leslye Krutko · Daniel Kuo · Josee Lajoie · Winston & Elaine Lambert · Beatrice Laws · Sharon Legenza · Margaret Lisi · Pat Livingston · George I. Lythcott, III · Natasha Mader · Mr. James Madsen · Carole Main · Kim & Barbara Marienthal · Sherry E. Markwart · Laurie & Stuart Marson · Bruce Matzner · Miriam Maxwell · Jennifer McDougall · Paula McNally · Denise Mejlszenkier · Herb & Marilyn Meltzer · Edith Mendez · Harriett Michael · Jeanne Miller · Mary Jean Moore · Phyllis Morrison · Linda Morse · Paula M. L. Moya & Ramón Saldívar · Nurit Mussen · Judith Myers ·

Sustaining members as of June 2013:

The society welcomes the following new members: Neil & Gene Barth Margaret D. Winton McKibben Shirley & Joe Nedham Regina Phelps Henry Timnick

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

Niranjana Nagarajan · Darlene Nealon · Mr. & Mrs. James Nelson · Deborah Nelson · Carol Newborg · Morton Newman · Ann Hilton Nitzan · Lisa Norris · Maurice Obstfeld · Susan Ohanian · Diane Olmstead & Matt Slepin · Milton Palmer · Jiro Palmieri · Amanda A. Pampena · Herman D. Papa · Linda Paravagna · Mary Ann Petro · James Phillips · Toni Pinck · Sarah Shea Potts · Don & Virginia Poulton · Walter Price · Mark & Debra Prinz-Delapaine · Hank & Sarah Pruden · Gail & R. Frank Pucci · Marilyn Radisch · Tarun Rajavelu · Madeline Reiter-Hewilt · Deborah Resnikoff · Geraldine Riordan · Zona L. Roberts Barbara Rogers · Ronald Rogness · Maria & Ron Romano · Benjamin R. Roome · Ann Rosenberg · Karen Rosenberg · Amy Rosenhaus · Mr. Michael Rossman · May Rubin · Kathleen Russell · Janet Sanchez · Jonathan & Kris Sandoe · Penelope Sands · Jullie Sautman · Bonnie Schlobohm · Robert Schmitt · Richard Schnetlage · Marcelle Scholl · Marjorie Seashore · Richard Sharpnack & Paul Dannhauser · Alice Sheehan · Reiko E.

Dr. Richard A. Wolitz Kerry Francis Dr. Harvey & Deana Freedman Dr. John Frykman Ruth Hennigar Paul T. Friedman Laura K. Fujii Marjorie Ginsburg & Howard Slyter Mary & Nicholas Graves Elizabeth Greene Richard & Lois Halliday Linda & Bob Harris Fred Hartwick Douglas J. Hill Hoskins/Frame Family Trust Robin C. Johnson Lynn Eve Komaromi Bonnie McPherson Killip Scott & Kathy Law Zandra Faye LeDuff Ines R. Lewandowitz

Sheppard · Marian Shostrom · Kristen Sidell & Paul Abboud · John Simonds · Ruth Skarlatos · Donna Smith-Harrison & Samuel Harrison · Leon Somplinsky · Christine Sozanski · Ward & Deborah Spangler · Sherrill & Martin Spellman · Miriam Spongberg · Hildie Spritzer · Sree Sripathy · Carole Stein · Mimi Sternberg · Mary Stevens · Corinne Stewart · John Stull · Aina Stunz · Andrew Sullivan · Howard & Neilda Sussman · Avis Taylor · Jodi Tharan · Molly Thomas · Shannon Titus · Danica Truchlikova · Jane Vanderveer · Marcella Vann · Colleen Vermillion & Nancy Heastings · Robert Visser · Christopher Wacht · Simone Wang · Denise Ward · John Watkins & Barbara Maricle · Wendy Watling · Lawrence Edward Wayne · Susan Whitman · Tristan Williamson · Jillian Wolfe · Ms. Beth Wolinsky · Carol Wolleson · William Wolverton · Patty Wong · Morris A. Woolfson · Anne Yanow · Helen Ying · Nancy Zinn

Dot Lofstrom Dale & Don Marshall Sumner & Hermine Marshall Rebecca Martinez Suzanne & Charles McCulloch Miles & Mary Ellen McKey Susan Medak & Greg Murphy Toni Mester Pam & Mitch Nichter Sharon Ott Amy Pearl Parodi Barbara Peterson Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Michael & Sue Steinberg Karen Stevenson Dr. Douglas & Anne Stewart

Jean Strunsky Phillip & Melody Trapp Janis Kate Turner Dorothy Walker Weil Family Trust —Weil Family Grace Williams Karen & Henry Work Martin & Margaret Zankel

Gifts received by Berkeley Rep: Estate of Suzanne Adams Estate of Fritzi Benesch Estate of Nelly Berteaux Estate of Nancy Croley Estate of John E. & Helen A. Manning Estate of Richard Markell Estate of Margaret Purvine Estate of Peter Sloss Estate of Harry Weininger

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

M E MOR I A L A N D T R I BU T E G I F T S The following members of the Berkeley Rep community made gifts in memory and in honor of friends, colleagues, and loved ones from June 2012 to June 2013.

In honor of Susan Medak Terry Pink & John Blaustein Joanne Medak Anonymous, in honor of Julie & Patrick Kennedy Anonymous, in memory of Sky Parsons Pat Angell, in memory of Gene Angell Jeffrey Bornstein, in honor of Kerry Francis Allan & Muriel Brotsky, in memory of Dr. Leonard Gordon Jane Buerger, in memory of Judith A. Schmitz Gary & Diana Cramer, in memory of Doris Titus Anita & Herbert Danielsen, in honor of Sara E. Danielsen & Sean M. Tarrant Elizabeth Anne Doyle, in memory of John Doyle Wendy Dwyer, in honor of The Dwyer Family Robert Engel, in memory of Natalie Seglin David & Eileen Fink, in honor of Rachel Fink Brooke Facente, in honor of Jane and Gary Facente Cynthia Fleury, In memory of Tyrone Collins Suzanne & Richard Gerson, in memory of Richard Heggie William Goodell, in memory of Carol G. Goodell Richard & Sylvia Hammond, in honor of Leo Blitz & Family Carol & Tony Henning, in honor of Paul A. Henning Juraj & Elisabeth Hostynek, in honor of Andrej Hostynek Barbara E. Jones in memory of William E. Jones Judi and Buz Kanter, in honor of Susie Medak and Marge Randolph Julie Kastrup, in memory of Dan Murphy Debie Krueger, in memory of Alex Maffei

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 3–1 4 · S P E C I A L P R E S E N TAT I O N

Nadine Levin & Family, in honor of Judy Belk’s Birthday Peter & Melanie Maier, in honor of Jill Fugaro Carrol Mills, in memory of Stan Eremia Geri Monheimer, in honor of Sharon and Randy Kinkade Susan Montauk, in memory of Clare Montauk Thomas Neale, in memory of Jean Culhane David Pasta, in memory of Gloria Guth Elizabeth & Ted Peña, in honor of Oscar Peña, with thanks to Ben Hanna Laurel Przybylski, in memory of Maryann Herber Sheila & Myron Puckett, in memory of Jean Murphy Lois & Dan Purkett, in honor of Merton Johnson & Mary Rowe M Veronica Rabuy, in honor of Zoe Inciong Phyllis & Steve Reinstein, in honor of Laurie Barnes Mr. & Mrs. Leonard Rosenberg, in honor of Sherry & Scott Haber Sheli Rosenberg, in honor of Leonard X Rosenberg Veronica Schwalbach, in memory of Catherine Day Heather Sirk, in honor of Emily Small-Coffaro Janet Sovin, in memory of Flora Roberts Katrina & John Staten, in memory of Wallace Johnson Debbie & Bob Sternbach, in honor of Sally Smith Prof. Jeremy Thorner & Dr. Carol Mimura, in memory of James Toshiaki Mimura WRITE CLUB San Francisco, in honor of Steven Westdahl Ms. H. Leabah Winter, in memory of Barry Dorfman, MD The Zeiger Family, in memory of Phyllis Sagle


2013 — 14 SEASON T H E T O N Y A W A R D–W I N N I N G M U S I C A L














A BOU T BE R K E L E Y R E P staff and affiliations Artistic Director Tony Taccone

Managing Director Susan Medak

General Manager Karen Racanelli

A R T I S T IC Artistic Associate & Casting Director Amy Potozkin Artistic Associate Mina Morita Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Associate Julie McCormick Theatre Communications Group/ Visiting Artistic Associate Maureen Towey Artists under Commission David Adjmi Glen Berger Marcus Gardley Tarell McCraney Dominic Orlando KJ Sanchez

COSTUMES Costume Director Maggi Yule Draper Kitty Muntzel Tailor Kathy Kellner Griffith First Hand Janet Conery Wardrobe Supervisor Barbara Blair Assistant Costume Designer Amy Bobeda

P RODUC T ION Production Manager Tom Pearl Associate Production Manager Amanda Williams O’Steen Company Manager Jean-Paul Gressieux

S OU N D Sound Supervisor James Ballen Sound Engineer Angela Don

PAT RON S E R V IC E S Patron Services Manager Katrena Jackson House Manager Debra Selman Assistant House Managers Natalie Bulkley · Aleta George · Michael Grunwald · Emily Hartman · Ayanna Makalani · Anthony Miller · Read Tuddenham Concessionaires Leah Barish · Laurie Barnes · Natalie Bulkley · Samantha Burse · Emily Fassler · Renee Gholikely · Alana Godner-Abravanel · Wendi Gross · Emily Hartman · Mary Kay Hickox ·  Kimberly “Mik” Jew · Maria Jimenez · Nima Khoshnevis-Rad · Devon Labelle · Margot Leonard · Hanna Lennett · Jamie McClave · Sarah Nowicki · Jenny Ortiz · Benjamin Sandberg · Amanda Spector ·  Andrew Susskind · Read Tuddenham · Nancy Villatoro Usher Coordinators Nelson & Marilyn Goodman

S TAG E M A NAG E M E N T Production Stage Manager Michael Suenkel Stage Managers Cynthia Cahill Leslie M. Radin Karen Szpaller Kimberly Mark Webb Production Assistants Whitney G. Krause Megan McClintock Amanda Warner S TAG E OP E R AT ION S Stage Supervisor Julia Englehorn P ROP E R T I E S Interim Properties Supervisor Jillian A. Green Assistant Properties Manager Gretta Grazier S C E N E S HOP Technical Director Jim Smith Assistant Technical Director Colin Babcock Shop Foreman Sam McKnight Master Carpenter E.T. Hazzard Carpenter Jamaica Montgomery-Glenn S C E N IC A R T Charge Scenic Artist Lisa Lázár

E L E C T R IC S Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane Kenneth Coté

A DM I N I S T R AT ION Controller Suzanne Pettigrew Director of Technology Gustav Davila Associate Managing Director/ Manager, The Ground Floor Karena Fiorenza Ingersoll Executive Assistant Andrew Susskind Bookkeeper Kristine Taylor Associate General Manager/ Human Resources Manager David Lorenc Human Resources Consultant Laurel Leichter Database Manager Diana Amezquita DE V E L OPM E N T Director of Development Lynn Eve Komaromi Associate Director of Development Daria Hepps Director of Individual Giving Laura Fichtenberg Campaign Manager Libbie Hodas Institutional Grants Manager Bethany Herron Special Events Manager Lily Yang Individual Giving Associate Joanna Taber Development Database Coordinator Jane Voytek Development Associate Beryl Baker

B OX OF F IC E Ticket Services Manager Destiny Askin Subscription Manager & Associate Sales Manager Laurie Barnes Box Office Supervisor Terry Goulette Box Office Agents Christina Cone · Samanta Cubias · Luisa Frasconi · Sherice Jones · Eliza Oakley · Tom Toro · Aaron Walburg · Amanda Warner · Crystal Whybark M A R K E T I NG & C OM M U N IC AT ION S Director of Marketing & Communications Robert Sweibel Director of Public Relations Voleine Amilcar Art Director Nora Merecicky Video & Multimedia Producer Pauline Luppert Communications Manager Karen McKevitt Marketing Manager Kyle Sircus Audience Development Manager Sarah Nowicki Webmaster Christina Cone Program Advertising Ellen Felker

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OP E R AT ION S Facilities Manager Lauren Shorofsky Building Engineer Thomas Tran Maintenance Technician Johnny Van Chang Facilities Assistants Kevin Barry Sonny Hudson Sophie Li Carlos Mendoza Jesus Rodriguez Oliver Sweibel BERKELEY REP S C HO OL OF T H E AT R E Director of the School of Theatre Rachel L. Fink Associate Director MaryBeth Cavanaugh Jan & Howard Oringer Outreach Coordinator Dave Maier Community Programs Manager Benjamin Hanna School Administrator Cassie Newman Registrar Katie Riemann Faculty Arion Alston · Jeffrey Bihr · Jon Burnett · Rebecca Castelli · Sally Clawson · Laura Derry · Deborah Eubanks · Nancy Gold · Gary Graves · Marvin Greene · Benjamin Hanna · Susan-Jane Harrison · Emily Hartman · Melissa Hillman · Gendell Hing-Hernandez · Andrew Hurteau · Aaron Jessup · Krista Knight · Michele Leavy · Julian Lopez-Morillas · Emily Ludlow · Dave Maier · Joan Mankin · Marilet Martinez · Patricia Miller · Michael Miranda · Alex Moggridge · Christopher Morrison · Michael Navarra · Jack Nicolaus · Jeremy Oase · Dael Orlandersmith · Slater Penney · Roxie Perkins · Lisa Anne Porter · Diane Rachel · Elyse Shafarman · Pireeni Sundaralingam · Karen Szpaller · Daniel Talbott · Valerie Grace Tidball · Julian Vercoutere · Sloan Wilson Outreach Teaching Artists Michael Barr · Mariah Castle · Sylvia Hathaway · Gendell HingHernandez · Ben Johnson · Hannah Lennett · Marilet Martinez · Sarita Ocon · Carla Pantoja · Lexie Papedo · Patrick Russell · Tommy Shepherd · Reggie White · Elena Wright Teacher Advisory Council Molly Aaronson-Gelb · Julie Boe · Amy Crawford · Beth Daly · Jan Hunter · Marianne Philipp · Richard Silberg · John Warren · Jordan Winer

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

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

BOA R D OF T RU ST E E S Marjorie Randolph



Thalia Dorwick, PhD


Helen Meyer


Richard Shapiro VI CE PRE S ID E N T

Emily Shanks T RE A S U R E R

Scott R. Haber S ECRE TA RY

Roger A. Strauch


Pamela Nichter



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

A musical adaptation of Shakespeare’s Romeo and Juliet featuring the incendiary songs of Jeff Buckley.

Carrie Avery Steve Buster Martha Ehmann Conte Robin Edwards William T. Espey William Falik Lisa Finer David Fleishhacker Kerry L. Francis Paul T. Friedman Jill Fugaro David Hoffman, PhD Carole S. Krumland Dale Rogers Marshall Julie M. McCray Susan Medak Jack Schafer Jean Z. Strunsky Tony Taccone Gail Wagner S U S TAIN IN G A DVI S O R S

Carole B. Berg Rena Bransten Stephen K. Cassidy Diana J. Cohen John Field Nicholas M. Graves Richard F. Hoskins Sandra R. McCandless Dugan Moore Pat Rougeau Patricia Sakai Michael Steinberg Michael Strunsky Felicia Woytak Martin Zankel

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

Conceived and Adapted by

MICHAEL KIMMEL Music and Lyrics by JEFF BUCKLEY Orchestrations, Music Direction and Arrangements by KRIS KUKUL Choreography by SONYA TAYEH Directed by ALEX TIMBERS

SEPT. 20 – NOV. 3, 2013

That light in yonder window is still the east and Juliet is still the sun...but the sound in her bedchamber is all new: the sweeping, emotional and extraordinarily beautiful songs of the late rock icon Jeff Buckley. This unique work of theatre is a remarkable fusion of the classic and the modern, melding Shakespeare’s tragedy, in its original text and period, with some of the most passionate rock music of the past 20 years, staged with limitless invention by one of the true stage visionaries at work today.

(619) 23-GLOBE (234-5623)

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FYI Latecomers

Please arrive on time. There is no late seating, except at the discretion of the house manager.

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Emergency exits Please note the nearest exit. In an emergency, walk—do not run —to the nearest exit. Accessibility Both theatres offer wheelchair seating and special services for those with vision- or hearing-impairment. Infrared listening devices are available at no charge in both theatre lobbies. Audio descriptions are available in the box office; please request these materials at least two days in advance of your performance date.

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

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

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

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

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


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Our community's commitment to arts and culturesays a lot about wherewelive. Theater brings us together from the moment the lights go down and the curtains come up. Berkeley Rep, we applaud this production. Berkeley Main • 2144 Shattuck Ave • 510-649-3630 University • 2460 Bancroft Way • 510-464-2266 Elmwood • 2959 College Ave • 510-649-3620 North Berkeley • 1800 Solano Ave • 510-558-2800 © 2013 Wells Fargo Bank, N.A. All rights reserved. Member FDIC. 122939 06/13

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