Berkeley Rep: Roe

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An interview with Playwright Lisa Loomer 8 · The Court battle 12 · Pursuing a better world 25 · The program for Roe 14

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P ROL OG U E from the Artistic Director

Roe v. Wade.

Few cases in American judicial history have sparked more controversy than the landmark decision by the Supreme Court some 44 years ago. On the surface, the question is simple: Does a woman have the right to choose whether or not to have an abortion? But underlying that question are titanic issues related to everything from the separation of Church and State to protecting women’s healthcare rights, and assumptions of class and racial privilege to determining the moment when life itself begins. To coin a phrase, it’s a mess, one that has only gotten more traumatic in recent days. As I write this, our new president has nominated a ninth justice to the Supreme Court. One of the most hotly contested subjects at the confirmation hearings is likely to be his stance on abortion. Oppositional forces are gathering with renewed vigor. The Right to Life movement is elated at the prospect of finally defeating Roe. The Pro-Choice movement is digging trenches to defend the law and the larger principles it represents. The noise level is about to become deafening. For a body whose fundamental mission is to stay above the political fray, the pressure on the court will be immense. Which brings us to tonight’s play. Lisa Loomer gave herself the formidable task of writing an objective account of Roe. Using the structure of a dual biography of two very different women, she dives headlong into the maelstrom of history. By grounding her story in real human beings, however, she invites us to look at the topic in ways that are dramatic, humorous, and poignant. We are relieved of the conventional wisdom of seeing “two different sides of the argument.” Instead, we see people facing different social conditions as they grapple with life-changing decisions. Their frailty and strength are on full display, and we are forced to consider our own beliefs in relation to their struggle. Bringing this play to life is the esteemed director Bill Rauch, who also serves as the artistic director of the Oregon Shakespeare Festival. Bill has done remarkable things in Ashland, where he has brought his unbridled vitality for life and passion for work that is historically impactful. It is a great pleasure for me to finally get him to Berkeley, as I believe he is one of the most important people working in the American theatre. He brings with him some stalwart members of his own company of actors and designers, as well as a host of talented fellow travelers. Together they plunge us into Roe, into the world, into the full chaos of the moment. May we emerge feeling a bit more human.

Sincerely,

Tony Taccone

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P ROL OG U E from the Managing Director

Prior to WWII, Winston Churchill famously said,

“The arts are essential to any complete national life. The State owes it to itself to sustain and encourage them….Ill fares the race which fails to salute the arts with the reverence and delight which are their due.” Today not only the arts but also the humanities and public broadcasting are under threat of elimination by the current administration. Given that the combined budgets of the National Endowment for the Arts and the National Endowment for the Humanities amount to about .006 percent of the federal budget, this is clearly not about budget cutting. Eliminating these agencies will have virtually no effect on the federal budget. This is an ideological decision. It is fundamentally about the value of unfettered imagination and pursuit of knowledge in a free and open society. Underneath the question of cost is the larger question about the role of government in supporting and expanding a richness of ideas that offers alternatives to the popular marketplace of thought. Since the nea was established in 1965, this country has seeded and uplifted some of the most important creative minds in the world, and has sustained and nurtured some of the most essential repositories of great art and brilliant thinking to be found on the planet. We have protected great work of the past, we have discovered creative voices of the moment. The very existence of these government agencies has sent a message that we, as a country, value art, artists, ideas, thinkers, and makers. Today many of our civic institutions are being questioned, and the role of government in many aspects of our public life is being reassessed. I would suggest that this production of Roe is the very argument for continued support of the nea and of the function of nonprofit arts in a community. With Roe, Lisa Loomer has created a rare opportunity to examine a difficult issue with deep humanity and respect for the different perspectives. If you are here with a group that cares passionately about either side of the abortion argument, you’ve come here with the expectation that the Berkeley Rep production will serve as a megaphone for your issue. You may have even come with the hope that the production will humanize the argument for you and for those around you. We hope that every play we produce contributes to a deeper public dialogue, to a better understanding of ourselves as a people. We try not to be polemic. But the nature of the theatre is about the human condition. We can’t help being a window into our collective souls. If you are eager to see the federal government withdraw support for programs like this, I ask you to reconsider your perspective. Reach out to us. The discussion may be as important as the outcome. Most people who attend Berkeley Rep are activists. It is what makes me love our audience so much. And with that in mind, I implore you, whether you are championing free speech, science, climate change, immigration, or women’s health, or any of the seemingly endless imperiled federal programs, please make sure that you also advocate for the preservation of our federal agencies that protect our artists and scholars, the National Endowments for the Arts and Humanities, and the Corporation for Public Broadcasting. Call your senators and congressional representative tonight. Make a difference. Warmly,

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THE ORIGIN STORY

Writing Roe: An interview with Playwright Lisa Loomer BY AMY RICHARD AND SARAH ROSE LEONARD

Amy Newman and Sara Bruner in Roe P H OTO BY J E N N Y G R A H A M /O R EG O N S H A K E S P E A R E F E S T I VA L

Lisa Loomer’s Roe is part of Oregon Shake-

speare Festival’s ambitious commissioning program called American Revolutions: the United States History Cycle. Comprised of 37 plays about moments of change in American history, this 10-year commissioning project brings together artists, historians, and institutions from around the country to establish a shared understanding of our nation’s past while illuminating the best paths for its future. Two plays from American Revolutions have appeared on Berkeley Rep’s stages in co-productions with osf: Tony Taccone and Jonathan Moscone’s Ghost Light and UNIVERSES’ Party People. Three plays from the program have landed on Broadway: Lynn Nottage’s Sweat, Paula Vogel’s Indecent, and Robert Schenkkan’s All The Way. For her commission, Lisa Loomer quickly found her way to writing about Sarah Weddington and Norma McCorvey, the women behind the 1973 Roe v. Wade Supreme Court decision. Lisa was drawn to how many versions of the story existed: McCorvey wrote two very, very different memoirs, and Weddington has her own version of the events. Lisa wanted to use her play to explore how, despite their massive life experience and class differences, these two women are bonded in history. Roe received an initial reading at osf’s Black Swan Lab for New Work, where the osf resident acting company comes together to read new plays. Blown away by that initial reading, osf committed to producing the play, and Berkeley Rep and Arena Stage came onboard to co-produce shortly thereafter. All three theatres consciously committed to producing the play knowing that we were headed into an election year. In 2015, the play received a workshop at osf and a reading at the Kennedy Center as part of their participation in DC’s Women’s Voices Theater Festival. It premiered in April 2016 in Ashland, and had another workshop to put in rewrites and incorporate a few new actors before opening at Arena Stage in January 2017. Now, Berkeley Rep continues the life of Roe, a play that explores the subjective nature of presenting history, and why abortion remains among our nation’s most sensitive topics. 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 6 –1 7 · I S S U E 5

When dreaming up Roe, playwright Lisa Loomer found inspiration in the people behind the 1973 Supreme Court case that legalized abortion, Roe v. Wade, and how their lives unfolded during the decades that followed. Back in March 2015, she talked with osf’s Media and Communications Manager Amy Richard about the development of the piece. More recently, Berkeley Rep Literary Manager Sarah Rose Leonard caught up with Lisa to get an update on the complexities of writing about the polarizing subject of abortion and choice. This interview is a blend of their conversations. Amy Richard: American Revolutions: the United States History Cycle (osf’s play commissioning program about moments of change in American History) asks playwrights to focus on significant moments in American history. How did you land on this moment? Lisa Loomer: Fate. I was taking a walk with my husband and I picked up a message that [osf’s Artistic Director] Bill [Rauch] wanted to talk to me about an American Revolutions commission. I said to my husband, “How much you wanna bet they want to talk about Roe v. Wade?” It turned out that Bill wondered if I might have an interest. Initially, though, I was not interested in doing a play about a case or a courtroom drama. I take the issues very seriously, and I write about very serious issues, but my plays often have an unusual theatrical style. I was not going to write a straight drama. But then when I did the research—and it’s a little hard to talk about, because I don’t want to give away Norma’s story, Norma McCorvey, who was Roe—but her story, her real story was so amazing. It was so inherently theatrical, so…bent…that following this fascinating character allowed me to tell the story from a unique point of view. And without giving too much away, the way it was bent then allowed you to show the vastly different perspectives around Roe v. Wade? Yes, right, which is certainly something that I’m always interested in. It gave me all the perspectives in one play. The true story gave it to me. I didn’t have to manipulate it. What was your research process? I love research. I read Sarah Weddington’s book and Norma’s two books and everyone else’s books about Roe v. Wade. I did a lot of research on the net. I did a residency at


University of Texas (UT) in Austin and went to classes on feminism and spoke to young feminists. I read books on feminism, watched documentaries, and I went to churches. I spoke to people on both “sides.” Tell me more about the residency. Sarah Weddington, the lawyer who argued Roe v. Wade, studied at UT and also taught there. Scholars talk about three waves of feminism. Sarah Weddington was part of the second wave, as were Betty Friedan and Gloria Steinem. The third wave is more about women of color. When I went to UT, I was so moved by the young feminists I met. One young African American woman told me frankly, “I probably wouldn’t see a play if it was all white women, middle-class, second-wave feminists.” I so much wanted those young women to go, to feel a part of the play, to feel invited, to relate. So I created a character that would be closer to them, to their experience, in the present. Lisa Loomer

P H OTO BY J O E R O M A N O

Yes, your play moves fluidly through the years. Why cover so many years? Roe v. Wade was argued in the early ’70s, and it’s still being argued today. Sarah Weddington was 26 when she went before the Supreme Court; Norma McCorvey was close to her in age. They started out lawyer and plaintiff on the same side. But their divergent journeys reflect the larger cultural divide, so it was important to me to not stop at 1973, but to stay with them. That big cultural divide, do you see that changing? I don’t think the two sides will ever agree because their response to the issue comes from such different life perspectives. Some people see Roe v. Wade as about the law, about choice. For others, it is about religion, morality. For Norma McCorvey, it was about her. What was it really about? It’s about an issue that has sparked—or reflected—a huge cultural divide. It’s about how hard it is for us, as Americans, to talk to each other. Some people see the issue as abortion, others see the issue as being about choice, about allowing people to make up their own minds. And your commitment to showing both sides, what was your thinking on that as you wrote? I see theatre as people sitting together in the dark to look at the human condition. Perhaps to consider a question together. If we are really considering the questions that are evoked by Roe v. Wade, don’t we have to hear from both sides? I don’t kid myself that a play will change minds. It happens, but very rarely. But if we can open our minds enough to even con-

sider a position that is different from the one we brought into the theatre—that is the beginning of compassion. Compassion and curiosity are, I think, great things to leave the theatre with. If we go to the theatre just to encounter what we already believe, what’s the point, really? Did you find your attitudes and perspectives changing as you did your research? For one thing, I began to think about “choice” in broader terms. How the act of making a choice is so much a part of what it means to be a human being. In spite of the serious issues addressed, you have put quite a bit of humor in this play. There are a lot of “serious” or highly dramatic scenes. But something in me does always seem to find what is funny about people. I guess I just don’t have a “straight” or “serious” approach, there’s always something a little wacky in my plays. I don’t think it’s even intentional. My way of seeing may just be a bit skewed. I have found, though, that humor does open people up. People start laughing, and then they are more open to considering the more serious issues of the play. Laughter opens our minds and maybe even our hearts. Sarah Rose Leonard: Given the highly politicized climate of the past year and the ever-contentious debate surrounding Roe v. Wade, have you or your play received any negative responses so far? Do you anticipate this kind of unwanted attention, or perhaps even an infamous Trump tweet? In Oregon, we were prepared for protest because of the very title. Amazingly, we had a peaceful run. There is no demonization in this play, and, as I’ve said, different points of view are treated with respect. That said, I heard once that 97 percent of what people see is what they already believe, and that the rest they just filter out—a real quandary for a playwright, though people do seem to see beyond their preconceptions when watching this play. As for a Trump tweet, my job is to speak; let the chips and the tweets fall where they may. But I would very much like for Trump to see the play with his daughters seated on either side of him. Roe premiered at the Oregon Shakespeare Festival in 2016, when the election cycle was in full swing. The subsequent run at Arena Stage in DC overlapped with the first days of the new administration. Has our changing political situation affected how you’ve thought about the play and its effect on audiences? I have thought about this a lot recently—how a play will resonate differently at different moments in time. I watched how the play landed with audiences during its run in Oregon, throughout the increasingly bizarre and contentious campaign. Now, several months later, the world has changed. Luckily, I begin and end the play in the present, so I have had the chance to make one or two timely updates. I know the play will inevitably land quite differently now, at a moment in time when Roe v. Wade itself is in great and immediate danger. Selections from Oregon Shakespeare Festival’s fall 2015 member magazine, Prologue. 2 0 1 6 –1 7 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 9


Before Roe v. Wade B Y T OM B R YA N T A N D J U L I E F E L I S E DU B I N E R

Women have sought out abortions for

centuries, whether they were legal or not. In the United States, abortion was practiced legally until the 1800s. In 1821, Connecticut passed the first law outlawing abortion after what is now considered the first trimester, when the first movements of the fetus are felt. Known then as “quickening,” that’s usually around 15–20 weeks. New York followed in 1830 and Texas in 1840. By the beginning of the 20th century, the procedure was all but outlawed across the country. The justification for these laws was twofold: to protect the fetus after the first stages of pregnancy and to protect women from abortion procedures that often resulted in serious injury and death. Traditional methods of abortion included ingesting herbs like pennyroyal, aloe, artemisia, and juniper berries, drinking turpentine or gin, taking very hot baths, bodily abuse, and strenuous labor. The most dangerous were invasive surgical procedures that utilized crude and unsterilized instruments that often caused deadly infections. But underneath these considerations, powerful social issues were at play. The American Medical Association was determined to consolidate power for “regular” doctors who had gone to medical school. They discredited midwives and other traditional healers who had long been the safest providers of abortion, even though the surgical procedure that these accredited doctors used was far less safe, given the limited understanding of infection and septicemia. White, middle-class women were a large percentage of those having abortions. Their desire to control the number of children they had was perceived by many Anglo-Saxon Protestant Americans as a threat to families and the existing social structures. White Protestants also began to fear the loss of their demographic majority as waves of immigrants from Eastern and Central Europe, Ireland, and Mexico swept into the United States. That fear increased as African Americans gained citizenship after the Civil War ended in 1865. Despite the substantial overlap in the suffrage and abolitionist movements before the Civil War, differences in values and social position led to divisions in movement goals, methodology, and even language. Many white leaders of the women’s suffrage movement, including Susan B. Anthony and Elizabeth Cady Stanton, opposed legal abortion for many reasons while describing disenfranchised women as “slaves.” This painful lack of acknowledgment—that under the institu1 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 6 –1 7 · I S S U E 5

tion of slavery, women had no rights to their own bodies, and many had been forced to have abortions and to bear children to create a shackled workforce—led to a schism in these early civil rights movements. The doors close By 1910, even though nearly every state had laws prohibiting abortion, the number of abortions increased, particularly among married women. It is estimated that there was one abortion for every five live births. The laws simply led to an increase in illegal ones, which were both dangerous and expensive. Upper- and middle-class white women with access to regular doctors were usually able to procure a safe abortion, albeit for a high price. But with little access to providers, poor women and women of color often tried to self-abort by inserting knitting needles or coat hangers into the vagina and uterus, douching with dangerous solutions such as lye, or swallowing strong drugs or chemicals. With abortion a crime, all women seeking them felt desperation, shame, and fear, but those lacking privilege were most at risk for complications, including death, at the hands of illegal abortionists or in their own attempts to abort. In 1873, Anthony Comstock formed the New York Society for the Suppression of Vice and inspired Congress to pass the Comstock Law. It banned the distribution of information not only about abortion but also about birth control and sexually transmitted diseases. Campaigners like Margaret Sanger actively fought back, believing that family planning would increase women’s opportunities for social and economic advancement. The movement toward liberalizing abortion and birth control laws gained traction in the 1920s and ’30s. Newly established birth-control clinics offered advice on family planning and contraception. This work, however, coincided with the rise of eugenics, which held that Anglo Saxons were superior to other races or ethnic groups. Many who fought against legalized birth control were immigrants, African Americans, and their supporters, who had legitimate fears that birth control and family planning would be forced upon them. In the 1940s and ’50s, as postwar America embraced more conservative social norms, many prosecutors across the country no longer turned a blind eye toward doctors who performed abortions, despite the medical advances that had made the procedure safer than childbirth.


A thicket of laws By the mid-20th century, all 50 states had banned abortion, but with a variety of exceptions. In 13 states abortion was legal in the case of danger to a woman’s health, rape, or incest, or a likely damaged fetus. Inherent in the varying laws was the lack of political and legal consensus as to when or if abortion constituted a crime, what criteria would be used to evaluate the moral and legal issues, and what would be the penalties. By 1965, legal abortions performed in clinical settings were so safe that many who formerly opposed abortion as dangerous now supported abortion rights because of the great danger posed by illegal abortions. Poor women in general and women of color in particular continued to run the greatest risks. In 1969, 75 percent of those who died from illegal abortions were women of color. Of all the legal abortions that year, 90 percent were performed on white women in private clinics. In a 1969 panel organized by naral (National Association for the Repeal of Abortion Laws), a number of women testified about their experiences trying to get abortions:

With abortion a crime, all women seeking them felt desperation, shame, and fear...

• “I had applied to 11 hospitals before I got an abortion. The 10th hospital had offered me a deal: They’d give me an abortion if I agreed to get sterilized.” • “I found two psychiatrists who said that for $60 each they would write a report saying that I was mentally ill and ought to have an abortion. I had to prove I was crazy to get an abortion and the abortion was the sanest thing I had done in my life.” • “With one exception, the doctors whom I asked for an abortion treated me with contempt, their attitudes ranging from hostile to insulting. One said to me, ‘You tramps like to break the rules, but when you get caught you all come crawling for help in the same way.’”

Campaigner Margaret Sanger

Many progressives, including members of the burgeoning women’s movement, felt that abortion should be legal. In 1970, New York passed the most permissive law in America. That action was led by African American women such as educator and politician Shirley Chisholm, the first president of naral, and attorney Florynce Kennedy. But that still left many states outlawing or limiting abortions. A nationwide campaign began to try to reform the tangle of existing abortion laws and to establish a clear consensus of legal parameters by a series of court challenges. In this context Roe v. Wade first came before the Supreme Court in 1971. © 2016 Illuminations, the Oregon Shakespeare Festival’s season guide to the plays. Reprinted with permission.

Politician Shirley Chisholm

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The

Court Battle B Y T OM B R YA N T A N D J U L I E F E L I S E DU B I N E R

In 1969, Sarah Weddington was a recent

The district court ruled in McCorvey’s favor, relying on Texas law-school graduate who was finding it difficult to find a the 1965 Supreme Court case Griswold v. Connecticut, which lejob. Interested in women’s rights, she joined a group in Austin galized the sale of contraceptives. They found in that decision that was searching for ways to challenge anti-abortion laws. that the 9th Amendment guaranteed “a right to privacy”—a They decided to challenge Texas’ statute, and Weddington freedom from government intrusion into personal life. But the volunteered to prepare the case. court also declined to grant an injunction against the enforceSoon after, a pregnant woman named Norma McCorvey ment of the Texas law barring abortion. So District Attorney visited a local attorney seeking a legal abortion. He referred Wade ignored the decision, and both sides appealed. In McCorvey to Weddington and Linda Coffee, another attorney December 1971, Roe v. Wade was argued before the Supreme working on the case. McCorvey agreed to be the plaintiff. Court. But Justices Hugo Black and John Marshall Harlan II In March 1970, Weddington and Coffee filed suit in federal soon retired, and the court shelved the case. court against Henry Wade, the Dallas district attorney, chalRoe v. Wade was re-argued in October 1972 after President lenging the anti-abortion statute. To protect her identity, McRichard Nixon appointed two justices, Lewis F. Powell Jr. and Corvey was referred to in the legal documents as “Jane Roe.” William Rehnquist. Weddington continued to represent Roe, By the time a three-judge federal panel heard Roe v. Wade with Flowers arguing for Texas. Weddington made all of her in May 1970, Weddington and Coffee had expanded the case earlier points, and the state continued to maintain that it had a to a class-action suit so it would represent all pregnant women compelling interest in preserving fetal life. Weddington argued in the U.S. Weddington and Coffee faced key legal issues that that the claim that the fetus was entitled to governmental were without clear precedent: Robert C. Flowers and Jay Floyd protection was not valid because “the Constitution attaches of the Texas attorney general’s office argued that the state’s protection to the person at the time of birth [not conception].” abortion law punished only doctors who performed The court asked Floyd to clarify when life, in the view abortions, not women who sought them, of the state of Texas, actually began. Floyd said, therefore, McCorvey did not have “standing “There are unanswerable questions in to sue.” this field.” Also, by this point, McCorvey had given birth, so they argued that her The Supreme Court’s ruling case was moot. But the court ruled On January 22, 1973, the court against them. Flowers and Floyd also ruled, with Justice Harry Blackmun argued that the unborn had legal writing the majority opinion: rights, which the state must protect. • On the precedent of abortion law, Weddington rebutted the state’s Blackmun said: “The restrictive criminal argument of protection of the life of abortion laws in effect are not of the child: “I would like to draw the ancient or even of common law origin.” court’s attention to the fact that life Rather, he said, legislators had designed is an ongoing process,” she stated. “It these laws to protect women from a prois almost impossible to define a point at cedure that in the 19th century was a risk to which life begins or perhaps even at which their health. That objective was no longer valid, Justice Harry Blackmun life ends.” Coffee argued that abortion was said Blackmun, since abortions were now guaranteed by a right to privacy based on the 1st, relatively safe. 9th, and 14th Amendments of the U.S. Constitution. 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 6 –1 7 · I S S U E 5


• On the “right to privacy,” Blackmun stated: “The right of privacy, whether it be founded in the 14th Amendment’s concept of personal liberty and restrictions upon state action or in the 9th Amendment’s reservation of rights to the people is broad enough to encompass a woman’s decision whether or not to terminate her pregnancy.” • On the Texas claim “to protect prenatal life,” Blackmun concluded that he had not found in the Constitution “any possible pre-natal application…The word ‘person’ as used in the 14th Amendment does not include the unborn.” • On the question of when life begins, Blackmun said, “When those trained in the respective disciplines of medicine, philosophy and theology are unable to arrive at any consensus, the judiciary is not in a position to speculate as to the answer…In view of all this, we do not agree that, by adopting one theory of life, Texas may override the rights of the pregnant woman that are at stake.” But Blackmun did find that the state had an “important and legitimate interest in protecting the potentiality of human life.” So he created a balance of interests: During the first trimester of pregnancy, the abortion decision “must be left to the medical judgment of the pregnant woman’s attending physician.” During the second trimester, a state could “regulate the abortion procedure in ways that are reasonably related to maternal health.” During “the stage subsequent to viability, the state…may…regulate, and even proscribe, abortion except where it is necessary, in appropriate medical judgment, for the preservation of the life or health of the mother.” When Sarah Weddington heard these last findings, she sensed their provisions would open the door for future challenges to the court’s decision. The upshot Some argue whether Roe actually restored women’s rights from previous centuries or gave women new rights. And in the nearly 150 years that abortion was illegal, there is no doubt that centuries of folkloric knowledge and the knowledge of midwives were suppressed and lost. Many women, especially women of color, felt ostracized by the feminists leading the crusade to Roe. Many felt that Weddington’s case hinging on the right to privacy disregarded the experience of women who had been subjected to great cruelty due to a lack of reproductive freedom as a whole, and not just the lack of access to abortion. Among the depredations endured were the forced sterilization, impoverishment, and separation of families, particularly of African American, Puerto Rican, and Native American women. Byllye Avery, MacArthur Foundation fellow and founder of the Gainesville Women’s Health Center, and current Supreme Court Justice Ruth Bader Ginsburg were among the women who believed the case for abortion rights would have been better made around equal and human rights. The rise of the Reproductive Rights movement in the 1970s and ’80s came out of the sentiment that the pro-choice movement was exclusionary. But in 1973, Roe overturned Texas’ abortion law by a 7–2 majority, thus basically legalizing abortion—for Texas and the

rest of the United States. At 27, Weddington was, and is still, the youngest person to argue a successful Supreme Court case. Later challenges As Weddington sensed, the courts’ specific provisions allowing some state regulation have created legal avenues to challenge access to abortion in various ways. Since 1973, the Supreme Court has rejected many attempts to limit access to abortion but affirmed others: • Bellotti v. Baird (1979): The court said states could mandate that a minor get parental consent for an abortion, but only if the state law provides a genuine alternative method. • Harris v. McRae (1980): The court upheld a congressional change in the Social Security Act, restricting Medicaid funding of abortions to cases of life endangerment, rape, or incest. • Webster v. Reproductive Health Services (1989) sought to overturn Roe v. Wade. The court declined to overturn Roe, but they upheld some abortion restrictions and modified the trimester framework. • Planned Parenthood of Southeastern Pennsylvania v. Casey (1992): The court upheld a restrictive Pennsylvania law that contained mandatory waiting periods, parental consent, and the presentation of anti-abortion information to women seeking abortions. • Gonzales v. Carhart and Planned Parenthood Federation (2007): The court upheld the Partial Birth Abortion Ban Act of 2003, which prohibits a specific late-term abortion procedure known as “intact dilation and evacuation.” • In 2015, North Carolina, Mississippi, and Texas petitioned the court to limit or discourage access to clinics and abortions in various ways. The Supreme Court declined to hear a case involving a North Carolina law that required doctors to describe the fetus to a pregnant woman seeking an abortion. • Whole Woman’s Health v. Hellerstedt (2016): The court ruled that two provisions in a Texas law—requiring physicians who perform abortions to have admitting privileges at a nearby hospital and requiring abortion clinics to have facilities comparable to an ambulatory surgical center—place a substantial obstacle in the path of women seeking an abortion, constitute an undue burden on abortion access, and therefore violate the Constitution. President Trump promises to uphold an anti-abortion stance in his policies; his actions began on day one of his time in office when he banned foreign aid for abortion counseling. The next four years are sure to extend the controversial battle over Roe v. Wade. © 2016 Illuminations, the Oregon Shakespeare Festival’s season guide to the plays. Reprinted with permission.

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Berkeley Repertory Theatre, in a coproduction with Oregon Shakespeare Festival and Arena Stage, presents the world premiere production of

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

Lisa Loomer DIREC TED BY Bill Rauch

Ron Weddington/ Jay Floyd/Flip Benham Jim Abele*

BY

M ARCH 3–APRIL 2, 2017 RODA THE ATRE · LIMITED SE A SON

R E P ORT

CAST Sarah Weddington Sarah Jane Agnew* Roxanne Kenya Alexander* Henry McCluskey/ Mark Bedard* Robert Flowers/Abortion Doctor Melissa/Emily Zoe Bishop

This show includes a 15-minute intermission. Roe is made possible thanks to the generous support of SEASON SPONSORS

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

Norma McCorvey Sara Bruner* Ofelia/Connie Gonzalez Catherine Castellanos* Aileen/Barbara/Uma/ Gina Daniels* Third Pregnant Woman Molly/Mary Pamela Dunlap* Doctor Kennedy/ Richard Elmore* Henry Wade/Justice Blackmun Linda Coffee/Judy/ Susan Lynskey* First Pregnant Woman/Peggy Helen/Second Pregnant Woman/Ronda Amy Newman*

LE A D S P O N S O R S

Bruce Golden & Michelle Mercer E XECU TIV E S P O N S O R S

Bill Falik & Diana Cohen Marjorie Randolph SPONSORS

Paul Friedman & Diane Manley Sandra & Ross McCandless A S S O CIAT E S P O N S O R S

Shelley & Jonathan Bagg William Espey & Margaret Hart Edwards John & Carol Field Jill & Steve Fugaro The Hitz Foundation Stephanie Mendel Karen Stevenson & Bill McClave

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.

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PRODUC TION S TAFF Scenic Design Rachel Hauck Costume Design Raquel Barreto Lighting Design Jane Cox Composition/Sound Design Paul James Prendergast Projection Design Wendall K. Harrington Casting Joy Dickson Voice/Text Direction Rebecca Clark Carey Dramaturg Tom Bryant Stage Manager Jeremy Eisen* *Indicates a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. World Premiere commissioned, developed, and produced by Oregon Shakespeare Festival Bill Rauch, Artistic Director Cynthia Rider, Executive Director Commissioned as part of American Revolutions: the United States History Cycle. Supreme Court recordings courtesy of Oyez, a project of the Cornell Legal Information Institute Excerpts from “Everything’s Coming Up Roses” by Stephen Sondheim and Jule Styne used with permission of the Owners. (c) 1959 (Renewed) Stratford Music Corporation (ASCAP) and Williamson Music, Inc. (ASCAP) All rights administered by Chappell & Co., Inc. All rights reserved


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

R O N W E D D I N G T O N/ J AY F LOY D/ FLIP BENHA M

Jim last appeared at Berkeley Rep in The Hairy Ape. New York credits include Hedda Gabler (Broadway) and View of the Dome, Edith Stein, The Country Girl, and Angel City (off Broadway). Regional credits include Opus and The Pleasure of His Company (the Old Globe), The Three Musketeers (Seattle Repertory Theatre), State of the Union (Ford’s Theatre), The Misanthrope (McCarter Theatre Center), The Tempest (Milwaukee Repertory Theater), Arcadia (Repertory Theatre of St. Louis), The Normal Heart (Pittsburgh Public Theater), and The Caine Mutiny Court Martial (Cincinnati Playhouse in the Park). Film/TV credits include guest and recurring roles on Code Black, Major Crimes, Transparent, ncis, Pretty Little Liars, Mad Men, Dexter, The Middle, Cold Case, Big Love, West Wing, 24, nypd Blue, and Six Feet Under, among others.

Sarah Jane Agnew

SAR AH WEDDINGTON

Sarah appeared at Berkeley Rep in Theatre de la Jeune Lune’s Don Juan Giovanni, The Green Bird, and The Miser. Regional credits include Richard II and Dead Man’s Cell Phone (Oregon Shakespeare Festival), Hamlet (New Victory Theater), Twelfth Night (Shakespeare Theatre Company), The Servant of Two Masters (Yale Repertory Theatre), Sarah Ruhl’s Three Sisters and Behind The Eye (Cincinnati Playhouse in the Park), The Syringa Tree (Jungle Theater), and Time Stands Still, The 39 Steps, Dollhouse, Major Barbara, Home Place, The Secret Fall of Constance Wilde, and As You Like It (the Guthrie Theater). Sarah was a company member of Theatre de la Jeune Leune from 1997 to 2006, appearing in over 15 productions including The Hunchback of Notre Dame, Tartuffe, The Seagull, and The Miser. Film/TV credits include Lady Dynamite, Detective Fiction, and Older Than America. Sarah is a 2012 McKnight Theater Fellow and received the Cincinnati Acclaim Award and Princess Grace Honorarium.

profiles

Kenya Alexander

Sara Bruner

Kenya makes her Berkeley Rep debut. Regional credits include Beneatha in A Raisin in the Sun (Ebony Repertory Theatre and Kirk Douglas Theatre), Pecola in The Bluest Eye (Cape Fear Regional Theatre), and Hester/ La Negrita in In the Blood (Carnegie Mellon). Her international credits include Irina in The Seagull (Moscow Art Theatre). Hailing from Houston, Texas, Kenya received her bfa in acting at Carnegie Mellon University School of Drama. During her senior year she accepted an elite invitation to attend a semester abroad at Europe’s premier theatre school, mxat (Moscow Art Theatre School).

Sara makes her Berkeley Rep debut. Regional credits include Twelfth Night, Fingersmith, Antony and Cleopatra, A Wrinkle in Time, and Black Swan Lab (Oregon Shakespeare Festival); Boeing Boeing (Delaware Theatre Company); The Fantasticks (Repertory Theatre of St. Louis); Sweeney Todd, Richard III, The Imaginary Invalid, Cabaret, The Taming of the Shrew, The Mousetrap, The Mystery of Edwin Drood, Twelfth Night, The Crucible, The Tempest, Hay Fever, and A Midsummer Night’s Dream (Great Lakes Theater); Little Shop of Horrors, The Spitfire Grill, She Stoops to Conquer, As You Like It, The Importance of Being Earnest, and Scapin (Idaho Shakespeare Festival); and Brilliant Traces, The Physics of Regret, Lobby Hero, The Cherry Orchard, and The Cripple of Inishmaan (Boise Contemporary Theater). TV credits include MDs.

ROX ANNE

Mark Bedard

H E N RY M C C L U S K E Y/ R O B E R T F LO W E R S/A B O R T I O N D O C T O R

Mark is pleased to make his Berkeley Rep debut. He appeared off Broadway in Midsummer Night’s Dream (Pearl Theatre) and Fashions for Men (Mint Theater Company). Before that, he was a company member for several years at Oregon Shakespeare Festival, where some of his favorite plays were The Servant of Two Masters, Paradise Lost, She Loves Me, Animal Crackers, and The Cocoanuts, the last of which he adapted. Additional regional credits include Cymbeline (Shakespeare Theatre Company), Touchstone in As You Like It (Hudson Valley Shakespeare Festival), and Hysterium in A Funny Thing Happened on the Way to the Forum (Geva Theatre Center). Please visit markbedard.com.

Zoe Bishop

M E L I S S A / E M I LY

Zoe makes her Berkeley Rep debut. She spent time performing at Everett KidStage as Splat’s Mom in Splat the Cat, Grandma Georgina in Willy Wonka Kids, Hiccup’s Girlfriend in How to Train Your Dragon, and ensemble in Peter Pan. Zoe participated in weekly improv performances at LA Connections Comedy Club for several months. Her film/TV credits include My Son Wants To Be Gay, Geo Tag, the Healthy Eating video series on Amazon.com, and various commercial work. Twitter: @ZoeCStart, Instagram: @ZoeCStart.

NOR M A MCCORVEY

Catherine Castellanos

O F E L I A /C O N N I E G O N Z A L E Z

Catherine makes her Berkeley Rep debut. She made her Oregon Shakespeare Festival debut last season in Richard II and originated the role of Connie in Roe. She’s been an associate artist with California Shakespeare Theater for 15 seasons, last seen as Prospero in their community tour of The Tempest. As a company member with the San Francisco-based theatre Campo Santo since 2001, she collaborates and performs in numerous premieres by critically acclaimed and award winning writers. Her regional credits include Magic Theatre, Shotgun Players, American Conservatory Theater, San Jose Repertory Theatre, Yale Repertory Theatre, La MaMa, the Lensic, the Ground Floor at Berkeley Rep and jaw/Portland Center Stage. She works in restorative justice teaching theatre arts to formerly incarcerated young women at Community Works West/Rising Voices and at San Quentin State Prison.

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

A I L E E N/ B A R B A R A / U M A / T H I R D PREGNANT WOMAN

Gina last appeared at Berkeley Rep in The White Snake. Broadway credits include All the Way. Off-Broadway credits include Abingdon Theatre Company, The 24 Hour Plays, Incumbo Theater Company, and Summer Play Festival. Regional credits include 10 seasons at Oregon Shakespeare Festival; Our Town (Portland Center Stage); Vanya and Sonia and Masha and Spike (Paper Mill Playhouse); Brokeology (TheatreWorks); Doubt (Kansas City Repertory Theatre); As You Like It, The Taming of the Shrew, Macbeth, and Dracula (Delaware Theatre Company); An Ideal Husband (Center Stage in Baltimore); Private Lives (Shakespeare Santa Cruz); Medea (Pittsburgh Public Theater); Arden Theatre Company; Geva Theatre Center; Milwaukee Repertory Theater; Lake Tahoe Shakespeare Festival; Charlotte Repertory Theatre; Willamette Repertory Theatre; Utah Shakespeare Festival; and TheatreVirginia. TV credits include Orange is the New Black. Please visit gina-daniels.com.

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profiles

Pamela Dunlap M O L LY/M A RY

Pamela created the roles of Agnes in A.R. Gurney’s Love and Money (Signature Theatre Company), Lana in The Early Girl (Circle Repertory Company), and Marjorie Baverstock in The Musical Comedy Murders of 1940 on Broadway. Her regional credits include South Coast Repertory, Arena Stage, the Mark Taper Forum, the Repertory Theatre of St. Louis, Hartford Stage, and Pittsburgh Public Theater. Pamela is guest starring in the new Jill Soloway comedy I Love Dick and will be featured in Suburbicon for the Coen Brothers and the upcoming film Wetlands opposite Adewale Akinnuoye-Agbaje. Pamela recurs on Mad Men, Commander in Chief, Maron, Doll, and Em, and was Barb in Girls. She studied with Sanford Meisner, and was a member of Circle Repertory Acting Company.

Richard Elmore

D O C T O R K E N N E DY/ H E N RY WA D E / J U S T I C E B L AC K M U N

Richard is making his Berkeley Rep debut. He was last seen at Arena Stage in Equivocation. Regional credits include 33 seasons at Oregon Shakespeare Festival and work with Seattle Repertory Theatre, Milwaukee Repertory Theatre, Repertory Theatre of St. Louis, Cincinnati Playhouse in the Park, the Alliance Theatre, Indiana Repertory Theatre, Alabama Shakespeare Festival, Denver Center Theatre Company, Utah Shakespeare Festival, California Shakespeare Festival, Virginia Stage Company, Mill Mountain Theatre, Court Theatre, Geva Theatre, San Jose Repertory Theatre, Delaware Theatre Company, TheatreWorks, Portland Center Stage, and Artists Repertory Theatre. More than 100 radio, television, and print commercials. He is the winner of five Drama-Logue Awards and received his BA from Arizona State University.


Susan Lynskey

L I N DA C O F F E E / J U DY/ F I R S T P R E G N A N T W O M A N/ P E G G Y

Susan makes her Berkeley Rep debut. Regional credits include Citizen 13559 and New Visions/New Voices (the Kennedy Center); Roe and Richard II (Oregon Shakespeare Festival); The Hostage (Center Stage in Baltimore); The 39 Steps and The Laramie Project (Olney Theatre Center, associate artist); Intimate Apparel (African Continuum); Ghost-Writer and The Girl in the Goldfish Bowl (MetroStage); The bfg (the National Theatre); Lisa Loomer’s Living Out (Round House Theatre); Noises Off, Proof, Well, Born Yesterday, Intimations for Saxophone, Book of Days, The Importance of Being Earnest, and Roe (Arena Stage); and The Cripple of Inishmaan (Studio Theatre). Recent film/TV credits include Turn and The Wire. Susan is a Georgetown University professor and recipient of multiple Helen Hayes nominations, the Audience Choice Award, and DC’s Individual Artist Award. Her favorite offstage role: loving pet parent to her famous grey tabby, the inimitable Egg.

Amy Newman

H E L E N/ S E C O N D P R E G N A N T W O M A N/ R O N DA

Amy makes her Berkeley Rep debut. Regional credits include Great Expectations and the world premiere of Roe (Oregon Shakespeare Festival); The Miracle Worker, The Liar, Tribes, The Playboy of the Western World, Red Herring, Sherlock Holmes and the Case of The Christmas Carol, The Cherry Orchard, Ah, Wilderness!, Design for Living, and All My Sons (Artists Repertory Theatre, resident artist since 2014); jaw: A Playwrights’ Festival and One Flew Over the Cuckoo’s Nest (Portland Center Stage); Middletown, Gidion’s Knot, Noises Off, and Or (Third Rail Repertory Theatre); and God’s Ear, Freakshow, and The Long Christmas Ride Home (Theatre Vertigo). Film/TV credits include Grimm. Amy is the recipient of Drammy Awards for Gidion’s Knot and God’s Ear and received her BA from Temple University. This spring she will return to osf to play Mistress Ford in Merry Wives of Windsor and Calypso/ Ensemble in Mary Zimmerman’s adaptation of The Odyssey.

Lisa Loomer

P L AY W R I G H T

Lisa’s plays include Living Out, The Waiting Room, Distracted, Homefree, Café Vida, Expecting Isabel, Two Things You Don’t Talk About at Dinner, Birds, Bocón!, Maria! Maria Maria Maria, and Broken Hearts. Her work has been produced at Roundabout Theatre Company, Vineyard Theatre, Second Stage

Theatre, intar, the Public Theater, the Mark Taper Forum, Arena Stage, South Coast Repertory, Kennedy Center, Seattle Repertory Theatre, Denver Center Theatre Company, La Jolla Playhouse, Trinity Repertory Company, Williamstown Theatre Festival, Missouri Repertory, and Cornerstone Theater Company and in Mexico, Israel, Egypt, and Germany. Screenwriting credits include Girl, Interrupted and comedies, dramas, and pilots for hbo, cbs, fox, and Showtime. Lisa received the American Theatre Critics Award (twice), Kennedy Center Fund for New American Plays Award, Lurie Foundation Award, Edgerton Foundation New American Play Award, Jane Chambers Playwriting Award (twice), Imagen Award, Ovation Award, and Susan Smith Blackburn Prize.

Bill Rauch DIREC TOR

Bill directed the Tony Award-winning All the Way on Broadway and the world premiere of The Clean House at Yale Repertory Theatre, where he is an associate artist, and its off-Broadway premiere (Lincoln Center). Other world premieres include Fingersmith, The Great Society, Equivocation, and By the Waters of Babylon (Oregon Shakespeare Festival); Living Out and For Here or to Go? (the Mark Taper Forum); and My Wandering Boy and The Further Adventures of Hedda Gabler (South Coast Repertory). He became the osf’s artistic director in 2007, having been co-founder and artistic director of Cornerstone Theater Company (1986–2006). Honors include the Helen Hayes, tcg’s Visionary Leadership, Fichandler, L.A. Weekly and Garland Awards; Margo Jones Medal; and Emmy and Ovation Award nominations.

Rachel Hauck

SCENIC DESIGNER

Rachel returns to Berkeley Rep after having designed It Can’t Happen Here and The Madwoman in the Volvo this season. New York design credits include Night Is a Room, Our Lady of Kibeho, and And I and Silence (Signature Theatre Company); An Iliad (New York Theatre Workshop, McCarter Theatre Center, Seattle Repertory Theatre); Grand Concourse, The Patron Saint of Sea Monsters, The Call, and Go Back to Where You Are (Playwrights Horizons); Slowgirl (lct3); Bright Half Life (Women’s Project); To the Bone (Cherry Lane Theatre); Harper Regan and Bluebird (Atlantic Theater Company); The Tutors (Second Stage Theatre); Orange and Hat & Grace (Soho Rep); This Wide Night (Naked Angels); bam Next Wave Festival; and the Public Theater. Regional design credits include Arena Stage, Oregon Shakespeare Festival, the Guthrie Theater, the Mark Taper Forum, Seattle Repertory, La Jolla Playhouse, and many others. Rachel is also the recipient of the Princess Grace Award, nea/tcg Fellow, and Lilly Award.

Raquel Barreto

COSTUME DESIGNER

Raquel’s regional design credits include Oregon Shakespeare Festival, Syracuse Stage, Getty Villa, Folger Theatre, the Guthrie Theater, California Shakespeare Theater, San Jose Repertory Theatre, Cornerstone Theater Company, Latino Theater Company, Odyssey Theatre Ensemble, Magic Theatre, Campo Santo, Chalk Repertory Theatre, and The Cutting Ball Theater. Opera credits include Lucrezia, Bastianello, and The Coronation of Poppea (Opera ucla) and Un Ballo in Maschera (San Francisco Lyric Opera). She has collaborated with choreographers Barak Marshall (Bodytraffic, Joyce Theater, Los Angeles Philharmonic, Walt Disney Concert Hall, Jacob’s Pillow, the Broad Stage), Yolande Snaith, Allyson Green, Robert Moses, and Jeff Slayton. Raquel is on the design faculty at ucla School of Theater, Film and Television and received her mfa from the University of California, San Diego.

Jane Cox

LIGHTING DESIGNER

Jane designed Amélie, A New Musical at Berkeley Rep. Her Broadway design credits include Machinal; Picnic; All the Way; Come Back, Little Sheba; and Dame Edna’s Back with a Vengeance. Off-Broadway credits with Roundabout Theatre Company, Lincoln Center, Manhattan Theatre Club, Second Stage Theatre, the Public Theater, Playwrights Horizons, Signature Theatre, and Classic Stage Company. Regional credits with Arena Stage, Oregon Shakespeare Festival, the Guthrie Theater, McCarter Theatre Center, and American Repertory Theater. International credits include Hamlet (the Barbican). Opera credits with Sydney Opera House, Houston Grand Opera, New York City Opera, Minnesota Opera, and Glimmerglass Opera. Adjunct teaching for Princeton University and New York University, company member at Monica Bill Barnes Dance Company. Jane received a Tony Award nomination for Machinal, the 2013 Henry Hewes Design Award, and Drama Desk and Lucille Lortel Award nominations. She received her mfa from New York University.

Paul James Prendergast

COMPOSER/SOUND DESIGNER

Paul’s regional credits include Oregon Shakespeare Festival, the Guthrie Theater, American Conservatory Theater, Seattle Repertory Theatre, the Mark Taper Forum, Asolo Repertory Theatre, South Coast Repertory, Long Wharf Theatre, Great Lakes Theater, East West Players, Florida Stage, Atlantic Theater Company, Playmakers Repertory, Idaho Shakespeare Festival, the Geffen Playhouse, People’s Light and Theatre Company, The Actors’ Gang, Cornerstone Theater Company, Hartford Stage, California Shakespeare Theater, La Jolla Playhouse, the Alley Theatre, and Kennedy Center. International credits include the Edinburgh Festival and Moscow Art Theatre. Other credits include Universal Studios, Disney, and Knott’s Berry Farm (theme parks); Treasure Island, mgm Grand, and Buffalo Bill’s (casinos); J. Paul Getty, Geffen Contemporary, 2 0 1 6 –1 7 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 7


BE R K E L E Y R E P P R E S E N T S and Autry National Center (museums); and Diavolo Dance Theater, Momix, and Parsons Dance. His work as a singer/songwriter has appeared in films, on recordings, and in music venues nationwide.

Wendall K. Harrington PROJEC TION DESIGNER

Wendall’s Broadway credits include The Who’s Tommy (Drama Desk, American Theatre Wing, Outer Critics Circle Awards), Driving Miss Daisy, Grey Gardens, The Capeman, Ragtime, Company, Putting it Together, The Heidi Chronicles, and They’re Playing Our Song. Off-Broadway credits include with Signature Theatre Company, Lincoln Center, and the Public Theater. Opera/ballet credits with Metropolitan Opera, Lyric Opera of Chicago, Metropolitan Opera, Minnesota Opera, Opera Theatre of Saint Louis, American Ballet Theatre, Royal Danish Ballet, La Scala, and New York City Ballet. Wendall is the recipient of the 1998 Obie Award for Sustained Excellence in Projections, Michael Merritt Award for Design and Collaboration, 2015 Players Club Theatre Person of the Year, and 2015 usitt Distinguished Achievement in Education. She lectures widely on projection design as faculty at the Yale School of Drama.

Joy Dickson

CASTING DIREC TOR

Joy has worked regionally at Berkeley Rep, Oregon Shakespeare Festival, Seattle Repertory Theatre, the Mark Taper Forum, Ojai Playwrights Conference, the Geffen Playhouse, the Huntington Theatre Company, La Jolla Playhouse, Goodman Theatre, Missouri Repertory Theatre, Portland Center Stage, Cleveland Play House, Ahmanson Theatre, Dallas Theater Center, Pasadena Playhouse, Intiman Theatre, and a.s.k. Theatre Projects. Film/TV credits include Terri, The Tao of Steve, and Lush (Sundance); Stephanie Daley and The Business of Strangers (Sundance, Deauville Film Festival); Easier with Practice (Cinevegas, Edinburgh Film Festivals); Interview with the Assassin (Tribeca Film Festival); The Independent (hbo/U.S. Comedy Arts Festival); Perdita Durango (Toronto Film Festival); Quarterlife (Bedford Falls Productions/nbc); The Men’s Room (nbc); Off Centre (the WB); and The Mullets (upn). She is an adjunct professor at California Institute of the Arts and received her BA from Smith College.

Rebecca Clark Carey

VO I C E A N D T E X T D I R E C T O R

Rebecca is head of voice and text at the Oregon Shakespeare Festival where she has been the voice and text director for over 30 productions including the world premieres of The White Snake, All the Way, The Great Society, and Equivocation. Other credits include Utah Shakespeare Festival, the Guthrie Theater, American Repertory Theater, Royal National 1 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 6 –1 7 · I S S U E 5

profiles

Theatre in London, and the Tony Award-winning production of All the Way on Broadway. Teaching credits include the Central School of Speech and Drama, the Oxford School of Drama, and the Royal Academy of Dramatic Art. She is co-author of three books, including The Shakespeare Workbook and Video published by Bloomsbury Methuen Drama.

Tom Bryant

D R A M AT U R G

Tom’s Broadway credits include The Kentucky Cycle and All the Way by Robert Schenkkan. Regional credits include All the Way and The Great Society (Oregon Shakespeare Festival), The Great Society (Seattle Repertory Theatre), Lewis and Clark Reach the Euphrates (the Mark Taper Forum), The Wind Cries Mary (San Jose Repertory Theatre), Discovery of America (Emory University), The Mandrake Root (Long Wharf Theatre), Apollo (Portland Center Stage), and How the World Began (South Coast Repertory, Pacific Playwrights Festival). Film credits include developmental work for hbo, bbc, and Disney. He is a professor of theatre at Crafton Hills College and received his mfa in directing, Carnegie Mellon University.

800 performances and employs approximately 575 theater professionals. osf’s mission statement: “Inspired by Shakespeare’s work and the cultural richness of the United States, we reveal our collective humanity through illuminating interpretations of new and classic plays, deepened by the kaleidoscope of rotating repertory.” osf is committed to diversity and inclusion in all areas of its work and in its audiences.

Tony Taccone

MICHAEL LEIBERT ARTISTIC DIREC TOR

Arena Stage at the Mead Center for American Theater, under the leadership of Artistic Director Molly Smith and Executive Director Edgar Dobie, is a national center dedicated to American voices and artists. Arena Stage produces plays of all that is passionate, profound, deep, and dangerous in the American spirit, and presents diverse and ground-breaking work from some of the best artists around the country. Arena Stage is committed to commissioning and developing new plays and impacts the lives of over 10,000 students annually through its work in community engagement. Now in its seventh decade, Arena Stage serves a diverse annual audience of more than 300,000. Visit arenastage.org.

During Tony’s tenure as artistic director of Berkeley Rep, the Tony Award–winning nonprofit has earned a reputation as an international leader in innovative theatre. In those 19 years, Berkeley Rep has presented more than 70 world, American, and West Coast premieres and sent 23 shows to New York, two to London, and one to Hong Kong. Tony has staged more than 40 plays in Berkeley, including new work from Julia Cho, John Leguizamo, Culture Clash, Rinde Eckert, David Edgar, Danny Hoch, Geoff Hoyle, Itamar Moses, and Lemony Snicket. He directed the shows that transferred to London, Continental Divide and Tiny Kushner, and two that landed on Broadway as well: Bridge & Tunnel and Wishful Drinking. Prior to working at Berkeley Rep, Tony served as artistic director of Eureka Theatre, which produced the American premieres of plays by Dario Fo, Caryl Churchill, and David Edgar before focusing on a new generation of American writers. While at the Eureka, Tony commissioned Tony Kushner’s legendary Angels in America and co-directed its world premiere. He has collaborated with Kushner on eight plays at Berkeley Rep, including The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. Tony’s regional credits include Actors Theatre of Louisville, Arena Stage, Center Theatre Group, the Eureka Theatre, the Guthrie Theater, the Huntington Theatre Company, Oregon Shakespeare Festival, the Public Theater, and Seattle Repertory Theatre. As a playwright, he debuted Ghost Light, Rita Moreno: Life Without Makeup, and Game On, written with Dan Hoyle. In 2012, Tony received the Margo Jones Award for “demonstrating a significant impact, understanding, and affirmation of playwriting, with a commitment to the living theatre.”

Oregon Shakespeare Festival

Susan Medak

Oregon Shakespeare Festival was founded by Angus Bowmer in 1935, and has grown from a three-day festival to one of the largest nonprofit theaters in the United States. osf presents an eight-month season of 11 plays in rotating repertory, including works by Shakespeare as well as a mix of classics, musicals, and new works. Every year, osf draws attendance of more than 400,000 to nearly

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

Jeremy Eisen

S TAG E M A N AG E R

Jeremy is thrilled to be able to continue with Roe here at Berkeley Rep. Jeremy has been stage managing a myriad of productions at various theatres across the country for 25 years, 20 of them at the Oregon Shakespeare Festival.

Arena Stage

CO -PRODUCER

CO -PRODUCER

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


program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan serves on the board of the Downtown Berkeley Association (dba). She is the founding chair of the Berkeley Arts in Education Steering Committee for Berkeley Unified School District and the Berkeley Cultural Trust. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund. Susan serves on the faculty of Yale School of Drama and is a proud member of the Mont Blanc Ladies’ Literary Guild and Trekking Society. During her time in Berkeley, Susan has been instrumental in the construction of the Roda Theatre, the Nevo Education Center, the renovation of the Peet’s Theatre, and in the acquisition of both the Osher Studio and the Harrison Street campus.

Theresa Von Klug

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

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

Peter Dean

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

Peter began his Berkeley Rep career in 2014, and since then some his favorite productions include Party People, X’s and O’s (A Football Love Story), and Aubergine. Previously, he served as production manager at the Public Theater, where favorite works include Here Lies Love, Father Comes Home from the War Parts 1–3, Mobile Shakespeare, and The Tempest as well as musical collaborations with Sting, the Roots, and the Eagles. Other favorites include working with Edward Albee to remount The Sandbox and The American Dream at their original home at the Cherry Lane Theatre, and working on Little Flower of East Orange directed by the late Philip Seymour Hoffman. Regionally Peter has worked with the Huntington Theatre Company, American Repertory Theater, Commonwealth Shakespeare, Trinity Rep, Hasty Pudding Theatricals, Colorado Ballet, Central City Opera, and the Denver Center Theatre Company. Peter is a graduate of Otterbein University.

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Madeleine Oldham

bistro French food for the soul Walking distance to Berkeley Rep. Full bar, weekend brunch. Join Chef Todd on a culinary adventure in southwest France to explore the rich history, breathtaking countryside, and local cuisine. For more information, visit liaisonbistro.com  Shattuck Avenue (corner of Hearst & Shattuck) Berkeley, CA  ·  -

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Join us for signature cocktails, wines, craft beer, and delectable treats. Open before and after the show, and during intermission

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

Madeleine is the director of The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work and the Theatre’s resident dramaturg. She oversees commissioning and new play development, and dramaturged the world premiere productions of Aubergine, The House that will not Stand, Passing Strange, and In the Next Room (or the vibrator play), among others. As literary manager and associate dramaturg at Center Stage in Baltimore, she produced the First Look reading series and headed up its young audience initiative. Madeleine served for four years on the executive committee of Literary Managers and Dramaturgs of the Americas and has also worked with act (Seattle), Austin Scriptworks, Crowded Fire, the Eugene O’Neill Theatre Center, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage.

Amy Potozkin, csa

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

This is Amy’s 27th season at Berkeley Rep. Through the years she has also had the pleasure of casting plays for act (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for various independent films, including Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and Love & Taxes, both by Josh Kornbluth; and Beyond Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist in residence. Amy taught acting at Mills College and audition technique at Berkeley Rep’s School of Theatre, and has led workshops at numerous other venues in the Bay Area. Amy is a member of csa, the Casting Society of America, and was nominated for Artios Awards for Excellence in Casting for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures and One Man, Two Guvnors.

Lisa Peterson

A S S O C I AT E D I R E C T O R

Lisa is a two-time Obie Award–winning writer and director who is currently the associate director at Berkeley Rep. Previous projects at the Theatre include It Can’t Happen Here (2016); An Iliad (2012), which Lisa cowrote with Denis O’Hare, and which won Obie and Lortel Awards for Best Solo Performance; Mother Courage (2006); The Fall (2001); and Antony & Cleopatra (1999). Other recent West Coast productions include Hamlet, Henry IV Pt 2, and Othello (Oregon Shakespeare Festival); and Chavez Ravine (Ovation Award for Best Production), Palestine New Mexico, Electricidad, Water & Power, The House of Bernarda Alba, Body of Bourne, and Mules (Mark Taper Forum). She has directed world premieres by Tony Kushner, Beth Henley, Donald Margulies, 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 6 –1 7 · I S S U E 5


Jose Rivera, Ellen McLaughlin, Mac Wellman, Marlane Meyer, Polly Pen, Naomi Wallace, and many others. Lisa and Denis are working on a new play called The Good Book, and a commission for the McCarter Theatre titled The Song of Rome. Lisa is also writing a new musictheatre piece with Todd Almond called The Idea of Order, co-commissioned by La Jolla Playhouse, Berkeley Rep, and Seattle Rep.

Michael Suenkel

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

Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 23rd year as production stage manager. Some of his favorite shows include 36 Views, Endgame, Eurydice, Hydriotaphia, and Mad Forest. He has also worked with the Barbican in London, the Huntington Theatre Company, the Juste Pour Rire Festival in Montreal, La Jolla Playhouse, Pittsburgh Public Theater, the Public Theater and Second Stage Theater in New York, and Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss.

Jack & Betty Schafer SEASON SPONSORS

Betty and Jack are proud to support Berkeley Rep. Jack just rotated off the Theatre’s board and is now on the boards of San Francisco Opera and the Straus Historical Society. He is an emeritus trustee of the San Francisco Art Institute and the Oxbow School. Betty is on the board of EarthJustice, the Jewish Community Center of San Francisco, and Sponsors of Educational Opportunity. In San Francisco, she is engaged in the launch of “Wise Aging,” a program for adults addressing the challenges of growing older. They have three daughters and eight grandchildren.

G

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Michael & Sue Steinberg SEASON SPONSORS

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

The Strauch Kulhanjian Family SEASON SPONSORS

Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently vice president of the board. He is chairman of the Roda Group (rodagroup.com), a venture-development company based in Berkeley, focused on cleantech investments, best known for launching Ask.com and for being an early investor in TerraVia (nasdaq: tvia, terravia.com), a next-generation food, nutrition, and specialty ingredients company that harnesses the power of algae. Roger 2 0 1 6 –1 7 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 1


is chairman of the board of CoolSystems, a medical technology company, and chairman of the board of trustees for the Mathematical Sciences Research Institute. He is a member of the UC Berkeley Engineering Dean’s college advisory board; a member of the board of Northside Center, a mental-health services agency based in Harlem, New York City; and a co-founder of the William Saroyan Program in Armenian Studies at Cal. Roger also leads the Mosse Art Restitution Project, which searches for family art illegally confiscated during Germany’s Third Reich. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three college-age children.

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Bruce Golden & Michelle Mercer LEAD SPONSORS

Michelle and Bruce have been ardent supporters of Berkeley Rep since 1993, when they moved with two young children in tow to Berkeley. Their favorite evenings at Berkeley Rep were usually the discussion nights, where often friends would join them as well. Michelle and Bruce always felt that Berkeley Rep was an exceptional Bay Area cultural treasure as it was willing to support courageous new works and nurture innovative young playwrights. In 2002, Bruce and Michelle moved to London, where they nourished themselves on a steady diet of English theatre (note the proper spelling) until they could return to their beloved Berkeley Rep. They are delighted once again to be back in the very center of leading-edge theatre and are honored to be lead producers for two of this season’s great productions. Their two now-grown children are also tremendous theatre junkies and will hopefully be joining Bruce and Michelle for some of this season’s performances.

Bill Falik & Diana Cohen EXECUTIVE SPONSORS

Bill and Diana have been subscribers and supporters of Berkeley Rep since its earliest days on College Avenue. Diana joined the board of trustees in 1991 and served the Theatre for 10 years; she currently serves on the board of trustees of Cal Performances. As a family therapist, she worked in private practice for 25 years before retiring to focus on her painting. Bill has been a real-estate and land-use lawyer practicing in the San Francisco Bay Area for the past 40 years and has been serving as trustee for Berkeley Rep for the past nine years. He currently is the managing partner of Westpark Associates, which creates master-planned communities in the greater Sacramento region. For the past 10 years, Bill has been an adjunct professor at UC Berkeley Law School and a member of the professional faculty at Haas Business School. Bill has served on Berkeley Rep’s board since 2006. Bill and Diana are actively involved in philanthropic activities throughout Northern California. They have three grown children, all of whom live in the Bay Area.

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Marjorie Randolph

EXECUTIVE SPONSOR

Marjorie is a past president of Berkeley Rep’s board of trustees and a longtime supporter of the Theatre. She was the head of worldwide human resources for Walt Disney Studios. During her tenure at Berkeley Rep, she has sponsored more than 30 plays. A member of the California Bar and a former president of California Women Lawyers, she serves as a community board member and treasurer of the Psychoanalytic Institute of Northern California. She is also a member of the boards of UC Press and Kronos Quartet. Additionally, she serves on the National Leadership Council for Futures Without Violence and on the advisory council of National Partnership for Women & Families in Washington, DC.

Sandra & Ross McCandless SPONSORS

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

BART

SEASON SPONSOR

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

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Peet’s Coffee

SEASON SPONSOR

Peet’s Coffee is proud to be the exclusive coffee of Berkeley Repertory Theatre and salutes Berkeley Rep for its dedication to the highest artistic standards and diverse programming. Peet’s is honored to support Berkeley Rep’s 2 0 1 6 –1 7 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 3


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

Wells Fargo

SEASON SPONSOR

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

“A RICH, DEEPLY THOUGHTFUL PIECE ABOUT CONTEMPORARY VALUES.”

~ London Financial Times

Additional staff Assistant director Lavina Jadhwani Associate lighting designer Tess James Associate projections designer Kristen Ferguson Associate scenic designer Lawrence Moten Deck crew Kourtney Snow · Tommy Weaver

U.S. PREMIERE STARTS APR 14

Electrics Gabriel Holman · Bradley Hopper · William Poulin · Minerva Ramirez · Sarina Renteria · Matt Reynolds · Corey Schaeffer · Nathanael Schiffbauer · Andrea J. Schwartz · Kourtney Snow · Ericka Sokolower-Shain · Caitlin Steinmann · Molly Stewart-Cohn · Lauren Wright

A new play by STEVE WATERS Directed by TOM ROSS

AURORATHEATRE.ORG 510.843.4822

Followspot operators Sarina Renteria · Caitlin Steinmann

2081 ADDISON STREET DOWNTOWN BERKELEY

Production assistant, Oregon Shakespeare Festival Emily Robinson

Production assistant Sofie Miller

Props Amelia Burke-Holt · Dara Ly · Samantha Visbal · Rebecca Willis Scene shop Ross Copeland · Jennifer Costley · Carl Martin · Shannon Perry · Jessica Tralka Scenic artists Lassen Hines · Anna McGahey Video crew Cicily Clare Gruber · Sarina Renteria · Lauren Wright

a benefit for berkeley rep with special guest, Mira Nair saturday, april 1, 2017 · fairmont san francisco

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Wardrobe Ashley Grambow · Eva Herndon · Andrea Marlo Phillips · Anna Slotterback · Kennedy Warner Wig consultant, Oregon Shakespeare Festival Devon Ash Medical consultation for Berkeley Rep provided by Cindy J. Chang MD, ucsf Assoc. Clinical Professor and Steven Fugaro, MD.


R E P ORT

Pursuing a better world B Y J U L I A S TA R R

Through their various forms of advocacy, the leading figures in Roe prove that the pursuit of a better world is not a passive endeavor. Instead, the play exemplifies Berkeley Rep’s mission to engage in an ongoing dialogue of ideas by showcasing the importance of an active approach to the betterment of society, no matter one’s beliefs. This kind of activism is ingrained in the history and culture of our Berkeley community, not just of Berkeley Rep. Our cognizance of social justice as an important value influences our partnership decisions, along with our programming choices. That’s part of what has made our longtime partnership with Peet’s Coffee, another Berkeley-born organization, such a no-brainer. For decades, Peet’s Coffee has been dedicated to helping coffee farmers and their communities thrive, and Peet’s new initiative, People & Planet™, highlights several long-standing programs which emphasize a commitment to the people and places behind the coffee it roasts. The People & Planet initiative celebrates social and environmental responsibility by featuring Peet’s Direct Trade and Farmer Assistance programs, as well as certified coffees. As a part of its Direct Trade program, Peet’s regularly visits farms and works directly with farmers to both negotiate prices for top-quality beans and collaborate on initiatives that benefit the wider community. The Farmer Assistance program trains coffee farmers in agronomy, quality, and business skills to help improve their livelihoods. Peet’s Uzuri African Blend, a Farmer Assistance coffee, includes coffee beans from farmers who have participated in these trainings. The trainings have helped these farmers command more favorable prices and also enabled some, through their cooperatives, to invest in their local communities by building schools, installing powerlines, and providing their communities access to affordable food. People & Planet also highlights Peet’s certified coffees, which have been produced according to specific social, environmental, and economic standards. Certification programs

such as usda Organic, Rainforest Alliance, and Fair Trade recognize the extra efforts coffee growers take to care for their workers and the natural environment. Los Cafeteros, a Fair Trade coffee, includes beans from Las Hermanas, a sisterhood of some 200 women growers in the highlands of Jinotega, Nicaragua. The farmers are a part of the soppexcca co-op, which has led the way in empowering women coffee growers. Through its Direct Trade and Farmer Assistance programs, and through certification programs, Peet’s Coffee is working to support coffee farmers and care for the environment. In the words of Roastmaster Emeritus and longtime Berkeley Rep patron Jim Reynolds, “Coffee can be a powerful means of doing good.” As we at Berkeley Rep reflect on how to better the world around us through impactful theatre education programs and thought-provoking programming like Roe, our neighbors at Peet’s Coffee remind us of the importance of a vigorous and tireless approach to social justice. By pressing pause on our own lives to dig a little deeper into the history of Roe v Wade, we see that the fight for a better world requires action, perseverance, and love (and perhaps a bit of coffee).

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We thank the many institutional partners who enrich our community by championing Berkeley Rep’s artistic and community outreach programs. We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who made their gifts between December 2015 and December 2016.

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

Institutional Partners LEGEND

Ground Floor donor

G IF T S O F $ 10 0,0 0 0 A N D A B OV E The William & Flora Hewlett Foundation The Shubert Foundation G IF T S O F $50,0 0 0 –9 9,9 9 9 Edgerton Foundation The Reva and David Logan Foundation National Endowment for the Arts The Bernard Osher Foundation The Harold and Mimi Steinberg Charitable Trust Time Warner Foundation, Inc. Tournesol Project

G IF T S O F $2 5,0 0 0 –49,9 9 9 Anonymous BayTree Fund The Frank H. & Eva B. Buck Foundation The Ira and Leonore S. Gershwin Philanthropic Fund Wallis Foundation Woodlawn Foundation G IF T S O F $ 10,0 0 0 –24,9 9 9 Kenneth Ranin Foundation

G IF T S O F $5,0 0 0 –9,9 9 9 Anonymous Berkeley Civic Arts Program Distracted Globe Foundation Ann and Gordon Getty Foundation Ramsay Family Foundation Karl & Alice Ruppenthal Foundation for the Arts Frank Sinatra Foundation G IF T S O F $ 1,0 0 0 –4,9 9 9 Joyce & William Brantman Foundation Butte Creek Foundation Civic Foundation James Irvine Foundation jec Foundation twanda Foundation

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

SEASON SPONSORS

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

G I F T S O F $ 3,0 0 0 – 5,9 9 9

Mechanics Bank Wealth Management The Morrison & Foerster Foundation

Bayer Gallagher Risk Management Services Macy’s

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

G I F T S O F $ 6,0 0 0 –11,9 9 9

Armanino llp City National Bank Deloitte Faber Daeufer & Itrato PC Panoramic Interests Schoenberg Family Law Group

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

G I F T S O F $ 2 5,0 0 0 –49,9 9 9

American Express

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

G I F T S O F $ 12 ,0 0 0 –2 4 ,9 9 9

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

G I F T S O F $ 1, 5 0 0 –2 ,9 9 9

Aspiriant Wealth Management BluesCruise.com McCutcheon Construction Perforce Foundation CH A M PI O N S

G I F T S O F $ 1,0 0 0 –1, 49 9

Wynn Las Vegas, in memory of Zan Bealmear Is your company a corporate sponsor? Berkeley Rep’s Corporate Partnership program offers excellent opportunities to network, entertain clients, reward employees, increase visibility, and support the arts and arts education in the community. For details visit berkeleyrep.org/support or call Daria Hepps at 510 647-2904.

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

act Catering Almare Gelato Italiano Angeline’s Louisiana Kitchen Aurora Catering Autumn Press B&B Kitchen & Bar Bare Snacks Bistro Liaison Bogatin, Corman & Gold brk Cancun Comal Domaine Carneros by Taittinger Donkey & Goat Winery Drake’s Brewing Company East Bay Spice Company Eureka! five Gecko Gecko

Hafner Vineyard Hugh Groman Catering & Greenleaf Platters Jazzcaffè La Mediterranee La Note Latham & Watkins llp Mayer Brown llp Phil’s Sliders Picante PiQ Platano Salvadoran Cuisine Quady Winery Ramsay Winery RedHawk Foods llc Revival Bar + Kitchen Robert Meyer’s Mangia Nosh Catering St. George Spirits

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Sudha Pennathur Suya African Carribbean Grill Sweet Adeline Tigerlily Venus Restaurant Whole Foods Market Hotel Shattuck Plaza is the official hotel of Berkeley Rep. Pro-bono legal services are generously provided by Latham & Watkins llp and Mayer Brown llp

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


We thank the many individuals in our community who help Berkeley Rep produce adventurous, thought-provoking, and thrilling theatre and bring arts education to thousands of young people every year. We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who made their gifts between December 2015 and December 2016. To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906.

BE R K E L E Y R E P THANKS Donors to the Annual Fund

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

Stewart & Rachelle Owen Marjorie Randolph Jack & Valerie Rowe Jean & Michael Strunsky Guy Tiphane Tomlinson Family Gail & Arne Wagner

$ 10 0,0 0 0 +

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

LE A D S P O N S O R S $ 5 0,0 0 0 – 9 9,9 9 9

Barbara & Rodgin Cohen Martha Ehmann Conte Yogen & Peggy Dalal Bruce Golden & Michelle Mercer Frances Hellman & Warren Breslau Wayne Jordan & Quinn Delaney Jonathan Logan Jane Marvin/Peet’s Coffee Mary Ruth Quinn & Scott Shenker

E XECU TIV E S P O N S O R S $ 2 5,0 0 0 –49,9 9 9

Edward D. Baker Rena Bransten Susan Chamberlin John & Stephanie Dains Bill Falik & Diana Cohen Kerry Francis & John Jimerson Monica Lopez & Sameer Gandhi Pam & Mitch Nichter

Leonard X & Arlene B. Rosenberg Sheli & Burt Rosenberg, in honor of Len & Arlene Rosenberg Joan Sarnat & David Hoffman Liliane & Ed Schneider Janis Turner Felicia Woytak & Steven Rasmussen Martin & Margaret Zankel

SPONSORS $ 12 ,0 0 0 –2 4 ,9 9 9

Anonymous (2) Barbara & Gerson Bakar Carole B. Berg Maria Cardamone & Paul Matthews David & Vicki Cox Thalia Dorwick Robin & Rich Edwards Cynthia A. Farner David & Vicki Fleishhacker Paul Friedman & Diane Manley Karen Galatz & Jon Wellinghoff Paul Haahr & Susan Karp Scott & Sherry Haber Jack Klingelhofer Suzanne LaFetra Dixon Long Sandra & Ross McCandless Dugan Moore

A S S O CIAT E S P O N S O R S $ 6,0 0 0 – 11,9 9 9

Anonymous (3) Shelley & Jonathan Bagg Edith Barschi Neil & Gene Barth Valerie Barth & Peter Wiley Lynne Carmichael Daniel Cohn & Lynn Brinton Julie & Darren Cooke Robert Council & Ann Parks-Council Daryl Dichek & Kenneth Smith, in memory of Shirley D. Schild William Espey & Margaret Hart Edwards Tracy & Mark Ferron John & Carol Field, in honor of Marjorie Randolph Virginia & Timothy Foo

Jill & Steve Fugaro Hitz Foundation Ms. Wendy E. Jordan Ted & Carole Krumland Zandra Faye LeDuff Peter & Melanie Maier, in honor of Jill Fugaro Dale & Don Marshall Martin & Janis McNair Helen & John Meyer / Meyer Sound Steven & Patrece Mills M Norman & Janet Pease Mary Ann Peoples, in memory of Lou Peoples Peter Pervere & Georgia Cassel Barbara L. Peterson Sue Reinhold & Deborah Newbrun Pat Rougeau Cynthia & William Schaff Emily Shanks M Pat & Merrill Shanks Karen Stevenson & Bill McClave Lisa & Jim Taylor Wendy Williams Linda & Steven Wolan

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

$ 3,0 0 0 – 5,9 9 9

Anonymous (6) Stephen Belford & Bobby Minkler Becky & Jeff Bleich Cynthia & David Bogolub Brook & Shawn Byers Ronnie Caplane Jennifer Chaiken & Sam Hamilton Betsey & Ken Cheitlin Constance Crawford Karen & David Crommie Lois M. De Domenico Delia Fleishhacker Ehrlich Nancy & Jerry Falk Frannie Fleishhacker Mary & Nicholas Graves Ms. Teresa Burns Gunther & Dr. Andrew Gunther Richard & Lois Halliday Earl & Bonnie Hamlin Vera & David Hartford Richard N. Hill & Nancy Lundeen Renee Hilpert K James C. Hormel & Michael P. Nguyen, in honor of Rita Moreno Lynda & Dr. J. Pearce Hurley Kathleen & Chris Jackson Barbara E. Jones, in memory of William E. Jones Seymour Kaufman & Kerstin Edgerton Duke & Daisy Kiehn Rosalind & Sung-Hou Kim Wanda Kownacki Louise Laufersweiler & Warren Sharp Nancy & George Leitmann, in memory of Helen Barber Eileen & Hank Lewis Tom Lockard & Alix Marduel Elsie Mallonee Helen Marcus & David Williamson Phyra McCandless & Angelos Kottas M Miles & Mary Ellen McKey Susan Medak & Greg Murphy, in honor of Marcia Smolens

Toby Mickelson & Donald Brody Eddie & Amy Orton Janet & Clyde Ostler Sandi & Dick Pantages Kermit & Janet Perlmutter Gregg Richardson & Lee Mingwei K David S. H. Rosenthal & Vicky Reich Patricia Sakai & Richard Shapiro Beth & David Sawi Stephen Schoen & Margot Fraser Linda & Nathan Schultz Beryl & Ivor Silver Ed & Ellen Smith Audrey & Bob Sockolov Vickie Soulier Deborah Taylor Pamela Gay Walker/ Ghost Ranch Productions Beth Weissman Patricia & Jeffrey Williams Steven Winkel & Barbara Sahm Sheila Wishek Sally Woolsey

B E N E FAC TO R S

$ 1, 5 0 0 –2 ,9 9 9

Anonymous (5) Mel Adamson K Pat Angell, in memory of Gene Angell Martha & Bruce Atwater Naomi Auerbach & Ted Landau Nina Auerbach Linda & Mike Baker Michelle L. Barbour Leslie & Jack Batson Don & Gerry Beers David Beery & Norman Abramson Barbara Bernstein K Annikka Berridge Caroline Beverstock Brian Bock & Susan Rosin Caroline Booth Bernard Boudreaux Linda Brandenburger Broitman-Basri Family

Don & Carol Anne Brown Brenda Buckhold Shank, MD, PhD Katherine S. Burcham M Don Campbell & Family Ed Cullen & Ann O’Connor James Cuthbertson Meredith Daane M Barbara & Tim Daniels M Richard & Anita Davis Ilana DeBare & Sam Schuchat Francine & Beppe Di Palma Corinne & Mike Doyle Linda Drucker Susan English & Michael Kalkstein Bill & Susan Epstein Merle & Michael Fajans Lisa & Dave Finer Ann & Shawn Fischer Hecht Linda Jo Fitz Patrick Flannery James & Jessica Fleming Thomas & Sharon Francis Lisa Franzel & Rod Mickels Donald & Dava Freed Herb & Marianne Friedman Chris R. Frostad M James Gala Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Nelson Goodman, in memory of Marilyn Goodman Robert & Judith Greber William James Gregory Anne & Peter Griffes Garrett Gruener & Amy Slater Migsy & Jim Hamasaki Bob & Linda Harris Ruth Hennigar Christina Herdell, in memory of Vaughn & Ardis Herdell Doug & Leni Herst, in honor of Susie Medak Howard Hertz & Jean Krois Elaine Hitchcock Bill Hofmann & Robbie Welling M The Hornthal Family Foundation,

in honor of Susie Medak’s leadership Paula Hughmanick & Steven Berger Polly & Greg Ikonen Marilyn Jensen-Akula Beth & Fred Karren Doug & Cessna Kaye Bill & Lisa Kelly Stephen F. Kispersky Jean & Jack Knox Lynn Eve Komaromi, in honor of the Berkeley Rep Staff John Kouns & Anne Baele Kouns Woof Kurtzman & Liz Hertz Helen E. Land Robert Lane & Tom Cantrell Randy Laroche & David Laudon Sherrill Lavagnino & Scott McKinney Andrew Leavitt & Catherine Lewis Ellen & Barry Levine Jennifer S. Lindsay Suzanne & William Lingo Vonnie Madigan The Madison Family K Naomi & Bruce Mann Lois & Gary Marcus Sumner & Hermine Marshall Charlotte & Adolph Martinelli Rebecca Martinez Jill Matichak Erin McCune Kirk McKusick & Eric Allman Dan Miller Andy & June Monach Scott Montgomery & Marc Rand Jerry Mosher Marvin & Neva Moskowitz Daniel Murphy Judith & Richard Oken Sheldeen Osborne Judy O’Young, MD & Gregg Hauser Gerane Wharton Park Bob & MaryJane Pauley Tom & Kathy Pendleton David & Bobbie Pratt Linda Protiva

Lawrence Prozan Andrew Raskopf & David Gunderman Bill Reuter & Ruth Major Matt Pagel & Corey Revilla John & Jody Roberts Leigh Robinson Deborah Romer & William Tucker Boyard & Anne Rowe Enid & Alan Rubin Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Jaimie Sanford & Ted Storey Stephen C. Schaefer Jackie & Paul Schaeffer Dan Scharlin & Sara Katz Jackie Schmidt-Posner & Barry Posner Joyce & Jim Schnobrich Edie Silber & Steve Bomse Beryl & Ivor Silver Dave & Lori Simpson Margaret Skornia Cherida Collins Smith Sherry & David Smith Alice & Scott So David G. Steele Gary & Jana Stein Stephen Stublarec & Debra S. Belaga Duncan Susskind K Alison Teeman & Michael Yovino-Young Susan Terris Samuel Test Michael Tubach & Amrita Singhal Jonathan & Kiyo Weiss Wendy Willrich Charles & Nancy Wolfram Ron & Anita Wornick Sam & Joyce Zanze Mark Zitter & Jessica Nutik Zitter Jane & Mark Zuercher

LEGEND K in-kind gift

M

matching gift

We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.


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

$ 1,0 0 0 –1, 49 9

Anonymous (6) · Tracy Achorn · Abbey Alkon & Jonathan Leonard · Gertrude E. Allen, in memory of Robert Allen · Roy & Judith Alper · Elisabeth Andreason & Melissa Allen · Marcia & George Argyris · Ross E. Armstrong · Susan Benzinger, in memory of Zan Gray Bealmear · Patti Bittenbender · Naomi Black · Eric Brink & Gayle Vassar M · Davis Carniglia & Mary-Claire Baker · Paula Carrell · Anthony J. Cascardi · Stan & Stephanie Casper · Leslie Chatham & Kathie Weston · Ed & Lisa Chilton · Patty & Geoff Chin · Terin Christensen · Roberta Christianson, in memory of Bea · Mike & Pam Crane · Abby & Ross Davisson · Harry & Susan Dennis · Robert Deutsch · David Deutscher · Burton Peek Edwards · Paul Feigenbaum & Judy Kemeny · Martin & Barbara Fishman · Samuel Fogleman, in memory of Zan Gray Bealmear · Dean Francis · Mary & Stan Friedman · Don & Janie Friend, in honor of Bill & Candy Falik · Glennis Lees & Michael Glazeski · Kim Golden & Jean Suda in honor of Bruce Golden & Michelle Mercer · Tim & Mary Haifley · Ann Harriman, in memory of Malcolm White · Dan & Shawna Hartman Brotsky M · Don & Janice Holve, in memory of Daisy & Paul Persons · Mr. & Mrs. Harold M. Isbell · Randall Johnson · Corrina Jones · Dennis Kaump · Marilyn Kecso · Christopher Killian & Carole Ungvarsky · Janet Kornegay & Dan Sykes · Susilpa Lakireddy · Henry Lerner, in honor of Joanne Levene Lerner · Ms. Sidne S. Long · Jay & Eileen Love · John E. Matthews · Susan & J. Patterson McBaine · Ruth Medak · Geri Monheimer, in honor of Sharon Kinkade · Brian & Britt-Marie Morris · Margo Murray · Claire Noonan & Peter Landsberger · Pier & Barbara Oddone · Lynette Pang & Michael Man · Regina Phelps · Gary F. Pokorny · Kent Rasmussen & Celia Ramsay · Charles Rice ·

We gratefully recognize the following members of the Annual Fund whose contributions were received from December 19, 2016 to January 24, 2017: S U PP O R T E R S

$ 2 5 0 –49 9

Anonymous (14) · Terry Pink Alexander & John Blaustein, in honor of Susie Medak · · Richard & Ann Batman · Bonnie Bogue · Nancy Catena, in memory of Anthony Catena · Matthew & Sandra Coblentz · Gary & Diana Cramer, in memory of Jean & Bob Cramer · Rev. Don & Lillian Cunningham · Dennis T. De Domenico & Sandra Brod · David & Helen Dichek · Laura Downing-Lee & Marty Lee · Sue & Peter Elkind · Sharon & Eric P. Ewen · Malcolm D. Ewen · Mary & Ben Feinberg · Molly & Harrison Fraker · Ellen Friedman · John & Diane Gossard · Nina G. Green · Alan Harper & Carol Baird · Lorraine Honig · Gillette O. James · Janice Kelly & Carlos Kaslow · Mary Ann Kiely · John Kruse & Gary Beuschel · Shirley Langlois · John Leys · Sukey Lilienthal & David Roe · Jeffrey & Christiane Maier, in memory of Paul Maier · Peggy & John Mooney · Gerald & Ellen Oicles · Charles & Linda Phillips · Fred & Susan Pownall · Kathleen Quenneville & Diane Allen · John Ravitch · Arthur Reingold & Gail Bolan · Les Reinhardt · John Rosenberg & Diane Gerstler · Thomas Scheibe · Linda Schurer, in memory of Marge Ryder · Emily Sexton · Arlene & Matthew Sirott · Joan H. Story & Robert F.

Fox K · Christie Fraser · Harvey & Deana Freedman · David Gaskin & Phillip McPherson · Karl & Kathleen Geier · Tim Geoghegan · Arlene Getz · Judith & Alex Glass · Gwendolyn Goldsby, in memory of Angela Paton · Barry & Erica Goode · Gail Gordon & Jack Joseph · Jane Gottesman & Geoffrey Biddle · Gene Gottfried · Linda Graham · Priscilla Green, in honor of Maya & Rico Green · Sheldon & Judy Greene · Don & Becky Grether · Frede S. Hammes · Ken & Karen Harley · Janet Harris · Geoffrey & Marin-Shawn Haynes · Irene & Robert Hepps · Dixie Hersh · Fran Hildebrand · George & Leslie Hume · Alex Ingersoll & Martin Tannenbaum · Stephen & Helene Jaffe K · Pam & Ted Johann M · Charles & Laurie Kahn · Helmut H. Kapczynski & Colleen Neff · Patricia Kaplan · Pat Kelly & Jennifer Doebler · Kimberly J. Kenley-Salarpi · Beth & Tim Kientzle M · Sue Fisher King · Jack & Birthe Kirsch · Beverly Phillips Kivel · Susan Klee & David Stoloff · Jeff Klingman & Deborah Sedberry · Judith Knoll · Joan & David Komaromi · Natalie Lagorio · Jane & Michael Larkin · Barbara & Thomas Lasinski · David & Mari Lee · Renee M. Linde · Deidre & Loren Lingenfelter, in memory of Zan Bealmear · Mark & Roberta Linsky · Dottie Lofstrom · Loveable Feast, in memory of Zan Bealmear · Bruce Maigatter & Pamela Partlow · Joan & Roger Mann · Sue & Phil Marineau · Igor Maslennikov · Caroline McCall & Eric Martin · Marie Singer McEnnis · Daniel & Beverlee McFadden · Brian McRee · George & Jeri Medak, in memory of Alexandra Victoria Gray-Bealmear · Joanne Medak, in honor of Susan Medak · Jamie Miller, in memory of Helene Sabin · Marlene & Stephen Miller · Jeff Miner · Harry Mixon Esq · James & Katherine Moule · James Musbach · Aki & Emi Nakao · Ron Nakayama · Greg Neukirchner · Jeanne E.

Newman · Judy Ogle · Suzette S. Olson · Peggy O’Neill · Carol J. Ormond · Nancy Park · Brian D. Parsons · James Pawlak · Kyle Peacock · P. David Pearson · Bob & Toni Peckham, in honor of Robert M. Peckham, Jr. · Paul & Suzanne Peterson · Anne Petrowsky · James F. Pine M · F. Anthony Placzek · Malcolm & Ann Plant · Charles Pollack & Joanna Cooper · Susie & Eric Poncelet · Timothy & Marilyn Potter · Roxann R. Preston · Rich Price · Laurel & Gerald Przybylski · Lois & Dan Purkett · David & Mary Ramos · Sheldon & Catherine Ramsay · Paul & Margaret Robbins · Rick & Stephanie Rogers · Galen Rosenberg & Denise Barnett · Dorothy R. Saxe · Joyce & Kenneth Scheidig · Bob & Gloria Schiller · Mark Schoenrock & Claudia Fenelon · Dr. David Schulz M · Cynthia Sears · Andrew & Marva Seidl · Steve & Susan Shortell · Ruth Simon · William & Martha Slavin · Carra Sleight · Suzanne Slyman · Jerry & Dick Smallwood · Sigrid Snider · Louis & Bonnie Spiesberger · Robert & Naomi Stamper · Herbert Steierman · Annie Stenzel · Lynn M. & A. Justin Sterling · Carol Sundell · Tracy Thompson · Karen Tiedemann & Geoff Piller · Amy Tobin & Scott Jacobson · Mike & Ellen Turbow · Dean Ujihara · Sharon Ulrich & Marlowe Ng · Mark Valentine & Stacy Leier-Valentine · Jennifer M. Van Natta · Gerald & Ruth Vurek · Adrian Walker · Louise & Larry Walker · Buddy & Jodi Warner · Dena & Wayne Watson-Lamprey · Mike Weinberger & Julianne Lindemann · Harvey & Rhona Weinstein · William R. Weir · Robert & Sheila Weisblatt · Sallie Weissinger · Dr. Ben & Mrs. Carolyn Werner · Elizabeth Werter & Henry Trevor · Robert T. Weston · Sharon & Kenneth Wilson · Fred Winslow & Barbara Baratta · Laura & Ernest Winslow · H. Leabah Winter · Susan & Harvey Wittenberg · Margaret Wu & Ciara Cox · Lee Yearley & Sally Gressens · Sandra Yuen & Lawrence Shore

Kidd · Pam Streitfeld, in memory of Hank Streitfeld · Joyce & Jack Sweitzer · Judy Tatelbaum K · Jeff & Catherine Thermond · Marsha G. Torkelson · Rick Trautner · Carol Verity · James Walsh · Donna & Stewart Weinberg · Moe & Becky Wright · Bob & Judi Yeager

Silberstein · Hugh & Aletha Silcox · Debbie Smith · Anne & Robert Spears · Jane & Jay Taber · Margaret Takahashi · Ann Wagner · Bonnie Wall · Susan D. Ward · Ginny & Philip Warnes · Mark Whatley & Danuta Zaroda · Claudia Wilken & John M. True

CO N T RIB U TO R S

$ 75 –149

Claudette & Robert Layman, in honor of Francine Austin · Jennifer Little · James & Sandy Lowder · Linda & Steve Lustig · Janet & Marcos Maestre · Martin & Ruth Malkin · Michael & Loxie Manchester · Joseph N. Marcellino · Redge & Carole Martin · Laura McCrea & Robert Ragucci · Carrice McKenna · Leon McNeely · Andrew Meisel · Phyllis Menefee · Steven, Molly & the Michelman Family, in memory of Zan Bealmear · Ross & Eva Miller, in honor of Sofie Miller, Production Asst · Silvia & Wayne Montoya · Stephanie Mooers · Marilyn K. Nelson · Glen Nethercut & Gabriel Quinto · Geoffrey & Christina Norman · Mary O'Malley · Lawrence Organ · Peggy Orlin & Paul Davis · Georgia Otterson · Sheetal Patel, in honor of Lisa Finer · Robert Perry & Andre Wilson · Kathryn Pirman · Charleen Raines · Ann & Joseph Ranish · Ann & Don Rathjen · Catherine Reilly · Julian Richards, in honor of Selma Meyerowitz · Abby Rincon & Ruben Lizardo · Myrna & Leon Rochester · Marlowe Rondoni · Marjorie Roth · William Kendall Rothaus · Phyllis & David Rothman · David Rovno, M.D. · L. M. Rubinoff · Joan Ruderman · Ms. Mary Rudser · Joe Rudy · Brian Saliman · Maxine Sattizahn · Eileen Savel · Steven Saxe · Jan Schreiber · Garth Schultz · Lyman Shaffer · Jeff & Charlie Sharp · Eve Siegel · Wendy Silvani · Rochelle Sklansky · Dana Smith · Peter Smith · Steven Sockolov · Claudia Spain · The Stanek Family · Margaret T. Stromberg · Dorian Stull · Joyce Tayer · Dan & Mila Thomas· Marge Trevorrow · Maureen Vavra · Robin Voet & Carol Ellen · Claire I. Wahrhaftig · Doreen Warshal · Margo Webster · Louis Weckstein & Karen Denevi · Mary Callahan and Cliff Weingus · Kuniko Weltin-Wu · Elizabeth Wierzbianska · Jennifer Winch · Harry & Linda Wong · Patrick Woods & Kathleen Clark · Bruce Wright · Leslie Zander · Evyn Zell

Helen Richardson · Maxine Risley, in memory of James Risley · Horacio & Angela Rodriguez · Rosov Consulting · Deborah Dashow Ruth, in memory of Leo P. Ruth · Laurel Scheinman · Teddy & Bruce Schwab · Seiger Family Foundation · Brenda Buckhold Shank, M.D., Ph.D. · Neal Shorstein, MD & Christopher Doane · Valerie Sopher · Douglas Sovern & Sara Newmann · John St. Dennis & Roy Anati · Monroe W. Strickberger · William van Dyk & Margi Sullivan · Pate & Judy Thomson · Prof. Jeremy Thorner & Dr. Carol Mimura · Alistair & Nellie Thornton

A DVO C AT E S

$500–999

Anonymous (21) · Fred & Kathleen Allen · Robert & Evelyn Apte · Steven & Barbara Aumer-Vail · Celia Bakke · Jolie Baumgardner · Steven Beckendorf & Cynthia Hill · Richard & Kathy Berman · Robert Berman & Jane Ginsburg · Steve Bischoff · The Blackman Family · Gun Bolin · Karen Bowen & Beth Gerstein, in honor of Donald Trump and Mike Pence · Ellen Brackman & Deborah Randolph · Marilyn Bray · Diane Brett · Peter Brock · Craig Broscow M · Dr. Paula Campbell · Robert & Margaret Cant · Bruce Carlton · John Carr · Kim & Dawn Chase · Laura Chenel · Karen Clayton & Stephen Clayton · Michael & Denise Coyne · Sharon & Ed Cushman · Jill & Evan Custer · Brett D'Ambrosio · Robert & Loni Dantzler · Pat & Steve Davis · DDL Productions, in memory of Zan Bealmear · Jacqueline Desoer · Jerome & Thao Dodson · Carol Dolezal · Amar Doshi · Kristen Driskell · Anita C. Eblé · Thomas W. Edwards & Rebecca Parlette-Edwards · Roger & Jane Emanuel · Joseph & Judith Epstein · Gini Erck & David Petta · Michael Evanhoe · James Finefrock & Harriet Hamlin · Brigitte & Louis Fisher · Michael & Vicky Flora · Jacques Fortier · Midge

$ 15 0 –2 49

Anonymous (8) · Donald Andreini & Steven Crabiel, in memory of Patricia Wright · JoAnne Appel · Todd & Diane Baker · Babette Barton · Brenda Beckett · Mary Ann & Len Benson · Ed and Judy Berne · Ed and Kay Blonz · Barbara & Ray Breslau · Phil Brown & Carol LaPlant · Helene Burgess & Cy Epstein · Sandra Chang-Yee · Angela Cheng Caplen, in memory of Zan Bealmear · Tomas Christopher & Elizabeth Giacomo · Chris & Martie Conner · Nancy N. Conover · Kay Debs · Mr. & Mrs. Alain deJanvry · Stephanie Flaniken & Mark Randolph · Daniel Friedland & Azlynda Alim · David Gibson · Beth Gleghorn, in honor of Barbara & George Gleghorn · Judy & Jeff Greenhouse · Mary & Craig Henderson · Eleanor Hopewell · Roy Kaplan, in memory of Barbara Kaplan · Amalia Kessler & Adam Talcott · Mr. & Mrs. David Kirshman · Peggy Kivel · David Lesnini · Ronald & Shoshana Levy · Fred Lonsdale · Rice Majors, in honor of Seth Mickenberg & Alfredo Silva · Spencer & Roberta Michels · Richard Miller · Gregg & Ruth Morris · Jim & Susan Murphy · Ronald & Irene Nakasone · David & Patsy Newhouse · Karl Francis Nygren · Jennifer Palangio · Robert & Audrey Pedrin · Beth Polland · Riess & Tara Potterveld · Jo Ann & Buford Price · Marc A. Rieffel · Virginia N. Rigney · Nancy Rodriguez-Bell · Frances Roth · Thomas Savignano & Peter Benson · Peter Schwab · Craig Shear · Margaret Sheehy · Marsha

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FRIE N D S

Anonymous (20) · Susan Adler · Eugene Alward · Charles & Joyce Anderson · Don & Bette Anderson · Caryn Augst · Patricia Bacchetti · Catherine Bailey & Jack Telian · Lisa Bailey · Jacqueline Barnes · Sherry D. Bass · Linda & Bob Beckstrom · Mike Bernhardt · Lucia Blakeslee · Esta Brand · Carol Brown · Marc & Ellen Brown · John E. Caner · Philip Catalfo & Michelle Lerager · Paul Chard & Catherine Mitchell · Dahlia Chazan · Judy Chun · Alvin Claiborne · Emily & Andy Cohen · Eleni Coltos · Jacob Combs · Renate & Robert Coombs · Ralph Cooke · Laura Courtney & Neil Gutterson · John & Izzie Crane · Kevin Criner, in honor of Seth Mickenberg & Alfredo Silva · Leslie Crisfield · Andrew Davis · Patricia Davis · Jim Dorskind, in memory of Mary Dorskind · Deborah Doyle · Vaughn Draggoo · Randy Earle · Carol Egan · Linda & Kevin Elstob · Robert Engel, in memory of Natalie Seglin · Don & Libby Erickson · Carol Field · Krystyna Finlayson · Nancy E. Fleischer · Catherine E. Fox · Ellie Fraenkel · Don Fujino · David & Susan Garfin · David Gettman · Karen Giorgianni · Harold & Gail Glassberg · Helen Goldsmith & Paul Garson Heller · Scott & Shirlee Graff · Nancy J. Greenberg · Lee Helms· Carol & Tony Henning · Rick & Jocelynn Herrick Stone · Estie Sid Hudes · Marjorie & Theodore Keeler · Bonnie McPherson Killip · Nina C. Kindblad · Bill Kruissink · Mary Sue & Dennis Kuzak · Judith Lamberti, MD · Joan & Gary Lawrence ·


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

Donors to the Annual Fund

PAT RO N S

$ 1 –74

Anonymous (31) · Anonymous, in honor of Yulia Van Doren · Anonymous, in memory of Ruth & George Staten · Miriam Amado · Vivian & David Auslander · Rachel Bakker · Laurie Barkin · Richard & Jan Bergamini · Robert Bhisitkul · Becky J. Bigelow · Deborah Bishop · Odette Blachman · Arthur Black · Heather Blackmore · Lara Blair · Mary Anne Bland · Elizabeth Brady · Sarah Brann · Devi K. Brown · James M. Brown · Merrik Bush · Dave & Diana Butler · Sharon Calkin Family · Eileen Carey, in honor of Sharon Lock Wood · Dr. Bruce & Susan Carter · Elena Caruthers · Linda Chambers · Dawn Charlton · Mendel Chernack & Cathy Aragon · Stephen A. Coffin · John Connelly & Fiona Grigg · Judy H. Coy · Lori Crowley · Darby's Dad · Conrad Dandridge · Carla Danziger · Peter de Petra · Heather Denton · Jacqueline A. Devine · Laura & Todd Dillard · Evelyn Dixon · Rafael Domingo · Sebastian & Jennifer Doniach · Steven & Sylvia dos Remedios · Maria Drake · Marena Drlik · Inna Dubchak · Ms. Dian Duryea · Jeannine

Esposito · Paul Falk · Linda A. Feldman, in memory of Robert Feldman · Kiley Ferguson · Mary Ann Fisher · Richard J. Foote · Betsy Foy · Elise Friedman · David Fyfe · Lauren Gee · Sherry Geyer · Roger & Joan Glassey · Jane Glendinning · David Gold · Mrs. Jesse Goldberg · Arthur & Carol Goldman · Ann Green · Tom & Emily Griswold · Gary Grossman · Lorna & Frank Grosso · Harlan Gulko · Cliveden Chew Haas · Eric Hahn Nancy M. Hale · Neil Handelman & Karyn O'Mohundro · Eleanor Hansen · Dr. & Mrs. Alan Harley · Margaret Harrington · Jonathan Harvey · Shannon Howard · Charlotte & Neil Huntley · Fred Jacobson · Loisann Jacovitz · Robert Jenkins · Ann Jennings, in memory of Nancy Nieradka · Eric Jensen · Heidi Marie Kate, in honor of Sheridan Appell · Stephen Kent · John Kevlin · Michael Khasin · Charles C. Kredensor · Shawn Kresal, in memory of William Ian Fraser · Carolyn Krieg · Barbara Kuklewicz · Gilad Landan · Cynthia Larsen · Zelda Laskowsky · Debra J. Levin · Feralee & Charles Levin · The Lewis Family · Michael Lim · Robert S. Lord · Mimi Lou · Kevin Loughlin · Nancy

Sustaining members as of January 2017:

Anonymous (7) Norman Abramson & David Beery Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Neil & Gene Barth Susan & Barry Baskin Linda Brandenburger Broitman-Basri Family Bruce Carlton & Richard G. McCall Stephen K. Cassidy Paula Champagne & David Watson Terin Christensen Andrew Daly & Jody Taylor M. Laina Dicker Thalia Dorwick Rich & Robin Edwards Thomas W. Edwards & Rebecca Parlette-Edwards Bill & Susan Epstein William Espey & Margaret Hart Edwards Carol & John Field Dr. Stephen E. Follansbee & Dr. Richard A. Wolitz Kerry Francis Dr. Harvey & Deana Freedman

Lowenthal & Jean Savy · Ana Maldonado · Marjorie Manzella · Denis Martin & Madeleine DeCoruin · Fiona Martin · Richard McCray · Michelle Medeiros · Gadi & Donna Meir · Edith P. Mendez · Mr. & Mrs. Walter Meyers · Katherine B. Mohr · Carol Morgan · Vincent Nibler · Meredith Nielsen · Jennifer Normoyle · Catherine Marie O'Dea · Louise Oram · Thomas Owen · Michelle Parker · Elinor Parzen · Linda Perkins · Michael & Laura Perucchi · Karen Petersen · Barbara Peterson and Michael Cochrane · Carla Picchi & Kurt Patzner · Susan T. Pierpoint · Russell Pollock · Kimberly Powleson · Paul & Christine Prusiner · Dan Quinn · Judith Rabbie · Carol Rader · Daniel & Barbara Radin · Bill Ratner · Jane Marie Reardon · Nancy Reichert · Laura Remer · Julia Reydel, in honor of Aardvark Laser Engraving · Dave Richanbach · Maria Roden · Robert Rogers · Ronald Rogness · Laura L. Ross · M. Ryce · JoAnne Ryden · Suzanne Samberg · Josef Schmutzler, in memory of Zan Bealmear · David & Pauline Schwartz, in memory of Dr. Philip & Shirley Schild · Susan C. Schwartz, in honor of Nancy Shapiro ·

Joseph & Antonia Friedman Paul T. Friedman Dr. John Frykman Laura K. Fujii David Gaskin & Phillip McPherson Marjorie Ginsburg & Howard Slyter Mary & Nicholas Graves Elizabeth Greene Jon & Becky Grether Richard & Lois Halliday Julie & Paul Harkness Linda & Bob Harris Fred Hartwick Ruth Hennigar Douglas J. Hill Hoskins/Frame Family Trust Lynda & Dr. J. Pearce Hurley Robin C. Johnson Lynn Eve Komaromi Bonnie McPherson Killip Scott & Kathy Law Zandra Faye LeDuff Ines R. Lewandowitz Dot Lofstrom Helen M. Marcus Dale & Don Marshall Sumner & Hermine Marshall Rebecca Martinez Suzanne & Charles McCulloch John G. McGehee Miles & Mary Ellen McKey Margaret D. & Winton McKibben

Kathleen Scott · Roberta Sears · Iris E. Segal · Sally Seymour · Leslie Shannon · Peter Sharer · Ida D. Shen · Candice Shibata · Adam Seigman · Laine Silber · Sharon Silva · Harlan and Mary Simon · Leah Sirkin · Brian Smith · Ward & Deborah Spangler · Cherrill Spencer · Daniel Steves · Mary Steward · Nan Strauss · Patricia Sullivan · Cynthia Sun · Joyce Suter · Eleanor Tandowsky · Lola M. Tapia · Ernestine Tayabas-Kim · Diana Teich · Laura Tennant · Dr. & Mrs. Joseph Terdiman · Brooks Thorlaksson · Shirley R. Trimble · Tracy Trumbly · Scott Turner · Leslie Valas · Vicky Van Dewark · Richard & Virginia Van Druten · Jose Vergara · Janet Viader · Deborah Walker · Simone Wang · Gene Weinstein · Joan G. White · Barbara Wiggin · Barbara J. Wilkes · Beverly Williams · John Wilson · Miriam Wingfield · Mary Woolsey & Mark Peterson · Ruth Wrentmore · Julie Wunderlich · Miriam Zeiger · The Zimring Family · Tal & Elad Ziv

Susan Medak & Greg Murphy Stephanie Mendel Toni Mester Shirley & Joe Nedham Pam & Mitch Nichter Sheldeen G. Osborne Sharon Ott Amy Pearl Parodi Barbara L. Peterson Regina Phelps Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Tom Roberts David Rovno Tracie E. Rowson Deborah Dashow Ruth Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Kevin Shoemaker Valerie Sopher Michael & Sue Steinberg Dr. Douglas & Anne Stewart Jean Strunsky Henry Timnick Guy Tiphane Phillip & Melody Trapp Janis Kate Turner Dorothy Walker Weil Family Trust— Weil Family

Karen & Henry Work Martin & Margaret Zankel

Gifts received by Berkeley Rep:

Anonymous Estate of Suzanne Adams Estate of Helen Barber Estate of Fritzi Benesch Estate of Carole B. Berg Estate of Nelly Berteaux Estate of Jill Bryans Estate of Nancy Croley Estate of John E. & Helen A. Manning Estate of Richard Markell Estate of Gladys Perez-Mendez Estate of Margaret Purvine Estate of Leigh & Ivy Robinson Estate of Stephen C. Schaefer, in honor of Jean and Jack Knox Estate of Peter Sloss Estate of Harry Weininger Estate of Grace Williams

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

2 0 1 6 –1 7 · I S S U E 5 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 9


BOA R D OF T RU ST E E S

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

Managing Director Susan Medak

General Manager Theresa Von Klug ARTISTIC Director of Casting & Artistic Associate Amy Potozkin Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Manager Sarah Rose Leonard Artistic Associate Katie Craddock Associate Director Lisa Peterson Associate Artist Liesl Tommy TCG Artist-in-Residence Reggie D. White Artists under Commission Todd Almond · Christina Anderson · Jackie Sibblies Drury · Dave Malloy · Lisa Peterson · Sarah Ruhl · Tori Sampson · Joe Waechter P R ODUC T ION Production Manager Peter Dean Associate Production Manager Amanda Williams O’Steen Company Manager Jean-Paul Gressieux Production Driver Johnny Van Chang S TAG E M A NAG E M E N T Production Stage Manager Michael Suenkel Stage Managers Leslie M. Radin · Karen Szpaller · Julie Haber · Kimberly Mark Webb Production Assistants Amanda Mason · Sofie Miller · Betsy Norton S TA G E OP E R AT ION S Stage Supervisor Julia Englehorn P R OP E R T I E S Properties Supervisor Jillian A. Green Properties Artisan Viqui Peralta S C E N E S HOP Technical Director Jim Smith Associate Technical Director Matt Rohner Shop Foreman Sam McKnight Master Carpenter Jamaica Montgomery-Glenn Carpenters Patrick Keene · Read Tuddenham SCENIC ART Charge Scenic Artist Lisa Lázár COSTUMES Costume Director Maggi Yule Associate Costume Director/ Hair and Makeup Supervisor Amy Bobeda Draper Alex Zeek

Tailor Kathy Kellner Griffith First Hand Janet Conery Wardrobe Supervisor Barbara Blair ELECTRICS Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane · Kenneth Coté S OU N D A N D V I DE O Sound Supervisor James Ballen Sound Engineers Angela Don · Annemarie Scerra Video Supervisor Alex Marshall A DM I N I S T R AT ION Controller Suzanne Pettigrew Associate General Manager/ Human Resources Manager David Lorenc Associate Managing Director/ Manager, The Ground Floor Sarah Williams Executive Assistant Kate Gorman Bookkeeper Kristine Taylor Associate Controller Eric Ipsen Director of Technology Gustav Davila Tessitura User Interaction Administrator Destiny Askin Desktop Support Specialist Dianne Brenner Yale Management Fellow Trent Anderson DE V E L OPM E N T Director of Development Lynn Eve Komaromi Associate Director of Development Daria Hepps Director of Individual Giving Laura Fichtenberg Director of Special Events Julie Cervetto Individual Giving Manager Joanna Taber Institutional Giving Manager Cindy Cesca Yoshiyama Special Events Coordinator Lauren Shorofsky Development Database Coordinator Jane Voytek Development Associate Kelsey Scott Executive Assistant Jennie Goldfarb B OX OF F I C E Ticket Services Director Geo Haynes Subscription Manager Laurie Barnes Box Office Supervisor Julie Gotsch

3 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 6 –1 7 · I S S U E 5

Box Office Agents Carmen Darling · Faith Darling · Jordan Don · Katherine Gunn · Eliza Oakley · Anna Slotterback M A R K E T I NG & C OM M U N I C AT ION S Director of Marketing, Communications, and Patron Engagement Polly Winograd Ikonen Director of Public Relations Tim Etheridge Marketing Director Peter Yonka Art Director Nora Merecicky Communications & Digital Content Director Karen McKevitt Audience Development Manager Samanta Cubias Webmaster Christina Cone Video & Multimedia Producer Joel Dockendorf Program Advertising Pamela Webster Front of House Director Kelly Kelley Front of House Manager Debra Selman House Managers Steven Coambs · Juliet Czoka · Aleta George · Mary Cait Hogan · Angie Nicolas · Claire Patterson · Tuesday Ray · David Rogers · Debra Selman Lead Concessionaires Steven Coambs · Angelica Foster · Nina Gorham Concessionaires Jessica Bates · Molly Conway · Alisha Erlich · Lorenz Gonzales · Katie Holmes · Daron Jennings · Benjamin Ortiz · Jaden Pratt · David Rogers · Chenoa Small

Burnett · Rebecca Castelli · Eugenie Chan · Iu-Hui Chua · Jiwon Chung · Sally Clawson · Laura Derry · Alexandra Diamond · Deborah Eubanks · Susan Garner · Christine Germain · Nancy Gold · Gary Graves · Marvin Greene · Susan-Jane Harrison · Gendell HingHernández · Andrew Hurteau · Krista Knight · Julian López-Morillas · Dave Maier · JanLee Marshall · Reid McCann Patricia Miller · Alex Moggridge · Edward Morgan · Jack Nicolaus · Slater Penney · Greg Pierotti · Lisa Anne Porter · Diane Rachel · Rolf Saxon · Elyse Shafarman · Arje Shaw · Joyful Simpson · Cleavon Smith · M. Graham Smith · Daniel Talbott · Elizabeth Vega · James Wagner Jan and Howard Oringer Teaching Artists Miriam Ani · Erica Blue · Khalia Davis · Amber Flame · Gendell HingHernández · Dave Maier · Marilet Martinez · Jack Nicolaus · Carla Pantoja · Radhika Rao · Salim Razawi · Lindsey Schmelzter · Teddy Spencer · Simon Trumble · Elena Wright · Patricia Wright Teen Core Council Neo Barnes · Abram Blitz · Bridey Caramagno · Carmela Catoc · Uma Channer · Fiona Deane-Grundman · Lucy Curran · Devin Elias · Adin Gilman-Cohen · Alecia Harger · Kyla Henderson · Krysia Olszewska · Maya Simon · Chloe Smith · Isabelle Smith Docent Co-Chairs Matty Bloom, Content Joy Lancaster, Recruitment Selma Meyerowitz, Off-Sites and Procedures Roe Docents Selma Meyerowitz, Lead Docent Joy Lancaster · Dale Marshall · Rhea Rubin · Thomas Sponsler · Rebecca Woolis

2016–17 B E R K E L E Y R E P FELLOWSHIPS Bret C. Harte Directing Fellow Chika Ike OP E R AT ION S Company Management Fellow Facilities Director Morgan Steele Mark Morrisette Costume Fellow Facilities Coordinator Kennedy Warner Andrew Susskind Development Fellow Building Engineer Julia Starr Thomas Tran Education Fellow Maintenance Technician Michael Curry Johnny Van Chang Graphic Design Fellow Facilities Assistants Cynthia Peñaloza Theresa Drumgoolie · Sophie Li · Harry Weininger Sound Fellow Alex Maciel · Carlos Mendoza · Jesus Rodriguez · Diego Ruiz · LeRoy Thomas Mariah Brougher Lighting/Electrics Fellow Josh Hemmo BERKELEY REP S C HO OL OF T H E AT R E Marketing/Digital Communications Fellow Director of the School of Theatre Lauren Goldfarb Rachel Hull Peter F. Sloss Literary/ Associate Director Dramaturgy Fellow MaryBeth Cavanaugh Ankita Raturi Education Communications and Production Management Fellow Partnerships Manager Zoey Russo Marcela Chacon Properties Fellow Program Manager, Training and Noah Kramer Community Programs Anthony Jackson Scenic Art Fellow Yoshi Asai Registrar Katie Riemann Scenic Construction Fellow Community Programs Administrator Lauren Williams Modesta Tamayo Stage Management Fellow Laura Baucom Faculty Bobby August Jr. · Erica Blue · Jon

President Stewart Owen Vice Presidents Carrie Avery Roger A. Strauch Jean Z. Strunsky Treasurer Emily Shanks Secretary Leonard X Rosenberg Chair, Trustees Committee Jill Fugaro Chair, Audit Committee Kerry L. Francis Board Members Edward D. Baker Bernard Boudreaux Michelle Branch David Cox Amar Doshi Robin Edwards Lisa Finer Paul T. Friedman Karen Galatz Bruce Golden Scott Haber David Hoffman Jonathan C. Logan Jane Marvin Sandra R. McCandless Susan Medak Pamela Nichter Richard M. Shapiro Tony Taccone Gail Wagner Felicia Woytak Past Presidents Helen C. Barber A. George Battle Carole B. Berg Robert W. Burt Shih-Tso Chen Narsai M. David Thalia Dorwick, PhD Nicholas M. Graves Richard F. Hoskins Jean Knox Robert M. Oliver Marjorie Randolph Harlan M. Richter Richard A. Rubin Edwin C. Shiver Roger A. Strauch Martin Zankel Sustaining Advisors Carole B. Berg Rena Bransten Thalia Dorwick, PhD William T. Espey William Falik John Field David Fleishhacker Nicholas M. Graves Richard F. Hoskins Carole Krumland Dale Rogers Marshall Helen Meyer Dugan Moore Mary Ann Peoples Peter Pervere Marjorie Randolph Pat Rougeau Patricia Sakai Jack Schafer William Schaff Michael Steinberg Michael Strunsky Martin Zankel

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


My wealth. My priorities. My partner. You’ve spent your life accumulating wealth. And, no doubt, that wealth now takes many forms, sits in many places, and is managed by many advisors. Unfortunately, that kind of fragmentation creates gaps that can hold your wealth back from its full potential. The Private Bank can help. The Private Bank uses a proprietary approach called the LIFE Wealth Cycle to find those gaps—and help you achieve what is important to you.

SM

To learn more, contact: Ralph Dickman Vice President, Private Wealth Advisor 408-279-7734 ralph.dickman@unionbank.com or visit unionbank.com/theprivatebank

Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor.

©2016 MUFG Union Bank, N.A. All rights reserved. Member FDIC. Union Bank is a registered trademark and brand name of MUFG Union Bank, N.A.


Elizabeth “Libby” Clark, joined in 2009

Thinking

BIGGER

Downsizing is smart sizing. Just ask Libby. She saw the opportunity to minimize her “stuff” and maximize her lifestyle at St. Paul’s Towers, the East Bay’s most appealing Life Plan Community. Spacious apartment homes, wonderfully prepared menu options in our lovely dining room, worry-free maintenance, Wi-Fi, and an expanding choice of amenities allow Libby to pursue her passions; like the freedom to grab an oar and join the “Ladies of the Lake,” a rowing club on nearby Lake Merritt. See why 94% of our residents highly recommend living here. To learn more, or for your personal visit, please call 510.891.8542.

100 Bay Place Oakland, CA 94610

stpaulstowers-esc.org

A not-for-profit community owned and operated by Episcopal Senior Communities. License No. 011400627 COA #92 EPSP754-01VD 012017


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