Berkeley Rep: Tribes

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Announcing the 2014 Summer Residency Artists 13 · A window into the Deaf world 22 · The program for Tribes 27


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Elizabeth “Libby” Clark, joined in 2009

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I N T H I S I S SU E Berkeley Rep Magazine goes interactive on your mobile device! Look for this icon throughout the program, and use the camera on your smartphone to scan the images to see exclusive video. • First, download the free Digimarc Discover app for your device from the iTunes store or Google Play market. • Open the app, then hold your device four to six inches above a scannable icon or image. Give it a try by scanning the image to the right. • Hold your device steady and parallel to the page. Wait for the chime—you’ve unlocked your video!

BE R K E L E Y R E P P R E S E N T S TRIB E S · 27 M E E T T H E C A ST & C R E W · 28



A letter from the artistic director · 5

Foundation, corporate, and in-kind sponsors · 36

A letter from the managing director · 7

Individual donors to the Annual Fund · 37 Memorial and tribute gifts · 39


R E P ORT Navigating the signs · 11 Announcing the 2014 Summer Residency Artists · 13 Sneak peek: The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures · 14

SOT report photo

An avenue for artists · 15 15

Michael Leibert Society · 39

Head of the shop · 17 Your gift, your theatre, your community · 18

A BOU T BE R K E L E Y R E P Staff and affiliations · 40 Board of trustees and sustaining advisors · 41

FYI Everything you need to know about our box office, gift shop, seating policies, and more · 42

F E AT U R E S Nina Raine: Why I wrote Tribes · 20 Part of your tribe · 21 A window into the Deaf world · 22 20

T H E B E R K E L E Y R E P M AG A Z I N E 201 3 –14 · I S S U E 6 The Berkeley Rep Magazine is published at least seven times per season.

Editor Karen McKevitt

For local advertising inquiries, please contact Ellen Felker at 510 548-0725 or

Art Director Nora Merecicky Graphic Designer Jared Oates

Writers Voleine Amilcar Aaron Carter Julie McCormick Karen McKevitt Gabriella Mingoia Nina Raine

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




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3/5/14 9:47 AM

PROL OG U E from the Artistic Director

I get interviewed fairly frequently.

It has nothing to do with my fascinating personality but simply a function of my job. Why do you pick the plays you pick? What’s going on with Berkeley Rep? How would you define the work and what does it mean? That sort of thing. But frequently these conversations reflect back on my worldview and lead to the inevitable stumper: who are you, Tony Taccone? My shrink is always asking me the same thing. The answer is fantastically elusive and, in the case of my shrink, very expensive. Maybe the best way to address the question is to ask: what tribe do I belong to? What tribe do I wish I belonged to and which one(s) have I rejected? That seems to provide a framework to understand the choices I’ve made. It not only tells the story of where I came from but where I am now and where I hope to be going. It’s a question we all share and carry throughout our entire lives, the primary way we inherit, create, and re-create our identities. And it’s the central question posed by tonight’s play. As seen through the provocative lens of a young man who is deaf, his loving if slightly crazed family, and his budding relationship with a woman who is losing her hearing, Tribes is ultimately about identity and belonging. About how we change and the cost of change. About never really knowing who we are because who we are is always changing. But the great gift of the theatre is that it provides a miraculous window to look at our “selves” through the experience of other people. And more improbably, to feel ourselves through characters whose experience may be vastly different from our own. In the hands of talented artists, we move into an imagined landscape where we don’t know anyone but we recognize everyone. We don’t see ourselves but are suddenly in front of a mirror. We don’t share the same experience but we are surprisingly empathetic. This is why we make theatre, and, I trust, is the reason so many of you keep coming back. So welcome. We’ve placed you in the large, sure hands of Jon Moscone and his wonderful tribe of creative cohorts. I’m certain they can help us sort out who we are and who we belong to. At least for the moment.

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Tony Taccone


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April 2014 Volume 46, No. 7

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“The master storyteller...what distinguishes him from most solo performers is how elegantly he blends personal stories, historical digressions and philosophical ruminations.” —The New York Times

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YE R B A B U E N A C E NTE R F O R TH E A RTS 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 6

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PROL OG U E from the Managing Director

My nephew called me from Washington, DC last fall. He had just returned home from his neighborhood theatre, having seen a show that he just had to talk about. A few months later, my sister called from Chicago and did the same thing. They had both just seen Nina Raine’s new play Tribes. Of course they wanted to make sure that Berkeley Rep would produce our own version of the play. But what struck me about their calls was the way the play had gotten inside their heads. There was so much to talk about and so much to think about. There are times when we’re thrilled to originate a play. For instance, it was such an honor and a pleasure to commission, develop, and then produce the world premiere of Marcus Gardley’s The House that will not Stand. After its closing performance here, we sent it off to our co-producing partner Yale Repertory Theatre, knowing that Marcus had learned so much about the play from the audiences here in Berkeley. When it gets to Yale, he’ll have a chance to make script changes informed by the responses of our audiences. We are proud to be part of its trajectory. On the other hand, there is an entirely different pleasure in producing a play, like Tribes, that has already been produced a few times. Nina Raine has seen her play mounted in theatres on two continents now. And this year, theatres across America have included it in their seasons. Working on a play that is not in process is an entirely different kind of joy. One of the special delights, though, of having a play on our stage that has been seen in London, New York City, Chicago, Washington, DC, and elsewhere is the satisfaction of knowing that we are creating an opportunity for a dialogue that is based not on the limits of geography but on a shared experience across time and space. While you will see Jon Moscone’s take on Tribes, my nephew saw the same play interpreted by another director and other actors. We will argue with each other about the play and about the choices made in each production. But, most importantly, we will be sharing. Every year, a few plays sweep across the country and create—in the spirit of today’s book clubs—a kind of national theatre club. If you have relatives around the country who have seen Tribes, maybe you ought to call them tomorrow and see what they thought. All this is a way of saying that the stories we tell on our stages are meant to be shared. When you ride home on bart following this performance and hear other people discussing the play, or when we tell a story here that shows up on a stage in Louisville, or when Nina Raine writes a play in London that ends up in Berkeley, we are engaged in a kind of community-making that is based in the power of a good story. I hope you’ve received your subscription forms for next season already. Tony has lined up a pretty wonderful selection of stories told by an awesome assembly of artists. I hope you’ll call, go online, or write back and subscribe so that you can share in yet another season of great plays. Warmly,


Berkeley ◆ Kensington El Cerrito ◆ Albany Piedmont ◆ Oakland




Susan Medak


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Scan the pink box to learn a new phrase in asl. (Find scanning instructions on the table of contents.) PA RT Y P EO P L E (O S F, 2012). P H OTO BY J E N N Y G R A H A M


“McCraney writes the richest dialogue of any scribe of his generation.” — C H I C AG O T R I B U N E

Tarell Alvin McCraney Head of Passes

By Tarell Alvin McCraney · Directed by Tina Landau MacArthur “Genius” Award winner Tarell Alvin McCraney pens this poignant and poetic new play about the journey of family and faith, trial and tribulation. “Unbelievably powerful,” lauds wbez Radio.


“High-energy, vibrant, roller coaster ride — via dialogue, monologue, poetry, music and dance — of the rise and fall of the Black Panther Party and the Young Lords.” —A S H L A N D DA I LY T I D I N G S



“A dark, intense, and vastly entertaining version of Molière’s work.” —S K Y WAY N E W S

Party People

By universes (Steven Sapp, Mildred Ruiz-Sapp, and William Ruiz, aka Ninja) Developed and directed by Liesl Tommy In this high-wattage fusion of story and song, the theatre ensemble universes rocks and unlocks the legacy of the Black Panthers and the Young Lords.


By Molière · Adapted by David Ball Directed by Dominique Serrand This modern interpretation of Molière’s popular satire about religious hypocrisy is as intense and incisive as the day it was written, and just as entertaining.



Kathleen Turner


“Turner is a marvel to watch as she takes on the character of the sharp-tongued political journalist Molly Ivins … This is a production that needs to be seen!” — B ROA D WAY W O R LD

Red Hot Patriot: The Kick-Ass Wit of Molly Ivins

By Margaret Engel and Allison Engel · Directed by David Esbjornson Starring Kathleen Turner Two-time Tony and Oscar nominee Kathleen Turner is all smarts and sass as the brassy, sharp-witted political journalist. “Wonderful, entertaining and illuminating,” raves Huffington Post. P H OTO BY M AG N U S H A S T I N G S .CO M

“Ingenious… Unlike many farces, this one is also verbally funny. Bean's script is full of good gags… Combines a tightly-written text with the gaiety of popular entertainment.” — LO N D O N G UA R D I A N

Richard Bean One Man, Two Guvnors

By Richard Bean · Directed by David Ivers Join Francis in the fun as he leads you through this topsy-turvy world of love triangles and mistaken identities—backed by a swingin’ live band. “Gut-busting,” says the Hollywood Reporter. P H OTO BY J O H A N P ER S S O N

“Cabaret was always supposed to be transgressive and subversive; Meow Meow puts the beauty and the beastliness of it back where it belongs: out on the edge and in your face.” — LO N D O N T I M E S

Meow Meow An Audience with Meow Meow

By Meow Meow · Directed by Emma Rice The “post-post-modern” phenomenon creates a musical world premiere of gargantuan proportions featuring sizzling songs, sequins and satire, blow-torch wit, and divine mayhem!


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Navigating the signs An interview with Anthony Natale BY KAREN MCKEVITT Scan Anthony’s photo to learn a new phrase in asl. (Find scanning instructions on the table of contents.) P H OTO BY J A R ED OAT E S

Anthony Natale is the asl consultant for

Berkeley Rep’s production of Tribes. He has worked as an actor, translator, and consultant on many Deaf West shows and has been seen on the big screen as Cole in Mr. Holland’s Opus and in Jerry Maguire. A couple of weeks before rehearsals began, we conducted a phone interview using Video Relay Service.

What does an asl consultant do? In general, an asl consultant is someone who has extensive experience in asl translating, transliterating, interpreting, and evaluation skills. For instance, as an asl consultant in theatre, I review the scripts and visualize the dramatic intent and feeling, and then find places and opportunities where sign language could be used effectively. Some situations could call for more gesture or other asl-specific techniques in conveying the message. An asl consultant also functions as a language and cultural artist, working closely with the director on views associated with Deaf culture. It would of course be my personal perspective, and an overall approach—not just onstage, but offstage as well. This could include consulting with publicity and marketing to ensure the Deaf culture perspective is respected. That’s how I view my role as an asl consultant. I have done many exciting projects in the past including Big River, one of my favorites, a mainstream play with deaf and hearing actors that started in Los Angeles, where I also had the pleasure of acting in it. Specifically, what is your role in Berkeley Rep’s production of Tribes? A good example of the specific role would be sitting next to director Jonathan Moscone and providing input and answering questions he has about sign language and Deaf culture. If I see something that is happening right now in the Deaf community, I would share that with Jon for him to determine if it fits within his intent. I’ll also work closely with the two actors playing Sylvia and Billy, who of course use sign language.

I’m eager to see what it will be like to work with Nell Geisslinger, the actor playing Sylvia, when we start rehearsals in three weeks. I am sure we can gel quickly and that way she can really take on this role and do great. I was very excited when I heard she immersed herself in sign language training. I know she has a great desire to learn, and that along with her talent could be a winning combination. I will be working oneon-one with her on asl, sitting down to explore the translation opportunities and even draw signs out of her based on her character, which will ultimately fine-tune sign choices that work best for her. By helping her form character by teaching her about Deaf culture, and providing that focus to Billy and Sylvia alike, I am confident it will get them to really “feel” sign language. I am also looking forward to working with James Caverly. He has played the part before in other theatres, and I am excited for him to share his experiences with me. From that point of view we would start going through specific lines, give background and expanding perspectives of the role as a deaf person, and how they choose the sign. The signs vary so greatly; they have different levels. There are many nuances and hand shapes that the characters can use. You can almost always tell if someone is a lifelong user by these different nuances, even though you may not know sign language. It’s also an interesting experience working with deaf actors like James who have the language and can sign—it’s their first language. But the character of Billy is opposite. Billy doesn’t know sign language. He’s never met a deaf person, but then he meets Sylvia and is attracted to her. The deaf actor already has the language, but will have to unlearn the language. That’s where I’ll be watching to make sure that the level of sign language is not so advanced. That’s part of my responsibility: to be sure that comes out in the play and that it stays at that appropriate level.


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How are the two perceived differently when it comes to the stage? So, I question myself how that will work with signers using asl while the hearing actors are using British accents. But I think it’s best to match what the audience can relate to. I’ve seen five different productions of Tribes in the United States, and they’ve all used asl. That’s the precedent. We try to make the play more accessible to a deaf audience .

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Is there anything else you’d like to add? Maybe I can share my previous experience in show business. Since I first started, I’ve seen huge changes. People now are really accepting of the Deaf community and Deaf language, and asl is growing quickly and faster than I’ve ever seen in the past. I ask myself, “How can it happen now when it didn’t happen like that before?” Maybe it’s because we’ve started to accept it. Society is becoming more supportive of various peoples, and these communities are very supportive of each other; they are sort of unified. I’m excited to see more and more shows showcasing black actors and other minorities. We’re seeing more and more of that in the deaf show Switched at Birth. I’m happy to see today that people in the industry are more open-minded and inclusive of deaf actors, but at the same time they’re teaching and entertaining people. That’s really nice to see.

Enrich your theatre experience. Give today! · 510 647-2906 Jesse J. Perez and Steven Epp in Accidental Death of an Anarchist P H OTO BY J A R ED OAT E S

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Nina Raine is a British playwright. British Sign Language differs from American Sign Language. How is that navigated? There are many different versions of Tribes. The older version of the script that started in England had Sylvia teaching Billy how to use bsl (British Sign Language). bsl is quite different from asl. When American theatres use asl, there is a dramaturgical disconnect between actors speaking British accents and actors signing asl.






























9 Ghost Quartet Dave Malloy, composer/sound designer


Announcing the 2014 Summer Residency Artists

1 The Last of the Little Hours

Annie Baker, playwright

2 Untitled 1977/Hip-Hop/Arson/

Bronx Jam Kara Lee Corthron, playwright

3 Milton

This February we were thrilled

to announce the artists who will be joining us in June for the third Summer Residency Lab. The Lab is an integral part of The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work and provides a vital opportunity for theatre makers of all stripes to unleash their creativity in a flexible and supportive environment.

PearlDamour: Lisa D’amour, creator Katie Pearl, creator

4 Dot

Colman Domingo, playwright

5 Untitled Balkan/South Asian Musical

Aditi Brennan Kapil, creator Manu Narayan, creator Radovan Jovicevic, creator

6 fsm

Joan Holden, playwright Bruce Barthol, music & lyrics Daniel Savio, music & lyrics Marge Betley, Stagebridge executive director and fsm dramaturg

7 Eddie the Marvelous, Who Will Save

To learn more about these artists and their projects, visit

the World The Kilbanes: Kate Kilbane, creator Dan Moses, creator

8 Untitled

John Leguizamo, playwright/creator

10 Fran/k (a true story)

Gregory S. Moss, playwright

11 The Barbary Coast

Dominic Orlando, playwright Brian Carpenter, composer

12 Here We Are Here

Jiehae Park, playwright Tristan Jeffers, set designer

13 The Lady Lawyer

Abigail Rezneck, playwright Professor Barbara Babcock, author


X’S AND O’S, a football love story KJ Sanchez, playwright Jenny Mercein, co-collaborator

15 The Pipeline Project

Anna Deavere Smith, creator

16 Movers + Shakers

Stein | Holum Projects: Suli Holum, director Deborah Stein, playwright James Sugg, composer

17 U ntitled Oum Kalthoum—

Abu Ghraib Project Hadi Tabbal, playwright

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R E P ORT Tony Taccone and Tony Kushner P H OTO BY C H E S H I R E I S A AC S

Sneak Peek: The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures BY VOLEINE AMILCAR

The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures plays May 16–June 29. Tickets are on sale now. Visit, or call 510 647-2949. An opencaptioned performance will be held on Sunday, June 29 at 2pm.

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Winner of two Tony Awards, three Obies, an Emmy, and a Pulitzer Prize, Tony Kushner returns to Berkeley Rep for the West Coast premiere of his latest play: The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. Kushner reunites with one of his favorite collaborators, Michael Leibert Artistic Director Tony Taccone, who directs this sweeping drama. The two Tonys first collaborated in 1987 on A Bright Room Called Day at the Eureka Theatre. Then Taccone commissioned the playwright’s masterpiece, Angels in America, and codirected its world premiere at the Mark Taper Forum in 1992. Taccone has staged four previous Kushner works at Berkeley Rep: Slavs! ; Homebody/Kabul; Brundibar, which also played off Broadway; and Tiny Kushner, which transferred to London. The Theatre also produced The Illusion and Hydriotaphia. Now Kushner is back with his trademark mix of soaring intellect and searing emotion. In The Intelligent Homosexual’s Guide…, the legendary playwright unfurls an epic tale of love, family, sex, money, and politics—all set under the hard-earned roof of an Italian family in Brooklyn. When Gus decides to die, his kids come home with a raucous parade of lovers and spouses to find that even the house keeps secrets. Taccone says, “Tony and I have been talking about this play for a year, and we’re both excited to approach it with fresh eyes. Like most Kushner plays, it uses a particular dramatic situation to examine larger issues in contemporary society. Focused on an Italian American family in Brooklyn in 2008, Intelligent Homosexual… grapples with the consequences of hyper-capitalism, the paralysis of the Left, and the emotional chaos at the heart of a family trying to grapple with a father bent on suicide. But it wouldn’t be Kushner if it wasn’t filled with humor, pathos, and a profound yearning for a better life. Its length, always a factor with Tony’s plays, is a testament to the breadth and depth of the author’s mind.” Referencing the play’s two previous incarnations at the Guthrie Theater and The Public Theatre, the New York Times declares, “Theatergoers who have previously thrilled to Mr. Kushner’s heady language and his visceral commitment to ideas made flesh are sure to feel a rush of the old excitement [as] Guide explodes into a babel of fast-talking, passionate voices—slapping and overlapping, twining and crashing into one another. And you may find yourself sitting back and grinning at this noisy spectacle of so many people having so much to say with so much passion and eloquence.”


An avenue for artists How mentorship nurtures creative careers BY GABRIELLA MINGOIA

Over the past 12 years, Berkeley Rep’s Teen

One-Acts Festival has produced 25 original works that have provided 350 young artists an opportunity to develop their own stories and produce them from the ground up. How is this program unique? Mentorship. As a learning model, mentorship is integrated into the process so that students gain hands-on training while working closely with a professional mentor. “Being a part of the Teen One-Acts Festival in a mentor capacity is a nice, cyclical way of passing the torch to the next generation,” says Sam Basger, the Peter F. Sloss Literary/ Dramaturgy Fellow who mentored the 2014 teen playwrights, Rocko Bauman and Chloe Christina Smith. In order to “pass the torch,” each teen is paired with a member of Berkeley Rep’s fellowship program, and the fellows give the teens insight to the roles they will take on. Fellows, who spend a year under the guidance of Berkeley Rep’s senior staff members, have the chance to shepherd the teens with the expertise they’ve learned. What does this look like in the Teen One-Acts Festival? Let’s walk through Sam Basger’s mentorship process. First, Sam gauged the knowledge his young writers already had about playwriting. “Anyone is a writer if they actually write something,” he says. “What was really great was how open and prepared both playwrights were to go back to what

Left to right Rocko Bauman, Sam Basger, Katy Mlodzik, and Chloe Christina Smith P H OTO BY J A R ED OAT E S

“We take mentorship seriously at Berkeley Rep. Everyone is encouraged to share their skills.” —SUSAN MEDAK, MANAGING DIRECTOR

they might have felt was a finished product and reexamine where things could be stronger, clearer, or more efficient. They understood that it was my job, and the job of Berkeley Rep’s School of Theatre, to help make their plays the best they could possibly be.” Second, Sam assessed the gaps in the teen playwrights’ knowledge and built tailored curriculum. “They heard their plays read out loud for the first time by the 2013–14 fellows, and this allowed them to distinguish between words on a page and spoken dialogue. We set goals early on, and I kept the momentum going by remaining in frequent contact and meeting with the teens on a regular basis. It was a matter of discussing their plays in a Socratic manner, addressing any perceived problem areas, and formulating a plan to rectify them without compromising the integrity of their work.” Third, Sam gave the teen playwrights tools to work through his curriculum. “I shared any articles, plays, movies, images, or 2 0 1 3–1 4 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 5

Scenic art fellow Gena Whitman and teen designer Asé Bakari P H OTO BY J A R ED OAT E S

past resource guides from Berkeley Rep’s plays that I thought might stimulate them creatively or inform their work.” Sam is one of 16 fellows who assume a mentor role every spring. Lighting/Electrics Fellow Jack Horwitch mentored the teen lighting designer, Richard Fong of Saint Mary’s College Prep. He helped Richard build his very first lighting plot. Jacob Harvey, the Bret C. Harte Young Director Fellow, taught teen

director Eli Miller-Leonard of Berkeley High about the intricacies of a director’s role. Jacob shared, “Eli knew conceptually what a director’s role meant, but needed guidance on applying his director duties. Bringing him to watch one of Berkeley Rep’s technical rehearsals exposed him to how a director prompts all the different components and people to come together for a show.” The experience goes beyond gaining industry skills. The key to each mentor’s success is establishing a supportive and professional relationship with their teen, whether that be for a teen costumer, designer, marketer, or performer. Teens who have been a part of past One-Act Festivals continue to thrive in the arts. A previous teen producer, Regina Fields, served as an understudy for Berkeley Rep’s production of The House that will not Stand this season. The playwright from the 2006 Teen One-Acts Festival, Lauren Yee, is now a professional award-winning playwright. Many teens who come through our doors go on to pursue higher education, become lifelong patrons, and begin their own creative companies and careers. Managing Director Susan Medak, a supporter of the mentorship model, remarks, “We take mentorship seriously at Berkeley Rep. Everyone is encouraged to share their skills. Every year I am struck by how much our fellows learn by having to share their newfound knowledge with the teens, and how much the teens benefit from the experience and earnest commitment of these smart, young fellows.”

Extraordinary Performance. Proudly serving Berkeley, Albany, Kensington, El Cerrito, Emeryville, Oakland and Piedmont Lorri Arazi Leslie Avant Norah Brower Carla Buffington Jackie Care Stina Charles-Harris Carla Della Zoppa Francine Di Palma Leslie Easterday Gini Erck Debi Fitzgerrell Jennie A. Flanigan

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Jim Smith in Berkeley Rep’s scene shop P H OTO BY N O R A M ER EC I C K Y

Head of the shop BY KAREN MCKEVITT

During his college years in Oregon,

Jim Smith wanted to build a ski resort. Then he met a girl who worked in theatre. Fast forward a few decades: Jim hasn’t yet built that ski resort in the mountains, but as Berkeley Rep’s technical director, he could probably figure out how to put one in the Roda Theatre. That’s probably one of the few challenges that hasn’t been thrown at Jim and his enterprising crew. For each show he meets with designers and directors, manages budgets and deadlines, decides what materials to use and procures them from vendors—and with his smart and eager team, devises how to build, transport, and load in sets. Along the way, they make the seemingly impossible possible. For Eurydice, they figured out how to make water fall at an angle. They made tons of water spewing from a fire hose disappear quickly in last season’s Pericles, Prince of Tyre. They mastered automation for Chinglish’s set, which featured two turntables that rotated scenery while chairs slid on and offstage. For both Tribes and The Intelligent Homosexual’s Guide…, they have to figure out how to make large, complicated set pieces fit together to form a house, and how to deal with several hundred feet of books. But Jim—who came to Berkeley Rep in 1993 as a carpenter and became technical director when the Roda opened in 2001—shies from taking credit for these accomplishments. “You’re only as good as your shop,” he declares. “I’m just part

of the team. We solve problems by experimenting; it’s like research and development. We build on our mistakes and successes. I like the diversity. Each problem is infinitely different.” “Jim is good at creating an environment that’s fun to be in,” says Colin Babcock, associate technical director. “He mentors everyone. I learned about engineering and automation from him. Plus, that guy knows more about rock and roll than anyone else I know. One of his favorite questions to ask people is, ‘What’s your favorite three-man power band?’ He can engage anyone in a fierce debate about rock music, and that is a pretty great quality in someone you work with as closely as I do!” By all accounts, Jim is someone who works and plays as hard as he can, whether it’s skiing down a mountain or rocking out at concerts. What’s kept him at Berkeley Rep for over 20 years is the deep satisfaction he feels when he walks into the Theatre and sees a new set, a completely different environment dreamt up by the designer. Today, he’s immersing himself in the set for the The Intelligent Homosexual’s Guide…. He studies designer Christopher Barecca’s small-scale model, showing how set pieces will fly in and out and track on and offstage. He looks at one piece contemplatively, studying it from all sides. “This represents so many decisions.” He pauses. “As a designer, you have to make up your mind. And we’ve got to figure out how to build it. Who wouldn’t want to pull that off?” 2 0 1 3–1 4 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 7


Your gift, your theatre, your community


Playwright Denise Dennison, hot off the success of her first musical desmond! transferring to Broadway, is inspired by a trip to the local amphibian house. Berkeley Rep loves her action/ adventure/musical with endangered lizards in the Big Apple in 1973, and offers her a commission.

So this year, when you renewed your season

subscription or bought a ticket for an upcoming special event, you decided to make a donation along with it. In return, you received a nice thank you letter from our managing director, Susie Medak (and if that hasn’t arrived yet, let us take this moment to say thank you!). Her letter spoke about the impact of your gift: the subsidized tickets you helped to provide to students and seniors, the free education programs in local public schools that you made possible, the commissions your gift allowed us to offer emerging and established artists, and so much more… But are you aware of just how many people your gift will affect? Take a look at the life cycle of a play—tentatively named Bad Reptiles Take Manhattan, or brtm —to catch a glimpse of the impact that your gift has on the community, and how much of a difference you make.


You make a gift to support the productions you see onstage at the Theatre and to support the arts education programs the Berkeley Rep School of Theatre brings to your community.


Before the show, Rebecca, a pre-med student who won a full scholarship to Darwin University (and who heard about the under-30 discount from her school’s paper), shares a Blue Iguana drink special with a friend in the courtyard bar. 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 3–1 4 · I S S U E 6


Berkeley Rep has a final draft of brtm and plans from the scenic designer. Now, Johnny in the scene shop needs to pick up 50 yards of sheet plywood from the local lumber yard to create a gently sloping island, a city streetscape, and Manhattan’s skyline.


The School of Theatre sent a teaching artist to Ms. Rae’s 10th-grade class, since brtm ties in nicely with her biology lesson plans. After an interactive theatremeets-science workshop, they see a Student Matinee—for some, their first live theatre experience.


The Hansons’ 4-year-old, Danny, was too young to come with them to brtm last Friday. But the School of Theatre’s Sunday Sampler is lizard-themed this month, and he’s learning new acting skills to show how a lizard would feel if its eggs were in danger.


The costume shop fellow (and aspiring costume designer), Katie, is in week three of her intensive 11-month work-training fellowship, and has never fashioned a full-body iguana suit before. Luckily, her mentor has 20 years of experience and is able to show her just what to do.


Raj and Jeanie have shared season tickets for 28 years. Raj lives out in Vallejo now, but they still get together seven times a year and catch up over dinner at their favorite downtown restaurant (where they get a discount by flashing their tickets).


David’s a theatre fan, not a lizard fan. But brtm sparked something in him— who knew reptiles kicked so much ass? Now he’s volunteering with the Parks Conservancy to restore sensitive wetlands for the endangered San Francisco Garter Snake.


Denise researched reptiles and endangered species for months before starting to write brtm. Mary, a Berkeley Rep docent, gives a free Repartee talk at a local public library in order to share behind-the-scenes tidbits and speciesconservation information with local theatre lovers.


Monday is dark for brtm, but the Roda Theatre is still hopping. The biology department at Cal State Tuatara is presenting their annual Environmentalist Award from the brtm set.


brtm closes, at least at Berkeley Rep. But an artistic associate for an avant-garde theatre in Little Rock came to see it on the last night, and convinces his company to stage their own interpretation of the play in their 2014–15 season.

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Scan Nina’s photo for an asl translation of her letter. (Find scanning instructions on the table of contents.)

Nina Raine P H OTO BY J AC K L A D E N B U R G

I first had the idea of writing Tribes when I watched a documentary about a deaf couple. The woman was pregnant. They wanted their baby to be deaf. I was struck by the thought that this was actually what many people feel, deaf or otherwise. Parents take great pleasure in witnessing the qualities they have managed to pass on to their children. Not only a set of genes. A set of values, beliefs. Even a particular language. The family is a tribe: an infighting tribe but intensely loyal. Once I started looking around, tribes were everywhere. I went to New York and was fascinated by the orthodox Jews in Williamsburg, who all wear a sort of uniform. They were like an enormous extended family. And just like some religions can seem completely mad to non-believers, so the rituals and hierarchies of a family can seem nonsensical to an outsider. I learnt some sign language. I found it immensely tiring. Sign demands that you heighten your facial expressions— ‘like’—you stroke your neck downwards and smile beatifically, ‘don’t like’ you stroke your neck upwards and make a face almost as if you are throwing up. I felt like I was being made to assume a personality that didn’t fit me. I realised how much 2 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 6

NINA R AINE: WHY I WROTE TRIBES we express our personality through the way we speak. I didn’t like having to change my personality. And sign has a different grammar. I felt stupid, slow, uncomprehending. Was this what it might be like to be a deaf person trying to follow a rapid spoken conversation? But I was also envious. I loved the way sign looked when used by those fluent in it. It could be beautiful. Wouldn’t it be great to be a ‘virtuoso’ in sign? They must exist, like poets or politicians in the hearing world… Finally, I thought about my own family. Full of its own eccentricities, rules, in-jokes and punishments. What if someone in my (hearing, garrulous) family had been born deaf? All these things went into the play, which took a very long time to write. All I knew was that at the beginning we would be plunged into a family dinner. The first scene was easy to write. I wrote it with no idea of the characters’ names, or of how many siblings there were. But oddly, it is one of the scenes that has hardly changed during the writing of the play. It sat there for a very long time. And then, slowly, I wrote the rest. The crazy family was born fully formed. I just had to work out what happened to them. Reprinted with permission from The Royal Court Theatre, London.


Ahead of the opening of her play at Chicago’s

Steppenwolf Theatre, Tribes scribe Nina Raine found the time to chat with the Director of New Play Development Aaron Carter about language, culture, and community before being whisked away to see the play performed in Croatia. Aaron Carter: Is the Zagreb production of Tribes being performed in English or... Nina Raine: No, they’re performing in Croatian.

Do you speak any other languages? I speak a little bit of Italian, French, and German—just enough to not feel freaked out when you’re in that country. I’ve seen Tribes in other languages before, like in Budapest, and you sort of realize how many swear words there are when you hear it in another language—like: “Oh God, there’s that weirdsounding word again!” There are some fascinating difficulties they ran into when translating Tribes into Croatian. There’s a moment at the end of the play in which the projected surtitle is simultaneously about two different events. But that kind of ambiguous reference is not possible in Croatian, so they had to cut it. And so much of Tribes is about the very nature of language—it’s interesting to think about how different translations might affect the way the play is received. Well, even sign language is different in different countries. American sign is quite different than British sign, even though we share the same language. The bit in the play where Sylvia signs the poem—I was really enamored by the way they did it in London, which was quite poetic, but when I saw it in New York, it wasn’t quite the same. And the woman who was doing the sign said, “Oh, we don’t have to do it this way—that was just my interpretation.” And so, you can say a thought in several different ways in sign just like you can in spoken word. And the other thing that happens with translation: sometimes a joke won’t work in a different language. You realize that it’s not funny without the sound of the words being funny. There’s a saying—variously attributed to George Bernard Shaw, Oscar Wilde, and Winston Churchill—that Great

Britain and the United States are divided by a common language. Are you struck by any notable differences between the English language productions in London and New York? Something that is really exhilarating for an English person is that American actors are more willing to go further emotionally. English actors can get there as well—I’m really generalizing—but the production in New York was a bit snottier and scream-ier than the one in London. They really hit the emotional peaks. Comparing David Cromer’s production in New York and Roger Michell’s in London—David went very naturalistic, he immersed the audience in the clutter of that family. And Roger took away everything except for a table and chairs and a chestnut tree in the garden that reminds you of the family tree—it was all very clean and symbolic. David’s was a bit more chaotic, more emotionally high-octane. But I don’t think that either way was like, the one way to do it. They were just extremely different. It’s tempting to imagine parallels between your family and the family featured in Tribes because your father is poet Craig Raine and your brother Moses is also a playwright. Was the play inspired by your family in any way? Well, the initial nugget came from a documentary I saw about a deaf couple that came from really different families. The man had never learned sign and he was tremendously relieved to find the Deaf community; she was well-ensconced in the Deaf community and all her family signed. And she was pregnant and they wanted the child to be born deaf. And I thought that was really interesting, because there’s a small selfish part of us that wants to pass on our genes and our special qualities to our children. You want the child to be part of your tribe. For them, that meant their child being deaf. So that got me thinking. And then I met lots of deaf people, and I would scribble down things that they said, and I met someone who was going deaf, and I scribbled more, and slowly these characters started to take shape. And I do have a very noisy, combative, and sort of funny family myself, so they were you know, the place where I put these deaf characters.


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Scan this image to learn a new word in asl. (Find scanning instructions on the table of contents.) 2 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 6

What does it mean to be Deaf? Held to be a limiting disability by some and a rich source of cultural pride for others, there is an important distinction to make between “deaf” and “Deaf.” The word “deaf” with a lowercase “d” refers to the inability to hear, whereas “Deaf” with an uppercase “D” is used to refer to Deaf culture and the Deaf community. There are varying degrees of hearing loss, and many different causes. Deafness ranges along a spectrum, from mild (an ability to hear most speech, but soft sounds only with difficulty or not at all) to profound (an inability to hear any speech and nothing but the loudest sounds). Hearing loss occurs for a variety of reasons and at any stage in life. Though difficult to measure these sorts of things, it is estimated that nearly one in six Americans has some form of hearing loss, and that three out of every 1,000 children are born deaf. CO N TIN U E D O N T H E N E X T PAG E

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There are many different kinds of standard sign that are used around the world. asl is used in the United States and parts of Canada. It does not derive from spoken English—asl is a distinct language with its own grammatical structures, syntax, and vocabulary.

Degree of hearing loss, however, does not directly correspond to degree of “Deafness.” A profoundly deaf individual may have no ties to the Deaf community, whereas someone who has some hearing but was raised by Deaf parents using sign may be considered Deaf. This is because the Deaf community is not an artificial collection of people based on a physical trait, but rather is its own organic and distinct culture, replete with its own native language, institutions, hierarchy, customs, and networks. Awareness and acceptance of Deaf people have been extremely variable throughout history. In Ancient Greece, they were deemed ineducable; in Dark Ages Christianity, their deafness was thought to be a punishment for their parents’ sins. There were a few communities with a high incidence of deafness—Martha’s Vineyard, for example, had a population in the 18th and 19th centuries that was up to 25 percent deaf, and there is a large Deaf population in Rochester, New York as well. For others, however—the victim of an illness or a deaf child born to hearing parents—the world could be very lonely indeed. Some argue that the Deaf community did not fully get its start until the beginning of deaf education and the standardization of a gestural form of communication: sign language. The Abbé Charles Michel De L’Épée is credited with creating the first free school for the deaf in France in 1760. He also compiled the gestural signs he learned from the deaf into a standardized system. Many of the signs from his system are still used today in lsf (French Sign Language) and its immediate descendant, asl (American Sign Language). He founded a number of schools and a shelter in Paris and other parts of France, as well as a teaching program, which allowed others from around the world to learn and teach this manual language. In the early 1800s, American Thomas Hopkins Gallaudet traveled to France to learn more about deaf education from L’Épée’s successor, and met instructor Laurent Clerc. Together, Gallaudet and Clerc returned to the United States and founded the first American School for the Deaf (asd) in 1817 in Hartford, Connecticut. asd is still extant today, teaching students from elementary school through high school. Other sign-based residential schools for the deaf began appearing in the United States, and in 1864, Gallaudet University, the first and only accredited university for the deaf, opened its doors. Its first president was Edward Miner Gallaudet, the son of Thomas Hopkins Gallaudet. 24 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 6

At the same time, oral education for the deaf was gaining momentum in Western Europe. Educators like Samuel Heinicke (creator of the “German Method” of learning speech) taught their students to lip read and to speak by having them feel the movement of a speaking throat with their hands. At a deaf education convention in Milan in 1880, it was decided that oral language education, and not manual signed language, was the best way to teach the Deaf and integrate them into the hearing world. Though this remained a popular philosophy for nearly 100 years, many lamented this turn of events as a tragic loss of language and culture that had the potential to alienate the deaf rather than connecting them to a larger community. The residential schools for the deaf that were scattered across the United States had become cultural hotspots, places where sign, stories, and history could be transmitted from one generation to the next. For individuals who had grown up alone, in a totally hearing community, this was a godsend. Many graduates of these programs ended up staying in the area, either as teachers themselves at the school, or simply enjoying the presence of so many other deaf people. Oral-only education disrupted this lineage and fragmented a community which depended on residential schools, social clubs, and organizations. The methods used by oral education ranged from ineffective to cruel, and in 1964, Congress declared oral deaf education to be a “dismal failure.” It was replaced in the early ’60s by Total Communication, a theory that combined both manual and oral education. Though there are a number of methods for putting these two modes together, the most common practice is to speak and sign at the same time. In 1975, a law was passed which required schools to have the resources to support deaf students, including access to interpreters and special instruction outside of the classroom. As a result, many deaf students were mainstreamed into public schools. Some saw this as a means for greater integration and access; others were concerned that it would continue to divide Deaf children from their heritage. There are many different kinds of standard sign that are used around the world. asl is used in the United States and parts of Canada. It does not derive from spoken English—asl is a distinct language with its own grammatical structures, syntax, and vocabulary. For example, in spoken English, you might say, “I’m going to the store.” Sentence structure tends to follow a subject, verb, object pattern. In asl, however, that sentence would be signed as “I” “GO” “STORE” “NOW.”

In order to bridge the gap between asl and spoken English, many began promoting the use of Manually Coded English (mce) systems in deaf education and interpretation. The most commonly used mce system is Signed Exact English (see), which is based on spoken English’s structure and grammar. It borrowed many signs and systems from asl, but generated others and uses invented signs to express modifiers like –ly, -ed, and –ing; these are expressed in asl by changing facial expression, the speed and intensity of the sign, or repeating a sign multiple times. Signs in asl that are close in content often share similar hand shapes. Similar signs in see, on the other hand, are guided by spoken homonyms. For example, the see sign for the verb “to park” has the same hand shape as the place “a park.” Proponents of see argue that it helps sign users to become more comfortable with spoken English; critics point out that it is not as efficient as asl and can significantly delay communication times, and that it creates a gap between the language that many Deaf (and hearing) children of Deaf parents use at home and the one they may use at school. Most significantly, perhaps, mce uses a fundamentally different logic based on hearing, whereas asl and other natural signed languages are guided by visual communication. For this reason, asl is the language recommended by the National Association of the Deaf as “the optimal tool for deaf children and adults.” Over the centuries, various technological innovations have made it easier for members of the Deaf community to communicate with each other and to navigate the hearing world, from old-fashioned ear trumpets to hearing aids, to table-top amplifiers, teletypewriters, assisted listening devices, closedcaptioned televisions, and most recently and controversially, cochlear implants. Yet as it was poignantly expressed in Sound and Fury, a 1999 documentary film about a Deaf and hearing family’s debate over giving their children cochlear implants, these benefits have the potential to alienate as much as they do to connect. In this hierarchical, fiercely proud, and occasionally insular community, the lines demarking who belongs and who does not are subtly drawn. Hearing children born of Deaf parents can find themselves in a challenging liminal space—though their first language may be sign (there are many stories of hearing children having to go to speech therapy when they start school, because they are used to communicating solely in sign with their families and family friends) and they have had access to the Deaf world since birth, they can hear, whereas their parents cannot. Similarly, Deaf children born of hearing parents (according to the National Association of the Deaf, this happens 90 percent of the time) may struggle to communicate with and be understood by their families, perhaps not gaining significant access to language until school. Without sign, access to the Deaf world is minimal. Without hearing (even with aids or implants and oral education), it can be difficult to fully integrate with the hearing world. Though there are as many exceptions as there are people, at the heart of it all is the challenge of balancing two worlds that must pay careful attention to fully understand one another.

Scan the images below to learn theatre words in asl. (Find scanning instructions on the table of contents.)



Jonathan Moscone




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Next at berkeley rep

“ That rarest of theater delights—a big, noisy, sexy play in which argument is hot and throbbing.” —the nation

Starts May 16 · Call 510 647-2949 · Click

produC tion SponSor

SeaSon SponSorS

Berkeley Repertory Theatre presents



Jonathan Moscone APRIL 11–M AY 11, 2014 THRUST STAGE · LIMITED SE A SON Tribes is made possible thanks to the generous support of S E A S O N PRO D U CE R The Strauch Kulhanjian Family LE A D PRO D U CE R S John & Helen Meyer E XECU TIV E PRO D U CE R Marjorie Randolph PRO D U CE R Jack Klingelhofer A S S O CIAT E PRO D U CE R S Valerie Barth & Peter Wiley Jean & Jack Knox Dale & Don Marshall PRO D U C TI O N CO -S P O N S O R Bank of the West SEASON SPONSORS


CAST Beth Anita Carey Billy James Caverly Daniel Dan Clegg Sylvia Nell Geisslinger Ruth Elizabeth Morton Christopher Paul Whitworth

PRODUC TION S TAFF Scenic Design Todd Rosenthal Costume Design Meg Neville Lighting Design Christopher Akerlind Sound Design Jake Rodriguez Video Design Joan Osato Dramaturg Julie McCormick Casting Directors Amy Potozkin, csa Alaine Alldaffer, csa ASL Consultant Anthony Natale ASL Interpreter Craig Fogel Stage Manager Karen Szpaller

The actors and stage manager are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Tribes was commissioned and first presented by English Stage Company at the Royal Court Theatre on 14 October 2010. Tribes was presented by Barrow Street Theatre, New York, NY in 2012. Tribes is presented by special arrangement with Dramatists Play Service, Inc., New York. Partial support of open captioning is provided by Theatre Development Fund.

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Anita Carey

Dan Clegg

Elizabeth Morton

Anita is delighted to be returning to Berkeley Rep in Tribes, and to be working with Jonathan Moscone. She played Gower in last season’s Pericles, Prince of Tyre, directed by Mark WingDavey, her long-term partner with whom she also has two children. Anita and Mark live in New York. She is known in the UK for her substantial television career, most recently for her portrayal of Vivienne March in the bbc series Doctors, for which she won Best Dramatic Performance at the 2009 UK Soap Awards. Her favorite theatre credits (aside from Pericles) include Who’s Afraid of Virginia Woolf? at Nottingham Playhouse, Shirley Valentine at the Swan Theatre in Worcester, Richard III for Northern Broadsides, The Daughter-in-Law at the New Vic, Heart of a Dog at the Royal Lyceum Theatre in Edinburgh, Star-Gazy Pie and Sauerkraut and Other Worlds at the Royal Court Theatre, and Gong Donkeys at the Bush Theatre.

Dan is making his debut at Berkeley Rep. His Bay Area credits include Major Barbara and A Christmas Carol (2010) at American Conservatory Theater; Lady Windermere’s Fan, Romeo & Juliet, The Taming of the Shrew, and The Verona Project at California Shakespeare Theater; Blue/Orange at Lorraine Hansberry Theatre; and a number of productions with act’s mfa program. Before moving to the Bay Area, Dan lived in Montreal where he performed in shows at Théâtre Olympia, the Rialto Theatre, and Players’ Theatre including Equus, The Merchant of Venice, The Rocky Horror Show, and The Woman in Black. Dan is also the voice of Winston in The Winston Show, a new iPad app created by ToyTalk, a family entertainment company based in San Francisco.

Elizabeth is making her Berkeley Rep debut. She last performed on stage as the narrator (grown-up Scout) in To Kill a Mockingbird at the Weston Playhouse in Vermont. Other recent credits include the Broadway production of Death of a Salesman, Shaw’s Candida at Two River Theater Company, episodes of Louie and 666 Park Avenue, and the audio book narration of Paul Rudnick’s novel Gorgeous. Elizabeth is a graduate of the University of Evansville and a member of the Actors Center Workshop Company.


James Caverly B I L LY

James recently appeared in Tribes at the SpeakEasy Stage Company in Boston and the Studio Theatre in Washington, DC. He has been involved with the National Theatre of the Deaf for two years, appearing in Journey of Identity, Stories In My Pocket Too, The W-5s: Stories Behind, and A Child’s Christmas in Wales. In Washington, DC, he appeared in Faction of Fools’ Tales of Courage and Poultry as well as Tales of Honor and Anchovies. At Gallaudet University, his alma mater, he performed in L’Abbe de L’Eppe, UnContented Love, Spoon River Anthology, Urinetown, and Agamemnon; his direction of Noises Off received recognition from the Kennedy Center American College Theatre Festival at Region II in 2011.

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Nell Geisslinger S Y LV I A

Nell is making her Berkeley Rep debut. She most recently served as the associate director on a world-premiere adaptation of The Cocoanuts, which runs at the Oregon Shakespeare Festival through the beginning of November. In 10 seasons at osf some of her favorite roles have included Stella in A Streetcar Named Desire, Kate in The Taming of the Shrew, Nina in Seagull, Louison in The Imaginary Invalid, Doll Tearsheet in Henry IV, Part II, and many others. In 2012 she was a proud participant in and contributing writer to the Black Swan Lab for New Work at osf. Regionally she has appeared at Milwaukee Repertory Theater, Cincinnati Playhouse in the Park, Actors Theatre of Louisville, Boston Court Theatre, and with the Los Angeles Women’s Shakespeare Company. Her film and TV credits include Chloe and Keith’s Wedding and The Witch of Portobello. Look for Nell this summer in Twelfth Night at the Utah Shakespeare Festival, directed by David Ivers.


Paul Whitworth CHRISTOPHER

Paul began his professional career at the Royal Shakespeare Company (1976–82). In 1984, he joined Shakespeare Santa Cruz, where he produced, directed, or acted in 65 productions, serving as artistic director from 1996 to 2007. His other Bay Area credits include leading roles in Night and Day at American Conservatory Theater, Blue/Orange at Aurora Theatre, Shining City at San Francisco Playhouse, Krapp’s Last Tape and One for the Road at Jewel Theatre, and The Pitmen Painters at TheatreWorks. Other recent leading roles include Galileo in The Life of Galileo at Asolo Repertory Theatre and Forrest in Hurricane (world premiere) by Nilo Cruz at the Ringling International Arts Festival. Paul’s directing credits include the world premiere of The Rape of Tamar (Lyric Hammersmith, London); Family Butchers and Triptych (Magic Theatre); and Arms and the Man, Engaged, and the premieres of Cinderella, Gretel and Hansel, The Princess and the Pea, and Sleeping Beauty (Shakespeare Santa Cruz).

Nina Raine


After graduating from Oxford, Nina began her career as a trainee director at the Royal Court Theatre. She dramaturged and directed the hard-hitting verbatim play Unprotected at the Liverpool Everyman, for which she won both the Theatrical Management Association’s Best Director Award and the Amnesty International Freedom of Expression Award for an Outstanding Production on a Human Rights Theme. Unprotected was also nominated as Best Regional Production by Whatsonstage. com. Rabbit is Nina’s first play, for which

she won London’s Evening Standard Award 2006 for Most Promising Playwright, the Critics’ Circle Award 2006 for Most Promising Playwright, and was nominated as Best London Newcomer by The play was also shortlisted for the Verity Bargate Award 2004. It premiered at the Old Red Lion Theatre in 2006 and after a sell-out run transferred to the Trafalgar Studios in London’s West End, followed by a production for Brits Off Broadway in New York, in 2007. Nina’s second play, Tiger Country, was shortlisted for the Sphinx Theatre Brave New Roles Award, and is under commission to the Royal Court Theatre. Tribes had its world premiere in 2010 at the Royal Court Theatre and its North American premiere off Broadway at the Barrow Street Theatre in 2012, where it won the 2012 Drama Desk Award for Outstanding Play.

Jonathan Moscone

HOME we’ll get you there




Jonathan Moscone is in his 15th season as artistic director of California Shakespeare Theater, where he most recently directed American Night: The Ballad of Juan José and where he will direct Shaw’s Pygmalion for the 2014 season. His other credits include the world premiere of Ghost Light, which he cocreated and developed with playwright Tony Taccone for Oregon Shakespeare Festival and Berkeley Rep. In addition, he directed Bruce Norris’ Clybourne Park for American Conservatory Theater. For Cal Shakes, Jonathan has directed the world premiere of John Steinbeck’s The Pastures of Heaven by Octavio Solis, The Life and Adventures of Nicholas Nickleby, Candida, Twelfth Night, Happy Days, Much Ado About Nothing, The Tempest, and The Seagull. He is the first recipient of the Zelda Fichandler Award, given by the Stage Directors and Choreographers Foundation for “transforming the American theatre through his unique and creative work.” His regional credits include Intersection for the Arts, the Huntington Theatre, Alley Theatre, Milwaukee Repertory Theater, Goodspeed Musicals, Dallas Theater Center, San Jose Repertory Theatre, Intiman Theatre, and Magic Theatre, among others. Jonathan currently serves as a board member of Theatre Communications Group.

Todd Rosenthal

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Todd previously designed Ghost Light for Berkeley Rep. His Broadway credits include August: Osage County (Tony Award), The Motherfucker with the Hat (Tony nomination), Who’s Afraid of Virginia Woolf? (Tony Award for Best Revival), and Of Mice and Men, which opens in April. Off Broadway, he designed for the premiere of Red Light Winter at the Barrow Street Theatre and Domesticated at Lincoln Center Theater. Todd was the set designer for six years for the Big Apple Circus. His international credits include August: Osage County (National Theatre in London and Sydney Theatre in Australia) and The Beauty Queen of Leenane at Theatre Royal in Ireland. Todd designed 33 productions for Steppenwolf Theatre and is an artistic partner at the Goodman Theatre. He

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BE R K E L E Y R E P PR E S E N T S also designed for the Guthrie Theater, the Alliance Theatre, the Mark Taper Forum, La Jolla Playhouse, Arena Stage, Cincinnati Playhouse, the Alley Theatre, Lyric Opera of Chicago, Oregon Shakespeare Festival, and many others. Todd was lead designer for Mythbusters: The Explosive Exhibition and the International Exhibition of Sherlock Holmes. He received many other accolades, including the Laurence Olivier Award, the Helen Hayes Award, Ovation Award, the Back Stage Garland Award, the Joseph Jefferson Award, and the Michael Merritt Award for Excellence in Design and Collaboration. Todd is an associate professor at Northwestern University and a graduate of Yale School of Drama.

Meg Neville


Meg’s Berkeley Rep credits include Closer; Dinner with Friends; Eurydice (also at Yale Repertory Theatre and Second Stage); The Life of Galileo; Ghost Light (also at Oregon Shakespeare Festival); Ghosts; In the Wake (also at the Kirk Douglas Theatre); Pericles, Prince of Tyre; Suddenly Last Summer; tragedy: a tragedy; and Yellowjackets. She also recently designed The Cocoanuts and The Taming of the Shrew at osf, Lady Windermere’s Fan at California Shakespeare Theater, and Krispy Kritters in the Scarlet Night at Cutting Ball Theater. As an associate artist for Cal Shakes she designed Pastures of Heaven, An Ideal Husband, The Tempest, King Lear, A Midsummer Night’s Dream, Macbeth, Love’s Labour’s Lost, Mrs. Warren’s Profession, Happy Days, The Winter’s Tale, All’s Well That Ends Well, Rosencrantz and Guildenstern Are Dead, and Twelfth Night (Bay Area Critics Circle Award). Meg has worked in the Bay Area at Marin Theatre Company, American Conservatory Theater, San Jose Repertory Theatre, Joe Goode Performance Group, San Francisco Opera Center, and the Magic Theatre. Her regional and New York venues include Brooklyn Academy of Music (Orfeo with Chicago Opera Theater), the Atlantic Theater Company, New York Stage and Film, Center Stage, Hartford Stage, South Coast Repertory, Portland Stage Company, and Dallas Theater Center. Meg is a graduate of the Yale School of Drama and resides in San Francisco with her husband and three children.

Christopher Akerlind LIGHTING DESIGNER

Christopher has created the lighting for over 600 theatre, opera, and dance productions worldwide. He returns to Berkeley Rep where he designed Ghost Light, Antony and Cleopatra, The Life of Galileo, and The Triumph of Love. His Broadway credits include Rocky, The Gershwin’s Porgy and Bess (Tony nomination), 110 in the Shade (Tony nomination), Awake and Sing! (Tony nomination), The Light in the Piazza (Tony, Outer Critics, and Drama Desk Awards), Seven 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 3–1 4 · I S S U E 6

Guitars (Tony nomination), Superior Donuts, and Top Girls. His recent work includes Martha Clarke’s new piece Cheri for Signature Theatre, The Threepenny Opera for Atlantic Theater Company, the world premiere of Dolores Claiborne for San Francisco Opera, and Sleeping Beauty Wakes for La Jolla Playhouse and McCarter Theatre Center. Christopher is the recipient of an Obie Award for Sustained Excellence and the Michael Merritt Award, and has received nominations for many other awards.

Jake Rodriguez


Jake is a sound designer based in the San Francisco Bay Area. His regional credits include the world premieres of Troublemaker, or The Freakin Kick-A Adventures of Bradley Boatright, Girlfriend, and Passing Strange at Berkeley Rep; world premieres of Brownsville Song and The Christians at Actors Theatre of Louisville; Underneath the Lintel and Scorched at American Conservatory Theater; Hamlet (2012) at California Shakespeare Theater; world premieres of Bruja, Annapurna, and Oedipus el Rey at Magic Theatre; Eurydice at Milwaukee Repertory Theater; The People’s Temple at Guthrie Theater; and Clementine in the Lower 9 at TheatreWorks. He has designed off Broadway at the Pershing Square Signature Center for Eve Ensler’s Emotional Creature. Jake is the recipient of a 2004 Princess Grace Award.

Joan Osato


Joan has played a pivotal role in local and national theatre for over a decade and has been an indispensable part of Youth Speaks/ The Living Word Project since 2001. She has brought her multiplicity of producing and design talents to lwp repertory works such as The Break/s, Word Becomes Flesh, Scourge, Tree City Legends, and Mirrors in Every Corner, and plays for Campo Santo including The River by Richard Montoya and Alleluia by Luis Alfaro, directed by Jonathan Moscone. In 2014 she is producing Chasing Mehserle by Chinaka Hodge, Spiritrials by Dahlak Brathwaite — both directed by Marc Bamuthi Joseph — and Nogales by Richard Montoya and Sean San José. Her current projects include a statewide community engagement project called Califas (recipient of the Rockefeller map Fund), Reflections of Healing with muralist Brett Cook, and Life is Living, a project in neglected parks in urban centers around the country.

Karen Szpaller


Karen is thrilled to be back for her 11th season at Berkeley Rep. Her favorite past Berkeley Rep productions include The House that will not Stand, The Wild Bride, The Lieutenant of Inishmore, Eurydice, Fêtes de la Nuit, Comedy on the Bridge/Brundibar, Compulsion, Concern-

profiles ing Strange Devices from the Distant West, and Let Me Down Easy. Her favorites elsewhere include Anne Patterson’s art and theatrical installation Seeing the Voice: State of Grace and Anna Deavere Smith’s newest work, On Grace, both at Grace Cathedral; the national tour of Spamalot in San Francisco; A Christmas Carol (2006–13), Armistead Maupin’s Tales of the City, 1776, Stuck Elevator, Blackbird, Curse of the Starving Class, and The Tosca Project at American Conservatory Theater; Wild With Happy, Striking 12, and Wheelhouse at TheatreWorks; Ragtime and She Loves Me at Foothill Music Theatre; The 25th Annual Putnam County Spelling Bee at San Jose Repertory Theatre; Salomé at Aurora Theatre; and Urinetown: The Musical at San Jose Stage Company. Karen is the production coordinator at TheatreWorks.

Julie McCormick D R A M AT U R G

Julie is the literary associate at Berkeley Rep, and has previously served as a dramaturg on Red and Vanya and Sonia and Masha and Spike. She has also worked with various projects at The Ground Floor Summer Residency Lab. In addition to her work at Berkeley Rep, Julie occasionally freelances at other theatres in the Bay Area, including the world-premiere productions of Frances Ya-Chu Cowhig’s 410[Gone] and Amelia Roper’s She Rode Horses Like the Stock Exchange at Crowded Fire Theater. Julie was the 2011–12 Peter F. Sloss Literary/Dramaturgy Fellow at Berkeley Rep, and holds a BA from Carleton College.

Amy Potozkin, csa


A native New Yorker, Amy moved west in 1990 when she was hired to work for Berkeley Rep. Through the years she has also had the pleasure of casting projects 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 indie films: Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and the upcoming Love and Taxes both by Josh Kornbluth; and the upcoming feature film Beyond Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist in residence. She has been a coach to hundreds of actors, teaches acting at Mills College, and leads workshops at Berkeley Rep’s School of Theatre and numerous other venues in the Bay Area. Amy is a member of csa, the Casting Society of America.

Alaine Alldaffer, csa


Coldwell Banker. Where Home Begins.

Alaine is the casting director for Playwrights Horizons and works with Lisa Donadio, who is the associate casting director. Credits include Clybourne Park and Grey Gardens (Broadway and Playwrights Horizons), Circle Mirror Transformation (Artios Award), and Present Laughter (Artios Award) with Victor Garber for the Huntington Theatre Company and Roundabout Theatre Company. TV credits include The Knights of Prosperity (abc), and associate credits include Ed (nbc) and Monk (usa). Alaine has cast for Women’s Project Theater, Long Wharf Theatre, Soho Rep, the Alley Theatre, La Jolla Playhouse, and Arena Stage, as well as for Williamstown Theatre Festival and the Humana Festival of New American Plays.

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Anthony Natale


Anthony is an asl consultant and a professional development specialist who presents workshops and trains interpreters. He has worked closely with Deaf West productions acting, translating, and consulting on Big River, Sleepy Beauty Wakes, and Pippin. His other theatre credits include One Flew Over the Cuckoo’s Nest, West Side Story, The Red Shoes, The Greatest Show on Earth, Godspell, Fiddler on the Roof, Oliver, and Alice in Wonderland. Anthony is known to moviegoers as Cole in Mr. Holland’s Opus and the guy in the elevator during the pivotal scene in Jerry Maguire, signing “You complete me.” He was also seen in Children of a Lesser God, City of Angels, Two Shades of Blue, and Date Movie. Anthony’s television credits include Switched at Birth (also the asl dialogue coach), csi, Any Day Now, Once and Again, 7th Heaven, The Ellen DeGeneres Show, His Bodyguard, Beauty and the Beast, Pacific Blue, and Rude Awakening. He was honored to work with Michael Jackson’s London tour teaching asl to his dancers. Anthony is also the star of How to Talk to a Person Who Can’t Hear, the first video made to teach sign language to the general public, which has garnered awards from the U.S. International Film & Video Festival and a Young Artist Award. Anthony attended California State University, Northridge and has a BA in film production and minor in theatre arts.





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Craig Fogel

A S L I N T E R P R E T E R / U N D E R S T U DY B I L LY & DA N I E L

Craig is a professional actor and a nationally certified asl-English interpreter. As an interpreter, Craig specializes in theatre, specifically in collaborations between Deaf and hearing artists. He has the privilege of working with some of New York’s most talented Deaf performers and theatre artists in auditions, rehearsal rooms, on sets, and beyond. He also interprets plays and musicals for audiences in New York City and at regional theatres. As an actor, his work has been seen on stage—both in New York and regionally—and television. A proud alumnus of New York University’s Tisch School of the Arts (cap21, Playwrights Hori-

KATHIE LONGINOTTI REALTOR® and Berkeley Rep Subscriber


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BE R K E L E Y R E P PR E S E N T S zons), Craig feels fortunate to count performances with the National Theatre of the Deaf and other Deaf-hearing collaborations like this production among his extensive credits in plays, musicals, and television work.

Tony Taccone


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 16 years, Berkeley Rep has presented more than 70 world, American, and West Coast premieres and sent 22 shows to New York, two to London, and now one to Hong Kong. Tony has staged more than 35 plays in Berkeley, including new work from Culture Clash, Rinde Eckert, David Edgar, Danny Hoch, Geoff Hoyle, Quincy Long, Itamar Moses, and Lemony Snicket. He directed the shows that transferred to London, Continental Divide and Tiny Kushner, and two that landed on Broadway as well: Bridge & Tunnel and Wishful Drinking. Tony commissioned Tony Kushner’s legendary Angels in America, co-directed its world premiere, and this season marks his eighth collaboration with Kushner when he directs 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, Tony recently debuted Ghost Light and Rita Moreno: Life Without Makeup. His latest play, Game On, written with Dan Hoyle, will premiere in April 2014 at San Jose Repertory Theatre. In 2012, Tony received the Margo Jones Award for “demonstrating a significant impact, understanding, and affirmation of playwriting, with a commitment to the living theatre.”

Susan Medak


Susan has served as Berkeley Rep’s managing director since 1990, leading the administration and operations of the Theatre. She has served as president of the League of Resident Theatres (lort) and treasurer of Theatre Communications Group, organizations that represent the interests of nonprofit theatres across the nation. Susan chaired two panels for the Massachusetts Arts Council and has also served on program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan chairs the Downtown Berkeley Business Improvement District and serves as president of the Downtown Berkeley Association. She is the founding chair of the Berkeley Arts in Education Steering 3 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 6

Committee for Berkeley Unified School District and the Berkeley Cultural Trust. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund. Susan serves on the faculty of Yale School of Drama and is a proud member of the Mont Blanc Ladies’ Literary Guild and Trekking Society. She lives in Berkeley with her husband.

Karen Racanelli


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

Liesl Tommy


After having directed the acclaimed production of Ruined in 2011, Liesl joined the artistic team at Berkeley Rep in 2013. She is an award-winning director whose world premieres include Party People by Universes at Oregon Shakespeare Festival, The White Man—A Complex Declaration of Love by Joan Rang with DanskDansk Theatre in Denmark, Peggy Picket Sees the Face of God by Roland Schimmelpfennig at the Luminato Festival/ Canadian Stage Toronto, Eclipsed by Danai Gurira at Yale Repertory Theatre and Woolly Mammoth Theatre Company, The Good Negro by Tracey Scott Wilson at The Public Theater and Dallas Theater Center, A History of Light by Eisa Davis at the Contemporary American Theatre Festival, Angela’s Mixtape by Eisa Davis at Synchronicity Performance Group, New Georges, and Bus and Family Ties at the Play Company for the Romania Kiss Me! Festival. Liesl’s other credits include California Shakespeare Theater, Huntington Theatre Company, Center Stage in Baltimore, Sundance East Africa, Manda Island, Kenya, Oregon Shakespeare Festival, La Jolla Playhouse, and Huntington Theatre Company, among others. Liesl serves as the program associate at Sundance Institute Theatre Program, focusing on its activities in East Africa, and she was recently made an artist trustee with the Sundance Institute’s board of trustees. She was awarded the inaugural Susan Stroman Directing Award from the Vineyard

profiles Theatre, the nea/tcg Directors Grant, and the New York Theatre Workshop Casting/ Directing Fellowship. She is a native of Cape Town, South Africa.

Madeleine Oldham

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

Madeleine is the director of Berkeley Rep’s recently launched Ground Floor and the Theatre’s resident dramaturg. She oversees commissioning and new play development, and dramaturged the world premiere productions of Passing Strange and In the Next Room (or the vibrator play), among others. As literary manager and associate dramaturg at Center Stage in Baltimore, she produced the First Look reading series and headed up its young audience initiative. Before moving to Baltimore, she was the literary manager at Seattle Children’s Theatre, where she oversaw an extensive commissioning program. She also acted as assistant and interim literary manager at Intiman Theatre in Seattle. Madeleine served for four years on the executive committee of Literary Managers and Dramaturgs of the Americas and has also worked with act (Seattle), Austin Scriptworks, Crowded Fire, the Eugene O’Neill Theatre Center, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage.

Michael Suenkel


Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 20th 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.

The Strauch Kulhanjian Family SEASON PRODUCER

Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently chair of the trustees committee. He is chairman of the Roda Group (, a venture-development company based in Berkeley, focused on cleantech investments, best known for launching and for being the largest investor in Solazyme, a renewable oil and bio-products company (Nasdaq: szym, Roger is chairman of the board of CoolSystems, a medical technology company, and a member of UC Berkeley Engineering Dean’s college advisory board.

He is chairman of the board of trustees for the Mathematical Sciences Research Institute (msri); a member of the board of Northside Center, a mental-health services agency based in Harlem, New York City; and a co-founder of the William Saroyan Program in Armenian Studies at Cal. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three children.

John & Helen Meyer LEAD PRODUCERS

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

Take the Theatre home with you! The Hoag Theatre Store is better than ever, featuring our new tablet holder and exclusive items from our staff artisans. Wonderful gifts for you and the theatre-lovers in your life!

Marjorie Randolph


Marjorie is the immediate past president of Berkeley Rep’s board of trustees and a longtime supporter of the Theatre. She is retired as the head of worldwide human resources for Walt Disney Studios. During her tenure at Berkeley Rep, she has produced 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, a member of the Chabot Space & Science Center Foundation Leadership Council, and a member of the National Leadership Council for Futures Without Violence.

Jack Klingelhofer PRODUCER

Jack is the founder and co-owner of an information technology company located in the East Bay since 1981, and he is pleased that its success has allowed him to contribute to his other passion, the East Bay arts scene. As a long-term subscriber, Jack is excited to support the creative excellence at Berkeley Rep, whose performances have meant so much to him over the years.

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BE R K E L E Y R E P PR E S E N T S Bank of the West


Founded in 1874, $65 billion-asset Bank of the West (, member fdic and equal housing lender, offers a wide range of personal, commercial, wealth management, and international banking services. The bank operates more than 600 retail and commercial banking locations in 19 Western and Midwestern states. Bank of the West is a subsidiary of bnp Paribas, which has a presence in 80 countries with nearly 200,000 employees.



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underway to expand bart, allowing it to serve even more communities and continue to offer an ecofriendly alternative to cars. For more info, visit

San Francisco Chronicle SEASON SPONSOR

The San Francisco Chronicle is the largest newspaper in Northern California and the second largest on the West Coast. Acquired by Hearst Corporation in 2000, the San Francisco Chronicle was founded in 1865 by Charles and Michael de Young and has been awarded six Pulitzer Prizes for journalistic excellence. The Chronicle is committed to coverage of local issues and those topics with national impact. publishes San Francisco Chronicle news coverage and features online, and adds more features not available in the print version, such as breaking news, reader forums, photo galleries, multimedia presentations, as well as real estate, classified, recruitment, and auto databases. Combined with, the San Francisco Chronicle reaches 1.7 million Bay Area adults each week.

profiles Wells Fargo


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

Part of your tribe


What can you tell me about what you’re working on now? Not much really, because it’s not very formed. You sort of write what you know, so all the characters are in their 30s and having babies. I haven’t had any children yet, but it’s what all my friends are doing so it’s all around me. It’s about that and also the legal system… that’s as far as I’ve got, really! Yeah, my friends and I are in the “kids are about to start kindergarten” phase. So in a certain way, I feel like I belong to a tribe of young parents. Do you feel like you belong to any particular tribes? A tribe of writers, I suppose? Actually, you know, these sort of intense friendships that I had when I was younger are now finding their way back into my life. And even though we haven’t spoken in years, our lives have sort of turned out similarly, which is really interesting to me. I wonder, maybe there was 3 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 6

something we saw in each other when we were young, and we’re still like that— we’re still that same person? I wonder if that’s a sort of tribe. For instance, I spent a year out in Munich when I was 18, and I met this girl and we got on really well and were pen pals for a bit afterwards. She wrote me a letter about a month or so ago, and I hadn’t heard from her in 17 years. So I asked her, “Do you have any children?” And she said no, and I thought that’s so interesting! Because the majority of people I’m surrounded by now do have children, but not my old, old friends. It’s curious. There’s a play in there somewhere! In the play, Sylvia describes the Deaf community as a kind of protective tribe. What has the reaction been from the Deaf community to the play? By and large, the deaf people I’ve met have been thrilled that someone was interested in telling a bit of their story. But of course, the play is quite

critical of the Deaf community at some moments. Some of the people who have been critical of the Deaf community to me, they’ve said “No, no, I can’t go on the record as having said that.” It’s tricky. But, so: positive memory! We did two press nights for the London production—one for the Deaf press and one for the hearing press. And I was so nervous on the night of the Deaf press. I sat in the back row and watched, and in the intermission, they were all just talking away in sign. And at the end of the play, they all clapped in the deaf way— which is to wave your hands—and Jacob Casselden, who played Billy, looked out and saw them all and waved his hands back at them and it was really moving. Because that was his tribe, and they were applauding him. Reprinted with permission of Steppenwolf Theatre.

Additional staff asl sign master Jac Cook asl performance interpreters Sherry Hicks Kendra Keller Michael Velez Assistant director Jacob Harvey Audience development consultant Shira Grabelsky Deck crew Gabriel Holman Dialect coach Lynne Soffer Production assistant Christina Larson

Tony Kushner photo by joan marcus

Props Maria Gomez-Baxter Anya Kazimierski Baz Wenger Scene shop Patrick Keene Stephanie Shipman Read Tuddenham Ben Sandberg Scenic artists Zoe Gopnik-McManus Lassen Hines Christopher Jee Mary McDonald Stage carpenter Ross Copeland Wardrobe Chris Weiland Special thanks Evan Hatfield, Steppenwolf Theatre Company Deb Thomas, prop director at Studio Theatre in Washington, DC Friends of the Berkeley Public Library for many of the books seen onstage

Page to S tage

Michael Krasny in conversation with

Tony Kushner & Tony Taccone

Monday, May 19 · 7pm Roda Theatre · Free Special thanks to KQED and HSBC Private Bank

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We acknowledge the following Annual Fund supporters whose contributions from January 2013 through February 2014 helped to make possible the Theatre’s artistic and community outreach programs.

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

G IF T S O F $2 5,000 –49,999

G IF T S O F $5,000 –9,999

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

Anonymous The Ira and Leonore Gershwin Philanthropic Fund Wallis Foundation Woodlawn Foundation

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

G IF T S O F $50,000 –99,999

Koret Foundation The Kenneth Rainin Foundation

The Bernard Osher Foundation National Endowment for the Arts


G IF T S O F $10,000 –24,999

G IF T S O F $12 ,000 –24,999 Bank of the West Mechanics Bank Wealth Management The Morrison & Foerster Foundation Union Bank

G IF T S O F $6,000 –11,999

G IF T S O F $2 5,000 –49,999

American Express

Armanino llp Chevron Deloitte Meyer Sound Oliver & Company Panoramic Interests Peet’s Coffee & Tea Schoenberg Family Law Group ubs U.S. Bank

G IF T S O F $750 –4,999 Alameda County Arts Commission/artsfund Joyce & William Brantman Foundation Civic Foundation Dramatist’s Guild Fund The Entrekin Foundation jec Foundation

G IF T S O F $3,000 –5,999 4U Sports Bayer usa Foundation Gallagher Risk Management Services The Safeway Foundation

G IF T S O F $1, 500 –2 ,999 Bingham McCutchen llp Macy’s

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

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


M AT C H I NG G I F T S act Catering Angeline’s Louisiana Kitchen Aurora Catering Autumn Press Back to Earth Organic Catering Belli Osteria Bistro Liaison Bobby G’s Pizzeria Bogatin, Corman & Gold build Pizzeria Café Clem Comal Cyprus Distillery No. 209 Domaine Carneros by Taittinger Donkey & Goat Winery East Bay Spice Company etc Catering Eureka!

Four Seasons Hotel San Francisco five Gather Restaurant Green Waste Recycle Yard Greene Radovsky Malone Share & Hennigh llp Hotel Shattuck Plaza Hugh Groman Catering Jazzcaffè Kevin Berne Images La Mediterranee La Note Latham & Watkins, llp Match Vineyards Mint Leaf Patricia Motzkin Architecture Paul Hastings Phil’s Sliders Picante

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

The following companies have matched their employees’ contributions to Berkeley Rep. Please call the Development Department at 510 647-2906 to find out if your company matches gifts. Adobe Systems Inc. · Advent Software · Alexander & Baldwin · American Express · Apple · Argonaut Group, Inc. · at&t · Bank of America · Bechtel Corporation · BlackRock · Bristol Myers Squibb · Charles Schwab & Co, Inc · Chevron Corporation · Clorox · Constellation Energy · Franklin Templeton · Gap · Google · Hewlett Packard · ibm Corporation · JD Fine and Company · John Wiley & Sons, Inc. · Johnson & Johnson · kla Tencor · Lawrence Livermore National Laboratory · Lexis-Nexis · Macy’s Inc.· Matson Navigation Company · Microsoft · Morrison & Foerster · Motorola Mobility · mrw & Associates llc · norcal Mutual Insurance Company · Oracle Corporation · Perforce · Ruppenthal Foundation for the Arts · Salesforce. com · The Doctors Company · The Walt Disney Company · visa u.s.a., Inc. · Willis Lease Finance Corporation

Great theatre is made possible by the generosity of our community. We gratefully acknowledge the following contributors to Berkeley Rep, who champion the Theatre’s artistic and outreach programs. To make your gift and join this distinguished group, visit or call 510 647-2906. LEG E N D


in-kind gift


CON T R I BU TOR S donors to the annual fund

matching gift

P RODUC E R C I RC L E S E A S O N PRO D U CE R S $ 10 0,0 0 0 +

The Strauch Kulhanjian Family

Guy Tiphane Gail & Arne Wagner Barry Lawson Williams & Lalita Tademy



$ 5 0,0 0 0 – 9 9,9 9 9

$ 12 ,0 0 0 –2 4 ,9 9 9

Bruce Golden & Michelle Mercer Mary & Nicholas Graves Wayne Jordan & Quinn Delaney John & Helen Meyer Jack & Betty Schafer

Anonymous Barbara & Gerson Bakar Stephen Belford & Bobby Minkler Carole B. Berg David & Vicki Cox Thalia Dorwick Robin & Rich Edwards David & Vicki Fleishhacker Scott & Sherry Haber Jack Klingelhofer Susan & Moses Libitzky Sandra & Ross McCandless Dugan Moore Mary Ruth Quinn & Scott Shenker Patricia Sakai & Richard Shapiro Joan Sarnat & David Hoffman Liliane & Ed Schneider Felicia Woytak & Steve Rasmussen Martin & Margaret Zankel

E XECU TIV E PRO D U CE R S $ 2 5,0 0 0 –49,9 9 9

Rena Bransten Martha Ehmann Conte Bill Falik & Diana Cohen Kerry Francis & John Jimerson M Frances Hellman & Warren Breslau Pam & Mitch Nichter Stewart & Rachelle Owen Marjorie Randolph Dr. & Mrs. Philip D. Schild Michael & Sue Steinberg Jean & Michael Strunsky

A S S O CIAT E PRO D U CE R S $ 6,0 0 0 – 11,9 9 9

Anonymous (3) Edward D. Baker Shelley & Jonathan Bagg Neil & Gene Barth Valerie Barth & Peter Wiley M Steve & Blair Buster Susan Chamberlin Robert Council & Ann Parks-Council Tom Dashiell Oz Erickson & Rina Alcalay William Espey & Margaret Hart Edwards John & Carol Field Kristina Flanagan Virginia & Timothy Foo Paul Friedman & Diane Manley M Jill & Steve Fugaro Paul Haahr & Susan Karp M Doug & Leni Herst Hitz Foundation Ms. Wendy E. Jordan Jean & Jack Knox Wanda Kownacki Ted & Carole Krumland

Zandra Faye LeDuff Dixon Long Naomi & Bruce Mann K Dale & Don Marshall Martin & Janis McNair Stephanie Mendel Steven & Patrece Mills M Stewart & Rachelle Owen Mary Ann & Lou Peoples Peter Pervere & Georgia Cassel Leonard & Arlene Rosenberg Kaye & Randy Rosso Pat Rougeau Richard A. Rubin & H. Marcia Smolens Emily Shanks M Pat & Merrill Shanks Karen Stevenson & Bill McClave Jacqueline & Stephen Swire Patricia Tanoury Wendy Williams


$ 3,0 0 0 – 5,9 9 9

Anonymous (5) Tony Amendola & Judith Marx Edith Barschi Cynthia & David Bogolub Drs. Don & Carol Anne Brown Tracy Brown & Greg Holland Jim Butler Brook & Shawn Byers C. William Byrne M Lynne Carmichael Jennifer Chaiken & Sam Hamilton Earl T. Cohen & Heidi M. Shale Daniel Cohn & Lynn Brinton Constance Crawford Karen & David Crommie Richard & Anita Davis Lois M. De Domenico Ben Douglas Delia Fleishhacker Ehrlich Nancy & Jerry Falk Carol A. Giles Earl & Bonnie Hamlin Vera & David Hartford Richard N. Hill & Nancy Lundeen James C. Hormel & Michael P. Nguyen Lynda & Dr. J. Pearce Hurley Kathleen & Chris Jackson Ashok Janah K Robert Kelling Duke & Daisy Kiehn Lynn Eve Komaromi Suzanne LaFetra Nancy & George Leitmann Don & Amy Louv M Peter & Melanie Maier Charlotte & Adolph Martinelli Grey Maus(e) Phyra McCandless & Angelos Kottas Susan Medak & Greg Murphy Eddie & Amy Orton Sandi & Dick Pantages Pease Family Fund Ivy & Leigh Robinson David S. H. Rosenthal & Vicky Reich Riva Rubnitz Beth & David Sawi Linda & Nathan Schultz Lisa & Jim Taylor James & Lisa White Steven Winkel & Barbara Sahm Sheila Wishek Sally Woolsey Alan & Judy Zafran


$ 1, 5 0 0 –2 ,9 9 9

Anonymous (8) Pat Angell Marcia & George Argyris Martha & Bruce Atwater Nina Auerbach Don & Gerry Beers M David Beery & Norman Abramson Caroline Booth Linda Brandenburger Broitman-Basri Family Thomas & Tecoah Bruce Kerry Tepperman Campbell Ronnie Caplane Stephen K. Cassidy & Rebecca L. Powlan Paula Champagne & David Watson LinChiat Chang K The Cheitlin Family Julie Harkness Cooke Penny Cooper & Rena Rosenwasser Ed Cullen & Ann O'Connor James Cuthbertson John & Stephanie Dains Ira Dearing Ilana DeBare & Sam Schuchat Francine & Beppe Di Palma Jerome & Thao Dodson Becky Draper Brooke Facente Merle & Michael Fajans Cynthia A. Farner Tracy & Mark Ferron Lisa & Dave Finer Ann & Shawn Fischer Hecht Martin & Barbara Fishman Linda Jo Fitz Frannie Fleishhacker Thomas & Sharon Francis Herb & Marianne Friedman Don & Janie Friend James Gala Karl & Kathleen Geier Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Bob Goodman Deborah & Howard Goodman Robert & Judith Greber William James Gregory Garrett Gruener & Amy Slater Richard & Lois Halliday Migsy & Jim Hamasaki Bob & Linda Harris Ruth Hennigar

Tom & Bonnie Herman Wendy Herzog K Howard Hertz & Jean Krois Gail & Bob Hetler Bill Hofmann & Robbie Welling The Hornthal Family Foundation Rick Hoskins & Lynne Frame Paula Hughmanick & Steven Berger George & Leslie Hume Mr. & Mrs. Harold M. Isbell Herrick and Elaine Jackson, The Connemara Fund Beth & Fred Karren Doug & Cessna Kaye Rosalind & Sung-Hou Kim Michael Kossman & Luis Orrico John Kouns & Anne Baele Kouns Helen E. Land Robert Lane & Tom Cantrell William & Adair Langston Randy Laroche & David Laudon Louise Laufersweiler & Warren Sharp Andrew Leavitt & Catherine Lewis Ellen & Barry Levine Bonnie Levinson & Dr. Donald Kay Jennifer S. Lindsay Tom Lockard & Alix Marduel Jonathan Logan Vonnie Madigan Helen Marcus & David Williamson Lois & Gary Marcus Michael Margolis Sumner & Hermine Marshall Rebecca Martinez Jill Matichak Janet & Michael McCutcheon Karen & John McGuinn Miles & Mary Ellen McKey Scott McKinney & Sherrill Lavagnino Michele R. McNellis Toby Mickelson & Donald Brody Roger & Satomi Miles John & Katrina Miottel Andy & June Monach Scott Montgomery & Marc Rand Marvin & Neva Moskowitz Patricia Motzkin & Richard Feldman Judy O'Young, MD & Gregg Hauser Judith & Richard Oken Steve Olsen Janet Ostler Joshua Owen & Katherine Robards Matt Pagel Gerane Wharton Park Bob & MaryJane Pauley

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

Tom & Kathy Pendleton Gladys Perez-Mendez Barbara Peterson Susie & Eric Poncelet David Pratt Elizabeth Ratner John Ravitch Jonathan & Hillary Reinis Bill Reuter & Ruth Major James & Maxine Risley John & Jody Roberts Carole Robinson & Zane O. Gresham Deborah Romer & William Tucker Marc Roth Boyard & Anne Rowe Enid & Alan Rubin Gaile B. Russ Dace P. Rutland Mitzi Sales & John Argue Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Stephen C. Schaefer Jackie & Paul Schaeffer Joyce & Jim Schnobrich Stephen Schoen & Margot Fraser Mark Shusterman, M.D. Edie Silber & Steve Bomse Beryl & Ivor Silver Amrita Singhal & Michael Tubach Kae Skeels Sherry & David Smith Stephen & Cindy Snow Louis & Bonnie Spiesberger K Stephen Stublarec & Debra S. Belaga Andrew & Jody Taylor Deborah Taylor Alison Teeman & Michael Yovino-Young Susan & David Terris Ama Torrance & David Davies Bernard & Denise Tyson Buddy & Jodi Warner Jonathan & Kiyo Weiss Beth Weissman Jim & Maria Weller Grace Williams Patricia & Jeffrey Williams Charles & Nancy Wolfram Ron & Anita Wornick Sam & Joyce Zanze Jane Zuercher

201 3–1 4 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 7

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

Anonymous (7) · Peggy & Don Alter · Juli Betwee · Brian Bock and Susan Rosin · Harry Bremond & Peggy Forbes · Fred Brown & Barbara Kong Brown · Paula Carrell · Stan & Stephanie Casper · Naveen Chandra & James Lengel · Ed & Lisa Chilton · Terin Christensen · Richard & Linnea Christiani · Ralph & Rebecca Clark ·Katherine Copic & Daniel Spoonhower M · Barbara & Tim Daniels M K · Ric de Barros · Alecia E. DeCoudreaux · Harry & Susan Dennis · Corinne & Mike Doyle · Debra Engel · Susan English & Michael Kalkstein · Bill & Susan Epstein · Gary Facente · Paul Feigenbaum & Judy Kemeny · Frannie Fleishhacker · Nancy H. Francis · Lisa Franzel & Rod Mickels · Christopher R. Frosta M · Judith & Alex Glass · Phyllis & Eugene Gottfried · Diana Grand & Jon Holman · Douglas Hardman & Karla Martin · Jennifer Heyneman Sousae · Adrienne Hirt & Jeffrey Rodman · Elaine Hitchcock · Barry & Jackie Hoffner · Randall Johnson · Barbara E. Jones · Tom & Mary Anne Jorde · Seymour Kaufman & Kerstin Edgerton · Christopher Killian & Carole Ungvarsky · Mary S. Kimbal · Steve Kispersky · Joe W. Laymon · R. Jay & Eileen Love · J.E. Luckett · Bruce Maigatter & Pamela Partlow · Joan & Roger Mann · Larry & Corinne Marcus · John E. Matthews · Erin McCune & Nicholas Virene · Daniel & Beverlee McFadden · John G. McGehee · Steven McGlocklin · Kirk McKusick & Eric Allman · Dennis & Eloise Middleton · Marc Elliott Mosko · Timothy Muller · Margo Murray · Claire Noonan & Peter Landsberger · Pier & Barbara Oddone · Richard Ostreicher & Robert Sleasman · Robyn & David Owen M · Lynette Pang & Michael Man · David & Julieta Peterson · Gregory C. Potts · Dan &

We gratefully recognize the following members of the Annual Fund whose contributions were received from January to February 2014 S U PP O R T E R S $ 2 5 0 –49 9

Anonymous (2) · Eric Brink & Gayle Vassar · Travis J. Cole · Dean Francis · Marianne & Walter Frey · Shirley Jones · Bharti Parihar · Mr. L. William Perttula · Marie Rosenblatt · Darlene Schumacher · Tracy Thompson

CO N T RIB U TO R S $ 15 0 –2 49

Anonymous (2) · Michele Benson · Karen & Steven Bovarnick · Dr. Joan Bradus & Mr. Dale Friedman · Melody Burns · Phil & Carolyn Cowan · David Graves · Carol & Don Hardesty · Ron & Virginia Iverson · Bruce Koch · Linda Madden · Roberto Mancilla · Stephen E. Palmer · Helen & Garrett Romain · Lori Schweitzer · Bonnie Taylor · Joan A. Thoma · Rhoda Wolfe

Lois Purkett M · Andrew Raskopf · Kenneth & Frances Reid ·Charles R. Rice · Edward & Jeanette Roach · Horacio Rodriguez · Sheli Rosenberg · Rob & Eileen Ruby · John Sanger · Susie Sargent & Michael Webb K · Seiger Family Foundation · Neal Shorstein, MD & Christopher Doane · Ann Shulman & Stephen Colwell · Dave & Lori Simpson · George & Camilla Smith· Annie Stenzel · Tim Stevenson & David Lincoln King · Nancy & Fred Teichert · Pate & Judy Thomson · Deborah & Bob Van Nest · Wendy Willrich · Steven & Linda Wolan · Lee Yearley & Sally Gressens · Sam & Joyce Zanze

AC TO R S $500–999

Anonymous (16) · Robert & Evelyn Apte · Fred & Kathleen Allen · Gertrude & Robert Allen · Shellye L. Archambeau & Clarence Scott · Naomi Auerbach & Ted Landau · Steven & Barbara Aumer-Vail · Todd & Diane Baker · Jonathan Berk & Rebecca Schwartz · Richard & Kathy Berman · Robert Berman & Jane Ginsburg · Caroline Beverstock · Steve Bischoff · Patti Bittenbender · Nancy Blachman & David desJardins · Dr. Kevin & Mrs. Riva Bobrowsky · Fraser Bonnell · Claudia Bravo & Alan R. Silverman · Marilyn Bray · Wendy Buchen · Rike & Klaus Burmeister · David Burnett · Robert & Janet Campbell M · Doug Carlston & Kathy Williams · Bruce Carlton · Davis Carniglia & Claire Baker · John Carr · Carolle J. Carter & Jess Kitchens · Michael C. Chang · Jeff Chanin & Karen Lovdahl · Kim & Dawn Chase · Patty Chin · Carol T. Christ · Karen Clayton & Stephen Clayton · Dennis Cohen & Deborah Robison · Leonard & Roberta Cohn · Ruth Conroy · Robert & Blair Cooter · Dee Cosetto · John & Izzie Crane · Copley Crosby · Teri Cullen ·

Robert & Loni Dantzler · Pat & Steve Davis · Abby & Ross Davisson · Daryl Dichek & Kenneth Smith · Edmund DuBois · Drs. Nancy Ebbert & Adam Rochmes · Anita C. Eblé · Burton Peek Edwards & Lynne Dal Poggetto · Sue & Peter Elkind · Roger & Jane Emanuel · Gini Erck & David Petta · Patrick Flannery · Michael & Victoria Flora · Donald & Dava Freed · Stewart & Joyce Freedman · Kate & Ted Freeland · Paul Gill & Stephanie D’Arnall · Paul Goldstein & Dena Mossar · Robert Goldstein & Anna Mantell · Jane Gottesman & Geoffrey Biddle · Dan Granoff · Sheldon & Judy Greene · Don & Becky Grether · Dan & Linda Guerra · Eric and Elaine Hahn · Ann Harriman · Robert L. Harris & Glenda NewellHarris · Kate Hartley & Mike Kass · Geoffrey & Marin-Shawn Haynes · Diane Hembry · Bill Hendricks · Daria Hepps · Irene & Robert Hepps · Judith Holland · Morgan Hough · Leonard & Flora Isaacson · Mr. & Mrs. Edwin Ives · Ken & Judith Johnson · Marc & Lisa Jones · Helmut H. Kapczynski & Colleen Neff · Roy Kaplan · Lisa & John Katovich K · Dennis Kaump · Jeff Klingman & Deborah Sedberry · Joan & David Komaromi · Janet Kornegay & Dan Sykes · Jennifer Kuenster & George Miers · Charles Kuglen · Woof Kurtzman & Liz Hertz · Henry & Natalie Lagorio · Thomas LaQueur · Mr. & Mrs. Richard Larsen · Ray Lifchez · Dottie Lofstrom · James Lyons · Judy MacDonald Johnston · Tania & David Madfes · Sue & Phil Marineau · Marie S. McEnnis · Sean McKenna · Alison McLean · Ash McNeely · Ruth Medak · Mary & Gene Metz · Caryl & Peter Mezey · Geri Monheimer · Rex Morgan & Greg Reniere · Brian & Britt-Marie Morris · Jerry Mosher · Moule Family Fund · Lance Nagel · Ron Nakayama · Kris Carpenter Negulescu · Jeanne E. Newman · Marlowe Ng & Sharon Ulrich · Hung Nguyen · Jennifer

Puck & Robert Nussbaum · Judith Ogle · Nancy Park · Pherwani Family · Malcolm & Ann Plant · Andrea Plastas · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Fred & Judy Porta · Donovan & Anna Prostrollo · Kathleen Quenneville K · Sheldon & Catherine Ramsay · Ian Reinhard · Paul & Margaret Robbins · Joshua Robison · Joan Roebuck & Anne McGrew · Deborah Dashow Ruth · Dairne Ryan · June & Bob Safran · Dorothy R. Saxe · Laurel Scheinman · Bob & Gloria Schiller · Mark Schoenrock & Claudia Fenelon · Teddy & Bruce Schwab · Brenda Buckhold Shank, M.D., Ph.D. · Margaret Sheehy · Mary Shisler K · Steve & Susan Shortell · Suzanne Slyman · Jerry & Dick Smallwood · Ed & Ellen Smith · Mark Smith & Pam Calloway · Sigrid Snider · Christina Spaulding · Robert & Naomi Stamper · Ms. Joelle Steefel · Herbert Steierman · Gary & Jana Stein · Lynn M. & A. Justin Sterling · Monroe W. Strickberger · Shayla Su M · Ellen Sussman & Neal Rothman · Jeff & Catherine Thermond · Michael Tilson Thomas & Joshua Robison · Prof. Jeremy Thorner & Dr. Carol Mimura · Karen Tiedemann & Geoff Piller · William van Dyk & Margi Sullivan · Gerald & Ruth Vurek · Louise & Larry Walker · Wendy Ward · Dena & Wayne Watson-Lamprey · Michael Weinberger & Julianne Lindemann · Carmi Weininger · Sallie Weissinger · Diane & Scott Wieser · Dr. Ben & Mrs. Carolyn Werner · Oliver Williamson · Fred Winslow & Barbara Baratta · Robert & Myrna Witt · Carol Katigbak Wong · Ron & Anita Wornick · Kent Wright K · Margaret Wu & Ciara Cox

Jeannie Hwang-Erickson · Dmitrii Kaivetc · Tobey Kaplan · Chere Kelley · Marlene & Ilan Keret · Flo & George Kimmerling · Dorothy Kogo · Rebecca Kohlmoos · Stephanie Keiko Kong · Jack Krasner · Laura Larkin · Emanuel Lateiner · Kathy & Scott Law · Evelyn Lee & David Izu · Kathleen Lemke · Lillie Lidy · Teresa Lim · Arlene Lum · Tatyana Lyumkis · Evelyn Manies · Susan & Anthony Mathews · Alison L. May · Mr. & Mrs. Warren McCausland · Nicole McClain · Barbara McDaniel · Rhys & Mary McDonald · Agnieszka Mericle · Kathleen Michon · David Miller · Sandra Monasch · Patricia Monson · Gerald T. Moran · Charles A. Muenchow · Donal Murphy & Julie Orr · Judith Myers · Judy Nakaso · Crystal Olson · Susan Owen · Carolyn & Richard Pounds · Felisa Preskill & Zachary Scholz · Jean Rabovsky · Gail Reed · Catherine Roth · Rita Sampaio · Susie Schlesinger · Dana Scott · Jennifer Sierras · Roberta Simons · Kathrin M. Smith · Alexandra Sokoll · Andrew & Mary Susskind · Elizabeth Tan · Homer S. Teng · Laura C. Tiemstra · Roseanna Torretto · Sandra Tramiel · Barbara Traylor · Robert Visser · Maj. Gen & Mrs. Valeriy Volynskaya · Lawrence Warren · Marge Watson · Joyce Weisel · Elizabeth Wierzbianska · Barbara J. Wilkes · Gail Wilkinson · Judith Willaim · Carolyn Wilson · Hugh Winig · Betsy Wood · Jon & Elizabeth Worden · Andrew Yates · Timmy Yuen



$ 75 –149

$ 1 –74

Anonymous (7) · Jenifer Altenhoff, Ph.D. · Chuck & Judy Barnett · Ray & Betty Ann Barnett · Kathleen Callahan & Andreas Neyer · Douglas Carruth · David Chapman · Gary & Diana Cramer · Lynn Delker · Katherine Dunham · Ruth Dunham · Sally-Ann & Ervin Epstein, Jr. · Mary Ford & Robert Lewis · Susan G. Freundlich · Nicola & Peter Gabancho · Mr. & Mrs. Jack M. Garfinkle · Nancy Geimer & Chris Vance · Rosalie Gifford · Stephen & Deborah Goldblatt · Don & Molly Hermes · Lisa Herrinton · Steven Katz · Seth Kaufman · Kathryn Kersey · David A. Knapp · Sandra Lawrie · Wilson Lee & May Ng Lee · Ron Loewinsohn · Elise Lusk & Stephen Godfrey · Gordon & Carol Manashil · Redge & Carole Martin · David McIntyre · Catherine McLane · Kathy McLean · Sara McLeod · Patricia & John Mengel · Susan Mines · Fran & David Mog · Louise Morgan · Robert & Mia Morrill · Opher Peled · Margaret Pinter · Kathrin Randall · Virginia N. Rigney · Carol Robinson · Nancy Rodriguez-Bell · Barbara Ryken · William & Martha Slavin · Gail Smith-Pratt & Jeff Pratt · Nate Sumner · Melissa Trousdale & Shawn O'Connor · John & Helene Vilett · Merti Walker · Lisa Weitekamp · Ruth Winkler · Maureen Woelffer · Bruce Wright · Paul Wyman · Irene Yen

Anonymous (3) · Gayle Adams · Elinoar Almagor · Ms. K. Tiana Alnas-Benson · Mr. & Mrs. Donald Anderson · Margaret Ballou · Kathy Battat · Lee & Patricia Baxter · Robert Becker · Peter & Yoko Beeler · Philip J. Beilin · Mr. & Mrs. Robert Belote · Gail Berger · Susan Berston · Kyle Biehle · Richard Blasband · Deborah Bonner · Lavinia S. Bornor · Bernice Bradley · Donna Bransford · Susan Brillhart · Norma Bristol · Craig Broscow · Susan Brown · Carl Brush · Joanna Callenbach · Vincent Casalaina · Susan Chapman · Guillaume Chartier · Julie Chew · Robert Chuck · Carolyn Clark Beedle · Rebecca Clark · Carol Clarke · Cynthia Colvin · Diane Cookston · David & Nancy Coolidge · Karin A. Corfee · Mr. & Mrs. Lawrence and Catherine Dinnea · Eric Dodds · Amy Dolan · Judith Duffy · Barbara Edwards · Kathy Emmons · Jean Erbland · Debora Faniel · Rick & Claudia Felson · Nancy Fowler · Fiona Friedland · Tanya Friedman · Judith A. Fritz · Gwen Gallagher · Linda Gallaher-Brown · John Gearen · Jil Geller · Alan Gellman · Astrid & Mark Goldman · Annie Goldsmith · Trina Goodwin · Sabrina Grossman · Larry Hanover · Judith Hanscom · Mary Jane Hargrove · Laurence & Valerie Hayden · Gretchen Hayes · Marilyn Hayward · Mrs. Karen Heather · Laura Heyenga · Louise M. Hoblitt · Steven Holly · Julie Horvath · Michele Hubinger ·

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CON T R I BU TOR S donors to the annual fund Sustaining members as of February 2014:

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

Dr. Harvey & Deana Freedman Dr. John Frykman Paul T. Friedman Laura K. Fujii David Gaskin & Phillip McPherson Marjorie Ginsburg & Howard Slyter Mary & Nicholas Graves Elizabeth Greene Jon & Becky Grether Richard & Lois Halliday Linda & Bob Harris Fred Hartwick Ruth Hennigar Douglas J. Hill Hoskins/Frame Family Trust Robin C. Johnson Lynn Eve Komaromi Bonnie McPherson Killip Scott & Kathy Law Zandra Faye LeDuff Ines R. Lewandowitz Dot Lofstrom Dale & Don Marshall Sumner & Hermine Marshall Rebecca Martinez

Suzanne & Charles McCulloch Miles & Mary Ellen McKey Margaret D. & Winton McKibben Susan Medak & Greg Murphy Toni Mester Shirley & Joe Nedham Pam & Mitch Nichter Sharon Ott Amy Pearl Parodi Gladys Perez-Mendez Barbara Peterson Regina Phelps Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Tom Roberts Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Valerie Sopher Michael & Sue Steinberg Karen Stevenson Dr. Douglas & Anne Stewart Jean Strunsky Henry Timnick

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

Gifts received by Berkeley Rep:

Estate of Suzanne Adams Estate of Helen Barber Estate of Fritzi Benesch Estate of Nelly Berteaux Estate of Nancy Croley Estate of John E. & Helen A. Manning Estate of Richard Markell Estate of Margaret Purvine Estate of Peter Sloss Estate of Harry Weininger Estate of Grace Williams

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


The following members of the Berkeley Rep community made gifts in memory and in honor of friends, colleagues, and loved ones from January 2013 to February 2014.

In Memory of Helen Barber Shirley & Lew Albright Dr. & Mrs. Thomas Barber Clark & Francine Burnham Charles & Melanie Callander John & Barbara Callander Lucy Campbell Chan & Susan Chuongvan Anne M. Coffey Eugene Coffey Michael & Sheila Cooper Marilyn DeLorenzo Gini Erck & David Petta K. Bruce & Lois Friedman Kenneth W. Gerver Richard & Gretchen Grant The Bonkettes Larry & Susan Halperin Mrs. Barbara Heard Josh & Faye Jacobs Donald Jacobus Stewart A. Judson Allen & Kathleen Lauer John & Joni Lawler Nancy & George Leitmann Norman & Florence Lind Melinda Mendelson Laura W. Moran Carla R. Petievich Elizabeth Pigford Dr. & Mrs. Andrew Pollak Nancy Reynolds Julianne H. Rumsey Paul Sack Mitzi Sales & John Argue Jonathan & Sheryl Schreiber The Swain Family Edward & Susan Waller W. Clark Wurzberger In honor of Susan Medak Doug & Leni Herst Joanne Medak In honor of Marge Randolph Bill & Susan Epstein Nina & Claude Gruen In honor of Leonard X Rosenberg Benita & Burton Boxerman Sheli Rosenberg

In honor of Marcia Smolens Jay & Susan Mall Susan Medak & Greg Murphy Anonymous, in honor of Julie & Patrick Kennedy Anonymous, in memory of Sky Parsons Pat Angell, in memory of Gene Angell Kristen Badgley, in memory of Helen Joo’s mother Barbara Beck, in memory of Jeff Beck Steven Bertozzi, in honor of Jane and Mike Larkin Jane Buerger, in memory of Judith A. Schmitz Gary & Diana Cramer, in memory of Doris Titus Anita & Herbert Danielsen, in honor of Sara Danielsen & Sean Tarrant Elizabeth Anne Doyle, in memory of John Doyle Melinda A. Drayton, in honor of Nandi Drayton Wendy Dwyer, in honor of The Dwyer Family Debra Engel, in honor of Barry Williams & Lalita Tademy Brooke Facente, in honor of Jane and Gary Facente Mr. & Mrs. Fink, in honor of Rachel Fink Don & Janie Friend, in honor of Bill & Candy Falik William Goodell, in memory of Carol G. Goodell Richard & Sylvia Hammond, in honor of Leo Blitz & Family Linda Headrick, in honor of Ann Brannen David Hester & Karen Jannetti Hester, in honor of Anna M. Morrison Barbara E. Jones in memory of William E. Jones Tom & Mary Anne Jorde, in honor of Pat Sakai & Dick Shapiro Roy Kaplan, in memory of Barbara Kaplan Flo & George Kimmerling, in honor of Naomi Kimmerling Lynn Eve Komaromi, in honor of the Berkeley Rep Staff Debie Krueger, in memory of Alex Maffei Elroy & Dee Kursh, in honor of Thalia Dorwick Regina Lackner, in memory of Ruth Eis Bo Lee, in honor of Dudley & Hetty Lee

Jonathan Levitt, in honor of Felicia Rose Levitt Sherman Lew, in honor of H.G. Lew Mary & Terry MacRae, in honor of the Libitzkys Peter & Melanie Maier, in honor of Jill Fugaro Chris Mehling, in honor of Wendy Williams Carrol Mills, in memory of Stan Eremia Susan Montauk, in memory of Clare Montauk Thomas Neale, in memory of Jean Culhane Pier & Barbara Oddone, in memory of Michael Leibert David Pasta, in memory of Gloria Guth Lise Pearlman, in memory of Amalia Pearlman Elizabeth & Ted Peña, in honor of Oscar Peña, with thanks to Ben Hanna Barbara Pereira, in honor of Ian & Alec McEachern Paul & Kerry Perez, in honor of Dixon Long Laurel Przybylski, in memory of Maryann Herber Sheila & Myron Puckett, in memory of Jean Murphy Lois & Dan Purkett, in honor of Merton Johnson & Mary Rowe M Veronica Rabuy, in honor of Zoe Inciong Maya Rath, in honor of Shirley & Philip Schild Ronald Rogness, in honor of Phyllis Rogness Deborah Dashow Ruth, in memory of Leo P. Ruth Veronica Schwalbach, in memory of Catherine Day Ethan & Kira Silverman, in honor of Ross & Sandy McCandless Prof. Jeremy Thorner & Dr. Carol Mimura, in memory of James Toshiaki Mimura Marion C. Warner, in memory of Charles Warner Raymond Weisberg, in memory of Marilyn Weisberg The Zeiger Family, in memory of Phyllis Sagle

201 3–1 4 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 9

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

Managing Director Susan Medak

A R T I S T IC Associate Director Liesl Tommy Artistic Associate & Casting Director Amy Potozkin Artistic Associate Mina Morita Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Associate Julie McCormick Artists under Commission David Adjmi Glen Berger Jackie Sibblies Drury Rinne Groff Dominic Orlando & Brian Carpenter KJ Sanchez Naomi Wallace

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

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

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

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

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

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

4 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 6

General Manager Karen Racanelli

PAT RON S E R V IC E S Patron Services Manager Katrena Jackson House Manager Debra Selman Assistant House Managers Natalie Bulkley · Aleta George · Tuesday Ray · Ayanna Makalani · Anthony Miller · Read Tuddenham Concessionaires Amy Bobeda · Samantha Burse · Steve Coambs · Emerald Geter · Nastasia Glenn · Alana GodnerAbravanel · Mary Kay Hickox · Charmenaca Keelen · Devon Labelle · Franzesca Mayer · Kelvyn Mitchell · Jenny Ortiz · Claudia Peterson · Adrian Ramos Usher Coordinators Nelson & Marilyn Goodman B OX OF F IC E Ticket Services Manager Destiny Askin Subscription Manager & Associate Sales Manager Laurie Barnes Box Office Supervisor Terry Goulette Box Office Agents Amos Cass · Christina Cone ·  Samanta Cubias ·  Julie Gotsch ·  Eliza Oakley · Amanda Warner · Crystal Whybark M A R K E T I NG & C OM M U N IC AT ION S Director of Marketing & Communications Robert Sweibel Director of Public Relations Voleine Amilcar Art Director Nora Merecicky Video & Multimedia Producer Pauline Luppert Communications Manager Karen McKevitt Marketing Manager Kyle Sircus Audience Development Manager Sarah Nowicki Webmaster Christina Cone Program Advertising Ellen Felker

OP E R AT ION S Interim Facilities Director Lauren Shorofsky Building Engineer Thomas Tran Maintenance Technician Johnny Van Chang Facilities Assistants Sonny Hudson · Sophie Li · Carlos Mendoza · Jesus Rodriguez · LeRoy Thomas BERKELEY REP S C HO OL OF T H E AT R E Director of the School of Theatre Rachel L. Fink Associate Director MaryBeth Cavanaugh Jan & Howard Oringer Outreach Coordinator Dave Maier Community Programs Manager Benjamin Hanna School Administrator Kashara Robinson Registrar Katie Riemann Faculty Alva Ackley · Jeffrey Bihr · Erica Blue · Rebecca Castelli · Sally Clawson · Paul Cello · Jiwon Chung · Iu-Hui Chua · Laura Derry · Deborah Eubanks · Steven Epp · Sara Felder · Maria Frangos · Lucille Freedman · Christine Germain · Nancy Gold · Gary Graves · Marvin Greene · Gendell Hing-Hernández · Andrew Hurteau · Aaron Jessup · Ben Johnson · Krista Knight · Dave Maier · Michelle Leavy · Julian López-Morillas · Patricia Miller · Edward Morgan · Michael Navarra · Slater Penney · Marty Pistone · Diane Rachel · Elyse Shafarman · Rebecca Stockley · Bruce Williams Outreach Teaching Artists Michael Barr · Mariah Castle · Gendell Hing-Hernández · Ben Johnson · Hannah Lennett · Marilet Martinez · Jack Nicolaus · Sarita Ocón · Carla Pantoja · Patrick Russell · Tommy Shepherd · Reggie White · Elena Wright Teacher Advisory Council Molly Aaronson-Gelb · Julie Boe · Amy Crawford · Beth Daly · Jan Hunter · Marianne Philipp · Richard Silberg · John Warren · Jordan Winer Docent Committee Thalia Dorwick, Director Matty Bloom, Core content Nancy Fenton, Procedures Jean Holmes, Visuals Charlotte Martinelli, Off-site contact & recruitment Tribes Docents Jean Knox, Lead docent Carole Breen Sandy Curtis Rhea Joyce Rubin Selma Meyerowitz

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

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

BOA R D OF T RU ST E E S Thalia Dorwick, PhD PRE S ID E N T

Helen Meyer


Jill Fugaro


Emily Shanks T RE A S U R E R

Scott R. Haber S ECRE TA RY

Roger A. Strauch


William T. Espey


Marjorie Randolph



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


Carrie Avery Edward D. Baker Becky Bleich Martha Ehmann Conte David Cox Robin Edwards William Falik Lisa Finer David Fleishhacker Paul T. Friedman Bruce Golden Nicholas M. Graves David Hoffman Carole S. Krumland Dale Rogers Marshall Sandra R. McCandless Julie M. McCray Susan Medak Pamela Nichter Stewart Owen Leonard X Rosenberg Jack Schafer Richard Shapiro Jean Z. Strunsky Tony Taccone Gail Wagner Felicia Woytak S U S TAIN IN G A DVI S O R S

Carole B. Berg Rena Bransten Stephen K. Cassidy Diana J. Cohen John Field Kerry Francis Richard F. Hoskins Dugan Moore Pat Rougeau Richard A. Rubin Patricia Sakai Michael Steinberg Michael Strunsky Martin Zankel

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

201 3–1 4 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 4 1

FYI Latecomers

Please arrive on time. Late seating is not guaranteed.

Connect with us online!

Theatre info


Visit our website You can buy tickets and plan your visit, read our blog, watch video, sign up for classes, donate to the Theatre, and explore Berkeley Rep.

Emergency exits Please note the nearest exit. In an emergency, walk—do not run —to the nearest exit. Accessibility Both theatres offer wheelchair seating and special services for those with vision- or hearing-impairment. Assistive listening devices are available at no charge in both theatre lobbies. Scripts for the hearing impaired are available in the box office. Open captioning is available for at least one performance of every season production.

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

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


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

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

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

Theatre maps stage

Ticket exchange


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

Request information To request mailings or change your address, write to Berkeley Rep, 2025 Addison Street, Berkeley, CA 94704; call 510 647‑2949; email; or click If you use Gmail, Yahoo, or other online email accounts, please authorize patronreply@



seating sections:


• premium • a • b stage


seating sections:

• premium • a • b

42 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 6






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