Berkeley Rep: Treasure Island

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En garde! Creating violence onstage 10 · In conversation with Mary Zimmerman 18 · The program for Treasure Island 27


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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 · 37

A letter from the managing director · 7

Individual donors to the Annual Fund · 38 Michael Leibert Society · 40

R E P ORT 10

En garde! Creating violence onstage · 10


School of Theatre puts arts education into Bay Area classrooms · 13

Staff, board of trustees, and sustaining advisors · 41

Supporting the next generation of leaders in the arts: Berkeley Rep’s fellowship program · 15 The Ground Floor’s 2016 Summer Residency Lab welcomes 18 new projects · 16


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

F E AT U R E S In conversation with Mary Zimmerman · 18 The original pirate story · 20 Nautical terms used in Robert Louis Stevenson and Mary Zimmerman’s Treasure Island · 24


T H E B E R K E L E Y R E P M AG A Z I N E 201 5–16 · I S S U E 6 The Berkeley Rep Magazine is published at least seven times per season.

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Art Director Nora Merecicky Graphic Designer Itzel Ortuño

Photo on this page and cover: The cast of Treasure Island (photo by Liz Lauren)

Writers Amy Bobeda Katie Craddock Lexi Diamond Loren Hiser Sarah Rose Leonard Madeleine Oldham

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Written and performed by John Leguizamo Directed by Tony Taccone A co-production with the Public Theater Jul 1–Aug 14, 2016 · Peet’s Theatre World premiere









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P ROL OG U E from the Artistic Director


Pirates. Mutiny. And buried treasure… Parrots. Peg legs. Scurvy and then some… A ship hurtling through the treacherous high seas toward an unknown destination, its men armed with a map marked with an X on a mysterious spot. The spot where the gold lies, with its easy promise of a life of endless pleasure. Robert Louis Stevenson was channeling the great God of Adventure when he wrote Treasure Island, his seminal coming-of-age story centered around young Jim Hawkins; it’s a story that has captured the imagination of every generation since it was first serialized in 1881 in Young Folks magazine, remembered as much for Long John Silver as for the journey of the Hispaniola. The list of famous actors who’ve played Silver in the movies includes Orson Welles, Anthony Quinn, Charlton Heston, and Jack Palance (although it was Robert Newton’s manic, lubricated performance in the ’50s that first gave the role its iconic, guttural swagger). Even Johnny Depp, who claims to be impersonating the immortal Keith Richards in his ongoing depiction of the pirate Jack Sparrow, owes a debt to Stevenson. In the size of the performance, the eccentric behavior, and, most of all, the flexible moral ground on which Silver treads, Long John feels like a man comfortable in any period of history. This was Stevenson’s particular genius: marrying the enigmatic Silver to young Jim’s understanding of the world gives Treasure Island the depth and universal insight worthy of a great work of art. So when Mary Zimmerman called to tell us that she was working on an adaptation of Treasure Island, I simply said “yes.” I had the great fortune of reading the book at the perfect age, somewhere between mild and full-on puberty. I boarded that ship, repulsed and drawn to every character, full up with life and afraid for its loss. At the end of the book I felt both elated and sad that the journey was over. And I wanted to do it again. So now we get to do just that. In the theatre no less. I’m glad you could be here for it. Just remember: “Them’s that die’ll be the lucky ones.” Sincerely,

Tony Taccone

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Robert Louis Stevenson’s Treasure Island is an

adventurous and perilous place where heroes aren’t always heroic and villains aren’t always villainous. Moral ambiguity ebbs and flows like the tides. At the center of it all is Jim Hawkins, a boy who’s ready to wade into adulthood and decide what kind of man he wants to be. Stories like Treasure Island are critical in helping us make sense of our world, at all stages of our lives. As children we read fairy tales to learn how to understand our emotions and feelings. Coming-of-age tales help bridge our transition from adolescents to adults. And this season at Berkeley Rep, audiences have witnessed stories that reflect the ambiguity and contradictions in our world today—the cultural conflict at the heart of Ayad Akhtar’s Disgraced, the generational differences in Julia Cho’s Aubergine, and the prescient story of political corruption in Macbeth. What I find so intriguing about this production of Treasure Island is that it’s told through an adult lens. Mary Zimmerman came to the story a few years ago—and I soon learned that several members of Berkeley Rep’s staff also recently read the classic for the first time. And they loved it. Others have carried Treasure Island with them for decades. Many of you sitting in the theatre may be sharing this tale with your children or grandchildren, while finding that it resonates with you today in new ways. That’s the power of a great story.

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Katy Owen in Kneehigh’s 946: The Amazing Story of Adolphus Tips

ing oon Wedd , s n o M f o s iere high world prem re, the return of Knee e th te a r b e Cele Happen H re awaits! ’t n a C t I d tu an your adven — e r o m d n a

N O S A E S 7 1 – 6 1 0 2 P H OTO BY S T E V E TA N N ER



W AVA O N S E /SUB G G A R K .O C P A E P R Y T E L E K TICKE ICK BER L C · 9 4 9 2 7 4 6 C A L L 5 10

IT CAN'T HAPPEN HERE Adapted by Tony Taccone and Bennett S. Cohen from the novel by Sinclair Lewis Directed by Lisa Peterson Main Season · Roda Theatre World premiere

First edition of Sinclair Lewis’ novel

A cautionary satire about the fragility of democracy and how fascism can take hold even in the land of liberty, It Can’t Happen Here follows the ascent of a charismatic and corrupt politician who becomes president of the United States on a platform of “good ol’ American values,” promising “to return the country to greatness.” Witnessing the new president’s tyranny from the sidelines is Doremus Jessup, a financially comfortable, socialdemocratic newspaper editor from Vermont who trusts the system will fix itself—until he ends up in a prison camp. Sinclair Lewis’ eerily prescient 1935 novel gets a fresh update in this world premiere adaptation that examines what brings a citizenry to the point of sacrificing its own freedom and how a courageous few can prevail to overcome the fall.

THE LAST TIGER IN HAITI By Jeff Augustin Directed by Joshua Kahan Brody A co-production with La Jolla Playhouse Main Season · Peet’s Theatre World premiere production There once lived five kids in modern-day Haiti, all entangled in a dark history of servitude. Huddled in a tent on Mister’s land, they’d spin spellbinding folktales, vying for the title of best storyteller—and dreaming of their freedom. When two of them reunite 15 years later, the boundary between reality and fiction vanishes, revealing secrets of their past more haunting than any of the tales they told. In The Last Tiger in Haiti, Jeff Augustin weaves a remarkable and gripping narrative of survival, betrayal, and the power of a story. Jeff Augustin SEASON SPONSORS 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6


946: THE AMAZING STORY OF ADOLPHUS TIPS Adapted by Michael Morpurgo and Emma Rice Directed by Emma Rice In association with Kneehigh and Birmingham Repertory Theatre Main Season · Roda Theatre American premiere

The cast of Kneehigh’s 946: The Amazing Story of Adolphus Tips P H OTO BY S T E V E TA N N ER

Kneehigh is back! The theatrical alchemists who brought us Tristan & Yseult and The Wild Bride return with a tender new coming-of-age tale that uncovers the secrets behind World War II’s D-Day landings. In the idyllic seaside village of Slapton, the lives of Lily, her family, and her fiercely independent cat Adolphus Tips are barely touched by war… until Allied soldiers occupy their house and land. With swingin’ live music, enchanting puppetry, and signature stage sorcery, Emma Rice conjures a story of love, war, and prejudice that crosses borders both geographical and generational.

HAND TO GOD By Robert Askins Directed by David Ivers Main Season · Peet’s Theatre West Coast premiere

Director David Ivers P H OTO BY N O R A M ER EC I C K Y

Be not deceived: The devil is lurking at the Christian Puppet Ministry in Cypress, Texas. And his name is…Tyrone. He may look like an innocent sock puppet, but when he infiltrates the angst-ridden church youth group and takes possession of Jason’s arm, well, all hell breaks loose. Spectacularly foul-mouthed and wickedly scandalous, Tyrone shocks the congregation with his outrageous insinuations, exposing their deepest secrets—and teaching us all about love, grief, and what it means to be human. This fast-paced irreverent comedy is “darkly delightful,” declares the New York Times.

ROE By Lisa Loomer Directed by Bill Rauch A co-production with Oregon Shakespeare Festival and Arena Stage Limited Season · Roda Theatre World premiere production

Lisa Loomer P H OTO BY J E N N Y G R A H A M

Roe v. Wade—the landmark 1973 case that legalized abortion is still fiercely debated, over 40 years later. In her newest play, acclaimed writer Lisa Loomer cuts through the headlines and rhetoric to reveal the divergent personal journeys of lawyer Sarah Weddington and plaintiff Norma McCorvey (“Jane Roe”) in the years following the fateful decision. In turns shocking, humorous, and poignant, Roe reflects the polarization in America today while illuminating the heart and passion each person has for their cause.

MONSOON WEDDING Book by Sabrina Dhawan Music by Vishal Bhardwaj Lyrics by Susan Birkenhead Directed by Mira Nair Main Season · Roda Theatre World premiere

Mira Nair

You’re invited to the wedding of the season! Award-winning film director Mira Nair brings her exuberant, hilarious, and sumptuous Monsoon Wedding to Berkeley Rep’s stage in this highly anticipated world premiere musical. The perfect storm starts brewing when eclectic family members from all over the world descend on Delhi for a nonstop fourday celebration of an arranged marriage between a modern upper-middle-class Indian family’s only daughter and a guy she’s never met who lives in Houston. Be sure to send your rsvp today! 2 0 1 5 –1 6 · 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 · 9


En garde! Creating violence onstage BY AMY BOBEDA

The cast of Macbeth rehearsing fight choreography P H OTO BY LO R E N Z A N G ELO

Whether it’s the wielding of a sword or the

slap of a hand, most everyone loves a little stage violence. This season’s shows have provided plenty of action for combat lovers—from Disgraced to Macbeth, and, finally, Treasure Island, the illusion of injury and death has be prevalent. The director and fight choreographer often begin the rehearsal process with a sketch—a mental storyboard of how violence will unfold onstage. Based on the dramaturgical analysis of the script and time period, they enter rehearsal with a plan. In Macbeth, Director Daniel Sullivan had a visual narrative planned for all of the side fights that did not involve dialogue during the final war scene. The safety and realism of the sword fights was left to Fight Director Dave Maier, an instructor of theatrical combat with Dueling Arts International. The fight director, or choreographer, is an expert at safely creating the illusion of violence. Without a certified director, actors risk repetitive stress and injury. A fight captain is also chosen for each production. The fight captain is generally one of the more skilled fighters who is less featured in major fight scenes. They must be able to watch the nightly pre-show fight call to maintain combat safety and accuracy. Without a skilled captain, a fight can change over time, become less safe, or shift from the fight director’s vision. A director hopes this never happens. 1 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6

Sometimes actors join a cast with stage-combat certification under their belts, while others have never fought before. Having many skilled actors gives the fight director more freedom to build elaborate fights. Training and fight work usually begin in rehearsal, to both assess and build skill levels. A portion of every week’s rehearsal is spent wielding weapons: actors learn how to wear a sword, carry a dagger, or cock a gun. In period shows, actors also have to consider how their weapons interact with their costumes. Don’t catch a dagger on a cowl. Try to balance your sword under your cape. Create the illusion of grace while murdering the enemy. Time and attention is given to developing safe and convincing carrying skills so the actors look like natural swordsmen despite the fact that the clothes and weapons are out of their modern element. Props and costumes are key components in convincing combat. The proper gloves, scabbards, and frogs ensure the safety of actors and weapons, while also setting time period. The medieval capes, cowls, and chest plates in Macbeth dictated the actors’ movements as well as the best positioning of weapons. Daggers and swords can tell almost as much in a story as the actors using them. Unlike a slap or a punch, no sound is needed for a stab, meaning it could be easier to execute a convincing blow. Blood is the greatest spectacle in stage CO N TIN U E D O N PAG E 12

Dave Maier (far left) leads a stage violence workshop P H OTO BY N O R A M ER EC I C K Y


combat. Macbeth’s murder scenes come to life with bloodied knives, daggers, and swords. The domestic violence in Disgraced made an even greater impact when the fight ended with the reveal of Emily’s bloody cheek. Scenery also plays a surprisingly important role in choreography. In Disgraced, hiding a blood pack in the back of the couch was the best way for the actress to bloody her face when she was thrown over the edge of it. Just like dance choreography, the fight was perfectly timed for her to move her torso, head, and hands behind the couch, and dab blood on her face before revealing her face to the audience. In stage combat, the power of the fight sits in the hands of the victim.

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If a character is slapped, the actor is often making a slapping sound. Emily’s movements and responses dictated how Amir moved her around the room. Dave, who has choreographed dozens of fights for Berkeley Rep’s productions, found his way to stage combat through acting. Often cast as a soldier or thug, he began to pick up fight skills, eventually becoming a certified choreographer. Now, hundreds of people take his certification classes at Berkeley Rep’s School of Theatre. Students of all ages love stage combat classes because, putting it simply, there’s catharsis in violence. We watch it on television every day—but it’s pretty magical watching it onstage, like a tightly maneuvered dance, sometimes with weapons and words, other times just pushes and shoves.


School of Theatre puts arts education into Bay Area classrooms BY LEXI DIAMOND

In elementary, middle, and high school class-

rooms throughout all nine Bay Area counties, students are engaging with Berkeley Rep School of Theatre’s theatre arts workshops, which bring interactive, arts-integrated curricula into classrooms, allowing students to dedicate a part of their academic day to thinking and working creatively. Leading workshops from Shakespeare to Stage Combat and Acting to Playwriting, Berkeley Rep teaching artists are top-notch, professional theatre-makers who deliver arts education that students badly want and need. “The program aims to provide access to theatre for students from all backgrounds, regardless of socio-economic classes. It makes theatre available to children who might not have regular contact with the arts,” says Modesta Tamayo, community programs manager. These workshops approach subject matter using practical theatre skills, and engage students no matter what their style of learning is. “Every workshop includes components that will appeal to different learning strengths,” says Modesta. “Teachers say that students excel during the workshops because they’re physically and emotionally engaged, and learning in a safe environment with a lot of support.” Since theatre is such a multifaceted discipline, it provides plenty of opportunities for all students to thrive.


A Story Builders workshop at John Muir Elementary School P H OTO BY C H E S H I R E I S A AC S

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A Story Builders workshop at Anna Yates Elementary School P H OTO BY C H E S H I R E I S A AC S

“I have several students who struggle in many academic areas of school. I saw those students shine the brightest during Berkeley Rep time.” —T E AC H E R F ROM T HOU S A N D OA K S E L E M E N TA RY


One teacher from Thousand Oaks Elementary noted, “I have several students who struggle in many academic areas of school. I saw those students shine the brightest during Berkeley Rep time. They were motivated and confident. They did not need to rely on reading or writing skills to feel successful. My students who have a hard time sitting still were able to move their bodies. Even my English Learners were successful because the text was not just being read, but visual movement went along with it.” Modesta has heard hundreds of teachers voice their support for the K-12 workshops in the years that she has worked with the program. Teachers often mention that the workshops bring a welcome dose of arts-integrated subject matter that is missing from the heavily stem-focused (Science, Technology, Engineering, Mathematics) Common Core curriculum. “When teaching standard academic subjects—math, science, English—it can be a struggle to connect the material to students’ everyday lives,” says Modesta. “In any given workshop, whether it’s Performance Lab or Improv, the material might cover topics like bullying, grief, friendship, and family. Students relate and are able to include their own perspectives.” 1 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6

Given the rate at which the School of Theatre’s K-12 program has grown, plus the changing climate of California public schools, Berkeley Rep has had to expand the way we find the essential funding for the program. Where individual teachers once made most bookings for their classes, ptas and school administrators now drive the effort to raise the necessary funds and find grants. “ptas especially are working really hard to fund the arts these days. A lot of ptas raise donations so that we can come in and deliver arts education that the school itself doesn’t have the funding to provide,” says Modesta. Daria Hepps, Berkeley Rep’s associate director of development, adds, “Every hour of outreach is subsidized one way or another, either by us, from the general fund, or by corporate and community partners who understand how exposure to the arts helps to create whole human beings.” Community partnering and corporate giving also play an enormous role in ensuring that these workshops reach all the classrooms that want them, though schools without drama teachers and other arts curricula get first priority when booking workshops. For example, Berkeley Rep has worked with Target for the past several years to bring

workshops into Oakland Unified public elementary schools. One of the most exciting grants that the School of Theatre received this year was from Berkeley Public Schools Fund, which awarded a six-hour Story Builders workshop to all third-grade classrooms. In this workshop, teaching artists use music, movement, dialogue, and improvisation to create live performances of storybooks collaboratively with students. Teachers choose stories from a list that includes myths from around the world as well as classic American children’s stories like Where the Wild Things Are. “One of the goals of the Berkeley Public Schools Fund is to bring the incredible cultural and intellectual resources that we have in Berkeley into our schools,” says Erin Rhoades, the fund’s executive director. “The Story Builders workshop was already extremely popular with teachers through individual classroom grants from the Schools Fund. Now every third-grade class in the district has the opportunity to participate in this program.”

For more information on the School of Theatre’s K–12 workshops, visit


Clockwise from top left Anthony Jackson, Susan Medak, Ted Russell, and Sarah Williams participate in a Creative Careers panel on theatre arts administration; the 2014–15 fellows; Scenic Construction Fellow ET Hazzard (2005–06); the 2015–16 fellows; Graphic Design Fellow Itzel Ortuño (2015–16) takes photos of the Peet’s Theatre construction; the 2013–14 fellows; the 2012–13 fellows

Supporting the next generation of leaders in the arts: Berkeley Rep’s fellowship program BY LOREN HISER

Berkeley Rep has been part of a national conversation about the lack of diversity in American theatre. We have always found ourselves concerned with making sure that myriad experiences are seen on our stages, but we think it’s important that there’s diversity behind the scenes as well. One of the initiatives that we believe will be the cornerstone to increasing diversity at Berkeley Rep and in the field at large is our fellowship program. Funded by a generous grant from American Express, Berkeley Rep’s Next Generation Fellowship Program allows young professionals to enter the world of the theatre, in both technical and administrative fields, without having to worry about being a “starving artist.” Given housing and a monetary stipend, the fellows are provided with the opportunity to acquire the skills they need to be competitive hires in the field. Richard Brown, the vice president at American Express Philanthropy, noted that the importance of this fellowship program’s diversity outreach lies in its simplicity: “Non-profits that represent their community should represent their community.” With 20 percent of Berkeley Rep’s staff comprised of former fellows, the Theatre realized that outreach for the fellowship program could, over time, help the organization reach its diversity goals. The fellowship program’s extensive training and focus on outreach to under-represented communities is creating a diverse group of well-prepared future leaders who will go on to influence the entire field. Carrie Avery, a member of Berkeley

Rep’s board of trustees, notes, “The fact that so many current Berkeley Rep staff members have come from this fellowship program speaks to how important it is. The arts field can be a daunting one to enter, but with programs like this, we can create a pathway for young people to enter a career in the arts. We can reach out and make sure the young people we are bringing in are from diverse backgrounds with diverse experiences, and that makes us a stronger organization.” Our strategies have varied each year, but they have built upon what we have learned. We made great strides this year with Creative Careers, a new web portal with resources for individuals who are considering a career in the arts. Through this portal, we produced a series of live-streamed panel discussions with professionals in the industry, and thanks to a new partnership with HowlRound, a collaborative commons for American theatre, our audience is building. In the coming year, we’re planning to continue to provide enhanced support to applicants from Historically Black Colleges and Universities (hbcus) where we have built strong relationships, as well as in-person outreach to help a diverse cohort of California college students begin to explore their own interest in a creative career. Presenting varied viewpoints on our stages may be the most visible manifestation of Berkeley Rep’s efforts toward inclusivity, but through the fellowship program and other strategies, we are increasing diversity throughout the organization and strengthening our ability to serve our increasingly diverse community. 2 0 1 5 –1 6 · 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


The Ground Floor’s 2016 Summer Residency Lab welcomes 18 new projects BY MADELEINE OLDHAM

Berkeley Rep’s Summer Residency Lab celebrates its fifth birthday this June. This dynamic program brings

together writers, composers, directors, actors, dramaturgs, musicians, designers, and assorted other talented folks to break bread and make art together under our roof. We are proud to announce this summer’s slate of 18 projects and their lead artists who will be joining us at our Harrison Street campus to immerse themselves in the delicious work of creating new plays:

Tori Sampson’s Cottoned Like Candy explores the value placed on bodies, how we accept the soul as a living anchor, and what can take place when we’re forced to choose one over the other.

The Untitled Hockey Project, by Joe Waechter, explores the dark implications of masculinity, sexuality, and fantasy around Minnesota’s most popular sport: high school hockey.

Lauren Yee will collaborate with director Benjamin Kamine on Untitled Cambodia Pop Play, a joyously dark comedy about a Cambodian rock band’s unexpected reunion at the height of the Khmer Rouge regime.

In Eisa Davis’ Flowers Are Sleeping, a conceptual artist takes her work to the edge in a gallery installation that explores her black female body through the lens of music and popular representations.

Squares is a multimedia theatre project about nostalgia, memory, and technology. Created by Mallory Catlett, Aaron Landsman, Jim Findlay, and photographer Paul Shambroom, the piece is inspired by a collection of 583 found snapshots, all processed at a single lab in Minnesota in 1976.

Josh Lefkowitz writes a poem a day, five years and counting. In Poetry Project subject matters will include the following: love, break ups, being alone, internet dating, various bar foods, Neruda, love again, heartbreak, baseball games, depression, Lexapro, and then, again, love.

A collaboration between Kitka Women’s Vocal Ensemble, members of the Erika Chong Shuch Performance Project, stage director/choreographer Erika Chong Shuch, composer Janet Kutulas, and librettist Michelle Carter, Iron Shoes is a neo-feminist, futuristic folk opera that transforms ancient Slavic fairy tales into a contemporary performance experience.

Josh Kornbluth’s The Bottomless Bowl is an autobiographical monologue recounting Josh’s ongoing experiences as a volunteer caregiver at the Zen Hospice Project in San Francisco. Having reached the age (55) when his father had a devastating stroke, Josh discovers through his encounters with the dying a new way of viewing mortality—his own, and those of his loved ones.

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The Meaning of Ants in My Kitchen by Erin Edens is a play about the presence of absence and explores those palpable spaces that exist in our lives when something or someone goes missing.

Dipika Guha and award-winning author Maxine Hong Kingston will develop The Art of Gaman, in which Kingston will portray Tomomi, an immigrant whose arrival in San Francisco coincides with the first wave of West Coast Japanese internment.

Lileana Blain-Cruz and Susan Soon He Stanton will collaborate on Intimacy, an experiment inspired by a psychological study featured in the New York Times article, “The 36 Questions That Lead to Love.” Why? Because Tinder exists.

Lisa Peterson and Todd Almond will do further work on their Berkeley Rep commission, The Idea of Order, a musical about the role of poetry in our lives inspired by the life and work of Wallace Stevens.

Writer James Magruder and actor Danny Scheie will collaborate on Keep Your Forks, in which protagonist Eddie Monell, a gay trophy husband cast off by his partner after 31 years, has to start over in Indianapolis at the age of 50 with no life skills, a bad attitude, and serious entitlement issues.

Jen Silverman’s My Father the Speeding Bullet: Nincest uses the frame of Anaïs Nin’s love affair with her concert pianist father to create a gender-bending play-with-songs. She will collaborate with Pig Iron co-founder Dito Van Reigersberg, director Mike Donahue, scenic designer Dane Laffrey, and musician Max Vernon.

Amy Staats will work with director Margot Bordelon and dramaturg/performer Megan Hill to develop Eddie and Dave: A Fictionalized Tale of Van Halen, a comedy about the on, off, and then on again relationship between the painfully shy but brilliant Eddie Van Halen and the flamboyantly extroverted David Lee Roth.

UNIVERSES, a nationally acclaimed performance ensemble (last seen at Berkeley Rep with Party People) will work on the August Wilson Poetry Project, using the poetry of August Wilson as a foundation to create a musical poetic exploration that examines the power of legacy.

Mia Chung’s Bloken Engrish is about translation and English as the dominant lingua franca.

Megan Cohen’s Truest is a surreal Sam-Shepardmeets-Thelma-and-Louise drama in which two sisters pursue a uniquely twisted American Dream.

Please visit our website at and sign up for our mailing list to receive more information about these wonderful artists and how you can attend their work-in-progress readings this summer. The Ground Floor and this year’s Summer Residency Lab is funded by the generous institutional and individual supporters of Berkeley Rep’s Create Campaign. Find out how you can support this innovative program at


Top left Kim Miyori, Jane Cho, and Christopher Donahue in 1996’s Journey to the West (photo by T. Charles Erickson); Top right Mariann Mayberry and Christopher Donahue in 2003’s The Notebooks of Leonardo da Vinci (photo by Ken Friedman); Bottom left Erik Lochtefeld in 1996’s Metamorphoses (photo by Ken Friedman); Bottom right the cast of 2007’s Argonautika (photo courtesy of

Lookingglass Theatre artist Marti Lyons

chatted with Mary Zimmerman about her unique creative process and the persistent resonance of Robert Louis Stevenson’s Treasure Island before the initial run of the show in Chicago. When did you first read Treasure Island? I didn’t read it until last summer. I have a house on an island off the coast of Maine. It’s a very maritime culture there and I always like to read things connected in some way to where I am when I’m away from home (although, in fact, everything I’ve done has had something to do with the sea, I had a great romance about that as a child growing up in Nebraska). So in Maine I came across it at the local library, a beautiful edition with the N.C. Wyeth illustrations—this great classic from young adulthood that I had never read. The moment I started reading it, I was completely smitten by it and in an unusual way; instead of experiencing it in the filmic way one usually has when reading (a kind of virtual filmic experience) I was very much seeing it on a stage—in a room, in a theatre. Initially, I was feeling kind of odd about approaching it for adaptation because unlike so much of what has comprised my adult work, this wasn’t a great childhood favorite of mine. But then, very early in my research I realized Stevenson was the author of 1 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6

A Child’s Garden of Verses, which was perhaps my first literary obsession as a child. I had had no idea that it was Stevenson, or even by a single author. So I do have a Stevenson connection through those poems, though I didn’t know it when I entered the library last summer. I’ve read that there have been about 50 prior adaptations of Treasure Island. Have you absorbed any of them or will you? No, I won’t. I don’t want to put myself in a situation where I accidentally imitate or copy something. The amount of prior adaptation both encourages and discourages me. It discourages me because I realize it isn’t a very original idea to dramatize this story, but it encourages me in that many people have similarly found it or thought of it as stage-worthy. I think some of those adaptations go back a hundred years. I’d love it if you’d talk a little bit about your process. I have an unusual process that I’ve somehow just gotten away with for the last however many decades, and it’s that I don’t start with a script—although I’m always starting with a source text—and with my designers who design without that script. I also cast with no script, although I sometimes write little scenes for actors to read in auditions. I write the script in


Top left Anne Fogarty and Louise Lamson in 2004’s The Secret in the Wings (photo courtesy of; Top right Ryan Artzberger and Sofia Jean Gomez in 2008’s The Arabian Nights (photo courtesy of; Bottom left Mary Zimmerman (photo courtesy of Lookingglass Theatre Company); Bottom right the cast of 2012’s The White Snake (photo courtesy of

the hours before and after rehearsal. I’m writing specifically for my cast; who they are as people and what they can do, and I can also be influenced by what’s happening in the world precisely during the process of rehearsal—although with something like Treasure Island, it’s so plotted from beginning, middle, to end, there’s less of that. When I’m doing something like the Myths of Ovid or fairytales, or Tales of the Arabian Nights, that’s an almost infinitely large source, and I have a double task nightly not just of writing the scene but of structuring the theatrical evening. With something like Treasure Island or The Odyssey, which both have quite brilliant narrative structures, I don’t have that worry. What I’m really doing is problem-solving and figuring out how to manifest something onstage which wasn’t originally intended to be onstage. One of the greatest joys is trying to stage the impossible. The theatre is just a box, and everything that happens in it must be brought into it; and you have to engage the audience’s imagination to make them believe or at least simultaneously see what you are doing. They grant that you are on a ship, or that someone is turning into a bird, or flying on a carpet, or that there are elephants going through when no such thing is actually happening—when only a small part of the elephant or motion of a bird is present. The kind of backyard solutions we all employed as children

to create entire worlds is what I’m still working with. Most of my shows are characterized by suggestion and metaphor, allowing the part to represent the whole, and all the tropes of literature actually, made visually manifest. Although I will say, this Treasure Island set is one of the most representational sets I’ve done—it’s quite defined as a ship while having to serve as much more. But I think that is in keeping with the straightforward, highly plotted nature of text. Why do you think Treasure Island resonates 100 years later? What is it about the story that is still so attractive to us? I think we all long for more life, more life, more life, and I don’t mean in terms of years, I mean in terms of more adventure, more not knowing what the next day is, what the next wave is, what the weather is, where the ocean is going to take us. I think we have dual needs: a need for security and knowing how the story ends; but also, there’s a part of us that has that wild longing all the time to be tested, to have life and death situations, to have to use our wits, to be so alert to possible danger, to have to act and save ourselves and save the crew. That’s what I think it is. Thanks to Lookingglass Theatre Company for the permission to reprint this interview. 2 0 1 5 –1 6 · 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 9

Jim Hawkins, Long John Silver, and his parrot, by N.C. Wyeth, 1911

The original pirate story BY SARAH ROSE LEONARD

Treasure Island by Robert Louis Stevenson was one of the first adventure novels of the 19th century and remains a love letter to the imagination. The author, who led an extraordinary life, wrote his story with the intention of sparking young readers’ minds. What better way to convey a break with convention than with pirates? In particular, he introduced Long John Silver as the iconic antihero of his tale, and thereby inserted a moral quandary into the coming-of-age narrative. The novel is a wellspring for just about everything we associate with the word “pirate.” The book is responsible for the proliferation of treasure maps marked with an X, the popularity of the familiar story of buried treasure on a tropical island, the image of a one-legged seaman bearing a talking parrot on his shoulder, the phrase “yo-ho-ho and a bottle of rum!”, the understanding that handing someone a “black spot” means certain death, and more. One might think that such a text, written in 1881, would feel dated. Yet something about this story won’t let the imagination go: it has inspired over 60 adaptations, sequels, and prequels, the earliest dating to 1918. It feels almost inevitable that this material eventually found its way into the hands of Mary Zimmerman, the directorial queen of adapting classical tales for the stage in lush, wondrous productions. Treasure Island is narrated by protagonist Jim Hawkins, a young boy (commonly thought to be about 12 or 13), who speaks in an innocent, excited, perceptive voice. The novel covers Jim’s adventures as he searches for buried treasure 2 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6

with a crew who mutinies under the leadership of Long John Silver (the owner of the original stump leg and talking parrot). Stevenson initially wrote the tale as a serialized column in the children’s magazine Young Folks under the name “The Sea Cook: A Story for Boys” in 1881; it was published in book form with its current title in 1883. Stevenson came up with the story for Treasure Island when he drew a map of an island for his 12-year-old stepson. He said, “It was to be a story for boys; no need of psychology or fine writing; and I had a boy at hand to be a touchstone.” The resulting novel brought him popularity and profit, and by the end of the century, Treasure Island was one of the most widely read books in Europe. No one would have thought literary success was in the cards for Stevenson. Born in Scotland in 1850, he became a lawyer after he rejected his family’s profession—lighthouse engineering—eventually leaving law to become a writer. Stevenson’s health was poor; he constantly suffered from fevers and coughs (today some people believe that he had tuberculosis). His troubled health led him to travel often to recuperate in the more temperate climes of France and Switzerland (as you did if you were of a certain class in the 1880s), but travel quickly became less of an obligation and more of a passion for Stevenson as time went on. One time he followed Fanny Van de Grift Osbourne, his future wife, from Europe to her home in Northern California—no easy feat in 1879! By the time he arrived in Monterey, CA it is said that he was close to death. He recovered and produced some of his best work

Robert Louis Stevenson

Jim Hawkins and the treasure, by George Roux, 1885

William Ernest Henley, Stevenson’s inspiration for Long John Silver

Long John Silver and the pirates find the skeleton of Allardyce, by George Roux, 1885

when he hopped back and forth from Europe and America: he wrote Strange Case of Dr Jekyll and Mr Hyde, The Black Arrow, and Treasure Island during those travels. Stevenson never tired of exploring new places. He died in 1894 in Samoa, where he was living at the time, and was buried on a mountain overlooking the sea. Stevenson’s proclivity for risk-taking is central to Jim’s character in Treasure Island, yet it was not a singular trait in 19th-century nautical English literature. Works such as Sir Walter Scott’s The Pirate (1822), Herman Melville’s Moby-Dick (1851), Joseph Conrad’s Lord Jim (1900), and Victor Hugo’s Toilers of the Sea (1866) all concerned getting figuratively and literally lost at sea. It is interesting to note that these novels were written at a time when the English maritime industry was particularly strong. Some sea novels were about the realistic perils a seaman might face out on the ocean; others were more about shipwrecks and pirates. One might argue that the shipwreck as narrative trope began in 1719 with Daniel Defoe’s Robinson Crusoe, but Treasure Island expanded on this idea with treasure-hunting lore and pirate thrills. Stevenson acknowledges how he was influenced by other writers’ work in his “Essays in the Art of Writing”: “Stolen waters are proverbially sweet…No doubt the parrot once belonged to Robinson Crusoe. No doubt the skeleton is conveyed from Poe. I think little of these, they are trifles and details; and no man can hope to have a monopoly of skeletons or make a corner in talking birds.” Treasure

Island was especially prominent because it was the epitome of a subgenre: nautical stories for children. This genre often featured boys undergoing a moral lesson through romantic liaisons and epic adventures, often at sea. Stevenson wrote other works that utilized this frame: Kidnapped, The Master of Ballantrae, and Catriona. However, the ubiquity of this genre eventually faded, perhaps because the role of the British navy and merchant fleet was waning. Treasure Island rose to be among the most famous of seafaring tales, and as a result numerous rumors proliferate as to which events in the book are connected to historical truths. It seems likely that the pub Jim Hawkins’ family runs, the Admiral Benbow Inn, was named after John Benbow, an English naval officer who won various battles against pirates. The Internet is full of various theories as to where the island Stevenson alludes to is located, or if it was based on a real place at all. Most guesses revolve around a resemblance to Stevenson’s hand-drawn map and point to places as diverse as the Shetland Islands, Cuba’s Isla de la Juventud, Tobago, and the British Virgin Islands. Some believe the buried treasure in the novel was inspired by a Spanish fleet’s shipwreck in 1715, in which 11 of the 12 ships carrying booty were lost in a hurricane when they were returning to Spain from the New World. Fleets such as these carried silver, gold, tobacco, spices, gems, and indigo, and pirates were always lurking to steal the goods. (Today, the remains from one of the CO N TIN U E D O N N E X T PAG E 2 0 1 5 –1 6 · I S S U E 6 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 1


1715 ships are protected as part of the Florida Underwater Archaeological Preserves.) Some elements of the novel were invented, but widely taken for truths due to their repetition in popular culture. Captain Flint, the pirate who buried the treasure before the events of the story took place, is featured in various prequels, but most notably is mentioned in the novel Peter and Wendy by J.M. Barrie, a friend of Stevenson’s. Flint was said to have died in an upstairs room in The Pirates’ House in Savannah, Georgia, a house that used to be an inn for seafarers and exists as a restaurant today. Some believe that the ghost of Flint haunts the house…never mind that he was fictional to begin with. What is certain is that the pirate and antihero Long John Silver was based on Stevenson’s friend, the poet William Ernest Henley (1849–1903). Stevenson wrote that to create the character of Long John Silver, he had the idea “to take an admired friend of mine […] to deprive him of all of his finer qualities and higher graces of temperament, and to leave him with nothing but his strength, his courage, his quickness, and his magnificent geniality, and to try to express these in terms of the culture of a raw tarpaulin.” Stevenson was struck by Henley’s physicality as well as his personality: when he was 12 years old, Henley contracted tuberculosis and had to have his left leg amputated below the knee in 1868. Stevenson wrote, “Such psychical surgery is, I think, a common way of ‘making character’ […] We can put in the quaint figure that spoke a hundred words with us yesterday by the wayside; but do we

know him? Our friend, with his infinite variety and flexibility, we know—but can we put him in? Upon the first we must engraft secondary and imaginary qualities, possibly all wrong; from the second, knife in hand, we must cut away and deduct the needless arborescence of his nature; but the trunk and the few branches that remain we may at least be fairly sure of.” Perhaps it is this train of thought that led Stevenson to create such a morally ambiguous character. Just when we think we know Long John Silver, we don’t. He is both a father figure for Jim, and his potential murderer. Arguably, it is this striking moral ambiguity that makes the novel such a fundamental coming-of-age story. Characters like Long John Silver put us on edge and make us realize how close we are to the unknown. When we don’t know a person’s intentions we get nervous; we flail around for some certainty. With Jim Hawkins, Stevenson shows us what one boy is made of when the ground beneath his feet falls away. And since this is an adventure story, the pressure is continuously on. Mary Zimmerman said that a major theme for this adaptation has been to show how we humans “long for more life.” Stevenson might have agreed. He wrote in his essay “The Day After To-morrow,” “The bourgeois is too much cottoned about for any zest in living; he sits in his parlour out of reach of any danger, often out of reach of any vicissitude but one of health; and there he yawns.” Treasure Island is a call to the parts of life that scare us, to getting lost, and especially, to new journeys.

San Francisco’s Treasure Island (disclaimer: bears no relation to the novel) There are around 45 locations named “Treasure Island” in North America; most of them are actual islands, but some are casinos, RV parks, and hotels. It makes sense: the name activates the imagination with visions of discovery. San Francisco’s own Treasure Island began as a Works Progress Administration project, built in the 1930s to be the site for the first San Francisco airport and for the city’s third World’s Fair. The island is comprised of sand dredged from the bay and carried down from the Sacramento River Delta; it was optimistically named for the gold that might exist within the soil. Approximately 260,000 tons of rock were used to create the wall that surrounds the artificial island. The island became a naval base in WWII; military operations ceased there in 1997, and the island became a residential site. In 2012 something buried was dug up: the Navy acknowledged that the island was used as a repair and salvage operation for ships that may have been exposed to nuclear testing during the Cold War, and since then investigations of radioactivity levels have continued.

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The map was drawn again in my father’s office, with embellishments of blowing whales and sailing ships, and my father himself brought into service a knack he had of various writing, and elaborately forged the signature of Captain Flint, and the sailing directions of Billy Bones. I have said the map was the most of the plot. I might almost say it was the whole. A few reminiscences of Poe, Defoe, and Washington Irving, a copy of Johnson’s Buccaneers, the name of the Dead Man’s Chest from Kingsley’s At Last, some recollections of canoeing on the high seas, and the map itself, with its infinite, eloquent suggestion, made up the whole of my materials. It is, perhaps, not often that a map figures so largely in a tale, yet it is always important. The author must know his countryside, whether real or imaginary, like his hand; the distances, the points of the compass, the place of the sun’s rising, the behaviour of the moon, should all be beyond cavil. Better if the country be real, and he has walked every foot of it and knows every milestone. But even with imaginary places, he will do well in the beginning to provide a map; as he studies it, relations will appear that he had not thought upon; he will discover obvious, though unsuspected, short-cuts and footprints for his messengers; and even when a map is not all the plot, as it was in Treasure Island, it will be found to be a mine of suggestion.” —ROBERT LOU IS ST E V ENSON

Map of Treasure Island drawn by Robert Louis Stevenson 2 0 1 5 –1 6 · 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 · 2 3


cutlass jolly boat

Nautical terms

used in Robert Louis Stevenson and Mary Zimmerman’s Treasure Island abeam : on the beam, a direction bearing at right angles

close hauled : sailing as close into the direction of

to the centerline of the ship’s keel

the wind as possible

anchor home : when the anchor is secured

cutlass : a short, thick, curving sword with a single

avast : stop, cease (command)

dav y jones : the spirit of the sea

batten dow n your hatches : to fasten

ebb tide period between high and low tide during which water flows away from the shore

for sailing

canvas over a ship’s hatchways (covered openings in the deck) as in preparing for a storm

berth : bed on a ship bilge : compartment at the bottom of the hull of a ship

or boat where water collects and must be pumped out of the vessel (listen for the insult “bilge rat”)

boat - cloak : long overgarment worn on boats broadside : side by side with another ship, long sides facing

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cutting edge, used by sailors


figurehead : symbolic image at the head of a ship fo ’c ’sle : forecastle, the part of a ship in front of

the foremast

’ ’


fo c sle council rules that allow the crew to take council among themselves galley: kitchen of a ship


gammon : lash up, make secure


hazing punishment or harassment, often by forcing to do unnecessary work (as in fraternities) holus - bolus : all at once jolly boat : small boat on a ship, usually carried on

the stern

larboard : left side of a ship (obsolete;

modern: “port”)

lee shore : sheltered shore, out of the wind marlinespike : a pointed metal tool for separating the strands of a rope in splicing

quadr ant : an instrument used for taking angular

rudder : steering device


ship s bell traditional way to mark time and regulate crew’s watches; each bell from 1-8 represents a 30-minute period since the start of a 4-hour watch swab : low-ranking sailor


supercargo officer on a merchant ship who has charge of the cargo and business dealings


tip us a stave start singing a song for us; sailors sang to establish a rhythm for their work topsail : the second sail (counting from the bottom) up a mast

weigh anchor : to heave up an anchor before sailing

measurements of altitude in navigation, typically consisting of a graduated quarter circle and a sighting mechanism 2 0 1 5 –1 6 · 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 · 2 5


quadr ant


“Funny, smart and compassionate” —LEO WEEKLY

“The power to win a viewer’s heart” —LOUISVILLE COURIER-JOURNAL

Sarah Ruhl DIREC TED BY Les Waters BY




Berkeley Repertory Theatre, in a co-production with Lookingglass Theatre Company, presents the West Coast premiere of

adapted and direc ted by

Mary Zimmerman from the novel by robert louis stevenson Location: England, 17—. Black Cove, Bristol, aboard the Hispaniola, and on Treasure Island. APRIL 22–JUNE 5, 2016 PEE T ’ S THE ATRE · M AIN SE A SON Treasure Island is made possible thanks to the generous support of SEASON SPONSORS

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


CAST Jim Hawkins John Babbo Squire Trelawney Matt DeCaro* Constable Dance/Dick Travis Delgado* Billy Bones/Redruth Christopher Donahue* Long John Silver Steven Epp* Mrs. Hawkins/George Merry/ Kasey Foster* Musician Pew/Others Anthony Irons* Dr. Livesey Alex Moggridge* Black Dog/Ben Gunn Steve Pickering* Captain Smollett Philip R. Smith* Israel Hands Demetrios Troy* Abraham Gray/Musician Matthew C. Yee Musicians Greg Hirte,* L.J. Slavin


Martha Ehmann Conte Bruce Golden & Michelle Mercer Helen & John Meyer/Meyer Sound E XECU TIV E S P O N S O R S

Pam & Mitch Nichter SPONSORS

David & Vicki Fleishhacker Paul Haahr & Susan Karp Janis Turner

PRODUC TION S TAFF Scenic Design Costume Design Lighting Design Original Music/Sound Design Chicago Casting

Todd Rosenthal Ana Kuzmanic T.J. Gerckens Andre Pluess Philip R. Smith with Raymond Fox Bay Area Casting Amy Potozkin, csa Stage Manager Megan McClintock*


Julie & Darren Cooke John & Carol Field Jill & Steve Fugaro Peter & Melanie Maier Patricia Sakai & Richard Shapiro Cynthia & William Schaff Emily Shanks Pat & Merrill Shanks Karen Stevenson & Bill McClave Martin & Margaret Zankel

*Indicates a member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. Treasure Island was originally produced by Lookingglass Theatre Company, Chicago IL, October 2015.

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

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John Babbo

Travis Delgado

John was seen in Lookingglass Theatre Company’s productions of Treasure Island and In the Garden. His other theatre credits include A Christmas Story, the Musical (Broadway and national tour); Strandline (A Red Orchid Theatre); Oliver, Gypsy, and Sweeney Todd (Drury Lane Theatre); Beauty and the Beast (Chicago Shakespeare Theater); A Christmas Carol (Goodman Theatre); and Night and Day (Remy Bumppo Theatre Company). His television and film credits include Chicago Fire (nbc), Sense8 (Netflix), Deadbeat (Hulu), UnderEmployed (mtv), Nintendo Amiibo (YouTube promotion, 2014), and upcoming independent features Thrill Ride and Not a Stranger.

Travis is proud to join the cast and crew of Treasure Island as well as Berkeley Rep. Travis graduated from Texas A&M University at Corpus Christi and now lives in Edgewater, Chicago. He is best known for playing Jurgis in The Jungle, adapted and directed by Jeff Award winner Matt Foss at Oracle Productions.


Matt DeCaro


Matt has appeared as Fa Hai in Mary Zimmerman’s The White Snake at the Old Globe, the McCarter Theatre, Goodman Theatre, the Guthrie Theater, and the Wuzhen Theatre Festival in China. He has appeared in the Lyric Opera of Chicago’s Oklahoma! and Goodman Theatre’s Camino Real, The Play About the Baby, Romance, Heartbreak House, Boy Gets Girl, and Spinning into Butter, among others. Matt has also appeared at Chicago Shakespeare Theater in Gypsy, The Merry Wives of Windsor, Richard III, and As You Like It. Other Chicago credits include The Lieutenant of Inishmore, Talley’s Folly, and Glengarry Glen Ross, Perfect Mendacity, Men of Tortuga, Our Lady of 121st Street, and Slaughterhouse-Five at Steppenwolf Theatre. His regional credits include American Buffalo, Machinal, A Streetcar Named Desire, and Dark Rapture at American Conservatory Theater. Recent film credits include The Last Rites of Joe May, The Wise Kids, U.S. Marshals, Eagle Eye, and Mr. 3000. Matt’s TV credits include Curb Your Enthusiasm, House, csi, The Office, and Prison Break, among many others.

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Christopher Donahue


Christopher has appeared at Berkeley Rep in Mary Zimmerman’s productions of Journey to the West, The Notebooks of Leonardo Da Vinci, and The Secret in the Wings. He has also performed at Arden Theatre Company, American Repertory Theatre, Boston Lyric Opera, Chicago Opera Theater, Circle in the Square, City Theatre of Pittsburgh, Classic Stage Company, Court Theatre, Goodman Theatre, Hartford Stage, Huntington Theatre Company, La Jolla Playhouse, Lincoln Center’s Serious Fun! Festival, Lookingglass Theatre Company, Manhattan Theatre Club, McCarter Theatre Center, Milwaukee Repertory Theater, Oxford House Company, the Public Theater, Remains Theatre, Seattle Repertory Theatre, Second Stage Theatre, Shakespeare in the Park, the Smith Center (Las Vegas), Stories on Stage, Two River Theatre Company, Weston Playhouse, and Yale Repertory Theatre.

Steven Epp


Steven has appeared at Berkeley Rep in Tartuffe, Accidental Death of an Anarchist, A Doctor in Spite of Himself, Figaro, The Miser, Don Juan Giovanni, and he did the adaptation for The Green Bird. He is an actor, writer, and co-artistic director of the Moving Company, based in Minneapolis, where his acting/writing credits include The House Can’t Stand, Come Hell and High Water, Out of the Pan Into the Fire, and Imaginary Invalid at Playmakers, Massoud for Center Theatre Group, Tartuffe at South Coast Rep, and Love’s Labour’s Lost at Actors Theatre of Louisville. moco will present the world premiere of their newest creation Refugia at the Guthrie Theater, spring 2017. Steven’s regional credits include productions at the Guthrie, Ten

Thousand Things, Yale Repertory Theatre, the Jungle Theater, La Jolla Playhouse, Trinity Repertory Company, Spoleto Festival, American Repertory Theatre, the Alley Theatre, Intiman Theatre, Center Stage, the Shakespeare Theatre Company, Seattle Repertory Theatre, and the New Victory Theater off Broadway. Steven was an actor, writer, and co-artistic director at Theatre de la Jeune Lune, winner of the 2005 Tony Award for Best Regional Theatre, from 1983–2008. Acting credits include title roles in Tartuffe, Crusoe, Hamlet, Gulliver, Figaro, and The Miser. Steven has co-authored numerous plays including Children of Paradise, winner of the 1993 Outer Critics Circle Award for Best New Play. He was a 1999 Fox Fellow, a 2009 McKnight Theatre Artist Fellow at Playwrights’ Center, and a 2013 Reinecke Fellow at Yale University, and won the 2012 Helen Hayes Award for Best Actor as Truffaldino in Servant of Two Masters. Steve holds a degree in Theatre and History from Gustavus Adolphus College. He lives in Minneapolis with his wife, and has three grown children.

Kasey Foster


Kasey has been performing, singing, directing, and producing in Chicago since 2004. This production of Treasure Island marks her first regional theatre experience. In Chicago, Kasey has worked with the following theatre companies: Lookingglass Theatre Company, Manual Cinema, Chicago Children’s Theatre, Blair Thomas & Co., Redmoon Theater, Dog & Pony Theatre Company, Trap Door Theatre, Theater Wit, Red Tape Theatre, and Collaboraction. She sings with Chicago bands Grood, Babe-alon 5, Old Timey, and This Must Be the Band. Kasey has directed/choreographed over 30 original works, and produces an annual (and fantastic) series called Dance Tribute.


Greg is an actor, musician, and composer based in Chicago. He is happy to be continuing with the cast of Treasure Island and making his first appearance at Berkeley Rep. Other recent Chicago credits include Luther in Ring of Fire: Music of Johnny Cash, Leon in the American Blues production of Hank Williams Lost Highway, and at Goodman Theatre for his 18th season of A Christmas Carol. Other Chicago credits include performance and mu-

sical composition for the Goodman, Chicago Shakespeare Theater, Drury Lane Theatre, the Marriott, Court Theatre, Victory Gardens Theater, and the Piven Theatre Workshop (Jeff Award nomination for Best Original Score for Sarah Ruhl’s Melancholy Play). Other credits include performances for several national and international theatre and music festivals. Greg is also a member of several Chicago area bands touring nationally and internationally, including Chicago’s own Mucca Pazza.

Anthony Irons P E W/O T H E R S

Anthony is delighted to make his Berkeley Rep debut with this great Lookingglass Theatre Company adventure. He is a Congo Square Theatre Ensemble member in Chicago, where he has performed in over a dozen productions and garnered Black Excellence Awards, Black Theatre Alliance Awards, and a Jeff nomination (King Hedley II). Other credits include Two Trains Running (Goodman Theatre), Waiting for Godot (Court Theatre), Red Scare and Second City Mile High (Second City), Black Eagles (Penumbra Theatre), Hamlet (Illinois Shakespeare Festival), As You Like It (Georgia Shakespeare Festival), and Treemonisha (Birmingham Broadway Series). Anthony’s television and film credits include Chicago Fire, Boss, Let’s Go to Prison, and The Lucky Ones.

Alex Moggridge DR . LIVESEY

Alex has appeared in Berkeley Rep’s productions of Three Sisters and Chinglish (which also traveled to South Coast Repertory and the Hong Kong Arts Festival). Regionally, he has appeared at Actors Theatre of Louisville’s Humana Festival, Long Wharf Theatre, Yale Repertory Theatre, Artists Repertory Theatre, Pittsburgh Irish Classical Theatre, and Utah Shakespeare Festival. He understudied on the Broadway production of Betrayal, starring Daniel Craig and Rachel Weisz and directed by Mike Nichols. In the Bay Area, he has performed at American Conservatory Theater in The Beard of Avon, A Christmas Carol, and The Threepenny Opera; Aurora Theatre Company in Betrayed, The Entertainer, and Salomania; San Jose Repertory Theatre in By the Bog of Cats and The Weir; as well as at Center Repertory Company, Magic Theatre, Marin Theatre Company, SF Playhouse, and Shotgun Players. Alex’s film and TV credits include Batman Begins, Law & Order: Criminal Intent, Person of Interest, and Trauma. Alex is also a writer, and his play Simon Dawes Becomes a Planet will be produced this fall at New York’s Access Theatre. 2 0 1 5 –1 6 · 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 · 2 9

Steve Pickering


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Steve performed in the original run of Treasure Island at Lookingglass Theatre Company in Chicago. Before that, he appeared as the title role in Macbeth for Santa Cruz Shakespeare, and as Oscar in The Little Foxes for Goodman Theatre —one of over 30 productions with the company since 1987, including Robert Falls’ staging of King Lear, Long Day’s Journey into Night, and Death of a Salesman (in Chicago, on Broadway, for the national tour and in London’s West End). He received a Helen Hayes Award nomination for Michael Kahn’s production of Wallenstein for the Shakespeare Theatre Company in D.C., and has performed with many of the country’s major regional theatres, including Milwaukee Repertory Theater, Indiana Repertory Theatre, Arena Stage, City Theatre in Pittsburgh, the Old Globe, and the Public Theater. Formerly the artistic director for Next Theatre in Evanston, he is currently a Goodman Theatre Creative Partner, and project manager for Shanghai Low Theatricals.


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The cast of Amélie, A New Musical (photo courtesy of

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L.J., an award-winning multi-instrumentalist, has performed in almost every type of venue imaginable. Theatrically, he recently performed in the premiere of Mary Zimmerman’s Treasure Island at Lookingglass Theatre Company. He served as musical director and lead musician in the Steppenwolf Theatre production of The March. Additional Steppenwolf credits include The Grapes of Wrath (Tony Award–winning production on Broadway, the National Theatre in London, and regional productions at La Jolla Playhouse, Denver Center Theatre Company, and Pioneer Theatre Company in Salt Lake City), and provided music for Tennessee, The Glass Menagerie, and Curse of the Starving Class. Other productions include Woody Guthrie’s American Song at Northlight Theatre in Evanston (IL), Briar Street Theatre in Chicago, Goodspeed Opera House in Connecticut, and Pope Theatre in West Palm Beach; Appalachian Strings at the Denver Center, Meadow Brook Theatre in Michigan, Cincinnati Playhouse, and Virginia Stage Company; Twelfth Night at Chicago Shakespeare Theater; Sounding the River at Milwaukee Repertory Theater; and three seasons of A Christmas Carol at Goodman Theatre.

BE R K E L E Y R E P P R E S E N T S Philip R. Smith


This is Philip’s first appearance at Berkeley Rep. In Chicago he serves as the producing director of Lookingglass Theatre Company, co-producer of Treasure Island. As such he promotes the company’s brand, ensemble, and mission through casting, marketing, facilities, events, and fundraising initiatives. He also acts. Recent Chicago credits include Bastion Podaris in Keith Huff’s Big Lake Big City at Lookingglass Theatre Company directed by David Schwimmer, and Wrede Sartorius in The March at Steppenwolf Theatre Company directed by Frank Galati. Other Lookingglass credits include the titular role in Ethan Frome, Will in Trust, Phileas Fogg in Around the World in 80 Days, Ivan in The Brothers Karamazov, Tinker Bosch in The Wooden Breeks, and Creon in Hillbilly Antigone. Other recent credits include Atticus Finch in To Kill a Mockingbird and Rev. Parris in The Crucible, both at Steppenwolf, and Fogg in Around the World in 80 Days at Baltimore’s Center Stage. Other regional credits include work at the McCarter Theatre Center, Seattle Repertory Theatre, the Arden Theatre Company, bam (nyc), and the Actors’ Gang (LA). TV and film credits include Boss, Friends, Prison Break, Chicago Hope, Early Edition, Kissing a Fool, Since You’ve Been Gone, High Fidelity, The Express, and The Dilemma.

Demetrios Troy ISRAEL HANDS

Demetrios makes his Berkeley Rep and Lookingglass Theatre Company debut. A Chicago–based actor, Demetrios’ credits include 2666, The Happiest Song Plays Last, A Christmas Carol, The Seagull, The Good Negro, and numerous readings at Goodman Theatre. His other Chicago credits include The Wheel (Steppenwolf Theatre Company); Never the Sinner (Victory Gardens Theater); Inana, Blood and Gifts, and Danny Casolaro Died for You (TimeLine Theatre Company); Henry V, Julius Caesar, Timon of Athens, Richard III, and Short Shakespeare! Romeo and Juliet (Chicago Shakespeare Theater); Awake and Sing (Northlight Theatre); Beyond the Score: Haydn, Beyond the Score: Beethoven, Beyond the Score: Schoenberg, The Soldier’s Tale, and Welcome Yule (Chicago Symphony Orchestra); and Working (Broadway Playhouse). Demetrios’ regional credits include The Boys Next Door (Syracuse Stage), Julius Caesar (Utah Shakespeare Festival), King Lear and The Merry Wives of Windsor (Riv-


erside Shakespeare), King Lear and Tartuffe (Milwaukee Repertory Theater), and Julius Caesar and A Midsummer Night’s Dream (Door Shakespeare). His TV and film credits include Chicago Fire, Mob Doctor, The Year that Changed Us, The King, Two Thieves, and Jobless. He holds a BA from DePaul University/Barat College and an mfa from the University of South Carolina. Demetrios is an artistic associate at TimeLine Theatre.

Matthew C. Yee


Matthew appeared in Treasure Island at Lookingglass Theatre Company. Previous credits include The Wheel at Steppenwolf Theatre and Wonderland: Alice’s Rock and Roll Adventure at Chicago Children’s Theatre. In 2014, he had a co-starring role in season three episode four of the nbc series Chicago Fire. In 2013, he graduated from Northern Illinois University with a bfa in Acting.

Mary Zimmerman

A DA P T O R / D I R E C T O R

Mary received the 2002 Tony Award for Best Director and a 1998 MacArthur Fellowship. This is her eighth show for Berkeley Rep, following acclaimed productions of The Arabian Nights, Argonautika, Journey to the West, Metamorphoses, The Notebooks of Leonardo da Vinci, The Secret in the Wings, and The White Snake. These plays — and others that she’s adapted and directed such as The Jungle Book, Eleven Rooms of Proust, The Odyssey, Silk, and S/M —have enjoyed celebrated runs at Brooklyn Academy of Music, Goodman Theatre, the Huntington Theatre Company, Lookingglass Theatre Company, the Mark Taper Forum, McCarter Theatre Center, Seattle Repertory Theatre, and Second Stage Theatre. She also directed All’s Well That Ends Well and Pericles for the Goodman, Henry VIII and Measure for Measure for the New York Shakespeare Festival, A Midsummer Night’s Dream for the Huntington, and Guys and Dolls for the Oregon Shakespeare Festival and at L.A.’s Wallis Annenberg Center for the Performing Arts. In 2002, Mary created a new opera with Philip Glass called Galileo Galilei, which was presented at bam, the Goodman, and the Barbican in London. In recent years, she has staged Armida, and La Sonnambula for the Metropolitan Opera in New York and Lucia di Lammermoor at the Met and at La Scala, Milan. Based in Chicago, Mary has won numerous Joseph Jefferson Awards—the city’s top theatrical honors—including prizes for best production and best direction. She is a member of Lookingglass, an artistic associate of the Goodman, and she holds the Jaharis

Family Foundation Chair in Performance Studies at Northwestern University.

Todd Rosenthal


Todd previously designed X’s and O’s (A Football Love Story), Tribes, and 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. 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 Goodman Theatre. He 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.

Ana Kuzmanic


Ana is Yugoslav–born, Chicago–based costume designer for theatre and opera. She is thrilled to be back at Berkeley Rep where she last designed Argonautika directed by Mary Zimmerman. Most recently Ana designed costumes for Goodman Theatre’s production of 2666—stage adaptation of Roberto Bolaño’s novel, directed by Robert Falls and Seth Bockley. Ana’s Broadway credits include Desire Under the Elms (Carla Gugino, Brian Dennehy), Superior Donuts (Michael McKean), and the Tony Award–winning August: Osage County, for which she was the recipient of Drama Desk nomination for outstanding costume design. Her off-Broadway credits include The Jacksonian (Ed Harris, Bill Pullman) by Beth Henley. Her upcoming projects include Disgraced directed by Marcela Lorca at the Guthrie Theater, Wonderful Town directed by Mary Zimmerman at the Goodman, and Peter Grimes directed by Robert Falls at the Lyric Opera. Ana is associate professor of costume design at Northwestern University. Please visit 2 0 1 5 –1 6 · 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 1

BE R K E L E Y R E P P R E S E N T S T.J. Gerckens


T.J. is pleased to return to Berkeley Rep where he previously designed The Arabian Nights, Journey to the West, Metamorphoses, The Notebooks of Leonardo da Vinci, The Secret in the Wings, and The White Snake. Recent designs include Guys and Dolls at the Oregon Shakespeare Festival and the Wallis Annenberg Center, Treasure Island and Blood Wedding at Lookingglass Theatre Company, and Mary Zimmerman’s adaptation of Disney’s The Jungle Book at Goodman Theatre and the Huntington Theatre Company. Other notable designs include the Mary Zimmerman and Philip Glass opera Galileo Galilei at the Goodman; Pericles at the Shakespeare Theatre in Washington, DC; and Lucia di Lammermoor at La Scala Opera House in Milan, Italy. T.J.’s New York designs include Lucia di Lammermoor and La Sonnambula for the Metropolitan Opera, Measure for Measure in Central Park, Metamorphoses on and off Broadway, and The Notebooks of Leonardo da Vinci at Second Stage. He has received numerous honors for his lighting, including a Bay Area Theatre Critics Circle Award, Chicago’s Jefferson Award, Drama Critics Circle Award, Los Angeles Ovation Award, and New York’s Drama Desk Award. T.J. is the faculty lighting designer at Otterbein University.

Andre Pluess


Andre has worked with Berkeley Rep on numerous shows: after the quake, The Arabian Nights, Argonautika, Blue Door, Ghost Light, Honour, Metamorphoses, The Secret in the Wings, and The White Snake. His Broadway credits include 33 Variations, The Clean House, I Am My Own Wife, and Metamorphoses. His other credits include many productions for About Face Company (artistic associate), Court Theatre, Goodman Theatre, Lookingglass Theatre Company (artistic associate), Northlight Theatre, Steppenwolf Theatre Company, Victory Gardens Theater (resident designer), and other Chicago and regional theatres. His more recent projects include Cymbeline at the Shakespeare Theatre, Equivocation at Arena Stage, Ghost Light and The Merchant of Venice at Oregon Shakespeare Festival, Macbeth and Titus Andronicus at California Shakespeare Theater (where he is an artistic associate), Palomino at Center Theatre Group, Sex with Strangers at Steppenwolf, and Stage Kiss at the Goodman, as well as the score for the film The Business of Being Born. Andre received a Barrymore Award, a Drama Critics Circle Award, Drama Desk and Lortel nominations, multiple Joseph Jefferson Awards and Citations, and an LA Ovation Award for composition and sound design.

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Amy Potozkin, csa


This is Amy’s 26th season at Berkeley Rep. Through the years she has also had the pleasure of casting plays for act (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for various independent films, including Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and Love & Taxes, both by Josh Kornbluth; and Beyond Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist in residence. She has been an audition coach to hundreds of actors and a presentation/communication coach to many businesspeople. Amy taught acting at Mills College and audition technique at Berkeley Rep’s School of Theatre, and has led workshops at numerous other venues in the Bay Area. Prior to working at Berkeley Rep, she was an intern at Playwrights Horizons in New York. Amy is a member of csa, the Casting Society of America, and was nominated for Artios Awards for Excellence in Casting for The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures and One Man, Two Guvnors.

Megan McClintock S TAG E M A N AG E R

Megan is always happy to come home to Berkeley Rep after starting her stage management career as a Berkeley Rep fellow. In the years since she has stage managed at American Conservatory Theater, Aurora Theatre Company, Center Repertory Company, California Shakespeare Theater, and the San Francisco Opera. She most recently stage managed the world premiere of Swimmers at Marin Theatre Company. Favorite Berkeley Rep credits include The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, Girlfriend, The Arabian Nights, The White Snake, No Man’s Land, Dear Elizabeth, The Wild Bride, Eurydice, and How To Write a New Book for the Bible. Megan has a BA in theatre and history from Willamette University.

Lookingglass Theatre Company CO -PRODUCER

Inventive. Collaborative. Transformative. Lookingglass is home to a multi-disciplined collective of artists who create original, story-centered theatre through a physical and improvisational rehearsal process centered on ensemble. Lookingglass has staged 64 world premieres and garnered numerous awards in its mission to change, charge, and empower audiences and artists alike. Lookingglass Education and Community programs encourage creativity, team work, and confidence with

thousands of students and community members each year. In 2003, Lookingglass Theatre opened in Chicago’s landmark Water Tower Water Works. In 2011, Lookingglass received the American Theatre Wing’s Tony Award for Outstanding Regional Theatre.

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

Susan Medak


Susan has served as Berkeley Rep’s managing director since 1990, leading the administration and operations of the Theatre. She has served as president of the League of Resident Theatres (lort) and treasurer of Theatre Communications Group, organizations that represent the interests of nonprofit theatres across the nation. Susan chaired panels for the Massachusetts Arts Council and has also served on program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan serves on the board of the Downtown Berkeley Associa-

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

Theresa Von Klug


Theresa joined Berkeley Rep at the beginning of the 2015–16 season. She has over 20 years of experience in the New York not-for-profit performing arts sector where she has planned and executed events for dance, theatre, music, television, and film. Most recently she was the interim general manager for the Public Theater and general manager/line producer for Theatre for a New Audience, where she opened its new state-of-the-art theatre in Brooklyn, and filmed a major motion picture of the inaugural production of Julie Taymor’s A Midsummer Night’s Dream, released June 2015. Theresa has worked as a production manager at the New Jersey Performing Arts Center and New York City Center, including the famous Encores! Great American Musicals in Concert, and as a field representative/lead negotiator for the Association of Theatrical Press Agents and Managers. She holds a MS in Labor Relations and Human Resources Management from Baruch College.


Peter Dean


Peter arrived at Berkeley Rep in 2014 after a 20-year career in New York, Boston, and Denver. Prior to trekking across the country to find home, Peter was serving as production manager at the Public Theater, where favorite works include Here Lies Love, Father Comes Home from the War Parts 1–3, Mobile Shakespeare, and The Tempest as well as musical collaborations with Sting, the Roots, and the Eagles. Peter also spent time in New York helping Alex Timbers to develop Rocky the Musical, The Last Goodbye, and the cult classic Dance Dance Revolution the Musical. Other favorites include working with Edward Albee to remount The Sandbox and The American Dream at their original home at the Cherry Lane Theatre, Little Flower of East Orange directed by the late Phillip Seymour Hoffman, and being a part of the development team for The Ride, an interactive four-mile traveling performance in the heart of Times Square. Regionally Peter has had the honor of working with the Huntington Theatre Company, American Repertory Theater, Commonwealth Shakespeare, Trinity Rep, Hasty Pudding Theatricals, Colorado Ballet, Central City Opera, and the Denver Center Theatre Company. Peter is a graduate of Otterbein University.




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BE R K E L E Y R E P P R E S E N T S Madeleine Oldham

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

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

Michael Suenkel


Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 22nd year as production stage manager. Some of his favorite shows include 36 Views, Endgame, Eurydice, Hydriotaphia, and Mad Forest. He has also worked with the Barbican in London, the Huntington Theatre Company, the Juste Pour Rire Festival in Montreal, La Jolla Playhouse, Pittsburgh Public Theater, the Public Theater and Second Stage Theater in New York, and Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss.

Jack & Betty Schafer SEASON SPONSORS

Betty and Jack are proud to support Berkeley Rep. Jack just rotated off the Theatre’s board and is on the boards of San Francisco Opera and the Straus Historical Society. He is vice-chair of the Oxbow School in Napa and an emeritus trustee of the San Francisco Art Institute where he served as board chair. Betty is on the boards of Earthjustice, Coro Foundation, Sponsors for Educational Oppor- tunity (seo), San Francisco Community College Foundation, and Brandeis Hillel Day School. They live in San Francisco.

Michael & Sue Steinberg SEASON SPONSORS

Michael and Sue have been interested in the arts since they met and enjoy music, ballet, and live theatre. Michael, who recently retired 3 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6


as chairman and chief executive officer of Macy’s West, served on Berkeley Rep’s board of trustees from 1999 to 2006 and currently serves on the board of directors of the Jewish Museum. Sue serves on the board of the World of Children. The Steinbergs have always enjoyed regional theatre and are delighted to sponsor Berkeley Rep this season.

The Strauch Kulhanjian Family SEASON SPONSORS

Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently vice president of the board. He is chairman of the Roda Group (, a venturedevelopment 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, solazyme. com). Roger is chairman of the board of CoolSystems, a medical technology company, and a member of the UC Berkeley Engineering Dean’s college advisory board. He is chairman of the board of trustees for the Mathematical Sciences Research Institute; a member of the board of Northside Center, a mental-health services agency based in Harlem, New York City; and a co-founder of the William Saroyan Program in Armenian Studies at Cal. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three children.

Martha Ehmann Conte LEAD SPONSOR

Martha, a 10-year season ticket holder, is thrilled to once again support a season of groundbreaking regional theatre at Berkeley Rep. Martha divides her time between caring for her four incredible children, ages 7 to 18, and being an active philanthropist and civic leader in the Bay Area. She serves on the boards and committees of numerous nonprofit organizations, including the Golden Gate National Parks Conservancy, Point Blue Conservation Science, and the Exploratorium Catalyst Committee. In her free time, Martha enjoys running, hiking, rowing, and traveling. Martha’s professional background includes 15 years of brand-strategy consulting and consumer advertising. She is a graduate and active alumna of Princeton University.

Bruce Golden & Michelle Mercer LEAD SPONSORS

Michelle and Bruce have been ardent supporters of Berkeley Rep since 1993, when they moved with two young children in tow to Berkeley. Their favorite evenings at Berkeley Rep were usually the discussion nights, where often friends would join them as well. Michelle and Bruce always felt that Berkeley Rep was an exceptional Bay Area cultural treasure as it was willing to support courageous new works and nurture innovative young play-

wrights. In 2002, Bruce and Michelle moved to London, where they nourished themselves on a steady diet of English theatre (note the proper spelling) until they could return to their beloved Berkeley Rep. They are delighted once again to be back in the very center of leading-edge theatre and are honored to be lead sponsors for two of this season’s great productions. Their two now-grown children are also tremendous theatre junkies and will hopefully be joining Bruce and Michelle for some of this season’s performances.

Helen & John Meyer/Meyer Sound LEAD SPONSORS

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

Pam & Mitch Nichter


Pam and Mitch recently retired from their long-time careers as partners at Osterweis Capital Management, a San Francisco investment manager, and Paul Hastings, a global law firm, respectively. They recently moved to their home in San Luis Obispo County where they keep busy enjoying the beauty that life has to offer by gardening, hiking, traveling, and, of course, wine tasting. Pam serves on the board of trustees at Berkeley Rep and is chair of its Investment Committee. Pam and Mitch have been enthusiastic supporters of Berkeley Rep for years, are huge fans of Mary Zimmerman’s work, and are thrilled to help sponsor this production of Treasure Island.

David & Vicki Fleishhacker SPONSORS

David and Vicki Fleishhacker’s families trace their California roots back to the Gold Rush. Both are have been involved in amateur theatre for decades. Vicki has long been active and performed with Children’s Theatre Association of San Francisco productions. David

appeared in over a dozen musical productions as actor, singer, and lyricist. He is currently on the board of Berkeley Rep and the San Francisco Symphony Youth Orchestra. David's parents met in amateur theatre, and his father was instrumental in bringing American Conservatory Theater to San Francisco. Other family members have served on the boards of act and Magic Theatre.

KATHIE LONGINOTTI REALTOR® and Berkeley Rep Subscriber

Janis Turner SPONSOR

Janis is delighted to be sponsoring Treasure Island. She has attended and enjoyed Berkeley Rep for 40 years, since it was in the theatre on College Avenue. This sponsorship is in gratitude for the pleasure she has received from the productions. Janis is a retired public school teacher who continues to get her kid fix by substituting. She is an environmental activist, chair of both the Tri-Valley group of Sierra Club and Tri-Valley Citizens Against a Radioactive Environment. An avid gardener, she volunteers for U.C. Master Gardeners. Thank you, Berkeley Rep, for your exciting innovation, represented in this new production of Treasure Island.




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

kpix-tv (Channel 5) SEASON SPONSOR

kpix 5 shares a commitment with cbs News to original reporting. “Our mission is to bring you compelling, local enterprise journalism,” emphasized kpix/kbcw President and General Manager Bruno Cohen. “And just like Berkeley Rep, we’re passionate about great storytelling. We strive to showcase unique stories that reflect the Bay Area’s innovative spirit, incredible diversity, and rich culture as well as its challenges.” Sister station kbcw 44 Cable 12 airs the region’s only half-hour newscast at 10pm. Produced by the kpix 5 newsroom, “Bay Area NightBeat” offers viewers a fresh perspective on current events along with a lively—and often provocative—look at what the Bay Area is saying and sharing online and in social media. Both stations are committed to supporting valuable community organizations such as Berkeley Rep, and are proud to serve as season media sponsors.

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Peet’s Coffee


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

Wells Fargo


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

Additional staff Associate lighting designer Stephen Sorenson Deck crew Bradley Hopper, Sofie Miller Dialect coach Lynne Soffer Fight consultant Dave Maier Electrics Melina Cohen-Bramwell, Gabriel Holman, Bradley Hopper, Kevin August Landesman, Will Poulin, Minerva Ramirez, Sarina Renteria, Matt Reynolds, Corey Schaeffer, Andrea J. Schwartz, Kourtney Snow, Caitlin Steinmann, Molly Stewart-Cohn, Thomas Weaver, Lauren Wright Production assistant Amanda Mason

Did you know that you can purchase

GUARANTEED PARKING for your performance? Find out more at

BERKELEYREP.ORG/PARKING or ask at the box office!

Props Amelia Burke-Holt, Noah Kramer, Rebecca Willis Scene shop Roger Chapman, Ross Copeland, Will Gering, Noah Lange, Carl Martin, Read Tuddenham Stage carpenter Kourtney Snow Studio teacher Donnell Barnes Wardrobe Eva Herndon, Andrea Marlo Phillips, Anna Slotterback Medical consultation for Berkeley Rep provided by Cindy J. Chang MD, ucsf Assoc. Clinical Professor and Steven Fugaro, MD.

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We thank the many institutional partners who enrich our community by championing Berkeley Rep’s artistic and community outreach programs. We gratefully recognize these donors to Berkeley Rep’s Annual Fund, who made their gifts between December 2014 and February 2016. G IF T S O F $ 10 0,0 0 0 A N D A B OV E The California Endowment The California Wellness Foundation The William & Flora Hewlett Foundation The Shubert Foundation G IF T S O F $50,0 0 0 –9 9,9 9 9 Akonadi Foundation The Reva and David Logan Foundation National Endowment for the Arts The Bernard Osher Foundation The Harold and Mimi Steinberg Charitable Trust


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

Institutional Partners

G IF T S O F $5,0 0 0 –9,9 9 9 Anonymous Berkeley Civic Arts Program Distracted Globe Foundation East Bay Community Foundation Ann and Gordon Getty Foundation Panta Rhea Foundation Ramsay Family Foundation The Ida and William Rosenthal Foundation G IF T S O F $750 –4,9 9 9 Alameda County Arts Commission/artsfund Berkeley Association of Realtors Joyce & William Brantman Foundation Civic Foundation The Entrekin Foundation jec Foundation twanda Foundation


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


G I F T S O F $ 3,0 0 0 – 5,9 9 9

Mechanics Bank Wealth Management The Morrison & Foerster Foundation

4U Sports Bayer Gallagher Risk Management Services Macy’s


G I F T S O F $ 6,0 0 0 –11,9 9 9


G I F T S O F $ 5 0,0 0 0 – 9 9,9 9 9

American Express


G I F T S O F $ 12 ,0 0 0 –2 4 ,9 9 9

Armanino llp City National Bank Deloitte LG Wealth Management llc Meyer Sound Panoramic Interests Schoenberg Family Law Group U.S. Bank


G I F T S O F $ 1, 5 0 0 –2 ,9 9 9

Bank of the West Cooperative Center Federal Credit Union McCutcheon Construction Oliver & Company A DVO C AT E S GIFTS OF $500–999

Presidio Bank


G I F T S O F $ 2 5,0 0 0 –49,9 9 9

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.


act Catering Angeline’s Louisiana Kitchen Aurora Catering Autumn Press Bare Snacks Bistro Liaison Bogatin, Corman & Gold C.G. Di Arie Vineyard & Winery Café Clem Comal Cyprus Domaine Carneros by Taittinger Donkey & Goat Winery Drake’s Brewing Company East Bay Spice Company etc Catering Eureka! Farella Braun & Martel llp

Farm League Design & Management Group five Folie à Deux Gather Restaurant Gecko Gecko Hafner Vineyard Hotel Shattuck Plaza Hugh Groman Catering & Greenleaf Platters Jazzcaffè Kevin Berne Images La Mediterranee La Note Latham & Watkins llp Match Vineyards Mayer Brown llp Pathos Organic Greek Kitchen Phil’s Sliders Picante

PiQ Public Policy Institute of California Quady Winery Revival Bar + Kitchen The Ritz-Carlton, San Francisco St. George Spirits Sweet Adeline Tigerlily Berkeley Venus Restaurant Whole Foods Market Hotel Shattuck Plaza is the official hotel of Berkeley Rep. Pro-bono legal services are generously provided by Farella Braun & Martel llp, Latham & Watkins llp, and Mayer Brown llp

M AT C H I NG G I F T S The following companies have matched their employees’ contributions to Berkeley Rep. Please contact your company’s HR office to find out if your company matches gifts. Adobe Systems Inc. · Advent Software · American Express · Apple · Applied Materials · Argo Group · at&t · Bank of America · BlackRock · Bristol Myers Squibb · Charles Schwab & Co, Inc · Chevron Corporation · Clorox · Constellation Energy · Dolby · Gap · Genentech · Google · ibm Corporation · John Wiley & Sons, Inc. · kla Tencor · Lawrence Livermore National Laboratory · Macy’s Inc. · Matson Navigation Company · Microsoft · Morrison & Foerster · norcal Mutual Insurance Company · Nvidia · Oracle Corporation · · Shell Oil · Sidley Austin llp, San Francisco · Synopsys · The Walt Disney Company · Union Bank, The Private Bank · visa u.s.a., Inc. 2 0 1 5 –1 6 · 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


Donors to the Annual Fund

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


$ 10 0,0 0 0 +

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


$ 5 0,0 0 0 – 9 9,9 9 9

Martha Ehmann Conte Bruce Golden & Michelle Mercer Frances Hellman & Warren Breslau Wayne Jordan & Quinn Delaney Ms. Wendy E. Jordan Jane Marvin/Peets Coffee Stewart & Rachelle Owen Mary Ruth Quinn & Scott Shenker Steve Silberstein


$ 2 5,0 0 0 –49,9 9 9

Edward D. Baker Rena Bransten John & Stephanie Dains Bill Falik & Diana Cohen Kerry Francis & John Jimerson M Edward Kaufmann Pam & Mitch Nichter Marjorie Randolph Sheli & Burt Rosenberg, in honor of Leonard X Rosenberg

Jack & Valerie Rowe Jean & Michael Strunsky Guy Tiphane Gail & Arne Wagner


$ 6,0 0 0 – 11,9 9 9


$ 12 ,0 0 0 –2 4 ,9 9 9

Anonymous Barbara & Gerson Bakar Carole B. Berg Maria Cardamone & Paul Matthews Susan Chamberlin David & Vicki Cox Thalia Dorwick Robin & Rich Edwards David & Vicki Fleishhacker Paul Friedman & Diane Manley M Paul Haahr & Susan Karp Scott & Sherry Haber Jack Klingelhofer Dixon Long Sandra & Ross McCandless Dugan Moore Leonard X & Arlene B. Rosenberg Joan Sarnat & David Hoffman Liliane & Ed Schneider Norah & Norman Stone Janis Turner Felicia Woytak & Steve Rasmussen

Anonymous (3) Shelley & Jonathan Bagg Edith Barschi Neil & Gene Barth Valerie Barth & Peter Wiley Lynne Carmichael Daniel Cohn & Lynn Brinton Julie & Darren Cooke Robert Council & Ann Parks-Council Daryl Dichek & Kenneth Smith, in memory of Shirley D. Schild Oz Erickson & Rina Alcalay William Espey & Margaret Hart Edwards M Tracy & Mark Ferron John & Carol Field, in honor of Marjorie Randolph Virginia & Timothy Foo Jill & Steve Fugaro Mary & Nicholas Graves Doug & Leni Herst, in honor of Susie Medak Hitz Foundation Christopher Hudson & Cindy J. Chang, MD Seymour Kaufman & Kerstin Edgerton Wanda Kownacki Ted & Carole Krumland Zandra Faye LeDuff Peter & Melanie Maier, in honor of Jill Fugaro

Dale & Don Marshall Martin & Janis McNair Susan Medak & Greg Murphy, in honor of Marcia Smolens John & Helen Meyer / Meyer Sound Steven & Patrece Mills M Mary Ann & Lou Peoples Peter Pervere & Georgia Cassel Barbara L. Peterson Sue Reinhold & Deborah Newbrun Kaye Rosso Pat Rougeau Patricia Sakai & Richard Shapiro Cynthia & William Schaff Emily Shanks Pat & Merrill Shanks Karen Stevenson & Bill McClave Lisa & Jim Taylor Wendy Williams Linda & Steven Wolan Martin & Margaret Zankel


$ 3,0 0 0 – 5,9 9 9

Anonymous (5) Marcia & George Argyris Stephen Belford & Bobby Minkler Becky & Jeff Bleich Cynthia & David Bogolub Kim Boston K Jim Butler Brook & Shawn Byers Ronnie Caplane Jennifer Chaiken & Sam Hamilton Constance Crawford Karen & David Crommie Lois M. De Domenico Delia Fleishhacker Ehrlich Nancy & Jerry Falk Karen Galatz & Jon Wellinghoff Richard & Lois Halliday Earl & Bonnie Hamlin Vera & David Hartford Renee Hilpert K Richard N. Hill & Nancy Lundeen James C. Hormel & Michael P. Nguyen, in honor of Rita Moreno Lynda & Dr. J. Pearce Hurley Kathleen & Chris Jackson Duke & Daisy Kiehn Rosalind & Sung-Hou Kim Louise Laufersweiler & Warren Sharp Christopher & Clare Lee Charlotte & Adolph Martinelli Phyra McCandless & Angelos Kottas Miles & Mary Ellen McKey Michele & John McNellis Toby Mickelson & Donald Brody Eddie & Amy Orton Janet Ostler Sandi & Dick Pantages Pease Family Fund Kermit & Janet Perlmutter Ivy & Leigh Robinson David S. H. Rosenthal & Vicky Reich Beth & David Sawi Stephen Schoen & Margot Fraser

Linda & Nathan Schultz Beryl & Ivor Silver Audrey & Bob Sockolov Vickie Soulier Stephen Stublarec & Debra S. Belaga Deborah Taylor Pamela Gay Walker/ Ghost Ranch Productions Patricia & Jeffrey Williams Sheila Wishek Sally Woolsey Mark & Jessica Nutik Zitter


$ 1, 5 0 0 –2 ,9 9 9

Anonymous (10) Mel Adamson K Naomi Auerbach & Ted Landau Nina Auerbach Linda & Mike Baker Michelle L. Barbour Don & Gerry Beers M David Beery & Norman Abramson Annikka Berridge Brian Bock and Susan Rosin Caroline Booth Linda Brandenburger Broitman-Basri Family Don & Carol Anne Brown Katherine S. Burcham M Stephen K. Cassidy & Rebecca L. Powlan Leslie Chatham & Kathie Weston Terin Christensen Ed Cullen & Ann O'Connor James Cuthbertson Barbara & Tim Daniels M Jim & Julia Davidson Richard & Anita Davis Ilana DeBare & Sam Schuchat David & Helen Dichek Francine & Beppe Di Palma Becky Draper Susan English & Michael Kalkstein Bill & Susan Epstein, in honor of Marge Randolph Merle & Michael Fajans

3 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 5 –1 6 · I S S U E 6

Cynthia A. Farner Lisa & Dave Finer Ann & Shawn Fischer Hecht Linda Jo Fitz M Patrick Flannery James & Jessica Fleming Jacques Fortier Thomas & Sharon Francis Herb & Marianne Friedman Don & Janie Friend, in honor of Bill & Candy Falik Christopher R. Frostad M James Gala Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Phyllis & Gene Gottfried Robert & Judith Greber William James Gregory Garrett Gruener & Amy Slater Ms. Teresa Burns Gunther & Dr. Andrew Gunther Migsy & Jim Hamasaki Bob & Linda Harris Ruth Hennigar In memory of Vaughn & Ardis Herdell Howard Hertz & Jean Krois Bill Hofmann & Robbie Welling M The Hornthal Family Foundation, in honor of Susie Medak’s leadership Rick Hoskins & Lynne Frame Paula Hughmanick & Steven Berger George & Leslie Hume Ingrid Jacobson Beth & Fred Karren Doug & Cessna Kaye Bill & Lisa Kelly Steve K. Kispersky Jean & Jack Knox Lynn Eve Komaromi, in honor of the Berkeley Rep Staff John Kouns & Anne Baele Kouns Helen E. Land Robert Lane & Tom Cantrell Randy Laroche & David Laudon

Sherrill Lavagnino & Scott McKinney Andrew Leavitt & Catherine Lewis Ellen & Barry Levine Bonnie Levinson & Dr. Donald Kay Erma Lindeman Jennifer S. Lindsay Tom Lockard & Alix Marduel John Maccabee K Vonnie Madigan Elsie Mallonee Naomi & Bruce Mann Helen Marcus & David Williamson Lois & Gary Marcus Sumner & Hermine Marshall Rebecca Martinez Jill H. Matichak Erin McCune Kirk McKusick & Eric Allman Dan Miller Andy & June Monach Scott Montgomery & Marc Rand Jerry Mosher Marvin & Neva Moskowitz Daniel Murphy & Ronald Hayden Judith & Richard Oken Sheldeen Osborne Joshua Owen & Katherine Robards Judy O’Young, MD & Gregg Hauser Matt Pagel & Corey Revilla Gerane Wharton Park Bob & MaryJane Pauley Tom & Kathy Pendleton David & Bobbie Pratt Carol Quimby-Bonan Andrew Raskopf & David Gunderman Bill Reuter & Ruth Major Maxine Risley, in memory of James Risley John & Jody Roberts Horacio & Angela Rodriguez Deborah Romer & William Tucker Boyard & Anne Rowe Enid & Alan Rubin, in honor of Rebecca Martinez Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland

Jeane & Roger Samuelsen Stephen C. Schaefer Jackie & Paul Schaeffer Dan Scharlin & Sara Katz Joyce & Jim Schnobrich Neal Shorstein, MD & Christopher Doane, in honor of Gail Wagner, MD Mark Shusterman, M.D. Edie Silber & Steve Bomse Dave & Lori Simpson Amrita Singhal & Michael Tubach Cherida Collins Smith Ed & Ellen Smith Sherry & David Smith Sigrid Snider David G. Steele Andrew & Jody Taylor Alison Teeman & Michael Yovino-Young Susan Terris Samuel Test Jonathan & Kiyo Weiss Beth Weissman Wendy Willrich Steven Winkel & Barbara Sahm Charles & Nancy Wolfram Ron & Anita Wornick Sam & Joyce Zanze Jane & Mark Zuercher

LEGEND K in-kind gift M matching gift We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.


Donors to the Annual Fund


$ 1,0 0 0 –1, 49 9

Anonymous (6) · Tracy Achorn · Gertrude E. Allen, in memory of Robert Allen · Roy & Judith Alper · Peggy & Don Alter · Pat Angell, in memory of Gene Angell · Ross E. Armstrong · Barbara Jones & Massey J. Bambara M · Leslie & Jack Batson · Patti Bittenbender · Dr. S. Davis Carniglia & Ms. M. Claire Baker · Paula Carrell · Stan & Stephanie Casper · Ed & Lisa Chilton · Patty & Geoff Chin · Chris & Martie Conner · Phyllis Coring K · John & Izzie Crane · Mike & Pam Crane · Teri Cullen · Meredith Daane M · Abby & Ross Davisson · Harry & Susan Dennis · Robert Deutsch · Corinne & Mike Doyle · David & Monika Eisenbud · Paul Feigenbaum & Judy Kemeny · Frannie Fleishhacker · Dean Francis · Lisa Franzel & Rod Mickels · Donald & Dava Freed · Judith & Alex Glass · Ann Harriman, in memory of Malcolm White · Elaine Hitchcock · Mr. & Mrs. Harold M. Isbell · Ken & Judith Johnson · Randall Johnson · Barbara E. Jones, in memory of William E. Jones · Thomas Jones · Marilyn Kecso · Christopher Killian & Carole Ungvarsky · Janet Kornegay and Dan Sykes · Woof Kurtzman & Liz Hertz · William & Adair Langston · Linda Laskowski · Glennis Lees & Michael Glazeski · Nancy & George Leitmann, in memory of Helen Barber · Jay & Eileen Love · Meg Manske · John E. Matthews · Brian & Britt-Marie Morris · Margo Murray · Paul Newacheck · Claire Noonan & Peter Landsberger · Judy Ogle · Lynette Pang & Michael Man · Charles R. Rice · Richard Rouse M · Deborah Dashow Ruth, in memory of Leo P. Ruth · Mitzi Sales & John Argue · Teddy & Bruce Schwab · Seiger Family Foundation · Alice & Scott So · Joshua

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

$ 2 5 0 –49 9

Anonymous (4) · Anonymous, in honor of Ruth & George Staten · Miriam & Matthew Agrell · Anna Badger · Alice Breakstone & Debbie Goldberg · Eugenia Brin · Barbara J. Brown · Marc & Ellen Brown · Patricia & Peter Coffin · Chris & Martie Conner · Edith Cornelsen · Gary & Diana Cramer, in memory of Doris Titus · Rev. Don & Lil Cunningham · Cecilia Delury & Vince Jacobs · Karen & David Dolder · Laura Downing-Lee & Marty Lee · Stephen Follansbee & Richard Wolitz · Molly & Harrison Fraker · Kate Funk · John & Diane Gossard · Linda Graham · Nina G. Green · Roy & Ann Hammonds Jr. · Dr. & Mrs. Alan Harley · Alan Harper & Carol Baird · I. Craig Henderson · Henry Hewitt · Pamela Hudson · Kimberly J. Kenley-Salarpi · Beth & Tim Kientzle M · Marit Lash · Harry & Eileen Lewis · Gerald Lubenow, in memory of Joan Lubenow · Charles Mann · Igor Maslennikov · Aliza and Peter Metzner · Lynne & Perry Pelos · Evan Painter & Wendy Polivka · Bonnie Raitt · Arthur Reingold & Gail Bolan · Ruth Rosen & David Galin · Marie Rosenblatt · Ezekiel B. Scherl, in honor of Bruce Golden · Ron & Esther Schroeder · James Skelton · Nancy Spero & Norm Brand · Lillis & Max Stern · Duncan Susskind K · Ted Westphal · Moe & Becky Wright · Paul Wyman · William Yragui

& Ruth Simon · Douglas Sovern & Sara Newmann · John St. Dennis & Roy Anati · Gary & Jana Stein · Annie Stenzel · Michael Tilson Thomas & Joshua Robison · Pate & Judy Thomson · Alistair & Nellie Thornton · Deborah & Bob Van Nest · Sallie Weissinger · Lee Yearley & Sally Gressens



Anonymous (21) · Denny Abrams · Fred & Kathleen Allen · Kerrie Andow · Robert & Evelyn Apte · Jerry & Seda Arnold · Gay & Alan Auerbach · Steven & Barbara Aumer-Vail · Todd & Diane Baker · Celia Bakke · Steve Benting & Margaret Warton · Richard & Kathy Berman · Robert Berman & Jane Ginsburg · Caroline Beverstock · Steve Bischoff · Gun Bolin · Ellen Brackman & Deborah Randolph · Diane Brett · Eric Brink & Gayle Vassar M · Jill Bryans · Wendy Buchen · Barbara & Robert Budnitz · Don Campbell and Family · Dr. Paula Campbell · Robert & Margaret Cant · Bruce Carlton · John Carr · Carolle J. Carter & Jess Kitchens · Laura Chenel · Kim & Dawn Chase · Karen Clayton & Stephen Clayton · Dennis Cohen & Deborah Robison · Robert & Blair Cooter · Philip Crawford · Sharon & Ed Cushman · Jill & Evan Custer · Robert & Loni Dantzler · Pat & Steve Davis · Jacqueline Desoer · Noah & Sandra Doyle · Kristen Driskell · Linda Drucker & Lawrence Prozan · Burton Peek Edwards & Lynne Dal Poggetto · Roger & Jane Emanuel · Meredith & Harry Endsley M · Gini Erck & David Petta · Michael Evanhoe · James Finefrock & Harriet Hamlin · Brigitte & Louis Fisher · Martin & Barbara Fishman · Patrick Flannery · Robert Fleri, in memory of Carole S. Pfeffer · Midge Fox K ·


$ 15 0 –2 49

Anonymous (8) · Mehrdad Afrahi · Mark & Dana Allen K · Clara Arakaki · Steve Balling · June Barbera · Anne Binnie · Lara Blair · Beverly Blatt & David Filipek · Shawn Borsky · Francois Bourgault · James Bovee · Maureen Burchert · Jennifer Burden · Robert & Karen Cabrera · Lucy Carter · Anita Cazin · Timothy & Rita Child · Soo-Young Chin · Matthew & Sandra Coblentz · Tacy Quinn, in the name of Andrew Conard · Edmund L. DuBois, in honor of Ethel McDonald DuBois · Lori & Gary Durbin · Lara Eidemiller, in memory of Mary Jo Pottenger · David Eimerl, in memory of Geoffrey · Roy Eyal · Antonia Fairchild · Michael & Vicky Flora · Walt French & Virginia Yang · Angie Garling · Kevan Garrett · James & Jewelle Gibbs · Janet Goldberg · Nancy A. Goolsby · Dan Grace · David Graves · Lisa Hane · Jane Headley · Laurin Herr & Trisha Gorman-Herr · Carolyn Holm · Derek Holstein · William Hyatt · Lynn Ireland · Armond & Kathy Jordan · Sally Juarez · Mr. & Mrs. David Kirshman · Mary Sue & Dennis Kuzak · Marc Larby · Gloria Letelier · Ronald & Shoshana Levy · Ana Lichterman · Annette C. Lipkin, in memory of Paul Lipkin · Dottie Lofstrom · Janet & Marcos Maestre · Laura Martell · Shawn & Jane Mason · Andrew R. McGrath · Catherine McLane · Kathy McLean · Jamie Miller · Farrokh Modabber · Ann Marie W. Molyneaux · Marie A. Moran · Tom & Karen Nagy · Jennifer Nixon & Charles Wood · Crystal Olson · Denise Pate, in memory of William Ian Fraser · Riess & Tara Potterveld · Kristen Ray · Ann Regan · Marianna Reynova · Virginia N. Rigney · Kathleen Anson Riley · Robert Rogers · Joe Rudy M · Kay Vinson Ruhland · Thomas Savignano & Peter Benson · Diane Schreiber & Bryan McElderry M · Hugh & Aletha Silcox · Madeleine Sloane · Anne & Robert Spears · Bonnie Taylor · Susan Taylor &

Nancy H. Francis · Harvey & Deana Freedman · Paul & Marilyn Gardner · Tim Geoghegan · Robert Goldstein & Anna Mantell · Susan & Jon Golovin · Jane Gottesman & Geoffrey Biddle · Priscilla Green · Don & Becky Grether · Dan & Linda Guerra · John G. Guthrie · Ken & Karen Harley · Janet Harris · Dan & Shawna Hartman Brotsky M · Geoffrey & Marin-Shawn Haynes · Irene & Robert Hepps · Steven Horwitz K · Helmut H. Kapczynski & Colleen Neff · Patricia Kaplan · Marjorie & Robert Kaplan, in honor of Thalia Dorwick · Natasha Khoruzhenko & Olegs Pimenovs · Mary S. Kimball · Beverly Phillips Kivel · Jeff Klingman & Deborah Sedberry · Judith Knoll · Joan & David Komaromi · Yvonne Koshland · Jennifer Kuenster & George Miers · Natalie Lagorio · Jane & Michael Larkin · Almon E. Larsh Jr · Henry Lerner · Ray Lifchez · Renee M. Linde · Mark & Roberta Linsky · Bruce Maigatter & Pamela Partlow · Joan & Roger Mann · Sue & Phil Marineau · Marie S. McEnnis · Sean McKenna · Christopher McKenzie & Manuela Albuquerque · Brian McRee · Ruth Medak · Jeff Miner · Geri Monheimer · Ronald Morrison · Patricia Motzkin & Richard Feldman · James & Katherine Moule · James Musbach · Ron Nakayama · Kris & Peter Negulescu · Jeanne E. Newman · Pier & Barbara Oddone, in memory of Michael Leibert · Peggy O'Neill · Carol J. Ormond · Mary Papenfuss & Roland Cline · Nancy Park · Brian D. Parsons · James Pawlak · P. David Pearson · Bob & Toni Peckham, in honor of Robert M. Peckham, Jr. · Lewis Perry · Suzanne Pierce, in honor of Carol D. Soc · F. Anthony Placzek · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Susie & Eric Poncelet ·

Roxann R. Preston · Rich Price · Linda Protiva · Laurel & Gerald Przybylski · Dan & Lois Purkett · Kathleen Quenneville · David & Mary Ramos · Sheldon & Catherine Ramsay · Adam Rausch K · Arthur Reingold & Gail Bolan · Helen Richardson · Wesley Richert · Paul & Margaret Robbins · Gary Roof & Douglas Light · Ronald & Karen Rose · Geri Rossen · Jirayr & Meline Roubinian · Eve Saltman & Skip Roncal, in honor of Kerry Francis & John Jimerson · Dorothy R. Saxe · Joyce & Kenneth Scheidig · Laurel Scheinman · Bob & Gloria Schiller · Mark Schoenrock & Claudia Fenelon · Dr. David Schulz M · John & Lucille Serwa · Lyman Shaffer · Brenda Buckhold Shank, M.D., Ph.D. · Margaret Sheehy · Steve & Susan Shortell · Margaret Skornia · William & Martha Slavin · Carra Sleight · Suzanne Slyman · Jerry & Dick Smallwood · Louis & Bonnie Spiesberger · Robert & Naomi Stamper · Herbert Steierman · Lynn M. & A. Justin Sterling · Monroe W. Strickberger · Dr. & Mrs. Joseph Terdiman · Prof Jeremy Thorner & Dr. Carol Mimura · Karen Tiedemann & Geoff Piller · William van Dyk & Margi Sullivan · Gerald & Ruth Vurek · Jon K. Wactor · Adrian & Sylvia Walker · Louise & Larry Walker · Kate Walsh & Dan Serpico · Buddy & Jodi Warner · Dena & Wayne Watson-Lamprey · Mike Weinberger & Julianne Lindemann · Harvey & Rhona Weinstein · William R. Weir · Robert & Sheila Weisblatt · Dr. Ben & Mrs. Carolyn Werner · Elizabeth Werter & Henry Trevor · Jill Wild · Fred Winslow & Barbara Baratta · Laura & Ernest Winslow · Carol Katigbak Wong · Caroline Wood · Evelyn Wozniak · Margaret Wu & Ciara Cox · Sandra Yuen & Lawrence Shore

Paul Utrecht · Marta Tobey · Clarence Travis · Susan D. Ward · Andrew T. & Linda V. Williams · William Wolverton · Christopher D. Woodward · Carolyn Zaroff

Kewchang Lee, M.D. & Kevin DeYager · James Leventhal & Karen Klier · Trudy Lionel · Fred & Amy Loebl · Nancy Loewenthal · Patricia Lord · Michael Manga · Redge & Carole Martin · Kimberly Mayer · Christopher F. McKee · Malvern & Suzy Mead · Diane Means & Tom Slanger · David & Corey Miller · David Miller, in memory of Jennifer Miller · Pamela Miller · Katherine B. Mohr · Stephanie Mooers · Robert & Mia Morrill · Linda Moulton · Sora Lei Newman · Lisa Norris · Robert & Carol Nykodym · Marcia Nyman · Robin Olivier · Kristin & David Olnes · Jim Olson · David & Mary O'Neill · Judith O'Rourke · Kristina Osborn · Lori Ostlund & Anne Raess · Roy & Susan Otis · Michelle Parker · Margaret Pasholk · Beth Pennington · Wendy Peterson · Margaret A. Phillips · Stephen Popper & Elizabeth Joyce · Chuck & Kati Quibell · Charleen Raines · Charles Raymond & Nancy Nagramada · Susan Robertson · Linda Roman · Martha Ross · Carolyn Sanders · Babak Sani · Heather Schooler · James Schubert · Janice Schwartz · Grant Scully · Willa Seldon · Lyman Shaffer · Carole Sheft · Lee & Mary Shilman · Alexander Shtulman · Nicholas Smith · Pam Smith · Steven Sockolov · Karla Spormann · Christy Story · Marietta Stuart · Jane Swinerton · Carol Takaki · Jill Tarter · Carol Thompson · Jennifer M. Van Natta · Barbara & William Vaughan · Robert Visser M · Paul & Dorothy Wachter · Norma Walkley · Kathleen Wallace · Jan O. Washburn · Neil Weinstein · Sue Weinswig · William Weisman · Robert T. Weston · Kent Wisner · Susan Wolfe · Michael A. Wong · Peter & Loretta Woolston · Marisha Zeffer


$ 75 –149

Anonymous (13) · Mark Amaro · Kris Anthony · Margalynne Armstrong · Kate Augus · Peter Bacich · Kent & Carolyn Barnes · Alice Bartholomew · Louise & Stuart Beattie · Holly & Martin Bern · Thomas G. Bertken · Helmut Blaschczyk · Katherine Blenko · Margaret Booth · Karen & Steven Bovarnick · Elizabeth Breslin · Ken Bruckmeier · Melody Burns · Alice Butler · Susan Carling · Linda Carr & Jay Siegel · Tomas Christopher & Elizabeth Giacomo · Sofia Close · Marc & Jennifer Cohen · Jan Collins · Jeff & Laura Critchfield · Andrew Davis · Jamie B. Deichen · Chauncey DiLaura · Daniel Druckerman · Robert Engel, in memory of Natalie Seglin · Tina & Dennis Etcheverry · Linda A. Feldman, in memory of Robert Feldman · Patricia Fox · Beverlee French & Craig L. Rice · Mr. & Mrs. Jack M. Garfinkle · Diane Garrett · Steve & Valerie Garry · Jim Gilbert & Susan Orbuch · Meryl Ginsberg M · Roberta Goldberg · Michael Green · Susan Guerrero · Jeffrey & Leslie Hamerling · Frede S. Hammes · Larry Hanover · Thomas Haspel · Nancy Heastings & Colleen Vermillion · Jan & Richard Heinz · Jane Hiatt · Tina Hittenberger & Charles Pyle · Marie F. Hogan & Douglas A. Lutgen · Karen Holtermann · Dr. Steven J. and Helen Holtz · H. Cavett Hughes · Carolyn Hutton · Clay Jackson · Fred Jacobson · Loisann Jacovitz · Ginny & Robin Jaquith · Dashini Jeyathurai · Kristen & Todd Jones · Kimberley Kahler · Casey Kho · Susan Kraft & Patrick Scott · Lynn Landor · Mr. & Mrs. Richard Larsen · Joan Larson · Melissa & Steve Lawton · Eun Soo Lee ·

2 0 1 5 –1 6 · 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

BE R K E L E Y R E P T H A N K S Donors to the Annual Fund PAT RO N S

$ 1 –74

Anonymous (23) · Marsha Abbott · Helen Abel · Julie Absey · Elizabeth Accardi · Amelia Adams · Joy Addison · Susan Adler · Rajesh Aji · Judi G. Amos · Patt Bagdon · Suzanne L. Baird · Renee Baker · David Bassein · Janet M. Basu · Francine Beall · Philip J. Beilin · Stuart Bell · Peter Benvenutti & Lise Pearlman · Richard & Jan Bergamini · Philip E. Berghausen Jr · Shawna Berry · Ann T. Binning · David Bird · Diana Black-Kennedy · Mary Anne Bland · Joan Bodway · Dixie L. Bohlke · Dvora & Neil Boorstyn · Celine Boutte · Melanie M. Brandabur MD · Sheila Braufman · Lucinda L. Brisbane · Elizabeth Brooking · Sara Brose · Jacquelyn Brown & Ken Prochnow · Kay Browne · Angela Brunton · Elena Caruthers · Stephanie Casenza · Linda Chambers · Marcelle Ching · Elvin Chong · Glenda Chui · Alvin Claiborne · Nicole Claro & Francis Quinn · Susie Coliver · Jennifer Colosimo · Jeanne Cooper · Patricia Corrigan · Daniel Cowles · Pamela Coxson · Peter & Karen Dahl · Anthony M. Dalli · Susan David · Rena Davidow · Donna Davies · Harold A. Davis · Rekisha T. Davis · Kathryn Day · Katherine De luna · Daphne de Marneffe · Clay Deanhardr · Hannah Denmark · Laura & Todd Dillard · Gloria Donohue · Steven & Sylvia dos Remedios · Jason Dulkin · Mariko Eastman · Kevin Eckert · Lisberth Elgroth · Ellen Eoff & Michael Kelly · Brenda Evans · Kathy Evans · Marna & Phil Eyring · Al & Sue Farmer · Ernie J. Fazio Jr · Elisa Federspiel · Bella Feldman ·

Barbara Fendel · Mary Ann Fisher · Susan Fishman · Richard J. Foote · Nancy Fox · Rose Fraden · William Freais & Andrea Silvestri · Mildred Frederick · Ronald Freitas, in memory of William Ian Fraser · Geroncio Galicia · Tom Gandesbery · Susan Gann · Deborah Garcia · Sandi Gariffo · Phoebe Gaston · Ms. Antoinette Gathy · Richard Gentry · John C Gerhart · William C. Glenn · Paul Glodis & Mary Sanders · David M. Goi · Kayla Gold · Nancy Gorrell · Jordan Greenwald · Marilyn Griego · Tom & Emily Griswold · Tom Harrington · Jonathan Harvey · Barbara J. Hazard · Yunqian He · Stephen Headley, Oceola Gallery · Joya Heart · Mrs. Karen Heather · John & Bonna Heebink · Michele & Karl Heisler · Peter Heller · Marilyn & Seymour Hertz · Stanley & Maria Hertz · Edwin Hill · Richard Hippard · Barbara Hirschfeld and David Sussman · Hawley Sterling Holmes · Peter Honigsberg · Harold Hughes & Esther Gordon, in honor of Alan Seder · Barbara Hume · Austin Hurst · Rebecca Husband · Anne Huyett · Candace Hyde-Wang · Donna Ireland · Mary Ireland · Aditi Iyer · Kevin Jackson · Sandy Jaffe · Denise Jenkins · Ann Jennings, in memory of Nancy Nieradka · Sheri Jennings · Lani Jerman · Ji-li Jiang · Karen Johnson · Peter D. Johnson · Susan Johnson · Kenneth P. Jones · Lynn Jones · Sheila Kahan · James Kaiser · Elizabeth Kaplan · Tobey Kaplan & Nan Busse · Irene Katsumoto · Jon Keller · Jeff Kelley & Hung Liu · Nancy Kelly · Dacher Keltner & Mollie McNeil · Robert & Carla Kennis · Robert Kessler · Amy Kidd ·

Sustaining members as of February 2016:

Anonymous (6) Norman Abramson & David Beery Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Neil & Gene Barth Susan & Barry Baskin Carole B. Berg Linda Brandenburger Broitman-Basri Family Bruce Carlton & Richard G. McCall Stephen K. Cassidy Paula Champagne & David Watson Andrew Daly & Jody Taylor M. Laina Dicker Thalia Dorwick Rich & Robin Edwards Thomas W. Edwards & Rebecca Parlette-Edwards Bill & Susan Epstein William Espey & Margaret Hart Edwards Carol & John Field Dr. Stephen E. Follansbee & Dr. Richard A. Wolitz Kerry Francis

Haeyuon Kim · Christine Kinavey · Dana Kirby · Irina Kizler · Tracey Kniffin · Bruce Knopf · Doris Kogo · Ron Kresge · Beatrice Krivetsky · Brooke Kuhn · Howai Lai · Sunshine Lampitoc Smith · Lanny J. Lampl & Sharon Hunter · Gilad Landan · Zelda Laskowsky · Maria Lee · Troy Lee · Monika Leitz · Dean Leri · Catherine Leutzinger · Carole Levenson · Susan Levin · Sandy Levitan · Barbara Levy · Nancy Lewin-Offel · Susan Li · Betsy Lichtenberg · Jean Rowe Lieber · Liedeker Family · Silvia Lin · Andrea Linder · Janice Loh · Michelle Lommen · The Hardtke Family · Marguerite Longtin · Marlene Lund · Diana Lyster · Kiran Malavade · Lesley Martin · Bradford & Jennifer McCullough · Beatrice McIntosh · Kent McKinney · Stacey Merryman · Harriett Michael · Kathleen Michon & Dough Riegelhuth · Paul Millner · Kirk Mills · Sandra Mills · William Mills · Amy Mitchell · Morvarid Moayeri · Sonjay Modi · Adam Montanaro · Cindy Morris · Jane Dutton Morris · Dr. & Mrs. Charles Moser · Tod Mostero · Edie Murphy · Karen Myers · Arvalea Nelson · Marilyn K. Nelson · Alice & Norbert Nemon · Ann Newman · Wendy & Craig Nishizaki · Helen Norris · Kenneth D. Nowick · Jean O'Donnell · Vivian Olsen · Sally Ooms · Anne Ording · Elizabeth Ouren · Milton Palmer · Lisa Palter · James Parent · Philip E. Peabody · Jonathan Peischl · Janice Perry · Michael & Laura Perucchi · Thomas Peters · Hillary Pierce · Estelle Piper · Margo Pizzo · Rachel Plummer · Carolyn Poetzsch · Don and Vivian Polishuk · Paula

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

Polley · Balaji Rajam · Nancy Reyes · Jane Reynolds · Katherine Riemer · Maura Riordan · Jeffrey Robbins & Mary Spletter · Nancy Rutledge · William Ryan · Nancy Sale · Judith Saucedo · Robert Scalise · Heather Schlaff · Allison Schneider · Otto Schnepp · Tamar Schnepp · Rebecca Scholl · Susan Schreiber · Patricia A. Schwartz · William Scott · Roberta Sears · Don Seaver, in memory of Bill Ian Fraser · Jennifer Seid · Daniel Seligson · Priya Shah · Peter Sharp · Mertis Shekeloff · Dawn Shifreen-Pomerantz · Jeff & Mardi Sicular-Mertens · Eve Siegel · Belinda Sifford · James Silkensen · Kay Slocum · Beth Smerdon · Gwen Souza · Claudia Spain · Sandra Spangler · John Spence · Margaret Stark · Peter Stein · Mary Alice & Walt Stevenson · Amy Stoloff · Beverly Stone · Craig Stone · Lori Stone · Owen Strain · Ruth & David Stronach · Patricia Sullivan · Wayne Sutton · Ruth Suzuki · Miriam Swernoff · Claire Tam · Diana Tauder · David Thompson · Baela Tinsley · Linda Torres · Alice & John Trinkl · Hong Tsui · Burr Tyler · Antonia van Becker & Greg Lee · Richard & Virginia Van Druten · Anthony W. Vigo & Marcy Jackson · Martha Wade · Agnieszka Walczak · William Walraven · William Watson · Gene Weinstein · Kathleen Weater · Douglas Wilcoxen & Karen Carkhuff · Emily J. Willingham · Lois B. Winter · Dorothy Woessner · Chad Wolbrink · Charlene & Jerry Wolf · Justin Wong · Grace D. Woods-Puckett · Ruth Wrentmore · Evyn Zell · Mike & Leslie Zimring · David Zisser · Linda Zittel

John G. McGehee Miles & Mary Ellen McKey Margaret D. & Winton McKibben Susan Medak & Greg Murphy Stephanie Mendel Toni Mester Shirley & Joe Nedham Pam & Mitch Nichter Sheldeen G. Osborne Sharon Ott Amy Pearl Parodi Barbara L. Peterson Regina Phelps Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Tom Roberts David Rovno Tracie E. Rowson Deborah Dashow Ruth Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Valerie Sopher Michael & Sue Steinberg Dr. Douglas & Anne Stewart Jean Strunsky Henry Timnick Guy Tiphane

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

Gifts received by Berkeley Rep:

Estate of Suzanne Adams Estate of Helen Barber Estate of Fritzi Benesch Estate of Nelly Berteaux Estate of Jill Bryans Estate of Nancy Croley Estate of John E. & Helen A. Manning Estate of Richard Markell Estate of Gladys Perez-Mendez Estate of Margaret Purvine Estate of 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

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BE R K E L E Y R E P STA F F Michael Leibert Artistic Director Tony Taccone ARTISTIC Director of Casting & Artistic Associate Amy Potozkin Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Manager Sarah Rose Leonard Ground Floor Visiting Artistic Associate SK Kerastas TCG Artist-in-Residence Reggie D. White Associate Artist Liesl Tommy Artists under Commission David Adjmi · Todd Almond · Christina Anderson · Glen Berger · Jackie Sibblies Drury · Rinne Groff · Dave Malloy · Lisa Peterson · Sarah Ruhl · Joe Waechter P R ODUC T ION Production Manager Peter Dean Associate Production Manager Amanda Williams O’Steen Company Manager Jean-Paul Gressieux S TAG E M A NAG E M E N T Production Stage Manager Michael Suenkel Stage Managers Leslie M. Radin · Karen Szpaller · Julie Haber · Kimberly Mark Webb Production Assistants Amanda Mason · Sofie Miller · Betsy Norton S TA G E OP E R AT ION S Stage Supervisor Julia Englehorn P R OP E R T I E S Properties Supervisor Jillian A. Green Associate Properties Supervisor Gretta Grazier Properties Artisan Viqui Peralta S C E N E S HOP Technical Director Jim Smith Assistant Technical Director Matt Rohner Shop Foreman Sam McKnight Master Carpenter Jamaica Montgomery-Glenn Carpenter Patrick Keene SCENIC ART Charge Scenic Artist Lisa Lázár COSTUMES Costume Director Maggi Yule Associate Costume Director/ Hair and Makeup Supervisor Amy Bobeda

Managing Director Susan Medak

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

Box Office Manager Richard Rubio Ticket Services Supervisor Samanta Cubias Box Office Agents Sophia Brady · Christina Cone · Carmen Darling · Jordan Don · Julie Gotsch · Eliza Oakley

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

M A R K E T I NG & C OM M U N I C AT ION S Director of Marketing, Communications, and Patron Engagement Polly Winograd Ikonen Director of Public Relations Tim Etheridge Marketing Director Peter Yonka Art Director Nora Merecicky Communications Manager Karen McKevitt Webmaster Christina Cone Video & Multimedia Producer Christina Kolozsvary Program Advertising Ellen Felker Front of House Director Kelly Kelley Senior House Manager Debra Selman Assistant House Managers Jessica Charles · Steven Coambs · Aleta George · Mary Cait Hogan · Ayanna Makalani · Sarah Mosby · Tuesday Ray Concessions Manager Hugh Dunaway Concessionaires Jessica Bates · Samantha Burse · Steven Coambs · Alisha Ehrlich · Sarah Mosby · Benjamin Ortiz · Jenny Ortiz · Sandy Valois

S OU N D A N D V I DE O Sound Supervisor James Ballen Sound Engineers Angela Don Annemarie Scerra Video Supervisor Alex Marshall A DM I N I S T R AT ION Controller Suzanne Pettigrew General Manager Theresa Von Klug Associate General Manager/ Human Resources Manager David Lorenc Director of Technology Gustav Davila Associate Managing Director/ Manager, The Ground Floor Sarah Williams Executive Assistant Andrew Susskind Bookkeeper Kristine Taylor Payroll Administrator Rhonda Scott Systems & Applications Director Diana Amezquita Systems Assistant Debra Wong Yale Management Fellow Adam Frank DE V E L OPM E N T Director of Development Lynn Eve Komaromi Associate Director of Development Daria Hepps Director of Individual Giving Laura Fichtenberg Director of Special Events Julie Cervetto Special Events Manager Kelsey Hogan Individual Giving Manager Joanna Taber Development Database Coordinator Jane Voytek Development Operations Associate Beryl Baker Executive Assistant Emma Nicholls B OX OF F I C E Ticket Services Director Destiny Askin Subscription Manager Laurie Barnes

OP E R AT ION S Facilities Director Mark Morrisette Facilities Manager Lauren Shorofsky Building Engineer Thomas Tran Maintenance Technician Johnny Van Chang Facilities Assistants Sophie Li · Carlos Mendoza · Oliver Sweibel · James Posey · Jesus Rodriguez · LeRoy Thomas BERKELEY REP S C HO OL OF T H E AT R E Associate Director MaryBeth Cavanaugh Program Manager, Training and Community Programs Anthony Jackson Registrar Katie Riemann Community Programs Administrator Modesta Tamayo Faculty Andy Alabran · Bobby August Jr. · Erica Blue · Rebecca Castelli · Jiwon Chung · Sally Clawson · Dex Craig · Laura Derry · Deborah Eubanks · Maria Frangos · Nancy Gold · Gary Graves · Marvin Greene · SusanJane Harrison · Andrew Hurteau ·

Julian López-Morillas · Dave Maier · JanLee Marshall · Patricia Miller · Jack Nicolaus · Slater Penney · Marty Pistone · Diane Rachel · Rolf Saxon · Elyse Shafarman · Arje Shaw · Joyful Simpson · Rebecca Stockley Jan and Howard Oringer Teaching Artists Erica Blue · Carmen Bush · Khalia Davis · Amber Flame · Safiya Fredericks · Gendell Hing-Hernández · Dave Maier · Marilet Martinez · Michelle Navarette · Jack Nicolaus · Carla Pantoja · Marcelo Pereira · Radhika Rao · Salim Razawi · Lindsey Schmelzter · Teddy Spencer · Simon Trumble · Elena Wright · Patricia Wright · Michelle Wyman Teen Core Council Bridey Bethards · Carmela Catoc · Fiona Deane-Grundman · Lucy Curran · Tess DeLucchi · Devin Elias · Adin Gilman-Cohen · Max Hunt · Michael Letang · Joi Mabrey · Genevieve Saldanha · Christian Santiago · Maya Simon · Chloe Smith Docent Co-Chairs Matty Bloom, Content Joy Lancaster, Recruitment Selma Meyerowitz, Off-Sites and Procedures Treasure Island Docents Ellen Kaufman, Lead Docent Francine Austin · Monica Fox · Helen Gerken · Joy Lancaster · Stephen Miller · Rhea Rubin · Catherine Warren 201 5–16 B E R K E L E Y R E P FELLOWSHIPS Bret C. Harte Directing Fellow Molly Houlahan Company Management Fellow Emilie Pass Costume Fellow Anna Slotterback Development/Fundraising Fellow Loren Hiser Education Fellow Jamie Yuen-Shore Graphic Design Fellow Itzel Ortuño Harry Weininger Sound Fellow Sam Fisher Lighting/Electrics Fellow Harrison Pearse Burke Marketing & Communications Fellow Lorenz Angelo Gonzales Peter F. Sloss Literary/ Dramaturgy Fellow Katie Craddock Production Management Fellow Katherine DeVolt Properties Fellow Samantha Visbal Scenic Art Fellow Melanie Treuhaft Scenic Construction Fellow Shannon Perry Stage Management Fellow James McGregor

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

F OU N DI NG DI R E C T OR Michael W. Leibert Producing Director, 1968–83 2 0 1 5 –1 6 · 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



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, watch video, sign up for classes, donate to the Theatre, and explore Berkeley Rep.

Emergency exits Please note the nearest exit. In an emergency, walk—do not run —to the nearest exit.

No food or glassware in the house Beverages in cans or cups with lids are allowed.

Accessibility Both theatres offer wheelchair seating and special services for those with vision or hearing loss. Assistive listening devices are available at no charge. Scripts are available in the box office.

No smoking The use of e-cigarettes is prohibited in Berkeley Rep’s buildings and courtyard. berkeleyrep


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

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

Ticket exchange Subscribers may exchange their tickets for another performance of the same show— for free (no fees)! Online or by phone. Nonsubscribers may also exchange their tickets, but an exchange fee and reasonable restrictions will apply, by phone or in person only. All exchanges can be made until 7pm the day preceding the scheduled performance. All exchanges are made on a seat-available basis.

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

Please keep perfume to a minimum Many patrons are sensitive to the use of perfumes and other scents. Phones / electronics / recordings Please make sure your cell phone or watch alarm will not beep. Use of recording equipment or taking of photographs in the theatre is strictly prohibited. Please do not touch the set or props You are welcome to take a closer look, but please don’t step onto the stage. Bringing children to the Theatre Many Berkeley Rep productions are unsuitable for young children. Please inquire before bringing children to the Theatre. All attendees must have a ticket: no lap-sitting and no babes in arms.

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