The Origin Story 12 · Wake up! A conversation with Director Lisa Peterson 13 · The program for Watch on the Rhine 21
THE BERKELEY REP M AGA ZINE 2017–18 · ISSUE 3
L IL L
S ’ N A M L L E H IAN
I N T H I S I S SU E 10
BE R K E L E Y R E P P R E S E N T S WATC H ON THE RHINE · 21
P ROL O G U E A letter from the artistic director · 7 A letter from the managing director · 8 R E P ORT A life in the theatre: Lynn Eve Komaromi celebrates 20 years at Berkeley Rep · 10 F E AT U R E S The Origin Story · 12
M E E T T H E C A ST & C R E W · 2 2
Connect with us online! facebook.com/ Visit our website berkeleyrep.org berkeleyrep You can buy tickets and plan your visit, watch video, sign up for classes, donate to Lisa Peterson, associate director at Berkeley Rep, chatted with @berkeleyrep the Theatre, and explore Rep.following the first three Literary Manager Berkeley Sarah Rose Leonard previews of Watch on the Rhine at the Guthrie Theater. Below are excerpts from their conversation.
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We’re mobile!We have gaps in American theatre between classic plays tumblr.com are produced again and again, like Long Day’s Journey Download ourthat free iPhone or Google Play or visit our mobile site —to buy tickets, read into Night, A Doll’s House, Three Sisters, andapp brand— new plays. There’sand an entire section of lesser-known classics and the buzz, watch video, plan your visit. contemporary plays that seem to slip through the cracks. Why do you think this is a play that’s been overlooked? I feel like partly it’s that Lillian Hellman was such a spiky person that a lot of people decided they didn’t like her. Her voice is so unapologetic. In her memoirs, she’s so bitchy, but truthful. I think the dislike might also come from the revelation that she may have made some stuff up in her autobiographies. But also, honestly it’s sexism. Just sexism.
Wake up! A conversation with Director Lisa Peterson · 13
A present for Lillian Hellman · 15 Die Wacht am Rhein · 17
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High stakes: The real-life counterparts to Watch on the Rhine characters · 18
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A BOU T BE R K E L E Y R E P Staff, board of trustees, and sustaining advisors · 38
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P ROL OG U E from the Artistic Director
It’s hard to stay calm these days. Even when you’ve
cut back on watching the news or stopped reading every tweet coming out of the White House. Even after you’ve developed some new healthy workout habits, or practiced staying mentally positive, or distracted yourself into exhaustion. Even after all that, it’s hard to stay calm. The simple fact is that a new level of anxiety has embedded itself into our dna. It hides in the lining of our intestinal walls, crouches behind the hairs on the back of our necks, and folds itself neatly into the creases of our brains. And there it waits, biding its time, looking for the right moment to explode into our everyday reality and destroy any illusion of normalcy. Watch on the Rhine describes a moment in the life of a family when normalcy is shattered. Written in 1940 by the intrepid Lillian Hellman, the play feels both prescient and relatable: not simply because it describes a world caught up in the growing appeal of fascism, but because it captures the fragile nature of civility and the triumph of base, human impulses. Hellman is a master of unveiling complex behaviors, and it is her ability to fold dastardly deeds into fabric of mundane life that marks her dramatic genius. Her characters are utterly believable, taking extreme actions under the guise of quiet self-interest. The fact that this play holds up almost 80 years after it was written is a testament to her nuanced grasp of psychology and her understanding of American politics. I can think of no one better to bring this play to life than Lisa Peterson. Lisa is entering her second year as our associate director, and she brings a wealth of talent and experience to the job. Forging a bracing, modernist aesthetic with a passionate political sensibility, she treats every play as if it were brand new. Her energy is boundless, as is her love for both contemporary and classic drama. Watching her embrace the challenges of this play (finding a fresh look for the design, redefining the racial makeup of the cast, working with children on very demanding roles) has only increased my admiration of her. It was a stroke of good fortune that Joe Haj, the artistic director of the Guthrie Theater, brought my attention to Watch on the Rhine. We’ve wanted to work together for some time, and when he mentioned his interest in the play it felt as if the stars had aligned. And so we bring this show to you directly on the heels of its successful run in Minneapolis. A classic that reaches beyond the time it was written to inform our lives today. Sincerely,
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P ROL OG U E from the Managing Director
The roots of this Theatre were forged in what
our founders referred to as adventuresome classics. These works, created in a different time, were like messages in a bottle, bringing word from the past and conveying works that spoke to us from the past about issues that concern us today. Watch on the Rhine is very much in that tradition. When Lillian Hellman first wrote this play she must have been appalled by the seemingly willful American disregard for the rise of fascism in Europe. Her play seethes with impatience and urgency. It speaks to us across the decades. It is utterly of its time even as it has something meaningful to say about our current moment in time. And isn’t that exactly what constitutes a classic? A play written for the specificity of one time but that illuminates a predicament of the present. It reminds us that while new plays written in our moment often demand our attention, sometimes a piece that carries the weight of history can also illuminate our current circumstances and can serve to connect us to historical precedents and context. It is a delight to bring Lillian Hellman’s play to the Bay. Lisa Peterson refers to her as the first “nasty woman.” If being nasty means being outspoken and angry and unrestrained and just plain smart, then I second Lisa. It’s hard to imagine that Hellman wouldn’t be delighted by the compliment. Warmly,
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R E P ORT
A life in the theatre: Lynn Eve Komaromi celebrates 20 years at Berkeley Rep B Y J U L I A S TA R R
Lynn Eve Komaromi with her dog Murray
Lynn Eve Komaromi with Managing Director Susan Medak, Michael and Sue Steinberg, and Narsai David at the 2008 Narsai Toast
Lynn Eve Komaromi with director David Ivers
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The average tenure of development officers at
nonprofits is 18 months, according to the Association of Fundraising Professionals. Berkeley Rep’s Director of Development Lynn Eve Komaromi celebrated 240 months at the Theatre and 156 months as director last September—that’s 20 and 13 years, respectively. When asked to reflect on her tenure at Berkeley Rep, Lynn Eve remembered her parents, small business owners: “I grew up in a family business, and this is my family business.” Fundraising is by nature personal, but Lynn Eve’s enthusiasm for the work Berkeley Rep does and investment in the Theatre’s long-term success is extraordinary. Whether advocating for the organization, raising funds for the world premiere of Monsoon Wedding, or leading her staff, Lynn Eve approaches each new challenge with a deep appreciation for Berkeley Rep’s mission of striving to engage audiences in an ongoing dialogue of ideas—always, in the words of longtime supporter Michael Steinberg, “with an infectious smile and laugh.” Managing Director Susan Medak says, “There are so few development directors who speak with such passion, intelligence, and deep commitment to the work that they are representing. Lynn Eve speaks not like a paid fundraiser, but as someone who cares as deeply about the art as every artist who walks through our doors does.” Originally hired as the special events coordinator in the development department, Lynn Eve transformed Berkeley Rep’s gala into a remarkable annual event that celebrates and raises funds to support the Theatre’s work, at first through a partnership with acclaimed Bay Area chef Narsai David. She quickly moved up the ranks, her deep passion for her work evident. Before becoming the sole director, she co-ran the development department with Sara Fousekis, who still carries knowledge she learned from Lynn Eve, her “partner-in-crime,” 10 years after leaving Berkeley Rep. With her colleagues, Lynn Eve has championed three major fundraising campaigns that built the Roda Theatre, established both the School of Theatre and The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work, and renovated the Peet’s Theatre. Most recently, she led the Create Campaign,
which has $44 million of its $50 Rraised E P ORT million goal. Lynn Eve’s stalwart energy, boundless empathy, and resilient nature have helped the Theatre grow into the nationally recognized regional theatre and new play incubator that it is today. What makes Lynn Eve truly special is her unique ability to genuinely connect and inspire others with her deep love for the arts. Celebrated director David Ivers (One Man, Two Guvnors and Hand to God) became a cycling buddy of Lynn Eve’s and noted that on their rides, they often had long conversations about everything from the opera to the symphony and the theatre. “She is not just a development director. She is a person of the arts and cares deeply about the narrative of the arts,” he says. Through this shared love of theatre, Lynn Eve has helped to foster a beautiful sense of community between artists, donors, community members, and the Berkeley Rep staff—a web that she sees as a Venn diagram with multiple intersections, many of which she operates in.
Lynn Eve is frequently seen at art shows put on by Berkeley Rep community members or on casual bike rides in the Berkeley Hills with supporters of the Theatre, many of whom consider her a close friend. Gallery owner Rena Bransten expressed gratitude for the personal approach that Lynn Eve and her team take to fundraising: “Reaching out from a website is not, to me, the be-all and end-all,” adding with a laugh, “but of course I’m old so I like the old ways best.” Pat Sakai, an active supporter of Berkeley Rep, adds, “I often ask people why they give to Berkeley Rep. Many say that of course the work is tremendous, but Lynn Eve and the development department make them feel appreciated and welcomed.” Lynn Eve’s warm presence and deeply rooted belief in the importance of the arts have helped the Berkeley Rep family grow and thrive. Over the years, she has worked to cultivate a culture of philanthropy within the organization. “Lynn Eve’s charity does not begin and end at the Theatre,” says Tony Taccone, Berkeley
Rep’s Michael Leibert Artistic Director. “She has managed to make the idea of charity a staff-wide concern, not just an individual thing.” By connecting with other staff members, whether by visiting the tech booth after a long day in the office or inviting production team members to lead backstage tours for donors, Lynn Eve has instilled an appreciation for both philanthropy and Berkeley Rep’s own supporters amongst the staff. She often says that, as theatre artists and administrators, we traffic in empathy, and her efforts over the years have helped us as an organization realize that at every step of the way. At the start of this season, Lynn Eve stepped away from the boisterous party after the opening of the record-breaking hit Ain’t Too Proud to stream her reflections to Facebook Live in the empty Peet’s Theatre, her brilliant orange heels strewn to the side. “I have a very fortunate life in the Theatre. This is my tribe. And there is no place I would rather be.” Lynn Eve, we are so blessed.
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THE ORIGIN STORY Artists tend to intuit issues bubbling under the surface of society long before they come to light. Every year when we read some 500–700 Ground Floor Summer Residency Lab applications, we notice a dominant theme. In 2015, the number of applications for plays about the transgender community was on the rise. A few months later, gender-neutral bathrooms became an urgent topic in the news, bringing transgender rights to the forefront of our national consciousness. In 2001, we programmed Homebody/Kabul by Tony Kushner, a play about Afghanistan, months before 9/11 happened. Often a show we programmed a year ago feels eerily prescient once it is onstage. We came on board to co-produce Lillian Hellman’s Watch on the Rhine with the Guthrie Theater in Minneapolis in the spring of 2017, right after Arena Stage produced it as part of their Lillian Hellman Festival. The artistic directors of these three theatres felt that the play resonated with our current worldwide refugee crisis, and with the escalation of the far right in our political milieu. What they didn’t see at the time
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of selection, however, was exactly how pertinent choosing a Lillian Hellman play was going to feel in production. In Watch on the Rhine Hellman challenges us to think about what it means to be an American: What values are important to us? How do we respond when those values are tested? Berkeley Rep Associate Director Lisa Peterson is inexhaustibly politically active in her own life, and her production of Hellman’s classic play only raises the volume on Hellman’s own pressing questions. Today, as in 1940, it is important to tell stories about people who stand up for what they believe in, regardless of the noise around them. Like the characters in Watch on the Rhine, Lillian Hellman acted on her beliefs, even if society berated her for her choices. Testifying before the House Un-American Activities Committee in 1947, she famously said, “I cannot and will not cut my conscience to fit this year’s fashions.” Outspoken and politically active her whole life, she achieved great success as a playwright and belongs in our classical canon. We are proud to make her work part of our season.
Lower Manhattan seen from the S.S. Coamo leaving New York, 1941 P H OTO BY J AC K D EL A N O
Dumbarton Oaks estate
P H OTO BY AG N O S T I C P R E AC H ER S K I D V I A A C R E AT I V E CO M M O N S L I C E N S E
! p u e k wa A convers ation wit h Directo r Lisa Pet erson BY SARAH ROSE LEONARD
Lisa Peterson, associate director at Berkeley Rep,
chatted with Literary Manager Sarah Rose Leonard following the first three previews of Watch on the Rhine at the Guthrie Theater. Below are excerpts from their conversation. We have gaps in American theatre between classic plays that are produced again and again, like Long Day’s Journey into Night, A Doll’s House, Three Sisters, and brand new plays. There’s an entire section of lesser-known classics like Watch on the Rhine that tend to slip through the cracks. Why do you think Lillian Hellman’s work has been overlooked? I feel like partly it’s that Lillian Hellman was such a spiky person that a lot of people decided they didn’t like her. Her voice is so unapologetic. In her memoirs, she’s so bitchy, but truthful. I think the dislike might also come from the revelation that she may have made some stuff up in her autobiographies. But also, honestly it’s sexism. Just sexism.
Is your process different with a new play versus a classic? I think it is somewhat different. Mostly because of the interaction with the playwright. With a new play, I keep checking
in with the playwright to confirm that what we’re doing is in line with what they imagined. But with a classic, I feel a responsibility to find my own way in. With Watch on the Rhine it was a bit of both. I’m aware that Watch on the Rhine isn’t well known, which is unlike a Shakespeare play or one of Arthur Miller’s plays, where most people would know it, so you could really abstract it. At first I tried to challenge myself to do something crazy with Watch on the Rhine. What if there’s no room? Could we focus on morning mail, night mail, and all of the various periodicals? I tried to stretch my mind to point the designers toward something that was interpretively radical. But in the end, I thought, wait a minute. People don’t know this play. They need to follow the story and not be interpreting it as they watch. So that’s more like a new play process. I think they need to see this play as Lillian Hellman imagined it. What was the casting process like? It’s a play written for mainly Anglo-Saxon actors, and I went into it thinking “Ok, how can we shake that up in any CO N TIN U E D O N N E X T PAG E 2 0 1 7–1 8 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 3
CO N TIN U E D FRO M PR E VI O U S PAG E
direction?” So from there two decisions were made. One was I reversed the ethnicities of the two people who worked in the house. As Hellman wrote it, the butler is African American and the secretary/best friend is a white French lady, and that seemed retrograde. I switched those two parts so in this production, Joseph, who is the butler, the main servant, is Irish American, and Anise, who is the secretary and has an even bigger place than that in the household, is an African French woman living in America. And now that we’ve been in rehearsal for a month, it seems absolutely natural, like it’s the only way to cast it. And then I couldn’t stop thinking about Kurt, the German anti-fascist fighter, in relation to Syria. So much of the play is about privileged Americans who are educated and progressive, but in the world of the play they have not invested very much yet in finding out what is happening in Europe. That’s what the play is about: that moment right before America decided to get involved. And I was thinking about Syria and how we didn’t know what to do about it. We still don’t. I thought it would be really interesting to find a Middle Eastern American actor to play Kurt. The play draws many parallels to the political situation today. Was there a particular resonance that surprised you during the process? Well, there are a few lines that, as we worked on it, seemed central to me. Kurt — after a pretty shocking moment that we won’t give away here — is freaked out, he’s not really thinking clearly. But he gets to the point where
he says, “Shame on us. Thousands of years and we cannot yet make a world.” And that, to me, is so deep. When you think about where the world sits at the moment—and it’s not just Trump, it’s everywhere—there’s the feeling that we have not found a good way to organize ourselves. We can take a big step forward like with Obama, and then we just slide way back. It’s absolutely a play about waking up from your own bubble. And looking out beyond yourself to see what’s happening in the world. The trouble in the play comes into the living room of this American house. So they have to wake up. I guess the other thing that had surprised me—and this is about Lillian Hellman’s playwriting and why I think it’s good— is that the good guy is imperfect and the bad guy is complicated. And nobody is sure what to do. So though there are clear moralities in the play, I feel like it’s not black and white. What has learning about Lillian Hellman been like? I’m in the final chapter of the memoir An Unfinished Woman and I love Hellman’s voice so much. She’s so open and vulnerable to experiences, but also very judgmental. I feel like she was a woman in a man’s world and she never softened her opinion. So coming full circle back to this thing about, “Is she likable?” I feel like she didn’t care! She might have been horrible to interact with, but I think her voice, which we still get in her plays and in her memoirs, is inspiring because she doesn’t seem to apologize at all for being incredibly smart and having really high expectations about the kind of choices people make. It’s just tickled me to learn about her. I feel like if I learned about her 30 years ago I would have done a lot more of her plays.
It’s absolutely a play about waking up from your own bubble. And looking out beyond yourself to see what’s happening in the world. —DIR EC TOR L IS A PE T E R SON
Lisa Peterson directing Sarah Agnew and Caitlin O’Connell in Watch on the Rhine at the Guthrie Theater P H OTO BY DA N N O R M A N
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Lillian Hellman in 1935 P H OTO BY H A L P H Y F E
A present for Lillian Hellman BY JA ME S DINNEEN
For her 36th birthday party shortly after the 1941 premiere of Watch on the Rhine, Lillian Hellman asked her friends to forget the gift wrap and make “a blow against fascism” their present to her. As a political figure, Hellman is generally remembered in that image: a socialite and stalwart advocate for anti-fascism, a movement formed in opposition to the rise of extreme nationalist and authoritarian governments in early 20th-century Europe. But Hellman wasn’t always politically active. When she first moved to Hollywood from New York City in 1930 at the age of 25, friends would describe her as uninterested in politics. Eleven years later, Hellman completed Watch on the Rhine, a potent measure of the political convictions she had gained during that tumultuous decade and to which she remained committed for the rest of her life. CO N TIN U E D O N N E X T PAG E 2 0 1 7–1 8 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 5
Promotional postcard for the 1934 Broadway production of The Children’s Hour
Lillian Hellman in her apartment, 1977
P H OTO BY VA N DA M M S T U D I O
P H OTO BY LY N N G I L B ER T
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Born in 1905, “Lilly” grew up splitting time between her father’s New Orleans boardinghouse and the kitschy Manhattan apartments of her mother’s wealthy Jewish relatives. Both settings would inspire characters in her work. After two years at nyu and a brief stint as a reader at a well-known publishing house in the city, Hellman married a young writer named Arthur Kober. When Kober got a job in Hollywood, Hellman reluctantly followed and spent several years working on short stories and socializing with the Hollywood intelligentsia. During this period, Hellman, who didn’t shy away from unconventional romantic relationships, began an affair with the novelist and screenwriter Dashiell Hammett that would continue for the next 31 years. He would serve as a trusted editor on many of her future projects. In 1932, Hellman quietly divorced Kober and returned to New York City with Hammett to focus on writing. She had her big break on Broadway in 1934 when the well-known director Herman Shumlin picked up The Children’s Hour, her first solo attempt at playwriting. Critics and audiences were enthusiastic about the production, which focused on the damage caused by a student’s false accusation of a lesbian affair between two headmistresses at a boarding school. In a reflection of the world in which Hellman worked, several critics expressed surprise that a woman had written a play on such “serious” themes. With the help of Kober and Hammett—both Hollywood insiders in the early days of the “talkie”—Hellman rewrote The Children’s Hour for the screen as These Three in 1935. Hellman’s success continued on Broadway and in Hollywood through the Great Depression. In addition to her triumphs at the box office, the 1930s was a formative period for Hellman’s political views. For her, just as for many American artists and intellectuals, widespread unemployment at home and the specter of fascism in Italy, Spain, and
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Germany represented a failure of capitalism and the democratic status quo. Hellman’s first direct experience with activism in response to those challenges was her involvement in the formation of the Screen Writers Guild in 1935. Dissatisfied with low wages and a lack of control over their work, screenwriters began an effort to unionize in 1934. Hellman, protected from the financial intimidations of the Hollywood studios by her revenue from Broadway, used her growing influence among screenwrit-
In a reflection of the world in which Hellman worked, several critics expressed surprise that a woman had written a play on such “serious” themes. ers to increase Guild membership and was in turn influenced by other labor organizers. Though this first attempt at forming the Guild failed in 1936, it marked an important moment for politics in Hollywood and activism for Hellman—one that would come back to haunt her and many other filmmakers in the form of the McCarthy-era “Hollywood blacklist.” In 1937, Hellman travelled to Paris, Moscow, and Spain to observe the Spanish Civil War, a conflict between General Francisco Franco’s Nationalists and a wide coalition of anti-fascist groups that started the year before. Her experience there solidified the anti-fascist sentiments she had developed in response to the Nazi Party’s anti-Semitism and Hitler’s dictatorial methods. She was also influenced by her visit to the Soviet Union. Like many other communist sympathizers outside of Russia in the 1930s, Hellman came to view the ussr as the great hope for humanitarian communism. For many of those sympa-
thizers, news of Stalin’s increasingly inhumane and authoritarian rule had diminished the appeal of the Soviet model by the end of wwii. Hellman, however, remained reluctant to denounce the brutality of Stalin’s regime even long after the war. Her reputation as an apologist for those atrocities would become a major point of controversy around her political and literary legacy. In the milieu of late-1930s Hollywood, however, Hellman found her connections to communism and her burgeoning anti-fascist commitments—she helped fund an anti-fascist propaganda film with Ernest Hemingway called The Spanish Earth—were well-matched to the alliance developing between anti-fascists and communists known as the “Popular Front.” Taking advantage of the anti-fascist fervor inspired by Franco’s military coup in Spain and encouraged by Joseph Stalin’s statements against fascist ideologies, American communist groups emphasized an anti-fascist interpretation of Marxist theory to attract members from a wider political base. Though Hellman would never become a member of the Communist Party, she became involved with several anti-fascist political organizations the Attorney General’s office considered “communist-front” groups around this time. In 1937, President Roosevelt contributed his more moderate voice to the broadening anti-fascist coalition by speaking out against the United States’ policy of isolation from the war in Europe for the first time. In the midst of all this, Hellman had written several films and plays including The Little Foxes, which had a hugely successful run after opening on Broadway in February of 1939, just seven months before Hitler’s invasion of Poland. With the proceeds from The Little Foxes, Hellman purchased a small farm in Westchester County where she would write most of Watch on the Rhine. After eight months of extensive research and writing, Hellman finished the play in early 1941. The first production, directed by Herman Shumlin (to whom the play is dedicated), opened at the Martin Beck Theater on Broadway on April 1 of that year. Eight months later, the United States would enter the war. Hellman wrote several other political dramas during the war, though none would be as successful as Watch on the Rhine. The Broadway production won the New York Drama Critics Circle Award and ran for 378 performances. In 1942, the Roosevelt administration selected the play to be performed for the president in Washington. It was also staged during the war in Moscow and in London, where it ran for 678 performances. In 1943, Warner Brothers produced a film version starring Bette Davis. After the war, Hellman’s career in Hollywood was stymied when she was blacklisted for “un-American activity.” Still, she managed to mount a number of successful plays on Broadway through the 1950s, and would reclaim her position in Hollywood in the 1960s and 1970s. In 1969, she published An Unfinished Woman, the first of several well-regarded but controversial memoirs she would complete before her death in 1984. Watch on the Rhine, written in the complex political context of interwar America, stands among Hellman’s work as a clear statement of her commitment to anti-fascism and courage in an age of injustice.
Die Wacht am Rhein Lillian Hellman waited until late in the rehearsal process of the original Broadway production of Watch on the Rhine to choose a title for her play. In an interview with the New York Times in 1941, she said director Herman Shumlin threatened to halt rehearsals until she had chosen a title. Her choice, Watch on the Rhine, is a reference to the German patriotic song “Die Wacht am Rhein.” You might be familiar with the tune from Casablanca, where it was sung by the Nazis in competition with the refugees singing “La Marseillaise,” the French national anthem. Hellman’s original idea was to use the German Die Wacht am Rhein, but Shumlin balked: “So many people would be afraid they were mispronouncing the German they would hesitate either to order tickets or talk about the play after they had seen it.” The text of “Die Wacht am Rhein” was written during the Rhine Crisis of 1840, when France threatened to annex German territory along the left bank of the Rhine River. It calls for courage and loyalty in the fight against enemies of Germany. The poem was set to music in 1854. During the Franco-Prussian War of 1870–71, German soldiers sang the anthem on their way to battle. The song became an unofficial national anthem after the German victory over France and remained extremely popular through both World Wars as a powerful symbol of German strength in unity.
Der Schwur erschallt, die Woge rinnt die Fahnen flattern hoch im Wind: Am Rhein, am Rhein, am deutschen Rheine wir alle wollen Hüter sein.
The oath resounds, on rolls the wave, The banners fly high, proud, and brave, The Rhine, the Rhine, the German Rhine We all shall stand to hold the line!
The Rhine River in Germany P H OTO BY R A P H A EL S C H U S T ER , PA D ER B O R N - M A S T B R U C H .
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MANN EI S C H U D E FL
PH O TO
BY T R
The real-life counterparts to Watch on the Rhine characters BY SARAH ROSE LEONARD
SQ H A
Lillian Hellman, like many writers, took inspiration
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from real life to shape the drama in Watch on the Rhine. Hellman aimed to engage the American public with the high stakes of life in Europe in order to engender sympathy and action. The play encapsulates what many Americans felt about Europe at the time of the play’s premiere in 1941, but her audience may have seen further than she imagined. Brooks Atkinson, writing in his review for the New York Times, said, “Watch on the Rhine ought to be full of meaning a quarter of a century from now when people are beginning to wonder what life was like in America when the Nazi evil began to creep across the sea.” To help her tap into the immediacy of the moment, Hellman drew inspiration from the real lives of Prince Antoine Bibesco, Muriel Gardiner, and Otto Katz to create three key characters in her drama. Hellman’s antagonist Teck de Brancovis, a Romanian Count, closely resembles Prince Antoine Bibesco, a Romanian aristocrat, diplomat, and lawyer. Apparently, Hellman and Bibesco crossed paths when he fleeced her of some $600 in a card game at the home of his mother-in-law. Nobody witnessed that meeting, but Bibesco must have impressed Hellman because various aspects of his life overlap with Teck’s. For one, Bibesco married a woman 20 years his junior, Elizabeth Asquith, at the urging of her high-society mother, Lady Margot Asquith, who thought he would exert a steadying influence on her daughter. In Watch on the Rhine, Teck’s wife, Marthe, mirrors Elizabeth Asquith: both of their mothers pressured them to marry older, well-regarded European men; both women were outspoken and skilled (Elizabeth was a well-regarded writer); and both their husbands whisked them away to Europe as members of the aristocracy only to scramble to find their place as wwii began. It should be said that Bibesco, unlike Teck, was never known as a Nazi conspirator. He was a diplomat and aristocrat. He served as the Romanian diplomat to the U.S. from 1920 to 1926, establishing the Romanian Embassy in Washington during his tenure. He then moved his family—
now including daughter Priscilla—to Madrid in 1927, where pre-Spanish Civil War tensions were rising around them. In 1936, Bibesco held the unenviable position of reassuring France and England, Romania’s main allies, that Romania rejected fascism. The truth, however, was more complicated: The King of Romania resisted Hitler, while Prime Minister (later, dictator) Ion Antonescu courted him. When war broke out in 1939, Bibesco and his family moved back to Romania, which had become a member of the Nazi alliance. After the war, the communists confiscated Bibesco’s estates and forced him from the country. Bibesco, like his fictional counterpart Teck de Brancovis, lost everything he held dear as fascism overtook his country. Watch on the Rhine’s heroine, Sara Farrelly (identified in the play’s cast of characters as Sara Muller), resembles Muriel Gardiner, an American heiress who studied psychiatry in Vienna. Gardiner and Hellman never met, but they shared a mutual friend who likely recounted Gardiner’s story to the famed dramatist. Gardiner, like Farrelly, went to great lengths to resist Nazi activity in Europe. As tensions rose in the 1930s, Gardiner became an active member of the Socialist Party and played a key role in the anti-fascist resistance. She helped secure false passports and necessary documents for many communists, socialists, Jews, and wanted anti-fascists, sneaking dozens of individuals across the border to Switzerland and helping thousands more through her underground network. Thanks to her wealth and status as an American, Gardiner owned various apartments and homes that served as safe houses for citizens on the run. Through her resistance work she met and fell in love with Joseph Buttinger, a fellow socialist and top leader in the Austrian resistance. The couple moved around often after the Nazis annexed Austria in 1938. Using her American and British passports to protect her as she crossed borders, Gardiner undertook dangerous missions traveling to Switzerland and Czechoslovakia, where she secured false papers from her colleagues, then slipped back into Austria, where she delivered the documents to those in need. When Hitler invaded Poland in 1939, Gardiner and her family left for New York on the last American ship to leave France. In addition to their anti-fascist activity, Sara Farrelly and Gardiner had similar family circumstances. Both women inherited sufficient wealth and abandoned their previous lifestyles to live with their husbands in wartime Europe. Yet, while Farrelly refused to ask her family for money to help in the resistance, Gardiner subsisted on it. Here, Hellman’s dramatic license is well earned: The Farrelly family must begin the play in the dark about their daughter’s life in order for the drama to unfold. Indeed, Farrelly and Gardiner could not fully tell their families about what their work entailed and what they endured. Secrecy was paramount to the resistance, as just one slip could land someone in prison, or worse. In one passage of her memoir, Gardiner recalls peering at the faces of her fellow resistance workers: “I realized that not one of them struck me as appearing equally honest. Even at this first meeting it occurred to me to wonder whether it was rare for honest people to go into illegal work. Or did illegal work itself reduce one’s
appearance of honesty? Then I wondered how my face looked to the others. Would they describe it as honest?” Gardiner and Sara Farrelly, and their risk-taking husbands, lived in a society where paranoia prevailed. Hellman largely based Sara Farrelly’s husband and Watch on the Rhine’s hero, Kurt Muller, on Moscow-trained spy Otto Katz. Katz and Hellman met in 1936 when they helped to fund The Spanish Earth, a propaganda film co-written by Ernest Hemingway in support of the anti-fascists fighting in the Spanish Civil War. As their friendship deepened, Hellman gleaned snippets of Katz’s life as a spy—though it is unclear how much of the truth he shared with her (or anyone). Katz occupied at least 21 aliases and operated out of pre-Hitler Germany, England, and France. Katz, a Jew originally from Bohemia (modern Czech Republic), turned toward communism when he witnessed the rise of Nazism in the 1920s. He gravitated toward the Soviet Union, which he saw as the only nation effectively resisting Hitler. He lived in Moscow, training at the International Lenin School as an “illegal”—an agent operating under false names. “Illegals” worked as couriers, transporting secret documents and hordes of cash with which to finance their global network, formed secret units for surveillance, worked as forgers of captured documents, and pushed propaganda. Katz ended up becoming a cultural courier, rather than a traditional spy. He seemed to work everywhere after he left Moscow: he published anti-fascist propaganda in German and English, led battlefield tours during the Spanish Civil War, organized conferences and talks throughout Europe, and raised money in Hollywood. Hellman’s character Kurt Muller never worked as a Soviet spy or a Hollywood socialite, but he did spread documents around as Katz did. Hellman’s text also suggests that he engaged in the same kind of work as Muriel Gardiner and her husband Joseph Buttinger: securing safe passage across borders for those in danger, sheltering wanted members of the resistance, and participating in violence if necessary. Hellman’s imagination was more attached to the way Katz operated in an underground fashion than to the details of his resistance. Muller, like Katz, used many aliases, and the secret service from various countries closely followed his trail. Bibesco, Gardiner, and Katz resisted the growing menace of fascist forces in pre-war Europe and helped shape key moments in the wartime narrative. A diplomat, an anti-fascist, and a spy, these historical figures sparked Hellman’s imagination. Mixing and matching from her knowledge of their experiences, she created a set of characters who could bring the menace of fascism right into the Farrelly’s living room. Teck, Kurt, and Sara enter the stage united in their otherness; they’ve all arrived on U.S. soil from a Europe Americans can barely fathom. Yet, once they all meet in Sara’s elegant childhood home the tensions between them become unmistakable. In Watch on the Rhine, the relationships Hellman imagined on stage show us a climatic, intimate look at a crucial moment in our country’s history.
A diplomat, an anti-fascist, and a spy, these historical figures sparked Hellman’s imagination.
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NEXT AT BERKELEY REP After enthralling audiences with Aubergine, Julia Cho returns to Berkeley Rep with a searing and touching play. Hiding in the back of the classroom, Dennis’ sullen presence has his fellow students and professors on edge. But during an office visit, his writing instructor seeks to break through Dennis’ silence and earn his trust—with shocking results. A deeply personal story of empathy and redemption, Office Hour explores otherness and paranoia while revealing our essential human need for connection.
Julia Cho Lisa Peterson
DIREC TED BY
STARTS FEB 22 · PEET ’S THEATRE
Berkeley Repertory Theatre, in a co-production with the Guthrie Theater, presents
B E RKE LE Y RE PE RTO RY TH E ATRE TO NY TACCO N E , MICHAEL LEIB ERT ARTIS TIC D IREC TO R SUSAN M E DAK , M ANAGIN G D IREC TO R
Sara Muller Sarah Agnew* Kurt Muller Elijah Alexander* Babette Muller Emma Curtin
DIREC TED BY
Joseph James Detmar*
Marthe Kate Guentzel* Bodo Muller Jonah Horowitz
NOVEM B ER 30, 2017–JANUARY 14, 2018 RODA THE ATRE · M AIN SE A SON
David Farrelly Hugh Kennedy*
This show includes a 15-minute intermission and a five-minute pause.
Fanny Farrelly Caitlin O’Connell*
Setting: The Farrelly family home, about 20 miles from Washington, DC Late May 1940
Teck De Brancovis Jonathan Walker*
Anise Leontyne Mbele-Mbong* Joshua Muller Silas Sellnow
PRODUC TION S TAFF
Watch on the Rhine is made possible thanks to the generous support of
Scenic Design Neil Patel Costume Design Raquel Barreto
Jack & Betty Schafer Michael & Sue Steinberg The Strauch Kulhanjian Family
Lighting Design Alexander V. Nichols Sound Design/Composer Paul James Prendergast Fight Direction Aaron Preusse Dramaturg Jo Holcomb Casting McCorkle Casting, Ltd. Amy Potozkin, csa Jennifer Liestman
LE A D S P O N S O R
Stage Manager Kathy Rose* E XECU TIV E S P O N S O R S
Susan Chamberlin John Dains
*Indicates a member of Actors’ Equity Association, the Union of Professional
Watch on the Rhine is presented by arrangement with Graham Agency, New York (email@example.com).
Joan Sarnat & David Hoffman Dugan Moore Pam & Mitch Nichter A S S O CIAT E S P O N S O R S
Shelley & Jonathan Bagg William Espey & Margaret Hart Edwards Martin & Janis McNair Pat & Merrill Shanks Lisa & Jim Taylor
Actors and Stage Managers in the United States.
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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BE R K E L E Y R E P P R E S E N T S
Sarah appeared at Berkeley Rep in Roe (also Oregon Shakespeare Festival and Arena Stage), as well as in Theatre de la Jeune Lune’s Don Juan Giovanni, The Green Bird, and The Miser. Regional credits include Richard III and Dead Man’s Cell Phone (osf), Hamlet (New Victory Theater), Twelfth Night (Shakespeare Theatre Company), The Servant of Two Masters (Yale Repertory Theatre), Sarah Ruhl’s Three Sisters and Behind the Eye (Cincinnati Playhouse in the Park), The Syringa Tree (Jungle Theater), and Time Stands Still, The 39 Steps, Dollhouse, Major Barbara, Home Place, The Secret Fall of Constance Wilde, and As You Like It (the Guthrie Theater), and The Miser and Amerika (American Repertory Theatre). Film/ TV credits include Lady Dynamite, Detective Fiction, and Older Than America. Sarah is a 2012 McKnight Theater Fellow and received the Cincinnati Acclaim Award and Princess Grace Honorarium.
Emma is thrilled to be making her debut at Berkeley Rep. Previous mainstage credits include Tarzan, Billy Elliot (Debbie), Fiddler on the Roof (Bielke), Mary Poppins, Shrek the Musical (Young Fiona), The Music Man, A Little Princess, and The Sound of Music (Gretl) at Berkeley Playhouse; Wait Until Dark (Gloria) and A Christmas Carol (Helen/Fan/Belinda) at Chanticleers; Oklahoma! (Virginia/featured dancer) and Our Town (Rebecca) at Altarena Playhouse; and Beauty and the Beast at Woodminster Summer Musicals. Emma attends Oakland School for the Arts (vocal emphasis) and does additional vocal training with Erica D’Ambrosio. She studies ballet, tap, hip-hop, lyrical, and jazz with Dance10 and Irish step dance with Annie McBride.
SAR A MULLER
Elijah Alexander KURT MULLER
Elijah last appeared at Berkeley Rep in Much Ado About Nothing. He has been seen on Broadway in Metamorphoses and off Broadway in Shopping and Fucking (New York Theatre Workshop). Other New York credits include Throne of Blood at Brooklyn Academy of Music. He has performed with the Royal Shakespeare Company in Tantalus. Elijah’s regional credits include Fingersmith, Hamlet, Pride and Prejudice, and Henry VIII (Oregon Shakespeare Festival); Richard III, Julius Caesar, Gaslight, Midsummer Night’s Dream, and Art (Utah Shakespeare Festival); Man and Superman, Restoration Comedy, and An Ideal Husband (California Shakespeare Theater); Disgraced (Arizona Theatre Company); and The Invisible Hand (Gregory Award, A Contemporary Theatre, Seattle). His film and television credits include Mr. & Mrs. Smith, Amazing Love, Touch, Awake, jag, and Summerland. Elijah received an mfa from the Yale School of Drama. Please visit elijahalexander.net.
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BABET TE MULLER
James Detmar JOSEPH
James is making his Berkeley Rep debut. He has performed around the country in West Side Story, White Christmas, and Sound of Music at Ordway Center for the Performing Arts; Cabaret and Spring Awakening at Theater Latté Da; Fly by Night at Jungle Theater; Lombardi and The Highwaymen at History Theatre; Annie, Mid-Life: The Crisis Musical, and Beauty and the Beast at Chanhassen Dinner Theatres; Dirty Rotten Scoundrels at Old Log Theatre; and Glengarry Glen Ross at the Torch Theatre. James’ film and television credits include Thin Ice, Hap and Ashley, Factotum, Public Domain, Best Man Down, Ghost Light, From the Earth to the Moon, Carousel of Revenge, America’s Most Wanted, Santa Barbara, Clarissa Explains It All to You, Superboy, and Hi Honey, I’m Home!
Kate Guentzel MARTHE
Kate is making her Berkeley Rep debut. She has appeared at the Guthrie Theater in The Master Butchers Singing Club and M. Butterfly, Jungle Theater in The Heiress and The Birthday Party, Park Square Theatre in School for Lies, Penumbra Theatre in Dutchman, Pillsbury House Theatre in The Children, and Illusion Theater in My Antonia. Her other theatre
credits include Frank Theatre, TigerLion Arts, Gremlin Theatre, Pangea World Theater, Sandbox Theatre, and Four Humors Theater. She received an Ivey Award for the role of Antonia in Illusion Theater’s My Antonia, and was Star Tribune’s Best Actress 2016. Kate trained at University of Minnesota, Twin Cities.
Jonah Horowitz BODO MULLER
Jonah is honored to be making his debut with Berkeley Rep. Favorite credits include Simon in 13 The Musical, Geppetto in Pinocchio, and Joseph and the Amazing Technicolor Dreamcoat (cmt San Jose) and Small Boy in Billy Elliot (Berkeley Playhouse). He has also participated in conservatory programs at American Conservatory Theater and the Berkeley Rep School of Theatre. This spring he is looking forward to playing the title role in James and the Giant Peach at Berkeley Playhouse. Jonah lives in Berkeley and is in the 6th grade at King Middle School. He enjoys making movies and building sets for his backyard theatre company.
DAV I D FA R R E L LY
Hugh is making his Berkeley Rep debut. He has appeared at the Guthrie Theater in Tribes, Othello, Pride and Prejudice, The Primrose Path, Arsenic and Old Lace, The Two Gentlemen of Verona, A View from the Bridge, The Government Inspector, A Midsummer Night’s Dream, Be Here Now, and A Christmas Carol. He also appeared in Hamlet at Jungle Theater and in Anthony Tassa’s Macbeth Arabia in Dubai, uae. His other theatre credits include the Public Theater, the Moving Company, Philadelphia Theatre Company, Eugene O’Neill Theater Center, New York Theatre Workshop, TheatreSquared, Arkansas Repertory Theatre, the Acting Company, and Pillsbury House Theatre. His film credits include Suburbicon, The Goodbye, and Hope. Hugh received the 2012 Ivey Award for Buzzer and was a Presidential Scholar of the Arts. He received a bfa from University of Minnesota Actor Training Program and is a national reviewer for the YoungArts Organization in Miami, Florida.
Leontyne is making her Berkeley Rep debut. She has appeared at Aurora Theatre Company in Temple and Breakfast with Mugabe; the San Francisco Shakespeare Festival in Hamlet; African-American Shakespeare Company in Antony and Cleopatra, Medea, Much Ado About Nothing, Merry Wives of Windsor, and A Raisin in the Sun; Stanford Rep in Slaughter City; Shotgun Players in Top Girls; Aluminous Collective in The Last Days of Judas Iscariot; Role Players Ensemble in Good People; Altarena Playhouse in Fences and Sylvia; Central Works in Andromache; Woman’s Will in Richard III, Twelfth Night, and Macbeth; Solano College Theatre in Intimate Apparel; TheatreFirst in World Music and Map of the World; and Lamplighters Music Theater in Show Boat and Candide. Leontyne received a Theatre Bay Area Award for Outstanding Performance Female Principal for Medea. She received a BA from Macalester College. Please visit leontynembele-mbong.com.
Silas is making his Berkeley Rep debut. His theatre credits include Peter and the Starcatcher at Theater Latté Da; Richard III, Comedy of Errors, As You Like It, and Julius Caesar at Great River Shakespeare Festival; While You Were Out at Red Eye Theatre; and The Snow Queen at Park Square Theatre. Silas received a bfa from University of Minnesota/Guthrie Theater Actor Training Program.
Caitlin O’Connell FA N N Y FA R R E L LY
Caitlin is making her Berkeley Rep debut. She has appeared on Broadway in The Crucible, Mothers and Sons, The Heiress, and 33 Variations. She has appeared at the Guthrie Theater in Watch on the Rhine, Mrs. Warren’s Profession, and Playboy of the Western World. Her off-Broadway credits include Ugly Lies the Bone (Roundabout Theatre Company), All’s Well That Ends Well (New York Shakespeare Festival/the Public Theater), The Killing of Sister George (the Actors Theatre Company), Stuff Happens (the Public), Third (Lincoln Center Theater), Boy (Primary Stages), and Baby Screams Miracle (Clubbed Thumb). She has also appeared at Williamstown Theater Festival in Pygmalion; South Coast Repertory in Habeus Corpus; Shakespeare Theatre Company in Much Ado About Nothing, Twelfth Night, and Merry Wives of Windsor; Center Stage in The Matchmaker, Winter’s Tale, and Othello; the Old Globe in Julius Caesar; Denver Center Theatre Company in Third, The Clean House, Dinner with Friends, and The Little Foxes; and Actors Theatre of Louisville/Cincinnati Playhouse in Doubt. Her film and television credits include Oppenheimer Strategies, The Automatic Hate, The Stepchild, Unforgettable, Whoopi, and Homicide. Caitlin is a recipient of a Fox Foundation Grant.
J O S H UA M U L L E R
T E C K D E B R A N C OV I S
Jonathan is making his Berkeley Rep debut. He has appeared on Broadway in The Assembled Parties, 20th Century, After the Fall, and Rocky. His off-Broadway credits include world premieres by Richard Greenberg, Donald Margulies, Wendy MacLeod, Doug Wright, James Lapine, Peter Parnell, and Charles Busch at mcc Theater, the Public Theater, Playwrights Horizons, Primary Stages, Roundabout Theatre Company, Manhattan Theatre Club, Cherry Lane Theatre, and the New Group. He appeared in the films The Chaperone, Bridge of Spies, It Had to Be You, Man on a Ledge, Michael Clayton, People I Know, Heights, and Far from Heaven. Jonathan’s television credits include Madam Secretary, Quantico, Person of Interest, Elementary, The Good Wife, The Big C, Sex and the City, Chappelle’s Show, Law & Order, Zero Hour, The Carrie Diaries, and Daredevil.
D I R E C T O R /A S S O C I AT E D I R E C T O R
Lisa is a two-time Obie Award-winning writer and director whose previous projects at Berkeley Rep include It Can’t Happen Here (2016); Madwoman in the Volvo (2016); An Iliad (2012), which Lisa co-wrote with Denis O’Hare and which won Obie and Lortel Awards for Best Solo Performance; Mother Courage (2006); The Fall (2001); and Antony & Cleopatra (1999). Other recent West Coast productions include You Never Can Tell (California Shakespeare Theater), Hamlet (Oregon Shakespeare Festival), and Chavez Ravine (Ovation Award for Best Production—Center Theatre Group). She has directed world premieres by many major American writers, including Tony Kushner, Beth Henley, Donald Margulies, José Rivera, David Henry Hwang, Luis Alfaro, Marlane Meyer, Naomi Wallace, Basil Kreimendahl, and many others. She regularly works at the Guthrie Theater, Actors Theatre of Louisville, the Mark Taper Forum, La Jolla Playhouse, Seattle Repertory Theatre, Arena Stage, and New York Theatre Workshop. Lisa and Denis are working on a new play about faith called
The Good Book and a commission for McCarter Theatre Center titled The Song of Rome. Lisa is also writing a new music-theatre piece with Todd Almond called The Idea of Order, co-commissioned by La Jolla Playhouse, Berkeley Rep, and Seattle Rep.
Neil’s Berkeley Rep credits include Our Town, Ghosts, and Nocturne. His recent designs include Time and the Conways (Roundabout Theatre Company), Father Comes Home from the Wars (Parts 1, 2 & 3) (Royal Court, London), Mughal-E-Azam (National Centre for the Performing Arts, Mumbai), Born for This (the Broad Stage), The Crucible (the Glimmerglass Festival), Mr Burns: a post-electric play and Stage Kiss (Playwrights Horizons), and Norma (LA Opera). His film and television credits include Some Velvet Morning (TrBeCa Films), The Path (Hulu), In Treatment (hbo), and Little Boxes (Netflix). Neil created exhibition designs for Space Force Construction for vac Foundation, Venice.
Raquel was the costume designer for Roe at Berkeley Rep (also Oregon Shakespeare Festival and Arena Stage). Her other credits include Pericles (the Guthrie Theater); The River Bride, Pericles, The Happiest Song Plays Last, and Water by the Spoonful (Oregon Shakespeare Festival); Lady Day at Emerson’s Bar and Grill (Actors Theatre of Louisville); and The Glass Menagerie, The Triumph of Love, Romeo and Juliet, Uncle Vanya, and Pericles (California Shakespeare Theater), as well as productions at Arena Stage, Syracuse Stage, Folger Theatre, San Jose Repertory Theatre, Cornerstone Theater Company, Latino Theater Company, the Magic Theatre, Campo Santo, and the Cutting Ball Theater. She has also designed for Operaucla, San Francisco Lyric Opera, the Joyce Theater, Los Angeles Philharmonic, Walt Disney Concert Hall, Jacob’s Pillow, and the Broad Stage. Raquel is on the costume design faculty at the ucla School of Theater, Film and Television and received an mfa from the University of California, San Diego.
Alexander V. Nichols LIGHTING DESIGNER
Alex has designed more than 30 productions for Berkeley Rep. His Broadway credits include Wishful Drinking, Hugh Jackman—Back On Broadway, and Nice Work If You Can Get It. His off-Broadway productions include In Masks Outrageous and Austere, Los Big Names, Horizon, Bridge & Tunnel, Taking Over, Through the Night, and In the Wake. Alex has worked at regional theatres throughout the country, including American Conservatory Theater, Mark Taper Forum, National Theatre of Taiwan, Oregon Shakespeare Festival, and La Jolla Playhouse, among others. His dance credits include resident designer for Pennsylvania Ballet, Hartford Ballet, and American Repertory Ballet; lighting supervisor for American Ballet 2 0 1 7–1 8 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 3
BE R K E L E Y R E P PRESENTS profiles
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Theatre; and resident visual designer for the Margaret Jenkins Dance Company since 1989. His designs are in the permanent repertory of San Francisco Ballet, Boston Ballet, Alvin Ailey American Dance Theater, Hubbard Street Dance, Hong Kong Ballet, Singapore Dance Theatre, odc/SF, and the Royal Winnipeg Ballet. Alex’s other projects include the museum installation Circle of Memory, a collaboration with Eleanor Coppola, presented in Stockholm, Sweden, and the video and visual design for Life: A Journey Through Time, a collaboration with Frans Lanting and Philip Glass, presented at the Concertgebouw, Amsterdam.
Paul James Prendergast
S O U N D D E S I G N E R /C O M P O S E R
Paul was the composer and sound designer for It Can’t Happen Here and Roe at Berkeley Rep. His Broadway credits include All the Way. His regional credits include the Guthrie Theater, Oregon Shakespeare Festival (25 productions), Seattle Repertory Theatre, the Mark Taper Forum, South Coast Repertory, American Repertory Theater, PlayMakers Repertory Company, Hartford Stage, Great Lakes Theater Festival, Geffen Playhouse, Long Wharf Theatre, California Shakespeare Theater, Idaho Shakespeare Festival, Utah Shakespeare Festival, the Kennedy Center, Alley Theatre, La Jolla Playhouse, and American Conservatory Theater. He has also designed for theme parks, including Universal Studios, Disney, and Knott’s Berry Farm, and museums, including J. Paul Getty, Geffen Contemporary, and Autry Museum of Western Heritage. His dance credits include Diavolo Dance Theater, Momix, and Parsons Dance. Paul’s work as a singer/ songwriter has appeared in films, on recordings, and in music venues nationwide.
FIGHT DIREC TOR
Aaron’s credits include The Parchman Hour, The Royal Family, The Bluest Eye, Refugia, and Native Gardens at the Guthrie Theater; The Pirates of Penzance and Jesus Christ Superstar at the Ordway; Carmen at the Minnesota Opera; The Three Musketeers at Commonweal Theatre Company; Buried Child and Time to Burn at Red Bird Theatre; The Three Musketeers at Theatre in the Round; The Illusion and Henry V at Theatre Pro Rata; Carmen at Skylark Opera; Human Combat Chess (six seasons) at Six Elements Theatre Company; Peter Pan at the Phipps Center; and Leading Ladies at Lyric Arts of Anoka. Aaron trained at the Dell’Arte International School of Physical Theatre and the London Academy of Music and Dramatic Art, and is a member of the Society of American Fight Directors.
D R A M AT U R G
Jo worked on more than 60 productions at the Guthrie Theater since 1996, including Native Gardens, Refugia, The Bluest Eye, The Parchman Hour, South Pacific, Trouble in Mind, Critic/ Hound, The Music Man, Juno and the Paycock, The Crucible, A Christmas Carol, My Fair Lady, Crimes of the Heart, Freud’s Last Session, Uncle Vanya, Other Desert Cities, Tales from Hollywood, The Burial at Thebes, God of Carnage, M. Butterfly, Faith Healer, The Intelligent Homosexual…, Caroline, or Change, Shadowlands, The Glass Menagerie, and Six Degrees of Separation. She is a librarian/literary specialist and teaches at the University of Minnesota/Guthrie Theater bfa Actor Training Program. Jo received her MS from University of Kentucky and MA from Athenaeum of Ohio.
McCorkle Casting, Ltd./ Pat McCorkle CASTING
McCorkle Casting, Ltd./Pat McCorkle is the casting consultant for the Guthrie Theater’s 2017–18 season, and has cast more than 50 productions there since 1998. Broadway credits include End of the Rainbow, The Lieutenant of Inishmore, The Glass Menagerie, Cat on a Hot Tin Roof, One Flew Over the Cuckoo’s Nest, The Ride Down Mt. Morgan, Amadeus, She Loves Me, Blood Brothers, and A Few Good Men. Off-Broadway credits include Tribes, Our Town, Almost, Maine, Ears on a Beatle, Down the
Garden Paths, Killer Joe, Mrs. Klein, and Driving Miss Daisy. Film and television credits include Premium Rush, Ghost Town, Secret Window, Tony ’n’ Tina’s Wedding, Basic, The Thomas Crown Affair, The 13th Warrior, Madeline, Die Hard with a Vengeance, School Ties, Sesame Street, Californication (Emmy nomination), Max Bickford, Strangers with Candy, Barbershop, and Chappelle’s Show.
Amy Potozkin, csa
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.
Jennifer Liestman CASTING
D I R E C T O R O F C A S T I N G/ A R T I S T I C A S S O C I AT E
This is Amy’s 28th 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
Jennifer has been on the artistic staff at the Guthrie Theater for the past 15 years and is in her third season as the artistic associate/ resident casting director. In addition to her casting work, she also enjoys speaking with the students with the Guthrie/University of Minnesota training program as well as teaching auditioning master classes to students across the country.
S TAG E M A N AG E R
Kathy last worked with Berkeley Rep as stage manager for John Leguizamo’s Latin History for Morons, and she also stage managed How to Write a New Book for the Bible. She has produced or stage managed for organizations such as the Santa Fe Opera, Teatro Zinzanni, Yerba Buena Center for the Arts, odc Dance, the SF Jazz Center, Opera Paralléle, Post: Ballet, and Cal Performances. Kathy has worked with a wide variety of artists, most notably Joan Baez, Anna Deavere Smith, Lars Ulrich,
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Extraordinary Performance. Lorri Rosenberg Arazi Anna Bahnson Norah Brower Carla Buffington Jackie Care Maria Cavallo-Merrion Carla Della Zoppa Leslie Easterday Gini Erck
Jennie A. Flanigan Wendy Gardner Ferrari Toni Hanna Nancy Hinkley Sharon Ho Dan Joy Maureen Kennedy Tracy McBride Denise Milburn
Jodi Nishimura Nancy Noman Sandy Patel-Hilferty Rebecca Pentzell Perry Riani Amy Robeson Ira & Carol Serkes Diane Verducci
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BE R K E L E Y R E P PRESENTS profiles and Meredith Monk. Kathy is a proud member of both Actors’ Equity Association (aea) and the American Guild of Musical Artists (agma).
The Guthrie Theater The Guthrie Theater (Joseph Haj, Artistic Director) was founded by Sir Tyrone Guthrie in 1963 and is an American center for theater performance, production, education and professional training, dedicated to producing the great works of dramatic literature and to cultivating the next generation of theater artists. Under Haj’s leadership, the Guthrie produces a mix of classic and contemporary plays on three stages, and continues to set a national standard for excellence in theatrical production and performance. In 2006, the Guthrie opened its new home on the banks of the Mississippi River in Minneapolis. Designed by Pritzker Prize-winning architect Jean Nouvel, the Guthrie Theater houses three state-of-theart stages, production facilities, classrooms, full-service restaurants and dramatic public lobbies. Please visit guthrietheater.org.
MICHAEL LEIBERT ARTISTIC DIREC TOR
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Tony is celebrating his 20th anniversary season. 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 20 years, Berkeley Rep has presented more than 70 world, American, and West Coast premieres and sent 23 shows to New York, two to London, and one to Hong Kong. Tony has staged more than 40 plays in Berkeley, including new work from Julia Cho, John Leguizamo, Culture Clash, Rinde Eckert, David Edgar, Danny Hoch, Geoff Hoyle, Itamar Moses, and Lemony Snicket. He directed the shows that transferred to London, Continental Divide and Tiny Kushner, and two that landed on Broadway as well: Bridge & Tunnel and Wishful Drinking. Prior to working at Berkeley Rep, Tony served as artistic director of Eureka Theatre, which produced the American premieres of plays by Dario Fo, Caryl Churchill, and David Edgar before focusing on a new generation of American writers. While at the Eureka, Tony commissioned Tony Kushner’s legendary Angels in America and co-directed its world premiere. He has collaborated with Kushner on eight plays at Berkeley Rep, including The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. Tony’s regional credits include Actors Theatre of Louisville, Arena Stage, Center Theatre Group, the Eureka Theatre, the Guthrie Theater, the Huntington Theatre Company, Oregon Shakespeare Festival, the Public Theater, and Seattle
Repertory Theatre. As a playwright, he debuted Ghost Light, Rita Moreno: Life Without Makeup, Game On, written with Dan Hoyle, and It Can’t Happen Here, written with Bennett S. Cohen. 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.”
M A N AG I N G D I R E C T O R
Susan has served as Berkeley Rep’s managing director since 1990, leading the administration and operations of the Theatre. She has served as president of the League of Resident Theatres (lort) and treasurer of Theatre Communications Group (tcg), organizations that represent the interests of nonprofit theatres across the nation. Susan chaired panels for the Massachusetts Arts Council and has also served on program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan serves on the board of the Downtown Berkeley Association (dba). She is the founding chair of the Berkeley Arts in Education Steering Committee for Berkeley Unified School District and the Berkeley Cultural Trust. Susan serves on the faculty of Yale School of Drama and is a member of the International Women’s Forum and the Mont Blanc Ladies’ Literary Guild and Trekking Society. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund and the 2017 Visionary Leadership Award by tcg. During her time in Berkeley, Susan has been instrumental in the construction of the Roda Theatre, the Nevo Education Center, the renovation of the Peet’s Theatre, and in the acquisition of the Harrison Street campus.
Theresa Von Klug
G E N E R A L M A N AG E R
Before joining Berkeley Rep, Theresa had over 20 years of experience in the New York not-for-profit performing arts sector where she has planned and executed events for dance, theatre, music, television, and film. Her previous positions include the interim general manager for the Public Theater; general manager/line producer for Theatre for a New Audience, where she opened its new state-ofthe-art theatre in Brooklyn and filmed a major motion picture of the inaugural production of Julie Taymor’s A Midsummer Night’s Dream, released June 2015; production manager at the New Jersey Performing Arts Center and New York City Center, including the famous Encores! Great American Musicals in Concert; and field representative/lead negotiator for the Association of Theatrical Press Agents and Managers. She holds a MS in Labor Relations and Human Resources Management from Baruch College.
MEET US IN THE BAR! Join us for signature cocktails, wines, craft beer, and delectable treats. Open before and after the show, and during intermission
P R O D U C T I O N M A N AG E R
Peter began his Berkeley Rep career in 2014, and since then some his favorite productions include Party People, X’s and O’s (A Football 2 0 1 7–1 8 · I S S U E 3 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 7
NUTURE YOUR CREATIVE SPIRIT Winter classes start January 8 berkeleyrep.org/classes 510 647-2972
BE R K E L E Y R E P P R E S E N T S Love Story), Monsoon Wedding, and Aubergine. Previously, he served as production manager at the Public Theater, where favorite works include Here Lies Love, Father Comes Home from the War Parts 1–3, Mobile Shakespeare, and The Tempest as well as musical collaborations with Sting, the Roots, and the Eagles. Peter also helped Alex Timbers 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, working on Little Flower of East Orange directed by the late Philip 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 worked with the Huntington Theatre Company, American Repertory Theater, Commonwealth Shakespeare, Trinity Rep, Hasty Pudding Theatricals, Colorado Ballet, Central City Opera, and the Denver Center Theatre Company. Peter is a graduate of Otterbein University.
R E S I D E N T D R A M AT U R G/ D I R E C T O R , T H E G R O U N D F LO O R
Madeleine is the director of The Ground Floor: Berkeley Rep’s Center for the Creation and Development of New Work and the Theatre’s resident dramaturg. She oversees commissioning and new play development, and dramaturged the world premiere productions of Aubergine, The House that will not Stand, Passing Strange, and In the Next Room (or the vibrator play), among others. As literary manager and associate dramaturg at Center Stage in Baltimore, she produced the First Look reading series and headed up its young audience initiative. 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.
P R O D U C T I O N S TAG E M A N AG E R
Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 23rd year as production stage manager. Some of his favorite shows include 36 Views, Endgame, Eurydice, Hydriotaphia, and Mad Forest. He has also worked with the Barbican in London, the Huntington Theatre Company, the Juste Pour Rire Festival in Montreal, La Jolla Playhouse, Pittsburgh Public Theater, the Public Theater 2 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 7–1 8 · I S S U E 3
and Second Stage Theater in New York, and Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss.
Jack & Betty Schafer SEASON SPONSORS
Betty and Jack are proud to support Berkeley Rep. Jack just rotated off the Theatre’s board and is now on the boards of San Francisco Opera and the Straus Historical Society. He is an emeritus trustee of the San Francisco Art Institute and the Oxbow School. Betty is on the board of EarthJustice, the Jewish Community Center of San Francisco, and Sponsors of Educational Opportunity. In San Francisco, she is engaged in the launch of Wise Aging, a program for adults addressing the challenges of growing older. They have three daughters and eight grandchildren.
Michael & Sue Steinberg SEASON SPONSORS
Michael and Sue have been interested in the arts since they met and enjoy music, ballet, and live theatre. Michael, who recently retired as chairman and chief executive officer of Macy’s West, served on Berkeley Rep’s board of trustees from 1999 to 2006 and currently serves on the board of directors of the Jewish Museum. Sue serves on the board of the World of Children. The Steinbergs have always enjoyed regional theatre and are delighted to sponsor Berkeley Rep this season.
The Strauch Kulhanjian Family SEASON SPONSOR
Roger Strauch is a former president of Berkeley Rep’s board of trustees and is currently vice president of the board. He is chairman of The Roda Group (rodagroup.com), a venturedevelopment company based in Berkeley. The Roda Group is a lead investor in new battery, carbon capture, and water remediation technology companies based in Silicon Valley and Vancouver, Canada. Roger is chairman of the board of directors of Cool Systems, the manufacturer of Game Ready, a medical physical therapy system. He is also chairman of the board of trustees for the Mathematical Sciences Research Institute. He is a member of the uc Berkeley Engineering Dean’s college advisory board; a member of the board of Northside Center, a mental-health services agency based in Harlem, New York City; and a co-founder of the William Saroyan Program in Armenian Studies at Cal. Roger also leads the Mosse Art Restitution Project, which searches for family art illegally confiscated during Germany’s Third Reich. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three college-age children.
The Bernard Osher Foundation LEAD SPONSOR
The Bernard Osher Foundation, supporting higher education and the arts, was founded in 1977 by Bernard Osher, a respected businessman and community leader. The Foundation provides scholarship funding at colleges and universities across the nation, with a recent emphasis on assisting reentry students. In addition, the Foundation supports a national network of lifelong learning institutes for seasoned adults on the campuses of 120 institutions of higher education. The Foundation also benefits programs in integrative medicine at Harvard University, Northwestern University, ucsf, the University of Miami, and Vanderbilt University in the United States as well as at the Karolinska Institute in Sweden. Finally, an array of performing arts organizations, museums, and select educational programs in the San Francisco Bay Area and the State of Maine receive Foundation grants. Barbro Osher, Honorary Consul General of Sweden in California, chairs the Foundation’s Board of Directors.
Cal Performances U N I V E R S I T Y
C A L I F O R N I A ,
S E A S O N
B E R K E L E Y
The Hard Nut
Mark Morris Dance Group Music by Tchaikovsky (The Nutcracker); Choreography by Mark Morris Colin Fowler, conductor; Members of the Berkeley Symphony Piedmont East Bay Children’s Choir, Ensemble; Robert Geary, founding artistic director
First Bay Area Performances in 5 years!
“A boldly perfected masterpiece.”
Susan is a retired architect and project manager. Currently she, along with her husband Steve, directs the work of their family foundation. She also serves on the board of the Oakland Museum of California and is the chair of the UC Berkeley Foundation board of trustees.
“Waves of happy laughter greet The Hard Nut from curtainup to curtain-down.”
—The New York Times
John and his late wife Stephanie have enjoyed Berkeley Rep since moving to the Bay Area in 1987. Stephanie was a registered art therapist and retired in 2004 from the California School for the Blind where she ran the art program. She was the board chair of Art4Moore, which she started in memory of her mother. Art4Moore gives grants to provide art supplies and resources to schools and programs for teachers, students of all ages, the elderly, and the disabled. John is the ceo Emeritus of Helm Financial Corporation, which is now a part of Wells Fargo. He served on the board of Headlands Center for the Arts in Sausalito and Gateway High School, a charter school in San Francisco, and is on the board of trustees at Washington University in St. Louis where he and Stephanie both graduated from college.
“You’ve never seen a Nutcracker quite like this before.” —The Huffington Post
Dec 15–24 ZELLER B ACH HALL
David Hoffman & Joan Sarnat SPONSORS
David is a consulting research professor of mathematics at Stanford and a Berkeley Rep trustee. He was an associate director of the Mathematical Sciences Research Institute (msri) in Berkeley and has been involved in producing museum shows about mathematics in the United States, France, and China. Joan is a clinical psychologist and psychoanalyst in private practice in Berkeley.
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BE R K E L E Y R E P PRESENTS profiles Pam & Mitch Nichter SPONSORS
Think deeper. Laugh louder.
Pam and Mitch recently retired from their longtime 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 offers 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 and are thrilled to help sponsor this production of Watch on the Rhine.
Bay Area Rapid Transit (bart) is the backbone of the Bay Area transit network and serves more than 100 million passengers annually. bart’s all-electric trains make it one of the greenest and most energy-efficient transit systems in the world. Visit bart.gov/bartable to learn more about great destinations and events that are easy to get to on bart (like Berkeley Rep!). At bart.gov/bartable, you can find discounts, enter sweepstakes offering fantastic prizes, and find unique and exciting things to do just a bart ride away. While you’re there, be sure to sign up for bartable This Week, a free, weekly email filled with the latest and greatest bartable fun!
By Caryl Churchill By George Bernard Shaw Directed by Barbara Damashek MAR/APR 2018 Directed by Joy Carlin JAN/FEB 2018
By Jonathan Spector Directed by Josh Costello APR/MAY 2018
By Sarah Burgess Directed by Jennifer King JUN/JUL 2018
BAY AREA PREMIERE
TICKETS ON SALE NOW! | SUBSRIPTIONS START AT $99 2081 Addison, Downtown Berkeley | 510.843.4822 | auroratheatre.org
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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 with the new, state-of-the-art Peet’s Theatre. In 1966, Alfred Peet opened his first store on Vine and Walnut in Berkeley and Peet’s has been committed to the Berkeley community ever since. As the pioneer of the craft coffee movement in America, Peet’s is dedicated to small-batch roasting, superior quality beans, freshness and a darker roasting style that produces a rich, flavorful cup. Peet’s is locally roasted in the first leed ® Gold certified roaster in the nation.
Wells Fargo is proud to support the award-winning Berkeley Repertory Theatre as a season sponsor for the last 12 years because of its dedication to artistic excellence and community engagement. Founded in 1852 and headquartered in San Francisco, Wells Fargo
provides banking, insurance, investments, mortgage, and consumer and commercial finance. The bank is committed to building better every day to meet our customers’ financial goals. For more information, please visit wellsfargo.com.
ADDITIO NAL S TAFF Deck crew Bradley Hopper Kourtney Snow Dialect coach Jessica Berman
T H E GROU N DBR EA K I NG EPIC COMES HOME T O T H E B AY
Fight consultant Dave Maier Production assistant James McGregor Props Lisa Fong Noah Kramer Dara Ly Baz Wenger Scene shop Jennifer Costley Erica Engel Will Gering Chance Grable Carl Martin Sean Miller Scenic artist Lassen Hines Stage carpenter Kourtney Snow Studio teacher Victoria Northridge Wardrobe Claire Griffith Kennedy Warner Medical consultation for Berkeley Rep provided by Cindy J. Chang, MD, ucsf Clinical Professor, and Steven Fugaro, MD.
TONY KUSHNER DI R E CT E D BY
T O N Y T AC C O N E S TA RT S A P R 17
Experience Tony Kushner’s masterpiece anew and share it with a new generation of theatregoers—additional tickets and gift certificates available now! Purchase online at berkeleyrep.org or call 510 647-2949, Tue–Sun, noon–7pm. SEASON SPONSORS
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5,000 Years of Civilization Reborn
SHEN YUN’S unique artistic vision expands theatrical experience into a multi-dimensional, inspiring journey through one of humanity’s greatest treasures— the five millennia of traditional Chinese culture. Prepare for an experience that will take your breath away.
“Breathtaking!” —Curtain Up
“Marvelous dance... Absolutely perfect music.” —Brooklyn View
“This is the highest and the best of what humans can produce.” —Olevia Brown-Klahn, singer and musician
Tickets on Sale Now!
Jan 12–14 BERKELEY Zellerbach Hall
ShenYun.com/CA 888.633.6999 ALL-NEW 2018 PROGRAM
Dec 26, 2017 – Jan 10, 2018
San Francisco | San Jose | Sacramento | Fresno
ACCOMPANIED BY LIVE ORCHESTRA
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 September 2016 and October 2017. LEGEND
BE R K E L E Y R E P THANKS
Ground Floor donor
G IF T S O F $ 10 0,0 0 0 A N D A B OV E The William & Flora Hewlett Foundation The Shubert Foundation G IF T S O F $50,0 0 0 –9 9,9 9 9 Edgerton Foundation The Reva and David Logan Foundation National Endowment for the Arts The Bernard Osher Foundation The Harold and Mimi Steinberg Charitable Trust Time Warner Foundation, Inc. Tournesol Project
G IF T S O F $2 5,0 0 0 –49,9 9 9 Anonymous BayTree Fund The Ira and Leonore S. Gershwin Philanthropic Fund Wallis Foundation Walter & Elise Haas Fund Woodlawn Foundation G IF T S O F $ 10,0 0 0 –24,9 9 9 Berkeley Civic Arts Program
G IF T S O F $5,0 0 0 –9,9 9 9 Anonymous Distracted Globe Foundation Ann and Gordon Getty Foundation Ramsay Family Foundation G IF T S O F $ 1,0 0 0 –4,9 9 9 Joyce & William Brantman Foundation Butte Creek Foundation Civic Foundation James Irvine Foundation jec Foundation Karl & Alice Ruppenthal Foundation for the Arts San Francisco Foundation Frank Sinatra Foundation twanda Foundation
COR P OR AT E S P ON S OR S SEASON SPONSORS
E XECU TIV E S P O N S O R S
SPONSORS Mechanics Bank Wealth Management The Morrison & Foerster Foundation CO R P O R AT E PA R T N E R S Armanino llp Deloitte Faber Daeufer & Itrato PC McCutcheon Construction Panoramic Interests Schoenberg Family Law Group
B U S IN E S S M E M B E R S Aspiriant Wealth Management BluesCruise.com Cooperative Center Federal Credit Union Field Paoli Architects, in memory of John & Carol Field Perforce Foundation tmg Partners, in memory of John & Carol Field A DVO C AT E S Peacock Construction
PE RFO R M A N CE S P O N S O R S Bayer Boston Properties, in memory of John & Carol Field Gallagher Risk Management Services Macy’s Is your company a corporate sponsor? Berkeley Rep’s Corporate Partnership program offers excellent opportunities to network, entertain clients, reward employees, increase visibility, and support the arts and arts education in the community. For details visit berkeleyrep.org/support or call Daria Hepps at 510 647-2904.
I N-K I N D S P ON S OR S E XECU TIV E S P O N S O R S
M AT C H I NG G I F T S SPONSORS Hafner Vineyard Latham & Watkins llp Mayer Brown llp Ramsay Winery Robert Meyer’s Mangia/Nosh Catering Company Semifreddi’s Whole Foods Market Viks Chaat & Market PA R T N E R S act Catering Almare Gelato Angeline’s Louisiana Kitchen Au Coquelet
Aurora Catering Autumn Press Bare Snacks Bobby G’s Pizzeria Brown Sugar Kitchen Comal Corison Winery Donkey & Goat Winery East Bay Spice Company Eureka! five Gather Restaurant gio’s Pizza & Bocce Hugh Groman Catering Jazzcaffè La Méditerranée
La Note Lucia’s of Berkeley Maker’s Common Picante PiQ Platano Salvadoran Cuisine Revival Bar + Kitchen Suya African Carribbean Grill Sweet Adeline Bakeshop Tigerlily Triple Rock Brewery Venus Zut! Tavern on 4th St. Hotel Shattuck Plaza is the official hotel of Berkeley Rep.
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. Accenture · Adobe Systems Inc. · Apple · Applied Materials · Autodesk Inc. · Bank of America · Chevron Corporation · Clorox · Dolby · Electronic Arts Outreach · Farallon Capital Mangement · Fremont Group Foundation · Gap Foundation · Genentech · Google · ibm Corporation · Intel Corporation · John & Maria Goldman Foundation · Johnson & Johnson · Lawrence Livermore National Laboratory · Levi Strauss & Co. · Microsoft · Morrison & Foerster · norcal Mutual Insurance Company · Oracle Corporation · Pixar Animation Studios · Salesforce · Shell Oil · Sidley Austin llp, San Francisco · Union Bank, The Private Bank · Varian Medical System · visa u.s.a., Inc. · Workday
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BE R K E L E Y R E P THANKS
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 September 2016 and October 2017. To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906.
S P ON S OR C I RC L E SEASON SPONSORS Jack & Betty Schafer Michael & Sue Steinberg The Strauch Kulhanjian Family LE A D S P O N S O R S Edward D. Baker Yogen & Peggy Dalal Bruce Golden & Michelle Mercer Frances Hellman & Warren Breslau Wayne Jordan & Quinn Delaney Jonathan Logan Jane Marvin/Peet’s Coffee Stewart & Rachelle Owen Mary Ruth Quinn & Scott Shenker E XECU TIV E S P O N S O R S Anonymous Barbara Bakar Michelle Branch & Dale Cook Susan Chamberlin John Dains Bill Falik & Diana Cohen Kerry Francis & John Jimerson Lata Krishnan & Ajay Shah Monica Lopez & Sameer Gandhi
Marjorie Randolph Rummi & Arun Sarin kbe Jean & Michael Strunsky Guy Tiphane Tomlinson Family Gail & Arne Wagner SPONSORS Anonymous (2) Maria Cardamone & Paul Matthews David & Vicki Cox Thalia Dorwick Robin & Rich Edwards Cynthia A. Farner David & Vicki Fleishhacker Paul Friedman & Diane Manley Jill & Steve Fugaro Karen Galatz & Jon Wellinghoff Paul Haahr & Susan Karp Scott & Sherry Haber Jerry & Julie Kline Jack Klingelhofer Suzanne LaFetra Sandra & Ross McCandless Dugan Moore Pam & Mitch Nichter
Leonard X & Arlene B. Rosenberg Sheli & Burt Rosenberg, in honor of Len & Arlene Rosenberg Joe Ruck & Donna Ito Patricia Sakai & Richard Shapiro Joan Sarnat & David Hoffman Liliane & Ed Schneider Nick & Laura Severino Felicia Woytak & Steven Rasmussen Martin & Margaret Zankel A S S O CIAT E S P O N S O R S Anonymous (2) Shelley & Jonathan Bagg Edith Barschi Neil & Gene Barth Valerie Barth The Battle Family Foundation Ben Brown & Louise Rankin Lynne Carmichael Julie & Darren Cooke Robert Council & Ann Parks-Council Paul Daniels, in honor of Peter Yonka William Espey & Margaret Hart Edwards
Tracy & Mark Ferron Hitz Foundation Christopher Hudson & Cindy J. Chang, MD K Ms. Wendy E. Jordan Rosalind & Sung-Hou Kim Ted & Carole Krumland Dixon Long Peter & Melanie Maier Helen M. Marcus Dale & Don Marshall Martin & Janis McNair Steven & Patrece Mills M Norman & Janet Pease Peter Pervere & Georgia Cassel Barbara L. Peterson Sue Reinhold & Deborah Newbrun Gary & Noni Robinson Cynthia & William Schaff Emily Shanks M Pat & Merrill Shanks Shirlen Fund Ed & Ellen Smith Karen Stevenson & Bill McClave Lisa & Jim Taylor Wendy Williams Linda & Steven Wolan
A R T I S T IC DI R E C T OR’ S C I RC L E PA R T N E R S
Anonymous (5) Tarang & Hirni Amin Michelle L. Barbour Stephen Belford & Bobby Minkler Cynthia & David Bogolub Ronnie Caplane Jennifer Chaiken & Sam Hamilton Betsey & Ken Cheitlin Barbara & Rodgin Cohen Constance Crawford Karen & David Crommie Lois M. De Domenico Nancy & Jerry Falk Nelson Goodman Mary & Nicholas Graves Ms. Teresa Burns Gunther & Dr. Andrew Gunther Richard & Lois Halliday Earl & Bonnie Hamlin Peter & Florence Hart, in memory of John L. Field Vera & David Hartford Bonnie & Tom Herman Richard N. Hill & Nancy Lundeen James C. Hormel & Michael P. Nguyen, in honor of Rita Moreno Lynda & Dr. J. Pearce Hurley Kathleen & Chris Jackson Barbara E. Jones, in memory of William E. Jones Seymour Kaufman & Kerstin Edgerton Duke & Daisy Kiehn Wanda Kownacki Louise Laufersweiler & Warren Sharp Eileen & Hank Lewis Elsie Mallonee Phyra McCandless & Angelos Kottas Miles & Mary Ellen McKey Susan Medak & Greg Murphy Toby Mickelson & Donald Brody Eddie & Amy Orton Janet & Clyde Ostler Sandi & Dick Pantages
Rezwan & Azarmeen Pavri Kermit & Janet Perlmutter Timothy Rempel K Gregg Richardson & Lee Mingwei K David S. H. Rosenthal & Vicky Reich Jaimie Sanford & Ted Storey Beth & David Sawi Jackie Schmidt-Posner & Barry Posner Joyce & Jim Schnobrich Linda & Nathan Schultz Neal Shorstein, MD & Christopher Doane Stephen & Cindy Snow Audrey & Bob Sockolov Vickie Soulier Deborah Taylor Barrera Susan West Barry Williams Patricia & Jeffrey Williams Steven Winkel & Barbara Sahm Sheila Wishek Sally Woolsey
B E N E FAC TO R S
Anonymous (4) Roy & Judith Alper Peggy & Don Alter Pat Angell, in memory of Gene Angell Martha & Bruce Atwater Naomi Auerbach & Ted Landau Nina Auerbach Linda & Mike Baker Leslie & Jack Batson Don & Gerry Beers M David Beery & Norman Abramson Michael S. Berman, in memory of John & Carol Field Caroline Beverstock Naomi Black Brian Bock and Susan Rosin Caroline Booth Bernard Boudreaux Linda Brandenburger Eric Brink & Gayle Vassar M
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Broitman-Basri Family Don & Carol Anne Brown Don Campbell and Family M Leslie Chatham & Kathie Weston James Cuthbertson Barbara & Tim Daniels M Richard & Anita Davis Ilana DeBare & Sam Schuchat Francine & Beppe Di Palma Corinne & Mike Doyle Linda Drucker Susan English & Michael Kalkstein Bill & Susan Epstein Merle & Michael Fajans Lisa & Dave Finer Ann & Shawn Fischer Hecht Linda Jo Fitz Patrick Flannery James & Jessica Fleming Thomas & Sharon Francis Lisa Franzel & Rod Mickels Donald & Dava Freed Herb & Marianne Friedman Chris R. Frostad M James Gala Kevin & Noelle Gibbs Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Robert & Judith Greber Anne & Peter Griffes Garrett Gruener & Amy Slater Migsy & Jim Hamasaki Bob & Linda Harris Ruth Hennigar Christina Herdell, in memory of Vaughn & Ardis Herdell Doug & Leni Herst, in honor of Susie Medak Howard Hertz & Jean Krois Elaine Hitchcock Bill Hofmann & Robbie Welling M Don & Janice Holve, in memory of Daisy & Paul Persons The Hornthal Family Foundation, in honor of Susie Medak
Paula Hughmanick & Steven Berger Polly & Greg Ikonen Roxanna Jackman, in honor of Mary & Norman Jackman Bill & Lisa Kelly Duke & Daisy Kiehn Stephen F. Kispersky Jean Knox Lynn Eve Komaromi, in honor of the Berkeley Rep Staff Michael Kossman John Kouns & Anne Baele Kouns Lucy Kuntz, in honor of The Cage Players Woof Kurtzman & Liz Hertz Helen E. Land Randy Laroche & David Laudon Sherrill Lavagnino & Scott McKinney Andrew Leavitt & Catherine Lewis Nancy & George Leitmann, in memory of Helen Barber Henry Lerner, in honor of Joanne Levene Lerner Ellen & Barry Levine Suzanne & William Lingo Vonnie Madigan Naomi & Bruce Mann Lois & Gary Marcus Sumner & Hermine Marshall Charlotte & Adolph Martinelli Rebecca Martinez Jill Matichak Kirk McKusick & Eric Allman Dan Miller Andy & June Monach Scott Montgomery & Marc Rand Jerry Mosher Marvin & Neva Moskowitz Judith & Richard Oken Sheldeen Osborne Judy O’Young, MD & Gregg Hauser Gerane Wharton Park Bob & MaryJane Pauley Mary Ann Peoples, in memory of Lou Peoples
David & Bobbie Pratt Linda Protiva Lawrence Prozan Bill Reuter & Ruth Major Maxine Risley, in memory of James Risley John & Jody Roberts Deborah Romer & William Tucker Boyard & Anne Rowe Enid & Alan Rubin Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Jackie & Paul Schaeffer Brenda Buckhold Shank, M.D., Ph.D. Beryl & Ivor Silver Dave & Lori Simpson Cherida Collins Smith Sherry & David Smith Sally Spivack Gary & Jana Stein Alison Teeman & Michael Yovino-Young Susan Terris Sam Test Michael Tubach & Amrita Singhal Sushmita Vij Jonathan & Kiyo Weiss Beth Weissman Wendy Willrich Charles Wolfram & Peter Wolfram Ron & Anita Wornick Sam & Joyce Zanze Mark Zitter & Jessica Nutik Zitter Jane & Mark Zuercher
LEGEND K in-kind gift M matching gift
We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics.
BE R K E L E Y R E P T H A N K S Donors to the Annual Fund CH A M PIO N S
Anonymous (5) · Fred & Kathleen Allen · Elisabeth Andreason & Melissa Allen · Marcia & George Argyris · Ross E. Armstrong · Jolie Baumgardner · Susan Benzinger, in memory of Zan Gray Bealmear · Steve Bischoff · Robert Bransten, in memory of John & Carol Field · Davis Carniglia & Mary-Claire Baker · Paula Carrell · Anthony J. Cascardi · Sumir Chadha · Ed & Lisa Chilton · Patty & Geoff Chin · Terin Christensen · Richard & Linnea Christiani · John & Izzie Crane · Pam & Mike Crane · Meredith Daane · Harry & Susan Dennis · David Deutscher · Burton Peek Edwards · Paul Feigenbaum & Judy Kemeny · Martin & Barbara Fishman · Frannie Fleishhacker · Samuel Fogleman, in memory of Zan Gray Bealmear · Mary & Stan Friedman · Don & Janie Friend, in honor of Bill & Candy Falik · Ann Harriman, in memory of Malcolm White · Dan & Shawna Hartman Brotsky · Rick Hoskins & Lynne Frame · Mr. & Mrs. Harold M. Isbell · Randall Johnson · Corrina Jones · Dennis Kaump · Janet Kornegay & Dan Sykes · Craig Labadie · Susilpa Lakireddy · Barbara & Thomas Lasinski · Glennis Lees & Michael Glazeski · Marcia C. Linn · Sidne S. Long · Jay & Eileen Love · Jane Marvin/Peet’s Coffee · John E. Matthews · Erin McCune · Karen & John McGuinn · Ruth Medak · Harry Mixon Esq · Geri Monheimer, in honor of Sharon Kinkade · Brian & Britt-Marie Morris · Patricia Motzkin & Richard Feldman · Daniel Murphy ·Christina & Geoffrey Norman, in memory of John & Carol Field · Pier & Barbara Oddone · Carol J. Ormond · Lynette Pang & Michael Man · Regina Phelps · Malcolm & Ann Plant · Gary & Jean Pokorny · David & Mary Ramos · Kent Rasmussen & Celia Ramsay · Reuben, Junius & Rose, llp, in memory of John & Carol Field ·
We gratefully recognize the following members of the Annual Fund whose contributions were received from August 26, 2017 to October 22, 2017: S U PP O R T E R S
Anonymous (2) · Patricia Berger, Charles Drucker, & Laura Drucker · Mary Boyvey · Alice Breakstone & Debbie Goldberg · Marc & Ellen Brown · Pamela & Christopher Cain · Michael & Denise Coyne · Sue J. Estey · Marlyn Gershuny · Deborah Gilman · Paul & Julie Harkness · Daria Hepps & Franco Faraguna · Dorothy & Michael Herman · Marie F. Hogan & Douglas A. Lutgen · Mike & Sharon Morris · Mr. L. William Perttula · Karen & Jeff Richardson · Joe Rudy M · Joshua & Ruth Simon · Liz Varnhagen
Fisher · Michael & Vicky Flora · Jacques Fortier · Christie Fraser · David Gaskin & Phillip McPherson · Karl & Kathleen Geier · Tim Geoghegan · Arlene Getz · Judith & Alex Glass · Gwendolyn Goldsby, in memory of Angela Paton · Barry & Erica Goode · Gail Gordon & Jack Joseph · Jane Gottesman & Geoffrey Biddle · Gene Gottfried · Linda Graham · Sheldon & Judy Greene · Don & Becky Grether · Frede S. Hammes · Ken & Karen Harley · Paula Hawthorn & Michael Ubell · Geoffrey & Shawn Haynes · Dixie Hersh · Fran Hildebrand · George & Leslie Hume · Alex Ingersoll & Martin Tannenbaum · Stephen & Helene Jaffe · Anne & Douglas Jensen · Ann L. Johnson · Claudia & Daly Jordan-Koch · Kaarel Kaljot · Helmut H. Kapczynski & Colleen Neff · Pat Kelly & Jennifer Doebler · Kimberly J. Kenley-Salarpi · Beth & Tim Kientzle · Jack & Birthe Kirsch · Deborah & David Kirshman, in memory of John & Carol Field · Beverly Phillips Kivel · Jeff Klingman & Deborah Sedberry · David & Joan Komaromi · Kenneth Kulander · Wayne Lamprey & Dena Watson-Lamprey · Robert Lane & Tom Cantrell · Jane & Mike Larkin · David & Mari Lee · Ray Lifchez · Julianne Lindemann & Michael Weinberger · Jennifer S. Lindsay · Deidre & Loren Lingenfelter, in memory of Zan Bealmear · Dottie Lofstrom · Jacqui & Terry Long · Loveable Feast, in memory of Zan Bealmear · Jane & Bob Lurie · Gerry & Kathy MacClelland · Bruce Maigatter & Pamela Partlow · Paul Mariano · Sue & Phil Marineau · Igor Maslennikov · Caroline McCall & Eric Martin · Marie Singer McEnnis · Daniel & Beverlee McFadden · John G. McGehee · Brian McRee · George & Jeri Medak, in memory of Alexandra Victoria GrayBealmear · Joanne Medak, in honor of Susan Medak · Ralph & Melinda Mendelson · Aliza & Peter Metzner · Marlene & Stephen Miller · Jeff Miner · The Morris Family: Susan, Kathy, Karen,
Steve & Jaxon · Ronald Morrison · James & Katherine Moule · Aki & Emi Nakao · Ron Nakayama · Judy Ogle · Suzette S. Olson · Nancy Park · Todd Parr · Brian D. Parsons · P. David Pearson & Barbara Schonborn · Bob & Toni Peckham, in honor of Robert M. Peckham, Jr. · James & Susan Penrod, in honor of Dale & Don Marshall · Lewis Perry · James F. Pine · F. Anthony Placzek · Charles Pollack & Joanna Cooper · Susie & Eric Poncelet · Roxann R. Preston · Rich Price · Laurel & Gerald Przybylski · Sheldon & Catherine Ramsay · Teresa L. Remillard · Paul & Margaret Robbins · Rick & Stephanie Rogers · Dorothy R. Saxe · Bob & Gloria Schiller · Dr. David Schulz · Marc & Jane Seleznow · Steve & Susan Shortell · Joshua & Ruth Simon · William & Martha Slavin · Carra Sleight · Suzanne Slyman · Jerry & Dick Smallwood · Sigrid Snider · Louis & Bonnie Spiesberger · Robert & Naomi Stamper · Herbert Steierman · Annie Stenzel · Carol Sundell · Tracy Thompson · Prof. Jeremy Thorner & Dr. Carol Mimura · Karen Tiedemann & Geoff Piller · Henry Timnick · Amy Tobin & Scott Jacobson · Lynn Tolin, in memory of John & Carol Field · Mike & Ellen Turbow · Dean Ujihara · Sharon Ulrich & Marlowe Ng · Mr. Leon Van Steen · Carol Verity · Gerald & Ruth Vurek · Louise & Larry Walker · Rhona & Harvey Weinstein · Robert & Sheila Weisblatt · Sallie Weissinger · Dr. Ben & Mrs. Carolyn Werner · Elizabeth Werter & Henry Trevor · Robert T. Weston · Sharon & Kenneth Wilson · Fred Winslow & Barbara Baratta · Laura & Ernest Winslow · H. Leabah Winter · Dorothy Witt · Margaret Wu & Ciara Cox · Bob & Judi Yeager · Lee Yearley & Sally Gressens · Sandra Yuen & Lawrence Shore
CO N T RIB U TO R S
Andy Kivel & Susan Goldstein · Debie Krueger, in memory of Alex Maffei · David Landreth · Amelia Langston, in memory of R. Geist · Susan Li · Mike & Linda Madden · Natasha Martin · Ellen Meltzer · Selma Meyerowitz and Malcolm Trifon K · Bruce A. Miller · Penelope More · Russell Nelson · Robin Olivier · Peter Peacock · Irene Plunkett Chowenhill · Marcia & Robert Popper · Lael R. Rubin · Marci Rubin · William & Lee Rust · Ruth & Paul Saxton · Karl Snover · Janet Sovin, in memory of Flora Roberts · The Stanek Family · Robin Voet & Carol Ellen · Mark & Judy Yudof
FRIE N D S
Anonymous (5) · Trudie Anderson · Margalynne Armstrong · Susan Ashley · Frederic D. Baker · Lynn Bell · William Bogert · Hilary Burg · Mary Burns · Cherie Campbell · Peter Cocotas · Doris Davis · Nerisa de Jesus · Marquardt Property Management · Susan Dwyer · Katherine Edwards · Robert Enzminger · Vallery Feldman · Michael Finney · Kristina Galante · Harriet Garfinkle · Alan Gellman & Arlene Zuckerberg · Cornelia Geppert · Abby Ginzberg ·
Ralph Holker & Carol Hochberg-Holker · Karen Houston · Joanne Jacobs · Margaret Johnson · Debra Kagawa · Phillip Kehe · Laurel Kellner · Judith Linsenberg, in memory of Myrna Linsenberg · Laurence Lusvardi · Marlene Michelson · Jane B. Moore · Wesley Morgan · Mitchell Nakano · Denise Nolan · Sarah Nowicki · Victoria Pedersen · Therese M. Pipe · Alison Quoyeser · Rudolph Reich · Tammy Renstrom · Alma & Merlin Richardson · Kathleen Gutierrez & Tim Roake · Kathleen L. Servello · Jennifer Sierras· Janey Skinner · Matthew Smyth · Joan Sperans, in honor of Steve Flint · Dr. and Mrs. David Surrenda · Pamela Thornton · Jacobus Wagener · Jackie Walter · Marlene & Jerry Walters · Joyce Yokomizo
Helen Richardson · Galen Rosenberg & Denise Barnett · Martha Ross · Deborah Dashow Ruth, in memory of Leo P. Ruth · Dace P. Rutland · Laurel Scheinman · Teddy & Bruce Schwab · Andrew & Marva Seidl · Seiger Family Foundation · Valerie Sopher · Douglas Sovern & Sara Newmann · John St. Dennis & Roy Anati · Monroe W. Strickberger · Pate & Judy Thomson · Larry Vales · William van Dyk & Margi Sullivan · Jennifer M. Van Natta · Pamela Gay Walker/Ghost Ranch Productions · William R. Weir · Susan & Harvey Wittenberg
A DVO C AT E S
Anonymous (18) · Robert & Evelyn Apte · Emily Arnold · Steven & Barbara Aumer-Vail · Celia Bakke · Stephanie Beach · Richard & Kathy Berman · The Blackman Family · Karen Bowen & Beth Gerstein, in honor of Donald Trump · Marilyn Bray · Peter Brock · Craig Broscow · John H. Buckman · Dr. Alan Burckin & Carol Olmert · Paula Campbell · Robert & Margaret Cant · Bruce Carlton · John Carr · Laura Chenel · Karen Clayton & Stephen Clayton · Jim & Jeanette Cottle · Jane & Tom Coulter · Carolyn & Phil Cowan · Michael & Denise Coyne · Ed Cullen & Ann O’Connor · Sheila Cullen · Sharon & Ed Cushman · Jill & Evan Custer · Brett D’Ambrosio · Kathleen Damron · Joshua Dapice · Pat & Steve Davis · ddl Productions, in memory of Zan Bealmear · Dennis T. De Domenico & Sandra Brod · Jacqueline Desoer · Jerome & Thao Dodson · Carol Dolezal · Amar & Manali Doshi · Kathy Down & Greg Kelly · Kristen Driskell · David Drubin · Anita C. Eblé · Thomas W. Edwards & Rebecca Parlette-Edwards · Jessica & Michael Eisler, in memory of John & Carol Field · Roger & Jane Emanuel · Alan Entine · Gini Erck & David Petta · Michael Evanhoe · Mary & Ben Feinberg · Sheilah & Harry Fish · Brigitte & Louis
Anonymous (5) · Evalyn Baron & Peter Yonka · Kate Berenson, in memory of Ann and Jim Carroll · Pat & Mary Boyle · Kate & Monroe Bridges · Denys Carrillo · W. Bradford Carson · Nancy Drooker · Linda Fried & Jim Helman · Daniel Friedland & Azlynda Alim · Karen S. Harrington · Marisita & Tu Jarvis · Trudy & Rolf Lesem · Sukey Lilienthal & David Roe · Annette C. Lipkin, in memory of Paul Lipkin · Cheryl & Laurence Lyons · Ken McCroskey Wait · Margo Ogus M · Tracie E. Rowson · Paul & Patti Sax · Kay Stodd · Myron G. Sugarman · Helen & Rick Walker Anonymous (6) · Anonymous, in memory of Jerrie Meadows · Bill & Marsha Adler · Jeff & Kat Bandy · Erica Baum · Thomas G. Bertken · Donald Brown · Diane Cassil · Harry Chomsky & Amy Apel · Renate & Robert Coombs · Bill DeHart · Char Devich & Alana Devich · Evelyn Dixon · S. Floore, In memory of Leslie Thayer O’Hara · Madeleine Frankel · Don Fujino · Anna Christine Harris · Kathleen Hormel · John Jay & Scott Miller · Kiyoshi & Irene Katsumoto ·
PAT RO N S
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BE R K E L E Y R E P T H A N K S
Donors to the Annual Fund
Sustaining members as of October 2017:
Anonymous (7) Norman Abramson & David Beery Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Neil & Gene Barth Susan & Barry Baskin Linda Brandenburger Broitman-Basri Family Bruce Carlton & Richard G. McCall Stephen K. Cassidy Paula Champagne & David Watson Terin Christensen Andrew Daly & Jody Taylor M. Laina Dicker Thalia Dorwick Rich & Robin Edwards Thomas W. Edwards & Rebecca Parlette-Edwards Bill & Susan Epstein William Espey & Margaret Hart Edwards Dr. Stephen E. Follansbee & Dr. Richard A. Wolitz Kerry Francis
Dr. Harvey & Deana Freedman Joseph & Antonia Friedman Paul T. Friedman Dr. John Frykman Laura K. Fujii David Gaskin & Phillip McPherson Marjorie Ginsburg & Howard Slyter Mary & Nicholas Graves Elizabeth Greene Don & 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 Bonnie McPherson Killip Lynn Eve Komaromi Scott & Kathy Law Ines R. Lewandowitz Dot Lofstrom Helen M. Marcus Dale & Don Marshall Sumner & Hermine Marshall Rebecca Martinez Suzanne & Charles McCulloch John G. McGehee
Miles & Mary Ellen McKey Margaret D. & Winton McKibben Ruth Medak Susan Medak & Greg Murphy Stephanie Mendel Toni Mester Shirley & Joe Nedham Theresa Nelson & Bernard Smits Pam & Mitch Nichter Sheldeen G. Osborne Sharon Ott Amy Pearl Parodi Barbara L. Peterson Regina Phelps Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Tom Roberts David Rovno Tracie E. Rowson Deborah Dashow Ruth Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Kevin Shoemaker Valerie Sopher Michael & Sue Steinberg Dr. Douglas & Anne Stewart Jean Strunsky Henry Timnick Guy Tiphane
Phillip & Melody Trapp Janis Kate Turner Dorothy Walker Weil Family Trust— Weil Family Karen & Henry Work Martin & Margaret Zankel
Gifts received by Berkeley Rep:
Anonymous Estate of Suzanne Adams Estate of Helen Barber Estate of Fritzi Benesch Estate of Carole B. Berg Estate of Nelly Berteaux Estate of Jill Bryans Estate of Nancy Croley Estate of Carol & John Field Estate of Rudolph Glauser Estate of Zandra Faye LeDuff Estate of John E. & Helen A. Manning Estate of Richard Markell Estate of Gladys Perez-Mendez Estate of Margaret Purvine Estate of Leigh & Ivy Robinson Estate of Stephen C. Schaefer, in honor of Jean and Jack Knox Estate of Peter Sloss Estate of Harry Weininger Estate of Grace Williams
Play your part in bringing unforgettable stories to the Bay Area. P H OTO BY K E V I N B ER N E
Jeremy Pope, Derrick Baskin, and Jared Joseph in Ain’t Too Proud—The Life and Times of The Temptations
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 board-designated endowment funds, 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. For more information on becoming a member, visit our website at berkeleyrep.org/mls or contact Daria Hepps at 510 647-2904 or firstname.lastname@example.org.
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BE PART OF THE STORY Text BACKSTAGE to 41444
AMERICAN CONSERVATORY THEATER PRESENTS
DELICIOUS, IMPALPABLE AND HAIR-RAISING THE SUNDAY TIMES
THE BIRTHDAY PARTY
Written by Harold Pinter Directed by Carey Perloff
E XP E R I E N CE A .C .T.’ S 17 | 1 8 S E A SO N
AN IRREVERENT ROAD-TRIP COMEDY
THE HIT BROADWAY PLAY
A NEW AMERICAN ODYSSEY
A WORLD-PREMIERE MUSICAL
BOA R D OF T RU ST E E S
BE R K E L E Y R E P STA F F Michael Leibert Artistic Director Tony Taccone
Managing Director Susan Medak
General Manager Theresa Von Klug ARTISTIC Director of Casting & Artistic Associate Amy Potozkin Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Manager Sarah Rose Leonard Artistic Associate Katie Craddock Associate Director Lisa Peterson Artists under Commission Todd Almond · Christina Anderson · Jackie Sibblies Drury · Dave Malloy · Lisa Peterson · Sarah Ruhl · Tori Sampson · Joe Waechter P R ODUC T ION Production Manager Peter Dean Associate Production Manager Amanda Williams O’Steen Company Manager Jean-Paul Gressieux 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 Assistant Properties Supervisor Amelia Burke-Holt Properties Artisan Samantha Visbal S C E N E S HOP Technical Director Jim Smith Associate Technical Director Matt Rohner Shop Foreman Sam McKnight Master Carpenter Jamaica Montgomery-Glenn Carpenters Patrick Keene · Read Tuddenham SCENIC ART Charge Scenic Artist Lisa Lázár COSTUMES Costume Director Maggi Yule Associate Costume Director/ Hair and Makeup Supervisor Amy Bobeda Tailor Kathy Kellner Griffith First Hand Janet Conery Wardrobe Supervisor Barbara Blair
ELECTRICS Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane · Kenneth Coté S OU N D A N D V I DE O Sound Supervisor James Ballen Sound Engineers Angela Don · Annemarie Scerra Video Supervisor Alex Marshall A DM I N I S T R AT ION Controller Suzanne Pettigrew Associate Managing Director/ Manager, The Ground Floor Sarah Williams Executive Assistant Kate Horton Bookkeeper Kristine Taylor Associate Controller Eric Ipsen Tessitura User Interaction Administrator Destiny Askin Information Technology Manager Dianne Brenner 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 Institutional Giving Manager Julie McCormick Individual Giving Coordinator Kelsey Scott Special Events Coordinator Lauren Shorofsky Development Database Coordinator Jane Voytek Development Associates Maddie Gaw · Julia Starr M A R K E T I NG & C OM M U N I C AT ION S Director of Marketing and Communications Peter Yonka Director of Public Relations Tim Etheridge Art Director Nora Merecicky Communications & Digital Content Director Karen McKevitt Audience Development Manager Samanta Cubias Webmaster Christina Cone Video & Multimedia Producer Joel Dockendorf Program Advertising Pamela Webster Front of House Director Kelly Kelley Front of House Manager Debra Selman
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House Managers Steven Coambs · Juliet Czoka · Gabriel de Paz · Aleta George · Kimberly Harvey-Scott · Mary Cait Hogan · Tuesday Ray · David Rogers · Debra Selman Lead Concessionaires Steven Coambs · Molly Conway · Nina Gorham · Chenoa Small Concessionaires Chloe Auletta-Young · Jessica Bates · Molly Conway · Casey Fay · Lorenz Gonzales · Katie Holmes · Daron Jennings · Serene LaBue-Deshais · Luci Liss · David Rogers · Chenoa Small · Michelle Sellers · Win Wallace Ticket Services Director Geo Haynes Subscription Manager Laurie Barnes Box Office Supervisor Julie Gotsch Box Office Agents Marianne Almero · Gabrielle Boyd · Carmen Darling · Jordan Don · Katherine Gunn · Lian Ladia · Jaden Pratt OP E R AT ION S Facilities Director Mark Morrisette Facilities Coordinator Andrew Susskind Building Engineer Thomas Tran Maintenance Technician Johnny Van Chang Production Driver Laurence Tasse Facilities Assistants Theresa Drumgoolie · Sophie Li · Alex Maciel · Carlos Mendoza · Guy Nado · Jesus Rodriguez · Diego Ruiz · LeRoy Thomas
Jan and Howard Oringer Teaching Artists Amber Flame · Carla Pantoja · Dave Maier · Elena Wright · Jack Nicolaus · Lindsey Schmeltzer · Radhika Rao · Salim Razawi · Simon Trumble · Teddy Spencer · Andre San-Chez · Bryan Quinn · Shannon Davis · Zoe Swenson-Graham · Daryl Harper · Miriam Ani Teen Core Council Neo Barnes · Jesias Burrell · Uma Channer · Adin Gilman-Cohen · Mirabel Connor · Miya Drain · Devin Elias · Anna Granados · Fiona Deane-Grundman ·Alecia Harger · Kayla Hansen · Kyla Henderson · Zoe Larkin · Avery Martin · Sumayya Bisseret-Martinez · Lucy Urbano · Alana Walker · Hannah Williams · Sophia Villamor Docent Co-Chairs Matty Bloom, Content Joy Lancaster, Recruitment Selma Meyerowitz, Off-Sites and Procedures Watch on the Rhine Docents Joy Lancaster, Lead Docent Ellen Kaufman, Assistant Lead Beth Cohen · Monica Fox · Helen Gerken · Dee Kursh · Dale Marshall · Joan Sullivan · Catherine Warren · Ron Zak
2017–1 8 B E R K E L E Y R E P FELLOWSHIPS Bret C. Harte Directing Fellow Nicholas Kowerko Company Management Fellow Alice Stites Costume Fellow Kiara Montgomery Development Fellow Ariana Johnson Education Fellow Ky’Lend Adams Graphic Design Fellow BERKELEY REP Kendall Markley S C HO OL OF T H E AT R E Harry Weininger Sound Fellow Director of the School of Theatre Cecilia Pappalardo Rachel Hull Lighting/Electrics Fellow Associate Director Domino Mannheim MaryBeth Cavanaugh Marketing/Digital Program Manager, Training and Communications Fellow Community Programs Arielle Rubin Anthony Jackson Peter F. Sloss Literary/ Education Communications and Dramaturgy Fellow Partnerships Manager James Dinneen Marcela Chacón Production Management Fellow Registrar Dawn Marie Kelley Katie Riemann Properties Fellow Community Programs Administrator Mara Ishihara Zinky Modesta Tamayo Scenic Art Fellow Faculty Chrissy Curl Bobby August Jr. · Erica Blue · Jon Scenic Construction Fellow Burnett · Rebecca Castelli · Eugenie William Ebeler Chan · Iu-Hui Chua · Jiwon Chung · Sally Clawson · Deborah Eubanks · Stage Management Fellow Susan Garner · Christine Germain · Tait Adams Nancy Gold · Gary Graves · Marvin Greene · Susan-Jane Harrison · Gendell Hing-Hernández · Melissa Hillman · William Hodgson · Andrew Hurteau · Anthony Jackson · Kasey Klem · Krista Knight · Julian López-Morillas · Dave Maier · Reid McCann · Patricia Miller · Alex Moggridge · Edward Morgan · Jack Nicolaus · Slater Penney · Greg Pierotti · Lisa Anne Porter · Diane Rachel · Rolf Saxon · Elyse Shafarman · Arje Shaw · Joyful Simpson · Cleavon Smith · M. Graham Smith · Elizabeth Vega · James Wagner ·Dan Wolf
President Stewart Owen Vice Presidents Carrie Avery Richard M. Shapiro Roger A. Strauch Jean Z. Strunsky Treasurer Felicia Woytak Secretary Leonard X Rosenberg Chair, Trustees Committee Jill Fugaro Chair, Audit Committee Kerry L. Francis Board Members Edward D. Baker Michelle Branch David Cox Amar Doshi Robin Edwards Lisa Finer Karen Galatz Bruce Golden Steven Goldin Scott Haber David Hoffman Jonathan C. Logan Jane Marvin Sandra R. McCandless Susan Medak Pamela Nichter Sudha Pennathur Laura Severino Emily Shanks Tony Taccone Kelli Tomlinson Gail Wagner Past Presidents Helen C. Barber A. George Battle Carole B. Berg Robert W. Burt Shih-Tso Chen Narsai M. David Thalia Dorwick, PhD Nicholas M. Graves Richard F. Hoskins Jean Knox Robert M. Oliver Marjorie Randolph Harlan M. Richter Richard A. Rubin Edwin C. Shiver Roger A. Strauch Martin Zankel Sustaining Advisors Rena Bransten Thalia Dorwick, PhD William T. Espey William Falik David Fleishhacker Paul T. Friedman Nicholas M. Graves Richard F. Hoskins Carole Krumland Dale Rogers Marshall Helen Meyer Dugan Moore 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
Barbara Bream, joined in 2011
LIVING Less is more. Downsizing is the new smart sizing. Minimize to maximize. Just ask Barbara. After all, her parents lived here. In fact, the painting she’s holding once hung in their apartment; it now lives in her spacious apartment. St. Paul’s Towers is the East Bay’s most appealing Life Plan Community and offers maintenance-free living, weekly linen service, and extensive amenities that give her the freedom to do what she wants— aerobics, walking, and the theater. See why 94% of our residents highly recommend living here. To learn more, or for your personal visit, please call 510.891.8542.
100 Bay Place Oakland, CA 94610
A not-for-profit community owned and operated by Episcopal Senior Communities. License No. 011400627 COA #92
“City National helps keep my financial life in tune.” So much of my life is always shifting; a different city, a different piece of music, a different ensemble. I need people who I can count on to help keep my financial life on course so I can focus on creating and sharing the “adventures” of classical music. City National shares my passion and is instrumental in helping me bring classical music to audiences all over the world. They enjoy being a part of what I do and love. That is the essence of a successful relationship. City National is The way up® for me.
Michael Tilson Thomas Conductor, Educator and Composer
©2017 City National Bank
Hear Michael’s complete story at cnb.com/Tuned2SF
CNB MEMBER FDIC
The way up.
Call (866) 618-5242 to learn more or visit cnb.com