Berkeley Rep, matchmaker 10 · Get your mojo workin’ 12 · Emma Rice interview 18 · The program for The Wild Bride 25
the berkeley rep m aga zine 2 012 –13 · s p e c i a l i s s u e
New year New financial start
Get a free financial review Make a resolution to get a free financial review at Wells Fargo. It’s an easy one to keep. Just come in for a few minutes. We’ll go over your financial accounts and help you determine whether you are making the most of your money. Make an appointment today, and let us help you start planning for a more prosperous tomorrow. Stop by a Wells Fargo location to talk with a banker today. Berkeley Main • 2144 Shattuck Ave. • 510-649-3630 Elmwood • 2959 College Ave. • 510-649-3620 University • 2460 Bancroft Way • 510-464-2266
wellsfargo.com © 2012 Wells Fargo Bank, N.A. All rights reserved. Member FDIC. (763980_07155)
c a l e n da r
i n t h i s i s su e
Docent presentations take place one hour before each Tuesday and Thursday performance. Postshow discussions take place after matinees.
ja n ua ry
26 Teen Night, The Wild Bride, 6pm 26 First performance, The Wild Bride, 8pm 27 Opening-night dinner, The Wild Bride, West Campus, 5pm 31 Student matinee, Troublemaker, noon
F e brua ry
2 Backstage Tour, West Campus, 10am 3 Final performance, Troublemaker, 7pm 10 Sneak Peek: Lights Up!, 1pm 17 Final performance, The Wild Bride, 7pm
Be r k e l e y R e p p r e s e n t s the wild b ride · 2 5 m e e t t h e c a st & c r e w · 26 P rol o g u e A letter from the artistic director · 5 R e p ort
M a rch
Is there life after Berkeley Rep? · 7
8 Unscripted Happy Hour: Casting, Hotel Shattuck Plaza, 5:30pm 8 Teen Night, Fallaci, 6pm 8 First performance, Fallaci, 8pm 13 Opening-night dinner, Fallaci, Hotel Shattuck Plaza, 6pm 13 Opening night, Fallaci, 8pm
Love is in the air · 10 Get your mojo workin’ · 12 An actor’s toolkit grows ever larger · 14 10
F e at u r e s The devil at the crossroads · 16 Some questions for Emma Rice · 18 On making a Kneehigh show · 22
School of Theatre event Donor appreciation event
Con t r i bu t or s Foundation, corporate, and in-kind sponsors · 32 Individual donors to the Annual Fund · 33 Memorial and tribute gifts · 34 16
Michael Leibert Society · 35 A bou t B e r k e l e y R e p Staff and affiliations · 36 Board of trustees and sustaining advisors · 37 F YI
t h e b e r k e l e y r e p m ag a z i n e 20 1 2–1 3 · s p ec i a l i s s u e
Everything you need to know about Berkeley Rep’s box office, gift shop, seating policies, and more · 38
The Berkeley Rep Magazine is published at least seven times per season. For local advertising inquiries, please contact Ellen Felker at 510 548-0725 or firstname.lastname@example.org. Editor Karen McKevitt Art Director Cheshire Isaacs Graphic Designer Mary Kay Hickox
Writers Terence Keane Julie McCormick Cassie Newman Emma Rice Kyle Sircus
Contact Berkeley Rep Box Office: 510 647-2949 Groups (10+): 510 647-2918 Admin: 510 647-2900 School of Theatre: 510 647-2972 Click berkeleyrep.org Email email@example.com Front cover Patrycja Kujawska (photo by Steve Tanner)
Sav e th e Date
FO R t h e G Re at e St t h e at R I C a L Pa R t Y O F t h e Y e a R
fe a st
on a superb four-star dinner paired with divine wines
with OVATION’s comedic emcee, Danny Scheie
the School of Theatre and its amazing educational outreach
the Bay Area’s finest spirits and wines
on spectacular getaways, restaurants, and auction packages
with celebrities and community & corporate innovators
celeb r ate
the Bay Area’s hottest Tony Award–winning theatre! Saturday, April 20, 2013 · Four Seasons Hotel San Francisco Tickets $500 each · Tables start at $5,000 · Call Lily Yang at 510.647.2909 to reserve
b e Rk e L e Y Re P.O RG/Ovat I O n
prol og u e from the Artistic Director
The theatre regularly traffics in magic. Not the magic of
SFLG 090612 BRT 1_6v.pdf
FA M I LY L AW G R O U P, P. C .
CON NEC T
the magician, whose goal is to create delight and wonder through feats of astonishing illusion. No, a magician is a professional thief, hiding from us the secrets of his deception and keeping us far removed from the mysteries of his craft. We gasp at the disappearance of his assistant into seemingly thin air. We pant with anticipation when he immerses himself in a tank of water while wrapped in unbreakable chains. We hoot and howl when he miraculously reappears from a different part of the stage. “How on earth does he do it?” we wonder aloud, wanting and not wanting to know. But in a play, the magic lies in transformation, in our collective imagining. We dream together in the theatre, and the result is that we are transported to a different time and place. And when the play takes place in a nonrealistic environment, we are asked to let our imagination run wild. Everything is representative of something it’s not. An actor declares that we are in a forest, or on a ship, or in heaven. And we believe it. While some technical device that creates an image may remain hidden from our view, the real sorcery of the theatre is what the performers conjure up before our very eyes. And we, the audience, serve as their trusted assistants. Together, the actors and the audience collude to make the invisible manifest. In the theatre, we are all part of creating magic. Kneehigh understands this. Under the expert direction of master director Emma Rice, the company creates work that seeks to foster a sense of conscious wonder. Their shows are celebrations of everything we can’t see but know to be true. They use music and dance not as window dressing, but as conduits to the unknown. They are comfortable in the world of abstraction, because it allows them to talk about things that are real. Now they bring us The Wild Bride, their own idiosyncratic take on a Grimm’s fairy tale. The story is both familiar and strange, filled with archetypal characters and situations: a foolish father, the ever-present Devil, an innocent girl forced into the deepest heart of the forest in search of a safe haven. Myriad harrowing trials and tribulations befall her…while she carries the promise of redemption encased in her essential goodness. It’s an old story. But married to Kneehigh’s modern sensibility, complete with a blues score, some wicked humor, and a few props that create epic events, the story has come back to life. Traveled straight up from the Dark Ages all the way to the light of today. Where we get to join in the fun…and make some magic of our own. Sincerely,
2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 5
February 2013 Volume 45, No. 5
Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love, Jana Rekosh Design and Production Artists Mike Hathaway Advertising Sales Director
3 1 0 2 ER
M M U S AT BERKELE Y REP
Gwendolyn Fairbanks, Marty Griswold, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Denise Wong Sales Assistant Jonathan Shipley Ad Services Coordinator www.encoreartsprograms.com
Paul Heppner Publisher Leah Baltus Editor-in-Chief Scott Wagner Vice President Dan Paulus Art Director Jonathan Zwickel Senior Editor
C .! I T A M RA Y REP
K E LE B ES TD . AT B E R N E G O A GO RM ON
E AT R MER TH
17–July 12 –8): June 6–August 9 SUM 6 s e d a r 1 (g Session 1 rades 9–12): July (g 2 n io s ion only Ses O · by audit STUDI s t S n R e d O u T t C s T E E N A ed high school nc a v d a r o F N S IVE July 6 ERINTE June 24– LE M M U AVAIL AB G/S R IAL AID O C . N P A E IN F LE Y R B E R K E -2 9 7 2 7 4 6 510
Paul Heppner President Mike Hathaway Vice President Deborah Greer Executive Assistant Erin Johnston Communications Manager April Morgan Accounting Jana Rekosh Project Manager/Graphic Design Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 firstname.lastname@example.org 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2013 Encore Media Group. Reproduction without written permission is prohibited.
6 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
r e p ort
Is there life after Berkeley? At one time or another, all of us wonder…
By terence keane
What happens when the curtain goes down? When the lights go dark? Is that really the end? Or is there life after Berkeley? At Berkeley Rep, we always try to live in the here and now. We’re focused on being fully present with you, our loyal, local audience —and our goal is always to give you the most exhilarating, entertaining, thought-provoking experiences that we can conjure on stage. Nonetheless, we’re always proud when our shows are reincarnated at other theatres. Lately, it seems like the cycle of rebirth has accelerated. In the last six years, Berkeley Rep has helped send six shows to Broadway. Eight more landed off Broadway, two moved to London, two turned into films, and others toured the nation. One even became a bestselling book! Here’s a glimpse into the afterlife of a few of our dearly departed... co n t i n u e d o n n e x t pag e 2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 7
Life after Berkeley...
ke v inberne .com
r e p ort
Three years after its raucous premiere in our Roda Theatre, American Idiot keeps rocking. With two Tony Awards and a Grammy in tow, it just completed a 23-city tour of the U.S., Canada, Britain, and Ireland—and it hits another 31 American cities this year! Black n Blue Boys / Broken Men stunned audiences when it debuted here in May, then garnered generous praise when it reached Chicago in October. Having left Berkeley Rep to lead Actors Theatre of Louisville, Les Waters is introducing new audiences to our Girlfriend. He’s reprising that charming musical for them this month. After opening here in June, Eve Ensler’s Emotional Creature just completed an enthusiastic off-Broadway run.
Our production of David Henry Hwang’s Broadway comedy Chinglish broke box office records before heading to South Coast Rep. In March it plays at the Hong Kong Arts Festival—the first Berkeley Rep show to go to Asia.
Let Me Down Easy, the electrifying solo show from Anna Deavere Smith, proved so popular with audiences across America that pbs aired it as part of Great Performances.
How to Write a New Book for the Bible has gone on to delight audiences from Washington State to Washington, DC, from Southern California to Colorado to Canada.
Tiny Kushner met Big Ben when Berkeley Rep’s collection of one-acts from legendary writer Tony Kushner shipped off to London.
After appearing in Berkeley last spring, Mikhail Baryshnikov’s In Paris played at Lincoln Center in August. Mary Zimmerman’s mesmerizing adaptation of The Arabian Nights enjoyed a mini-tour when it caravanned to Kansas City, Chicago, and DC. Compulsion and In the Wake both played off Broadway at The Public Theater, and the latter netted an Obie Award for director Leigh Silverman.
After we helped introduce American audiences to The Great Game: Afghanistan, top brass from the Pentagon requested an encore performance in DC.
J ohn Leguizamo collected the Drama Desk Award and Outer Critics Circle Award when he took Ghetto Klown to Broadway.
Berkeley Rep felt like a proud Ivy League parent when our Three Sisters went off to Yale Rep and got top marks from East Coast critics. And after creating buzz on Broadway, In the Next Room (or the vibrator play) has been produced in nearly 50 cities in America, Australia, New Zealand, and even Peru.
Many plays are born in Berkeley. At last count, the Theatre’s progeny included 64 world premieres, 42 West Coast premieres, and five American premieres. Thank you for helping bring them into the world. Don’t miss the next two shows at Berkeley Rep: the world premiere of Fallaci and the West Coast premiere of Dear Elizabeth. Who knows where they’ll end up? 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 2– 1 3 · special issue
HOTTEST SHOWS IN TOWN ARE ONLY AT A.C.T.
JAN 17–FEB 10
FEB 28–MAR 24
NAMED “#1 PLAY OF 2012!” BY TIME MAGAZINE
WORLD PREMIERE COMEDY
dead met aphor
BY AMY HERZOG
BY GEORGE F. WALKER
4000 MILES DIRECTED BY MARK RUCKER
DIRECTED BY IRENE LEWIS
The acclaimed comic drama about growing up, growing old—and discovering the moments in between
A soldier returns from the Middle East to find work in this audacious and hilarious dark comedy
MAY 16–JUN 9
WORLD PREMIERE MUSIC THEATER EVENT
MUSIC BY BYRON AU YONG
LIBRETTO BY AARON JAFFERIS
DIRECTED BY CHAY YEW
BY TOM STOPPARD
DIRECTED BY CAREY PERLOFF
A visionary musical work inspired by the true story of a Chinese immigrant trapped in a Bronx elevator for 81 hours
Stoppard’s most ravishing play—a lush romance that spans centuries
LIMITED ENGAGEMENT BEGINS MAY 9
PA C K A G E S *
NATIONAL THEATRE OF SCOTLAND’S
BLACK WATCH BY GREGORY BURKE
DIRECTED BY JOHN TIFFANY
PERFORMING IN THE DRILL COURT AT SF’S MISSION ARMORY From the Tony Award–winning creators of the Broadway musical Once comes the internationally acclaimed hit—named “#1 Theatrical Event of the Year!” by the New York Times
$20 PER PLAY! ACT-SF.ORG/JOIN
*Black Watch is not available in 3-play packages.
SAN FRANCISCO’S PREMIERE NONPROFIT THEATER COMPANY
Berkeley Rep, matchmaker By Kyle Sircus
Ryan and Abbey Esposto in the Roda
Just as in The Wild Bride, characters have
been finding love onstage for years. Just think of dynamic pairings from theatrical classics and you get the idea: Romeo and Juliet, George and Emily Webb, and George and Martha (hey, the beauty of drama is getting the full spectrum). But what about meeting people at Berkeley Rep? In the past 45 years, the Theatre has played matchmaker to several couples. Read on for some sweet romance —and be sure to take note of who’s sitting next to you. Perhaps that person is your future spouse! Take Ryan Esposto, for example. He sat next to Abbey when the two joined a group of friends for a night out to see American Idiot in 2009. “I’d had my eye on Abbey and knew that I wanted to get to know her better,” Ryan confesses. After distributing the group’s tickets, “I strategically held onto hers until second to last,” he says, placing them next to each other and on the aisle. “We wound up having a great conversation before the show.” The pair started dating a couple of weeks later and married in March 2012. For one of their early and “official” dates, they brought a second group of friends back to American Idiot to see it during its extended run. In Ryan’s mind, “Berkeley Rep provided the right environment and set the stage very nicely for our courtship.” Other couples have met at auxiliary events throughout our seasons. At our 2000 gala, Tara Jacquet was tasked with photographing the event—and the two guest chefs. With everyone around her speaking French and focused on food prep in the crowded kitchen, she only snapped one photo of Chef Grégoire before moving onto other subjects. “After nabbing the photo, I had a feeling he was talking about me in French to someone else,” she recalls. The two formally met
1 0 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
after the event and exchanged numbers. Grégoire called the very next day to ask her out. “I printed the photo I’d taken of him and gave it to him on our first date,” she says, “and the rest is history.” Providing entertainment for a Berkeley Rep event was what brought musicians Theresa and Barney Nelson together initially. Theresa was hired by the development department and was promised payment in the form of season tickets. She ended up performing with Barney, already a Berkeley Rep subscriber. During rehearsals, they discovered a shared passion for music and theatre, and had their first official date at a performance of Two Gentlemen of Verona. After that, “the gig went great, and we had a whole season of Berkeley Rep shows to look forward to as a couple,” Theresa says. They’ve now subscribed for nearly 30 years (even longer than they’ve been married)! They’ve even expanded their subscription to include tickets for their daughter Madeleine, another theatre fanatic. “It’s a big part of our lives that we look forward to every time,” Theresa says, “and it’s so nice to do it as a whole family. It practically feels like a second home to us!” They even contributed to the 40th Anniversary Campaign. For some, the Berkeley Rep love bug bites a little more closely, like while working at the Theatre. “Ryan held the door open for me on my first day in the shop,” Amanda WilliamsO’Steen says of her husband, the now former associate technical director at Berkeley Rep. They had their first date more than two years after they both began working in the Theatre’s shops. “Initially we thought we were just going out as friends,” Amanda recalls, “but we realized pretty quickly throughout dinner and a movie that it was a lot more than that.” That first date was followed by a shop-wide outing to a Willie Nelson
r e p ort concert some weeks later. Unable to find each other that night, Amanda was greeted by a surprise in her desk drawer the next day. “Ryan brought me a rose with a note that said ‘You were always on my mind,’” echoing one of Nelson’s lyrics. From that point on, she couldn’t keep the secret anymore. “I immediately called my friend Michelle Moody in the prop shop and demanded she go to lunch with me so we could talk about me and Ryan.” Exactly three years after their first date, Ryan and Amanda tied the knot in North Carolina; they continued working together for close to a decade until Ryan moved down the street to become the technical director at Aurora Theatre. On the other hand, there are some couples who didn’t need help from Berkeley Rep to get together. Already a couple, Rebecca Martinez and the late Peter Sloss both had a wealth of experience to bring to the Theatre’s board of trustees, so it was only a matter of time before they joined the board. While they made substantial progress ensuring the Theatre’s continued financial success, their personal relationship needed some extra influence. Enter Susan Medak, Berkeley Rep’s managing director and resident “Yenta.” The unsuspecting couple joined her for dinner only to realize it was a setup. “Susan said, ‘I have the perfect place for you to get married,’” Rebecca recalls. Unable to agree on a location, Susan, perhaps unsurprisingly, suggested they get married at the Theatre. “We loved it immediately,” Rebecca remembers fondly.
“It was our Theatre, both of us were very devoted to it. Peter even wrote a mini play that we used instead of vows.” The couple married on the set of Triumph of Love. “It was a very meaningful ceremony. At the very end, everyone applauded and rose in a standing ovation. It was a perfect blend of theatre and our love for each other,” she says. “Berkeley Rep deepened our relationship. Instead of just being theatregoers, we were also helping the Theatre in very concrete ways.” When Peter passed away, his memorial service was held at the Theatre as well. Susan presided over the ceremony; James Carpenter read part of one of Peter’s plays; a vocalist sang the couple’s favorite song. “It was another performance and a theatrical goodbye to my husband. It just seemed fitting.” If you are looking for an officiant, Berkeley Rep happens to have its own minister on staff for weddings. Charge Scenic Artist Lisa Lázár was ordained by mail as a gag in college, though it’s come in handy of late. Lisa recently performed the wedding of Sheri, a former Berkeley Rep fellow whom Lisa mentored. While it may seem strange for your supervisor to perform your wedding, it was more than fitting in this case. Lisa was close to her mentee, and she says that the shop artisans have a “very intense relationship” as they grow together creatively. Plus, “a wedding is a theatrical event,” Lisa says. “There’s blocking, lines, rehearsed timing, and it’s all to perform a sacred ritual. At its best, theatre is a sacred performance; so, too, is a wedding.”
PREMIER SERVICE FOR A PREMIER AUDIENCE Lorri Arazi Leslie Avant Norah Brower Carla Bufﬁngton Jackie Care Stina Charles-Harris Carla Della Zoppa
Francine Di Palma Leslie Easterday Gini Erck Jennie A. Flanigan Nancy Hinkley Maureen Kennedy Jack McPhail Denise Milburn
Bob & Carolyn Nelson Ann Nichols Nancy Noman Amy Robeson Ira & Carol Serkes Geri Stern Diane Verducci
Serving Berkeley, Albany, Kensington, El Cerrito, Emeryville, Oakland and Piedmont www.pacunion.com
1625 Shattuck Avenue Berkeley, CA 94709 510.982.4400
1900 Mountain Boulevard Oakland, CA 94611 510.339.6460
2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 1 1
ph otos cour t e s y o f l a r ry co len
r e p ort
Get your mojo workin’ in Berkeley Clues to find the blues By Terence Keane
If you get bitten by the blues at The Wild Bride, you don’t have to go down to the delta for another fix. The music is alive and well right here in Berkeley. A trip through the local blues scene starts just outside our front door… Freight & Salvage As you leave the Roda Theatre, you may see another audience streaming out of the Freight & Salvage. For four decades, this funky nonprofit has presented blues, bluegrass, country, folk, gospel, and all sorts of roots music. Now the folks at the Freight have converted that old garage across the street into a gorgeous new venue, which is a welcome addition to the Downtown Berkeley Arts District. Pick up one of their calendars and check it out. Although you may not recognize every name, a quick Google search will tell you that these bands are the real deal. You can also take classes there: maybe six weeks of slide guitar will turn you into 1 2 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
Muddy Waters! But if you’re really itching to learn the blues, in the immortal words of crooner Bobby Bland, just walk further on up the road. The Jazzschool It’s like entering a speakeasy: go down the stairs beneath the sign that bears a big blue note. In a basement right here on Addison Street, recording artists and professional performers mingle all week with eager students at the Jazzschool. Coming down the steps, you’ll probably pass someone lugging a stand-up bass or a set of cymbals—but the first music you’ll hear is the whistling of a cappuccino machine. People cluster at tiny tables in the Jazzcaffe to trade jokes, CDs, and tips about house concerts in town. Meanwhile, in a nearby row of noisy classrooms, lessons are always underway. Inside, instructors like Danny Caron and Pamela Rose disclose the secrets of 12-bar blues for aspiring singers and instrumentalists.
The curriculum at the Jazzschool can earn hardcore musicians a degree in areas like arranging and composition, yet most students are ordinary people who just want to let loose after work. You might meet a computer programmer tapping a different kind of keyboard, a doctor learning harmonica, or a high-school sophomore unleashing a killer sax solo. And forget about final exams… when the semester ends, you and your classmates can strut your stuff in front of a supportive crowd on the school’s beautiful stage. Bobby G’s Now that you’ve got a taste of performing, head around the corner to Bobby G’s Pizzeria. It’s right behind Berkeley Rep on University Avenue, and every Tuesday there’s an open mic hosted by boogie-woogie pianist Wendy DeWitt. The evening begins with a set of smoking blues from a special guest. Then local vocalists, guitarists, and other musicians sign up to play a tune or two with the house band, which usually features Kirk Harwood on drums and Patty Hammond on bass. Plenty of places in the Bay Area hold jams, but Bobby G’s is built for comfort with its easy access to pizza, pasta, and — cheers! —a terrific selection of beer. Blues dancing Even if you can’t carry a tune in a bucket, you can still pour yourself into the music by dancing. Who can listen to the sultry sounds of B.B. King, Buddy Guy, or Big Mama Thornton
without starting to swing their hips? So head over to La Peña Cultural Center, on Shattuck near Ashby, where Ted Maddry hosts an event called Beat the Blues. Inspired by traditional juke joints, it includes a lesson for beginners every Wednesday at 7pm followed by social dancing from 8 until late. Friendlier than tango and sexier than swing, blues dancing is slow, sensual, and I just want to make hypnotic. Many people find it easier to links for you… learn than other kinds of partner dancing, thefreight.org since it emphasizes individual expression jazzschool.org and emotional connection instead of bobbygspizzeria.com insisting on specific steps. So turn up the beyondblues.com volume, turn down the lights, and let the good times roll. Let the good times roll If our Bride got the blues stuck in your brain, we’re guilty as charged. But don’t hop a boat to the bayou or a slow train to Chicago. From enthusiastic amateurs to Grammy-winning pros, the Bay Area is brimming with talent—and before you know it, you’ll be immersed in a vibrant subculture. Whether you want to hear the blues, sing ’em yourself, do a little dirty dancing, or learn to play like Ray, Berkeley can feed your need. Or head over to Oakland, where blues bands give regular gigs at places like Yoshi’s, Cato’s, and the Capri Lounge… And if that still doesn’t do it, as James Brown would say, just take it to the bridge. 2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 1 3
r e p ort
An actor’s toolkit grows ever larger By Cassie Newman
Sixteen bars. In a song, that’s about 30 seconds, give
or take. When actors audition for a traditional musical, this is all they have, plus maybe a minute of a dance routine, to win over the casting director. But here’s the thing: while these standards may still prevail when it comes to standard musical-theatre productions, the landscape of the theatre in general has been gradually shifting. “There is a constant push to explore new forms and styles in the theatre. To be an artist is to thrive on the unknown and to search for unique experiences that help us decipher the human condition,” explains Mina Morita, Berkeley Rep’s artistic associate. “For some this includes incorporating technology, exploring postmodern narratives, and creating experiences where the audience is participating in the dialogue. The definition of a ‘play’ is changing. This is especially the case in Europe, where audiences are more open to work that is unconventional.” But the U.S. isn’t lagging behind. Theatres across the nation have presented work that skirts audiences’ notions of what constitutes a traditional play. Some Broadway musicals are even bending the aforementioned standards of musical theatre, including Berkeley Rep’s 2009 production of American Idiot with music composed by Green Day. In an interview on npr in 2010, director and co-author Michael Mayer expressed that it was time for the American musical to enter into contemporary culture. “I feel that the future of musical theatre kind of depends on our ability to embrace and pull together the popular
1 4 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
music of the day—as has been Broadway tradition since the beginning,” Michael attested. All of this is to say that as the style of the theatre evolves, so, too, do the expectations of performers. Berkeley Rep’s resident dramaturg, Madeleine Oldham, sees the shift in American theatre as “one toward more of a Canadian/European model, where it’s okay to have more than one talent, and you’re not taken less seriously if you do more than one thing. Singing, dancing, and acting are a pretty traditional combination. I really mean performing and writing, or acting and playing an instrument.” So while an ability to do a time-step or belt out a tune by Sondheim are still highly valued skills, actors’ toolkits are filling up with even more gear to make them more malleable as performers. “In today’s theatre, directors often look for actors with a number of different skills with whom to build the story,” Mina observes. “One might seek actor-musicians, while another might seek actors with great movement ability and ensemble skills to create a world with human movement and form.” In step with this trend, the Berkeley Rep School of Theatre has started offering more movement-based classes such as Suzuki, Laban, clowning, Alexander Technique, Feldenkrais, and Contact Improv. MaryBeth Cavanaugh, associate director of the School and a director and choreographer, confirms Mina’s observations: “In order to create dynamic and vibrant work and to affect the audience kinesthetically, it is
imperative that actors understand the fundamentals of making movement that illuminates character, action, and text.” As such, just as mfa and professional-training programs include diverse movement and voice classes to supplement acting classes, so, too, does the teen Summer Intensive program right here at the School of Theatre. Intent on fostering more well-rounded performers, the program gives young actors the option to study elective subjects such as playwriting and fight choreography, and take a class called Performing Activist Art. They can then carry the myriad skills they learn in those classes into the collaborative work they are doing to create, and perform in, original plays based on classic myths. “The idea of studying together, creating together, and having a common language but differing points of view is vital,” MaryBeth says. “I think then that successful collaboration can be achieved.” This kind of collaboration leads to a strong and vibrant theatrical community, and it is happening on every level: in homegrown rural theatre companies, in companies like Kneehigh who are forging partnerships with other nonprofit companies, and even in new work being developed for Broadway’s commercial audiences. It makes sense then that the more diverse skills an actor has, the more that he or she can bring to such collaborations. “It is true that work has become more eclectic and more multidimensional,” attests Berkeley Rep’s casting director, Amy Potozkin. “I do think that because plays are incorporating music and movement and nontraditional forms, special skills have become increasingly important. When I do auditions for specific plays, for Mary Zimmerman’s plays for example, I’ve had to look very closely at the special skills listed on résumés and talk to actors about their movement experience and instruments they might play,” she explains. “We just finished auditions for Pericles for which we were also looking at actors who play instruments and have physical comedy skills.” With all of these elements at play, there’s not much to be gleaned from 16 bars and a time-step. Looks like it’s time to dig into that toolkit. 2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 1 5
1 6 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
by Julie McCormick
stories in books have their own cozy homes made of paper and ink. Though each reader’s reaction will be entirely unique, the words of the text itself remain unchanged while the book waits patiently on the shelf. A fairy tale that’s been written down is a butterfly pinned to a card—beautiful, but stationary. It’s an approximation that cannot capture the vital spirit of a story that’s actively being told and heard. In comparison, living stories are wanderers on a lonely road. They occasionally spend a night around a campfire or in a tavern, but they are too restless to settle down anywhere for too long. c o n t i n u e d o n pa g e 2 3
2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 1 7
1 8 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
by Julie McCormick
Emma Rice, the joint artistic director of Kneehigh and director of The Wild Bride, took a few minutes from her brisk touring schedule to answer some questions about this production and her work. Emma joined the company in 1994 as an actor, and has been in love ever since. Some of her most notable productions include an adaptation for the stage of the immortal film Brief Encounter, The Red Shoes, The Wooden Frock, and Tristan & Yseult. The Cornwall-based theatre company develops work in a series of isolated barns on the South Cornish Coast, and has also started performing in the Asylum, a giant tent that can be taken on the road. c o n t i n u e d o n n e x t pa g e 2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 1 9
How did you find yourself as part of Kneehigh? The simple answer is I auditioned. I had moved away from London and had been working in Devon, which is the nextdoor county to Cornwall. I was enjoying the rural seclusion and the different, more intense artistic communities that existed in the south of England. In London it can often all be about the next job, and the career ladder. I think by taking myself outside of London I met some real kindred spirits. Some friends said, “You just have to meet Kneehigh,” so I wrote to them, and the rest is history. I fell in love with the people, the place, and the work immediately. And I haven’t left. That was in 1994, so it’s a testament to the strength of that reaction that I’m still here. So you started work at Kneehigh as an actor. What have been your other roles with the company? I did start as an actor, but the boundaries between who did what at Kneehigh in those days were quite fluid. I began to direct while the shows were on tour. I took over the maintenance of shows, keeping them in shape and moving them forward. It was a natural progression so when Kneehigh said, “Why don’t you direct your own show?” I did! I never thought at that point that I’d be a director, but it’s been a wonderful change of course. And I love it. I’m a much better director than I ever was a performer. (Laughs) Kneehigh’s been going 30 years, and I’m the third artistic director. My way of working is absolutely my own. Mike Shepherd, who founded the company and is still at the heart of Kneehigh, works in a more clowning based way than I do. And Bill Mitchell, who also ran the company, had a very visual approach as he is from a design background. We all brought our own expertise into the core of the company, and the language expanded and grew. Kneehigh has been a touring company for quite some time. When did you start taking productions abroad? It’s been over the last 10 years that we’ve extended our international work. We’ve been to China, and Syria and Lebanon, and then more recently to Australia, New Zealand, and, of course, America, which we love. Have you noticed a difference between working in the UK and working in the U.S., specifically? There are opposite answers to this question. I think the British have a very British humor, but sometimes the American audience gets it more than we do. Certainly I think the U.S. audiences loved the “Britishness” of Brief Encounter even more than the Brits did. However, on a very basic human level I think we’re all much the same wherever you go on the planet. People understand what it is to love, what it is to feel loss, anger, compassion. We all share the experience of being human. On a deep level I think there’s no difference, but we possibly have some surface differences in taste! 2 0 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
“ I’m very interested in romantic love and I’m also interested in what we get wrong. You know, how we try to do the right thing as human beings and we trip up.” Do you have a favorite place that you’ve taken a show to? Bringing Brief Encounter to Brooklyn and then to Studio 54 in Manhattan was an extraordinary journey: St. Ann’s Warehouse, a theatre in Dumbo [Down Under the Manhattan Bridge Overpass, a vibrant neighborhood in New York] and then historic disco land and Broadway. That was amazing! Also, taking The Red Shoes to China was a very profound and politically extraordinary experience. We also took our version of Cymbeline to Colombia, which was one of the highlights of my career, because of the resonance of the story, which includes kidnapping and lost children. I think in that world, it suddenly came to vivid life. Is it more challenging to take a show on the road? How does that compare to putting up the Asylum? Performing in the Asylum is a huge, exhilarating challenge, because it’s a tent and it’s not dark and you can hear the rain! But it’s a fantastic place to make work, which is really why we created the Asylum. It is a beautiful “theatre factory” where this work is born. It’s muddy and earthy and sexy and funny—you can smell the Cornish air coming off the work! Touring, however, is really what keeps the work fresh: meeting the audiences and going on new adventures. We see the Asylum as where the work is born and nurtured, but then we absolutely love traveling and seeing the world through the lens of the stories we tell. Can you talk a bit more about what directing in a company like Kneehigh is like? It’s very collaborative, so what does that mean for a director? It’s important to point out that no two shows and no two companies are the same. There’s always a different chemistry. And because the story’s different, there’s always a different core adventure to go on. What I try to achieve as a director is to not only choose the story, but also understand why I
want to tell it. I decide what world that story will be in and what form that story will be in. I then bring the actors into the process and explain and explore that world and those foundations. The actors, inspired and guided, then create a lot of the ideas themselves. I’ll send them off and say, “Make me up a dance of a father and his daughter,” or “Show me what happens when the father sells his soul to the devil,” or “Make me the devil’s lair.” Every member of the team explores different elements of the show, and then I collect, edit, guide, intervene, bully…(laughs) Well, I don’t bully but I can be quite bossy. And we craft the piece from there. But really, you can’t break down whose ideas are whose. It’s very much a creative process in which the collective imagination is Queen. What attracted you to telling The Wild Bride story? As I get older I begin to realize that the things I’m interested in stay exactly the same. I’m very interested in romantic love and I’m also interested in what we get wrong; how we try to do the right thing as human beings and how we trip up. There’s Brief Encounter and Tristan & Yseult, both exploring impossible love, and The Red Shoes and The Bacchae, which both examine the dark forces of your personality and how we wrestle with those forces. I thought that The Wild Bride really combined these two ideas. It’s a deeply romantic story, but not in the way that we expect. It’s about how long it takes to find yourself, how many bad bargains you make and other people make for you. It’s a story about a long life. And that’s really what I loved about it. A lot of stories are about a moment in one’s life, but this is about a lifetime. Epic. And though the romantic love is central to the story, it’s not the end goal, per se. No, absolutely. It’s difficult because I can’t give away all the fantastic twists of the story, but I think in this story, romantic love is the cherry on the cake. But it isn’t the cake! And I love that. (Laughs) If there’s one thing I know, it’s that romantic love is a great thing, but it comes and goes and changes. This story is about the cake, not the cherry! The cake is oneself. It seems like you do a lot of adaptations—The Red Shoes, Brief Encounter, Tristan & Yseult—is that purposeful or is that happenstance? It’s certainly meant in that I’m not the author of stories—I don’t write stories myself. I consider myself a storyteller. I notice when I’m suddenly interested in a story, or when a story starts to “itch.” I feel stories are passed down through generations, and that makes me feel like a folk artist. My grandmother told my mother stories and she, in turn, told me stories. I’m just expanding that very female tradition of telling stories, and I really don’t censor myself about which ones are important. Brief Encounter is a very beloved story
in England, and there’s a great big debate whether films should go onto stage… it’s so boring! I think they’re stories. Shakespeare stole from the Greeks and the Celtic myths, Brecht rewrote stories… we’re just entertaining each other and reshaping our memories and experience. I imagine taking the sort of storytelling approach to theatre means that you’re constantly open to and processing new material. Absolutely, although I’m a great believer in letting your instincts do the work. Maybe it’s because I’ve always been a little lazy, but I try to let my mind go fallow and see what emerges. If you think too hard, it all comes through the head. Personally, I think the head is one of the least interesting bits of the human experience. I think it’s the deep, dark, iceberg-y feelings that are the most interesting ones to explore. Is there anything that you would want people to know when seeing The Wild Bride? The only thing I haven’t talked about is the music of The Wild Bride. The music is sublime. I’ve used performers who are also musicians, and I think that it’s a unique and fabulous score. Musically, this show has been a huge step forward. Where did some of the music come from? We went right back to the roots of blues and used that as an inspiration. But there is also an Eastern-European performer who helped create the show, so I think we’ve created an amazing blend of blues and Eastern-European folk. I’ve never heard anything like it. What do you do when you’re not doing theatre? Oh, I hate that question! I’m doing theatre all the time! Being part of Kneehigh, there’s no real line between work and life: I work with my friends, I tour with my friends and it takes up most of my time. If I get a chance I love to lie on a beach, read books, and do knitting; I like to empty my mind when I’m not working. What’s something that you haven’t done yet that you would like to do? I would like to learn to tango properly. I started, but never finished. And I think I would like to direct a ballet, or something with more dance in it. I’m not a huge lover of words. I do use words in my work, but I always think they’re the sprinkle on top. Cakes again, I must be hungry! I think things that really move me are often the things that can’t be put into words. So, I think it’s a natural development to quietly move into an even more physical style. Oh, I don’t know. I have the best job in the world; I work with the best people in the world, so I’m just going to keep going until the stories stop popping into my head. 2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 2 1
There is no formula to the way we make theatre. However, it always
starts with a story. No, it starts before then. It starts with a need, an itch, an instinct. Each one is raw, relevant, and personal. Stories have an ability to present themselves, to emerge as if from nowhere. But they are not from nowhere. This is the seminal moment of instinct. This is when your subconscious stakes its claim and intervenes in your ordered life. I sit up when a story taps me on the shoulder. I respect coincidence. I listen to impulse. One of my most hated questions when making theatre is “Why?” “Because,” I want to answer, “Because…” For me, making theatre is an excavation of feelings long since buried, a journey of understanding. Bruno Bettelheim’s In the Uses of Enchantment, his book about children’s relationship to fiction, states that “our greatest need and most difficult achievement is to find meaning in our lives.” He argues that by revealing the true content of folktales, children can use them to cope with their baffling and confusing emotions. My fascination with certain stories is fuelled by my own subconscious. The Red Shoes charted the pain of loss, obsession, and addiction; Brief Encounter was a poem to love and its madness; and The Wild Bride is a voyage of endurance and the wonder of gentle healing. These are not children’s themes, but I often approach them in a childlike way. In my experience, our basic needs and desires are the same — to be communicated with, to be delighted, to be surprised, to be scared. We want to be a part of something and we want to feel. We want to find meaning in our lives. The event of live theatre is a rare chance to deliver all these needs. We can have a collective experience, unique to the group of people assembled in the theatre. I don’t want the fourth wall constantly and fearfully placed between the actors and their audience; I want the actors to speak to their accomplices, look at them, to respond to them. I want a celebration, a collective gasp of amazement. I want the world to transform in front of the audience’s eyes and demand that they join in with the game. Theatre is nothing without the engagement of the audience’s creativity. Theatre takes us right back to Bruno Bettelheim and his belief in the therapeutic and cathartic nature of stories. We tell them because we need them. So, how do we start to turn this itchy instinct into a piece of theatre? Months before rehearsals begin, I start work with the creative team. The designer Bill Mitchell and I gaze at books and films, sketch and begin to form a concept, an environment in which the story can live, in which the actors can play. This physical world holds meaning and narrative, it is as much a storytelling tool as the written word. Stu Barker (musical director and composer) and I exchange music we have heard that inspires us or just feels right. We talk of themes and feelings. From these conversations he creates a musical palette of melodies. With the writer Carl Grose, I talk and dream. We map out the structure and overall shape of the piece. He then goes away and writes collections of poems, lyrics, and ideas, but what he doesn’t do is to write a script or a scene in isolation. No, a script would be far too prescriptive, and the one thing theatre needs is room for surprise. It is this fertile palette of words, music, and design that we bring to the rehearsal room. As I said, Kneehigh is a team. The shared imagination is greater than any individual, so we begin the rehearsal process by returning to the story. We tell it to each other, scribble thoughts on huge pieces of paper, relate it to our own experience. We create characters, always looking to serve and subvert the story. Actors delight with their deft improvisation, breathing life and naughtiness into the bones of the story; they use their eloquent bodies to create physical poetry and disarm with their dark innocence. Music is used to help create the world, to guide and inform improvisation, and to release feeling. Lighting and sound are used from the first day as environments are created to add drama and articulation to the growing narrative. The creative team watches and inspires, feeding on their expertise as the scenes come to life. They respond to improvisation and craft the piece alongside the actors. Layer upon layer the world is created, the story released. We lay the foundations, then we forget them. If you stay true to the fundamental relationship between yourself, your team, and the subject matter, the piece will take on a life of its own. Armed with instinct, play, and our building blocks of music, text, and design, Kneehigh does fearless battle. One of our most used phrases in the process is “hold your nerve.” There is no room for fear or doubt; these will only undermine the process. We hold our nerve, stay open, and delight in the privilege of making theatre. Doesn’t it feel good to scratch an itch?! — Em m a Rice , Direc tor
2 2 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
The devil at the crossroads Continued from page 17
years of his life were spent wandering from city to city and woman to woman, playing in juke joints and leaving town soon after. Even blues scholar Mack McCormick, who supposedly discovered many of Johnson’s secrets, has refused to publish on what he found, and his research has become as enigmatic as the subject himself. All of this ambiguity could probably be explained by Johnson’s social circumstances. Recordkeeping in the early 20th century was not as thorough as it is now, particularly not for poor black men in the Deep South. Many accounts from this period are plagued with inconsistencies, if they even exist in the first place. A more toothsome explanation, however, is that Robert Johnson sold his soul to the devil. The legend goes that he went down to the crossroads at midnight (though some say a graveyard) and found a tall man hidden in shadow. Johnson boldly Robert Johnson photo booth self-portrait, called out that he would trade his soul early 1930s to play the blues like no one else. This dark figure took his guitar, tuned it, and played a song that had never been heard before or since. When he handed it back to Johnson, the deal was sealed. Johnson composed haunting blues until he was 27, at which point he mysteriously died. Whether or not you believe the legends surrounding Robert Johnson, their power to incite the imagination is undeniable. Retold endlessly around fires or to wide-eyed children and continuously reimagined in modern (and not so modern) adaptations, stories like these are constantly acquiring new meaning. They are themselves a crossroads, a mingling of the present with the mystic past, a reflection of historical and cultural influences, a reminder of personal memories and associations, and a vision of what we want the world to be. The veil between reality and fiction is thinner here; one world can bleed into another. It is in these intersections that the devil lurks, waiting to cause trouble. And yet, though the crossroads are a place of great vulnerability, they are also places of transformation and strength. It is here that, guided by stories, we learn where we’ve come, where we’re going, and who we want to be once we get there. © 19 8 6 D elta H aze Corporation A ll rights reser v ed. U sed by permission .
These oral tales get passed down through the years, growing fuzzy and worn at the edges. They change shape, molded to the purpose and vernacular of each teller. When people migrate to a new place, their stories go with them. Sometimes they’re deliberately brought along for the journey, but sometimes they stow away, like grains stuck in the corner of a sack or in a trouser cuff. After so many retellings and additions and alterations, a story can become completely unrecognizable in the space of a generation. Yet though the specific details may change, certain—often surprising—kernels remain. Whether it’s a turn of phrase, a striking image, or a snatch of a whistled tune that everyone seems to know different lyrics to, something seems to endure. It is perhaps in this kernel, this seed, that a story makes its home. One of the breadcrumbs Kneehigh has snatched up from the path is that of the devil in the crossroads. It evokes a certain look, a specific sound, and brings to mind an evening’s worth of legends and ghost stories. To some it recalls the legend of Dr. Faustus, as told by Marlowe or Goethe. Others might be reminded of musicians, such as Robert Johnson or Niccolo Paganini, whose artistic abilities were so otherworldly they were said to have come from a satanic bargain. It has also been suggested that the shadowy stranger in the crossroads of early African-American blues music might actually be Papa Legba, a figure in West African mythology and in voodoo. Papa Legba is the guardian of the crossroads between the spiritual and material worlds. Alternatively, “the devil” might also be a sort of blues shorthand for a nagging wife or difficult boss. However you make your way to the crossroads, there’s bound to be an enthralling tale waiting there for you. One of these stories is that of Robert Johnson (1911–38), who was born dirt-poor in Hazlehurst, Mississippi, and eventually became one of the most celebrated blues musicians of all time. Performers such as Bob Dylan, Eric Clapton, and the Rolling Stones cite him as an influence. Yet for all of his current fame, Johnson was virtually unknown in his lifetime, and his personal history remains a deeply shadowed mystery. No one really knows much about his early years in Memphis and Robinsonville, Mississippi (or about his adult life, for that matter). He was married at least twice, and had only one documented child. No one is sure how he died, and no one knows exactly where he’s buried. According to older local musicians, Johnson wasn’t even a skilled guitar player until he returned from a journey playing the blues in a way no one had heard before. There are only two published photographs of the man, and only 29 recordings made in 1936 and 1937. The last several
Thank you to record producer and noted Robert Johnson scholar Stephen C. LaVere for providing some of the factual information for this article.
2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 2 3
NEXT AT BERKELEY REP
Written by Pulitzer Prize winner Lawrence Wright Directed by Oskar Eustis World premiere · March 8–April 21 Call 510 647-2949 · Click berkeleyrep.org
PRODUC TION SPONSOR
Berkeley Repertory Theatre presents Kneehigh’s
B e r k e le y R e pe r to ry T h e at r e To n y Tacco n e , A r t i s t i c D i r e c to r S u s a n M e da k , M a n ag i n g D i r e c to r
(i n o r d e r o f a p p e a r a n c e)
The Devil Andrew Durand The Girl Audrey Brisson The Father & The Prince Stuart Goodwin The Wild Patrycja Kujawska The Woman Etta Murfitt The Musicians Damon Daunno Ian Ross
Cre ative Te a m Text & Lyrics Carl Grose Directed & adapted by
january 26– february 17, 2013 Roda The atre The Wild Bride runs two hours with a 15-minute intermission
Music Stu Barker Choreographer Etta Murfitt Designer Bill Mitchell Costume Designer Myriddin Wannell Lighting Designer Malcolm Rippeth Sound Designer Simon Baker Associate Sound Designer Andy Graham Executive Producer Paul Crewes Assistant Director Simon Harvey Additional Dance Éva Magyar Company Stage Manager Steph Curtis Stage Manager Karen Szpaller Production Manager David Harraway Sound Operator Jonathan Jones
The Wild Bride is made possible thanks to the generous support of s e a s o n pro d u ce r s Wayne Jordan & Quinn Delaney Marjorie Randolph Jack & Betty Schafer The Strauch Kulhanjian Family Season sponsors
Props/Puppet Maker Sarah Wright Carpenter Alex Crombie-Rodgers The company of The Wild Bride is appearing with permission of Actors’ Equity Association. The parts of The Woman and The Devil were originally created and played by Éva Magyar and Stu McLoughlin. Boundless thanks to the company for their skill, experience, care, and creativity. Without their generosity and brilliance, this work would not have been possible. Kneehigh is supported by Arts Council England and Cornwall Council.
2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 2 5
be r k e l e y r e p pr e s e n t s Audrey Brisson
Audrey trained at the Central School of Speech and Drama, graduating in 2009. She also studied classical singing at Cegep StLaurent in Canada. As a child and teenager, Audrey worked extensively with Cirque du Soleil as a vocalist and performer. She performed in its international tours of Quidam (1996–2000) and Réinventé (1989). She also performed in the papal event at Yankee Stadium in 2008. Since graduation, Audrey has appeared in the feature films Hereafter directed by Clint Eastwood and W.E. directed by Madonna, and on TV in a new drama adaptation of Martin Amis’ novel Money (bbc).
Patrycja studied at Academy of Music in Gdansk, Poland, graduating in violin. Before moving to UK in 2005 she worked extensively in physical theatre with City Theatre in Gdynia and Dada von Bzdulow, and has sung in the Non-Cabaret at the Baltic Sea Cultural Centre. She has worked with Kneehigh since 2008, appearing in Don John, Midnight’s Pumpkin, and the critically acclaimed The Red Shoes, as well as international tours of The Wild Bride. She danced in shows choreographed by Tatiana Baganova and Avi Kaiser. Patrycja wrote music for a short animated film, the dance piece Face, and Soundtrack for the sculptures, inspired by the work of French sculptor Sabrina Gruss, and she co-composed music for vdt’s Motherland and Test Run, which she also appeared in. Her other vdt credits include Broken Chords, Drop Dead Gorgeous, Fairy Tale, If We Go On, Let The Mountains Lead You To Love, and Punch Drunk. Patrycja lives in Bristol.
Andrew Durand THE D EVIL
Andrew is so happy to be working with the incomparable Emma Rice and Kneehigh Theatre Company again. He previously appeared in The Umbrellas of Cherbourg in London’s West End, playing the role of Guy. Andrew also appeared on Broadway in Spring Awakening as Georg and War Horse as Albert Narracott. His off-Broadway credits include The Burnt Part Boys at Vineyard Theatre and Playwrights Horizons, and Yank! at the York Theatre Comapny. He also appeared in The Unauthorized Autobiography of Samantha Brown at Goodspeed Musicals. Andrew has a bfa from the Boston Conservatory.
THE FATHER & THE PRINCE
Since graduating from the Guildhall School of Music and Drama, Stuart has particularly enjoyed working on Cashback (Oscarnominated), Cops (bbc, bafta winner), The Lieutenant of Inishmore (Royal Shakespeare Company), The Three Musketeers (Young Vic, London), and State of Play (bafta winner), as well as Kneehigh’s Midnight’s Pumpkin and The Wild Bride. Stuart is delighted to be returning to California as he has been unable to find such great burritos as the ones served locally around Berkeley Rep.
THE W IL D
THE W OMAN/CHOREOGRAPHER
Etta trained at London Contemporary Dance School. She created choreography for Kneehigh’s productions of Midnight’s Pumpkin and Steptoe & Son. Etta’s other choreography and movement direction credits include Trevor Nunn’s productions of A Chorus of Disapproval at the Harold Pinter Theatre and Rosencrantz & Guildenstern Are Dead at the Chichester Festival Theatre 2011 and Theatre Royal Haymarket, as well as Cat on a Hot Tin Roof, directed by Sarah Esdaile at the West Yorkshire Playhouse; Le nozze di Figaro, directed by Martin Lloyd-Evans for the Holland Park Opera; Rufus Norris’s Sleeping Beauty at Birmingham Rep; and The Way of the World, directed by Selina Cadell at Wilton’s Music Hall. She created roles for Adventures in Motion Pictures between 1991 and 2002 and became assistant artistic director in 1995. In 2002 Etta was appointed associate director of Matthew Bourne’s New Adventures and has performed with the company in various productions such as The Car Man, Cinderella, The Nutcracker, and Swan Lake. Her film and TV credits include Clara in Nutcracker! (bbc/nvc) and Rita in The Car Man (Channel 4), as well as Late Flowering Lust, Mrs. Hartley and the Growth Centre, and Roald Dahl’s Red Riding Hood (bbc), and Storm (Aletta Collins/bbc Dance for the Camera).
26 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
profiles Etta teaches throughout the UK and abroad for dance companies and dance institutions and is a freelance faculty member of the London Contemporary Dance School and Young Place.
Damon Daunno MUSICIAN
Damon is an actor/musician from New Jersey. He is thrilled to be working with Kneehigh again following the Broadway run of Brief Encounter at Studio 54. Damon’s other credits include Jesus in India at Magic Theatre and The Last Goodbye at Williamstown Theatre Festival. He is a graduate of Tisch School of the Arts, and his original music can be found on iTunes.
Ian is a multi-instrumentalist with around 13 years of experience as a musician and composer with Bristol-based skahip-hop phenomenon Babyhead, the inimitable swing ska lovelies The Zen Hussies, and the Cornish storytellers Kneehigh Theatre. Ian has had extensive performance history ranging from New York Fashion Week to the Jazz World Stage at the Glastonbury Festival and has worked with artists such as Anoushka Shankar and C.W. Stoneking. For Kneehigh, he was the composer on Hansel & Gretel and A Very Old Man with Enormous Wings, and was a musician in Brief Encounter, Don John, Hansel & Gretel, The King of Prussia, Midnight’s Pumpkin, and The Red Shoes. He also played in Peter Pan at the Bristol Old Vic. Ian’s other composer credits include Frankenspine/Mayday Mayday for Theatre Damfino, Universerama for Squashbox Theatre, and When the Shops Shut for Cscape Dance Company, and he also composed music for the film Weekend Retreat with o-region.
D IRECTOR & a da p t o r
Emma is the joint artistic director of Kneehigh Theatre. She has directed its productions of The Bacchae (2005 Theatrical Management Association Theatre Award for Best Touring Production), Brief Encounter (a David Pugh and Dafydd Rogers production in association with Kneehigh), Cymbeline (in association with
the Royal Shakespeare Company for The Complete Works Festival), Don John (in association with the Royal Shakespeare Company and Bristol Old Vic), A Matter of Life and Death (in association with the Royal National Theatre), Midnight’s Pumpkin, Rapunzel (in association with Battersea Arts Centre), The Red Shoes (2002 TMA Theatre Award for Best Director), Tristan & Yseult (2006 tma Theatre Award nomination for Best Touring Production), and The Wooden Frock (2004 tma Theatre Award nomination for Best Touring Production). Emma was nominated for the 2009 Olivier Award for Best Director for Brief Encounter. Emma’s latest work includes Oedipussy for Spymonkey; Steptoe & Son, which continues its UK tour in the spring; the West End production of The Umbrellas of Cherbourg; and Wah! Wah! Girls for World Stages in association with Sadler’s Wells and Theatre Royal Stratford East. In 2013, Emma will direct The Empress for the rsc.
Coldwell Banker. Where Home Begins. 1495 Shattuck Avenue, Berkeley 510.486.1495 | www.CaliforniaMoves.com /coldwellbankerberkeley | /cbmarketingwest
©2012 Coldwell Banker Real Estate LLC. All Rights Reserved. Coldwell Banker® is a registered trademark licensed to Coldwell Banker Real Estate LLC. An Equal Opportunity Company. Equal Housing Opportunity. Each Coldwell Banker Residential Brokerage Office Is Owned And Operated by NRT LLC. DRE License #01908304.
Amy Kim Waschke and Christopher Livingston in The White Snake P H OTO CO U R T E S Y O F K E V I N E B E R N E . CO M
Carl Grose W RITER
Carl has worked extensively with Kneehigh for the past 17 years as both a writer and an actor. His writing for the company includes The Bacchae, Blast!, Cymbeline, Hansel & Gretel, Quicksilver, Tristan & Yseult, and Wagstaffe the Wind-Up Boy. Carl has also written for bbc TV and Radio, o-region, the rsc and the National Theatre, Spymonkey, Told by an Idiot, and Vesturport. His plays include 49 Donkeys Hanged, Horse Piss for Blood, Gargantua, Grand Guignol, and Superstition Mountain. Carl is currently writing shows for Bristol Old Vic, the rsc and the National, and a new version of The Beggar’s Opera for Kneehigh.
Truth be told, the theatre would be dark without you
Stu Barker COMPOSER
Stu has worked extensively as composer/ musical director with Kneehigh Theatre over the last 16 years and has worked on the following shows: The Bacchae, Brief Encounter, Cymbeline, Don John, Hansel & Gretel, A Matter of Life and Death, Midnight’s Pumpkin, Nights at the Circus, Pandora’s Box, Rapunzel, The Red Shoes, Tristan & Yseult, and The Wooden Frock. He has also been a composer/musical director for shows at Bristol Old Vic, Contact Theatre, Donmar Warehouse, Horse + Bamboo Theatre, Liverpool Lantern Company, Shakespeare’s Globe, Travelling Light, and Welfare State International. Recently Stu has been touring as trombonist with C.W. Stoneking & His Primitive Horn Orchestra.
Bill Mitchell D ESIGNER
Bill joined Kneehigh in 1987 and was artistic director from 1997 to 2005. That year Bill left to establish wildworks, a site-specific/ landscape theatre company, creating A Very Old Man with Enormous Wings in 2005, Souterrain in 2006, and The Beautiful Journey in 2009. In 2010 wildworks created a series of installations called The Enchanted Palace inside 23 rooms for Kensington Palace, and in 2011 it made The Passion in Port Talbot with
Make a dramatic change. berkeleyrep.org/give
KATHIE LONGINOTTI Realtor® Berkeley Rep Subscriber Since 1972
2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 2 7
be r k e l e y r e p pr e s e n t s National Theatre Wales (2011 tma Award for Best Director with Michael Sheen). Bill has enjoyed working with Emma on many Kneehigh productions, including The Bacchae, A Matter of Life and Death, Nights at the Circus, The Red Shoes, Tristan & Yseult, and The Wooden Frock, and was delighted to be asked to design The Wild Bride.
COSTUME D ESIGNER
Myriddin is a theatre designer and visual artist based in Cornwall. After graduating with a BA with honors in theatre design from Wimbledon School of Art, a new wind blew him to Cornwall to study a second degree in fine art at University College Falmouth. Mydd has worked alongside Bill Mitchell as associate designer for wildworks since the company’s creation in 2005 on shows including The Beautiful Journey, The Memory Projector, Souterrain, and A Very Old Man with Enormous Wings. His recent productions include a two-year residency at Kensington Palace with The Enchanted Palace and The Passion, a sitespecific collaboration between wildworks, Michael Sheen, and National Theatre Wales. Enjoying site-specific collaborations, Mydd has also worked extensively designing with a wide spectrum of people in Africa, Australia, France, Germany, Romania, and the UK. Visit myriddinwannell.com.
LIGHTING D ESIGNER
Malcolm has worked with Kneehigh since 2002, lighting The Bacchae, Blast!, Brief Encounter (2009 Theatregoers’ Choice Award for Best Lighting Designer), Cymbeline, Don John, The King of Prussia, Midnight’s Pumpkin, Nights at the Circus, Pandora’s Box, The Red Shoes, Steptoe & Son, The Umbrellas of Cherbourg, and Wah! Wah! Girls. He worked on the West End productions of Calendar Girls and Six Characters in Search of an Author (2009 Theatregoers’ Choice Award for Best Lighting Designer). Malcolm’s other work includes A Very Old Man with Enormous Wings with Little Angel, Armida at Garsington Opera, The Bloody Chamber at Northern Stage, Carmen Jones at Royal Festival Hall, Crash at West Yorkshire Playhouse, Copenhagen at Edinburgh Royal Lyceum, The Dead at Abbey Theatre, Decade with Headlong Theatre at St. Katharine Docks, Designer Body at balletlorent, The Devil Inside Him at National Theatre Wales, Hamlet with the English Touring Theatre, His Dark Materials at Birmingham Rep, hms Pinafore at Guthrie Theater, London at Paines Plough, The Pitchfork Disney at Arcola Theatre, The Promise at Donmar Warehouse, Seven Deadly Sins at Welsh National Opera, The Seven-Year Itch at Salisbury Playhouse, Spur of the Moment at the Royal Court Theatre, Stones in His Pockets at the Tricycle Theatre, Tutti Frutti at National Theatre of Scotland, West Side Story at the Sage Gateshead, and The Winslow Boy at Rose The-
atre Kingston. Malcolm won a 2010 obie as a member of the design team for Brief Encounter in New York.
SOUN D D ESIGNER
Simon’s work for Kneehigh includes Brief Encounter (2011 Tony nomination for Best Sound), Don John, Midnight’s Pumpkin, The Red Shoes, Steptoe & Son, The Umbrellas of Cherbourg, Wah! Wah! Girls, and all three years of its Asylum Season. His other credits include Angus Thongs and Even More Snogging at West Yorkshire Playhouse, the world arena tour of Batman Live, Boeing-Boeing (2007 Tony nomination for Best Sound), and La Bête at the Comedy Theatre and on Broadway, Bridge Project for bam/Old Vic Theatre, Closer to Heaven at Arts Theatre, Deathtrap at the Noel Coward Theatre, Di Viv and Rose at Hampstead Downstairs, Hedda Gabler and The Real Thing at the Old Vic, Late Middle Classes at Donmar Warehouse, Loserville at the West Yorkshire Playhouse/Garrick Theatre, The Lord of the Rings at Theatre Royal Drury Lane and Toronto (2007 Olivier nomination for Best Sound), Matilda The Musical with the rsc and Cambridge Theatre (2012 Olivier Award for Best Sound), Me and My Girl at the Sheffield, The Merry Wives of Windsor with the rsc, and The Norman Conquests at the Old Vic and on Broadway.
ASSOCIATE SOUN D D ESIGNER
Andy graduated from Mountview Theatre School in 2001 with a BA in technical theatre. For Kneehigh, he has worked as an operator and associate sound designer on Brief Encounter (Tony nomination for Best Sound) and The Red Shoes. He worked as a sound operator for West End shows including Contact, The Full Monty, Guys and Dolls, Jerry Springer The Opera, The King & I, The Lord of the Rings, and Loserville, as well as the UK tour and 10th anniversary production of Our House. His recent solo design work and collaborations include Allegro for the London School of Musical Theatre, Jekyll & Hyde for Vienna’s English Theatre, Mary Rose for Dog Orange, and Oedipussy for Spymonkey. Andy was also a sound operator for the London 2012 Olympic and Paralympic Games.
ASSISTANT D IRECTOR
Simon is a director, performer, and producer based in Truro, Cornwall. As Kneehigh’s resident assistant director his recent work includes Brief Encounter (UK and U.S. tours), and The Red Shoes (national and international tours). Simon has performed in a number of Kneehigh shows including Blast! and The King of Prussia (Asylum 2010), Journey to the Centre of the Earth, and Wagstaffe the Wind-Up Boy. Outside of Kneehigh, Simon is the artistic director of oregion, a theatre and film production company for whom he recently produced and directed
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 2– 1 3 · special issue
profiles One Darke Night. He is also the co-producer of the company’s second feature film Weekend Retreat by Brett Harvey, which is currently in post-production.
COMPANY STAGE MANAGER
Steph’s work as part of the Kneehigh team includes Brief Encounter (UK, London, and U.S. tours), Don John (rsc, UK, and U.S. tours), The Red Shoes (UK, U.S., and Australian tours), and the 2010 and 2011 Asylum seasons. Steph graduated from Middlesex University in 2000 with a BA with honors in Technical Theatre Arts, and was awarded the Stage Management Association’s Stage Manager of the Year Award 2011.
Karen is happy to be working again with Kneehigh after Brief Encounter at American Conservatory Theater in 2009. This is her 10th season at Berkeley Rep. Her favorite past Berkeley Rep productions include Comedy on the Bridge/Brundibar, Compulsion, Concerning Strange Devices from the Distant West, Eurydice, Fêtes de la Nuit, Let Me Down Easy, and The Lieutenant of Inishmore. Her favorites elsewhere include The 25th Annual Putnam County Spelling Bee at San Jose Repertory Theatre; Armistead Maupin’s Tales of the City, Blackbird, A Christmas Carol (2006–12), Curse of the Starving Class, and The Tosca Project at American Conservatory Theater; Anna Deavere Smith’s newest work, On Grace, at Grace Cathedral; Ragtime and She Loves Me at Foothill Music Theatre; Salomé at Aurora Theatre Company; the national tour of Spamalot in San Francisco; Striking 12 and Wheelhouse at TheatreWorks; and Urinetown: The Musical at San Jose Stage Company. Karen is the production coordinator at TheatreWorks.
e x e c u t i v e PRO D UCER
Before working with Kneehigh, Paul worked as producer at the West Yorkshire Playhouse, Leeds, where he set up over 40 productions as well as collaborations with Improbable Theatre, Kneehigh (The Bacchae and The Wooden Frock), Teatre Romea, and the National Theatre and with commercial and West End producers. His other work includes producing the UK tour of Doorman with his own company in 2005, being associate producer for the Lowry, including producing King Cotton in 2007, and working for Metal with Jude Kelly. Paul has worked for Kneehigh since 2005 and has produced Brief Encounter (U.S. tour), Cymbeline (UK, Columbia, and Brazil tours), Don John (UK and U.S. tours), Hansel & Gretel, Midnight’s Pumpkin (Kneehigh Asylum 2011), Rapunzel (UK and U.S. tours), the 2010 tour of The Red Shoes (UK, U.S. and Australia), Steptoe & Son (UK tour 2012), Tristan & Yseult (UK, Sydney, New Zealand, and U.S. tours), The Wild Bride (Kneehigh Asylum 2011,
UK and U.S. tours), and the launch of the Kneehigh Asylum (featuring Blast!, The King of Prussia, and The Red Shoes).
ARTISTIC D IRECTOR
Tony is artistic director of Berkeley Rep. During his tenure, the Tony Award–winning nonprofit has earned a reputation as an international leader in innovative theatre. In those 15 years, Berkeley Rep has presented more than 60 world, American, and West Coast premieres and sent 18 shows to New York, two to London, and now one to Hong Kong. Tony has staged more than 35 plays in Berkeley, including new work from Culture Clash, Rinde Eckert, David Edgar, Danny Hoch, Geoff Hoyle, Quincy Long, Itamar Moses, and Lemony Snicket. He directed the shows that transferred to London, Continental Divide and Tiny Kushner, and two that landed on Broadway as well: Bridge & Tunnel and Wishful Drinking. Tony commissioned Tony Kushner’s legendary Angels in America, co-directed its world premiere, and has collaborated with Kushner on seven projects. His regional credits include Actors Theatre of Louisville, Arena Stage, Center Theatre Group, the Eureka Theatre, the Guthrie Theater, the Huntington Theatre, Oregon Shakespeare Festival, The Public Theater, and Seattle Repertory Theatre. In 2012, Tony was selected to receive the Margo Jones Award for demonstrating a significant impact, understanding, and affirmation of playwriting, with a commitment to the living theatre. As a playwright, Tony recently debuted Ghost Light and Rita Moreno: Life Without Makeup.
MANAGING D IRECTOR
Susan has served as Berkeley Rep’s managing director since 1990, leading the administration and operations of the Theatre. She has served as president of the League of Resident Theatres (lort) and treasurer of Theatre Communications Group, organizations that represent the interests of nonprofit theatres across the nation. Susan chaired two panels for the Massachusetts Arts Council and has also served on program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan chairs the Downtown Berkeley Business Improvement District and serves as president of the Downtown Berkeley Association. She is the founding chair of the Berkeley Arts in Education Steering Committee for Berkeley Unified School District and the Berkeley Cultural Trust. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund. Susan serves on the faculty of Yale School of Drama and is a proud member of the Mont Blanc Ladies’ Literary Guild and Trekking Society. She lives in Berkeley with her husband.
Karen joined Berkeley Rep in November 1993 as education director. Under her supervision, Berkeley Rep’s Programs for Education provided live theatre for more than 20,000 stu-
About Kneehigh Kneehigh finds itself celebrated as one of Britain’s most innovative theatre companies. For more than 30 years, the company has created vigorous, popular, and challenging theatre for audiences throughout the UK and beyond. It firmly believes in the principles of play, generosity, vulnerability, ambition, bravery, anarchy, and instinct. In 2010 the company opened the Asylum, its long-awaited, much-dreamed-about, jaw-dropping, spirit-lifting nomadic theatre space —a place described by the media as “the most outdoors you can be indoors” and “a place predisposed to magic.” Kneehigh draws inspiration from its landscapes, history, people, and culture. They rehearse in a National Trust barn on the cliffs near Mevagissey, Cornwall and have offices in Cornwall’s capital, Truro. Visit kneehigh.co.uk and @WeAreKneehigh. Staff Chief Executive and Executive Producer Paul Crewes Joint Artistic Director and Deputy Chief Executive Emma Rice Joint Artistic Director Mike Shepherd Assistant Director Simon Harvey General Manager Charlotte Bond
Company Stage Manager Steph Curtis Finance Totally Office Projects Coordinator Liz King Communications Coordinator Chloe Rickard Administrator and Development Assistant Bethany Lyne Connections Lead Artist Anna Maria Murphy
Board David Jubb (chair) Peter Cox Simon Williams Victoria Vyvyan Sheila Healy Kneehigh would like to thank all of its generous donors, especially treasured members of the Kneehigh Family: Jane Rowse, Jon & Nora Lee Sedmak, Karen Townshend, Angela Bissett, Guy Heath, Tracey Carter, Hayley Taylor, Glenn & Wendy Carter, David Trenberth, Dave Mynne, and Kate & Edward Mallinckrodt. And its glorious Champions: Clive Shaw, Andy Ward, Sara Loch, Matthew & Alison Hurst, Christopher Tiley, Mary Mestecky, Sally Caudle, John Doble, Ian Ellis & Charmaine Fernando, Jyoti Chandola, Robbie Clymo, Sheila Hancock CBE, Leigh & Emma Bagnall, Archie Burnham, Chris Martin, Chris Law, Val Dunning, Martin & Julie Eddy, John Glasswell, Ann Gray, Mike Shepherd, Val Barnecutt, Anthony & Jane Lawton, Martin & Annabel Dunn, Patrick & Barbara Gallagher, Jeremy Metson, Kenneth & Rosalind Rokison, George Sallis, PB Tinker, and Deborah Hinton. For more information on how you can help Kneehigh continue to make magical work—and receive a treasure trove of treats in return—visit kneehigh.co.uk or call (0044) 1872 267 910. Kneehigh would also like to thank: Éva Magyar, Stu McLouglin, TR2, Luke Woods at Foxglove Furniture, Ruth Shepherd, Sue Hill, Kirsty Harris, Emma Staton and Mr Bill, Jen Riddick, Peran Odgers, Chris Jordan, Bristol Old Vic, Daniel Sparrow, Dominic Fraser, Heligan Gardens, Mike Gunning, and Lin Potter at Wrightsure. dents annually. In November 1995, she became general manager, and since then has overseen the day-to-day operations of the Theatre, supervising the box office, company management, and IT. She has represented the League of Resident Theatres during negotiations with both Actors’ Equity Association and the Union
of Stage Directors and Choreographers. Prior to her tenure at Berkeley Rep, Karen worked for Theatre Bay Area as director of theatre services and as an independent producer at several Bay Area theatre companies. She has served on the boards of Climate Theater, Overtone Theatre Company, and Park Day School, and is currently
2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 2 9
be r k e l e y r e p pr e s e n t s on the board of the Julia Morgan Center. Karen is married to arts attorney MJ Bogatin and they have two children.
D IRECTOR , THE GROUN D F LOOR / RESI D ENT D RAMATURG
Madeleine is the director of Berkeley Rep’s Ground Floor and the Theatre’s resident dramaturg. As literary manager and associate dramaturg at Baltimore Centerstage, she produced the First Look reading series and headed up its young audience initiative. Before moving to Baltimore, she was the literary manager at Seattle Children’s Theatre, where she oversaw an extensive commissioning program. She also acted as assistant and interim literary manager at Intiman. Madeleine served for four years on the executive committee of Literary Managers and Dramaturgs of the Americas and has also worked with act (Seattle), Austin Scriptworks, Crowded Fire Theatre Company, the O’Neill, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage.
CASTING D IRECTOR
Amy is in her 23rd season with Berkeley Rep. She has also had the pleasure of casting projects for act (Seattle), Arizona Theatre Company, Aurora, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Rep, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for the film Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and the upcoming Love and Taxes by Josh Kornbluth; and the upcoming feature film Beyond Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist-in-residence. She has been a coach to hundreds of actors, teaches acting at Mills College, and leads workshops at Berkeley Rep’s School of Theatre and numerous other venues in the Bay Area.
PRO D UCTION STAGE MANAGER
Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 19th year as production stage manager. Some of his favorite shows include 36 Views, Endgame, Eurydice, Hydriotaphia, and Mad Forest. He has also worked with the Barbican in London, the Huntington, the Juste Pour Rire Festival in Montreal, La Jolla Playhouse, Pittsburgh Public Theater, The Public and Second Stage Theatres in New York, and Yale Repertory Theatre. For the Magic, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss.
Marjorie Randolph SEASON PRO D UCER
Marjorie is president of Berkeley Rep’s board of trustees and a longtime supporter of the Theatre. She recently moved back to Berkeley after retiring as head of worldwide human resources for Walt Disney Studios. During her tenure at Berkeley Rep, she has produced 29 plays. A member of the California Bar and a former president of California Women Lawyers, she serves on the National Advisory Panel of the Institute for Research on Women and Gender at Stanford University.
Additional crew Costume shop Nelly Flores Marcy Frank Deck crew Alaina Moore Props artisan Viqui Peralta Sound PGA Sound
Jack & Betty Schafer
Sound engineer Xochitl Loza
Betty and Jack are proud to support Berkeley Rep. Jack, one of the Theatre’s board members, also sits on the boards of the Jewish Community Endowment, San Francisco Opera, and the Straus Historical Society. He is co-chair of the Oxbow School in Napa and an emeritus trustee of the San Francisco Art Institute, where he served as board chair. Betty, a retired transitions coach, has resumed her earlier career as a nonfiction writer and poet. She serves on the boards of Brandeis Hillel Day School, Coro Foundation, Earthjustice, and jvs and represents the Jewish Community Foundation on a national allocation committee.
Stage carpenter Alex Marshall
SEASON PRO D UCERS
Wardrobe Emily Hartman
Additional thanks U.S. immigration representation provided by the Law Office of Lisa Palter (lisasvisas.com) The Starving Musician Music Shop — Berkeley
The Strauch Kulhanjian Family SEASON PRO D UCERS
Roger Strauch is a former president of Berkeley Rep’s board of trustees and a current member. He is chairman of The Roda Group (rodagroup.com), a venture-development company based in Berkeley and best known for launching Ask.com, PolyServe, and Sightspeed. Roger serves on the board of Game Ready, and his firm is the largest investor in Solazyme, a renewable oil and bio-products company based in South San Francisco (nasdaq:szym, solazyme.com). Roger is a member of the engineering dean’s college advisory boards of Cornell University and UC Berkeley. He is vice-chairman of the board of trustees for the Mathematical Sciences Research Institute (msri) and a co-founder of the William Saroyan Program in Armenian Studies at Cal. He is also an executive member of the Piedmont Council of the Boy Scouts of America. His wife, Julie A. Kulhanjian, is an attending physician at Oakland Children’s Hospital. They have three teenaged children.
Bay Area Rapid Transit (bart) is a 104-mile, automated rapid-transit system that serves more than 100 million passengers annually. bart is the backbone of the Bay Area transit network with trains traveling up to 80 mph to connect 26 cities located throughout Alameda, Contra Costa, San Francisco, and San Mateo Counties and the Bay Area’s two largest airports.
3 0 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
bart’s all-electric trains make it one of the greenest and most energy-efficient systems in the world with close to 70 percent of its all-electrical power coming from hydro, solar, and wind sources. Many new projects are underway to expand bart, allowing it to serve even more communities and continue to offer an eco-friendly alternative to cars. For more info, visit bart.gov.
As a top corporate giver to Bay Area nonprofits for many years, Wells Fargo recognizes Berkeley Repertory Theatre for its leadership in supporting the performing arts and its programs. As the oldest and largest financial services company headquartered in California, Wells Fargo has top financial professionals providing business banking, investments, brokerage, trust, mortgage, insurance, commercial and consumer finance, and much more. Talk to a Wells Fargo banker today to see how we can help you become more financially successful.
Take the Theatre home with you The Hoag Theatre Store is better than ever, featuring our new tablet holder and exclusive items from our staff artisans. Wonderful gifts for you and the theatre-lovers in your life!
We acknowledge the following Annual Fund supporters whose contributions from November 2011 through December 2012 helped to make possible the Theatre’s artistic and community outreach programs.
con t r i bu tor s institutional supporters G if t s o f $ 100,000 an d above
G if t s o f $25,000 –49,999
G if t s o f $5,000 –9,999
The William & Flora Hewlett Foundation The James Irvine Foundation The Andrew W. Mellon Foundation The Shubert Foundation The Harold and Mimi Steinberg Charitable Trust
Anonymous The Ira and Leonore Gershwin Philanthropic Fund Walter & Elise Haas Fund Koret Foundation Wallis Foundation Woodlawn Foundation
Anonymous Berkeley Civic Arts Program JEC Foundation Ramsay Family Foundation Ann and Gordon Getty Foundation
G if t s o f $10,000 –24,999
California Arts Council Joyce & William Brantman Foundation Civic Foundation
G if t s o f $50,000 –99,999 The Bernard Osher Foundation
Crescent Porter Hale Foundation Thomas J. Long Foundation National Endowment for the Arts The Kenneth Rainin Foundation The Drs. Ben and A. Jess Shenson Trust, administered by The San Francisco Foundation Paul Wattis Foundation
cor p or at e s p on s or s S e a so n s p o n so r s
G if t s o f $12 ,000 –24,999 The Morrison & Foerster Foundation Union Bank Mechanics Bank Wealth Management
G if t s o f $6,000 –11,999
G if t s o f $25,000 –49,999
Armanino McKenna LLP Bank of the West BluesCruise.com Charles Schwab & Co. Deloitte Meyer Sound Oliver & Company, Inc. Panoramic Interests Peet’s Coffee & Tea Schoenberg Family Law Group STG Asset Management, Inc. UBS U.S. Bank
G if t s o f $1,000 –4,999
G if t s o f $3,000 –5,999 4U Sports Gallagher Risk Management Services Heritage Capital Private Asset Management Macy’s The Safeway Foundation
G if t s o f $1, 500 –2 ,999 Aspiriant Bingham McCutchen LLP
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 or call Daria Hepps at 510 647-2904.
I n-K i n d s p on s or s m at c h i ng g i f t s
Act Catering Aurora Catering Autumn Press Back to Earth Organic Catering Blue Angel Vodka Bobby G’s Pizzeria Bogatin, Corman & Gold Café Clem Comal Cyprus Darling Flower Shop Distillery No. 209 ecovino Wines etc Catering Four Seasons San Francisco Gather Restaurant Gecko Gecko Green Waste Recycle Yard
Guittard Chocolate Company Hotel Shattuck Plaza izze Sparkling Juice Company Kevin Berne Images La Note Latham & Watkins, llp Left Coast Catering Madécasse Match Vineyards Meyer Sound Mint Leaf Mt. Brave Wines Patricia Motzkin Architecture Phil’s Sliders Picante PiQ Quady Winery Raymond Vineyards
3 2 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
Revival Bar + Kitchen Ricola usa Spy Valley Wines St. George Spirits Staglin Family Vineyard Sweet Adeline Tres Agaves Venus Restaurant Zut! on 4th Hotel Shattuck Plaza is the official hotel of Berkeley Rep. Pro-bono legal services are generously provided by Latham & Watkins, llp.
The following companies have matched their employees’ contributions to Berkeley Rep. Please call the Development Department at 510 647-2906 to find out if your company matches gifts. Alexander & Baldwin · American Express · Amgen · Apple · Argonaut Group, Inc. · at&t · Bank of America · Bank of the West · Bristol Myers Squibb · Charles Schwab Corporation · Chevron Corporation · Clorox Company · Franklin Templeton · Gap · Google · Hewlett Packard · ibm Corp. · JD Fine and Company · John Wiley & Sons, Inc. · Johnson & Johnson · Lawrence Livermore National Laboratory · Levi Strauss · Lexis-Nexis · Macy’s Inc. · Microsoft · Morrison & Foerster Foundation · Motorola · MRW & Associates llc · norcal Mutual Insurance Company · Patagonia · Ruppenthal Foundation for the Arts · S.D. Bechtel, Jr. Foundation · Salesforce · Schwab Charitable Fund · Sony Corporation of America · The Doctors Company · VISA u.s.a., Inc. · Willis Lease Finance Corporation
con t r i bu tor s donors to the annual fund Great theatre is made possible by the generosity of our community. We gratefully acknowledge the following contributors to Berkeley Rep, who champion the Theatre’s artistic and outreach programs. To make your gift and join this distinguished group, visit berkeleyrep.org/give or call 510 647-2906.
Leg e n d in-kind gift M matching gift K
P roduc e r CIRCLE s e a s o n pro d u ce r s
pro d u c e r s
$5 0,0 0 0 & u p
$ 12 ,0 0 0 –2 4 ,9 9 9
Wayne Jordan & Quinn Delaney Marjorie Randolph Jack & Betty Schafer The Strauch Kulhanjian Family
e xecu tiv e pro d u ce r s $ 2 5,0 0 0 –49,9 9 9
Rena Bransten Martha Ehmann Conte Thalia Dorwick Bill Falik & Diana Cohen Kerry Francis & John Jimerson Mary & Nicholas Graves Frances Hellman & Warren Breslau John & Helen Meyer Pam & Mitch Nichter Dr. & Mrs. Philip D. Schild Jean & Michael Strunsky Guy Tiphane Gail & Arne Wagner
David & Vicki Cox Robin & Rich Edwards Virginia & Timothy Foo Jill & Steve Fugaro Bruce Golden & Michelle Mercer Jack Klingelhofer Dugan Moore Patricia Sakai & Richard Shapiro Joan Sarnat & David Hoffman Michael & Sue Steinberg
a s s o ciat e pro d u c e r s $ 6,0 0 0 – 11,9 9 9
Anonymous (5) The Alafi Family Foundation Shelley & Jonathan Bagg Barbara & Gerson Bakar Carole B. Berg Stephen K. Cassidy & Rebecca L. Powlan Robert Council & Ann Parks-Council Oz Erickson & Rina Alcalay
William Espey & Margaret Hart Edwards John & Carol Field Kristina Flanagan David & Vicki Fleishhacker Paul T. Friedman M Scott & Sherry Haber Doug & Leni Herst Hitz Foundation Ms. Wendy E. Jordan Jean & Jack Knox Wanda Kownacki Ted & Carole Krumland Randy Laroche & David Laudon Zandra Faye LeDuff Dixon Long Dale & Don Marshall Sandra & Ross McCandless Martin & Janis McNair Stephanie Mendel Steven & Patrece Mills M Mary Ann & Lou Peoples Peter Pervere & Georgia Cassel Kaye & Randy Rosso
Pat Rougeau Jack & Valerie Rowe Richard A. Rubin & H. Marcia Smolens Deborah Dashow Ruth Jodi Schiller & Ben Douglas Liliane & Ed Schneider Emily Shanks M Pat & Merrill Shanks Sally Smith & Don Burns Karen Stevenson & Bill McClave Patricia Tanoury Tides Foundation, recommended by an anonymous donor advised fund Saul Zaentz
D onor C i rc l e pre s id e n t s $ 3,0 0 0 – 5,9 9 9
Anonymous (2) Tony & Judith Amendola Edith Barschi Neil & Gene Barth Valerie Barth & Peter Wiley M Stephen Belford & Bobby Minkler Judy Belk Drs. Don & Carol Anne Brown Tracy Brown & Greg Holland C. William Byrne K M Jennifer Chaiken & Sam Hamilton Susan Chamberlin Earl T. Cohen & Heidi M. Shale Karen & David Crommie Ed Cullen & Ann O’Connor Richard & Anita Davis Lois M. De Domenico Delia Fleishhacker Ehrlich M Nancy & Jerry Falk Ann & Shawn Fischer Hecht Earl & Bonnie Hamlin James C. Hormel Kathleen & Chris Jackson Anne Kaiser K Robert Kelling Duke & Daisy Kiehn Lynn Eve Komaromi Leonard Merrill Kurz Suzanne LaFetra Nancy & George Leitmann Peter & Melanie Maier Charlotte & Adolph Martinelli Susan Medak & Greg Murphy Eddie & Amy Orton Sandi & Dick Pantages David Pratt Len & Barbara Rand Ivy & Leigh Robinson David S. H. Rosenthal & Vicky Reich Howard S. Rowen & Ryan C. Reeder/ UBS Financial Services
Riva Rubnitz Gaile B. Russ Beth & David Sawi Linda & Nathan Schultz Sheila Wishek Steven & Linda Wolan Sally Woolsey Felicia Woytak & Steve Rasmussen
d irec to r s $ 1, 5 0 0 –2 ,9 9 9
Anonymous (6) Jim & Ginger Andrasick Pat Angell Ross E. Armstrong Martha & Bruce Atwater Nina Auerbach Richard & Debbie Ault K Jane & Bill Bardin Becky & Jeff Bleich Caroline Booth Linda Brandenburger Broitman-Basri Family Thomas & Tecoah Bruce Kerry Tepperman Campbell Lynne Carmichael The Cheitlin Family Andrew Combs The Connemara Fund Julie Harkness Cooke John & Stephanie Dains Ilana DeBare & Sam Schuchat Becky Draper Merle & Michael Fajans Cynthia A. Farner Tracy & Mark Ferron Lisa & Dave Finer Linda Jo Fitz Frannie Fleishhacker Herb & Marianne Friedman James Gala Karl & Kathleen Geier Dennis & Susan Johann Gilardi
Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Deborah & Howard Goodman Dan Granoff Robert & Judith Greber Garrett Gruener & Amy Slater Richard & Lois Halliday Migsy & Jim Hamasaki Bob & Linda Harris David & Vera Hartford Ruth Hennigar Tom & Bonnie Herman Gail & Bob Hetler Richard N. Hill & Nancy Lundeen Rick Hoskins & Lynne Frame George & Leslie Hume Beth & Fred Karren Rosalind & Sung-Hou Kim Michael Kossman John Kouns & Anne Baele Kouns Helen E. Land Robert Lane & Tom Cantrell Louise Laufersweiler & Warren Sharp Ellen & Barry Levine Bonnie Levinson & Dr. Donald Kay Tom Lockard & Alix Marduel Jonathan Logan Vonnie Madigan Naomi & Bruce Mann Lois & Gary Marcus Sumner & Hermine Marshall Rebecca Martinez Jill Matichak Phyra McCandless & Angelos Kottas Karen & John McGuinn Miles & Mary Ellen McKey Toby Mickelson & Donald Brody Roger & Satomi Miles Gregory Miller John & Katrina Miottel Andy & June Monach Scott Montgomery & Marc Rand Judith & Richard Oken
Janet Ostler Gerane Wharton Park Bob & MaryJane Pauley Tom & Kathy Pendleton Gladys Perez-Mendez Jonathan & Hillary Reinis Bill Reuter & Ruth Major James & Maxine Risley John & Jody Roberts Deborah Romer & William Tucker Boyard & Anne Rowe Enid & Alan Rubin Dace P. Rutland Mitzi Sales & John Argue Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Stephen C. Schaefer Jackie & Paul Schaeffer Joyce & Jim Schnobrich Stephen Schoen & Margot Fraser Amrita Singhal & Michael Tubach Kae Skeels Sherry & David Smith Stephen & Cindy Snow Stephen Stublarec & Debra S. Belaga Andrew & Jody Taylor Deborah Taylor Alison Teeman & Michael Yovino-Young Susan & David Terris Ama Torrance & David Davies Buddy & Jodi Warner Jonathan & Kiyo Weiss Beth Weissman Jeffrey A. White Grace Williams Patricia & Jeffrey Williams Steven Winkel & Barbara Sahm Charles & Nancy Wolfram Jane Zuercher
2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 3 3
con t r i bu tor s donors to the annual fund pl ay w ri g h t s $ 1,0 0 0 –1, 49 9
Anonymous (5) · Donald & Margaret Alter · David Beery & Norman Abramson · Juli Betwee · Dr. & Mrs. Gerald & Carol Block · Jennifer & Brad Bowers · Maria Cardamone · Paula Carrell · Paula Champagne & David Watson · Naveen Chandra · Ed & Lisa Chilton · Richard & Linnea Christiani · Constance Crawford · Barbara & Tim Daniels M K · Ann Doerr · Corinne & Mike Doyle · David & Monika Eisenbud · Cary and Helen FitzGerald · Thomas & Sharon Francis · Christopher R. Frostad M · Phyllis & Eugene Gottfried · Geoffrey & Marin-Shawn Haynes · Gareth & Ruth Hill · Elaine Hitchcock · Bill Hofmann & Robbie Welling · Paula Hughmanick & Steven Berger · Lynda & Dr. J. Pearce Hurley · Harold & Lyn Isbell · Helmut H. Kapczynski & Colleen Neff · William & Adair Langston · Andrew M. Leavitt & Catherine C. Lewis · Eileen & Jay Love · Laurentius Marais & Susan Hendrie-Marais · Larry & Corinne Marcus · John E. Matthews · Erin McCune & Nicholas Virene · John G. McGehee · Kirk McKusick & Eric Allman · Dan Miller · Patricia Motzkin & Richard Feldman K · Margo Murray · Herbert & Sondra Napell K · Claire Noonan & Peter Landsberger · Steve Olsen · Richard Ostreicher & Robert Sleasman · Judy O’Young, MD & Gregg Hauser · Ken & Dorothy Paige · Stephen
E. Palmer · David & Julieta Peterson · Susie & Eric Poncelet · Lucas Reiner & Maud Winchester · Susan Rosin & Brian Bock · Randee & Joseph Seiger · Neal Shorstein, MD & Christopher Doane · Kim Silva · George & Camilla Smith · Annie Stenzel · Tim Stevenson & David Lincoln King · Nancy & Fred Teichert · Pate & Judy Thomson · Lee Yearley & Sally Gressens · Stan Zaks K · The Zeiger Family
ac to r s $5 0 0 – 9 9 9
Anonymous (19) · Bob & Evelyn Apte · Steven & Barbara Aumer-Vail · David Balabanian · Barbara Jones Bambara & Massey J. Bambara · Leslie & Jack Batson · Don & Gerry Beers · Jonathan Berk & Rebecca Schwartz · Robert Berman & Jane Ginsburg · Steve Bischoff · Dr. Kevin & Mrs. Riva Bobrowsky · Claudia Bravo & Alan R. Silverman · Marilyn Bray · Ellen S. Buchen · Rike & Klaus Burmeister · Robert & Janet Campbell M · Robert & Margaret Cant · Ronnie Caplane · Charles & Kristine Cardall · Bruce Carlton · Patty Chin · Dennis Cohen & Deborah Robison · Blair & Robert Cooter · Copley Crosby · Teri Cullen · James Cuthbertson · Robert & Loni Dantzler · Pat & Steve Davis · Francine & Beppe Di Palma · Dan Dougherty · Drs. Nancy Ebbert & Adam Rochmes · Jeanene E. Ebert M · Anita C. Eblé ·
M e mor i a l a n d T r i bu t e G i f t s The following members of the Berkeley Rep community made gifts in memory and in honor of friends, colleagues, and loved ones from November 2011 to December 2012. Anonymous, in honor of the Fritz Family Anonymous, in honor of Julie & Patrick Kennedy Anonymous, in memory of Kathy Scudder Pat Angell, in memory of Gene Angell Jeffrey Bornstein, in honor of Kerry Francis Jane Buerger, in memory of Judith A. Schmitz
Burton Peek Edwards & Lynne Dal Poggetto · Michael Ehrenzweig · Cele & Paul Eldering M · Roger & Jane Emanuel · Bill & Susan Epstein · Gini Erck & David Petta · Barbara & Marty Fishman · Stephen Follansbee & Richard Wolitz · Nancy H. Francis · Donald & Dava Freed · Dorothy & Chuck Garber M · Paul Gill & Stephanie D’Arnall · Judith & Alex Glass · Bonnie Goldsmith & Allan Griffin · Ian M. Goldstein M · Robert Goldstein & Anna Mantell · Rob & Susie Goodin · Sheldon & Judy Greene · Dan & Linda Guerra · Harriet Hamlin · Kate Hartley & Mike Kass · Woof Kurtzman & Liz Hertz · Joe Hartzog · Richard L. Hay · Irene & Robert Hepps · Dixie Hersh K · John & Elise Holmgren M · Rosalie Holtz · Leonard & Flora Isaacson · Mr. & Mrs. Edwin Ives · Ken & Judith Johnson · Barbara E. Jones · Ken Katen · Seymour Kaufman & Kerstin Edgerton · Dennis Kaump · Steve Kispersky · Carla Koren & Neal Parish · Jennifer Kuenster & George Miers · John Leys · Ray Lifchez · Mary A. Mackey · Bruce & Pamela Maigatter · Joan & Roger Mann · Helen Marcus & David Williamson · Josephine Maxon & Karl Ruppenthal M · Nancy McCormick · Marie S. McEnnis · Christopher McKenzie & Manuela Albuquerque · Leslie Mesones · Caryl & Peter Mezey · Harrison Miller & Clare McCamy · Rita Moreno · Barbara Morgan · Juliet Moser · Jerry Mosher · Moule
Gary & Diana Cramer, in memory of Doris Titus Anita & Herbert Danielsen, in honor of Sara E. Danielsen & Sean M. Tarrant Robert Engel, in memory of Natalie Seglin David & Eileen Fink, in honor of Rachel Fink Cynthia Fleury, In memory of Tyrone Collins Suzanne & Richard Gerson, in memory of Richard Heggie Richard & Sylvia Hammond, in honor of Leo Blitz & Family Ruth Hennigar, in memory of Emerson Hennigar Carol & Tony Henning, in honor of Paul A. Henning Juraj & Elisabeth Hostynek, in honor of Andrej Hostynek Barbara E. Jones in memory of William E. Jones Judi and Buz Kanter, in honor of Susie Medak and Marge Randolph Debie Krueger, in memory of Alex Maffei Nadine Levin & Family, in honor of Judy Belk’s Bitrthday Lisa Loef, in honor of Scott Haber Joanne Medak, in honor of Susan Medak Carrol Mills, in memory of Stan Eremia
3 4 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
Family Fund · Ron Nakayama · Jeanne E. Newman · Pier & Barbara Oddone · Judith Ogle · Robyn & David Owen M · Nancy Park · Barbara Peterson · James F. Pine M · Wil & Joyce Pinney · Charles Pollack & Joanna Cooper · Paul Popenoe · Chuck & Kati Quibell · David & Mary Ramos · Ian Reinhard · Charles R. Rice · Paul & Phyllis Robbins · Horacio Rodriguez · Gary Roof & Douglas Light · John Sanger · Dorothy R. Saxe · Barbara & Jerry Schauffler · Laurel Scheinman M · Bob & Gloria Schiller · Paul Schneider K · Mark Schoenrock & Claudia Fenelon · Teddy & Bruce Schwab · Brenda Buckhold Shank, M.D., Ph.D. · Mary Shisler K · Steve & Susan Shortell · Mark Shusterman, M.D. · Dave & Lori Simpson · Jerry & Dick Smallwood · Sigrid Snider · Dr. Scott & Mrs. Alice So K · Louis & Bonnie Spiesberger · Dr. Suzy J. Spradlin K · Robert & Naomi Stamper · Lynn M. & A. Justin Sterling · Rocky & Gretchen Stone · Monroe W. Strickberger · Tracy Thompson · Karen Tiedemann & Geoff Piller · Marsha Van Broek K · Deborah & Bob Van Nest · Gerald & Ruth Vurek · Louise & Larry Walker · Wendy Ward · Dena & Wayne Watson-Lamprey · Carmi Weininger · Sallie Weissinger · Dr. Ben & Mrs. Carolyn Werner · Fred Winslow & Barbara Baratta · Susan & Harvey Wittenberg · George & Kathy Wolf · Kent Wright K · Margaret Wu & Ciara Cox
Geri Monheimer, in memory of David Robinson Susan Montauk, in memory of Clare Montauk David Pasta, in memory of Gloria Guth Lise Pearlman, in memory of Amalia Pearlman Elizabeth & Ted Peña, in honor of Oscar Peña, with thanks to Ben Hanna Laurel Przybylski, in memory of Maryann Herber Lois & Dan Purkett, in honor of Merton Johnson & Mary Rowe M Karen Racanelli, in memory of Martin Sosin Phyllis & Steve Reinstein, in honor of Laurie Barnes Mr. & Mrs. Leonard Rosenberg, in honor of Sherry & Scott Haber Anne Sanger-Kuvmicky, in memory of Pauline & Willie Sanger Veronica Schwalbach, in memory of Catherine Day Janet Sovin, in memory of Flora Roberts Debbie & Bob Sternbach, in honor of Sally Smith Alisa Sudgen, in memoriam of my father WRITE CLUB San Francisco, in honor of Steven Westdahl The Zeiger Family, in memory of Phyllis Sagle
We gratefully recognize the following members of the Annual Fund whose contributions were received in November and December 2012. S u pp o r te r s $ 2 5 0 –49 9
Anonymous (4) · Gertrude & Robert Allen · Todd & Diane Baker · Genie Barry & Jido Cooper · Mary Ann & Len Benson · Arthur & Jane Bergen · Alex Byron & Nicole Maguire · Stan & Stephanie Casper · Karen Clayton · Michael & Sheila Cooper · Susan English & Michael Kalkstein · Kate & Ted Freeland · Dr. Garwood Gee & Ms. Kathleen Fong · Arlene Getz · Mitchell Gitin · Paul Goldstein & Dena Mossar · Diana Graham & Jack Zimmermann · Bonnie & Sy Grossman · Dorothy & Michael Herman · Terry Huggins · Sally Ann Kay · Ken & Karen Keller · Bertram Lubin & Vivian Scharlach · Robert & Dorothy Mack · Dr. Steven McGlocklin · Alison McLean · Joyce Hardy & Gloria Mikuls · Barbara Morgan · Brian & Britt-Marie Morris · James F. Pine · Fred & Susan Pownall · Kathleen Quenneville · Chuck & Kati Quibell · Linda Schurer · Greg & Mary Tarczynski · Ilene S. Weinreb · William R. Weir
Co n trib u to r s $ 15 0 –2 49
Anonymous (3) · Joanne & Fred Abrams · Ann Bauman · Cynthia & David Bogolub · Esta Brand · Alice Breakstone & Debbie Goldberg · Sandra Briggs · Mike & Pam Crane · Gail DeBoer · Meredith & Harry Endsley · Michael & Sabina Frank · Kevin Gahagan · Nancy A. Goolsby · Bill & Chris Green · Cecille & Alex Gunst · Mary & George Hake M · Donna Harris & Lyla Cromer · Bruce & Donna Hartman M · Fran Hildebrand · Dennis J. Hock · Margaret Kendall · Carl & Ellie Kinczel · Larry & Ruth Kurmel · Wesley H. Lisker & Abby L. Cohn · David McElroy & Kathryn Morrison M · Joyce McKinney · Steve Merlo · Jeff Miner · Linda L. Murray & Carl Schemmerling · Charles Olson & Yoko Watanabe · Bob & Toni
Peckham · Dr. Peggy Radel & Joel Myerson · Carol A. Savary and George Koster · Esther & Ron Schroeder · Richard & Darlene Smith · Audrey & Bob Sockolov · Douglas Sovern · Mervyn Stein · Beverly Stevens · Carol Verity · Arthur & Susan Walenta · Barry & Bonnie Willdorf · Ann Willoughby · Sandra Yuen & Lawrence Shore
Frie n d s $ 75 –149
Anonymous (15) · Edward Abeleven · Elisabeth Andreason · Nina Aoni · Clara Arakaki · Jill Armbrust · Lisa Bailey · Beverly Ballard · Alice Bartholomew · Brooke Battles · Betty Bell-Amarant · Sally Benjamin · Barbara Benware · David & Pamela Bluhm · Robin & Edward Blum · Bertel Borowsky · Peter & Jean Bradshaw · Barbara & Ray Breslau · Steve Brody · Hans Bruhn · Robert Brush & Joanne Sprague · Barbara Burg · Ted Burton · Alice Butler · Lawrence & Marilyn Capitelli · Monica Cappuccini · Curt Chamberlain · Colston Chandler · Yvonne Chong · Amy Chung · Pat Chun-Spielberg · Ina Clark · Gene & Ann Clements · Sharon Cohen · Earl Crispell · Kerry & Lynn Curtis · Judy Derman & Richard Berger · Ellen Dietschy & Alan Cunningham · Earl Diskin · Thomas Dunscombe · John Eckmann · Caroline Erickson · Terry Faria · Stephanie Flaniken · Marilyn Foreman · Sarah Forni and Tony Cartlidge · Christie Fraser · Mary & Douglas Fraser · Teresa B. Gerringer · Marlyn Gershuny · Kathleen Gesley · Mr. & Mrs. Jay Ghatge · Susan Girard · Helene Good · Dan Grace · Roger Guy-Bray · Debra Hara & Arthur Lee · Pat Harding · Austin & Lynne Henderson · Mary Kay Henderson · Carole S. Hickman · Gayl & Harlan Hirschfeld · Elizabeth Hodder · Neal & Charlotte Huntley · Lynda & Dr. J. Pearce Hurley · Sandra Iwamoto · Ken Jaffee · Marilyn Jensen-Akula · Oona Johnson and Christopher Keith · Kristen Jones · Harlan & Pearl Kann · Mark Kannett & Sandy Cohn · Doris Kinsley · Neil & Peggy Kostick · Maria & David Laforge · Anonymous · Harris Lavine · Joan & Gary Lawrence · Trudy & Rolf Lesem · Elizabeth S. Lindgren-Young & Robert Young · Annette C. Lipkin · Marina Martin · Andrew & Louise Massie · Paul & Claire Maxwell · Susan Mayfield · Jim McDonald & Myrna David · Susan Messina · David & Judy Miller · Carrol Mills · Fran &
Sustaining members as of December 2012:
The Society welcomes the following new members: M. Laina Dicker Pam & Mitch Nichter
Anonymous (4) Sam Ambler Carl W. Arnoult & Aurora Pan Ken & Joni Avery Nancy Axelrod Edith Barschi Carole B. Berg Linda Brandenburger Jill Bryans Bruce Carlton & Richard G. McCall Stephen K. Cassidy Andrew Daly & Jody Taylor Rich & Robin Edwards William Espey & Margaret Hart Edwards Carol & John Field Dr. Stephen E. Follansbee & Dr. Richard A. Wolitz
David Mog · Willie & Sally Moore · Louise Morgan · Dennis & Susan Moritz · Hercules Morphopoulos · Norman & Eleanor Moscow · Ethel Mussen · Steven J. O’Donnell · Gene & Helen Oliver · Megan O’Reilly-Lewis · Stephen E. Palmer · Ellie D. Patterson · Barbara Peterson · Wendy Peterson · Timothy & Marilyn Potter · Phyllis Pottish-Lewis & Adam Lewis · Josephine Rand · Bruce & Joan Roberts · Jeff & Ann Roberts · Marjorie Roth · L. M. Rubinoff · Herminia S. Sayre · Peter Schmitz · Peter Schultz · Dr. & Mrs. Gary Shrago · Annie Stenzel · Clinton Simpson III · Sylvie & Michael Sullivan · Marge Sussman & Cindy Shamban · Donald & Susan Swartz · Clif & Jane Taylor · Michael Taylor · David J. Thomas · Carol Thompson · Diane Tokugawa & Alan Gould · Emma Lee & Gary Twitchell · Richard & Virginia Van Druten · Robin Voet & Carol Ellen · Jan O. Washburn · Michael Watts · Donna & Stewart Weinberg · Cliff Weingus & Mary Callahan · Heather West · Dick & Beany Wezelman · Karen Wickre · Oliver Williamson · Sharon Wilson · Stephen Wong · Barbara Yoder · Donna & Clifford Yokomizo · Alberto Zacarias · Leslie Zander · Sheldon & Marti Zedeck
Pat ro n s $ 1 –74
Anonymous (13) · Tarliena Aamir-Balinton · Laraine Allen · Jeff & Haleene Altmann · Barbara R. Anderson · Courtney Anderson · Jeff Angell & Joan King-Angell · Paul Axelrod · Lauren K. Beal · Francine Beall · Audrey M. Berger · Roy C. Bergstrom · Xanthe Berry · Judi R. Berzon · Millard Billings · Elaine Binger · Carol Bledsoe & William Pursley · Angela Bortugno · Edward Boscacci · Ellen Y. Bozzo · Mr. & Mrs. William Brinner · Brenda Ann Brosnahan · Hilary Brown · Sally Ann Buchmann · Elena Burgess · Jean Burke · Ann Butcher · Linda Cain · Laura Call · Barbara Cannella · Civiane Chung · Rebecca Clark · Beth Cohen · Lora Condon · Mary & Matthew Connors · Suzanna Cortes · Susan Cox · Csilla Csipak · Lewis & Paulette Dauber M · Ruth Dewhirst · John Dobleman · Karen & David Dolder · Arthur Dreshfield · Inna Dubchak · Susan G. Duncan K · Selena Ellis · Sue J. Estey · Jeremey J. Evnine · Marna & Phil Eyring · Christa Fairfield · Margaret Fox · Dick Friedman · Sam & Joan Fromowitz · Sandra
Kerry Francis Dr. Harvey & Deana Freedman Paul T. Friedman Laura K. Fujii Marjorie Ginsburg & Howard Slyter Mary & Nicholas Graves Elizabeth Greene Richard & Lois Halliday Linda & Bob Harris Fred Hartwick Douglas J. Hill Hoskins/Frame Family Trust Robin C. Johnson Lynn Eve Komaromi Bonnie McPherson Killip Scott & Kathy Law Zandra Faye LeDuff Ines R. Lewandowitz Dot Lofstrom
Gariffo · Kathleen Gee · Steven Gotanda · Peter Gradjansky & Laura Natking · Ann Green · Judy Grossman · Donna M. Guenther, MD · Barbara Hadenfeldt · Katherine Hamel · Mr. Monte Hartman · Brendan Hay and Jennifer Chen · Jennifer Hemmer · Jocelynn Herrick Stone & Rick Stone · Darlene Hobie · Denise Hodges · Barry Hovis · Karen Hui · Linda Inman-Hoffert · Jarrell Irvin · Ronald & Karen Jew · Renate Kay · Gary Kelson · Max Kirkeberg · Wayne Kissinger · Veronica Kleinberg · Karin & Richard Kleiner · Yvonne S. Klitsner · Cheryl Kojina & Kevin McNair · Mary Sue & Dennis Kuzak · Stephen Laruccia · Angela Lau · Elaine Lee · Evelyn Lee & David Izu · Adam H. Lehman · Doris Leiber · Harold & Gloria Leitstein · Barbara Leopold · James Leventhal & Karen Klier · George & Debra Lewinski · Shirlee Loret · Barbara Lustig · Diana Lyster · Martin Maaloumi · Maria C. MacHatton · Susan MacLeod · Joe & Joanne Magruder · Gary Malazian · Elaine Marlow · Julianne Maurseth · Joan McCauley · Barbara McDaniel · Brian McRee · Steven Medbery · Mayka Mei · Harriett Michael · Heidi C. Mock · Joshua Mogal · Mehdi Morshed · Mr. & Mrs. James Nelson · Nadine Nemec · Dr. & Mrs. Ernest Newbrun · Sigrid K. Nicholas · Stephen & Karen Nicholls · Susan Obayashi · Messrs Oman & Crummer · Richard Page & Susan Audep-Page · Robert & Audrey Pedrin · Claudette & Don Peterson · Mallory Pierce · Kathryn Pirman · Dawn ShifreenPomerantz · Stephen Popper & Elizabeth Joyce · Sarah Powell · Estelle Raderman · Dr. William E. Rhea · Mr. & Mrs. Truitt A. Richey · Myrna & Leon Rochester · Mary Rodocker · George Schmidt · Jean & Alan Schoenfeld · Roberta Sears · Irwin & Annette Shapiro · Lyrinda Snyderman · Anthony & Carol Somkin · Marilyn and Jerry South · Rhonda Spencer · Dr. & Mrs. Gary Stein · Ruth & David Stronach · John Takeuchi · Sandy Tandowsky · Emiko Tom · Shirley R. Trimble · Paula E. Tschida · Daniel & Janis Tuerk · Mary Urry · Leslie Van Raalte · Grace Wahlberg · Edwin & Ellen Whitman · Lois Whitney · Ruth Winkler · Danita Yocom
Dale & Don Marshall Sumner & Hermine Marshall Rebecca Martinez Suzanne & Charles McCulloch Miles & Mary Ellen McKey Susan Medak & Greg Murphy Toni Mester Sharon Ott Amy Pearl Parodi Barbara Peterson Margaret Phillips Marjorie Randolph Bonnie Ring Living Trust Patricia Sakai & Richard Shapiro Betty & Jack Schafer Brenda Buckhold Shank, M.D., Ph.D. Michael & Sue Steinberg Karen Stevenson Dr. Douglas & Anne Stewart
Jean Strunsky Phillip & Melody Trapp Janis Kate Turner Dorothy Walker Grace Williams Karen & Henry Work Martin & Margaret Zankel
Gifts received by Berkeley Rep: Estate of Suzanne Adams Estate of Fritzi Benesch Estate of Nelly Berteaux Estate of Nancy Croley Estate of John E. & Helen A. Manning Estate of Richard Markell Estate of Margaret Purvine Estate of Peter Sloss Estate of Harry Weininger
Members of this Society, which is named in honor of Founding Director Michael W. Leibert, have designated Berkeley Rep in their estate plans. Unless the donor specifies otherwise, planned gifts become a part of Berkeley Rep’s endowment, where they will provide the financial stability that enables Berkeley Rep to maintain the highest standards of artistic excellence, support new work, and serve the community with innovative education and outreach programs, year after year, in perpetuity. For more information on becoming a member, visit our website at berkeleyrep.org or contact Daria Hepps at 510 647-2904 or email@example.com.
We are pleased to recognize first-time donors to Berkeley Rep, whose names appear in italics. 2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 35
a bou t be r k e l e y r e p staff and affiliations Artistic Director Tony Taccone
Managing Director Susan Medak
General Manager Karen Racanelli
a r t i s t ic Artistic Associate & Casting Director Amy Potozkin Artistic Associate Mina Morita Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Associate Julie McCormick Theatre Communications Group/ Visiting Artistic Associate Maureen Towey Artists under Commission David Adjmi Glen Berger Marcus Gardley Tarell McCraney Dominic Orlando KJ Sanchez
costumes Costume Director Maggi Yule Draper Kitty Muntzel Tailor Kathy Kellner Griffith First Hand Janet Conery Wardrobe Supervisor Barbara Blair Assistant Costume Designer Amy Bobeda
pat ron s e r v ic e s Patron Services Manager Katrena Jackson House Manager Debra Selman Assistant House Managers Natalie Bulkley · Octavia Driscoll · Aleta George · Michael Grunwald · Ayanna Makalani · Kyle Sircus Concessionaires Leah Barish · Tim Bruno · Natalie Bulkley · Ashley Cleveland · Elena Cohen · Mariko Conner · Emily Fassler · Alex Friedman · Stephanie Graham · Wendi Gross · Emily Hartman · Mary Kay Hickox · Champagne Hughes · Kimberly “Mik” Jew · Maria Jimenez · Anya Kazimierski · Devon LaBelle · Hannah Lennett · Margot Leonard · Jamie McClave · Vita O’Shea · Camille Prado · Jacob Marx Rice · Benjamin Sandberg · Elena Sanders · Amanda Spector · Andrew Susskind · Read Tuddenham · Nancy Villatoro · Ann Vollrath · Amanda Warner Usher Coordinators Nelson & Marilyn Goodman
p roduc t ion Production Manager Tom Pearl 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 Kimberly Mark Webb Leslie M. Radin Karen Szpaller Production Assistants Whitney G. Krause Megan McClintock Amanda Warner s tag e op e r at ion s Stage Supervisor Julia Englehorn p rop e r t i e s Properties Manager ashley dawn Assistant Properties Managers Gretta Grazier Jillian A. Green s c e n e s hop Technical Director Jim Smith Assistant Technical Director Colin Babcock Shop Foreman Sam McKnight Carpenters E.T. Hazzard Jamaica Montgomery-Glenn s c e n ic a r t Charge Scenic Artist Lisa Lázár
e l e c t r ic s Master Electrician Frederick C. Geffken Production Electricians Christine Cochrane Kenneth Coté s ou n d Sound Supervisor James Ballen Sound Engineer Angela Don a dm i n i s t r at ion Controller Suzanne Pettigrew Director of Technology Gustav Davila Associate Managing Director/ Manager, The Ground Floor Karena Fiorenza Ingersoll Executive Assistant Andrew Susskind Bookkeeper Kristine Taylor Associate General Manager/ Human Resources Manager David Lorenc Human Resources Consultant Laurel Leichter Database Manager Diana Amezquita de v e l opm e n t Director of Development Lynn Eve Komaromi Associate Director of Development Daria Hepps Director of Individual Giving Laura Fichtenberg Senior Campaign Manager Amber Jo Manuel Institutional Grants Manager Bethany Herron Special Events Manager Lily Yang Development Database Coordinator Jane Voytek Development Associate Beryl Baker
3 6 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
b ox off ic e Ticket Services Director Christine Bond Subscription Manager & Associate Sales Manager Laurie Barnes Box Office Supervisor Terry Goulette Box Office Agents Destiny Askin · Rae Bittle · Christina Cone · Luisa Frasconi · Sherice Jones · Eliza Oakley · Tom Toro · Amanda Warner m a r k e t i ng & c om m u n ic at ion s Director of Marketing & Communications Robert Sweibel Director of Public Relations / Associate Director of Marketing & Communications Terence Keane Art Director Cheshire Isaacs Video & Multimedia Producer Pauline Luppert Communications Manager Karen McKevitt Marketing Manager Kyle Sircus Audience Development Manager Sarah Nowicki Webmaster Christina Cone Program Advertising Ellen Felker
op e r at ion s Facilities Director Emiel Koehler Facilities Coordinator Lauren Shorofsky Building Engineer Thomas Tran Maintenance Technician Johnny Van Chang Facilities Assistants Kevin Barry Sonny Hudson Sophie Li Carlos Mendoza berkeley rep s c ho ol of t h e at r e Director of the School of Theatre Rachel L. Fink Associate Director MaryBeth Cavanaugh Jan & Howard Oringer Outreach Coordinator Dave Maier Community Programs Manager Benjamin Hanna School Administrator Cassie Newman Registrar Katie Riemann Faculty Cynthia Bassham · Jeffrey Bihr · Erica Blue · Rebecca Castelli · Sally Clawson · Laura Derry · Deborah Eubanks · Rachel Fink · Christine Germain · Nancy Gold · Gary Graves · Marvin Greene · Ben Hanna · Chrissy Hoffman · Aaron Jessup · Ken Kelleher · Will Klundt · Devon LaBelle · Julian Lopez-Morillas · Laura Lowry · Dave Maier · Patricia Miller · Michael Navarra · Madeleine Oldham · Slater Penney · Diane Rachel · Elyse Shafarman · Rebecca Stockley · Bruce Williams Outreach Teaching Artists Michael Barr · Mariah Castle · Sylvia Hathaway · Gendell HingHernandez · Ben Johnson · Hannah Lennett · Marilet Martinez · Sarita Ocon · Carla Pantoja · Lexie Papedo · Patrick Russell · Tommy Shepherd · Reggie White · Elena Wright Teacher Advisory Council Molly Aaronson-Gelb · Julie Boe · Amy Crawford · Beth Daly · Jan Hunter · Marianne Philipp · Richard Silberg · John Warren · Jordan Winer Docent Committee Thalia Dorwick, Chair Matty Bloom, Co-Chair Charlotte Martinelli, Co-Chair The Wild Bride Docents Thalia Dorwick, Lead Docent Matty Bloom Jean Holmes Joy Lancaster
201 2–1 3 B e r k e l e y R e p F e l l ow s h i p s Company/Theatre Management Fellow Leah Barish Costume Fellow Timothy Bruno Development Fellow Jamie McClave Education Fellows Ashley Cleveland Amanda Spector Graphic Design Fellow Mary Kay Hickox Harry Weininger Sound Fellow Emily Fassler Lighting / Electrics Fellow Anthony Jannuzzi Marketing & Communications Fellow Jacob Marx Rice Peter F. Sloss Literary/ Dramaturgy Fellow Nora Sørena Casey Production Management Fellow Read Tuddenham Properties Fellow Ann Vollrath Scenic Construction Fellow Ali Dineen Stage Management Fellow Rachel London
Affiliations The director and choreographer are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union. The Scenic, Costume, Lighting, and Sound Designers in lort Theatres are represented by United Scenic Artists Local usa-829, iatse.
boa r d of t ru st e e s Marjorie Randolph
B oa r d M e m b e r s
Pre s id e n t
Thalia Dorwick, PhD
e xecu tiv e vi ce Pre s id e n t
Vi ce Pre s id e n t
Richard Shapiro Vi ce Pre s id e n t
Emily Shanks Tre a s u r e r
Scott R. Haber S ecre ta ry
Roger A. Strauch
Ch air , T ru s te e s Co m m it t e e
Ch air , Au d it co m m it t e e
Pa s t Pre s id e n t s
Helen C. Barber A. George Battle Carole B. Berg Robert W. Burt Shih-Tso Chen Narsai M. David Nicholas M. Graves Richard F. Hoskins Jean Knox Robert M. Oliver Harlan M. Richter Richard A. Rubin Edwin C. Shiver Roger A. Strauch Warren Widener Martin Zankel
Carrie Avery Steve Buster Martha Ehmann Conte Robin Edwards William T. Espey William Falik Lisa Finer David Fleishhacker Kerry L. Francis Paul T. Friedman Jill Fugaro David Hoffman, PhD Carole S. Krumland Dale Rogers Marshall Julie M. McCray Susan Medak Jack Schafer Jean Z. Strunsky Tony Taccone Gail Wagner
REPRESENTING THE FINEST EAST BAY HOMES
Berkeley ◆ Kensington El Cerrito ◆ Albany Piedmont ◆ Oakland
S u s tain in g a dvi s o r s
Carole B. Berg Rena Bransten Stephen K. Cassidy Diana J. Cohen John Field Nicholas M. Graves Richard F. Hoskins Sandra R. McCandless Dugan Moore Pat Rougeau Patricia Sakai Michael Steinberg Michael Strunsky Felicia Woytak Martin Zankel
The GRUBB Co. R E A L T O R S
Founding Director Michael W. Leibert Producing Director, 1968–83
2 0 1 2– 1 3 · special issue · t h e b e r k e l e y r e p m ag a z i n e · 3 7
F YI Latecomers
Please arrive on time. There is no late seating, except at the discretion of the house manager.
Connect with us online!
Visit our website berkeleyrep.org You can buy tickets and plan your visit, read our blog, watch video, sign up for classes, donate to the Theatre, and explore Berkeley Rep.
Emergency exits Please note the nearest exit. In an emergency, walk—do not run —to the nearest exit. Accessibility Both theatres offer wheelchair seating and special services for those with vision- or hearing-impairment. Infrared listening devices are available at no charge in both theatre lobbies. Audio descriptions are available in the box office; please request these materials at least two days in advance of your performance date.
No food or glassware in the house Beverages in cans, bottles, or cups with lids are allowed. Please keep perfume to a minimum Many patrons are sensitive to the use of perfumes and other scents. Recycle and compost your waste Help us be more green by using the recycling and compost containers found throughout the Theatre. Phones / electronics / recordings Please make sure your cell phone, pager, or watch alarm will not beep. Doctors may check pagers with the house manager and give seat location for messages. Use of recording equipment or taking of photographs in the theatre is strictly prohibited. Please do not touch the set or props You are welcome to take a closer look at the set, but please don’t step onto the stage. Some of the props can be fragile, and are placed precisely. No children under 7 Many Berkeley Rep productions are unsuitable for young children. Please inquire before bringing children to the Theatre. No babes in arms.
facebook.com/ berkeleyrep @berkeleyrep
foursquare.com/ berkeleyrep yelp.com/ berkeleyrep
We’re mobile! Download our free iPhone or Google Play app — or visit our mobile site —to buy tickets, read the buzz, watch video, and plan your visit. Android
Tickets/box office Box office hours: noon–7pm, Tue–Sun Call 510 647-2949 Click berkeleyrep.org anytime Fax: 510 647-2975 Under 30? Half-price advance tickets! For anyone under the age of 30, based on availability. Proof of age required. Some restrictions apply. Senior/student rush Full-time students and seniors 65+ save $10 on sections A and B. One ticket per ID, one hour before showtime. Proof of eligibility required. Subject to availability. Group tickets Bring 10-14 people and save $5 per ticket; bring 15 or more and save 20%. And we waive the service charge. Entourage tickets If you can bring at least 10 people, we’ll give you a code for 20% off tickets to up to five performance dates. Learn more at berkeleyrep.org/entourage. Student matinee Tickets are just $10 each. Learn more at berkeleyrep.org/studentmatinees. For group, Entourage, and student matinee tickets, please call us at 510 647-2918. Sorry, we can’t give refunds or offer retroactive discounts.
Educators Bring Berkeley Rep to your school! Call the School of Theatre at 510 647-2972 for information about free and low-cost workshops for elementary, middle, and high schools. Call Cari Turley at 510 647-2918 for $10 student-matinee tickets. Call the box office at 510 647-2949 for information on discounted subscriptions for preschool and K–12 educators.
Theatre store Berkeley Rep merchandise and show-related books are available in the Hoag Theatre Store in the Roda Theatre and our kiosk in the Thrust Stage lobby.
Theatre maps stage
t h ru s t
Only subscribers may exchange their tickets for another performance of the same show. Exchanges can be made online until midnight (or 7pm by phone) the day preceding the scheduled performance. Exchanges are made on a seat-available basis.
Request information To request mailings or change your address, write to Berkeley Rep, 2025 Addison Street, Berkeley, CA 94704; call 510 647‑2949; email firstname.lastname@example.org; or click berkeleyrep.org/joinourlist. If you use Gmail, Yahoo, or other online email accounts, please authorize patronreply@ berkeleyrep.org.
3 8 · t h e b e r k e l e y r e p m ag a z i n e · 2 0 1 2– 1 3 · special issue
• premium • a • b stage
• premium • a • b stage
leave a little different
Itâ&#x20AC;&#x2122;s ambitious, but weâ&#x20AC;&#x2122;re trying to change the world, one play at a time. To help, visit berkeleyrep.org/consider
Ja n ua ry 26— J u n e 2, 2013 Vermeer’s enigmatic Girl with a Pearl Earring has intrigued art lovers for centuries. See this masterpiece and more than 30 others by artists of the Dutch Golden Age—including Rembrandt, Hals, and Steen. Don’t miss Rembrandt’s Century, a companion exhibition featuring more than 200 rarely seen prints and drawings of the same era. Organized by the Fine Arts Museums of San Francisco with gratitude for exceptional loans from the collection of the Mauritshuis, The Hague. Major Patrons, Penny and James George Coulter, David Davies and Jack Weeden, Cynthia Fry Gunn and John A. Gunn, and J. Burgess and Elizabeth B. Jamieson. Opening Week Major Patron, Diane B. Wilsey. Major Sponsor, The Bernard Osher Foundation. Additional support provided by The Selz Foundation, Inc., The Richard C. von Hess Foundation, Phoebe Cowles and Robert Girard, and The Netherland-America Foundation. Media Sponsors
Johannes Vermeer, Girl with a Pearl Earring (detail), ca. 1665. Oil on canvas. Royal Picture Gallery Mauritshuis, The Hague, Bequest of Arnoldus des Tombe, 1903 (inv. no. 670)