Berkeley Rep: Vanya and Sonia and Masha and Spike

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Find your funny bone 10 · Five questions for Sharon Lockwood 22 · The program for Vanya and Sonia and Masha and Spike 25


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A letter from the artistic director · 5

Foundation, corporate, and in-kind sponsors · 35

A letter from the managing director · 7

Individual donors to the Annual Fund · 36 Michael Leibert Society · 38


Memorial and tribute gifts · 39

R E P ORT Sneak peek: The Pianist of Willesden Lane · 9 Find your funny bone · 10


Getting #social with the Theatre · 12

Staff and affiliations · 40

16 plays of summer: Artists create new work from the ground up · 13

Board of trustees and sustaining advisors · 41

Welcoming Liesl: Berkeley Rep announces a new member of our artistic team · 15 13

Words into type: Berkeley Rep launches new accessibility program · 16 While you were on summer vacation… · 17

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

F E AT U R E S Epic storytelling and rock ’n roll: A conversation with Richard E.T. White · 18 22

Five questions for Sharon Lockwood · 22

T H E B E R K E L E Y R E P M AG A Z I N E 201 3 –14 · I S S U E 1 The Berkeley Rep Magazine is published at least seven times per season.

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Ticket packages start at $25 per play!

Mona Golabek in

The Pianist of Willesden Lane

Tristan & Yseult Photo courtesy of the Geffen Playhouse

Andrew Durand and Patrycja Kujawska (photo by Steve Tanner)

“Steven Epp is a hoot and a half.” —s A n J o s e m ercu ry n e w s

World Premiere

The House that will not Stand

Accidental Death of an Anarchist

Stephen Epp in Figaro (photo by Michal Daniel)

“The best-written, deepest, most daring— and funniest—new play in recent years.”

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PROL OG U E from the Artistic Director

When I think of Christopher Durang’s plays I’m

reminded of my Uncle Pasquale’s funeral. We loved Uncle Pasquale. He was robust as a young man with a huge, infectious laugh. But as he got older, he got weird. His paranoia became the stuff of family legend. During the last 20 years of his life he probably left his house twice. Both times undercover. For years no one saw him. So when the rent-a-priest at his funeral launched into a eulogy describing Uncle Pasquale as a “man of the community,” my siblings and I started to squirm. As the priest went on to portray him as a man who “loved mingling amongst us,” we started kicking each other, and then giggling, finally bursting into wildly inappropriate laughter that mortified my parents and filled us with years of guilt. Christopher Durang understands this kind of uncontrollable laughter. He’s built his career on creating characters that can’t help themselves. However crazy they might be, however extreme their behavior, they are simply acting on their own truth. Durang resists being overly mean towards them. He seeks to reveal their logic rather than simply mock their ridiculousness; and ultimately, he empathizes with the sufferers. For all the wicked satire in his plays, all the darkness that lies underneath the surface of his dramatic situations, he chooses to forgive his characters through laughter. Both the laughter and the forgiveness are on full display in his latest gem: Vanya and Sonia and Masha and Spike. Loosely inspired by the work of Chekhov, this play takes on the modern world with comic relish mingled with a kind of brokenhearted sympathy. The two tones are married together like an odd couple that can’t be untangled from each other. The result is something entirely recognizable and original. To direct this play, it’s a great pleasure to bring back my old friend, Mr. Richard E.T. White. For many years, Richard was a stalwart member of this community (for real, not like my Uncle Pasquale), before he took his talents to Chicago and then Seattle. He reunites with many of his oldest collaborators on this project, as well as some great folks who are new to our Theatre. Together they enter Durang’s unique laboratory, where they get to dissect the comedy and the pathos and make some theatrical magic of their own. It’s a great way to kick off the new season, and we welcome each and every one of you.

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PROL OG U E from the Managing Director

For many, autumn signals the waning of the

year, with the sun setting earlier, children returning to school, and that inevitable hunkering down in anticipation of winter. During this time, squirrels hoard food, and bears store fat. Autumn is when one buckles down to business after the respite of the summer. And yet, for me, autumn has always meant something completely different. It has always signaled the beginning! We’ve spent at least a year talking with artists, assembling teams of creative partners, and constructing performance calendars (then deconstructing and reconstructing them again). Tickets have been sold and budgets approved. Now, we are finally able to close the books on everything that came before and turn our full attention to a new season of performances. The first day of rehearsals for the first production of the season has its own traditions. We assemble the entire staff, many members of our board, and our most deeply committed supporters and volunteers for one grand beginning. When I look at this heady mix of people I am always reminded that what we do here at Berkeley Rep is the result of a somewhat unwieldy, ongoing exercise in collaboration in the service of a larger calling. Our goal, always, is to produce theatre that challenges, enriches, stretches, entertains, and sometimes even confounds our artists and our audience members. Our route to that end varies constantly. Sometimes that means reclaiming a mighty classic; sometimes that means uncovering an emerging creative voice. Berkeley Rep’s task with each play is two-fold: to do whatever we can to give each play and each group of artists every opportunity to be wildly successful, and to give our audiences the tools and resources to fully experience each one of those productions. The first rehearsal for Vanya and Sonia and Masha and Spike was particularly sweet. Welcoming Richard E.T. White, Kent Dorsey, Beaver Bauer, Sharon Lockwood, and Lorri Holt back to Berkeley Rep was deeply gratifying and a bit like a family reunion. Each of them has a history with this company that stretches back to the ’80s. This production is a special opportunity to bring together our veterans as well as some really wonderful actors who will be new to you. That first day in the rehearsal hall with old colleagues and new ones, with staff members who have been with us for 25 years and the new group of fresh-faced Berkeley Rep fellows, was a reminder that we are a company—a family—with a past, a present, and a future. I’m so glad that you have joined us for Christopher Durang’s deliriously fun play and that its humor, its heart, and its intelligence make you glad that you’ve joined us for another beginning. Some of you have been with us since our founding in 1968. Whether you’ve been part of Berkeley Rep for decades or are joining us for the first time tonight, welcome. Welcome to our family. Warmly,


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Susan Medak



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Mona Golabek in The Pianist of Willesden Lane P H OTO BY M I C H A EL L A M O N T

Sneak Peek: The Pianist of Willesden Lane BY BERYL BAKER

“My mother always told me that each piece of music tells a story,”

says Grammy–nominee Mona Golabek. “So she told me the story of her life through the music she loved.” Now Mona shares her mother’s extraordinary story with us. It’s 1938, and Lisa Jura is a young, promising musician in Vienna whose dreams are about to be interrupted by the Nazi regime. Her family has access to one safe passage to England via the Kindertransport, so Lisa is sent away from Vienna, away from her home, and away from her beloved music instructor who had first recognized her unique abilities on the piano. But Lisa’s pursuit of a better life doesn’t end when she reaches England. In this poignant show directed by Hershey Felder (George Gershwin Alone), Mona Golabek performs some of the world’s most beautiful music live—as she relates the real-life legacy of her mother’s quest to survive. Before The Pianist was a play, it was a book that inspired thousands of young musicians around the country. In a 2012 interview with Boston’s npr station, Mona explained, “I dreamed about taking the book and turning it into a theatrical production because I saw the effect of my telling the story to students when the book first came out.” The Pianist of Willesden Lane debuted at the Geffen Playhouse and has since traveled the country with terrific reviews in its wake. “This elegant heartfelt show is an arresting, deeply affecting triumph,” asserts the Los Angeles Times. “A stirring case of art preserving life…” says the Chicago Tribune. “Enough to make your mouth fall open with a certain wonder at the way of the world.”

The Pianist of Willesden Lane begins October 25, and tickets are on sale now. For the best seats and other valuable perks, subscribe to our 2013–14 season. Visit or call 510 647-2949, Tuesday through Sunday, noon to 7pm.

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Find your funny bone BY CASSIE NEWMAN

Joan Mankin teaching Physical Comedy at the School of Theatre P H OTO BY J A R ED OAT E S

As an actor, stepping into a role in a

Christopher Durang play is no easy feat. Durang’s work is “distinctively loopy,” as Ben Brantley at the New York Times has defined it, and making his material resonate requires an innate sense of comedy and the ability to uncover the funny in the layers of absurdism. The ever-pervading question is, can funny be taught? At Berkeley Rep’s School of Theatre, we think the answer is yes! In fact, we think that most people have inherent skills that lend themselves to playing comedy. It’s just a matter of honing those skills and developing them into specific techniques— which you can do in the myriad comedy classes we offer throughout the year. Joan Mankin, quite the clown herself, returned to the School of Theatre to teach a physical comedy class this summer. She attests that anyone who “likes to be laughed at and is not afraid of being ridiculous” has what it takes to play comedy. The most common error people make, she explains, is “overdoing things, trying to make what they are doing funny.” Rebecca Stockley agrees. A staple both at the School of Theatre and at bats Improv in San Francisco, she teaches

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an expanding roster of improv classes all year long to our students in Berkeley. “Trying to be funny seems to chase the funny away,” she observes. “The harder a person tries to be funny, the more desperation he or she projects. The audience can sense an actor’s desperation and feels pity rather than amusement,” making it less likely that they will laugh. So what are the tricks of the trade? “One: listen to the audience. Two: don’t be afraid of making mistakes. Three: accept what the audience finds funny,” Joan advises. For Rebecca, it’s all about the rule of three: set up, pattern, break in routine. Oh, and she also encourages “fearlessly going to extremes.” No problem, right? That’s where the technique comes in. It protects the actors, allowing them to be fearless and spontaneous within the safety of a framework they’ve established for themselves. “To improvise we learn to take risks, not to take things personally, to try things, to be willing to let them go,” Rebecca explains. “Improvisation can develop tolerance for ambiguity and fearless risk-taking.”

“One: listen to the audience. Two: don’t be afraid of making mistakes. Three: accept what the audience finds funny.” —JOA N M A N K IN, PH Y SIC A L COM E DY T E AC H E R

Physical comedy rests on a slightly different approach. “You have to really hone the physical comedy work you are doing—rehearse it over and over again so it is a part of your body,” Joan instructs. “Then, when you are performing, you don’t have to think so much about the physicality or the humor. You just have to listen to the audience and hear how they respond.” Listening is important for improvisers as well, as it is for all actors. Rebecca advises, “To improvise, an actor needs to be present, in the moment, and to listen. This state of being is vital in auditions and rehearsals—and it brings a performance to life.” She continues, “An actor who isn’t present and in the moment, but who is going through the rehearsed motions like a practiced routine, is much less engaging. I’m not saying that the actor isn’t doing the same thing from show to show, but that he or she is doing the same thing as if it were for the very first time each time. Improvisation develops the ability to stay present, alive, and fresh.” Rebecca has found that improv can be used to teach and develop the whole range of comedic skill sets. “In improvisation, as in storytelling, a basic platform of who, what, and where provides a foundation on which to build a scene,” she explains. “Specialized skills can be leveraged to make that scene satire, black comedy, or what you will.” Joan points out that satire and dark comedy don’t need to get as much laughter as slapstick, mugging, and clowning. It is the difference between the subtle dialogue written by Jon Stewart or, say, Christopher Durang, and the work of the Three Stooges or Jim Carrey. The key element across the spectrum of comedy, though, is timing. It is apparent in the work of every comedian, whether it seems highly intuitive and impulsive (Jon Stewart) or obsessively

orchestrated (the Three Stooges). That level of orchestration points to the degree of technical training required in physical comedy, which Rebecca and Joan both agree is the most demanding on a performer. “I have tremendous respect for physical comedy. It is not to be taken lightly,” Rebecca says. “Physical comedy is best when practitioners can be choreographed to repeat the same movements with precise timing again and again. It takes strength, specificity, attention to detail, and mindfulness to repeat actions. Sloppy physical acting doesn’t work and can be dangerous. A pratfall gone wrong hurts. A missed punch, slap, or throw can cause serious injury.” Yet in the same way that physical comedians need to repeat actions with precision, actors performing satire, improv, or even stand-up comedy need to be able to repeat jokes the same way time after time. For all of the marked differences in comedic styles, there are more similarities in playing these varied styles than meet the eye. It all comes back to a person’s inherent traits and which styles they take to most naturally. So while we do believe that funny can be taught (and with teachers like Joan and Rebecca on our faculty, we’re ready to prove that!), we want to echo Rebecca in reminding you: “Don’t go for the funny and the funny will find you.” Maybe it already has.

Rediscover your creativity! It’s not too late to get in on a class this fall. Learn more and register at or call 510 647-2972.

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Getting #social with the Theatre

Berkeley Repertory Theatre August 12

Last night was the start to a stellar run of NO MAN'S LAND with a fabulous opening. Here's a photo of the whole cast along with Tony, Sean, and Susie. Cheers to a fabulous run (and Keith Stern for this great photo)!


Let’s face it—we live in a world of

likes, shares, and retweets. Not only does it seem that social media is here to stay, it has become an integrated part of our daily routine at Berkeley Rep. We update our Facebook and Twitter pages frequently with news about upcoming shows, pictures from artists, and important information for our audience. We chat with our fans, or “Reptorians” (a name they chose for themselves on Facebook), about almost anything—whether it’s answering questions about a new play, providing recommendations for nearby restaurants, or sharing a photo from rehearsal. For instance, during the run of No Man’s Land, the immediacy of social media helped us notify our fans and followers of last-minute ticket availability. Even Masha from Vanya and Sonia and Masha and Spike has something to say on Twitter with her own hashtag, #MashaSays. Whether you’re checking in with us on Foursquare or sharing photos from our interactive lobbies on Instagram, we love to see how our fans are making theatre part of their everyday conversations. Join our online dialogue, get a glimpse behind the scenes, and share your thoughts about our work onstage. Like us on Facebook at /BerkeleyRep and follow us on Twitter @berkeleyrep —but please, not during the performance.

Like · Comment · Share 165 people like this.

Berkeley Rep @BerkeleyRep

19 JUL

Dear Elizabeth & George Gershwin Alone come to a close tonight. RT to congratulate each cast & crew on a wonderful run!

Patrick Stewart @SirPatStew

19 JUL

How very pleasant Berkeley is, climate, architecture, landscape, food. We should all be so lucky to live here. Retweeted by Berkeley Rep

Berkeley Repertory Theatre July 12

Check out Anna Deavere Smith and Tony Kushner! They are all smiles at The White House just after receiving their medals. Congratulations!

Berkeley Repertory Theatre July 12

Mark your calendars, Reptorians: Broadway Idiot is set for a wider theatrical release beginning on October 11!


16 plays of summer Artists create new work from the ground up BY MADELEINE OLDHAM

In June, Berkeley Rep hosted its second annual Ground Floor

summer residency lab. The follow-up to our debut included 16 projects that came to us from all over the country in various stages of development. Writers, composers, actors, musicians, directors, dramaturgs, and designers gathered at Harrison Street to lay foundations for the brand new plays they are crafting from the ground up. The summer lab was designed with the potential for maximum responsiveness in mind. No process looks the same, and each begins with artists telling us what their ideal residencies would look like. We try to come as close as possible to what they ask for. As projects develop, needs shift as new characters are added or cut, music or movement becomes more or less important, or a play takes a very different direction from its original starting place. We try to remain nimble. A final reading or presentation at the culmination of an artist’s time with us is an option if it feels helpful to further the project, but is not required if it’s too early for an audience.

Clockwise from left: Margo Hall and Daveed Diggs in a reading; The Debate Society’s notes; Hannah Bos, Larissa FastHorse, Nicholas C. Pappas, and M. Graham Smith in a panel discussion; and a presentation by Cesar Alvarez P H OTO S BY N O R A M ER EC I C K Y

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STARTS AUG. 30 Mention code BRREV5 for

$5 off tickets!

(Restrictions apply. Call for details.)


“Smart, engrossing...bold and hilariously moving.” ~ The New York Times 2081 ADDISON STREET DOWNTOWN BERKELEY

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We saw magic in action. Victor Lesniewski wrestled the sprawling topic of the Syrian civil war into a cohesive shape and wrote an entire draft in three days. Jackie Sibblies Drury pretended she was procrastinating by watching Vine videos made by teenage girls for hours (which is saying something, as each one is only six seconds long). Then on the last day she busted out about 45 astonishing pages of text that captured with penetrating honesty the emotional brutality teenage girls can inflict on one another. César Alvarez created a prototype of the kind of immersive experience he feels holds the key to the future of theatre. The Debate Society spent a number of afternoons studying the awkwardness of climbing in and out of a Jacuzzi and whether that might affect how the set was configured and how the characters relate to one another. Lauren Gunderson taught herself to play the banjo, and performed songs in front of an audience for the first time. Each artist’s residency was tailored to what his or her particular project needed at that moment in time. So what happens next? Janet Allard and Niko Tsakalakos are meeting to build the seven songs they had when they left us into a fleshed-out story. Lisa Peterson will find some time to carve out of her busy directing schedule to sit down with her composer, Todd Almond, and put their heads together about where their story wants to go. Larissa FastHorse has a draft that is pretty much rehearsal ready, and is looking for a company to produce the world premiere of her play. Four plays from 2012’s inaugural summer lab received or will receive productions this year: Dan LeFranc’s Troublemaker, or the Freakin’ Kick-A Adventures of Bradley Boatright and Marcus Gardley’s The House that will not Stand at Berkeley Rep; Heidi Stillman’s adaptation of Marguerite Duras’ The North China Lover at Lookingglass in Chicago; and Madeleine George’s The (curious case of the) Watson Intelligence at Playwrights Horizons in New York. Applications for the 2014 Ground Floor summer residency lab will be accepted between September 16 and November 1, 2013. For more information, visit


“Berkeley Rep has a reputation for producing rigorous, exciting theatre with truly forward-thinking and challenging ideas. It’s why all these great theatre artists want to get their work done here.” P H OTO BY F R ED H AY E S


Welcoming Liesl Berkeley Rep announces a new member of our artistic team BY BENJA MIN HANNA

New plays are on fire at Berkeley Rep. We’ve championed new work for years, but now we’re creating more and more of it on our stages. As we continue to investigate innovative ways of creating plays through The Ground Floor, our Center for the Creation and Development and New Work, we look to collaborate with those who share our passion. So it is with great pleasure that we introduce Berkeley Rep’s new associate director, Liesl Tommy. Liesl directed the acclaimed production of Lynn Nottage’s Ruined in 2011 at Berkeley Rep —and the San Francisco Chronicle noted her “richly textured staging.” In her new role, Liesl will support ongoing artistic pursuits in the spirit of cultivating and producing innovative and adventurous work for the Theatre. A big job, but she’s uniquely qualified for this role. “I had a profound experience working with Berkeley Rep to bring Ruined to Bay Area audiences,” remarks Liesl. “Berkeley Rep has a reputation for producing rigorous, exciting theatre with truly forward-thinking and challenging ideas. It’s

why all these great theatre artists want to get their work done here. I’m honored to join the staff and to participate in bolstering the creative visions of the organization.” A native of Cape Town, South Africa, Liesl is an awardwinning director who has captured international and national attention for her productions. She has an affinity for new work and counts 11 world premieres among her credits. She has helmed plays at prestigious theatres across the country, and she also serves as the program associate at Sundance Institute Theatre Program, focusing on its activities in East Africa. She was recently made an artist trustee with the Sundance Institutes board of trustees. “I am thrilled to welcome Liesl to our staff this season,” says Artistic Director Tony Taccone. “She is the consummate artist and a skilled and enthusiastic collaborator. She’s a wonderful addition to the creative team as we continue to chart our course for the future to bring powerful stories to our stage.” 2 0 1 3–1 4 · I S S U E 1 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 5


Berkeley Rep’s 2013–14 season open-captioned performances: Vanya and Sonia and Masha and Spike Sunday, October 20, 2013 at 2pm The Pianist of Willesden Lane Sunday, December 8, 2013 at 2pm Tristan & Yseult Sunday, January 5, 2014 at 2pm The House that will not Stand Sunday, March 16, 2014 at 2pm Accidental Death of an Anarchist Sunday, April 20, 2014 at 2pm Tribes Thursday, May 8, 2014 at 8pm Friday, May 9, 2014 at 8pm Sunday, May 11, 2014 at 2pm The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures Sunday, June 29, 2014 at 2pm

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Words into type Berkeley Rep launches new accessibility program BY KAREN MCKEVITT

If you’ve ever had to lean over to your theatregoing companion during a show and whisper, “What did she say?” then we have some fantastic news for you: Berkeley Rep now offers open captioning for every play in our 2013–14 season. Open captioning is state-of-the-art technology that displays text of an actor’s speech at the same time the actor is speaking. Unlike with closed captioning, audience members don’t need to have any special equipment to see the displayed text—no headsets, no fumbling with hearing aids. We’re able to provide this exciting new service thanks to a partnership with Theatre Development Fund’s (tdf) National Opening Captioning Initiative. “Open captioning is one more way that we can open our doors to all audiences and provide more access for our patrons, allowing them to participate in the live theatre experience,” says Susan Medak, Berkeley Rep’s managing director. “We are committed to eliminating any barriers that keep people from experiencing all that Berkeley Rep has to offer.” “Open captioning is a great equalizer, a groundbreaking service for audience members with hearing loss,” adds Lisa Carling, director of tdf Accessibility Programs. “There is no guessing on words or pretending to understand a line that evokes a strong response from others sitting around them. We are delighted to help Berkeley Rep make its performances more enjoyable and accessible to this broader audience.” The captioning will be provided by c2 (caption coalition) inc., which has captioned more than 800 theatrical productions in over 180 venues. At Berkeley Rep’s Roda Theatre and Thrust Stage, open captioning will be viewable from at least 25 seats. Interested in open captioning? Our box office team members are happy to help you find the perfect seat. Call 510 647-2949, Tuesday through Sunday, noon to 7pm.


While you were on summer vacation… In this age of email, text messages, and 140 characters, it’s not every day that you receive a handwritten note in the mail. And yet, that’s exactly what hundreds of Berkeley Rep supporters received this summer. While you were at the beach or in the mountains, Berkeley Rep staff, artisans, teachers, and Teen Council members took the time to write to some of our donors and let them know how much their gift to the Theatre means to each of them. Since we couldn’t send handwritten notes to all of our generous supporters, we thought we’d share a few of these with you here. From all of us at Berkeley Rep, thank you for allowing us to do our work and for helping create extraordinary theatre!

Did you receive a thank you note? Tell us what you thought at or on Facebook.


L L O R N ’ K C RO



A conversation with Richard E.T. White BY JULIE MCCORMICK

Richard E.T. White is a surprising man. In his celebrated and substantial career as a director and educator, he has done many things you would not expect the same person to do. His passion for theatre has led him from the Bay Area to Japan to Seattle, from Brecht to Shakespeare and rock ’n roll. Over all of his passion is a warmth, sparkle, and generosity of spirit that is evident in every interaction.

Julie McCormick: What did your process of preparing for this particular play entail? Richard E.T. White: This play is kind of a mash-up. It’s a fond embrace of both high and low culture, which is a wonderful thing for anyone who is working on it. There’s a kind of wonderful roller coaster of references that you need to ride while putting yourself into the world of the play. I think one of the things that appealed to me almost immediately when I read the play is that I’m basically the same age as Vanya and have a lot of the same reference points. One thing I look for is that familial connection. When you talk about process, I think one of the things an artist has to do is find ownership, and find one’s own way into the play. I remember Ozzie and Harriet, I’m confused about cell phones and text messaging, and although my parents were not college professors who dabbled in community theatre, I did note with affection that my father courted my mother by stage managing productions that she was in at our local community theatre in Trail, British Columbia. So one of the things that I’m doing is combing through my own autobiography and finding how the play can become personal to me. And I think that’s something that any artist needs to do. What I’ve discovered about myself as a director is that the more I can invest and be in the world of the play on a personal level, the better the experience is for me and the more I actually have to offer my collaborators on the play. So I’ve been looking at the Disney movies, looking at Smiles of a Summer Night, and reading the Chekhov plays to try and get a sense of what it was that Mr. Durang pulled from, but I’m also enjoying the opportunity to watch the E channel and devour Entertainment Weekly. There’s the world that Vanya and Sonia and Nina live in, but then there’s also that wonderful, bizarre, Fellini-esque world that Masha and Spike bring onstage with them, which is the most foreign world to me. I can embrace Chekhov and I can embrace Ingmar Bergman and even Walt Disney with great ardor and complete identification. What I don’t do, like Vanya, again, like Vanya and Sonia, is that I don’t swim in that particular world of young Hollywood. Chekhov is a major reference point and has been a way in for you, but do you think that an audience member needs to be familiar with Chekhov in order to appreciate what’s going on? Oh no, not at all. I think there’s probably an extra layer that comes through if you’ve read all the plays, but I think that ultimately, for all of its literary allusions and allusions to specifics of pop culture, the root of the play is something that is deeply human and very universal, which is, “What does it mean to be a family?” What I respond to is the present tense of those relationships onstage. The sense that there’s this world in which people are contemplating what it means to be at the nether end of their lives. What are the dreams you have that are unfulfilled? Are there still possibilities left in you? Do you feel like the doors of your life are closing, and what can open them? How do we stay attuned to the possibility of miracles in our lives? Those kinds of things are universal—the relation-

ships between brothers and sisters, the relationships between lovers, the idea of the generational difference between young and old… that’s the emotional ground of the play. And so I think of someone like Stephen King, for instance, who populates his novels with endless citations of pop culture and specifics of culture, but at the same time, you don’t need to know every one of those things that he’s talking about to be pulled along on the thrill ride. And the same thing is true of Shakespeare and, frankly, of Chekhov. If you read the plays of Chekhov again, there’s a lot of information in there that we don’t necessarily know immediately, but that doesn’t stop us from responding to the emotional storytelling in the play. I think the same thing is true of Vanya and Sonia and Masha and Spike. You’re the head of the theatre department at Cornish College of the Arts in Seattle. When did teaching become a part of your trajectory? Very early on, actually. The first paid job I had in theatre when I was 20 years old was with an organization called Neighborhood Youth Corps, where I got a summer job through my acting teacher teaching theatre to high school kids. And when was this? What was that like? That was back in 1970. My teaching partner Jane Unger and I were very ambitious, and set up these workshops that were going to culminate in a performance of Brecht’s A Man’s a Man. We were going to do it as an anti-war protest, as this was the height of the Vietnam War. So I really started teaching and directing well before I was ready to do it, and the first job I got after I graduated college was a teaching job. I then spent three years as a teacher with the Drama Studio when it was in Berkeley; I taught through the Berkeley Shakespeare Festival (now known as Cal Shakes) when I was there; and a year after I was kindly shown the door by the PhD program at the University of California, they hired me back to teach. I never thought that at a given point I would become a teacher. So much of my life—and I think this is one of the reasons I like the play too—has been a series of miracles and happy accidents and opportunities that arrive out of the blue. My wife and I embarked on this magnificent adventure in 1992 when we answered an ad in Artsearch magazine on kind of a whim to go teach in Japan, and to our surprise we were selected and hired. So we went off to teach in Japan for three years. What did you teach there? Theatre? We taught English at a technical college in Yokohama, and we also taught theatre classes and directed plays at a Japaneselanguage theatre company in Tokyo. It was an enormous spiritual, anthropological, and creative venture for us. I think that’s when I became an educator: it was the experience of being in Japan and realizing how by teaching language and by teaching how language impacts behavior that we were opening doors of perception up to these students. That was fascinating and really rewarding, and we could feel how we were helping to make a difference in the lives and worldviews of our students in Japan. 2 0 1 3–1 4 · I S S U E 1 · T H E B E R K E L E Y R E P M AG A Z I N E · 1 9

Jere Burns and Charles Dean in Berkeley Rep’s 1992 production of Speed-the-Plow, directed by Richard E.T. White P H OTO BY K E N F R I ED M A N

One of the arcs I’d like to think that I can look back on in my career as a director is moving from imposing things on a play when I was young to moving to investigating as deeply as possible what’s there, and trying to be as attuned as possible to the nuances of language and the possibilities of language.

Your roots go very deep in the Bay Area, and this is a return to Berkeley Rep after a fair hiatus. Almost 20 years. What has been your association with Berkeley Rep? I established myself as a director in the Bay Area in 1979 and had the great fortune to have some success at smaller theatres like the Eureka, and then moved to what was then the Berkeley Shakespeare Festival. Michael Leibert had invited me several times to direct at Berkeley Rep but it had never worked out with my schedule. Then when Joy Carlin took over she offered me the chance to direct a couple of plays in 1984, and that was the time when Sharon Ott came in. Sharon not only confirmed that I would still be directing there, bless her heart, but offered me a staff position. So for two years I was the resident director at Berkeley Rep, and directed I think five 2 0 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 1

plays in the first couple of years that I worked there. It was a great opportunity for me because at the time, Berkeley Rep was kind of a step up in terms of resources and imagination and pushback from artists who were really mature and strong and experienced. It also gave me the Thrust Stage, which is still my favorite theatre that I’ve ever worked in. And then interestingly, when I moved to Chicago, one of my first friends that I made was Susie Medak, who at the time was the managing director at Northlight Theatre. It was then really serendipitous that Susie came to Berkeley Rep. I was delighted to be able to finally work with her as a freelancer in the ’90s, when I was in Japan but came back once a year to direct. I was also in grad school with Tony Taccone for three years. Tony came with me to the Eureka, and after I left as the artistic director at the Eureka, Tony took over that position. Coming back to Berkeley Rep is like coming back to be with family in a lot of ways. How has Berkeley Rep changed over the years? What’s wonderful about Berkeley Rep is that it’s a mission-driven theatre. There’s a sense of excitement and bravery in terms of choice of material that’s still extant, but what’s different is that the ambition and scope of the Theatre is so much broader now. Then there’s the Roda, which is this big, beautiful proscenium house. And I have to admit, I’m still a little bit in mourning that I don’t get to work on the Thrust Stage, because as I’ve said, I love that stage and some of the best work of my life has been there, but I’m excited about working in the Roda. In the last several years I’ve had the opportunity to direct a number of shows at act —you know, in the big golden box—and I’ve also been able to work at Seattle Rep at the Bagley Wright Theatre, which is another large proscenium house. So coming into the Roda, it’s not as odd as it would’ve been for someone whose initial aesthetic was developed at the Eureka­— where we had a big, beautiful flexible space that we could create strange, wonderful environmental pieces in—and in the intimacy of the Thrust. So you know, I might be a little intimidated by working in the Roda if I hadn’t had the opportunity to work in the big golden box and at Seattle Rep, but I’m excited about the possibilities of working in the Roda and creating a welcoming space for an intimate, familial comedy in that beautiful proscenium house. I’m very curious to see how that happens. And I imagine at least some of this will come through in how the audience interacts with the set. Christopher Durang actually lives in Bucks County, PA where Vanya takes place, so he has infused the play with a sense of place that’s really quite lovely. Part of our job is to extend that sense of place all the way out into the seats. To create something that’s very specific and authentic onstage, but then that welcomes the audience in and makes them feel like they’re a part of this family and environment. That’s where I feel particularly blessed in my colleagues as well. Theatre is such a collaboration and you’re as good as the people you work with. And in this case I’m blessed to have Kent Dorsey, Debra Beaver Bauer, Alex Nichols, Rob Milburn, and Michael Bodeen, all of whom are artists I’ve worked with for many years. I have a kind of deep trust in them as collaborators and

in their ability to weave a visual and aural tapestry that creates a type of environment that will draw us into the story and the characters of the play. In your career you’ve worked a lot with new plays but also a great deal with Shakespeare. I’m very curious about how that’s come together for you — because you started in the new play world and moved more into Shakespeare, yes? And that just strikes me as a very unusual direction. How did that happen? Well, the thread that ties them together is Brecht. Even the kind of new plays that I got my start doing are animated by epic storytelling. The theatre company that really made me want to be an artist in the theatre and really showed me the way to be an artist in the theatre was the San Francisco Mime Troupe. Seeing them when I was a young student in college was a revelation to me: that theatre could actually have a meaning greater than the simple public event of enjoying a show. That you could see a piece of theatre and you could walk away and it could resound and resonate in your mind for years. Which is why all due honor to Sharon Lockwood, you know, because some of my most vivid memories of those early Mime Troupe shows are Sharon Lockwood’s brilliance playing a variety of roles in shows like The Independent Female and The Dragon Lady’s Revenge. So when I got started a lot of the plays were inspired on some level by Brecht and by the spirit of critique, like The Basic Training of Pavlo Hummel by David Rabe, Trevor Griffith’s Comedians, and Mary Barnes by David Edgar. I made my mark in Bay Area theatre as an artist primarily by introducing a lot of writers through the Eureka who were kind of the British heirs and descendents of Brecht. So then moving into Shakespeare was relatively seamless in a way, because Shakespeare was the founder of epic storytelling. What I wasn’t prepared for with Shakespeare was how hard I would fall in love with the experience of directing it, and actually seeing how an audience and that Shakespearean play could create an event together. That was really memorable. And of course part of that is language and part of that again is the epic sweep of storytelling, showing all levels of class, of weaving plots and subplots together.... The wonderful challenge to you as a director is to orchestrate this large vision of a world onstage that Shakespeare presents you with. And so I kind of went from British political plays in the ’70s to Shakespeare in the ’80s and then went off to Japan. And the other writer who was kind of instrumental in my growing aesthetic as a director was Sam Shepard. I directed a number of plays by Shepard, and his work appeals to the rock ’n roll side of me. And of course, there’s a lot of crossover between Brecht and rock ’n roll—Brecht was a rocker back in the ’20s in Germany. Shakespeare is a very rock ’n roll writer as well. His work is pungent, it has a beat, it’s got pace. So you learn a lot by directing classical work, and I think the most important thing that you have to learn as a director—that you get to learn as a director working on Shakespeare—is how much information is actually parked in the dramatic text. One of the arcs I’d like to think that I can look back on in my career as a director is moving from imposing things on a play when I was young to deeply investigating what’s there, and trying to be as attuned as possible to the nuances and possibilities of language.

What I’ve discovered about myself as a director is that the more I can invest and be in the world of the play on a personal level, the better the experience is for me and the more I actually have to offer my collaborators on the play.

Charles Dean and Lorri Holt in Berkeley Rep’s 1985 production of The Tooth of Crime, directed by Richard E.T. White P H OTO BY K E N F R I ED M A N

How does that come to bear on Vanya and Sonia and Masha and Spike? Durang is a great language writer—his text is not necessarily poetic in the same way as Shakespeare’s, but it is certainly very precise in terms of the sonic rhythms, the precise placement of words, carefully placed imagery, and how themes are developed and repeated throughout. The experience of directing Shakespeare in the ’80s has given me this great appreciation of language and what language can do. So getting back to your first question about what process is, to me it’s become so much more about listening—listening, listening, listening—and opening myself up to the possibilities of language. CO N TIN U E D O N PAG E 39

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Five QuestiOns for


Before the start of rehearsals for Vanya and Sonia and Masha and Spike, we asked veteran actor Sharon Lockwood five questions about comedy. From her debut as a rabbit to her years at the San Francisco Mime Troupe and theatres around the Bay Area, Sharon has played to the extremes of the human experience and everything in between.

Left to right: Lorri Holt and Sharon Lockwood in Berkeley Rep’s 1989 production of Reckless (photo by Ken Friedman); Ric Salinas, Sharon Lockwood, and Richard Montoya in Berkeley Rep’s 2006 production of Culture Clash’s Zorro in Hell (photo by Kevin Berne); Sharon Lockwood and Geoff Hoyle in Berkeley Rep’s 1978 production of The Servant of Two Masters (photo by Ken Friedman); Sharon Lockwood as Sonia in Vanya and Sonia and Masha and Spike (photo by Nora Merecicky) 2 2 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 1

Julie McCormick: When did you discover that you had a talent for being funny? Sharon Lockwood: I still have this memory—this was back in Connecticut where I was born. I did some Easter play or something, and I remember playing a rabbit and wiggling my nose and everybody laughing. I’ll never forget that moment. When I started acting in junior high and high school, I did a lot of heavy-duty stuff. My first big thing was that I played Helen Keller in The Miracle Worker in high school. I was just a freshman and I was in the senior play. Then I got involved in political theatre and did the San Francisco Mime Troupe for a long time, and it was a side of me that I never got to tap into. It’s one of the things that I’m really excited about with this play because I feel like I get to use both sides of me. A lot of times when you do comedy, people don’t think of you for doing drama. You have to play the reality of the situation, always. It’s never a matter of doing something to get a laugh. That’s the worst way to go. I still am shocked the first time I’ll rehearse a moment and the people watching and will laugh. Then I’ll realize, it’s supposed to be funny, but I wasn’t going for that. Sometimes it’s a mysterious thing. Does acting in a comedy feel different to you than acting in something more serious? You know, it depends on the play. Sometimes, particularly if it’s a drama, a play will just take you where you need to go. If it's an original script, you don’t always know where the laughs are going to be. The audience teaches you so much about that. Sometimes I think comedy is hard and tragedy is easy. You know that old saying. Sometimes it can be physically exhausting. Farce takes so much physical precision and timing.

And then sometimes I’ve also been exhausted by doing a drama. I remember in Juno and the Paycock at act—I had one scene where I played a mother at a funeral that kind of changes the direction of the play from a comedy to a tragedy. Before the last time I did the scene I broke down, because it was a scene of containing all the tragedy, but instead of being histrionic about it, I was really containing it. That was so exhausting—to keep it all in, but have it all be there. So I think it varies from piece to piece. Some things can be more exhausting than others. It’s a craft, and I think that each project is different. Who or what makes you laugh? Hm, I’m a little bit of a tough customer. But once I get going… Anthony Fusco makes me laugh; he has such a dry way. There was a YouTube video that an actor at act was showing me in the dressing room, and it was a chipmunk looking surprised with this music going, “bum bum bum.” And I just lost it. Sometimes something can strike you as funny and you really don’t know why. It can be a character, it can be the situation. It varies. I used to love to watch The Honeymooners, as politically incorrect as that was. Jackie Gleason would make me howl. Things like Fawlty Towers, some of the British shows. I love Doc Martin. It’s this series that they rerun on pbs with a British actor Martin Clunes, and there’s something about this character—he’s this total curmudgeon that lives in this little village with a group of misfits that he has to deal with. And he’s a doctor that can’t stand the sight of blood. It’s full of wonderful character studies, wonderful situations, and it’s been on for five or six seasons and I’m totally addicted. It just makes me laugh out loud. I’m less interested in laughing at pain. You know the famous thing about the Road Runner cartoons and the anvil falling on Wile E. Coyote. Maybe when I was little it may have made me chuckle, but I don’t know.

There are different kinds of laughter. There’s the laughter of recognition, and then there’s the wry chuckle of word play, or just an attitude that can make you laugh. Then there’s knock-down-drag-out slapstick. There’s lots of different kinds. I get the impression that sometimes stage comedies are not taken as seriously as dramas or tragedies. Why do you think that might be? I don’t know. I think it’s because maybe we try to draw a line and have one be on one side and one on the other, when actually, life is full of both things: tragedy and humor. In some of the greats, like Chekhov, you have to see the humor as well. Have you ever had to do something in a comedy that was so over the top that it felt kind of uncomfortable for you, or crossed a line, or anything like that? I once had to play someone who worked for the welfare office and became a serial killer who took a hacksaw and figured out all of these ingenious ways to kill major, iconic ceos. And I thought, oh my God, this is terrible! But people just howled! They laughed, and just got it. I was so mortified by it at the beginning, and finally I got used to the idea that people know it’s a comedy and that it’s not real. There are so many comedies like that right now that are so popular, like Dexter. He’s such an example of an anti-hero. But I was really uncomfortable with it at first. I’m basically a very peaceful person. But you know, we all have that rage somewhere inside of us. And Sonia certainly has it.

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N E X T AT BER K E L E Y R EP “Unforgettable…an arresting, deeply affecting triumph.” —los angeles times

Mona Golabek in

The Pianist of Willesden Lane


Based on the book The Children of Willesden Lane by Mona Golabek and Lee Cohen Adapted and directed by Hershey Felder Starts Oct 25 · Call 510 647-2949 · Click PRO D U C T I O N S P O N S O R S

Berkeley Repertory Theatre presents

written by

Christopher Durang




Vanya Anthony Fusco Sonia Sharon Lockwood

directed by

Richard E.T. White

Cassandra Heather Alicia Simms Masha Lorri Holt Spike Mark Junek Nina Caroline Kaplan

SEP TEMBER 20 – OC TOBER 20, 2013 RODA THE ATRE · LIMITED SE A SON Vanya and Sonia and Masha and Spike is made possible thanks to the generous support of E XECU TIV E PRO D U CE R S Bill Falik & Diana Cohen PRO D U CE R S Robin & Rich Edwards Sandra & Ross McCandless A S S O CIAT E PRO D U CE R S Jill & Steve Fugaro Paul Haahr & Susan Karp Wanda Kownacki Leonard & Arlene Rosenberg PRO D U C TI O N S P O N S O R

PRODUC TION S TAFF Scenic Design Kent Dorsey Costume Design Debra Beaver Bauer Lighting Design Alexander V. Nichols Original Music & Rob Milburn & Sound Design Michael Bodeen Stage Manager Michael Suenkel Assistant Stage Manager Leslie M. Radin Dramaturg Julie McCormick Casting Amy Potozkin Calleri Casting The actors and stage managers are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.


Original Broadway production produced by Joey Parnes, Larry Hirschhorn, Joan Raffe/Jhett Tolentino, Martin Platt & David Elliott, Pat Flicker Addiss, Catherine Adler, John O’Boyle, Joshua Goodman, Jamie deRoy/Richard Winkler, Cricket Hooper Jiranek/Michael Palitz, Mark S. Golub & David S. Golub, Radio Mouse Entertainment, Shawdowcatcher Entertainment, Mary Cossette/Barbara Manocherian, Megan Savage/Meredith Lynsey Schade, Hugh Hysell/Richard Jordan, Cheryl Wiesenfeld/Ron Simons, S. D. Wagner, John Johnson in association with McCarter Theater Center and Lincoln Center Theater. Originally commissioned and produced by McCarter Theater, Princeton, N.J. Emily Mann, Artistic Director; Timothy J. Shields, Managing Director; Mara Isaacs, Producing Director. And produced by Lincoln Center Theater, New York City under the direction of Andre Bishop and Bernard Gersten in 2012. “Here Comes the Sun” Written by George Harrison Published by Harrisongs, Ltd. (ascap) Used By Permission. All Rights Reserved. Vanya and Sonia and Masha and Spike is presented by special arrangement with Dramatists Play Service, Inc., New York. Partial support of open captioning is provided by Theatre Development Fund.

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BE R K E L E Y R E P PR E S E N T S Anthony Fusco VA N YA

Anthony is (finally) making his Berkeley Rep debut. A Marin County kid, he came back to the Bay Area from New York City in 1999 and since has been a leading actor and company member at American Conservatory Theater and California Shakespeare Theater, playing memorable roles in dozens of productions. His personal favorites include Clybourne Park, Samuel Beckett’s Play, Dead Metaphor, David Mamet’s Race and November, The Homecoming, Hedda Gabler (directed by Richard E.T. White), Caucasian Chalk Circle, and The Three Sisters at act; and King Lear, Blithe Spirit, The Importance of Being Earnest, The Tempest, Arms and the Man, and Candida at Cal Shakes. On Broadway, Anthony has appeared in The Real Thing and The Real Inspector Hound. He has performed in plays off Broadway (and off-offoff Broadway) and at many of America’s major regional theatres. His (few) film appearances include his role as a creepy priest in Francis Ford Coppola’s Twixt. Anthony lives in San Francisco with his wife and two children. He is a graduate of Juilliard.

Lorri Holt MASHA

Lorri’s favorite roles at Berkeley Rep include Gwen in Finn In The Underworld, Catherine in Fêtes de la Nuit, Beth in Dinner With Friends, Becky Lou in The Tooth of Crime, Agnes in Dancing at Lughnasa, Libby in Blue Window, and Rachel in Reckless (these last three directed by Richard E.T. White). She has been an awardwinning actress in the Bay Area for three decades, working with SF Playhouse, American Conservatory Theater, Magic Theatre, San Jose Repertory Theatre, Aurora Theatre Company, Marin Theatre Company, Center Rep, TheatreWorks, and in long-running San Francisco commercial productions, including The Vagina Monologues and another Christopher Durang play, Sister Mary Ignatius Explains It All For You, with Cloris Leachman. For 10 years she was a member of the groundbreaking Eureka Theatre, where she originated the role of Harper Pitt in Tony Kushner’s Angels in America. Her regional and international credits include the Wilma Theater; Birmingham Repertory Theatre; the Barbican Theatre; La Jolla Playhouse; Taper, Too at the Mark Taper Forum; and Actors Theatre of Louisville’s Festival of New American Plays. She has 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 3–1 4 · I S S U E 1

voiced many characters in the Star Wars and Lord of the Rings video games, teaches acting, and is a published writer of short stories and articles on acting and theatre. Lorri is also an experienced realtor with Thornwall Properties in Berkeley.

Mark Junek SPIKE

Mark is thrilled to be making his Berkeley Rep debut. His credits include The Performers (on Broadway), Galileo and A Midsummer Night’s Dream at Classic Stage Company, The Imaginary Invalid at Bard SummerScape, and The Seagull and Henry V at Juilliard. He has appeared in the TV shows Smash and Law & Order: svu. Mark is a founder of Makehouse, which provides artists free space and time to create in rural New Jersey; visit Mark received his mfa with Juilliard Drama Division, group 40, and his BA at Columbia University.

Caroline Kaplan NINA

Caroline is thrilled to be making her Berkeley Rep debut with this beautiful, hilarious, incisive new play. Her New York credits include Hester in The Silver Cord at the Peccadillo Theater Company and Polly in The Threepenny Opera at Riverside Theater. She has also appeared at Center Stage in Baltimore in The Completely Fictional-Utterly True-Final Strange Tale of Edgar Allen Poe, Trinity Repertory Company in The Merchant of Venice, the Guthrie Theater in the world premiere of Going Live, and Williamstown Theatre Festival in The Three Sisters. Caroline’s other favorite roles include Cunegonde in Candide, Valencienne in The Merry Widow, Lucille Frank in Parade, Irina in The Three Sisters, and Eliante in The Misanthrope. She received her training at the Brown/Trinity Graduate Acting program. Caroline is the proud recipient of a Stephen Sondheim fellowship.

profiles Sharon Lockwood SONIA

Sharon was last seen at Berkeley Rep as a 200-year-old woman in Culture Clash’s Zorro in Hell. Her other favorite Berkeley Rep credits include Valpone, The Alchemist, The Caucasian Chalk Circle, The Triumph of Love, Pentecost, The Importance of Being Earnest, and The Magic Fire. Sharon has also performed extensively at American Conservatory Theater, most recently in the world premiere of Dead Metaphor. Her other act appearances include roles in ’Tis Pity She’s a Whore, Hedda Gabler, The Rose Tattoo, The Royal Family, The Government Inspector, and A Christmas Carol (2005–12). Sharon originated the role of Barbara in the world premiere of Nickel and Dimed under the direction of Bartlett Sher, which premiered at Intiman Theatre in Seattle and subsequently played at the Mark Taper Forum in Los Angeles. She reprised the role in a TheatreWorks/ Brava for Women in the Arts co-production here in the Bay Area. Her other local credits include many appearances at California Shakespeare Theater (most recently in Richard Montoya’s American Night), San Jose Repertory Theatre, Marin Theatre Company, Center Rep, and many years with the San Francisco Mime Troupe. Regionally, she has performed at La Jolla Playhouse, the Old Globe, San Diego Repertory Theatre, Seattle Repertory Theatre, Missouri Repertory Theatre, Arizona Theatre Company, the Alley Theatre, and Long Wharf Theatre.

Heather Alicia Simms CASSANDRA

Heather is pleased to make her debut at Berkeley Rep. An actor, voiceover artist, and writer, she has appeared on television, in film, and on stage in New York, London, and regional theatres around the country. Heather’s Broadway credits include Ma Rainey’s Black Bottom, A Raisin in the Sun, and Gem of the Ocean. Her other theatre credits include The Brother/Sister Plays, born bad, The Exonerated, Joe Turner’s Come and Gone, Breath, Boom, and Insurrection: Holding History, among others. Heather’s film credits include Red Hook Summer, The Nanny Diaries, Broken Flowers, Head of State, and NY’s Dirty Laundry, among others. Her television credits include Law & Order, Whoopi, Homicide, Third Watch, and As the World Turns. Heather attended Tufts University where she received

a BA in history and English. She received an mfa from Columbia University. Heather is the recipient of a Round 4 tcg/Fox Foundation Fellowship. Visit

Christopher Durang P L AY W R I G H T

Christopher’s work has appeared on Broadway, off Broadway, across America, and around the world. His many plays include The Actor’s Nightmare, Baby with the Bathwater, Betty’s Summer Vacation (Obie Award), Beyond Therapy, For Whom the Southern Belle Tolls, Laughing Wild, The Marriage of Bette and Boo (Obie Award), Media Amok, Miss Witherspoon (Pulitzer Prize finalist), Mrs. Bob Cratchit’s Wild Christmas Binge, Sex and Longing, Sister Mary Ignatius Explains It All For You (Obie Award), and Why Torture is Wrong and the People Who Love Them. His play Beyond Therapy made its West Coast premiere at Berkeley Rep in 1983.Christopher earned the Tony Award for Best Play with Vanya and Sonia and Masha and Spike, a Tony nomination for Best Book of a Musical with A History of the American Film, and also wrote the book for Adrift in Macao. He co-wrote The Idiots Karamazov with Albert Innaurato, and co-wrote and performed the cabaret Das Lusitania Songspiel with Sigourney Weaver. He has been co-chair of the playwriting program at the Juilliard School since 1994. Christopher was recently inducted into the Theatre Hall of Fame, and his other honors include the Dramatists Guild

Hull Warriner Award, the Harvard Arts Medal, and the pen/Laura Pels Award for a Master American Dramatist.

Richard E.T. White DIREC TOR

Richard directed 11 shows at Berkeley Rep between 1984 and 1994, including Blue Window, Dancing at Lughnasa, Hard Times (West Coast premiere), The Importance of Being Earnest, In the Belly of the Beast, Painting It Red (West Coast premiere), Reckless, The Sea, Speed-the-Plow, and The Tooth of Crime (with Sharon Ott). In 1987, his production of Hard Times was selected for the American Theatre Exchange in Manhattan, becoming the first show in Berkeley Rep’s history to transfer to New York. Richard served as artistic director of San Francisco’s Eureka Theatre and Chicago’s Wisdom Bridge Theatre. He has also worked with Alliance Theatre Company, American Conservatory Theater, California Shakespeare Theater, Court Theatre, the Empty Space Theatre, Intiman Theatre, Milwaukee Repertory Theater, Northlight Theatre, the Old Globe, Oregon Shakespeare Festival, and the Shakespeare Theatre Company. With Paul Dresher and Rinde Eckert, he co-created the electronic opera Slow Fire, which toured internationally and appeared at Lincoln Center. His recent work includes Red at Seattle Repertory Theatre and the Arizona Theatre Company, and A Midsummer Night’s Dream and The Lion in Winter at Shakespeare Santa Cruz. Richard

has been chair of the Cornish College of the Arts Theater Department since 1995 when he returned from a three-year residency in Japan, which included teaching at Toin and Gaukushuin Universities and serving as resident director for Theatre Company Subaru in Tokyo.

Kent Dorsey


Kent returns to Berkeley Rep where he was the scenic designer for The Alchemist, For Better or Worse, Serious Money, The Importance of Being Earnest, Dancing at Lughnasa, Mother Jones, and Blue Window. He also designed both sets and lights for The Tooth of Crime, Volpone, Life During Wartime, In Perpetuity Throughout the Universe, Missing Persons, Yankee Dawg You Die, Fish Head Soup, and Speed-the-Plow, and his lighting designs include Dream of a Common Language, Geni(us), The Convict’s Return, Major Barbara, and Diary of a Scoundrel. Kent’s New York theatre productions include Alligator Tales, About Time, The Cocktail Hour, Yankee Dawg You Die, Suds, Another Antigone, and Silence. He has worked as scenic and/or lighting designer for such notable directors as Jerry Zaks, Jack O’Brien, Ellis Rabb, Adrian Hall, John Hirsch, John Tillinger, Brian Bedford, Edward Payson Call, John Rando, Tony Taccone, Richard E.T. White, Oskar Eustis, and Sharon Ott. He has designed scenery or lighting on 97 productions for San Diego’s Old Globe Theatre and has designed for most of the ma-

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

Toni Hanna Nancy Hinkley Maureen Kennedy Jetta Martin Jack McPhail Denise Milburn Bob & Carolyn Nelson Nancy Noman Amy Robeson Ira & Carol Serkes Geri Stern Diane Verducci

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It’s ambitious, but we’re trying to change the world, one play at a time. 2 8 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0To 1 3–1help, 4 · ISSU E 1 visit

BE R K E L E Y R E P PR E S E N T S jor resident theatre companies including the Kennedy Center, the Ahmanson, Playwrights Horizons, Manhattan Theatre Club, American Conservatory Theater, La Jolla Playhouse, the Geffen Playhouse, Seattle Repertory Theatre, Oregon Shakespeare Festival, Shakespeare Theatre at the Folger, Milwaukee Repertory Theater, Missouri Repertory Theatre, Cleveland Play House, the Alliance Theatre, and the Denver Center Theatre Company.


Beaver is a Bay Area costume designer, and she’s excited to return to Berkeley Rep, where she designed What the Butler Saw, Tartuffe, Blue Window, In Perpetuity Throughout the Universe, Rhinoceros, The House of Blue Leaves, and Menocchio. She has also designed numerous productions for American Conservatory Theater, California Shakespeare Theater, Magic Theatre, TheatreWorks, and other local companies. Her work has also taken her to Washington, DC and New York City. She has been the resident designer for Teatro Zinzanni, and her circus roots have taken her to Russia and productions in Japan. Beaver is also quite fond of designing for dance and, yes, ice skaters. She includes San Francisco Ballet, Marga-


ret Jenkins, skating productions for nbc, and various arenas around the country among her credits. She also admits to a few large-scale floor shows in Las Vegas. She is also now in collaboration with Brenda Wong Aoki on a Noh–inspired underwater folk tale.

let, Hubbard Street Dance, odc/sf, and San Francisco Ballet, among others. Alex’s recent projects include the museum installation Circle of Memory, presented in Stockholm, and video and visual design for Life: A Journey Through Time, presented at the Barbican Center.

Alexander V. Nichols

Rob Milburn & Michael Bodeen

Alex is returning to Berkeley Rep for his 26th production. His theatre credits include the Broadway productions of Hugh Jackman Back On Broadway and Wishful Drinking (originally presented by Berkeley Rep), and the offBroadway productions of Bridge and Tunnel, Horizon, In the Wake, Los Big Names, Taking Over, and Through the Night. Alex’s other design credits include American Conservatory Theater, Arena Stage, Huntington Theatre Company, La Jolla Playhouse, the Mark Taper Forum, Oregon Shakespeare Festival, and Seattle Repertory Theatre. He was the resident designer for American Repertory Ballet, Hartford Ballet, and Pennsylvania Ballet; the lighting supervisor for American Ballet Theatre; and has been the resident visual designer for the Margaret Jenkins Dance Company. His designs are in the permanent repertory of Alvin Ailey American Dance Theater, Boston Bal-

Rob and Michael are happy to return to Berkeley Rep where they recently composed music and designed sound for No Man’s Land (and its upcoming move to Broadway). Their other Broadway credits include music composition and sound for Breakfast at Tiffany’s, The Miracle Worker, One Flew Over the Cuckoo’s Nest, and The Speed of Darkness; music for My Thing of Love; and sound for Who’s Afraid of Virginia Woolf, Superior Donuts, reasons to be pretty, A Year with Frog and Toad, Ma Rainey’s Black Bottom, Hollywood Arms, King Hedley II, Buried Child, The Song of Jacob Zulu, and The Grapes of Wrath. Their off-Broadway credits include music and sound for Checkers, How I Learned to Drive, Inked Baby, After Ashley, Boy Gets Girl, Red, Space, The Notebooks of Leonardo da Vinci, and Marvin’s Room; sound for Family Week, Brundibar, The Pain and the Itch, and Jitney; and music direction and sound




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profiles for Eyes for Consuela and Ruined. They have created music and sound at many of America’s resident theatres (often with Chicago’s Steppenwolf Theatre), plus the Comedy Theatre in London’s West End, the Barbican Center, the National Theatre of Great Britain, the Cameri Theatre in Tel Aviv, the Subaru Acting Company in Japan, and festivals in Toronto, Dublin, Galway, Perth, and Sydney.

Michael Suenkel S TAG E M A N AG E R

Michael began his association with Berkeley Rep as the stage management intern for the 1984–85 season and is now in his 20th year as production stage manager. Some of his favorite shows include 36 Views, Endgame, Eurydice, Hydriotaphia, and Mad Forest. He has also worked with the Barbican in London, the Huntington Theatre Company, the Juste Pour Rire Festival in Montreal, La Jolla Playhouse, Pittsburgh Public Theater, The Public Theater and Second Stage Theater in New York, and Yale Repertory Theatre. For the Magic Theatre, he stage managed Albert Takazauckas’ Breaking the Code and Sam Shepard’s The Late Henry Moss.

Leslie M. Radin


Leslie is very pleased to be back at Berkeley Rep after most recently stage managing Troublemaker, or The Freakin Kick-A Adventures of Bradley Boatright and assistant stage managing Chinglish (both here and at the Hong Kong Arts Festival). She started at Berkeley Rep as the stage management intern in 2003 and has also worked at Center Rep, American Conservatory Theater’s mfa program, San Francisco Opera Center’s Merola Program, SF Playhouse, and the New Victory Theater in New York, where she traveled with Berkeley Rep’s production of Brundibar/But the Giraffe. Her favorite past productions include In the Next Room (or the vibrator play), Passing Strange, The Lieutenant of Inishmore, The Pillowman, and The Secret in the Wings.

Tour backstage Meet the artists Enjoy free café goodies

Julie McCormick D R A M AT U R G

Give today

Julie is the literary associate at Berkeley Rep. She has previously served as a dramaturg on John Logan’s Red and has worked with various projects at The Ground Floor Summer Residency Lab. She also occasionally freelances at other theatres in the Bay Area. Julie was the 2011–12 Peter F. Sloss Literary/Dramaturgy Fellow at Berkeley Rep, and holds a BA from Carleton College. P H OTO BY C H E S H I R E I S A AC S

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Amy Potozkin


A native New Yorker, Amy moved west in 1990 when she was hired to work for Berkeley Rep. Through the years she has also had the pleasure of casting projects for act (Seattle), Arizona Theatre Company, Aurora Theatre Company, B Street Theatre, Bay Area Playwrights Festival, Dallas Theater Center, Marin Theatre Company, the Marsh, San Jose Repertory Theatre, Social Impact Productions Inc., and Traveling Jewish Theatre. Amy cast roles for various indie films: Conceiving Ada, starring Tilda Swinton; Haiku Tunnel and the upcoming Love and Taxes both by Josh Kornbluth; and the upcoming feature film Beyond Redemption by Britta Sjogren. Amy received her mfa from Brandeis University, where she was also an artist in residence. She has been a coach to hundreds of actors, teaches acting at Mills College, and leads workshops at Berkeley Rep’s School of Theatre and numerous other venues in the Bay Area. Amy is a member of csa, the Casting Society of America.

Calleri Casting CASTING

Tony Taccone


During Tony’s tenure as artistic director of Berkeley Rep, the Tony Award–winning nonprofit has earned a reputation as an international leader in innovative theatre. In those 16 years, Berkeley Rep has presented more than 70 world, American, and West Coast premieres and sent 22 shows to New York, two to London, and now one to Hong Kong. Tony has staged more than 35 plays in Berkeley, including new work from Culture Clash, Rinde Eckert, David Edgar, Danny Hoch,


Spread the art. Support creative expression. Reach a child.

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Calleri Casting is James Calleri, Paul Davis, and Erica Jensen. Their most recent theatre credits include Venus in Fur on Broadway and the long-running Fuerza Bruta, as well as All in the Timing, My Name is Asher Lev, the revival of Passion, and The Revisionist starring Vanessa Redgrave and Jesse Eisenberg. Some past Broadway credits include 33 Variations, Chicago, James Joyce’s The Dead, and A Raisin in the Sun. Calleri also cast for shows at The Civilians, Classic Stage Company, Epic Theatre Ensemble, the Flea Theater, Keen Company, Long Wharf Theatre, McCarter Theatre Center, New Georges, the Old Globe, Rattlestick Playwrights Theater, stagefarm, Summer Play Festival, and Williamstown Theatre Festival. They cast 10 seasons with Playwrights Horizons, including such plays as Betty’s Summer Vacation, Goodnight Children Everywhere, Lobby Hero, Small Tragedy, and Violet, to name a few. Their TV credits include Army Wives, Ed, Hope & Faith, Lipstick Jungle, Monk, and Z Rock, and film credits include Another Earth, Armless, Merchant Ivory’s The City of Your Final Destination, Heights, Lisa Picard is Famous, Peter & Vandy, Ready? OK!, Trouble Every Day, The White Countess, and Yearbook. Calleri received 12 Artios Awards for Outstanding Achievement in Casting and is a member of csa.

THORNWALL PROPERTIES CONGRATULATES our amazing colleague, Berkeley Rep actor and successful agent Lorri Holt (Masha!)

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Coldwell Banker. Where Home Begins. 1495 Shattuck Avenue, Berkeley 510.486.1495 | /coldwellbankerberkeley | /cbmarketingwest

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Geoff Hoyle, Quincy Long, Itamar Moses, and Lemony Snicket. He directed the shows that transferred to London, Continental Divide and Tiny Kushner, and two that landed on Broadway as well: Bridge & Tunnel and Wishful Drinking. Tony commissioned Tony Kushner’s legendary Angels in America, co-directed its world premiere, and this season marks his eighth collaboration with Kushner when he directs The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures. Tony’s regional credits include Actors Theatre of Louisville, Arena Stage, Center Theatre Group, the Eureka Theatre, the Guthrie Theater, the Huntington Theatre Company, Oregon Shakespeare Festival, The Public Theatre, and Seattle Repertory Theatre. As a playwright, Tony recently debuted Ghost Light and Rita Moreno: Life Without Makeup. His latest play, Game On, written with Dan Hoyle, will premiere in April 2014 at San Jose Repertory Theatre. In 2012, Tony received the Margo Jones Award for “demonstrating a significant impact, understanding, and affirmation of playwriting, with a commitment to the living theatre.”

Susan Medak


Susan has served as Berkeley Rep’s managing director since 1990, leading the administration and operations of the Theatre. She has served as president of the League of Resident Theatres (lort) and treasurer of Theatre Communications Group, organizations that represent the interests of nonprofit theatres across the nation. Susan chaired two panels for the Massachusetts Arts Council and has also served on program panels for Arts Midwest, the Joyce Foundation, and the National Endowment for the Arts. Closer to home, Susan chairs the Downtown Berkeley Business Improvement District and serves as president of the Downtown Berkeley Association. She is the founding chair of the Berkeley Arts in Education Steering Committee for Berkeley Unified School District and the Berkeley Cultural Trust. She was awarded the 2012 Benjamin Ide Wheeler Medal by the Berkeley Community Fund. Susan serves on the faculty of Yale School of Drama and is a proud member of the Mont Blanc Ladies’ Literary Guild and Trekking Society. She lives in Berkeley with her husband.

Karen Racanelli


KATHIE LONGINOTTI REALTOR® and Berkeley Rep Subscriber


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

BE R K E L E Y R E P PR E S E N T S Theater, Overtone Theatre Company, Park Day School, and the Julia Morgan Center. Karen is married to arts attorney MJ Bogatin.

Fire, the Eugene O’Neill Theatre Center, the Kennedy Center, New Dramatists, Playwrights Center, and Portland Center Stage.

Liesl Tommy

Bill Falik & Diana Cohen

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

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


Madeleine Oldham

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

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


Richard & Robin Edwards PRODUCERS

Robin and Rich have been strong supporters of Berkeley Rep for more than 20 years when they started serving on the gala committee. Rich was co-chair of the Narsai Toast for five years. They were thrilled to have gone with Berkeley Rep when it brought Chinglish to the 2013 Hong Kong Arts Festival. Robin retired from active law practice as a partner of Dentons US llp in January 2012. She joined Berkeley Rep’s board in early 2012 and is also actively involved with keen SF (Kids Enjoy Exercise Now), the Women’s Leadership Council for United Way of the Bay Area, and Mount Holyoke College. Rich retired in 1998 as a senior partner at San Francisco’s Robertson Stephens & Co., a high-tech-focused investment bank. He is a professional photographer and has been very active as a board member and fundraiser for numerous Bay Area nonprofit organizations, including Jewish Family & Children’s Services of the East Bay, Oakland Museum of California, and the College Preparatory School. Rich served as the executive director of the Friends of Photography and the Ansel Adams Center for Photography in San Francisco from 2001 to 2004.

Sandra & Ross McCandless PRODUCERS

profiles committees. She represents management in labor and employment matters as a partner of the global law firm Dentons US llp. She is also a neutral arbitrator for the American Arbitration Association. Sandra is a leader of the American Bar Association, the largest professional services organization in the world. Currently, she serves on the aba’s board of governors and as chair of its finance committee. Ross teaches science and mathematics at Mount Diablo High School and is an avid dancer and birdwatcher. The McCandless’ love of theatre dates back to Sandra and Ross’ joint performance at Harvard College in William Saroyan’s Hello Out There. Their daughter Phyra McCandless and son-in-law Angelos Kottas are also enthusiastic members of the Berkeley Rep family.

The Bernard Osher Foundation PRODUC TION SPONSOR

The Bernard Osher Foundation, which supports higher education and the arts, was founded in 1977 by Bernard Osher, a respected businessman and community leader. The Foundation provides scholarship funding to selected colleges and universities across the nation. It also benefits programs in integrative medicine at Harvard University, ucsf, and the Karolinska Institute in Stockholm. In addition, the Foundation supports a national network of educational programs for seasoned adults, the Osher Lifelong Learning Institutes, which now operate on the campuses of 117 institutions of higher education. Finally, an array of performing arts organizations, museums, and selected educational programs in the San Francisco Bay Area and the State of Maine receive Foundation grants. The Honorable Barbro Osher, consul general of Sweden in California, chairs the Foundation’s board of directors.



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. 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 ecofriendly alternative to cars. For more info, visit

Sandra McCandless, a long-standing board member of Berkeley Rep, presently serves as co-chair of the Corporate Council and as a member of the executive and compliance 2 01 3–1 4 · I S S U E 1 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 3

San Francisco Chronicle SEASON SPONSOR

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

Wells Fargo


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

Additional staff Assistant director Dylan Russell Costume shop Nelly Flores · Marcy Frank · Miriam Geiger · Alexandra Gray · Alex Zeek Dialect coach Lynne Soffer Movement consultant MaryBeth Cavanaugh Props Rebecca Willis Scene shop Ross Copeland · Patrick Keene · BJ Lipari · Geoff Nolan · Stephanie Shipman · Read Tuddenham Scenic art Zoe Gopnick-McManus · Lassen Hines · Anya Kazimierski · Mary McDonald · Tania Seabock Wardrobe Sarah Wakida Special thanks East Bay Regional Parks Department 3 4 · T H E B E R K E L E Y R E P M AG A Z I N E · 2 0 1 3–1 4 · I S S U E 1

We acknowledge the following Annual Fund supporters whose contributions from September 2012 through August 2013 helped to make possible the Theatre’s artistic and community outreach programs.

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

G IF T S O F $2 5,000 –49,999

G IF T S O F $5,000 –9,999

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

Anonymous The Ira and Leonore Gershwin Philanthropic Fund Walter & Elise Haas Fund Wallis Foundation Woodlawn Foundation

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

G IF T S O F $50,000 –99,999

G IF T S O F $10,000 –24,999

The Bernard Osher Foundation

Crescent Porter Hale Foundation Koret Foundation National Endowment for the Arts The Kenneth Rainin Foundation Paul Wattis Foundation

Joyce & William Brantman Foundation Civic Foundation Dramatist’s Guild Fund JEC Foundation


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

G IF T S O F $6,000 –11,999

G IF T S O F $2 5,000 –49,999

Armanino McKenna llp Charles Schwab & Co. Deloitte Meyer Sound Oliver & Company, Inc. Panoramic Interests Peet’s Coffee & Tea Schoenberg Family Law Group stg Asset Management, Inc. ubs

G IF T S O F $750 –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 Bingham McCutchen llp

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

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


M AT C H I NG G I F T S Act Catering Aurora Catering Autumn Press Back to Earth Organic Catering Belli Osteria Bobby G’s Pizzeria Bogatin, Corman & Gold Café Clem Comal Cyprus Distillery No. 209 Domaine Carneros by Taittinger Donkey & Goat Winery etc Catering Four Seasons San Francisco Gather Restaurant Gecko Gecko

Green Waste Recycle Yard Guittard Chocolate Company Hotel Shattuck Plaza izze Sparkling Juice Company Jazzcaffè Kevin Berne Images La Note Latham & Watkins, llp Match Vineyards Mint Leaf Patricia Motzkin Architecture Paul Hastings Phil’s Sliders Picante PiQ Quady Winery Raymond Vineyards

Revival Bar + Kitchen Ricola usa St. George Spirits 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. Adobe Systems Inc. · Advent Software · Alexander & Baldwin · American Express · Apple · Argonaut Group, Inc. · at&t · Bank of America · Bechtel Corporation · BlackRock · Bristol Myers Squibb · Charles Schwab & Co, Inc · Chevron Corporation · Clorox · Constellation Energy · Franklin Templeton · Gap · Google · Hewlett Packard · ibm Corporation · JD Fine and Company · John Wiley & Sons, Inc. · Johnson & Johnson · kla Tencor · Lawrence Livermore National Laboratory · Lexis-Nexis · Macy's Inc.· Matson Navigation Company · Microsoft · Morrison & Foerster · Motorola Mobility · mrw & Associates llc · norcal Mutual Insurance Company · Oracle Corporation · Perforce · Ruppenthal Foundation for the Arts · · The Doctors Company · The Walt Disney Company · visa u.s.a., Inc. · Willis Lease Finance Corporation 2 01 3–1 4 · I S S U E 1 · T H E B E R K E L E Y R E P M AG A Z I N E · 35

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 or call 510 647-2906.

LEG E N D in-kind gift M matching gift K

P RODUC E R C I RC L E S E A S O N PRO D U CE R S $ 5 0,0 0 0 – 9 9,9 9 9

Rena Bransten Martha Ehmann Conte Bruce Golden & Michelle Mercer Mary & Nicholas Graves Wayne Jordan & Quinn Delaney John & Helen Meyer 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

Bill Falik & Diana Cohen Kerry Francis & John Jimerson M Frances Hellman & Warren Breslau Pam & Mitch Nichter Marjorie Randolph Dr. & Mrs. Philip D. Schild Michael & Sue Steinberg Jean & Michael Strunsky

Guy Tiphane Gail & Arne Wagner Barry Lawson Williams


$ 12 ,0 0 0 –2 4 ,9 9 9

Anonymous Stephen Belford & Bobby Minkler Carole B. Berg Thalia Dorwick Robin & Rich Edwards David & Vicki Fleishhacker Virginia & Timothy Foo Scott & Sherry Haber Jack Klingelhofer Sandra & Ross McCandless Steven & Patrece Mills M K Dugan Moore Patricia Sakai & Richard Shapiro Joan Sarnat & David Hoffman Felicia Woytak & Steve Rasmussen Martin & Margaret Zankel


$ 6,0 0 0 – 11,9 9 9

Anonymous (2) Shelley & Jonathan Bagg Barbara & Gerson Bakar Steve & Blair Buster Robert Council & Ann Parks-Council David & Vicki Cox Tom Dashiell Oz Erickson & Rina Alcalay William Espey & Margaret Hart Edwards John & Carol Field Kristina Flanagan Paul Friedman & Diane Manley M Jill & Steve Fugaro Paul Haahr & Susan Karp M Doug & Leni Herst Hitz Foundation Ms. Wendy E. Jordan Jean & Jack Knox Wanda Kownacki

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



$ 3,0 0 0 – 5,9 9 9

$ 1, 5 0 0 –2 ,9 9 9

Anonymous (2) Tony Amendola & Judith Marx Edith Barschi Neil & Gene Barth Valerie Barth & Peter Wiley M Drs. Don & Carol Anne Brown Tracy Brown & Greg Holland C. William Byrne M Lynne Carmichael Jennifer Chaiken & Sam Hamilton Susan Chamberlin Earl T. Cohen & Heidi M. Shale Karen & David Crommie Richard & Anita Davis Lois M. De Domenico Benjamin Douglas Delia Fleishhacker Ehrlich M Nancy & Jerry Falk Earl & Bonnie Hamlin Ann & Shawn Fischer Hecht Richard N. Hill & Nancy Lundeen James C. Hormel Kathleen & Chris Jackson Ashok Janah K Robert Kelling Duke & Daisy Kiehn Lynn Eve Komaromi Suzanne LaFetra Nancy & George Leitmann Don & Amy Louv M Peter & Melanie Maier Charlotte & Adolph Martinelli Grey Maus(e) Phyra McCandless & Angelos Kottas Susan Medak & Greg Murphy Eddie & Amy Orton Sandi & Dick Pantages Pease Family Fund Ivy & Leigh Robinson David S. H. Rosenthal & Vicky Reich Riva Rubnitz Beth & David Sawi Linda & Nathan Schultz Lisa & Jim Taylor Steven Winkel & Barbara Sahm Sheila Wishek Sally Woolsey

Anonymous (10) Pat Angell Marcia & George Argyris Nina Auerbach Richard & Debbie Ault K Don & Gerry Beers M David Beery & Norman Abramson Cynthia & David Bogolub Caroline Booth Linda Brandenburger Broitman-Basri Family Thomas & Tecoah Bruce Kerry Tepperman Campbell Stephen K. Cassidy & Rebecca L. Powlan LinChiat Chang K The Cheitlin Family Julie Harkness Cooke Constance Crawford Ed Cullen & Ann O'Connor K James Cuthbertson John & Stephanie Dains Ilana DeBare & Sam Schuchat Brooke Facente Merle & Michael Fajans Cynthia A. Farner Lisa & Dave Finer Linda Jo Fitz Frannie Fleishhacker Thomas & Sharon Francis Herb & Marianne Friedman James Gala Dennis & Susan Johann Gilardi Marjorie Ginsburg & Howard Slyter Daniel & Hilary B. Goldstine Bob Goodman Deborah & Howard Goodman Robert & Judith Greber William James Gregory Garrett Gruener & Amy Slater Richard & Lois Halliday Migsy & Jim Hamasaki Bob & Linda Harris Vera & David Hartford Ruth Hennigar Tom & Bonnie Herman Wendy Herzog K Gail & Bob Hetler

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 3–1 4 · I S S U E 1

Bill Hofmann & Robbie Welling The Hornthal Family Foundation Rick Hoskins & Lynne Frame Paula Hughmanick & Steven Berger George & Leslie Hume Lynda & Dr. J. Pearce Hurley Herrick and Elaine Jackson, The Connemara Fund Beth & Fred Karren Rosalind & Sung-Hou Kim Michael Kossman John Kouns & Anne Baele Kouns Helen E. Land Robert Lane & Tom Cantrell Randy Laroche & David Laudon Louise Laufersweiler & Warren Sharp Ellen & Barry Levine Bonnie Levinson & Dr. Donald Kay Jennifer S. Lindsay Tom Lockard & Alix Marduel Jonathan Logan Vonnie Madigan Lois & Gary Marcus Michael Margolis Sumner & Hermine Marshall Rebecca Martinez Jill Matichak Sarah McArthur & Michael LeValley K Janet & Michael McCutcheon Karen & John McGuinn Miles & Mary Ellen McKey Scott McKinney & Sherrill Lavagnino Michele R. McNellis Toby Mickelson & Donald Brody Roger & Satomi Miles John & Katrina Miottel Andy & June Monach Scott Montgomery & Marc Rand Patricia Motzkin & Richard Feldman Judith & Richard Oken Janet Ostler Joshua Owen & Katherine Robards Gerane Wharton Park Bob & MaryJane Pauley Tom & Kathy Pendleton Gladys Perez-Mendez Barbara Peterson Susie & Eric Poncelet David Pratt

Elizabeth Ratner John Ravitch Jonathan & Hillary Reinis Bill Reuter & Ruth Major James & Maxine Risley John & Jody Roberts Carole Robinson & Zane O. Gresham Deborah Romer & William Tucker Boyard & Anne Rowe Enid & Alan Rubin Gaile B. Russ Dace P. Rutland Mitzi Sales & John Argue Lisa Salomon & Scott Forrest Monica Salusky & John K. Sutherland Jeane & Roger Samuelsen Stephen C. Schaefer Jackie & Paul Schaeffer Joyce & Jim Schnobrich Stephen Schoen & Margot Fraser Edie Silber & Steve Bomse Amrita Singhal & Michael Tubach Kae Skeels Sherry & David Smith Stephen & Cindy Snow Louis & Bonnie Spiesberger K Stephen Stublarec & Debra S. Belaga Andrew & Jody Taylor Deborah Taylor Alison Teeman & Michael Yovino-Young Susan & David Terris Ama Torrance & David Davies Buddy & Jodi Warner Jonathan & Kiyo Weiss Beth Weissman Jim & Maria Weller Grace Williams Patricia & Jeffrey Williams Charles & Nancy Wolfram Jane Zuercher

We are pleased to recognize firsttime donors to Berkeley Rep, whose names appear in italics.

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 (4) · Donald & Margaret Alter · Juli Betwee · Paula Carrell · Paula Champagne & David Watson · Naveen Chandra & James Lengel · Ed & Lisa Chilton · Richard & Linnea Christiani · Katherine Copic & Daniel Spoonhower M · Barbara & Tim Daniels M K · Ric de Barros · Harry & Susan Dennis · Francine & Beppe Di Palma · Corinne & Mike Doyle · Becky Draper · Gary Facente · Paul Feigenbaum & Judy Kemeny · Christopher R. Frostad M · Karl & Kathleen Geier · Phyllis & Eugene Gottfried · Jennifer Heyneman Sousae · Adrienne Hirt & Jeffrey Rodman · Elaine Hitchcock · Mr. & Mrs. Harold M. Isbell · Randall Johnson · Barbara E. Jones · Christopher Killian & Carole Ungvarsky · Mary S. Kimball · William & Adair Langston · Eileen & Jay Love · Larry & Corinne Marcus · John E. Matthews · Erin McCune & Nicholas Virene · Daniel and Beverlee McFadden · John G. McGehee · Kirk McKusick & Eric Allman · Marc Elliott Mosko · Timothy Muller · Claire Noonan & Peter Landsberger · Steve Olsen · Richard Ostreicher & Robert Sleasman · Robyn & David Owen M · Judy O'Young, MD & Gregg Hauser · David & Julieta Peterson · Gregory C. Potts · Andrew Raskopf · Charles R. Rice · Horacio Rodriguez · Sheli Rosenberg · Susan Rosin & Brian Bock · Susie Sargent & Michael Webb K · Seiger Family Foundation · Neal Shorstein, MD

We gratefully recognize the following members of the Annual Fund whose contributions were received in April 2013 through August 2013. S U PP O R T E R S $ 2 5 0 –49 9

Anonymous (13) · Terry Pink Alexander & John Blaustein · Bonnie Andersen · Jill Armbrust · Barbara Jones & Massey J. Bambara · Leslie & Jack Batson · Ann Bauman · Elaine & Herb Berman · Jayaram Bhat · Steven Birnbaum · Mr. & Mrs. David B. Boercker · Valarie & John Burgess · Robert & Margaret Cant · Jim & Jeanette Cottle · Gary & Diana Cramer · Dianne Crosby · Joyce S. Cross · Sheila Cullen · Marvin Diamond · Janet Eadie · Jeanene E. Ebert · Cele & Paul Eldering M · Pat & Ted Eliot M · Judith Erdberg IV · Ted Feldsher & Sally McLaughlin · James Finefrock & Harriet Hamlin · Brigitte & Louis Fisher · David & Sara Fleisig · Stephen Follansbee & Richard Wolitz · Natalie Forrest & Douglas Sprague · Michael & Sabina Frank · Dorothy & Chuck Garber · Diana Graham & Jack Zimmermann · Bernice Greene · John G. Guthrie · Julie Harris & Audrey Sockolov · Lola H. Harris · Dixie Hersh · Dennis J. Hock · Deborah & David Kirshman · Regina Lackner · Mr. & Mrs. Richard Larsen · David & Mari Lee · Ludwig H. Lin MD · Mary A. Mackey · Martie Conner · Christopher McKenzie & Manuela Albuquerque · Mary Mizroch · Barbara Morgan · Susanna Morin-Groom · Susan Morris · Ronald Morrison · Linda L. Murray & Carl Schemmerling · Bill & Jane Neilson · Joseph & Berna Neumiller · Peggy O'Neill · Paul & Kerry Perez · Virginia & Lucien Polak · Roxann R. Preston · Lynne D. Raider · David & Mary Ramos · Hector Richards · Peggy Rosson · Timothy A. Satterwhite · Barbara & Jerry Schauffler · Esther & Ron Schroeder · Roche Schulfer · Darlene Schumacher · Marjorie Shapiro · Carra Sleight · Terry & Berenice Sullivan · Gerald & Esme Tarder · Ruthann Taylor · Christine Telischak · Nick Themely · Mr.

& Christopher Doane · Mark Shusterman, M.D. · Dave & Lori Simpson · Ed & Ellen Smith · George & Camilla Smith · Annie Stenzel · Tim Stevenson & David Lincoln King · Nancy & Fred Teichert · Pate & Judy Thomson · Deborah & Bob Van Nest · Wendy Willrich · Steven & Linda Wolan · Lee Yearley & Sally Gressens · Sam & Joyce Zanze

AC TO R S $500–999

Anonymous (16) · Robert & Evelyn Apte · Steven & Barbara Aumer-Vail · Jonathan Berk & Rebecca Schwartz · Richard & Kathy Berman · Robert Berman & Jane Ginsburg · Caroline Beverstock · Steve Bischoff · Patti Bittenbender · Nancy Blachman and David desJardins · Dr. Kevin & Mrs. Riva Bobrowsky · Fraser Bonnell · Claudia Bravo & Alan R. Silverman · Marilyn Bray · Wendy Buchen · Rike & Klaus Burmeister · David Burnett · Robert & Janet Campbell M · Ronnie Caplane · Bruce Carlton · Carolle J. Carter & Jess Kitchens · Stan & Stephanie Casper · Michael C. Chang · Jeff Chanin & Karen Lovdahl · Kim & Dawn Chase · Patty Chin · Dennis Cohen & Deborah Robison · Ruth Conroy · Robert & Blair Cooter · Dee Cosetto · John & Izzie Crane M · Barbara & John Crary · Copley Crosby · Teri Cullen · Robert & Loni Dantzler · Pat & Steve Davis · Jackie Desoer · Edmund DuBois · Drs. Nancy Ebbert & Adam Rochmes · Anita C.

Leon Van Steen · Mr. & Mrs. John C. Wadman · Mary Wadsworth M · Dr. & Mrs. R. Douglas Wayman

CO N T RIB U TO R S $ 15 0 –2 49

Anonymous (13) · Brian Andersen, Michelle Jolly, Bill Walker & Mary Wisnewski · Lisa Bailey · Beverly Ballard · Michelle L. Barbour · Gary Barth · Paul Bendix · Paul Birman & Jeanne Miernyk · James T. Boyd · Beverly Braxton · Barbara & Ray Breslau · Dr. G. Cavallaro & Mr. K. Pfeiffer · Harry Chomsky & Amy Apel · Yvonne Chong · Kate Deschamps · Lori & Gary Durbin · Sally-Ann & Ervin Epstein, Jr. · Don Erickson · Betty & Ken Fehring · Gail Forgash · Lisa Fuller & Dirk Tengrotenhuis · Lucia Gilbert · Ian M. Goldstein M · Helene Good · Barry & Erica Goode · Marcia Goodman & Hank Levy · Jennifer S. Gorovitz · Prof. & Mrs. Nelson H. Graburn · Joan & LeRoy Green · Nina & Claude Gruen · Janice Hammond · Daria Hepps K · Don & Molly Hermes · Nancy Higham · Jeff Hoel · Marie F. Hogan & Douglas A. Lutgen · Page & Joseph R. Holmes · John & Elise Holmgren · Ken Jaffee · Sheila Kahan & Judith Bloom · Charles & Laurie Kahn · Joyce Keil · Eva Klein · Bruce Koch · Janet Kranzberg · Jean Levin · Patricia Lusk · Jeffrey K. Martin · Mary McConnell & Don Nimura · Betsy Mellins & Paul Mendelman · David & Jane Meyers · Mary-Leigh Miller · Constance Mueser · Ethel Mussen · Stephen E. Palmer · Regina Phelps · Wil & Joyce Pinney · Kate Pletter · Judy Radin & Chris Johnson · David & Suzanne Redell · John R. Rhodes · William & Ray Riess · Mr. & Mrs. Edward Rinne · Dr. Lynn Robertson · Jirayr & Meline Roubinian · L. M. Rubinoff · James Simpson & Tamara Wood · Frances Singer · Mary Lou Solecki · Henry Timnick · Robin Wand & Phil Neville · Sharon Weinberg · Mrs. James Weinberger · Ann Williamson · Barbara Yoder

FRIE N D S $ 75 –149

Anonymous (24) · Mark Aaronson & Marjorie Gelb · Denise Abrams & David Harrington · Leslie Alden · Elizabeth Allen · Victor & Karen Alterescu · Edmund Alvey · Mark Amaro ·

Eblé · Burton Peek Edwards & Lynne Dal Poggetto · Michael Ehrenzweig · Sue & Peter Elkind · Roger & Jane Emanuel · Bill & Susan Epstein · Gini Erck & David Petta · Martin & Barbara Fishman · Patrick Flannery · Michael Flora · Nancy H. Francis · Lisa Franzel & Rod Mickels · Donald & Dava Freed · Paul Gill & Stephanie D'Arnall · Judith & Alex Glass · Paul Goldstein & Dena Mossar · Robert Goldstein & Anna Mantell · Dan Granoff · Sheldon & Judy Greene · Don & Becky Grether · Dan & Linda Guerra · Eric and Elaine Hahn · Kate Hartley & Mike Kass · Dee Hartzog · Richard L. Hay · Geoffrey & Marin-Shawn Haynes · Diane Hembry · Irene & Robert Hepps · Howard Hertz & Jean Krois · Marilynn Hodgson · Rosalie Holtz · Morgan Hough · Leonard & Flora Isaacson · Ken & Judith Johnson · Helmut H. Kapczynski & Colleen Neff · Lisa and John Katovich K · Seymour Kaufman & Kerstin Edgerton · Dennis Kaump · Vivian Keh & Jonathan Hue M K · Steve Kispersky · Jeff Klingman & Deborah Sedberry · Janet Kornegay and Dan Sykes · Jennifer Kuenster & George Miers · Henry & Natalie Lagorio · John Leys · Ray Lifchez · Bertram Lubin & Vivian Scharlach · James Lyons · Tania & David Madfes · Bruce & Pamela Maigatter · Joan & Roger Mann · Sue & Phil Marineau · Josephine Maxon · Sean McKenna · Alison McLean · Ruth Medak · Caryl & Peter Mezey · Jerry Mosher · Moule Family Fund ·

Lance Nagel · Ron Nakayama · Jeanne E. Newman · Marlowe Ng & Sharon Ulrich · Hung Nguyen · Jennifer Puck & Robert Nussbaum · Pier & Barbara Oddone · Judith Ogle · Nancy Park · Lewis Perry · Pherwani Family · James F. Pine M · Malcolm & Ann Plant · Andrea Plastas · Gary F. Pokorny · Charles Pollack & Joanna Cooper · Donovan & Anna Prostrollo · Chuck & Kati Quibell · Sheldon & Catherine Ramsay · Lucas Reiner & Maud Winchester · Ian Reinhard · Paul & Margaret Robbins · Deborah Dashow Ruth · Dairne Ryan · Dorothy R. Saxe · Bob & Gloria Schiller · Mark Schoenrock & Claudia Fenelon· Teddy & Bruce Schwab · Brenda Buckhold Shank, M.D., Ph.D. · Margaret Sheehy · Mary Shisler K · Steve & Susan Shortell · Suzanne Slyman · Jerry & Dick Smallwood · Sigrid Snider · Christina Spaulding · Robert & Naomi Stamper · Herbert Steierman · Lynn M. & A. Justin Sterling · Monroe W. Strickberger · Karen Tiedemann & Geoff Piller · Mark Valentine & Stacy Leier-Valentine · William van Dyk & Margi Sullivan · Gerald & Ruth Vurek · Louise & Larry Walker · Wendy Ward · Michael Weinberger & Julianne Lindemann · Carmi Weininger · Sallie Weissinger · Dr. Ben & Mrs. Carolyn Werner · Ann Harriman · Oliver Williamson · Fred Winslow & Barbara Baratta · Robert & Myrna Witt · Susan & Harvey Wittenberg · Ron & Anita Wornick · Kent Wright K · Margaret Wu & Ciara Cox

Charles & Joyce Anderson · Peah & Allan Armstrong · Carmen Aydelott · Sharon Babot · Larry & Barbara Babow · Barbara J. Bacher · Kristen Badgley · Beryl Baker · Jane Karren Baker K · Barbara Barer · Richard Bay · Linda Belden · Mr. & Mrs. Robert Belote · Audrey M. Berger · Gail Berman M · Sandra Bernard · Jurg & Christel Bieri · Catherine M. Bishop & Ken Donnelly · Katherine Bishop · Laura Blair & Mitchell Zeemont · Annette Blanchard · Noel R. Blincoe · Joan & Howard Bloom · David & Pamela Bluhm · Bethel Bodine · Joan Bodway · Tracey Borst · Sharon Boysel · Carol Brown · Phil Brown & Carol LaPlant · Shannon & Judith Brown · Barbara Brenner Buder · Jan & Bob Burdick · Steven & Alison Burke · Douglas Bury · Robert & Karen Cabrera · Bruce J. Carroll · Colston Chandler · Hortensia Chang · Grace Chen · Celeste Chin · Mary L. Clark · Paula A. Clark · George & Sheri Clyde · June & Michael Cohen · Susan Cohen · Kitty Cole · Joe J. Colletti · Conceptia Ltd. · Joe & Leonardo Connell · Rich Craig · Nancy Cuesta · Dawn Daro · Susan David · General Scott Davie · Janine De Hart K · Carla De Silva · Jim DeFrisco · Richard DeNatale · Jacqueline deSouza · Brigitte Devaux · Steve Doherty · Elizabeth Anne Doyle · Thomas W. Edwards & Rebecca Parlette-Edwards · Robert Engel · Joseph & Judith Epstein · Miranda & John Ewell · Virginia Fauvre · Linda Feldman · David Fink · Sally Flinchbaugh · William & Andrea Foley · Mr. & Mrs. John Foran · Karen FrasierKolligs & Walter Kolligs · Barbara Fried · Susan & Sean Gallagher · Mr. & Mrs. Jack M. Garfinkle · Steven Goldberg · Gayle & Steve Goldman · Dr. & Mrs. Arnold Goldschlager · Alison Gopnik · Sue & Eric Gordon · Marjorie Greene · Ruth N. Greenwald · Claudia Greif · Barbara and Barry Gross · Michael Hanemann · Carol & Don Hardesty · Michael & Grace Hardie · Susan H. Heldman · Philippe Henri · Kristi Hernandez · David Hester & Karen Jannetti Hester · Susan L. Hill · Thomas Hird · Bill Holland · Estie Sid Hudes · J. Hui · Richard Ingalls · Ron & Virginia Iverson · Christine Izaret · Sandy Jaffe · Carl & Carolyn Janson · Roxy Jones · Judy Kantor · Jane Kaplan · George & Patricia Kaplan · Jean Kay · Pat Kelly & Jennifer Doebler · Pat & Chris Kenber · Kimberly J. Kenley-Salarpi · Kathryn Kersey · Lindy Khan & Amiram Givon · Janet

King & Tom Corlett · Susan Kinloch · Lawrence & Carolyn Klein · Christopher Knudsen · Lisa S. Lacayo · Marit Lash · Wilson Lee & May Ng Lee · Maureen K. Lenahan · Harvey & Wendy Leiderman · Ken & Judy Linhares · Marcia C. Linn · Bruce & Myrna Lockey · Linda Lonay · Viola Lucero · Martha & Arthur Luehrmann · Frances & Kenderton S. Lynch · Cheryl & Laurence Lyons · Barbara Zerbe Macnab · Gordon & Carol Manashil · Laurentius Marais & Susan Hendrie-Marais · Linda Marker · Dr. & Mrs. Steven R. Mayfield · Sara McAulay & Elsa Garcia Pandavenes · Kevin McCarty · Christine McCutcheon · Daniel McGill · Mr. & Mrs. Joe C. McKenzie · Joseph & Carol McLaughlin · Kathy McLean · Brian McRee · Don & Mara Melandry · Mary & Gene Metz · Marie A. Moran · Herbert & Sondra Napell · Cynthia Naton & Richard Soennichsen · Glen Nethercut · Robert Newcomer & Susanne Light · Stephen & Karen Nicholls · Stacy Nii-Eastly & John Eastly · Andy Norton · Michael O'Hare · Gene & Helen Oliver · Susan Olney · Paul Ortega · Lynette Pang & Michael Man · Lynne Parode · Maria Paterno · Ann Pearson · P. David & Mary Alyce Pearson · Elaine Penzer · Mauree Jane Perry · Marsha Phillips · Therese Pipe · Linda Plecha · Stephen Popper & Elizabeth Joyce · Jean & Jack Port · Barbara Porter · Ted Priola & Maggie Petersen · Lisa Pryor · Danilo Purlia & Catherine Kuss · Darlene Quinn · Nancy A. Rader · Susan Rasmussen · Danielle Rebischung · Dr. Diana Rebman · Hannah Reed · Mr. & Mrs. Rudolph Reich · Vanessa Reid · Dr. William E. Rhea · Audrey & Paul Richards · Gregg Richardson & Lee Mingwei · Wesley Richert · Agnes Rogacsi · Helen Romain M · Jennifer Rose · Pepi Ross · Louise Russell · William & Lee Rust · Helen Rutledge · Laura & Bernard Ryan · Shelley Sandusky · Laurel Scheinman · Drs. James Scherer & Edie Folb · Pixie Hayward Schickele · Jack & Margaret Schieble · George Schmidt · Julie & Mark Schneider · Otto Schnepp · Ed & Jennifer Schoenberger · Anne Schonfield · Joan Schwalbe · Lori Schweitzer · Ana & Stanley Scott · Heidi Seney · Andrew Sessler · Louise Shalit · Debra Shapazian · Ms. Susan Sherk · Lee & Mary Shilman · Margaret Turnbull · David Sklansky & Deborah Lambe · Jordan Smith · Pam Smith · Ann M. Smulka & Bob Blackburn ·

2 01 3–1 4 · I S S U E 1 · T H E B E R K E L E Y R E P M AG A Z I N E · 3 7

CON T R I BU TOR S donors to the annual fund Donald Stang & Helen Wickes · Doug & Kristen Stanton · John H. Steiner · Lillis & Max Stern · Johanna Stigter · Monica Stone · Benilda TaftKiewek · Bonnie Taylor · Susan Taylor · Rosalinda & Michael Taymor · Mary Teichmann · Robert & Rebecca Tracy · Diana Travis · Shirley R. Trimble · Melissa Trousdale & Shawn O'Connor · Michel Vacheron · Leslie Valas · Stephen Van Meter · Thomas & Suzanne Vinzent · Kathleen Vroom · Mary Waddington · Virginia Warnes · Jill Warren · Keith R. Weed & Julia Molander · Kim Rohrer · Elizabeth Werter · Karen & Stephen Wiel · Miriam & David Wilson · Susan Wittstock · Bill C. Wong · David Wood & Kathy Garrison · Mark L. Woodberry · Evie & Gordon Wozniak · Julie & Jerry Yaffee · Dr. & Mrs. Mark J. Yanover · Stan Zaks

PAT RO N S $ 1 –74

Anonymous (18) · Joyce Abbott · Angelina Acevedo · Joe & Esther Adler · Susan Aldrich · Jennie Alexander · Elsie Allen · Jean Alspaugh · Lauren M. Anduri · Kathy Armstrong · Mr. & Mrs. Louis Armstrong-Dangles · Christine Bachich · Christine Bacon · Norman Bailiff & Fran Cooper · Vanessa Baker · Carole & Michael Ballachey · Sara Barbieri · Louise Barrett · Carole Barry · Fedele & Linda Bauccio · Allison Berding · Ronald D. Berg · Patricia Berkowitz · Steve Bicknese · Mr. & Mrs. Ross W. Blue · Jean Bolen · Beverley Bolt · Lorraine Bonner · Denise Bostrom · Boualem Bousseloub and Sharon Calkin · Jenni D. Boyer · Nicole Brennan · Elizabeth Breslin · Renata Breth & Steve Osborn · Pamela E. Brodie · Joan Broer · Mr. & Mrs. Bruce Bryson · Pamela S. Burdman · Den Bush · Katherine Byrne · Jim & Margaret B. Callahan · Mr. & Mrs. Donald B. Campbell · Mr. & Mrs. John L. Cardoza · Eileen Carey · Denise & James Carpenter · David Carter · Vincent Casalaina · Raul A. Cernea · Joseph & Susan Cerny · Alan Chan · Cliff Chan · Douglas Chan · Susan Chapman · Alberta Chew · Julie Y. Chin · May Choi · Cathleen Chuck · Michael Cichon · Brian Co · M-M Codelka & Diane Matthews · Andra Cohn · Travis J. Cole · Cathy Coleman · Eleni Coltos · Danalla Combs · Anne

Cooke · Deborah Cooksey · Jeanne Cooper · Paul Cooper · Michael Cosgrove · Carrie Craig · Mr. Paul Craig · Sean Culman · Jerry Current · Mr. & Mrs. William G. Cusick · Fredda Damast · Leza Danly · Mr. & Mrs. Stefan Dasho · Deborah Davis · Paula Davis · Thea Davison & Chris Baskett · Joan De Vries · Robin Delaney · Frank Dellario · Irene Desonie · Seth Dickson · O'Neil & Marcia S. Dillon · John Dineen · Mr. & Mrs. Lawrence and Catherine Dinnea · Evelyn Dixon · Lynne Dombrowski · Audrey Doocy · Dorothea Dorenz · Deborah Doyle · Michael Dranginis · Philip & Susan Durfee · Alycia Dymond · Carol Ekberg · Anne Eisenberg · Terri Elkin · Ann Elliot · James Evans · Kathleen Failing · Linda Faison · David Fankushen · Kathryn Farley · Mr. & Mrs. Carl Farrington · Bronya Feldmann · Mary Beth Ferrari · Shelly Fields Tejeda · Karen Ivy Fiene · Winnie Fink · Laura Finkler & Larry Walter · Debra Fitzgerald · Craig Flanery & Birgit Danila · Nell Fliehmann · John Foley · John Frediani · Martin Friedman · Mathew & Caroline Frierman · Tom Gandesbery · Andrew Garcia · Loretta D. Garcia · Dr. Willis Gelston · Gerry & Steve Gerardin · Jacqueline Gilbert · Dildar D. Gill-Pisani · Cristiana Giordano & Jill Geller · Tolga Goktekin · David Gold · Lisa Gold · Marina Goldberg · Sam G. Goldhaber · Anthony Granados · Matthew Grant · Mr. & Mrs. Gray · Bettyanne Green · Kelly Greenne · Carl Grimm · Mr. John B. Gussman · Cheryl Guyer & Marty Kahn · Mr. Thomas R. Hall · Jeanne Halpern · Marjorie Hamm & Angela Bottum · Mark Hammond · Chuck & Susie Hanson · Naomi Hanson · Stanley J. Hartzell · Frederic L. Harvey · Patricia Heagy · Charisse Heath · Mrs. Karen Heather · Judith Hebert · Deborah & Ronald Heckart · Mark Heckman · Eleanor Hein · Ilene Hellman · Dottie Henderson · William Herkelrath · Ms. Barbara Heroux · Martha Hertelendy · Stanley & Maria Hertz · Florence Higa · Paul Hirsch · Vivian Hirshen · Steven Holly · Stephen Hopkins · Wilma S. Horwitz · Robert Hreha · Jurdy Hughes · David Hunn · June Hunt · Sonya Hunt · Sonja Hyde-Moyer · Tom Ihrig · Polly Ikonen · Susan Irvine · Anthony W. Vigo & Marcy Jackson · Cheryl Jacques · Roger Jaeckel · Joanne Jagoda · Kathleen

Sustaining members as of August 2013:

The Society welcomes the following new members: Gladys Perez-Mendez Valerie Sopher

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

Jakshtis · Goska & Julia Jarrett · Joe & Ann Jensen · John Jordan · Jane Kadner · Kimberley Kahler · Leo Kane · Mr. & Mrs. M. Kaplan · Karen Karten · Ms. Marcy Kates · Kerry Kay · Claire Kelm & Joseph Giammarco · Karen Kent · Marlene & Ilan Keret · Cathe Kiler · Julia Ann King · Robert King · Jenifer & Grayson Kirtland · Adam Klaus · Gretchen Klug · Marilyn Zoller Koral · John Kresge · Marilyn Kriegel · Nancy Helen Kromm · M. David & Carol Kroot · Leslye Krutko · Daniel Kuo · Josee Lajoie · Winston & Elaine Lambert · Linda Laskowski · Valerie Lau · Sandra Lawrie · Beatrice Laws · Molly Lazarus & Craig Burke · Sharon Legenza · Joann Levin · Nicole Levine · Barbara Levy · Melodie Lew · Nona Lim · Fred Lipschultz · Margaret Lisi · R U. Litteneker · Pat Livingston · Rianne Lovett · George I. Lythcott, III · Natasha Mader · Mr. James Madsen · Sushma Magnuson · Carole Main · Allan Mann · Jeanette R. Margolin · Kim & Barbara Marienthal · Angela Markle · Sherry E. Markwart · Laurie & Stuart Marson · Denis Martin · Mary Mattingly · Bruce Matzner · Miriam Maxwell · Jennifer McDougall · Diana & James McClelland · Suzanne & Charles McCulloch · Paula McNally · Diane Means · Alice Medrich, cookbook author and founder of Cocalat · Chris Mehling · Denise Mejlszenkier · Herb & Marilyn Meltzer · Edith Mendez · Harriett Michael · Jeanne Miller · Mary Jean Moore · Phyllis Morrison · Linda Morse · Suzanne Moullen · Nurit Mussen · Judith Myers · Niranjana Nagarajan · Darlene Nealon · Mr. & Mrs. James Nelson · Deborah Nelson · Carol Newborg · Morton Newman · Sora Lei Newman · Ann Hilton Nitzan · Lisa Norris · Maurice Obstfeld · Gloria O'Dell · Susan Ohanian · Maryl Olivera · Diane Olmstead & Matt Slepin · Milton Palmer · Jiro Palmieri · Amanda A. Pampena · Herman D. Papa · Linda Paravagna · Karin Patterson · Dr. Ruth Pease · Erika Peterkin · Elise Peterson Marks & Jeffrey Peterson · Mary Ann Petro · James Phillips · Helene Pier · Toni Pinck · Laurie Poston · Sarah Shea Potts · Don & Virginia Poulton · Lori Preston · Walter Price · Mark & Debra Prinz-Delapaine · Michele L. Profant · Hank & Sarah Pruden · Gail & R. Frank Pucci · Mr. & Mrs. David Pyle · Marilyn Radisch ·

Kerry Francis Dr. Harvey & Deana Freedman Dr. John Frykman Ruth Hennigar 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 Dale & Don Marshall Sumner & Hermine Marshall

Tarun Rajavelu · Teresa Ramirez · Madeline Reiter-Hewilt · Deborah Resnikoff · Geraldine Riordan · W. Wayne Ritchie & R. Scott Sullivan · Zona L. Roberts · Susan Robertson · Barbara Rogers · Marilyn l. Rogers · Ronald Rogness · Maria & Ron Romano · Benjamin R. Roome · Ann Rosenberg · Karen Rosenberg · Mr. Michael Rossman · John Rostkowski · May Rubin · Kathleen Russell · John Saari · Dawn Sagorski · Judy Salpeter · Janet Sanchez · Jonathan & Kris Sandoe · Penelope Sands · Harriet Saunders · Lisa Saunders · Jullie Sautman · Bonnie Schlobohm · James W. Schmidt · Robert Schmitt · Richard Schnetlage · Marcelle Scholl · Peter M. Schwartz · Marjorie Seashore · Richard Shall · Richard Sharpnack & Paul Dannhauser · Alice Sheehan · Reiko E. Sheppard · Norman Shore & Laura Garten · Marian Shostrom · Kristen Sidell & Paul Abboud · Rudy D. Silva · Wendy Silvani · John Simonds · Ruth Skarlatos · Margaret Skornia · Gayle Smith · Donna Smith-Harrison & Samuel Harrison · Sharyn Solish & Michael Siegel · Leon Somplinsky · Christine Sozanski · Ward & Deborah Spangler · Sherrill and Martin Spellman · Miriam Spongberg · Hildie Spritzer · Sree Sripathy · Carole Stein · Mimi Sternberg · Mary Stevens · Corinne Stewart · Dorian Stull · John Stull · Aina Stunz · Andrew Sullivan · Howard & Neilda Sussman · Avis Taylor · Jodi Tharan · Molly Thomas · Nancy Thomas · Diana Tillinghast · Shannon Titus · Danica Truchlikova · Jane Vanderveer · Marcella Vann · Colleen Vermillion & Nancy Heastings · Robert Visser · Christopher Wacht · Simone Wang · Denise Ward · Patricia Ward · Constance Washington · John Watkins & Barbara Maricle · Wendy Watling · Lawrence Edward Wayne · Margo Webster · Dennis Weiss · Susan Whitman · Linda Williams · Tristan Williamson · John Wilson · Kent Wisner · Jillian Wolfe · Ms. Beth Wolinsky · Carol Wolleson · William Wolverton · Patty Wong · Morris A. Woolfson · George Woyames · Terence C. Wright · Anne Yanow · Helen Ying · William Yragui · Nancy Zinn · Joanna Zinsli

Rebecca Martinez Suzanne & Charles McCulloch Miles & Mary Ellen McKey Margaret D. & Winton McKibben Susan Medak & Greg Murphy Toni Mester Shirley & Joe Nedham Pam & Mitch Nichter Sharon Ott Amy Pearl Parodi Barbara Peterson Regina Phelps 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 Henry Timnick

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

Gifts received by Berkeley Rep: Estate of Suzanne Adams Estate of 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 or contact Daria Hepps at 510 647-2904 or

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The following members of the Berkeley Rep community made gifts in memory and in honor of friends, colleagues, and loved ones from September 2012 to August 2013.

In honor of Susan Medak Terry Pink & John Blaustein Joanne Medak Anonymous, in honor of Julie & Patrick Kennedy Anonymous, in memory of Sky Parsons Pat Angell, in memory of Gene Angell Jeffrey Bornstein, in honor of Kerry Francis Allan & Muriel Brotsky, in memory of Dr. Leonard Gordon Jane Buerger, in memory of Judith A. Schmitz Gary & Diana Cramer, in memory of Doris Titus Anita & Herbert Danielsen, in honor of Sara E. Danielsen & Sean M. Tarrant Elizabeth Anne Doyle, in memory of John Doyle Wendy Dwyer, in honor of The Dwyer Family Robert Engel, in memory of Natalie Seglin David & Eileen Fink, in honor of Rachel Fink Brooke Facente, in honor of Jane and Gary Facente William Goodell, in memory of Carol G. Goodell Nina & Claude Gruen, in honor of Marjorie Randolph Richard & Sylvia Hammond, in honor of Leo Blitz & Family Carol & Tony Henning, in honor of Paul A. Henning David Hester & Karen Jannetti Hester, in honor of Anna M. Morrison Juraj & Elisabeth Hostynek, in honor of Andrej Hostynek Barbara E. Jones in memory of William E. Jones Julie Kastrup, in memory of Dan Murphy Lynn Eve Komaromi, in honor of the Berkeley Rep Staff

Debie Krueger, in memory of Alex Maffei Nadine Levin & Family, in honor of Judy Belk’s Birthday Peter & Melanie Maier, in honor of Jill Fugaro Chris Mehling, in honor of Wendy Williams Carrol Mills, in memory of Stan Eremia Geri Monheimer, in honor of Sharon and Randy Kinkade Susan Montauk, in memory of Clare Montauk Thomas Neale, in memory of Jean Culhane David Pasta, in memory of Gloria Guth Paul & Kerry Perez, in honor of Dixon Long Laurel Przybylski, in memory of Maryann Herber Sheila & Myron Puckett, in memory of Jean Murphy Lois & Dan Purkett, in honor of Merton Johnson & Mary Rowe M Veronica Rabuy, in honor of Zoe Inciong Phyllis & Steve Reinstein, in honor of Laurie Barnes Mr. & Mrs. Leonard Rosenberg, in honor of Sherry & Scott Haber Sheli Rosenberg, in honor of Leonard X Rosenberg Veronica Schwalbach, in memory of Catherine Day Heather Sirk, in honor of Emily Small-Coffaro Janet Sovin, in memory of Flora Roberts Katrina & John Staten, in memory of Wallace Johnson Prof. Jeremy Thorner & Dr. Carol Mimura, in memory of James Toshiaki Mimura Ms. H. Leabah Winter, in memory of Barry Dorfman, MD The Zeiger Family, in memory of Phyllis Sagle

Epic Storytelling CO N TIN U E D FRO M PAG E 21

You’ve spent a lot of time at regional theatres around the country—where do you think the regional theatre is going to be in 20 years? Where do you hope for it to be is maybe another way to put that. Well, what I hope is that the regional theatre continues to question itself in the way it’s doing now, because we’re seeing what’s happening now—and I speak for myself—is that a significant portion of the population that has sustained the regional theatre for the last 30 years is aging. I think the question is, how can the theatre continue to makes its connection with a large population and not be a walled off, elitist art form? We have a lot of challenges in terms of taking our work to people. The challenge is to not sit in a house like Vanya and Sonia and wait for life to come to you, but how do you chase the blue heron outside of your house? I think the most exciting recent developments in theatre are events like Here Lies Love, and Young Jean Lee’s untitled feminist show, which are immersive and participatory, or something like the work that the National Theatre of Scotland is doing, like Black Watch and The Strange Undoing of Prudencia Heart. As an audience member you’re invited to become an active member of the event that’s happening. I think that’s crucial. And then the other thing that I’m seeing as a really interesting and exciting development is a lot of auto-

biographical work. A lot of the most moving work that I’ve seen uses the real lives of people as a kind of foundation. Something like the German company She She Pop with their show Testament, where the performers were joined onstage by their fathers in a piece investigating the relationships of children to their fathers. I’ve seen a number of pieces in the last couple years by artists who are investigating what it means to be a child with an aging parent. And that can be narcissistic, but in the hands of an artist—just in the way that a good memoir can be a fascinating read—it has the capability to resonate far beyond. We’re so bombarded by stuff that to find something simple and authentic is quite powerful. Your question is a profound and useful one. I think there’s an invitation and a necessity to move beyond the walls of theatre and to look at how the theatrical experience can expand out and use technology in interesting ways, that can use the relationship of performer to audience in multiple ways. But the main thing I think is, what will keep audiences coming to the theatre and engaged in the theatre is the sense that they have participated in something. There are a lot of ways to create that feeling, but as I said, I think the thing we have to do as artists is look at how we can create a platform for theatre that is broader and more inviting.


Everything you want right at your fingertips (and it’s pretty, too)

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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 Associate Director Liesl Tommy Artistic Associate & Casting Director Amy Potozkin Artistic Associate Mina Morita Director, The Ground Floor/ Resident Dramaturg Madeleine Oldham Literary Associate Julie McCormick Theatre Communications Group/ Visiting Artistic Associate Maureen Towey Artists under Commission David Adjmi Glen Berger Marcus Gardley Tarell McCraney Dominic Orlando KJ Sanchez

S C E N IC A R T Charge Scenic Artist Lisa Lázár

Development Associate Beryl Baker

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

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 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 Campaign Manager Libbie Hodas Institutional Grants Manager Bethany Herron Special Events Manager Lily Yang Individual Giving Associate Joanna Taber Development Database Coordinator Jane Voytek

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PAT RON S E R V IC E S Patron Services Manager Katrena Jackson House Manager Debra Selman Assistant House Managers Natalie Bulkley · Aleta George · Michael Grunwald · Emily Hartman · Ayanna Makalani · Anthony Miller · Read Tuddenham Concessionaires Leah Barish · Laurie Barnes · Natalie Bulkley · Samantha Burse · Emily Fassler · Renee Gholikely · Alana Godner-Abravanel · Wendi Gross · Emily Hartman · Mary Kay Hickox ·  Kimberly “Mik” Jew · Maria Jimenez · Nima Khoshnevis-Rad · Devon Labelle · Margot Leonard · Hanna Lennett · Jamie McClave · Sarah Nowicki · Jenny Ortiz · Benjamin Sandberg · Amanda Spector ·  Andrew Susskind · Read Tuddenham · Nancy Villatoro Usher Coordinators Nelson & Marilyn Goodman B OX OF F IC E Ticket Services Manager Destiny Askin Subscription Manager & Associate Sales Manager Laurie Barnes Box Office Supervisor Terry Goulette Box Office Agents Christina Cone · Samanta Cubias · Luisa Frasconi · Sherice Jones · Eliza Oakley · Tom Toro · Aaron Walburg · Amanda Warner · Crystal Whybark M A R K E T I NG & C OM M U N IC AT ION S Director of Marketing & Communications Robert Sweibel Director of Public Relations Voleine Amilcar Art Director Nora Merecicky Video & Multimedia Producer Pauline Luppert Communications Manager Karen McKevitt Marketing Manager Kyle Sircus Audience Development Manager Sarah Nowicki Webmaster Christina Cone Program Advertising Ellen Felker

OP E R AT ION S Facilities Director John Horton Facilities Manager Lauren Shorofsky Building Engineer Thomas Tran Maintenance Technician Johnny Van Chang Facilities Assistants Kevin Barry · Sonny Hudson · Sophie Li · Carlos Mendoza · Jesus Rodriguez · Oliver Sweibel BERKELEY REP S C HO OL OF T H E AT R E Director of the School of Theatre Rachel L. Fink Associate Director MaryBeth Cavanaugh Jan & Howard Oringer Outreach Coordinator Dave Maier Community Programs Manager Benjamin Hanna School Administrator Kashara Robinson Registrar Katie Riemann Faculty Alva Ackley · Arion Alston · Jeffrey Bihr · Erica Blue · Rebecca Castelli · Sally Clawson · Laura Derry · Deborah Eubanks · Sara Felder · Nancy Gold · Gary Graves · Marvin Greene · Benjamin Hanna · Melissa Hillman · Gendell HingHernández · Andrew Hurteau · Aaron Jessup · Ben Johnson · Julian Lopez-Morillas · Dave Maier · Patricia Miller · Michael Navarra · Slater Penney · Lisa Anne Porter · Diane Rachel · Elyse Shafarman · Rebecca Stockley · James Wagner · Bruce Williams Outreach Teaching Artists Michael Barr · Mariah Castle · Gendell Hing-Hernández · Ben Johnson · Hannah Lennett · Marilet Martinez · Jack Nicolaus · Sarita Ocón · Carla Pantoja · Patrick Russell · Tommy Shepherd · Reggie White · Elena Wright Teacher Advisory Council Molly Aaronson-Gelb · Julie Boe · Amy Crawford · Beth Daly · Jan Hunter · Marianne Philipp · Richard Silberg · John Warren · Jordan Winer Docent Committee Thalia Dorwick, Director Matty Bloom, Core content Nancy Fenton, Procedures Jean Holmes, Visuals Charlotte Martinelli, Off-site contact & recruitment Vanya and Sonia and Masha and Spike Docents Matty Bloom, Lead docent Jean Holmes Charlotte Martinelli Karen McKevitt Selma Meyerowitz Rhea Rubin Joan Sullivan

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

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

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

Helen Meyer


Jill Fugaro


Emily Shanks T RE A S U R E R

Scott R. Haber S ECRE TA RY

Roger A. Strauch


William T. Espey


Marjorie Randolph



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


Carrie Avery Martha Ehmann Conte Robin Edwards William Falik Lisa Finer David Fleishhacker Paul T. Friedman Bruce Golden David Hoffman Carole S. Krumland Dale Rogers Marshall Sandra R. McCandless Julie M. McCray Susan Medak Pamela Nichter Leonard X Rosenberg Jack Schafer Richard Shapiro Jean Z. Strunsky Tony Taccone Gail Wagner Felicia Woytak

SFLG 040412 family 1_6v.pdf


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

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

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FYI Latecomers

Please arrive on time. There is no late seating, except at the discretion of the house manager.

Connect with us online!

Theatre info


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

Emergency exits Please note the nearest exit. In an emergency, walk—do not run —to the nearest exit. Accessibility Both theatres offer wheelchair seating and special services for those with vision- or hearing-impairment. 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. Open captioning is available for at least one performance of every season production.

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

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


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

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

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

Theatre maps stage


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

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


seating sections: RO DA

• premium • a • b stage

stage stage

seating sections:

• premium • a • b stage


2013 — 14 SEASON T H E T O N Y A W A R D–W I N N I N G M U S I C A L














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