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FEB/MAR 2014 47 th SEASON

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Truth has been a four-year odyssey for Carson Kreitzer and Marin Theatre Company. Back in 2010, Carson pitched me an idea for a play she wanted to write and develop with us. In one breathless stream she said, ‘I want to write a play about William Marston, the guy who created Wonder Woman, who also created the first polygraph machine (the lie-detector); he lived with two women, his wife and a grad student, he had children with both, they named the kids after each other, they were in a polyamorous relationship, and they were into bondage… and it was all in the 1930s, and the women stayed together after his death!’ I don’t think I responded immediately, although she pretty much had me convinced when she said ‘the guy who created Wonder Woman.’ Her other words kept echoing around my brain: “Did she just say polyamorous, polygraph and bondage in one sentence?” This is the origin of Lasso of Truth. asso of

The concept provoked my interest on countless points – that is the genius of Carson Kreitzer. At Actor’s Express in Atlanta, I was lucky enough to produce and direct a production of her The Love Song of J. Robert Oppenheimer. Much like Lasso, Oppenheimer is an example of Carson’s exploration and excavation of an important American historical figure, where she unearths all the ways that person has impacted who we are today. Her work introduces a new American mythology that pulls away patriarchal bias to explore how women played central roles in the stories we all know from our school books, sometimes more vital and important roles than the men whose names we still remember. She’s especially good at probing how these incredible moments from our past directly affect women and gender power structures today. Her plays are mosaics that swirl around a central idea, often bouncing story lines off each other that at first appear to have only the thinnest of connections. As the plays press forward, those lines often begin cascading on top of one another. Connections leap from the stage, unveiling an unseen truth of incredible complexity and honesty. The development of this play has truly been a national collaboration, and we have so many wonderful artists to thank. Please take a moment to look at both our development partners from across the American theater and the special thanks listed in this program. We would not be here without each of their contributions. I cannot say enough about the amazing artists on the stage before you and those who have created the physical world of Lasso of Truth.


Jasson Minadakis 5



here’s a lot to celebrate at Marin Theatre Company. The world premiere of Lasso of Truth is the culmination of a years-long process that began with a commitment and a commission in 2010. In January, over a thousand children experienced the Bay Area Children’s Theatre’s A Year with Frog and Toad – many seeing their first play ever. Eight plays by teen playwrights from local high schools premiered on our stage during the Marin Young Playwrights Festival, bringing laughter and unexpected tears. And our Education Department coordinated performances to celebrate the life of Dr. Martin Luther King, Jr. at a community gathering in Marin City. As we mark these wonderful events, I want to take a moment to acknowledge two men who made significant contributions to the life of MTC. This past March, John Bissinger passed away. John was a long-time subscriber at MTC, and had a deep love of the arts generally and the cultural life of Mill Valley specifically. In his will, he bequeathed $250,000 of his estate to MTC. This money will go directly to support the programs I mentioned above and to help us fulfill our mission, opening the hearts and minds of our community. In December, former MTC board president Tom Foster died following a courageous battle with pancreatic cancer. In many ways, Tom’s efforts built up the organizational and artistic capacity of MTC. His time as the leader of our volunteer board of directors saw steady and sustainable growth that put us on solid footing for the significant steps we have made since. Both in his role at MTC and as a member of the Bank of Marin’s board, he was a pillar of Mill Valley. I did not know either of these men. But my life and the lives of thousands of others have been changed for the better by their having lived. Their generosity in time and treasure, and the generosity of thousands of like-minded individuals, have created something truly special in Marin Theatre Company. It is our privilege as staff, artists, board and audience to carry on their legacy. We will be commemorating John and Tom’s lives more formally as time goes on. For the moment, suffice it to say that we are deeply grateful. Enjoy the wild wonder of Lasso of Truth. As ever, feel free to email me at

Thank you,

Michael Barker 7


Cast Party!, our annual spring fundraiser, will be held on Friday, May 9, at the Outdoor Art Club in Mill Valley. For more information, call the Development Department, 415.388.5200 x3317.

700 eligible submissions. The Way West by Mona Mansour won the 2013 Sky Cooper New American Play Prize and Eric Dufault won the 2013 David Calicchio Emerging American Playwright Prize for his play The Year of the Rooster.

Now enrolling for spring classes

Affiliated playwright news

Adults Our popular new play reading group, Contemporary American Playwrights, starts again on March 24 and runs Mondays 7-8:30 p.m. $285/person

Lauren Gunderson’s I and You, which we premiered in October, is a finalist for the Susan Smith Blackburn Prize, the top prize for an English-language woman playwright, and the Harold and Mimi Steinberg/American Theatre Critics Association New Play Award and Citations, which are given annually to the best new plays to premiere outside of New York City.

Save the date!

4th-8th Grades Dramatic Studies Conservatory spring semester begins March 24. Classes offered in the complete actor and studio performance, including voice, movement and scene study. $285/person

J.C. Lee, our 2012-13 National New Play Network Playwright in Residence, is currently writing for two HBO TV series: Looking and Girls.

Summer Performance Camp Our three-week theater day camp for students entering grades 1-10 runs June 30 – July 19. The camp culminates in fully produced performances of Disney’s Peter Pan Jr.

Other upcoming events • 3/1: Free panel discussion, 4:30pm (following Lasso of Truth matinee), featuring comic experts Kristy Guevara-Flanagan, Sam Hurwitt and Trina Robbins

For more information, call the Education Department, 415.322.6026.

• 3/8-16: Mercy Watson to the Rescue Theater Series for Young Audiences

Intern with MTC Now accepting applications for our 2014-15 Season Arts Leadership Training Program.

• Free library lecture series, 7:30pm Topic: August Wilson’s Fences – 3/25: Belvedere-Tiburon Library – 3/26: Mill Valley Public Library – 3/27: Larkspur Library

For more information, call the Education Department, 415.322.6026.

2013 Play Prizes announced

Visit for more information about our shows, events and programs. n

In December, we announced the winners of our two national new American play prizes, selected from nearly 9


Moving culture forward |


Fostering the voices of the next generation of playwrights young artists to be part of that mission, to have a forum for experimentation and a space to develop their craft. We do this through the Marin Young Playwrights Festival, which began five years ago as a single annual event that featured ten-minute plays written, directed and acted by local teens. This season, the festival has been expanded to also include a 24-hour playwriting festival. We look forward to the work that is generated and the collaborations that begin through this program.

ne of my favorite aspects of being the director of education at Marin Theatre Company is having the opportunity to foster and mentor young artists. They are the future of not only our industry, but also the storytellers that will be entrusted to continue to hold up a mirror to our society and ask the questions that keep the evolution of our culture moving forward. At MTC, we take that responsibility very seriously. Our mission is to produce provocative plays by passionate playwrights, and my task is to maintain and expand a space for

Here’s how the Marin Young Playwrights Festival now works:


IN THE COMMUNITY Ten-Minute Play Festival Each year, we accept submissions of ten-minute plays from any enrolled high school student in Marin and Sonoma Counties. This year, we expanded the program to accept one finalist from the Bay Area at large. Once the submission window has closed, a group of teen adjudicators read the submissions, scoring each one. The top 12 are discussed at a meeting of the adjudicators and eight finalists are chosen to present their play at the festival. The drama teachers from each finalist’s school nominate a student director to work with their playwright. The playwright and director cast the play from the general auditions hosted at MTC. Teen actors from all schools are invited to audition and are cast into the show(s) that they are best suited for, regardless of the school they attend. Once all of the shows are cast, each production has two rehearsals prior to the public reading. The actors remain on book for the performance to allow the playwrights to make adjustments after the first rehearsal. All eight finalists’ plays are performed at the festival presentation, and the

winner is announced at the end of the evening after a short deliberation from the adjudicating panel made up of members of our artistic staff, including artistic director Jasson Minadakis. Write Nite / Play Day The newest addition to MYPF (and a bundle of intense fun) is a 24-hour playwriting festival. The teen playwrights arrive at 8:00 p.m. on Friday night and have until 7:30 a.m. the next morning to complete a ten-minute play. They must face the writing challenge we pose: a title, theme and limited pool of props and scenic elements that they can include in their play. At 8:00 a.m. on Saturday, the directors and actors arrive. They are teamed up, handed a script and given 12 hours to stage, memorize and tech their play, which they must perform off-script at the festival performance at 8:00 p.m. on Saturday night. It is a boot camp for the creative process! Our teens met our challenge earlier this February, with hard work, imagination and a lot of laughter. n – Daunielle Rasmussen Director of Education

2014 Marin Young Playwrights Ten-Minute Play Festival Congratulations to Jake Rosenberg (pictured above, far right) of Jewish Community High School of the Bay for winning our fifth annual Marin Young Playwrights Festival with “No One Gives a Clap” on Sunday, January 19. Job well done by all of the finalists, who were (above, left to right): Jane Reagan (Terra Linda High School), Evans Levy (Tamalpais High School), Lilly Barnett (Terra Linda High School), Nola Barie (San Rafael High School), William Godbey (Terra Linda High School), Claire Buonocore (Ruth Asawa School of the Arts) and Tessa King (Tamalpais High School). n

Reservations 415.388.2000 Serving Lunch Daily 11:30 am - 5:00pm Dinner Nightly at 5:00 pm Brunch Sat & Sun 10:30 am - 3:00 pm 22 Miller Avenue Mill Valley CA 94941 Just across Miller from the Depot Plaza We are open Late-Night! Join us before or after the performance and enjoy a 10% discount on food purchase when you present your ticket receipt




by Carson Kreitzer directed by Jasson Minadakis+

Scenic Designer Lighting Designer Associate Lighting Designer Costume Designer Composer & Sound Designer Video Designer Graphic Designer Stage Manager Properties Artisan Casting Director Dramaturg Assistant Director

Annie Smart** Jim French Krista Smith Callie Floor** Cliff Caruthers** Kwame Braun Jacob Stoltz Melissa Jernigan* Seren Helday Meg Pearson Margot Melcon Rob Lutfy


Lauren English,* Jessa Brie Moreno,* John Riedlinger,* Nicholas Rose* & Liz Sklar* Originally commissioned by Marin Theatre Company; Jasson Minadakis, Artistic Director; Ryan Rilette, Producing Director. This Commission was funded in part by a grant from the National New Play Network. Developed at The Playwrights’ Center in Minneapolis, Black Swan Lab at Oregon Shakespeare Festival, and Lark Play Development Center and New Dramatists in New York City. Lasso of Truth is being produced in a rolling world premiere by Marin Theatre Company (California), Synchronicity Theatre (Georgia) and Unicorn Theatre (Missouri) with support from NNPN’s Continued Life of New Plays Fund. + Member, Stage Directors and Choreographers Society *Member, Actors’ Equity Association **Member, United Scenic Artists Local 829

this production of

Lasso of Truth

is generously underwritten by the following: MTC PARTNERS Anonymous | The Bellebyron Foundation | N.J. “Sky” Cooper The William and Flora Hewlett Foundation | Marin Community Foundation Gage Schubert | Christopher B. & Jeannie Meg Smith SEASON PARTNERS Tracy & Brian Haughton | The Shubert Foundation | James & Beth Wintersteen VIP PRODUCERS Mrs. Gale K. Gottlieb in honor of Dr. Kenneth I. Gottlieb The Haughton Family Charitable Fund | Susan & Russell Holdstein Lori Lerner & Terry Berkemeier | Shirley Loubé | Melanie & Peter Maier Kiki Pescatello | Venturous Theater Fund at the Tides Foundation EXECUTIVE PRODUCERS The Bernard Osher Foundation | Dave & Bobbie Chapman John & Shelley Chesley | Clay Foundation – West | Molly & Brett Dick The Kurland Family Foundation | National Endowment for the Arts Nordstrom, Inc. | Peter J. Owens Fund | The Shenson Foundation Fred & Kathleen Taylor PRODUCER Carl & Linden Berry | Tracy & Brian Haughton Kiki Pescatello | Robin & Rick Rice | The Tournesol Foundation | Yelp PATRON EVENT SPONSORS Stacy Scott Catering

Peter J. Owens fund


Cast of Characters in order of appearance

The Amazon ��������������������������������������������������� Liz Sklar* The Inventor������������������������������������������Nicholas Rose* The Girl ���������������������������������������������� Lauren English* The Guy ���������������������������������������������John Riedlinger* The Wife����������������������������������������� Jessa Brie Moreno* All other roles played by members of the company. Note from the Playwright These are fictional characters, inspired by real people. Some names have been changed for poetic reasons: to indicate distance from their points of origin, and that I am making no claim to know the truth. There’s no objective truth anyway, right? But this stuff is true. This play is dedicated to my mother. There will be one 15-minute intermission. Please join us for After Words, a question and answer session led by a member of our artistic staff, immediately following this performance (except on Saturdays and Opening and Closing Nights). Special thanks to Lynda Carter, Jeremy Cohen, Lue Douthit, Rene Gandolfi,, Lark Play Development Center, Lorelei Lee, National New Play Network, New Dramatists, Oregon Shakespeare Festival, Playwriting Australia, The Playwrights’ Center, Dr. Anna Randall, Sarah Rasmussen, Gloria Steinem, TheatreWorks and Carson Kreitzer’s mom. Please remember to turn off all cell phones or any other devices that could make a noise and be distracting to people around you. Photographs and recordings of any kind are strictly prohibited.



Playwright Carson Kreitzer shares the inspiration behind Lasso of Truth


e don’t all take the opportunity to rediscover our childhood heroes, but maybe we should. The qualities that excite us as children – courage, strength, championing truth and justice and, of course, superpowers – get lost when we grow up, get practical and stop choosing our own adventures. But heroes are heroes for a reason, larger than life and awe inspiring, and they shape the way we see the world for the rest of our lives. 16

DRAMATURGY Lasso of Truth playwright Carson Kreitzer first discovered Wonder Woman as a child by way of Lynda Carter, but happened across the superheroine’s origin story while researching a play several years ago. In an interview during rehearsals for MTC’s world premiere production, Kreitzer discussed how the play came into being and why Wonder Woman was her childhood role model.

Wonder Woman is a female superhero in a male heavy mythology. When creator William Moulton Marston (see his full bio on page 20) first introduced her in 1941, she was a response to a world at war and a society dominated by men. With the creation of Wonder Woman, Marston sought to capture the strength of a superhero – like the recently debuted Superman or Batman – but move away from aggression and competitiveness. “I have given Wonder Woman this dominant force but have kept her loving, tender, maternal and feminine in every other way,” Marston wrote. Marston believed the majority male readership of the early comics benefitted most from Wonder Woman’s example, growing up seeing women as strong, powerful and independent. Only later did she become a feminist icon and a role model for little girls as well.

MTC: Where did the idea for the play come from? Carson Kreitzer: This play came to me while I was researching the lie detector for another play and found out about William Marston and his connection to Wonder Woman. It just floored me. So it started with the lie detector, which led you to Marston?

Though she never completely disappeared, Wonder Woman’s popularity waned in the 1950s and 60s, as society shifted into a post-war era and many women returned to a predominantly domestic life. In the 1970s, Wonder Woman resurfaced, this time on the cover of Ms. Magazine, founded by feminist activist Gloria Steinem who had spent her childhood looking up to the superheroine. Later that decade, Wonder Woman found a new life and reached a whole new generation via the popular television show starring Lynda Carter. She became a symbol of the feminist movement and the fight for equality and rights, remaining beautiful, powerful and kind throughout.

Playwright Carson Kreitzer; opposite page: Harry G. Peter’s original sketch of Wonder Woman, 1941, and Lynda Carter as Wonder Woman in the 1975-79 television show.


DRAMATURGY One of the first things I read about him was that he had these two women in his life – his wife and a young graduate assistant who moved in with them ­– and had children by both women, and then the women, after his death, continued to live together raising the children. So I perceived their relationship to each other as the really important one. It seemed insane that this strange, beautiful little family had found a way to exist under the radar. I also had heard that Wonder Woman’s bullet-deflecting cuffs were based on a pair of silver bracelets that Olive, the graduate assistant, wore every day. The idea that he had based Wonder Woman on these amazing women…

Led me to Marston and his connection to Wonder Woman, and also, in one fell swoop, I found out about how much bondage there was in the early Wonder Woman comics. Wonder Woman was very important to me as a kid, and Lynda Carter as Wonder Woman had been a real building block of my identity. The idea that this incredibly strong woman came out of this bondage fantasy, and looking back, there’s the boots and the bustier and the rope and how did I miss this, oh my god?! As you learned more about Marston, how did you feel about who he was as a person and as a historical figure, as well as in relationship to your childhood hero?

I fell in love with them first and had

William Moulton Marston (left) with Wonder Woman illustrator H. G. Peter, editor Sheldon Mayer and publisher M. C. Gaines, 1942.


DRAMATURGY I was raised without a lot of television, but I was allowed to watch Wonder Woman on TV. That was my mom being very careful about what was coming into my life. I was not allowed to have a Barbie, because that would teach me that you had to be blonde and very curvy in order to be attractive. But I was allowed to watch Wonder Woman because Lynda Carter, Wonder Woman, was this strong brunette heroine.

a great deal of suspicion of Marston. I didn’t want him to have Wonder Woman; I wanted to connect to her through these two amazing, strong, powerful women. But in doing the research, I really fell in love with him, too. He is so hopeful and naïve and full of the idea that you can change the world and that really won me over. I came to believe that he was sincere in creating Wonder Woman in the image of the amazing women he knew and loved. The Wonder Woman comic book really had a very positive influence on the world: the little boys who grew up reading Wonder Woman were the same men who became rapidly adjusted to women working outside the home and sharing power in so many ways. I had to tip my hat to Mr. Marston.

Why isn’t Wonder Woman a character in the play? Or is she? I feel like she’s in there. She is so present in our hearts and minds that I feel like that is the bigger way for her to exist. Honestly, I did have legal concerns about a character who is owned by a giant corporation, but I did some experimenting. I wrote some scenes exploring what it would be if Wonder Woman showed up, and it felt small. The way we feel her and the way we see her come to life from these real life wonder women is more powerful. I learned so much about comics in doing this. I learned a lot about the importance of the origin story in comics and I feel like this origin story for where Wonder Woman came from is the most powerful way to show her respect. To say, this is where she came from and it was these three people, and this really, really groundbreaking, unusual love that they had.

Let’s talk a bit more about the Girl and the Guy. How did you intend the 1940s story and the more contemporary story to play off each other? Generally when I’m attracted to a historical event or historical moment, it’s because of the way it reflects on where we are now. With this one, I felt that where we are now is so complicated that it deserved its own voice within the play. By the way, I am not the Girl. We share certain characteristics, and a timeline, but I am not the Girl. But her struggle to reconcile this new information with her experience of Wonder Woman felt like it needed really specific articulation.

How would you describe this play? I want to say it’s a kaleidoscope. It’s a sexy gender power kaleidoscope. n – Margot Melcon Dramaturg

What was your personal connection to Wonder Woman?



William Moulton Marston (ctr.) shortly before his death, surrounded by (l. to r.) family friend Marjorie Wilkes, second son Byrne, daughter Olive Ann, eldest son Moulton Peter, Olive Byrne Richard, youngest son Donn and Elizabeth Holloway Marston, 1947.

A biography of William Marston, creator of Wonder Woman

Who is “The Inventor?” |


hough William Moulton Marston (May 9, 1893 – May 2, 1947) died fairly young at age 53, he collected an impressive and varied list of accomplishments: he was a lawyer, a psychologist, creator of the DISC system of personality classification, inventor of an early version of the lie detector machine and creator of the comic character Wonder Woman.

Raised in Massachusetts, Marston received his education from Harvard, earning a PhD in psychology in 1921. Over the next ten years, Marston worked in academia and developed his version of the polygraph machine, a systolic blood pressure test. Marston unsuccessfully tried to have his machine admitted as evidence in courts, though he also saw a future for the machine as a tool of psycho-


DRAMATURGY in his psychology studies, Marston structured Wonder Woman’s universe on these same principles: characters in the series were constantly being tied up, chained, imprisoned and handcuffed. This was indicative of Marston’s moral philosophy – that one must submit to truth to find freedom. The golden lasso itself was an instrument of both domination and liberation.

therapy, contending that it would disclose subconscious secrets of which the subject was unaware. A former grad student of Marston’s, Olive Byrne, became his research assistant in his work on the polygraph. Marston continued his work as a psychologist, developing his DISC Theory (Dominance, Influence, Submission and Compliance), a system of classifying personalities by gauging the way they behave in a favorable or antagonistic situation.

Throughout this time, Olive Byrne had been living with Marston and his wife Elizabeth, in what appears to have been a polyamorous relationship. Both women had two children by Marston; each appears to have influenced aspects of Wonder Woman. Elizabeth Marston was a strong woman, earning degrees in psychology and law, and working to support the family. Olive Byrne’s bracelets (silver ones that she seems to have always worn) were the inspiration for Wonder Woman’s bullet-deflecting cuffs. These bands, the bondage in Marston’s comics and his focus on the categories of domination and submission have led to much speculation that the trio was involved in BDSM as well as polyamory.

Throughout the 30s, Marston became a well-known public figure: in 1938, he appeared in advertisements by Gillette claiming that the lie detector proved that Gillette razor blades were better than the competitors. He was frequently featured in Family Circle Magazine, interviewed by a young staffer named “Olive Richard” (a pseudonym for Olive Byrne). In one article, entitled “Don’t Laugh at the Comics,” published in 1940, Marston asserted that he saw high educational potential in comic books. In 1941, Marston wrote his own comic book, creating the character of Wonder Woman in a guest role in the 1941 All-Star Comics #8 under the pen name “Charles Moulton.” Marston crafted a female superhero as strong as her male counterparts but with intelligence, goodness and the allure of a beautiful woman. He gave her a lie detector of her own in the form of the magic “Lasso of Truth,” which impelled anyone caught within it to tell the truth. Just as he had focused on dominance and submission

Marston died suddenly of cancer in 1947, but Elizabeth and Olive continued to raise their children together and were partners until Olive’s death in the late 1980s. Wonder Woman has been published continuously since her creation. n – Rachel Wiegardt-Egel Literary Intern



Primary sources |

On superheroes, Wonder Woman and gender

Perhaps it’s our memories of past competence and dreams for the future that create the need for super-heroes in the first place. Leaping sky scrapers in a single bound, seeing through walls, and forcing people to tell the truth by encircling them in a magic lasso – all would be satisfying fantasies at any age, but they may be psychological necessities when we have trouble tying our shoes, escaping a worldview composed mainly of belts and knees, and getting grown-ups to pay attention. The problem is that the super-heroes who perform magical feats – indeed, even mortal heroes who are merely competent – are almost always men. A female child is left to believe that, even when her body is as big as her free spirit, she will still be helping with minor tasks, appreciating the accomplishments of others, and waiting to be rescued. … The truth is that a male superhero is more likely to be vulnerable, if only to create suspense, than a female character is to be powerful or independent. For little girls, the only alternative is suppressing a crucial part of ourselves by transplanting our consciousness into a male character. n Excerpt from Gloria Steinem’s introduction to Wonder Woman: Featuring Over Five Decades of Covers, 1995.

Wonder Woman is to me – as she is to so many women of all ages – a symbol of the glorious gifts that reside in the spirit of Woman. She is dashing and dazzling. Yet her truest power and beauty come from within. Those magic tools she brings to the fight – the bracelet, the lasso, the invisible plane – are only as good as her own ability, confidence, and courage to apply them. In that regard, perhaps she is not so different from you and me. We all show one part of ourselves to the world, while we hold close the ultimate power within us. Only when we trust in ourselves do we reach our fullest potential. n Excerpt from Lynda Carter’s introduction to Wonder Woman: The Greatest Stories Ever Told, 2007.

For further consideration • Would the world be a better or worse place if no one was able to lie? • Are people who think differently and live by unconventional rules more likely to move society forward? Can you think of any examples? • What/when was your first introduction to Wonder Woman? • Who was your childhood hero? How did they change or shape the way you saw the world? How they did influence the kind of person you became? 22


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smart and very funny ” The New York Times


WHO’S WHO Carson Kreitzer (playwright) makes her MTC debut with the National New Play Network rolling world premiere of Lasso of Truth, which was co-commissioned in 2010 by MTC and NNPN. Her play The Love Song of J. Robert Oppenheimer won the Lois and Richard Rosenthal New Play Prize, the American Theatre Critics’ Steinberg Citation, the Barrie Stavis Award and is published in Smith and Kraus’s New Playwrights: Best Plays of 2004 and by Dramatic Publishing. SELF DEFENSE or death of some salesmen has been produced across the country, and is published by Playscripts and in Smith and Kraus’s Women Playwrights: Best Plays of 2002. Her other work includes 1:23, Flesh and the Desert, The Slow Drag (New York and London), Freakshow, Slither, Dead Wait and Take My Breath Away, which was featured in the Brooklyn Academy of Music’s Next Wave Festival. Her plays have been produced or developed by the Public Theatre, The Royal Court Theatre, the Guthrie Theater, Portland Center Stage, Berkeley Rep, Mabou Mines, Frank Theatre, the Actors Gang and Next Theatre, among others. Kreitzer is a Core Writer and current board member at the Playwrights’ Center, a member of the Workhaus Collective and the Dramatists Guild, a New Dramatists alumni playwright, and was the first Playwrights Of New York (PONY) Fellow at the Lark Play Development Center. Her latest play, Behind the Eye, was produced by the Cincinnati Playhouse in the Park, supported by a National Endowment for the Arts New Play Development grant. She is currently working with composer Matt Gould on a musical inspired by art deco artist Tamara de Lempicka, commissioned by Yale Rep and New Dramatists. Her collection SELF DEFENSE and other plays is available through No Passport Press. Jasson Minadakis (director) is in his eighth season as artistic director of MTC, where he has directed The Whipping Man, Waiting for Godot, Othello, the Moor of Venice, The Glass Menagerie, Edward Albee’s Tiny Alice, the world premiere of Seagull, Happy Now?, Equivocation (San Francisco Bay Area Critics Circle Award for best director), the world premiere of Sunlight, Lydia, The Seafarer, Frankie and Johnny in the Clair de Lune, A Streetcar Named Desire, said Saïd, Love Song and The Subject Tonight is Love. As artistic director of Actor’s Express Theatre Company, he directed The Pillowman, Bug, The Love Song of J. Robert Oppenheimer, Echoes of Another Man, Killer Joe, Burn This, The Goat or, Who is Sylvia?, Blue/Orange and Bel Canto. As producing artistic director of Cincinnati Shakespeare Festival, he directed Jesus Hopped the ‘A’ Train, Chagrin Falls (2002 Cincinnati Entertainment Award for Best Production) and numerous others, including 19 productions of Shakespeare. Regional credits include The Whipping Man at Virginia Stage Company, Cat on a Hot Tin Roof and Hamlet at Georgia Shakespeare, Copenhagen at Playhouse on the Square (2003 Ostrander 28

WHO’S WHO Theatre Award for Best Dramatic Production) and Bedroom Farce at Wayside Theatre. In 2004, The Atlanta Journal Constitution, Creative Loafing and Southern Voice named him best director of the year. Lauren English (The Girl) makes her MTC debut in the world premiere of Lasso of Truth. Most recently, she starred in SF Playhouse Sandbox’s National New Play Network Rolling World Premiere of Grounded. She is a founding company member of SF Playhouse, where her favorite roles have been in Reasons to be Pretty, Bell, Book and Candle, Becky Shaw, Reborning, Cabaret, Our Town and The Glory of Living. Locally, English is a PlayGround company member and has worked with Cal Shakes, Word for Word, Marin Shakespeare Company and Magic Theatre. In New York, she appeared in The Actors Company Theatre’s Off-Broadway production of The Cocktail Party, Hamlet at the Shakespeare Theatre of New Jersey and The Idealist at the New York Times Theatre. She has also worked at the Public Theater, Ensemble Studio Theater, Lark Play Development Center and Playwrights Realm, among others. English is a two-time San Francisco Bay Area Theatre Critics Circle Award winner and three-time Dean Goodman Choice Award recipient. She holds an MFA from NYU’s Tisch Graduate Acting Program. Jessa Brie Moreno (The Wife, also Gloria) has appeared at MTC in The Crucible and Mere Mortals, and directed MTC’s 2013 School Tour of The Lion, the Witch and the Wardrobe. She has performed with A.C.T., Marin Shakespeare Company, Aurora Theatre Company, the San Francisco Shakespeare Festival, TheatreWorks, CenterRep and San Jose Stage Company. Moreno has been the recipient of a Northern California Emmy, San Francisco Bay Area Theatre Critics Circle, Dean Goodman Choice and Shellie Awards for Best Actress. Her directorial work includes The Last Night of the Barbary Coast, Today I Live and asstistant director of Macbeth at Cal Shakes. Moreno studied Theater at University of Southern California, has attended Scuola Internazionale della Commedia dell’Arte e dell’Attore Comico in Reggio Emilia, Italy, and holds an MFA from California Institute of Integral Studies in San Francisco. She currently teaches at CIIS, Sofia University, Laney College and Oakland Technical High School, where she leads the student theater company OakTechRep. She is currently directing American Night: The Ballad of Juan José with OakTechRep. John Riedlinger (The Guy, also Machine and Judge) makes his Bay Area and MTC debut in the world premiere of Lasso of Truth, which marks his fourth collaboration with playwright Carson Kreitzer. He has previously performed in her plays SELF DEFENSE or death of some salesmen, The Love


WHO’S WHO Song of J. Robert Oppenheimer and Flesh and the Desert in Minneapolis and St. Paul, Minnesota. Upon returning home to the Twin Cities, he will appear in his fifth, Behind the Eye, at Park Square Theater in St. Paul. A veteran actor of Minnesota stages, Riedlinger has appeared in the films Embrace of the Vampire, Joe Somebody and Vernie and been heard in national campaigns for Coca Cola, Holiday Inn and L.L. Bean, as well as a Super Bowl commercial for GMC. Nicholas Rose (The Inventor) makes his MTC debut in the world premiere of Lasso of Truth. With MTC’s artistic director Jasson Minadakis, he co-founded what is now Cincinnati Shakespeare Company, where he is an ensemble member and has performed in more than 80 productions over the past 20 years. Rose is a veteran actor in Cincinnati regional theater and has also performed at Playhouse in the Park, Ensemble Theatre of Cincinnati, Know Theatre of Cincinnati and New Edgecliff Theatre. Some of his recent credits include The 39 Steps, Titus Andronicus, When the Rain Stops Falling, Macbeth, Dead Man’s Cell Phone, A Midsummer Night’s Dream and The Pillow Man. Liz Sklar (The Amazon, also Friend) has appeared at MTC in Othello, the Moor of Venice, as well as the world premieres of Bellwether and Seagull, and was an MTC teacher in residence at Martin Luther King Junior Academy in Marin City. She most recently participated in MTC’s workshop and public readings of Bill Cain’s play-in-development 33 and A.C.T.’s staged reading of The Desk Set. Other Bay Area credits include Becky Shaw at SF Playhouse, Care of Trees at Shotgun Players, A Christmas Carol at A.C.T., King John at Marin Shakespeare Company and The Tempest at Cal Shakes. Sklar also performed in Macbeth and A Midsummer Night’s Dream at Mortal Folly Theatre in New York City and co-starred with Stacy Keach in the film Imbued. She holds a BA in Theater Arts from Brown University, an MFA in Acting from A.C.T. and has trained with the SITI Company in New York. Melissa Jernigan (stage manager) makes her MTC debut with the world premiere of Lasso of Truth. Locally, she has worked at California Musical Theatre in Sacramento. In New York City, she was the production assistant for Lennon on Broadway and she worked Off-Broadway on Fela! Lagos Tour, David Cromer’s Our Town, John Leguizamo: a work in progress, No Child, A Perfect Future, New York Civil Liberties Union’s Broadway Stands Up For Freedom, Camp Wanatachi, Capsule 33, Loaded, Dance of the Seven Headed Mouse, Sophistry, The Black Monk, Pvt. Wars, The Strangerers, Beauty of the


WHO’S WHO Father and Broadway Meets Country Benefit. Jernigan’s regional credits include Abundance & Breath and Imagination at Hartford Stage and Our Town (starring Helen Hunt) at Broad Stage in Los Angeles. Annie Smart (scenic designer) makes her MTC debut with the world premiere of Lasso of Truth. Locally, she has designed scenery for Dear Elizabeth, Big Love, Suddenly Last Summer, Passing Strange, To the Lighthouse, Three Sisters, In the Next Room (or The Vibrator Play) and Tiny Kushner, among others, at Berkeley Rep; Lady Windermere’s Fan, The Tempest, Candida, Man and Superman, An Ideal Husband, Private Lives and Pastures of Heaven at Cal Shakes; Silent Sky and Auctioning the Ainsley’s at TheatreWorks; and Next Fall, The Understudy, The Weir and A Long Day’s Journey into Night, as well as costumes for Freud’s Last Session and Double Indemnity, at San Jose Rep. In New York, she designed several shows for the Public Theatre and the Broadway production of In the Next Room. In the UK, she designed for the Royal Court Theatre, Joint Stock Group and the National Theatre. Smart teaches costume and set design at the University of California, Berkeley. Jim French (lighting designer) makes his MTC debut with the world premiere of Lasso of Truth. His Bay Area design credits include Just Theater, A.C.T. Conservatory, Joe Goode Performance Group, Project Bandaloop, Ballet San Jose, Amy Seiwert’s Imagery, LevyDance and Company C Ballet. French’s other credits include Primary Stages, Pittsburgh Irish and Classical Theatre, City Theater Company, St. Louis Rep, Immediate Theatre, Cedar Lake Contemporary Ballet, Twyla Tharp Dance and Richmond Ballet. Callie Floor (costume designer) has designed costumes for MTC’s productions of It’s a Wonderful Life: A Live Radio Play, Topdog/Underdog, Seven Guitars (San Francisco Bay Area Theatre Critics Circle Award,) Fuddy Meers, 9 Circles, Sunlight, boom, My Name is Asher Lev, Magic Forest Farm, Lydia, Frankie and Johnny in the Clair de Lune, Jacques Brel is Alive and Well and Living in Paris and The Subject Tonight is Love. Her work was most recently seen in After the Revolution at Aurora Theatre Company and Spunk! at Cal Shakes. She has designed for many Bay Area theaters including A.C.T., Berkeley Rep, Magic Theatre, San Francisco Mime Troupe and West Bay Opera. She is currently working on L’Elisir d’Amore for West Bay Opera and This Lingering Life for Theatre of Yugen. Floor is the resident designer for the California Revels and currently holds the position of Costume Rentals Supervisor for A.C.T. She has a BFA from the University of Utah and a Higher Diploma in Theatre Design from the Slade School of Fine Art, University College London. Cliff Caruthers (composer and sound designer) has designed sound and composed music for MTC’s productions of Circle Mirror Transformation,


WHO’S WHO God of Carnage and 9 Circles. He has created soundscapes and original music for over 200 theatrical productions, including The Homecoming, The Caucasian Chalk Circle and Race for A.C.T.; Crime and Punishment and TRAGEDY: a tragedy for Berkeley Rep; Troilus and Cressida for Oregon Shakespeare Festival; American Night: The Ballad of Juan José and The Tempest for Cal Shakes, Ubu Roi, Pelleas and Melisande, …and Jesus Moonwalks the Mississippi for Cutting Ball Theater, On the Waterfront and Buried Child for San Jose Stage; Bug, Dead Man’s Cell Phone and Reborning for SF Playhouse; The Loudest Man on Earth, Opus and The Clean House for TheatreWorks; Julius Caesar for The Acting Company; and Happy Days for Guthrie Theater. He is co-curator of the San Francisco Tape Music Festival and has performed his compositions at the Prague Quadrennial, Noise Pancakes, the San Francisco Electronic Music Festival and the Society for Electroacoustic Music in the United States. Jacob Stoltz (graphic designer) makes his MTC debut with the world premiere of Lasso of Truth. He is a freelance illustrator and graphic designer in Minneapolis. He first worked with playwright Carson Kreitzer on the poster for Flesh and the Desert in 2012. Stoltz holds a BA in fine art from Hamline University in Saint Paul, Minnesota, and is trained in intaglio printmaking. He works in a number of styles and media, but his biggest inspirations are from 1960s and 70s comic book illustrations, lettering, sports logos and album covers. Kwame Braun (video designer) makes his MTC debut with the world premiere of Lasso of Truth. He is a documentary filmmaker, video artist and teacher. His documentaries include Stageshakers! Ghana’s Concert Party Theatre, Video Portraits of Survival and Take Five: Ansel Adams’ FIAT LUX. Braun’s recent video projects for theater and dance include pieces for Berkeley Dance Project by Jess Curtis/Gravity and Amara Tabor Smith; and Slaughter City and The Ruling Class for University of California, Berkeley’s Department of Theater, Dance and Performance Studies. He has taught filmmaking and video production for many years, currently at UC Berkeley. Seren Helday (properties artisan) is resident props artisan for MTC. She has provided props for all productions since 2008. She has also provided props for A.C.T., Center REP, Cal Shakes and SF Playhouse. She spent one year as Master Carpenter at New Conservatory Theatre Center in San Francisco, building some 30 shows for their season. Helday was also technical director of the Live Theatre Workshop in Tucson in addition to working as a designer, performer and manager. Michael Barker (managing director) joined MTC in February 2013. He


WHO’S WHO previously was the general manager of Laguna Playhouse in Southern California, the managing director for the Los Angeles classical theater ensemble the Antaeus Company, associate managing director at Yale Repertory Theatre and managing director of Yale Summer Cabaret. He was Seattle Repertory Theatre’s 2008 Managing Director Fellow, apprenticed to Benjamin Moore, who has managed SRT for nearly 30 years. Prior to graduate school, Michael was associate director of marketing for Court Theatre in Chicago and also worked with Goodman Theatre, American Theater Company, Sansculottes Theater Company and the Playground Theater. He holds an MFA in theater management from Yale School of Drama and an MBA from Yale School of Management. At Yale, he was the recipient of the Daniel and Helene Sheehan Scholarship for theater management. He serves on the board of the Yale School of Management Alumni Association. Margot Melcon (dramaturg and director of new play development) joined Marin Theatre Company as literary manager and dramaturg in 2008 and has served as dramaturg for all productions in the past five seasons in addition to managing new play development for the company. She has worked on new plays with the Kennedy Center, the New Harmony Project, The Playwrights’ Center in Minneapolis, Shotgun Players, Berkeley Rep’s Ground Floor and Bay Area Playwrights Festival, and was a fellow at the National Critics Institute at the O’Neill Playwrights Festival. She is a graduate of California State University, Chico. Meg Pearson (casting director and company manager) has directed casting for all MTC main stage productions since 2008. In addition, she directs casting for MTC’s School Tour and MTC’s New Play Reading Series. Outside of MTC, Pearson served as casting director on the feature film Seducing Charlie Barker, directed by Amy Glazer, and is a member of the Board of Directors of the Bay Area Children’s Theatre. Before coming to MTC, she served as casting assistant on television shows Las Vegas, King of Queens and Grounded for Life, as well as feature films Eurotrip, Dude, Where’s My Car? and Straight Jacket. Pearson is a graduate of the Theatre Arts program at Boston College. Marin Theatre Company is the Bay Area’s premier mid-sized theater and the leading professional theater in the North Bay. We produce a six-show season of provocative plays by passionate playwrights from the 20th century and today in our 231-seat main stage theater, as well as a five-show Theater Series for Young Audiences in partnership with the Bay Area Children’s Theatre in our 99-seat studio theater. We are committed to the development and production of new plays by American playwrights, with a comprehensive New Play Pro-


WHO’S WHO gram that includes productions of world premieres, two nationally recognized annual playwriting awards and readings and workshops by the nation’s best emerging playwrights. Our numerous education programs serve more than 6,000 students from over 40 Bay Area schools each year. MTC was founded in 1966 and is a 501(c)3 nonprofit organization. National New Play Network (NNPN) is an alliance of not-for-profit professional theaters that champions the development, production, and continued life of new plays for the American theater. This Network, its 27 Core Member Theaters and 25 Associate Member Theaters strive to pioneer, implement and disseminate ideas and programs that revolutionize the way theaters collaborate to support new plays and playwrights. NNPN was founded in 1998 with the belief that new play development in the next generation should be regionalized by linking producing and developmental theaters around the country with their playwriting communities. NNPN’s flagship program, the Continued Life of New Plays Fund, achieves this aim by supporting three or more theaters which choose to mount the same new play within a 12-month period. The result is a “Rolling World Premiere” through which the playwright develops a new work with at least three different creative teams, for three different communities of patrons, ensuring the resulting play is of the highest possible quality. Since the program’s inception in 2005, more than 40 plays have received NNPN Rolling World Premieres, garnering hundreds of additional productions outside the Fund across the country and around the world. Through the Fund and its other programs, NNPN has granted over a million dollars to theaters and artists across the country. UBER is MTC’s preferred transportation partner. Visit for $20 off a first UBER ride for new users. n


MTC STAFF & BOARD OF DIRECTORS Jasson Minadakis Artistic Director

Michael Barker Managing Director



Margot Melcon | Director of New Play Development & Dramaturg Meg Pearson | Casting Dir. & Company Mgr. Mariel Rossman | Company Manager

Judith Peck | Director of Ticketing & Audience Services John Risos | Box Office Manager Margot Manburg, Rachel Wiegardt-Egel Front of House Associates Maureen Biggart, Sissel Grove, Donna Platt, Jay Saini, Sue Urquhart, Elfi Weideli | Café


Noralee Monestere McKersie | Development Dir. Tara Kayton | Development Associate



Douglas Frazer | Production Manager Lizabeth Stanley | Asst. Production Mgr. Joe Mizzi | Technical Director Jeff Klein | Asst. Technical Director Alex Marshall | Master Electrician Mia Baxter | Costume Shop Manager Betsy Norton | Production Assistant Cassondra Malloy | Wardrobe Crew Brittany White | Props Assistant Leticia Samonte | Scenic Charge Artist Colin Suemnicht | Carpenters William Campbell, Christine Cochrane, Jeff Dolan, Hamilton Guillén, Will Poulin, Caitlin Steinmann | Electricians Caitlin Steinmann | Lighting Board Op Kristine Reyes | Video Op

Julie P. Knight | Marketing Director Sasha Hnatkovich | Communications Dir. Jeff Berlin | Graphic Designer ADMINISTRATION

Mira Greene | General Manager Safi Manzoor | Business Manager René Mejorado | I.T. Manager Perotti And Carrade | Auditors EDUCATION

Daunielle Rasmussen | Director of Education Mariel Rossman | Education Coordinator David Abrams | Resident Teaching and Community Artist Arts Leadership Training Program

Nate Farber, Edgar Gonzalez, Cody Gulick, Erin Lafferty, Jay Saini, Rachel Wiegardt-Egel BOARD OF DIRECTORS

Gale Gottlieb President

Fred Taylor Vice President

Terry Berkemeier Treasurer

Robin Rice Asst. Treasurer

John Chesley Secretary

Kipp Delbyck Asst. Secretary

Carl Berry Dave Chapman Molly Dick Michael Dyett Brian Haughton Susan Holdstein Lori Horne Tina McArthur

Iris Metz Kiki Pescatello Ivan Poutiatine Stacy Scott Christopher B. Smith Martha Smolen Beverly Tanner Beth Wintersteen

Kimberly Jessup Shirley Loubé Melanie Maier Peter Maier Marly Norris Andrew Poutiatine Russell Pratt Christopher Raker Laura Scott

Dana Shapiro Gary Shapiro Tara J. Sullivan Jennifer Yang Weedn Phil Woodward Lloyd Yates

Advisory Board

Ellen Arenson Michael Axelrod JoAnne Berlin Linden Berry Joseph Bodovitz Jerry Cahill David Catania Bobbie Chapman Valerie Crane-Dorfman

Brett Dick Peter T. Esty Douglas P. Ferguson Jay Framson Nancy Goldberg Gerry Goldsholle Brian Golson Jerry Herman Peter Jacobi




arin Theatre Company acknowledges the generous support of the following corporations, foundations and individuals whose contributions make great theater possible. For information about making a donation or corporate sponsorship opportunities, please contact MTC’s Development Department at 415.388.5200 x3317. The following gifts were received between February 1, 2013, and February 1, 2014. INDIVIDUALS

PARTNER CIRCLE MTC Partner $50,000 & above

Anoymous Terry Berkemeier & Lori L. Lerner Estate of John Bissinger Jr. N.J. “Sky” Cooper Gage Schubert Christopher B. & Jeannie Meg Smith Season Partner $25,000 to $49,999

Mrs. Gale K. Gottlieb in honor of Dr. Kenneth I. Gottlieb Tracy & Brian Haughton Shirley Loubé James & Beth Wintersteen PRODUCER CIRCLE VIP Producer $15,000 to $24,999

Susan & Russell Holdstein Melanie & Peter Maier Kiki Pescatello Executive Producer $10,000 to $14,999

Carl & Linden Berry Bobbie & Dave Chapman John & Shelley Chesley Molly & Brett Dick Tina McArthur & Richard Rubenstein Robin & Rick Rice Fred & Kathleen Taylor Producer $5,000 to $9,999

Michael Dyett & Heidi Richardson

David Catania & Diana Gay-Catania Buffy Clay Miller & George Miller Tom L. Davis & Marden N. Plant Jim & Barbara Kautz Gerald Cahill & Kathleen King Chuck & Barbara Lavaroni Fred Levin & Nancy Livingston in memory of Ben and A. Jess Shenson Ivan & Lochiel Poutiatine Gary & Dana Shapiro Toni K. Weingarten Associate Producer $3,000 to $4,999

Anonymous Dennis & Tracy Albers Kipp & Roy Delbyck Jay Framson & Joseph Lane Jill & Steven Fugaro Art & Drue Gensler Susan & Dennis Gilardi Gerry H. Goldsholle & Myra K. Levenson Kenneth & Joan Gosliner Dirk & Madeline Langeveld Iris & Henry Metz Russell Pratt William S. Farmer & Leida Schoggen Martha & Jonathan Smolen Beverly Tanner & Jerry Herman Premiere Producer $1,000 to $2,999

Ellen & Ron Arenson Michael & Joyce Axelrod Bob Begley & Lynne Jones


Richard Bergmann & Denise Filakosky Joseph E. Bodovitz & Margaret Kaufman John Boneparth & Gail Harris Cheryl & Rick Brandon Lynne Carmichael Brian & Diane Chadbourne Sheldon Donig & Steven De Hart Amy & Mort Friedkin Peter & Maggie Haywood Elisabeth & Howard Jaffe William & Janet McAllister Ken & Vera Meislin Vivienne Miller Robert & Donys Powell Paula & Bob Reynolds Leigh & Ivy Robinson Jill & Tom Sampson Eric Schwartz Richard & Diana Shore Kathleen Skeels William Strawbridge & Meg Wallhagen Will & Leslie Thompson Dr. Hugh Vincent & Joan Watson CREATIVE CIRCLE Director | $500 to $999

Susan Adamson Lee Aubry Josh Brier & Grace Alexander John & Deborah Buehler James & Linda Clever Roland Cline & Mary Papenfuss George & Katherine Couch Stuart & Emily Dvorin

DONORS Anthony & Martha Eason Dennis & Pam Fisco Brian & Alisa Golson William & Kathryn Harrison Nigel & Jane Heath Jules Heumann Dwight Johnson Bob Kaliski & Linda Nelson Ashley Kennedy Tom & Harriet Kostic Scott & Linda MacLeod Tracy MacLeod Devan & Elizabeth Nielsen John S. Osterweis Toni Rembe Larry & Diane Rosenberger Paul & Sylvia Roye Angelo & Kimberly Salarpi Ellen & Donald Schell Diana & Richard Shore Joel & Susan Sklar Beryl Jean Symmes Peter & Irene Tabet Bob & Valli Tandler Sandra Weingart & Jeremy Rothenberg Designer | $250 to $499

Lisa Baker Robert & Irene Belknap Howard & Susan Blair Russell Burbank Bob & Betty Copple Suzanne Darley Richard & Diane Einstein Samuel & Shari Esterkyn Margaret Feldstein Alison Fuller Lewis & Helene Gibbs Laurel & Michael Gothelf Joseph Grasso & Victoria Pollock-Grasso Rosalind Hamar Jamie Haughton Sheryl Hausman Georgia Hughes Ellen K. Jasper Peter & Bonnie Jensen Virginia & Michael Kahn Dan Kelly Gail & Steve Lazarus Warren & Barbara Levinson Toni Martin Jill Matichak Steve & Patricia McMahon

Purple Lady - Barbara J. Meislin Fund Jane Miller Lynn Perry Robert & Donys Powell Robert & Madeleine Provost Barbara Rich Hector Richards Alan & Enid Rubin Fred & Dolores Rudow Rob & Lise Salmon Rod & Sandy Seeger James & Connie Shapiro Don & Jane Slack William & Utta Tellini Mary & Herman Waetjen Harriet Weller Valerie Westen Harvey & Susan Wittenberg Actor | $150 to $249

Robert Anderson Jerome & Susan Aparton Susan C. Beech Philip Bernstein Edward & Amy Bloomberg Richard Bottega Elias & Carroll Botvinick Ute & Jack Brandon Dorothy & Richard Breiner Wendy Buchen Alan & Caren Cascio Janet & Alan Coleman Charles & Eleanor Crawford Arthur Davidson Anne Davis Livia Dewath Dino Di Donato Loree Draeger Tom & Rebecca Edwards John Eichhorst & Jennifer Blackman Andrew E. Elkind Erdmuth Folker Donna & Michael Franzblau Kent & Rita Gershengorn Theresa & Richard Gordon Michelle Griffin Robert Hall Kathe Hardy Karen Haydock Marc & Peggy Hayman Mark Hoffman Kip & Sara Howard Roger & Jean Humphrey


Edward Isaacson & Gabriella Isaacson Cary & Elaine James Alan & Jean Kay Patricia Keehn David Kincaid Robert Lea & Melinda Booth Susanne Light & Robert Newcomer David & Carolyn Long Susan & Jay Mall Myrna & Fred Margolin Franklin J. Meredith & Mary Miller-Meredith Don Miller Herbert Miller Jerry & Judith Miller Gary Nelson & Kellie Magee Clyde & Merle Ongaro Jack & Gail Osman Derek & Nancy Parker Gerald & Nancy Parsons Gary & Gisela Peasley Susan & Jonathan Peck Robert & Audrey Pedrin David Phillips Deborah L. Robbins & Henry Navas Richard C. Robert Meline & Jirayr Roubinian Jane & Michael Scurich Susan Seefeld Rolf & Jettie Selvig Barry & Esther Shafran Michael & Alice Shiffman Glenn Smith & Verlinda Rose Ronald & Jo Ann Joy Stehle Larry & Judy Sweet Joe & Eileen Tenn James & Gayle Tunnell James Tustin Connie Vandament Susan York

If your name has been misspelled or omitted, please call MTC’s Development Department, 415.388.5200 x3317.





Alisa Barnes Farber-DenebeimCalys Family Gale K. Gottlieb

Carl & Linden Berry

Anonymous Brian Decker Michael Dyett & Heidi Richardson Jeff Freedman

Michael Bourke Marty Lloyd Joel & Susan Sklar Tom Stewart Fred & Kathleen Taylor


The Bellebyron Foundation The William & Flora Hewlett Foundation

The Shenson Foundation The Tournesol Foundation Associate Producer $3,000 to $4,999

Whole Foods

Season Partner $25,000 to $49,999

Premiere Producer $1,000 to $2,999

Google, Inc.* Marin Independent Journal* The Shubert Foundation YP*

Anonymous Bank of America Matching Funds The Barth Foundation Center for Cultural Innovation Cheveron Texaco Matching Gift Program County of Marin First Giving Francis S. North Foundation Koret Foundation Marin Charitable Mill Valley Market Mill Valley Rotary Club Peju Province Winery* Wigt Printing

PRODUCER CIRCLE VIP Producer $15,000 to $ 24,999

The Capital Group Companies The Haughton Family Charitable Fund KCBS All News 740AM & 106.9FM* Marin Community Foundation National New Play Network Venturous Theater Fund of the Tides Foundation Executive Producer $10,000 to $14,999

Bernard Osher Foundation Clay Foundation – West The Kimball Foundation Kurland Family Founation National Endowment for the Arts Nordstrom, Inc. Stacy Scott Catering* Yelp* Producer $5,000 to $9,999

California Arts Council Savory Thymes SF Weekly*

CREATIVE CIRCLE $150 to $499

Apple Matching Gifts Program Argo Group Matching Contribution Program Bank of America Matching Funds Dee’s Executive Limousine Service Macy’s Foundation Matching Gifts Redwood Security Systems The Rock Foundation The Samuel & Natalie Lipsett Foundation Strahm Communications* Wells Fargo Community Support * Denotes an in-kind



MARINTHEATRE.ORG Visit our website to join our email list, learn about our plays, purchase tickets and more. Marin Theatre Company operates under an agreement between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.


ticket discounts

Box Office: 415.388.5208

Under 30: $20, in advance or at the door for

all performances, must show valid ID

Tuesday–Saturday, 12–5PM Closed Sundays, Mondays and Holidays During performance runs the box office is open until show time and on Sundays.

Rush tickets: $20 (cash only, sales begin one hour prior to curtain, based on availability)

Address: 397 Miller Avenue, Mill Valley CA 94941

services & INFORMATION

General: 415.388.5200

Arrive on time: Performances begin promptly.

Seniors: $4 off tickets to all performances

Playbill Advertising:

Sasha Hnatkovich, 415.388.5200 x3313 Main Stage Group Sales:

Groups of 15 or more receive a discounted rate plus one free ticket for every 15 purchased. Julie Knight, 415.388.5200 x3302, PERFORMANCE SCHEDULE

Tue, Thu, Fri, and Sat 8:00pm

There are no refunds for latecomers. Late patrons cannot be seated until a designated seating break or possibly intermission. Patrons returning late from intermission will be seated at the discretion of the House Managers. MTC Café: Food and beverages are available

before performances and during intermission. Save time and order intermission refreshments prior to the start of the performance. Recycling: Please help MTC conserve resources. Recycle your programs in the racks provided on the way out of the theater, and use the labeled recycling bins for cans, bottles and paper.

Wed 7:30pm Sun 7:00pm Matinees (please check dates online): Thu 1:00pm • Sat & Sun 2:00pm

Recording Equipment: The use of sound,


video or photographic recording equipment during performances is prohibited.

Previews: Thu through Sun, $37

Listening Devices: For patrons with impaired hearing, listening devices are available for free. Please see the box office for details.

All Other Performances:

Tue, $42/37 (excludes Opening) Wed, Thu eve & Sun eve, $47/$42

For information about physical and program access at MTC, please call 415.388.5208 or dial 711 to use the California Telecommunications Relay Service.

Fri, $53/48 Sat eve, $58/53 Matinees Thu, Sat & Sun $47/$42 Opening Night with Cast Reception, $58/53 Note: Price difference is between center and side sections. Prices subject to change.

10% 10% Cert no. CertSCS-COC-00989 no. SCS-COC-00989


One of “10 reasons for theater lovers to leave New York in 2014” —Ti m e m ag a z i n e

Written by Marcus Gardley Directed by patricia McGregor World premiere · Commissioned by Berkeley rep nOw tO feb 16

“Scourging authority and upholding the dignity of the downtrodden.” —T h e S w ed i S h Ac A d e my, o n AwA r d i n g T h e n o b el P r ize f o r l i T er AT u r e To dA r i o f o

written by Dario fo Directed by Christopher bayes m a R 7– a PR 20

Call 510 647-2949 · Click

season sponsors



Around the World with Disney Ann Krinitsky, conductor From early Disney classics to recent releases that will take you on a musical journey to far off places — this program incorporates visuals and musical performances from Disney’s animated films including The Lion King, Beauty

and the Beast, Mary Poppins, Tarzan and many others.

Sunday March 16, 2 014 3:00 p.m.

Following the concert is the Musical Instrument Petting where musicians can try instruments on their own.


© Disney

Tickets: $15 – $45. Reserved seating, Marin Veterans’ Memorial Auditorium.


The finishing touch to our 61st

© Disney

Season is another first for your Marin Symphony and our community. Experience the full-length classic fantasy Disney film shown with live music played by our orchestra. Tickets: $24 – $70. Reserved seating, Marin Veterans’ Memorial Auditorium. Single tickets on sale now for both concerts. Call: 415.473.6800 or order online.

Sunday June 8, 2 014 3:00 p.m.

Fun. Seriously. 2 013 –14 S E A S O N

Pirates of the Caribbean: The Curse of the Black Pearl Alasdair Neale, conductor

415.479.810 0 • •

World Premiere/January 29 - February 23


by Taylor Mac

directed by Niegel Smith

Newly enlightened Paige is determined to forge a deliriously liberated world for her two wayward children: Isaac, recently discharged from the army; and Max, tender, jaded and sculpting a third-sex gender identity for hirself.

World Premiere/March 26 - April 20


directed by Loretta Greco

A simple homecoming dinner takes a fantastical turn as Mo slips into a dreamscape that even those closest to him can’t imagine. This theatrical odyssey examines the very real experience of trauma survived but not defeated. / box office: 415.441.8822




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Presenting London’s most acclaimed theatre productions on screen in HD! The National Theatre’s original stage production of


Based on the beloved novel by Michael Morpurgo, and in association with the award-winning Handspring Puppet Company.

February 27, 7:30pm • March 8, 1pm


Academy Award® winner Sam Mendes (Skyfall, American Beauty) returns to the National Theatre to direct Simon Russell Beale (Timon of Athens, Collaborators) in the title role of Shakespeare’s tragedy.

May 1, 7:30pm • May 3, 1pm For more information:

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2013/14 Season: Lasso of Truth  

Playbill for MTC's National New Play Network Rolling World Premiere of Carson Kreitzer's 'Lasso of Truth,' directed by Jasson Minadakis.

2013/14 Season: Lasso of Truth  

Playbill for MTC's National New Play Network Rolling World Premiere of Carson Kreitzer's 'Lasso of Truth,' directed by Jasson Minadakis.