Marin Theatre Company playbill for Georgiana and Kitty: Christmas at Pemberley

Page 1




MARIN THEATRE COMPANY NATIVE LAND ACKNOWLEDGEMENT Marin Theatre Company acknowledges that our theatre and administrative offices are located on the ancestral, occupied, and unceded land of the Coast Miwok peoples. We recognize that we currently benefit from living and working on their traditional homelands, and affirm their sovereign rights as first peoples. We are committed to learning and to strengthening our relationships with members of our local community, and to work towards dismantling the harmful effects of white supremacy and colonization. We acknowledge the Coast Miwok as the original caretakers of this land. We pay our respects to the Coast Miwok community and their elders both past and present, as well as future generations. The Coast Miwok, from the areas of Novato, Marshall, Tomales, San Rafael, Petaluma and Bodega, are members of the Federated Indians of Graton Rancheria, a community which includes the Southern Pomo peoples from the Sebastopol area. We pledge to build relationships with sovereign tribal nations and to never cease ongoing learning, to ensure that Marin Theatre Company becomes a more inclusive and welcoming space.

LEARN MORE ABOUT THE COAST MIWOK AND THE FEDERATED INDIANS OF GRATON RANCHERIA: Coast Miwok: Federated Indians of Graton Rancheria: Support indigenous rights organizations on a national or global level: IllumiNative Native American Rights Fund Cultural Survival Indigenous Environmental Network


From the Artistic Director of Marin Theatre Company


The Cast and Creative & Production Teams of Georgiana and Kitty


Meet the Playwrights of Georgiana and Kitty


The Fashions of Georgiana and Kitty


Keeping Score: The Odds Against 19th-Century Female Composers

Like Georgiana Darcy


Bios—Cast, Creative Team, Leadership


Special Thanks for Georgiana and Kitty


Marin Theatre Company Staff, Advisory Board,

Box Office information


Marin Theatre Company Individual Donors, Foundation Support,

Gifts, Honors, Production Underwriters

FROM THE ARTISTIC DIRECTOR OF MARIN THEATRE COMPANY Welcome back to Marin Theatre Company! After 20 months without live theatre, I can’t begin to tell you how amazing it is to have you back in our beloved Boyer Theatre. Everyone at MTC is incredibly proud of the digital work that we were able to bring you during the pandemic—The Catastrophist by our Andrew W. Mellon Foundation’s National Playwright in Residence Lauren M. Gunderson, the multi-media Brilliant Mind by Mill Valley’s own Denmo Ibrahim, and American Dreams by Leila Buck—all of which were seen around the country and across the globe. But nothing compares to having you back in this intimate theatre for the experience of sharing the world premiere of a new play. And what a new play to welcome you back! The final installment in Lauren M. Gunderson and Margot Melcon’s effervescent Christmas at Pemberley trilogy—Georgiana and Kitty. This third chapter in the series includes everything you’ve come to expect from our visits to Jane Austen’s amazing world—a phenomenal ensemble cast of characters, comedy, music, romance, just a dash of impending tragedy, and, of course, the heart of this amazing trilogy—love and family. I want to extend a huge thank you to our playwrights, Lauren and Margot, for ensuring that this premiere was able to happen here at MTC. This journey has been five years in-the-making and I’m honored it continues tonight. With this production we are also welcoming many familiar artists back to our theatre—director Meredith McDonough, designers Fumiko Bielefeldt, Madeleine Oldham, Nina Ball and Wen-Ling Liao and actors Adam Magill, Laura Odeh, Lauren Spencer, and

397 Miller Avenue, Mill Valley, CA 94941-2885 415.388.5200 | | Jasson Minadakis Artistic Director Meredith Suttles Managing Director/CEO Nakissa Etemad Associate Artistic Director marintheatrecompany




Madeline Rouverol, as well as many newcomers including composer and musical director Jenny Giering and actors Aidaa Peerzada, Alicia M. P. Nelson, Daniel Duque-Estrada, Emilie Whelan and Zahan F. Mehta. We also have amazing new staff throughout the company who have joined us that I hope you will meet in the coming months including Managing Director/CEO Meredith Suttles, Associate Artistic Director Nakissa Etemad, and NNPN Producer in Residence Richard A. Mosqueda, as well as Education Coordinators & Teaching Artists Alicia M. P. Nelson and Daniel Duque-Estrada (who you may also notice are in the cast!). And of course, this is only the beginning! Next up we are thrilled to bring you the West Coast Premiere of the Broadway version of Antoinette Nwandu’s urgent Pass Over, our Associate Artistic Director’s selection, the World Premiere of Yussef El Guindi’s Hotter Than Egypt in a co-production with Seattle’s A Contemporary Theatre (ACT), and the West Coast Premiere of Adam Rapp’s The Sound Inside. Please consider joining us for all of these amazing American plays by becoming a season subscriber today. And to each of you who helped to sustain us throughout the pandemic, thank you for prioritizing Marin Theatre Company for our community. If you donated to our survival, bought a ticket to a virtual production, attended a virtual education class, called with words of encouragement, or wrote us a hopeful email, please know we could not have made it without you. We still have a long way to go to return to full recovery, but with your help I’m certain we will make it. So, here we are, together again. Let’s keep those masks up and keep each other safe. Welcome back. It’s Christmastime at Pemberley.

Jasson Minadakis, Artistic Director

BOARD OF DIRECTORS Wendy Feng Co-Chair Barbara Morrison Co-Chair Kathryn Olson Vice President John Chesley Secretary Fred W. Taylor Treasurer

Bethany Byrd-Hill Kipp Delbyck William Felch Denmo Ibrahim Vera Meislin


Christian Mills Matthew Purdon Robert Reynolds Stacy Scott Penny Wright

Marin Theatre Company presents the Rolling World Premiere of

By Lauren M. Gunderson and Margot Melcon Directed by Meredith McDonoughº

SETTING Act I – 1815, Christmas, Pemberley Act II – 20 years later, 1835, Christmas, London

There will be one 15-minute intermission Please remember to turn off all cell phones or other devices that could make noise and be distracting to the cast and people around you. Photographs and recordings of any kind are strictly prohibited.

CAST OF CHARACTERS Georgiana Darcy. . . . . . . . . . . . . . . . . . . . . . . Kitty Bennet. . . . . . . . . . . . . . . . . . . . . . . . . . . Elizabeth Darcy. . . . . . . . . . . . . . . . . . . . . . . . Lydia Wickham/ Sarah Darcy. . . . . . . . . . . . Mary Bennet/ Margaret O’Brien . . . . . . . . . Jane Bingley/ Emily Grey . . . . . . . . . . . . . . . Henry Grey. . . . . . . . . . . . . . . . . . . . . . . . . . . . Thomas O’Brien. . . . . . . . . . . . . . . . . . . . . . . . Fitzwilliam Darcy. . . . . . . . . . . . . . . . . . . . . . . Understudies. . . . . . . . . . . . . . . . . . . . . . . . . .

Lauren Spencer* Emilie Whelan Laura Odeh* Madeline Rouverol* Alicia M. P. Nelson Aidaa Peerzada Zahan F. Mehta* Adam Magill* Daniel Duque-Estrada* Gillian Eichenberger, Brigitte Losey, Nic A. Sommerfeld, Elissa Beth Stebbins*

Georgiana and Kitty: Christmas at Pemberley is produced as a Rolling World Premiere by Marin Theatre Company, Jungle Theater, and Northlight Theatre. Co-Commissioned by Marin Theatre Company in partnership with the Jungle Theater in Minneapolis and Northlight Theatre in Chicago.

*Member of Actors’ Equity Association. This theater operates under an agreement with Actors’ Equity Assoc., the Union of Professional Actors and Stage Managers in the United States.

ºThe Director is a member of the STAGE DIRECTORS AND CHOREOGRAPHERS SOCIETY, a national theatrical labor union.


CREATIVE TEAM Scenic Designer. . . . . . . . . . . . . . . . . . . . . . . . Costume Designer . . . . . . . . . . . . . . . . . . . . . Lighting Designer . . . . . . . . . . . . . . . . . . . . . . Sound Designer. . . . . . . . . . . . . . . . . . . . . . . . Composer and Musical Director . . . . . . . . . Dialect Coach. . . . . . . . . . . . . . . . . . . . . . . . . . Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . . Assistant Stage Manager . . . . . . . . . . . . . . . Props Designer . . . . . . . . . . . . . . . . . . . . . . . . Producer, Casting Director. . . . . . . . . . . . . .

Nina Ball+ Fumiko Bielefeldt+ Wen-Ling Liao+ Madeleine Oldham Jenny Giering Lisa Anne Porter Elisa Guthertz* Christina Hogan* Liam Rudisill Nakissa Etemad

PRODUCTION TEAM Director of Production. . . . . . . . . . . . . . . . . . Technical Director. . . . . . . . . . . . . . . . . . . . . . Lead Carpenter. . . . . . . . . . . . . . . . . . . . . . . . Carpenter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scenic Artists. . . . . . . . . . . . . . . . . . . . . . . . . . Sewist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Deck Crew. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Costume Shop Manager. . . . . . . . . . . . . . . . Costume Builders. . . . . . . . . . . . . . . . . . . . . . Wig Master. . . . . . . . . . . . . . . . . . . . . . . . . . . . Wig Assistant. . . . . . . . . . . . . . . . . . . . . . . . . . Stitcher. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wardrobe Crew . . . . . . . . . . . . . . . . . . . . . . . . Wigs Provided by. . . . . . . . . . . . . . . . . . . . . . . Production Electrician (Desired Effect). . . Light Board Programmer. . . . . . . . . . . . . . . . Electricians (Desired Effect). . . . . . . . . . . . . Electricians (MTC) . . . . . . . . . . . . . . . . . . . . . Board Op. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Casting Assistant . . . . . . . . . . . . . . . . . . . . . . COVID Compliance Officers . . . . . . . . . . . . .

Sara Huddleston Jeff Klein Liam Rudisill Michael Ferrell Ewa Muszynska, Evandro Conceicao Julia Kwitchoff Krys Swan Sarah Smith Naomi Arnst, Stephanie Cooper Jessica Carter Lyre Alston Andrea Phillips Noelle Clary, Daria Perkova Wig Boys Cassie Barnes Richard Fong Michael Lyons, Jave Hernandez, Gabe Valliere, Brenton Wirth, Yelyzaveta Tashkevych, Angela Flynn, John Di Giorgio, Michael Thuesen, Jasmine Murray Krys Swan, Liz Kreter-Killian Arashi Veronica Cesana Richard A. Mosqueda Jessica Parsons, Anikka Riggins

This production and the Georgiana and Kitty workshop were made possible through the generous support of:

Member of United Scenic Artists, Local USA 829 of the International Alliance of Theatrical Stage Employees.




Lauren M. Gunderson and Margot Melcon seem to be a match made in heaven—especially in the hearts and minds of theatre-going Austen fans around the country. Since the birth of their first collaboration Miss Bennet:

Christmas at Pemberley premiered at MTC in the 2016 season, Lauren and Margot have been literally (and literarily) delighting audiences every holiday season. We spoke with Lauren and Margot a few weeks before launching into rehearsals for this next and final chapter of their Christmas at Pemberley trilogy.

Photo by Josh Edelson (courtesy of San Francisco Chronicle)

MTC: What was the genesis for writing a play inspired by Pride and Prejudice? And had you always intended to write a trilogy of plays?

one but a half dozen interesting and unique women all with their own wit, intelligence, and drive. It was Margot’s idea to combine the world of Pride and Prejudice with the needs of a holiday play, and the reaction of audiences around the country to our plays has proved that it was a good one. I certainly did not imagine writing a trilogy, but with so many sisters and such support for the plays nationwide, we kept coming up with new stories for these beloved characters.

Lauren: We wanted to create a theatre piece that touched on all the nostalgia and warmth of our favorite holiday plays, but add our own brand of sisterhood, comedy, and women-led romance. I’ve always loved Pride and Prejudice because it centered not


MTC: How did the two of you come together to co-write the plays? Margot: Lauren and I had known each other for nearly a decade when we came up with the idea for the first play. Until that point, our relationship had been playwrightdramaturg, with my supporting Lauren on her new plays, many of which were workshopped and/or premiered at Marin Theatre Company, so we had a great trust and shared language around how to make plays already. We came up with the idea for Miss Bennet together, and so it felt like a good fit to try to write it together.

MTC: Georgiana and Kitty will be the only play which will feature all five Bennet sisters on stage. What led to that choice—or better yet, how did you decide which characters to explore throughout the trilogy? Lauren: After Miss Bennet premiered, every Austen fan asked us, “But where was Kitty?!” so we knew we wanted to write a story for her eventually. But with The Wickhams focusing on the downstairs world of Pemberley she didn’t quite fit into that play. When we decided to write a third play, Kitty’s story was a natural starting place and we wanted to pair Kitty with one of the other lesser-known Pride and Prejudice women, that of Mr. Darcy’s younger sister Georgiana. Both are the same age and given short shrift in the novel as far as character development. The two of them represent a core thematic element of this play: growth. These two are met with great change in their worlds at the end of Pride and Prejudice, with Kitty’s closest sister Lydia married as well as Jane, and of course Lizzy marrying Georgiana’s brother Mr. Darcy. Their world is changed and this must change them as well. They are young women and growing so much so quickly. We wanted to follow them on this growth and see who they really become.

MTC: And what is your writing process like; has it evolved throughout the trilogy? Margot: Our process has remained pretty consistent throughout the trilogy—we decide early which of the core characters from the novel will be the focus of the story and then outline, scene by scene, what we think will happen to them, often at breakfast meetings over pancakes and coffee. Once we have an outline, we each pick a scene and dive into a shared google doc. We’ll go back and forth, editing and adding, cutting and trimming. We’re fortunate in that we have Jane Austen herself as a model for the overall tone and tempo of the stories, and then we’re able to bring contemporary ideas and textures in.


MTC: In both Miss Bennet and The Wickhams we felt as though we’d stepped out of Pride and Prejudice and into what might have been a natural turn of events: bookish Mary taking her place in the sisters’ matrimonial parade, ne’erdo-well Wickham in trouble again. How do you mean for Georgiana and Kitty to fit into the evolving universe of the Pride and Prejudice characters? Lauren: We took a big leap with ‘G&K’ because we wanted to focus not just on the romance of youth, but also the romance of older characters who have matured into their personalities and desires. Margot: With each of the plays in the trilogy, we hope that people will feel like they are a continuation of the novel, but also that we explore and surface other ideas that didn’t make it into Jane Austen’s work: the idea that marriage is not the only way to find happiness, that true, deep friendship can sustain a person through a lifetime of trials and challenges, that family is complicated, but does not define you. And I’m not sure I’d agree that the two earlier plays were a natural or obvious continuation of the novel—Mary could have just as easily remained home with her parents, and Lydia and Wickham divorcing was not a foregone conclusion. We made strong choices for what we wanted for these characters. Not everyone agreed that we made the right choices, but that’s the beauty of storytelling and imagination.

Adam Magill as Arthur de Bourgh in MTC’s Miss Bennet in 2016, Set Design by Erik Flatmo, Costume Design by Callie Floor. Photo by Kevin Berne

MTC: What are your thoughts/feelings as you prepare the last play of the Christmas at Pemberley trilogy for the stage? Will you miss the Bennet’s, the Darcy’s, the Bingley’s and the de Bourgh’s? Margot: Of course we’ll miss them! But the thing about great novels is that you can visit your favorite characters anytime you want, just by opening a book. We hope the same will be true of our plays, that the Christmas at Pemberley trilogy will have a long life, and that we’ll be able to visit these lovely characters anytime someone does the plays.

MTC: What has crafting the first two plays in the trilogy taught you, that you bring to Georgiana and Kitty?


Margot: Working from existing material is wonderful, but also comes with challenges. We always want to be true to the world that Jane Austen created, but also want to bring our own sensibility into the stories. There is such a thing as being too wedded to the source material, and there is also the danger of going so far that it no longer captures what is so beloved about Austen’s work. The first two plays taught us how to navigate that line, but it is something we continue to be mindful of.

production was absolutely unforgettable. I knew she could help us uncover the beauty and emotion and power of the music for this story. She’s also a marvelous chef and appreciates good wine, so I will take any excuse to create with Jenny nearby! MTC: Director Meredith McDonough is among the returning artists who worked on other plays in the trilogy, namely actors Adam Magill, Laura Odeh, Lauren Spencer, Madeline Rouverol, and lighting designer Wen-Ling Liao. Meredith directed the first play Miss Bennet. Is there something in particular you are looking forward to in completing the trilogy with Meredith back at the helm?

MTC: Music is such an important part of the story—and the audience experience—in Georgiana and Kitty. What inspired you to explore that?

Lauren: Meredith is one of the most talented directors in the American theatre. She is smart, inventive, caring and fun. I trust her taste and always know she can find and steer the comedy, the heart, and the bright joy of these plays while never losing the intelligence and passion of the characters. She too is a great chef and wine connoisseur, so I guess I’m just writing plays to drink and eat with my talented friends :)

Lauren: Austen herself was a dedicated pianist and played at home for her family. She writes Georgiana as the same in Pride and Prejudice, and we wanted to honor both Austen’s characters and herself. When I visited Austen’s home in Chawton, England a few years ago, the first room you enter had a small pianoforte, and a woman was playing it as I stepped into that hallowed literary space. I got to see her writing desk, the bed she shared with her sister Cassandra, and wander around the house in which she lived while writing so many of her masterpieces, including Pride and Prejudice. All while hearing the sound of a piano downstairs. I will never forget it.

Margot: The gorgeous thing about Meredith, and all of the actors returning to this world, is that they are so adept at capturing this era while also finding humor, heart and texture that makes the world come alive, so that audiences today can relate to and connect with the characters as people. Meredith ensures it is not a museum piece, bringing wit and humor and fun. And she is such a joy to collaborate with.

MTC: How did you choose the composer Jenny Giering for this piece? Lauren: Jenny and I had worked together on the production Meredith McDonough directed of my play Silent Sky at TheatreWorks a few years back. Jenny is an incredible talent and her work on that


from history, and try to pave the way for those who come after to be able to live fully and with agency.

MTC: For modern readers and theatre audiences, the restrictions placed upon women in the early 19th century are shocking—yet like Jane Austen, you have made your female leads manyfaceted, strong, independent women. How did you create strong, independent characters in a world where a single woman’s brother might be considered her master?

MTC: For MTC and many other theatres, the Christmas at Pemberley series of plays has become a holiday tradition, longed for and welcomed by presenters and audiences. What’s your holiday wish for the audiences who see these shows, this season and beyond?

Margot: This is something Jane Austen was incredibly adept at, pointing out societal restrictions and showing how women are still able to be complete, complicated people. Women have always been strong, independent, and many-faceted, and they still are. Women have also always had restrictions placed on them, their opportunities, their choices, and they still do. How women navigate these restrictions is universal and frustratingly familiar. All women learn from each other, take lessons

Margot: Knowing that the holidays can be a stressful time for many people and that so much of traditional holiday fare is quite dark (A Christmas Carol? Terrifying!) we wanted to create something that would bring families together for a moment of joy and delight. This holiday season in particular, after a very challenging couple of years, we could all use a little joy and delight, don’t you think?

Cindy Im as Lizzy, Adam Magill as Arthur de Bourgh, and Lauren Spencer as Jane Bingley in MTC’s Miss Bennet in 2016, Set Designer Erik Flatmo, Costume Designer Callie Floor. Photo by Kevin Berne



Georgiana and Kitty: Christmas at Pemberley spans a period of about 20 years, from shortly after the time of Jane Austen’s Pride and Prejudice, published in 1813, to 1835. During that time, women’s fashion changed dramatically, as the Regency period—with its simple, close-fitting dresses with Empire (high) waistlines—gave way to the dawn of the Romantic era.

Costume designer Fumiko Bielefeldt traces this history in gorgeous gowns created for this production. In Act One of the play, which takes place in 1815, we see the Bennet sisters attired in Regency-style dresses, like Georgiana’s gown shown below in Fumiko’s costume sketches, with its simple lines and relatively sparse decoration.


In the styles of 1835, shoulders are bared and exaggerated sleeves appear (anticipating the enormous “leg of mutton” sleeves of a few decades later). In Kitty and Georgiana’s gowns we see the added ornamentation: pleating in the bodice, ribbon bows at the shoulders and waist, an inset, ruffles and lace in the skirt.

In Act Two (which takes place in 1835), we see waistlines dropping, and much grander ornamentation begins to appear; full bell skirts replace the slim silhouette of the Regency gown. The extra fabric in the dramatically swelled skirts was heavy, and hems were weighted to keep the skirts in place; to offset the weight, skirts were made shorter, with hemlines rising above the foot as seen in Margaret’s dress.


During the 20 years of the Georgiana and Kitty story, hairstyles changed dramatically as well, from the relatively simple hairdressing of the Regency giving way to the more architectural styles of the mid-19th century, with the accent on massed curls around the face. Often, the hair was parted into three sections, with the two shorter sections curled with tongs to accent the face, and the longer center section swept up into elaborate constructions, sometimes augmented with hair pieces, flowers, feathers, ribbons and jewels. Pomade was used to keep the top and back sections sleek and straight. Such styles required the assistance of a maid, and as a consequence, maids who were skilled in creating fashionable hairdos were coveted.

The silhouette of early Romantic-era dresses are distinctly different. Waists are nipped in with corsets, and detail on the gowns’ bodices accent the small waist against the full skirt. As skirts became fuller, seamstresses moved away from the gores inserted to create volume, and gathered yards and yards of fabric into the waistband of the gown.



1820 portrait of “Manuela Gonzalez Velazquez playing the piano” by Zacarias


Gonzalez Velazquez

wrote of Farrenc’s First Symphony, with astonishment, “The dominant quality of this work, composed by a woman, is precisely what one would least expect to find. There is more power than delicacy.” Worse still, critics characterized Farrenc’s music with tired, and even insulting, female sterotypes: “By the magic of her musical palette, the composer envelops you with nocturnal images, at once mysterious and blissful.”

As a pianist and a composer who aspired to a career, Georgiana faced unimaginable hurdles in the early 19th century. It was generally accepted that women were not capable of playing professionally in an orchestra or ensemble—although “accomplished” young women were frequently called upon to play the piano in family gatherings and social settings. And the idea that a woman might compose a large-scale, complex work was, quite simply, out of the question.

Even the most renowned female musical artist of Georgiana’s time, German pianist In the second act of Georgiana and Kitty: and composer Clara Wieck, found sustained success unattainable. A child prodigy, she Christmas at Pemberley, when Georgiana was so famous by the age of 20 that her reveals that she has joined with other sold-out concerts turned away droves female artists to create “The Society for of passionate fans. In Clara Schumann: Women Musicians,” art mirrors life; in Britain in 1839, a group of women musicians Piano Virtuoso (Clarion Books), biographer did indeed band together as the Royal Susan Reich wrote: “Restaurants served a Society of Female Musicians. cake named after her, “torte à la Wieck,” a delicate pastry layered with whipped cream Still, women’s progress as composers was and adorned with swirls and rosettes. very slow. Take, for example, the reviews and People rushed to order this ‘ethereal, light remarks that greeted the works of mid-19thdessert that flew into the mouth of the eater.’” Clara Wieck’s marriage to composer century French composer Louise Farrenc; Robert Schumann in 1840 led to some early she was damned with faint praise like “It is inspired collaborations, but such a rarity for a woman the demands of their growing to compose symphonies family—I eight children in of real talent,” a quote from all—put an early stop to a review in a renowned her composing career. She journal in 1851. Hector wrote, “I once believed that Berlioz, Farrenc’s far more I possessed creative talent, famous male counterpart, but I have given up this acknowledged one of her idea. A woman must not works as “well written,” but desire to compose—there qualified his remarks with has never yet been one able “and orchestrated with a to do it. Should I expect to talent rare among women.” be the one?” Today, Clara Most of her contemporaries Schumann is one of the measured Farrenc’s work Composer Louise Farrenc (née few 19th-century female against that of the male Jeanne-Louise Dumont), c. 1855 Bibliothèque nationale de France composers of the day; one composers whose works


pieces performed in the 2019–2020 season were composed by women; and of all of their concert programs, only 8.2 per cent included at least one piece by a woman.

are still performed by major artists and orchestras, but they are far overshadowed by the continuing popularity of her husband’s (and their male composer contemporaries’) works.

Georgiana’s passionate declaration still demands champions: “Music is a universal language. And women should have a voice in all things universal as they are not only participants but creators in this world. Women deserve meaning, and for the women in this society, music is meaning. If a world ruled by men does not include us, we must create a space for ourselves or else forgo what is universally ours, and that I refuse to do. Music belongs to me just as much as it does to any man.”

Even today, nearly a century and a half after Georgiana’s time, music by women composers takes a back seat to work by males. A survey of the 22 largest American orchestras showed that only 1.8 per cent of the total pieces performed in the 2014–2015 concert season were by women overall; and among music by living composers, only 14.3 per cent of works played were by women. A more recent survey of 15 major world orchestras revealed that only 3.6 per cent of the total

Square piano, circa 1835

Want to learn more about great women composers? Check out these resources:



EMILIE WHELAN (she/ her—Kitty Bennet) moved to California in 2019 after a career in the bayous of New Orleans where she was a major force in arts and development post-Katrina. There she oversaw the development of NHP Foundation’s arts programming, Cripple Creek Theater Company, The Fringe Theater Festival New Orleans, and The DISTILLERY Artist Residency at the Contemporary Arts Center New Orleans for mid-career performing artists. She is an Associate Artist with Oakland Theater Project and credits with them have included Macbeth; Romeo and Juliet; Streetcar Named Desire; Mother Courage and her Children; Hamlet; Waiting for Lefty; GROUNDED; The Radicalization of Bradley Manning; Othello. She is the Director of Advancement with West Edge Opera, supporting new opera development. She is also a professor at Contra Costa College having received her BFA from New York University Tisch School of the Arts, and an MFA from UC San Diego. She’s a big fan of laughter, impromptu dance parties, and adding more butter to...everything.

LAUREN SPENCER* (she/her—Georgiana Darcy) is thrilled to return to the gorgeous world of Pemberley after playing Jane Bennet in MTC’s 2016 production of Miss Bennet: Christmas at Pemberley. Lauren has performed with Campo Santo, Crowded Fire, American Conservatory Theater, Kansas City Repertory Theatre, Berkeley Rep, San Francisco Playhouse, and San Francisco Shakespeare Festival, among others. As a director, she is passionate about developing new work that champions the joys and complexities of BIPOC women and femmes. Recent credits include: Darren Canady’s Black Butterflies (American Conservatory Theatre/Kansas City Repertory Theatre); Lisa Marie Rollins’ and Susan Ito’s Untold (Brava Theater for Women in the Arts); Noelle Viñas’s Derecho (Playwrights Foundation); and Jordan Remirez Puckett’s To Saints and Stars (Creede Repertory Theatre). She is a company member with the awardwinning ensemble Campo Santo, a founding member of The Coalition of Bay Area Black Women Theater Artists, a “Reimagining Political Power” Fellow with Yerba Buena Center for the Arts, a recipient of CalShakes Luminary Learn Award for her work applying theater arts in the classroom, and an inaugural member of the Calshakes Artist Circle. Deepest gratitude to Alex Lenarsky, John Francis, and Eric Ting for their extraordinary support.

LAURA ODEH* (she/ her—Elizabeth Darcy) has appeared on Broadway in The Rivals (Lincoln Center Theatre). Favorite OffBroadway credits include The Aristocrats (Irish Repertory Theatre), A Body of Water (Primary Stages), Gaslight (Irish Repertory Theatre), King Lear (The Public Theater), and Mrs. Warren’s Profession (Irish Repertory Theatre).

Member of Actors’ Equity Association.



Regional productions include Hand to God (Berkeley Rep), Miss Bennet: Christmas at Pemberley (Marin Theatre Company), King Lear (Goodman Theatre, Shakespeare Theatre Company of DC), 33 Variations (La Jolla Playhouse, Arena Stage), and The Cherry Orchard (Yale Rep). Her television and film credits include The Other Woman, Synecdoche, NY, “The Unusuals” and “Guiding Light,” as well as various commercials and industrial videos. She has worked with such directors as Zelda Fichandler, Robert Falls, James Lapine, Mark Lamos, Bill Rauch, Moisés Kaufman, Charlie Kaufman, Don Roos and Meredith McDonough. Laura received her MFA from the Graduate Acting Program at NYU. She is a proud member of the Screen Actors Guild and Actors’ Equity Association.

Wallace American Playwrights Program Semi-Finalist), You’re Not a Mystery to Me, and Fire Season. “Love always to B and my friends and family.” ALICIA M. P. NELSON (she/her—Mary Bennet/ Margaret O’Brien) is a San Francisco/Bay Area actor, clown, and arts educator. She is also one of the newly appointed Education Coordinators at MTC, and is a member of the Red Ladder Theatre Company where she works to bring arts to at-risk populations. Regional theatre credits include: The National Women’s Theatre Festival (Othello), TheatreWorks Silicon Valley (FROST/NIXON), WAMTheatre (The Last Wife, The Virgin Trial), SF Playhouse (Dance Nation), Berkeley Repertory Theatre (u/s School Girls; Or, The African Mean Girls Play), Berkeley Playhouse, Ragged Wing Ensemble, Bay Area Children’s Theatre, Word for Word, Town Hall Theatre, and Cutting Ball Theatre. She has a BFA in Acting from Boston University and is a Theatre Bay Area award winner.

MADELINE ROUVEROL* (she/her—Lydia Wickham/ Sarah Darcy) is overjoyed to return to MTC, having originated the role of Lydia in The Wickhams: Christmas at Pemberley in 2018. Madeline is a New Yorkbased actor and playwright originally from Santa Rosa, California. She has developed and performed in new plays at The Public Theater, Playwrights Horizons, the Eugene O’Neill Theater Center, The Dramatists Guild, Cincinnati Playhouse in the Park, Marin Theatre Company, TheatreWorks Silicon Valley, and San Jose Stage Company. She made her Broadway debut this summer as the playwright’s assistant to Antoinette Nwandu on Pass Over. Madeline has been featured in American Theatre magazine and is a graduate of the theatre department at the University of Michigan. Her plays include Confirmation (Playwrights Foundation Semi-Finalist, Lila Acheson

AIDAA PEERZADA (she/ her—Jane Bingley/Emily Grey) is an actor, poet and playwright who grew up between the suburbs of Baltimore, Maryland and Lahore, Pakistan. Regional performance credits include: The Pittsburgh Public Theatre, Illinois Shakespeare Festival, Utah Shakespeare Festival, Steppenwolf Theatre Company, American Players Theatre, Theatre Lila, and Quantum Theatre. She was recently awarded the Theatre Bay Area’s Director’s Residency and is the Artistic


DANIEL DUQUE-ESTRADA* (he/him—Fitzwilliam Darcy) is thrilled to be back in the Bay and on MTC’s stage for the first time. Other theaters include WP Theater and PlayCo (off-Broadway), as well as two seasons at the Oregon Shakespeare Festival, Dallas Theater Center (former Acting Company Member), and Trinity Repertory Company, where he is currently a member of their Acting Company. He holds a BA from UC Berkeley and an MFA from Brown University/Trinity Rep.

Development Director at the San Francisco Bay Area Theatre Company. Workshops of her original plays include: One Googol and One (SFBATCO), Grandma Science (The Greenhouse Theatre Solo Lab), Shining (The Ground and Field Theatre Festival at UC Davis), (The New Roots Theatre Festival with SFBATCO). She is a co-author of the original musical Sunflowered (Northern Sky Theatre). Aidaa studied at the Baltimore School for the Arts and went on to receive her BFA in Drama from Carnegie Mellon University. ZAHAN F. MEHTA* (he/him—Henry Grey) is an actor and musician from Mumbai, India. A recent graduate of the American Conservatory Theater’s MFA program, he received his BFA from Northeastern University and has trained at the Eugene O’Neill Theater Center in the NMTI program. He most recently played the Rebel in For The Record’s The BratPack at Feinstein’s at the Nikko. His roles at A.C.T. include Barnaby in The Matchmaker, Maks in Martyna Majok’s Ironbound, and Isaac Babel in Rajiv Joseph’s Describe the Night. Zahan is also a multi-instrumentalist who plays the guitar, bass, piano, harmonica, and (his first love) the drums.

ADAM MAGILL* (Thomas O’Brien) last appeared at Marin Theatre Company in Sovereignty as Samuel Worcester and Mitch. Previous MTC roles include Will Shakespeare in Shakespeare in Love, Arthur de Bourgh in Miss Bennet: Christmas at Pemberley, and Elder Thomas in The Whale. Bay Area credits include: Vanity Fair (ACT), Uncle Vanya (Cutting Ball), Macbeth (Berkeley Repertory Theatre), Stupid F**king Bird (San Francisco Playhouse), and Dr. Jekyll and Mr. Hyde (City Lights Theater Company). Adam is a graduate of the Foothill Theatre Conservatory.



Member of Actors’ Equity Association.


NIC A. SOMMERFELD (they/them—Understudy for Henry Grey, Thomas O’Brien, and Fitzwilliam Darcy) is a San Franciscobased actor and playwright. They are thrilled to be working with Marin Theatre Company for the first time. They have performed with such companies as Cal Shakes, Berkeley Playhouse, FaultLine Theatre, San Francisco Playhouse, Berkeley Rep, The Thrillpeddlers, SF Oasis, and The San Francisco Shakespeare Festival. They have also acted in and worked as a Trans consultant on developmental readings with NCTC, UCSF, and Magic Theatre. When not writing or performing, they frequently perform as their drag king persona, Chester Vanderbox.

BRIGITTE LOSEY (she/ her—Rehearsal Understudy, Female Roles) is a native Bay Area actress and theatre maker. Some past roles include Ali in Mamma Mia (San Jose Stage Company), Heather Chandler in Heathers (Pacifica Spindrift Players), Pauline in Saturday Night Fever (Broadway By the Bay), Poppy in Noises Off (Hillbarn Theatre), Little Red Riding Hood in Into the Woods and Ginger in The 1940’s Radio Hour (Los Altos Stage Company), and Mary Lane in Reefer Madness (Ray of Light). GILLIAN EICHENBERGER (she/her—Understudy for Lydia Wickham/Sarah Darcy, Mary Bennet/Margaret O’Brien, and Jane Bingley/ Emily Grey) is an actor, vocalist, and theatre educator from Marin County. She is proud to have been part of the thriving North Bay theatre community. Favorite roles include Johanna in Sweeney Todd, Juliet in Romeo and Juliet, Roxie in Chicago, April in Company, and The Governess in The Turn of the Screw. She is a passionate educator of artists of all ages, working as a director, music director, and vocal coach. When she’s not acting, she plays synthesizer and sings with the rock band, The Hot Takes. Next up, she’ll be playing Sheila in Hair and directing A Doll’s House Part II. “Love and gratitude to Andre, her parents, and in-laws.”

ELISSA BETH STEBBINS* (she/her—Understudy for Georgiana Darcy, Kitty Bennet, and Elizabeth Darcy) is a Bay Area-based actor and teaching artist. Recent regional credits include Becky Nurse of Salem (Berkeley Rep), Kings, Kiss, The Village Bike, and Caught (Shotgun Players), In Braunau (San Francisco Playhouse Sandbox Series), Revolt. She Said. Revolt Again. and You For Me For You (Crowded Fire Theater), The Little Prince (Marin Theatre Company), and Minneola Twins (Cutting Ball Theater), among others. She is a TBA Award winner (Theatre Bay Area), and a TITAN and CASH grant recipient. Elissa graduated from Santa Clara University, and has continued training with Shakespeare and Company, and Atelier Matteo Destro.

Member of Actors’ Equity Association.




over 30 productions—including six world premieres—and administered the company’s two annual new play prizes and commissioning program. She has developed plays with TheatreWorks, Bay Area Playwrights Festival, Crowded Fire Theater, Shotgun Players, Berkeley Rep’s Ground Floor, the Kennedy Center, the New Harmony Project, and The Playwrights’ Center in Minneapolis. She currently manages arts and culture grantmaking at the Zellerbach Family Foundation. Margot is a graduate of California State University, Chico and currently lives in San Francisco with her family.

LAUREN M. GUNDERSON (she/her—Playwright) has been one of the most produced playwrights in America since 2015 topping the list twice including 2019/20. She is a two-time winner of the Steinberg/ATCA New Play Award for I and You and The Book of Will, the winner of the Lanford Wilson Award and the Otis Guernsey New Voices Award, a finalist for the Susan Smith Blackburn Prize and John Gassner Award for Playwriting, and a recipient of the Mellon Foundation’s National Playwright Residency with Marin Theatre Company. She studied Southern Literature and Drama at Emory University, and Dramatic Writing at NYU’s Tisch School where she was a Reynolds Fellow in Social Entrepreneurship. She co-authored the Miss Bennet plays with Margot Melcon, and her play The Half-Life of Marie Curie is available on Her work is published at Playscripts (I and You; Exit Pursued By A Bear; The Taming and Toil And Trouble), Dramatists Play Service (The Revolutionists; The Book of Will; Silent Sky; Bauer, Natural Shocks, The Wickhams and Miss Bennet) and Samuel French (Emilie). Her picture book Dr Wonderful: Blast Off to the Moon is available from Two Lions/ Amazon.

MEREDITH McDONOUGH (she/her—Director) was the Associate Artistic Director at Actors Theatre of Louisville for seven seasons where favorite directing includes both parts of Angels in America, Peter and the Starcatcher, The Curious Incident of the Dog in the Nighttime and The Last Five Years. In the Humana Festival she directed the premieres of Marginal Loss, Dot, brownsville song (b-side for trey) and Airness, amongst others. Before ATL, she was the Director of New Works at TheatreWorks in CA where she directed the world premieres of Triangle, Upright Grand and Auctioning the Ainsleys. Other San Francisco credits include the premiere of Miss Bennett: Christmas at Pemberley at Marin Theatre Company, and The Lily’s Revenge with Taylor Mac at the Magic Theatre. Regionally, favorites include Noises Off (Guthrie Theater), Fair Use (Steppenwolf Theatre), Eurydice (Williamstown Theatre Festival), and the D.C. premiere of the musical Summer of ’42 and the U.S. premiere of NSFW (Round House Theatre). In New York City, Meredith has developed work with Playwrights Horizons, Red Bull, Keen Company, the Women’s

MARGOT MELCON (she/ her—Playwright) is an artist, arts administrator and writer. She co-wrote Miss Bennet and The Wickhams with Lauren Gunderson, the first two parts of the Christmas at Pemberley trilogy. She was the Director of New Play Development at Marin Theatre Company for seven years, where she dramaturged


The Beauty Queen of Leenane, Othello, the Moor of Venice, Edward Albee’s Tiny Alice, Equivocation, What the Butler Saw, Lovers & Executioners, Frozen, Displaced, Fugitive Kind, Indiscretions, and Candida. Her career as a costume designer for over 30 years has garnered her many awards, including the Barbara Bladen Porter, San Francisco Bay Area Theatre Critics Circle, Dean Goodman Choice, Back Stage West Garland, and Drama-Logue Awards.

Project and Ars Nova. She was the Associate AD of The Orchard Project, the New Works Director for the National Alliance for Musical Theatre, a Drama League Fellow, an alum of the WP Directors Lab and a Kesselring Award Panelist. Education: Northwestern; MFA, UCSD. She is a Member of Stage Directors and Choreographers Society and served on the Board for six years. NINA BALL+ (she/her— Scenic Designer) is happy to be returning to MTC with this wonderful production. Her work has been seen at American Conservatory Theater, Oregon Shakespeare Festival, California Shakespeare Theater, Shotgun Players, San Francisco Playhouse, Aurora Theatre Company, Center REPertory Company, among many others. She is a company member at Shotgun Players in Berkeley as well as TheatreFIRST. Recent awards include a Theatre Bay Area (TBA) award for The Nether at San Francisco Playhouse; San Francisco Bay Area Theatre Critics Circle awards for her designs of My Fair Lady at San Francisco Playhouse and Metamorphosis at the Aurora; a Shellie award for Mirandolina at Center REP. In addition to theatre, Nina is also a production designer and has worked on numerous film, TV and commercial productions. Nina is the scenic design professor at Stanford University and also a lecturer at UC Berkeley.

WEN-LING LIAO+ (she/her— Lighting Designer) is happy to be back. Her previous credits with MTC: I and You, The Who & The What, The Wickhams: Christmas at Pemberley and The Catastrophist. Her selected credits: AW, Wilderness! with Hartford Stage; The Winter’s Tale, House of Joy and Quixote Nuevo with Cal Shakes; 44th Humana Festival (Are You There?, Nicole Clark is Having A Baby and Flex) with Actors Theatre of Louisville, Gloria and Vietgone at A.C.T.; White Pearl with Studio Theater; The Chinese Lady, Oedipus El Rey, The Resting Place and Reel to Reel with Magic Theatre; Dance Nation, Significant Other, King of the Yees and Barbecue with San Francisco Playhouse; Native Garden with Center REPertory Company; The Importance of Being Earnest with Aurora Theatre Company; The Boy Who Danced on Air with Abingdon Theater Company; Chill with Merrimack Repertory Theater; Milk Like Sugar with Huntington Theatre Company; and Sense and Sensibility with Dallas Theater Center. Others: She is the member representative of USA 829 Western Region Executive Board. She earned her MFA from University of California, San Diego and BA from National Taiwan University.

FUMIKO BIELEFELDT+ (she/her— Costume Designer) is very happy to be designing Georgiana and Kitty: Christmas at Pemberley. Her work has appeared in MTC productions for over 10 years, including Oslo, Straight White Men, Guards at the Taj, The Oldest Boy, The Convert,


LISA ANNE PORTER (she/her—Dialect Coach) ​​ is currently the Head of Acting and Dialects at the American Conservatory Theater as well as the Co-Head of Voice and Dialects for the SF production of Harry Potter and the Cursed Child. She has also served on the faculties of Syracuse University, UC Berkeley, UC Davis, Shakespeare & Company, The Tepper Center (New York City), Naropa University, and Berkeley Repertory Theatre. She has coached voice and dialect in more than 70 productions nationwide. As a professional actor, she has performed with numerous repertory companies and Shakespeare festivals throughout the country. Most recently, she has been seen in the Bay Area world premiere of Eureka Day at the Aurora Theatre Company, as well as The Eva Trilogy and A Bright Half Life at the Magic Theatre. At MTC, she played Julia/Frederic in Lovers and Executioners. She has an M.F.A. in Acting from A.C.T. and a B.A. in Theater and American Studies from Wesleyan University. She is a Designated Linklater Voice Teacher, trained by the world-renowned voice teacher Kristin Linklater and has a Certificate in Diversity and Inclusion Leadership Training from Cornell University.

MADELEINE OLDHAM (she/her—Sound Designer) is a sound designer based in Oakland, CA. She is happy to be back at Marin Theatre Company, where her work has been heard in The Wolves and Love. She has designed sound for theatres around the country including A.C.T. San Francisco, Berkeley Repertory Theatre, Kansas City Repertory Theatre, Geva Theatre Center in Rochester, NY, Crowded Fire, and more. You can hear her on KALX radio as DJ Madame X. Madeleine believes that stories hold power for both good and evil, and it’s up to us to keep this knowledge close and use it well. She also understands that the best sport is ice hockey, and wiener dogs are the embodiment of joy. JENNY GIERING’s (she/ her—Composer and Musical Director) current projects include Alice Bliss commissioned by Playwrights Horizons and Stacey Mindich (2018 Weston Playhouse New Musical Award, 2021 TheaterWorks Silicon Valley New Works Festival), and What We Leave Behind (co-written with Sean Barry, 2019 TheatreWorks Writer’s Retreat) for which she received a 2021 Barrington Stage Spark Grant. She has written many incidental scores including music for Lauren M. Gunderson’s Silent Sky (TheatreWorks, 2015) and Peter Pan and Wendy (Shakespeare Theatre Company, 2019) Gertrude and Claudius (Barrington Stage, 2019) by Mark Saint-Germain, An Iliad by Lisa Peterson and Denis O’Hare (Weston Playhouse, 2021) and many others. When she’s not writing music, you can usually find her making French Macarons.

ELISA GUTHERTZ* (she/her—Stage Manager) has been a stage manager in the San Francisco Bay Area for over 28 years. Most recently she stage managed Toni Stone at Arena Stage and American Conservatory Theater. Some of her other A.C.T. credits include, Testmatch, Rhinoceros, Seascape, Sweat and Hamlet. She has stage-managed A Thousand Splendid Suns at A.C.T., The Old Globe, and Theatre Calgary. She has also worked on Member of United Scenic Artists, Local USA 829.



Metro Bay Area for Literary Managers and Dramaturgs of the Americas (LMDA), and a member of MENA Theater Makers Alliance and the Anti-Racism Task Force of LMDA. Recent dramaturgy with Yussef El Guindi on Hotter Than Egypt (2020 Colorado New Play Summit), Heather Raffo’s Noura (Marin Theatre Company/ Golden Thread), Marcus Gardley’s Play on! commission of King Lear (Oregon Shakespeare Festival), and recent world premiere productions with Marcus Gardley, Lauren Yee, Marisela Treviño Orta, Margo Hall, and Torange Yeghiazarian. She is a frequent collaborator on Golden Thread’s ReOrient Festivals of Short Plays and Bay Area Playwrights Festivals, including plays by Betty Shamieh, Naomi Wallace, Niku Sharei, Katori Hall, Terence Anthony, Dustin Chinn, and Bennett Fisher. Festival Director for the 5th Annual New America Playwrights Fest, featuring new plays by Lynn Nottage, Naomi Iizuka and Polly Pen (San Jose Rep). Former dramaturg and literary manager of The Wilma Theater, San Jose Rep, and San Diego Repertory Theatre and Exec. VP Freelance of LMDA. Recipient of the 2015 Elliott Hayes Award for Outstanding Achievement in Dramaturgy for The Lark’s four-city premieres of Gardley’s the road weeps, the well runs dry. Nakissa dedicates this show to Dr. Galen A. Etemad, the patriarch, inspiration, role model, and guiding light to his family and friends for 99 wonderful years.

many shows for Berkeley Repertory Theatre including, The Mystery of Irma Vep, Cloud Tectonics, and Suddenly Last Summer. Other credits: Failure: A Love Story at Marin Theatre Company; The Good Body with Eve Ensler at the Booth Theatre on Broadway; Big Love at Long Wharf Theatre, Goodman Theatre and Brooklyn Academy of Music; The Vagina Monologues with Eve Ensler at Alcazar Theatre. CHRISTINA HOGAN* (she/her—Assistant Stage Manager) is excited to return to Marin Theatre Company. Previously she has worked as the Stage Manager at MTC on Brilliant Mind, The Catastrophist, and Skeleton Crew. Other Stage Management credits include Gloria, Top Girls, Edward Albee’s Seascape, and Men on Boats at American Conservatory Theater; In Old Age, The Baltimore Waltz, runboyrun, And I and Silence, and Any Given Day at Magic Theatre; Ripped and Selkie at Z Space; It Can’t Happen Here at Berkeley Repertory Theatre; and A Raisin in the Sun at California Shakespeare Theater. Christina has a BA in theater arts from Saint Mary’s College of California. NAKISSA ETEMAD (she/ her—Producer, Casting Director) is an Iranian American dramaturg, producer, and French translator specializing in new BIPOC plays and musicals for over 25 years. Recent MTC credits include Producer for The Catastrophist and Brilliant Mind. Marin Theatre Company’s Associate Artistic Director, she is also a Resident Artist of Golden Thread Productions, Regional VP



Copenhagen at Playhouse on the Square (2003 Ostrander Theatre Award for Best Dramatic Production), and Bedroom Farce at Wayside.

JASSON MINADAKIS (he/him—Artistic Director) Jasson is in his 15th season as artistic director of Marin Theatre Company. Directing credits include the world premiere commission of The Catastrophist, Mother of the Maid, Sovereignty, Oslo, Shakespeare in Love, Thomas and Sally, Guards at the Taj, August: Osage County, The Invisible Hand, Anne Boleyn, The Convert, The Whale, Failure: A Love Story, the world premiere of Lasso of Truth, The Whipping Man (San Francisco Bay Area Critics Circle Awards for Best Production and Best Acting Ensemble), Waiting for Godot, Othello: the Moor of Venice, The Glass Menagerie, Edward Albee’s Tiny Alice, the world premiere of Libby Appel’s adaptation of Chekhov’s Seagull, Happy Now?, Equivocation (SFBATCC Award, 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,

MEREDITH SUTTLES (she/her—Managing Director/Chief Executive Officer) Meredith joined Marin Theatre Company as its new Managing Director this April. Meredith is an arts leader with an extensive background in creative and performing arts in the areas of development, management, strategic planning, fundraising, and performance. She has held senior leadership roles at TheaterWorksUSA, Soho Repertory Theatre, Theatre Communications Group (TCG), and the New York City Opera. Meredith is a proud graduate of the University of Michigan (Ann Arbor) and former EmcArts: Arts Leaders as Cultural Innovators (ALACI) Fellow. She is a member of Alpha Kappa Alpha Sorority, Inc., a Steering Committee Member of the Black Theatre Commons and currently serves on the Board of Directors of viBe Theater Experience (Brooklyn, NY). As a visionary leader known for her ability to win community support, develop key coalitions and build strong relationships with a shared sense of purpose, she is passionate about devising meaningful ways to address and further the goals of MTC. NAKISSA ETEMAD (she/her—Associate Artistic Director) (see Producer bio)


from over 40 Bay Area schools each year. MTC strives to create intimate, powerful and emotional experiences that engage audiences to discuss new ideas and adopt a broader point of view. Marin Theatre Company believes in taking risks and inspiring people to participate in live theatre, regardless of personal means. MTC celebrates the intellectual curiosity of our community and believes that theatre is an important tool to help build empathy. MTC was founded in 1966 and is a 501(c)3 nonprofit organization.

MARIN THEATRE COMPANY Marin Theatre Company is the Bay Area’s premier mid-sized theatre and the leading professional theatre in the North Bay, producing a six-show season focused on new American plays. MTC is committed to the development and production of new plays, with a comprehensive New Play Program that includes productions of world premieres, readings, and workshops by the nation’s best emerging and established playwrights. MTC’s numerous education programs serve more than 4,500 students

SPECIAL THANKS FOR GEORGIANA & KITTY Jill Bowers, TheatreWorks Silicon Valley Costume Director Dr. Galen A. Etemad and Jaleh A. Etemad Christopher Fitzer, TheatreWorks Silicon Valley Properties Director Jill Green, Berkeley Repertory Theatre Properties Supervisor Barbara Morrison Fred and Kathleen Taylor


MARIN THEATRE COMPANY STAFF Artistic Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jasson Minadakis (he/him) Managing Director/Chief Executive Officer. . . . . . . . . . . . . . . . . Meredith Suttles (she/her) Associate Artistic Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nakissa Etemad (she/her) NPRP Playwright in Residence. . . . . . . . . . . . . . . . . . . . . . . Lauren M. Gunderson* (she/her) NNPN Producer in Residence. . . . . . . . . . . . . . . . . . . . Richard A. Mosqueda+ (he/she/they) Director of Production. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sara Huddleston (she/her) Technical Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeffrey Klein (he/him/they) Interim Director of Marketing & Communications. . . . . . . . . . . . . . . . . Jo Manley (she/her) Grant Writer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nina O’Keefe (she/her) Education Coordinators & Teaching Artists. . . . . . . . . . . . . Daniel Duque-Estrada (he/him) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alicia M. P. Nelson (she/her) Supported by The Andrew W. Mellon Foundation’s National Playwright Residency Program. Supported by the National New Play Network Producers in Residence program.



MTC ADVISORY BOARD Linden Berry Joseph Bodovitz Jerry Cahill David Catania Diana Gay-Catania Bobbie Chapman Doug Ferguson Gerry Goldsholle Brian Golson Gale Gottlieb Gail Harris

Tracy Haughton Peter Jacobi Kimberly Jessup Dirk Langeveld Lori Lerner Melanie Maier Peter Maier Tina McArthur Iris Metz Kiki Pescatello Andrew Poutiatine

Ivan Poutiatine Chris Raker Laura Scott Dana Shapiro Gary Shapiro Christopher B. Smith Tara Sullivan Kathleen Taylor Jennifer Yang Weeden Phillip Woodward

MTC BOX OFFICE 415.388.5200 x:3323 | Visit our website to join our email list, learn about our plays, and purchase tickets.

All images and/or content provided by Marin Theatre Company staff, contractors, and/or creative artists unless otherwise credited. Opinions expressed by contractors, contributors, and/or creative artists do not necessarily reflect the views of Marin Theatre Company. Photo credits are included as provided.


MARIN THEATRE COMPANY INDIVIDUAL DONORS Marin Theatre Company acknowledges the generous support of the following individuals, foundations and corporations whose contributions make our extraordinary theatre productions and education programs possible. To join our family of contributors, receive sponsorship information or if you have questions about your gift, please contact the Development Department at or 415.322.6035. The following gifts were received between July 1, 2020 and November 1, 2021.


Michael + Jean Strunsky, The Ira and Leonore Gershwin Philanthropic Fund Paul + Sandy Zuber

MTC SUSTAINER | $100,000+ Terry Berkemeier + Lori Lerner Gage Schubert Christopher B. + Jeannie Meg Smith

PREMIERE PRODUCER | $5,000+ Anonymous (2) Andrew F. and Ann B. Mathieson Fund Susan + Bill Beech Cheryl + Rick Brandonº Janet Brown Nancy + Gary Carlston Lynne Carmichael Kipp Delbyck Tom Edwards + Rebecca Parlette-Edwards William Jr. + Victoria Felch Wendy Feng + Michael Wall Jill + Steven Fugaro Sandra Hess Dixon Long, The Springcreek Foundation Newton and Rochelle Becker Charitable Trust Bill Helvestineº Barbara Morrison Connie Oclassen Kathryn Olson Priscilla Pittiglio Bob + Donys Powell Robin + Rick Rice Robert K And Barbara Straus Family Foundation Joel + Susan Sklar

MTC PARTNER | $50,000+ Buffington Miller, Clay Foundation-West Bob + Paula Reynolds Melody Wireless Infrastructure

SEASON PARTNER | $25,000+ David Catania + Diana Gay-Catania John + Shelley Chesley Lauren Gunderson + Nathan Wolfe Barbara + Jim Kautz Kathy King + Gerald Cahill Vera + Ken Meislin Fred + Kathleen Taylor

PRODUCER’S CIRCLE VIP PRODUCER | $15,000+ Lynn Brinton + Dan Cohn Suzanne + Mark Darley Tracy + Brian Haughton Peter + Melanie Maier, The John Brockway Hungtington Fund Ivan Poutiatine Matthew Purdon Stacy Scott + Chuck Ciaccoº Vickie Soulier

PREMIERE SOCIETY CIRCLE ASSOCIATE PRODUCER | $3,000+ Anonymous (1) Aldoº Ms. Gatian Cunningham Susan + Dennis Gilardi Tamisie Honey Arthur + Toni Rembe Rock

EXECUTIVE PRODUCER | $10,000+ Anonymous Gene + Neil Barth Gerry Goldsholle + Myra Levensonº Marymor Family Fund Kiki Pescatello


Rosenberger Family Fund/ Marin Community Foundation Dr. Samuel Test Diane + Bob Wagner

Dr. William + Janet McAllister Tina + Richard McArthur Mary + Steve Mizroch Stephanie Moulton-Peters + Roger Peters Harry Murphy + Deborah Gilden Norton Belknap Family Fund Nancy + Richard Robbins Chris + Jamie Norlander Diane Paul Mark + Mauree Jane Perry Drs. Janice + James Prochaska Suzanna G. Pollak Michael + Hailey Poutiatine Gordon Radley Thomas + Jill Sampson Eric Schwartz + Magda Wesslund Betty + Jack Schafer Laura + Michael Scott Diana + Richard Shore Dr. P.R. Silver Stollmeyer Family Fund Victoria Talkington Beverly Tanner + Jerry Herman Will + Leslie Thompson Sara Waugh + Micah Chockleyº Vic Woo + Phil Brewer Wendy Wyse Susan York

PRODUCER | $1,000+ Anonymous (1) Dr. Kedar Adour Franklin Amster + Andree Jansheski Charles M. + Leslie Anderson Tom + Lois Ashley Lee Aubry Mary Jane Baird Joan Beavin Linden Berry John Bissinger Jr. Adrian + Daniel Blumberg Bobbie + Dave Chapman Ann + Rick Clarke Ron Clyman + Francoise Mauray Erin + David Elliott Leida Schoggen + William Farmer Leland + Susan Faust Seth + Alison Ferguson Alex + Niki Fong Jeff C. Freedman + Marie C. Boylan Karen Fry David Goldman Kenneth + Joan Gosliner Gale Gottlieb Michelle + Norm Groleau Anita Hagopian Karen Haydock Susan + Russ Holdstein Coreen + Mark Jamison Bob Kaliski + Linda Nelson Kelley Family Charitable Fund Ken and Jackie Broad Family Fund Drs. Douglas + Carol Kerr Fritz & Karen Kieckhefer William Kissinger Lawrence + Stephanie Krames Duff Kurland + Carol Nusinow Kurland Dirk + Madeleine Langeveld Stephen + Gail Lazarus Judy Leash Cheryl Longinotti + Victoria H. Newton Garrett Loube + Marica Rodgers Scott MacLeod + Linda Kislingbury David Madfes Diane Martin Christine + Steve Maxwell

FRIENDS OF MTC CIRCLE CONTRIBUTOR | $500+ Anonymous (1) Drs. Paul + Geraldine Alpert Robert Anderson + Lois Stevens Carl + Fumiko Bielefeldt Nick + Joan Boodrookas Jack + Ute Brandon Josh Brier + Grace Alexander Jerry Cahill + Kathy King Bill Cain Kerry Campbell Dr. Paula Campbell Richard + Veronica Charvat Elizabeth Cook Carl Duisberg + Laura Lindskog Steve + Sharon Edelman Judith + Philip Erdberg Ben + Boriana Fackler Larry Fahn Linda Graham


Mary Ann Griller Robert L Hall Dr. Sheryl Hausman + Jack Maslow Brian + Jocelyn Herndon Lori Horne Grace Hughes + John Levinson Chris Hurwitz Cheryl + Jeffrey Hylton Howard + Elisabeth Jaffe The John L. Levinsohn Fund Sally Jones Muriel B. Kaplan Julie Kaufman + Doug Klein Susan Kolb Harriet + Tom Kostic, Kostic Family Fund The Leo J. & Celia Carlin Fund Kathleen + John Leones Peter + Melanie Maier William + Christney McGlashan Nancy + David Medford Debbie Mills Jeff + Sue Mulvihill Bart + Barb O’Brien Tony Origlio + Kip Vanderbilt John S. Osterweis Philanthropic Fund Barbara Paschke + David Volpendesta Susan + Jon Peck Peirce Family Fund Phil Kurjan Fund Joel and Carol Solomon Family Fund Steven + Marianne Porter Russell + Joan Pratt Hector Richards Deborah L. Robbins + Henry Navas Jean B. Chan + Ken Ross Mark + Tobi Rubin Toby + Robert Rubin Laurel Schaefer-Trent + Thomas Trent Ellen + Donald Schell Kurt Schindler Leida Schoggen + William Farmer Valerie Stoll Schwimmer Kate Sears Marsha Silberstein John Simpson Shelagh Smith Martha + Jonathan Smolen Stephanie Splane Lynnette Stallworth Daniel Stein Roger A. Stoll Tara J. Sullivan Mr. Tangri + Ms. Durie, Durie Tangri LLP Kathleen Thompson

Hugh Vincent Olivia Warneckeº Elizabeth Werter + Henry Trevor Wilder Family Charitable Trust James + Beth Wintersteen Julie + Tony Zanze FRIEND | $100+ Anonymous (23) Helen + Thomas Anawal Joseph + Gail Angiulo Ellen + Ron Arenson Nina Auerbach Mr. & Mrs. Fabio + Ann Aversa Barbara + Larry Babow Nancy Barash Elaine Baskin Marilyn + David Baum Michele + David Benjamin Robert + Wendy Bergman Frank + Lee Battat Margaret Bettner Erik Bielefeldt Betsy + Dan Bikle Jeanette Binstock Steve Bischoff Mary Lee Blake Annette Blanchard Stacy + Nancy Bloom David + Rosalind Bloom Philanthropic Fund Richard Bottega Bob Bowen + Linda Crouse Felix Braendel Carrie Brandon Bromley Carson Fund Dan + Hongjun Zheng Breiner Helen Bruner Wayne + Marion Bulette Julio Burroughs Marcus + Sara Byruck Meg + Brian Cabezud Roland + Maria Campopiano Karen J. Carmody Martha Cazenave The Charles and Catherine Wilmoth Family Fund Steven + Karin Chase Taisse Cherry + Jay LaBourene John Christman Judith Ciani Diane + William Clarke Richard + Gretchen Coffey Judith Cohen + Malcolm Gissen


Richard Cohn + Barbara Gay Jacob Coin Cheryl Coles Angela + Django Colombo Naomi Conroy Arthur + Nancy Costa Mariana Poutiatine Cotten Christina Crow Keith Crowell John + Betsey Cutler Drusilla Davis Claire de Chazal Jacqueline + Vincent de Nevers Ralph + Debra Deadwyler Ronald Denchfield Toni + Alan Denmark Molly + Brett Dick Thomas Dicker Paula Diederich Ferenc + Karen Dobronyi Stephanie Douglass Richard + Patricia Dresel Rama Dunayevich, Autodesk Foundation Stuart + Emily Dvorin Carol Dutton-Hollenberg John Eichhorst + Jennifer Blackman Andrew Elkind + Kerry Weiner Patricia Ernsberger Dave Ewart Joseph Faimali + Dorita Decker David Fain + Fran Anderson Veronica Fauntleroy Dr. Warren Farrell + Elizabeth Dowling Jane + Douglas Ferguson Mitchell Field Cheryl Finley + Barry Neal Wendy Fleisher Jennifer + Pat Forbeck Alan Ford Christie Fraser Steven Frei + Linda Tumey Anna Gale Joan Garrett David Gast Mark + Louise Gaumond Willa Gere Rita + Kent Gershengorn Merv + Gail Giacomini Beryl + Dohn Glitz Margot Golding Conie Goldsmith Dr. Tanya + Herbert Goodman Michael + Laurel Gothelf Edward Granger

E. M. Granger Donald + Maryann B. Graulich Mark Green Michelle Green Mark Greenside Gordon + Gini Griffin Linda Groah Patricia Oji Haas Victoria Hagbom Vera + David Hartford Gillian Hayward Charisse + Michael Heath Paul + Janet Heineken May+ Doug Herr Mike Hill Cathryn Hilliard Rachel + Scott Hines Karen Hirsch + Jim Condit Adrienne Hirt + Jeffrey Rodman William + Susan Hoehler Mark + Roberta Hoffman Hilary Honore Barry Hovis Rachael Hunter Matt Jacobson Auban + Bart Jackson Elaine James Mia James Mary + Eddy Janigian Bonnie + Peter Jensen Duane Johnson Sheila-Merle Johnson Janet Josselyn Mike + Cindy Kamm Karen Rae Emerson Charitable Fund Keegan & Coppin Co. Inc. Yvette Keller Dan Kelly Rose Adams Kelly Tamsin Kendall Barbara Kerr Rich + Ursi Klier Garrett Koehn Dennis + Lynda Kostecki Margaret Kyle Adrienne + Garrett Lawrence Judy + Bob Leet Sue Krenek + Sam Penrose Ken Krich + Nancy Leahong Rebecca J. Kurland Sheri + Jerome Langer Mike + Lori Lapinskas


Gretchen Leavitt Mark Lemyre David Lesnini William + Judith Levinson Warren + Barbara Levinson Elliott Liff Sarah Lind Carolyn + David Long Jacqueline Lopez-Wyman Lisa Lund Kate MacLellan Samara + Tania Malik Ruth + Martin Malkin Myrna Margolin Albert Martin + Diana Richmond Jill Hunter Matichak Nelson + Julia Ishiyama + Terrie McDonald Margaret McHugh Karen McLennan Steve + Patricia McMahon Purple Lady/Barbara J. Meislin Fund Dr. William + Roni Mentzer Lois + Bob Meredith Maeve Metzger Roberta + Spencer Michels Herbert Miller + Holly Gadsby Julie Montanari Craig Moody Everett + Julia Moore Susan Morris Jerry Mosher Barry + Jane Moss Margaret Moster Chris + Bonnie Mumford Kelli Murray + Laurence Pulgram Jill Myers Ruth K Nash Lisa Nau Gary Nelson + Kellie Magee Robert Newcomer Laurie Nierenberg + Abraham Weil K. O’Mohundro, N. Handelman Lucienne O’Keefe Carole O’Neil Judith L. O’Rourke Marsha Obannon Betty Obata Jack + Gail Osman Nancy Otto John Palmer Amy Palmer David Pasta

Joyce Pavlovsky Henk Peeters + Nancy Parsons Audrey + Bob Pedrin Lynn Perry Stephen Piatek Zdenkka Pisarev Hal + Mary Plimpton Victoria Pollock-Grasso Lawrence + Erica Posner George + Carol Possin Jack + Jessica Powell Robert + Donys Powell Sarah C. + Henry Pruden Mary Lou Ragghianti Chris Raker Barbara + Dr. Joel Renbaum Susan Reynolds Eddie Reynolds David Robinson Gary Robinson Donna Lee Robinson Elizabeth Muir Robinson Julianne Rohmaller Susan Rosin + Brian Bock Ellen Rothman + Ed Koplowitz Alex + Tinka Ross Pepi Ross Francoise Rothstein Marti Roush Dolores + Fred Rudow Mr. + Mrs. William Ryan Diane + Ed Ryken Renee Rymer Jagrit Sandhu Angelo + Kimberly Salarpi Robert W. Sass Maxine Sattizahn Carol Savio Steven + Joanne Saxe Alan + Wendy Schaevitz Sally + Steve Schroeder Betty Scott Michael + Jane Scurich Bill See Rod + Sandy Seeger Holly Seerley, MFT David A. Shapiro, M.D. & Sharon L. Wheatley Carole + Douglas Sheft Julie + Jeff Sherman Claire Simeone + Greg Melcher Jane + Dr. Tom Singer


Neil Sitzman Jane + Dan Slack Dorothy Slattery Andrew Smith + Brian Savard Judy + Greg Smith Jennifer Sousae Melanie Sperling Timothy Standing Charlene Steen Daniel Stein + Diane Tucker Richard + Jean Stenquist Susie + Britt Stitt Gretchen + Grover Stone Jean + Kurt Stromberg Carol Svetcov Candice Swimmer + Philip Rosenthal Lisa R. Taylor Susan Terris John + Joyce Thomas Kathryn Thyret Beatrice Tocher Suzanne C. Toczyski Evelyn Topper + Allan Jackman Marsha G. Torkelson Trabea Ltd Norman and Carol Traeger Burnett + Marilyn Tregoning Bruce Tremayne + Mary Diltz Sandra + David Tresan

Nora Turner Bob Vaddiparty Connie Vandament Marta Van Loan Mary + Herman Waetjen Amy Walsh Nancy Warfield Anita Watkins Meredith Watts Dorothy Weaver Mr. + Mrs. Thomas A. Weikert Brad Weisert + Kim Zydel Alexis Weiss + Mark Johnson Marjorie Went Paul Werner David + Kay Werdegar Val Westen Sandra Westin Holly + Bruce Williams Joss + Janet Wilson Susan Winegar Sheldon Wolfe Valerie Woods Travis Wright Sandra Yoffie Marisha Zeffer Suzanne Zimmerman ºIn-Kind Donation



CORPORATIONS | FOUNDATIONS | GOVERNMENT MTC PARTNER | $50,000+ Support for our playwright in residence, Lauren Gunderson, ] is provided by a National Playwright Residency Program grant from The Andrew W. Mellon Foundation The Andrew W. Mellon Foundation Clay Foundation West • Marin Community Foundation Melody Wireless Infrastructure • The Shubert Foundation William and Flora Hewlett Foundation SEASON PARTNER | $25,000+ The Bernard Osher Foundation The Harold and Mimi Steinberg Charitable Trust VIP PRODUCER | $15,000+ California Arts Council • Haughton Family Charitable Fund John Brockway Huntington Fund • Kimball Foundation The Sheri and Les Biller Family Foundation Stacy Scott Fine Cateringº EXECUTIVE PRODUCER | $10,000+ Ira and Leonore Gershwin Philanthropic Fund The Tournesol Project Venturous Theater Fund, a fund of the Tides Foundation PREMIERE PRODUCER | $5,000+ 3 Badge Beveragesº | August Sebastiani • Acqua Hotelº Brooks Note Wineryº | Garry + Joanne Brooks Marin Cultural Association Newton and Rochelle Becker Charitable Trust ASSOCIATE PRODUCER | $3,000+ Carol Selig, Selig Floral Designº • County of Marin Mill Valley Outdoor Art Club PRODUCER | $1,000-2,999 Body Kineticsº • Compass Marin Charitable Association Mill Valley Market • National Philanthropic Trust OSKA Mill Valley • The Rock Foundation The Tow Foundation • Whistlestopº ºIn-Kind Donation


MTC TOMORROW THE LEGACY GIVING SOCIETY OF MARIN THEATRE COMPANY Anonymous (2) • Linden + Carl Berry‡ • Jack Bissinger‡ Dave + Bobbie Chapman • John + Shelley Chesley Sheldon Doing + Steve DeHart • Fred Drexler‡ • Thomas W. Edwards + Rebecca Parlette Edwards Joseph + Antonia Friedman • Brian + Tracy Haughton • Sandra Hess • Shirley Loube‡ • Melanie Maier Gladys Perez-Mendez‡ • Ivan + Lochiel Poutiatine‡ • Leigh + Ivy Robinson‡ • Gage Schubert • Beverly Tanner Fred + Kathleen Taylor • Nancy Thomson‡ • Phil Woodward + Connie Majoyy ‡Deceased

MEMORIAL GIFTS IN MEMORY OF CARL BERRY Linden Berry Gerry Cahill + Kathy King Hendrik + Patty Kopperl Dirk + Madeleine Langeveld Mark + Mauree Jane Perry Laura + Michael Scott Jean + Kurt Stromberg



IN MEMORY OF BARBARA LAVARONI Arthur + Nancy Costa Kathleen Thompson





IN HONOR OF JERRY GEFFNER Carolyn Pines + Judy Schwartz


IN HONOR OF LAUREN GUNDERSON Jennifer Jenkins Nick Randhawa Janet Cooper



IN HONOR OF RICK + CHERYL BRANDON Molly + Brett Dick Cheryl Finley + Barry Neal

IN HONOR OF KURTZMAN AND LIZ HERTZ Nelson + Julia Ishiyama + Terrie McDonald


IN HONOR OF TERESA LAW The Tow Foundation Anonymous








IN HONOR OF PHOEBE MORRIS Richard + Gretchen Coffey




IN HONOR OF IVAN S. POUTIATINE MTC HONORS Robert Begley Robert + Irene Belknap Linden Berry Kathy King + Jerry Cahill Gabriella Calicchio + Michael Janes Dave + Bobbie Chapman Mariana Poutiatine Cotten Suzanne + Mark Darley Kipp Delbyck Virginia + William Felch Jr. Doug + Jane Ferguson David Catania + Diana Gay-Catania Gerry Goldsholle + Myra Levenson Gale Gottlieb Tracy + Brian Haughton Grace Hughes Dirk + Madeleine Langeveld Melanie + Peter Maier Tina McArthur + Richard Rubenstein Buffington Miller Suzie Pollak Michael + Hailey Poutiatine Christopher Raker Paula + Bob Reynolds Robin + Rick Rice Laura + Michael Scott Stacy Scott + Chuck Ciaccio Brigitte + Bill Smith Fred + Kathleen Taylor James + Beth Wintersteen Susan York


MTC PRODUCTION UNDERWRITERS Marin Theatre Company’s 54th Season and this production of Brilliant Mind is generously underwritten by the following:

PARTNER CIRCLE MTC SUSTAINER Terry Berkemeier + Lori Lerner Gage Schubert Christopher B. + Jeannie Meg Smith MTC PARTNER The Andrew W. Mellon Foundation Marin Community Foundation Melody Wireless Infrastructure Buffington Miller, Clay Foundation-West Bob + Paula Reynolds The Shubert Foundation William and Flora Hewlett Foundation SEASON PARTNER The Bernard Osher Foundation David Catania + Diana Gay-Catania John + Shelley Chesley The Harold and Mimi Steinberg Charitable Foundation Barbara + Jim Kautz Kathy King + Gerald Cahill Vera + Ken Meislin Fred + Kathleen Taylor Vickie Soulier


Lynn Brinton + Dan Cohn California Art Council Suzanne + Mark Darley Tracy + Brian Haughton Haughton Family Charitable Fund Kimball Foundation

VIP PRODUCER Peter + Melanie Maier, The John Brockway Hungtington Fund Ivan Poutiatine Matthew Purdon The Sheri and Les Biller Family Foundation Stacy Scott Fine Cateringº The Harold and Mimi Steinberg Charitable Foundation

EXECUTIVE PRODUCER Gene + Neil Barth Kiki Pescatello Gerry Goldsholle + Myra Levenson Michael + Jean Strunsky, Ira and Leonore Gershwin Philanthropic Fund Kimberly Hughes + Steve Moazed Paul + Sandy Zuber Koret Foundation The Marymor Family Fund ºIn-Kind Donation

37 Marin Theatre Company 397 Miller Ave. Mill Valley, CA 94941