Hotter Than Egypt program

WORLD PREMIERE CO-PRODUCTION WITH A CONTEMPORARY THEATRE

By

Yussef El Guindi

Directed by John Langs

Dramaturgy by Nakissa Etemad

March 31–April 24, 2022

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: Facebook.com/SouthernCoastMiwok.com1 coastmiwokofmarin.org marinmiwok.com

Federated Indians of Graton Rancheria: GratonRancheria.com

Support indigenous rights organizations on a national or global level: IllumiNative Native American Rights Fund Cultural Survival Indigenous Environmental Network

TABLE OF CONTENTS 2

From the Artistic Leadership of Marin Theatre Company

4

Cast, Creative & Production Teams of Hotter Than Egypt

6

That Persistence of Vision

An ACT Seattle Interview with the Playwright Yussef El Guindi 8

Dramaturgy: Where Artistic and Creative Ideas Thrive

by Tess Berger, Marketing Coordinator of ACT Seattle 10

Sights of Cairo

13

Meet the Creative Trio!

An MTC Interview with Playwright, Director, & Dramaturg 18

Bios of the Cast, Creative & Production Teams

25

Marin Theatre Company Staff, Advisory Board, Box Office information

26

Marin Theatre Company Individual Donors, Foundation Support, Special Thanks, Gifts, Honors, Production Underwriters

FROM THE ARTISTIC LEADERSHIP OF MARIN THEATRE COMPANY Welcome back to Marin Theatre Company and the World Premiere of Yussef El Guindi’s Hotter Than Egypt. We are honored to be co-producing this amazing new play with Seattle’s A Contemporary Theatre and grateful for their partnership and generosity in what has been an abundant pooling of resources to give this play the life it deserves in two wonderfully distinct communities.

When we began the search for our first Associate Artistic Director, I knew that I wanted to give that artist the chance to introduce themselves to our community by selecting a play to be presented in our season. I can think of no better way to begin a conversation with an artist than to invite them to show you work that they champion. And so I’m delighted to finally, after a few delays, introduce you to our new Associate Artistic Director Nakissa Etemad.

Jasson Minadakis, Artistic Director

The day has finally arrived! I am elated to bring Yussef’s voice and newest work to the Marin Theatre Company community, and to continue the life of this world premiere process by co-producing in partnership with John Langs and A Contemporary Theatre. Hotter Than Egypt is full of heart and humor, truth and pathos, and I fell for it within three pages of reading it.

I had only worked at MTC once—on Noura in December of 2019—and felt even back then that MTC was the perfect home for the play. Having known Yussef for years as a fellow Resident Artist of Golden Thread, I had the gift of being his dramaturg for the first time on this play at the 2020 Colorado New Play Summit in February 2020. Attending the Summit was John Langs, Yussef’s director for a recent world premiere and Artistic Director of A Contemporary

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

@marintheatreco

2

marintheatre

Theatre in Seattle, where Yussef is a Core Company Member. John and I hit it off right away. We bonded over our love for the play, and we three ‘fell’ for each other as theatrical soulmates. We immediately started scheming on how to collaborate on this play together.

I was still a freelance dramaturg and producer at the time. Then the pandemic hit and changed everything. I had continued my relationship with Jasson, and in October of 2020 I was hired as the new Associate Artistic Director of Marin Theatre Company. It was a homecoming of sorts having grown up in Marin where my parents resided, and I was thrilled to help rebuild the company in a leadership position, to provide my bevy of playwrights with producing and development opportunities at a highly reputable new play establishment such as MTC. When I was handed the choice for a spot in the MTC season, I knew this was meant to be. John and I decided to produce the world premiere together and set about the work of crafting a co-production between our two companies. I am indebted to John for his generosity of spirit, trust, and camaraderie, and I thank him for his wonderful partnership.

I am also grateful to MTC and to Jasson for taking a leap in so many significant ways.

To create an Associate Artistic Director, a new position in the history of the company, to share artistic leadership and forge new paths towards stronger communities of artists and audiences alike, to hire a dramaturg in this position more commonly held by directors nationwide—a testament to the goals of a new play company—and to hire a woman of color in that role to broaden the perspectives and deepen the connections of this institution. I am grateful to have been the one selected for this task and look forward to the “after pandemic times” when we can truly gather in community and celebration.

I thank Yussef El Guindi for your indelible support and faith in me as a fellow collaborator, for trusting us with your work. It is an absolute joy and a privilege to midwife this incredible play and to bring one of my favorite writers and people to the Marin stage.

We welcome the audience to travel with us to Egypt to experience Cairo and the journeys of these characters.

Nakissa Etemad, Associate 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 Naima Dean Kipp Delbyck Denmo Ibrahim Vera Meislin Christian Mills

3

Matthew Purdon Josh Rafner Robert Reynolds Stacy Scott Tara Sullivan Penny Wright

MARIN THEATRE COMPANY PRESENTS WORLD PREMIERE CO-PRODUCTION WITH A CONTEMPORARY THEATRE

By

Yussef El Guindi

Directed by John Langs

Dramaturgy by Nakissa Etemad

Hotter Than Egypt runs 1 hour and 45 minutes with no 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.

We ask that patrons please wear masks covering your nose and mouth at all times while in our building to help prevent the spread of the COVID-19 virus.

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

*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.

+

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

4

CAST OF CHARACTERS (in order of appearance) Paul. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Seif. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Maha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Jean. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Boatman/Museum Guard/Doorman. . . . . . . . . . .

Paul Morgan Stetler* Wasim No’mani* Naseem Etemad* Jen Taylor* Ahmad Kamal*

CREATIVE TEAM Playwright. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Dramaturg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Scenic Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Costume Designer . . . . . . . . . . . . . . . . . . . . . . . . . . .

Lighting Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Sound Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Composer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Dialect Coach. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Intimacy and Fight Director.... . . . . . . . . . . . . . . . . .

MTC Props Lead . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Yussef El Guindi John Langs° Nakissa Etemad Carey Wong+ Melanie Burgess+ Jeff Rowlings+ Johanna Melamed Nihan Yesil Lynne Soffer Ian Bond Liam Rudisill

PRODUCTION TEAM Director of Production. . . . . . . . . . . . . . . . . . . . . . . .

Technical Director. . . . . . . . . . . . . . . . . . . . . . . . . . . .

Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Production Assistant . . . . . . . . . . . . . . . . . . . . . . . . .

Deck Crew. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Wardrobe Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Board Operator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Assistant Technical Director. .. . . . . . . . . . . . . . . . . .

Carpenter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Production Electrician (Desired Effect) . . . . . . . . .

MTC Sound Programmer . . . . . . . . . . . . . . . . . . . . .

Lead Lighting Techs (Desired Effect) . . . . . . . . . . .

Light Board Programmer (Desired Effect). . . . . . .

Lighting Techs (Desired Effect) . . . . . . . . . . . . . . . .

Electrician (MTC) . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Scenic Charge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

COVID Compliance Officer . . . . . . . . . . . . . . . . . . . .

Sara Huddleston Jeff Klein Michael Suenkel* Brigid Ridge Justin Hes Daria Perkova Arashi Cesana Liam Rudisill Michael Ferrell Erik Cutler Sara Huddleston Erik Culter, John Di Giorgio, Aiden Arreola-Reyes Ben Miller Cristina Bracamontes, Jave Hernandez, Steven Kroeger, Ben Miller, Cassie Barnes, Michael Svolos, Michael Thuesen, Brent Wirth, Arashi Cesana, Eric Wood, Angela Flynn Krys Swan Ewa Muszynska Nicole Matthews

Design elements originally fabricated by ACT Seattle Production Staff.

5

That Persistence of Vision

An Interview with Yussef El Guindi during January rehearsals at A Contemporary Theatre in Seattle the action of the play. It really isn’t a conceit when writers say “the characters took over.” If they’re alive enough, they do.

And when that happens, I feel more like a host at a party—where all the attendees seem to have invited themselves—making sure everyone has enough edibles and refreshments and sort of stepping back and letting them do their thing. Stepping in only when I need to, like when a conversation seems to be going on too long, or someone seems to be hogging the conversation to the exclusion of other people I want to hear from; or I may interject a prompt to nudge the direction and mood at certain points.

ACT: Your characters feel so real; even just reading the script, they jump off the page. What do you do to fill out their backstories/lives while planning them? Thank you for saying that. I don’t plan or overthink them, or the play as a whole. Usually, the spur to writing is the aliveness of some characters that nudge their way into my waking life. They hang out with me as I go about my day, getting ever louder and more insistent, presenting me with hints of what they’re about, where they are and what they want. Even the latter can be vague. But it’s that persistence of vision, if you will, the ever-deeper pulse of that aliveness that finally makes me start typing. Once the writing begins, the journey of the play starts to show itself through the characters. The characters determine

ACT: Both comedic and dramatic tension play huge roles in your work. Why do you think it’s important to your work to

6

generated by the work. It’s impossible to control all the variables at play. So, there’ll be moments both in the writing, and production of a play where I’ll feel like I’m being reintroduced to the play in ways I had never imagined. It’s a strange thing to be so very intimate with something and then—if you, and everyone else involved in the production has got it right—find yourself seeing it as if for the first time. And being surprised by it.

maintain a balance between both?

I don’t really work at this either. I think it’s just the way I see the world: as a comedic and tragic crap-show that has funny bits, as well as moments that make you feel awful—sometimes within two breaths of each other. For me, this is true to life in that our lives are neither wholly tragic nor completely fun-filled affairs. Even those who have the worst luck, have suffered greatly, even they get to have meal breaks, so to speak, and a good laugh, even if it’s at their own unfortunate predicament. This is also a very Egyptian thing: to laugh in the face of the worst that life throws at you. Not to would be to succumb to the full weight of all those awful things that come at you, and sink. As one of the characters in the play says, it is indeed a survival tool.

ACT: Why theatre? Why is a play the way you chose to tell this story? Clearly, your plays are inspired by both international and interpersonal conflict.

Being a child of several cultures, borderbounding, POV readjustments, codeswitching and all things one does when entering one unfamiliar territory after another is part of what informs my plays, as it has my life. If you do this long enough, never being able to completely settle, then you find your “home” is nestled between all those places. I sometimes wonder what strengths as a writer I would have if I had been born and raised in one culture. I fantasize that I’d have a stronger comfort level with one language, which would allow me to be both more specific, and nuanced, and still sound familiar to an audience. Other strengths are acquired from having lived in several countries. But of course, you’re always curious about the experiences/ life you could’ve had.

And regarding why theatre: as much as I enjoy films and TV shows, the latter mediums are more or less glorified “Zoom” experiences for me. We gather in person to tell stories because we have to. It’s a need— emotional, physical. Theatre may limp for a while, audiences may be thin for various reasons, but theatre as a way to share our experiences will always be with us.

ACT: This is the World Premiere of Hotter Than Egypt! Are there any parts that stick out to you as particularly magical or difficult about the new play development process?

In terms of difficulty, everything. Every word, beat, scene, the whole arc of the play, the questions you have to ask to get it right, the things you hope it’s achieving—most of all, the hope that the play as a whole is greater than the sum of its parts. That it has resonance. That it grabs the minds of the audience in the same way that it grabbed and held you for several months. But the difficulties involved in getting a play and a production right are also what constitutes the magical aspects of the experience—if you do manage to achieve those goals. And here’s the other magical part: in the same way characters may often surprise me by the choices they make, I’m frequently surprised by that very resonance I’d hoped for. No writer, or any artist, is ever fully in control of the meanings that may be

7

DRAMATURGY: WHERE ARTISTIC AND CREATIVE IDEAS THRIVE

By Tess Berger, Marketing Coordinator of A Contemporary Theatre

Dramaturg (and Marin Theatre Company Associate Artistic Director) Nakissa Etemad is passionate about the art of dramaturgy.

Dramaturgy exists as an undercurrent throughout almost every part of the theatrical process, building worlds and bringing attention to aspects of a play in different ways from the set, costumes, lights, sound and acting.

and took critical studies classes that she embraced her love of the theatre. “I saw in Paris that people made careers out of being artists,” she says. When she returned to her undergraduate program at University of California San Diego, Nakissa interviewed for admission into a too-full acting class, and when her professor Todd Salovey (also the Associate Artistic Director at San Diego Rep) learned of her classes and interests, he suggested she’d be a good “dramaturg” and to come work as his literary intern.

From there, Nakissa became the dramaturg on the first show he ever directed there, dramaturging professionally at San Diego Rep while going on to get her MFA in Dramaturgy from UCSD.

WHAT IS A DRAMATURG? According to Hotter Than Egypt Dramaturg Nakissa Etemad, the best way to think about a dramaturg is as “the midwife in the birthing of a play.” She explains, “The dramaturg is the person who focuses on the storytelling, analyzes the play as a piece of literature.

We’re the advocate and representative of the playwright, sounding board for playwright and director, and representative of the audience before the audience gets there. We look for clarity, continuity, and consistency, put the play in its context and provide background research that pertains to the characters and world of the play. We’re archeologists and anthropologists, rebuilding a real world on stage. We are also the number one fan of the playwright and the play!”

So what makes a dramaturg? Moving quickly between the artistic and the analytical and living comfortably in the overlap lends itself to the field. Nakissa’s family contributed to her own love for it. “My father Galen was

Nakissa didn’t always know she wanted to be a dramaturg. It wasn’t until she studied abroad as an exchange student in Paris

8

“I’m Iranian American, and part of the Middle Eastern diaspora along with Yussef.

I want to introduce my culture—Egypt is different from Iran, but similar in a lot of ways—to non-Middle Eastern audience members, and to celebrate it with our own communities. I’ve always in my life felt a duality of culture, so I’ve always responded to plays that discuss that. It’s a culture clash, a culture collision, but also a culture coming-together, a culture blending.”

a literal rocket scientist. He was the first Iranian in the American space program (called Mr. Apollo in Iran)—he was an engineer, and I have that brain in me. I love logic, I love structure, I love analysis—I have a very mathematical brain. I also have my mother in me, Jaleh, who’s a multimedia collage artist and painter. I want to be creative, work with people, work from the heart, focus on imagination, but I also love reconstructing the parts that make the whole. Dramaturgy is perfect for how my brain and heart work.”

One of the most exciting parts of the show isn’t even part of the show itself: Hotter Than Egypt is a co-production with ACT Seattle. Ultimately using the same design, cast, and core creative team, bringing the play to both Seattle and then Marin “extends the life of the World Premiere process and contributes to the legacy of the play.” New play development doesn’t end until the show freezes for opening, and even then, as is the magic of live performance, the play is still a bit different every night. Audiences play a huge role in that. Nakissa relates, “Yussef’s writing lifts off the page when it’s read out loud. He often tells me that he understands the play most when he hears the audience reaction, so to provide him two sets of audiences, two different communities—we’re all going to learn so much about the play.” By co-producing this world premiere, both ACT Seattle and Marin Theatre Company have a hand in the evolution of the play, sharing a great team of collaborators. A hugely important part of the process is that the playwright, director, and dramaturg are on the core creative team for both productions.

As Nakissa says, “I love the relationship we all have. It’s the perfect union.” Ultimately, that’s the goal of dramaturgy: to create a union of collaboration and build a world where everyone’s creative ideas can not only coexist, but thrive together.

THE DRAMATURGY OF HOTTER THAN EGYPT One aspect of theatre that heavily involves dramaturgy is the new work development process. As a World Premiere, Hotter Than Egypt went through rigorous steps to get to the version actually performed onstage. It was for the 2020 Colorado New Play Summit that playwright Yussef El Guindi asked Nakissa to dramaturg the development process. The two had known each other for quite a few years (they’re fellow Resident Artists of Golden Thread Productions in the Bay Area) before working together on the play, but she’d never dramaturged for him. She says, “I read the play to see if I connected with the material and I loved it after about 3 pages. I love the two cultures coming together. It helps the characters redefine their own identities as well as learn from other people how to live their lives, how to experience things in a new way. I love the passion of the characters and the discovery that each character has—those small moments of connection that show how travel can profoundly change your perspective.” In addition to the brilliance of Hotter Than Egypt itself, Nakissa was drawn to the play for more personal reasons.

9

Paul and Jean’s unforgettable 24th wedding anniversary trip to Cairo (which becomes unforgettable for many reasons beyond the sights of this ancient city) offered the attractions of antiquity.

Travel vicariously with them through Cairo.

10

THE EGYPTIAN MUSEUM The oldest archeological museum in the Middle East, the Egyptian Museum houses the largest collection of Pharaonic antiquities in the world, spanning from the Predynastic Period (6000–3150 BCE) to the Greco-Roman Era (332 BC–395 AD).

Designed by French architect Marcel Dourgnon, who was selected in an international competition in 1895, the museum was inaugurated in 1902 by Khedive Abbas Helmy II, and remains one of Cairo’s most visited landmarks.

FELUCCA RIDES ON THE NILE These simple sailboats, used since antiquity

by Egyptians, Greeks and Romans, may still be found along the Corniche el Nil, the main Cairo thoroughfare that runs along the Nile River. Feluccas once carried cargo and passengers of every kind, from pharaohs and generals to the humblest tradesmen plying the river. Originally constructed of lashed-together reeds and small wooden plans, and covered with tarred cloth to make them watertight, feluccas had a single wooden mast and a sail made of cotton and linen; oars were added to propel the feluccas when there was no wind. With no motor, the sense of quiet and peace aboard a felluca is striking, and a skilled guide can show visitor thousands of years of Egypt history along the Nile shore.

Among the museum’s unrivaled collection are the tomb and treasures of the Tutankhamun Galleries, the complete burials of Yuya and Thuya (powerful courtesans during the reign of Amenhotep III) and King Psusennes I; the treasures of Tanis, the spectacular archeological find unearthed in the 1930s and 1940s, in which an entire royal complex of tombs as found

Experience a felluca ride Click here for video

11

brimming with gold and silver carvings and jewelry, and the riches of pharaohs referred to in the Old Testament; and the Narmer Palette, with its carvings of gods and kings. The Egyptian Museum also houses spectacular statues of the great kings, the pharaohs Khufu, Khafre, and Menkaure, the builders of the pyramids at the Giza plateau, and an extensive collection of papyri, sarcophagi and jewelry from ancient Egypt.

Take a video tour of the Egyptian Museum

beckoning visitors inside; once there, shoppers can find themselves lost in the scents of spices, the tinkling of brass bells, the shouts and bargaining of buyers and sellers. The Khan el-Khalili bazaar was built in 970 AD, the same year as the founding of Cairo by the Fatimid caliphs who ruled much of North Africa at the time, and who desired Cairo as a royal city with palaces, tombs and burial grounds fit for caliphs and their families. The bazaar is located next to two other major Cairo landmarks, the Al-Azhar University, founded in 970 AD as a center of Islamic learning, and the Al-Hussein mosque (1154 AD).

Click here for video

THE KHAN EL-KHALILI BAZAAR This sprawling bazaar, or souk, in the heart of Cairo was first established in the Mamluk Era (1250–1517 AD), where tourists today can buy mementos ranging from artisanmade traditional crafts to mass-produced souvenirs, in shops alongside coffee-houses and restaurants serving traditional food.

The name, when the bazaar was first established, referred to a single building; today Khan el-Khalili refers to a maze of alleyways and shops that comprise an entire shopping district.

Write your name in hieroglyphics Click here

The bazaar’s architecture displays its antiquity, with monumental gates

12

Meet the Creative Trio!

This co-produced world premiere involved a thicket of details to coordinate between two theatres, two different types of stages, and two staffs, and guiding the process was the intrepid team of playwright Yussef El Guindi, director John Langs, and dramaturg Nakissa Etemad. Learn more about the logistics (and the joys) of their process here!

MTC: Pairs of you have worked together in these roles before–Yussef as Playwright and John as director.

And Yussef and Nakissa are fellow Resident Artists of Golden Thread and past colleagues in new play festivals.

This co-production marks your first time working together as a PlaywrightDirector-Dramaturg team. How is it working together?

Yussef: A seamless transition as we all came together to make this production happen. We’d already chatted and had a December workshop on Zoom prior to walking into the rehearsal room, so all the work that took place during those three weeks of rehearsals felt effortless and creatively satisfying. I thought we fed off each other well, providing good feedback, support, and encouragement. No knives were brought out during the making of this production. Which is a good thing.

The cast and Creative Team members of Hotter Than Egypt on Opening Day at ACT in Seattle.

(Left to Right, Top:) Paul Morgan Stetler, Naseem Etemad, Yussef El Guindi, Ahmad Kamal, Jen Taylor, Nakissa Etemad, ACT Stage Manager Tori Thompson. (L to R, kneeling:) John Langs, Wasim No’mani

experience to the work and I certainly learn a lot from my partners. Also, we laugh a lot and that’s a bonus.

John: It has been a total blessing to work collectively on this play. Even through the most intense moments the care that each member of the team brings to this story is inspiring. We all bring a unique lens and live

Nakissa: It is so satisfying to be part of a trio that collaborates and thrives as we do­—both as a unit and as separate

13

the beginning. That enabled us to plan ahead—to make some design choices that were adaptable to both theatre spaces, to hire artists who could work in both cities…

Creating the world premiere together made it natural for us to collaborate on virtually every decision, to do what’s best for the final product and also what works best for each company.

MTC: So with this co-production, some elements and team members are the same in both places, while others have a second set for the MTC leg, such as two stage managers, two lighting designers, two physically very different theatres.

How is that going?

Dramaturg Nakissa Etemad’s workstation in the ACT Seattle Rehearsal Hall

individuals coming together with our unique perspectives and skills. We all care so deeply for this play and are so dedicated to bringing it to life faithfully and with all the integrity we can muster. We respect each other’s work so much and value each other’s company. It really is a joy to work with Yussef and John, I think we make a great team.

John: So far so great. The work the creative team has done to really mine the spine of the play and its desired impact has led the way. I think we have worked hard to define the spirit and feelings in this story that we want to share. This clarity is very helpful for other collaborators to add to the vision.

It’s really special to share a vision and see how it can be sharpened, interpreted and amplified by many great artists.

MTC: Producing a world premiere is a complex and multi-faceted process for one theatre. How did you blend the two theatre’s teams to begin a truly collaborative co-production process?

John: I think the first rule is constant communication and transparency. We over-communicate which you must do on projects this complex. You can’t assume really, anything. Also, I think both theatres have held space for the other to ask a thousand questions.

Nakissa: One hundred percent! I also think it was key that we conceived of this world premiere as a co-production from

(L to R) Actors Wasim No’mani and Naseem Etemad in rehearsals at ACT Seattle

14

Yussef: I think this will be the challenge. To recreate a production first crafted in-theround to one best suited for the proscenium stage. For the actors, the roles have been crafted in a way that not only is supposed to take in a 360-degree space, but one that has been fed and supported by an audience responding from all around them. The focus and energy lines will have to adjust to all point in one direction, and their reception of the MTC audience—during the dialogue that happens in all live performances between audiences and performers—will have to shift as they absorb the audience’s reactions coming only from one direction.

Nakissa: The goal was to extend the life of the world premiere process which typically lasts for the one time—the first time a play is ever produced. But here we have the golden opportunity to start it at ACT then do it a second time at MTC, and to start this second process with all the knowledge and experience of the first. And to have some artists be new to simultaneously give us fresh perspective. What an amazing starting point.

MTC: ACT’s theatre space is in-the-round, whereas MTC is a proscenium stage. How are you adapting the ACT production to work at MTC, especially in terms of the set and lighting? How does that impact the actors’ work and the play?

John: We want to make a very generous evening of theatre for any audience, and that has everything to do with how you aim and focus the moment-to-moment work so it can be deeply felt by the audience. We were literally surrounded by the community in Seattle, and here in Marin they are right out front, so our performances will be shaped so that the revelations of story and character are offered right into the lap of the audience.

Nakissa: Our scenic designer Carey Wong was wonderful in crafting a world that could adapt to both audience configurations. We decided to collaborate with local lighting designers who knew our spaces—here at MTC we’re working with Jeff Rowlings who has designed here a few times and is a longtime friend and colleague. When I was in residence in Seattle for our first rehearsal period, I was able to keep an eye on what we could expand or build upon in the MTC leg, I often sat in the theatre on the side of the set that would become the MTC audience, so I could start to imagine what could be

Actor Ahmad Kamal in rehearsals at ACT Seattle

15

Full Stage Photo of Scenic Designer Carey Wong’s set at ACT Seattle

done in the Boyer and pass on any tricky points to the MTC team. We are now in MTC rehearsal as this article goes to press, and as John said, so far so great.

MTC: Having created the first staging of this new play at ACT Seattle, what are you looking forward to in the MTC staging?

John: A deeper richer truer experience.

We have all had a month to live with this play on low heat in the background of our hearts and minds. It was pretty great in Seattle but even in that short time the world has changed, and we have changed. I am excited to see how this play lands in this moment and this community.

(L to R) Playwright Yussef El Guindi and Dramaturg Nakissa Etemad in rehearsals at ACT Seattle

how that plays, both in the short rehearsal period we have, and, more importantly, in front of an audience. As always, if it works it’s a keeper, if not, out it goes.

MTC: During the ACT Seattle run, did you hear any lines or note any scenes where you thought, “Oh, I’d like to change that…”—and are you planning changes at MTC?

MTC: John and Nakissa, both of you have two artistic hats to wear at each theatre: John is the director for both productions but also serves as Artistic Director at ACT Seattle; Nakissa is dramaturg for both productions but also serves as the play’s producer and MTC’s Associate Artistic Director. Tell us about how

Yussef: Yes, I have made a few small changes, and one big adjustment (I won’t say where!) and will be very curious to see

16

John: I hope audiences appreciate the writing. Yussef really has honed a unique voice in the American theatre. His plays are never one thing. His characters are flawed and beautiful. He speaks about the world through the lens of interpersonal relationships that tug at you long after the curtain call. I hope people leave the theatre with a thousand thoughts about the journey of these characters.

those roles differed at each theatre, and lessons you learned.

John: It’s such a gift to serve a theatre company as an artistic leader, and it also has demands and challenges that never stop at the walls of the rehearsal hall. It is truly a lifestyle and not a job. The ability to step away from time to time is a huge learning opportunity, particularly when working in someone else’s shop. There is so much to learn as each theatre has its own unique culture. I find I am always looking at how other theatres have built their traditions. Particularly in this moment when everything is changing. It’s very exciting.

Nakissa: With all of the detailed planning and careful preparation, I look forward to the final piece of the puzzle that we can’t map out in advance, to see how Bay Area audiences react to the play. We hope you embrace the journey. We can give you the travel you may have been craving in the past two years. Welcome to Cairo!

Nakissa: It’s actually a lovely exchange program we’ve built here. I could focus on being a dramaturg on this world premiere while I was working away from MTC. I watched John in his artistic home, where he switched between being an artist in the rehearsal room and leading his company in the off-hours. Now I am hosting John and giving him the chance to focus on directing while I take the lead at producing on my home field. It feels so nice that I can return the hospitality and generosity I was given when I was away from home.

MTC: What do you hope that MTC audiences take away from the experience of seeing Hotter Than Egypt?

Yussef: Most of all I hope the MTC audience is engaged and entertained. That’s my first and most important job as a playwright: to actively draw in an audience into the unfolding story, and by the end of it leave them feeling like they’d spent a worthwhile time in the theatre. Everything after that is gravy, as they say.

(L to R) Actor Jen Taylor and Director John Langs in rehearsals at ACT Seattle

17

BIOS CAST

to make his debut at MTC and his third appearance on the A Contemporary Theatre (ACT) stage under the tutelage of John Langs’ direction (Oslo, People of the Book) after a two-year absence due to…well, you already know. He’s treaded the boards of various theaters along the Western coast in productions such as: Water by the Spoonful and Happiest Song Plays Last (Profile Theatre, Portland); Jesus Hopped the ‘A’ Train (CoHo Productions, Portland); Last Days of Judas Iscariot (The Hudson Mainstage, Los Angeles); Buffalo Soldier (El Portal, Los Angeles). You also may have seen him on the little screen; (FOX’S Touch; CBS’ Seal Team; Paramount’s Yellowstone; and the largest crowd-funded show in history, The Chosen). Wasim thanks his friends and family for their unreasonably enduring support and is indebted to the entire ACT family for their warmth and continuing hospitality. He proudly praises Mr. El Guindi for this play and his entire body of work.

PAUL MORGAN STETLER* (he/him—Paul) is making his MTC debut. He last appeared as John Proctor in A Contemporary Theatre’s production of The Crucible, directed by John Langs. Other ACT productions include Female of The Species, Eurydice, The Trip to Bountiful, Born Yesterday, Wintertime and Grand Magic. Additionally, he has appeared in leading roles at Seattle Repertory Theatre, Seattle Shakespeare Company, Village Theatre, Seattle Children’s Theatre, New Century Theatre Company and numerous regional theatres across the country. Paul is the creator and curator of Letters Aloud, a literary reading series that has delighted audiences across the country as a way of connecting them to a rapidly disappearing form of communication—the written letter.

He holds a BA in English Literature at Cal State Northridge and an MFA in Theatre Arts from Penn State University

NASEEM ETEMAD* (she/ her—Maha) is a Los Angelesbased Iranian-American actor who is making her MTC debut in Hotter Than Egypt, previously at ACT Seattle. After earning her BA from San Francisco State University for Theater Performance,her credits include several original works often rooted in MENA stories and voices through roles like Maryam in the short film Strength and Fortune directed

by Eimanne El Zein, Tamer in Boulder CO’s Local Theater Company’s production of Wisdom From Everything, and Samar in The Pear Theater’s production of Veils. She is a Resident Artist with Golden Thread

WASIM NO’MANI* (he/ him—Seif) Born of immigrated Iraqi parents pursuing their higher education in theatre, Wasim No’mani spent his developing and formative years meandering through sets, stages and theaters throughout the U.S. with big immigrant dreams of seriously playing pretend for a profession. He currently resides in Los Angeles where he is unemployed as a working actor. Eager and exhilarated

Member of Actors’ Equity Association.

*

18

audiobooks, and numerous video games.

She is perhaps best known as the voice of Cortana in the Halo video game series, and the new Halo TV show airing soon on Paramount+. Welcome back to the theatre!

Productions in San Francisco and has an ongoing ensemble role in the Venture Maidens Dungeons & Dragons Podcast as Fittonia Silvertale.

JEN TAYLOR* (she/ her—Jean) Hotter Than Egypt marks Jen’s first role at MTC. Previously at A Contemporary Theatre, Dangerous Liaisons, Yankee Tavern and A Christmas Carol. Some of Jen’s favorite roles include Daisy in The Adding Machine, Cathy in Orange Flower Water, and Molly in Holy Days (New Century Theatre Company), Lily Bart in House of Mirth and Elizabeth Bennet in Pride and Prejudice (Book-It Repertory Theatre), Eliza Doolittle in Pygmalion and Beatrice in Much Ado about Nothing (Seattle Shakespeare Company), Roxane in Cyrano and Viola in Twelfth Night (Portland Center Stage).

She is a voice actor in radio, television,

AHMAD KAMAL* (he/him— Boatman/Museum Guard/ Doorman) is delighted to be making his debut at MTC and to continue the wonderful journey of Yussef El Guindi’s exciting world premiere! A proud Egyptian citizen and resident of Washington DC, Ahmad has worked as an actor and fight choreographer with numerous theatre companies, including Signature Theatre, Shakespeare Theatre Company, Mosaic Theater Company, Woolly Mammoth Theatre Company, and many more. He holds a BFA from The University of Virginia and an MA from Bristol Old Vic Theatre School.

CREATIVE TEAM

ATCA New Play Award, the Stranger’s Genius Award, and the 2010 Middle East America Distinguished Playwright Award.

He recently won the American Blues Theater’s Blue Ink Playwriting award for his play Refugee Rhapsody. El Guindi’s past productions include People of the Book at ACT in Seattle; Language Rooms at Pony World Theatre in Seattle and Broken Nose Theatre in Chicago; Hostages at Radial Theater Project in Seattle; The Talented Ones at Artists Repertory Theatre in Portland (Santa Barbara Independent Indy Awards); Threesome at Portland Center Stage, ACT, and at 59E59 (winner of a Portland Drammy for Best Original Script); Pilgrims Musa and Sheri in the New World (2011 Gregory Award) also at ACT, Center Repertory Company at Walnut Creek, CA,

YUSSEF EL GUINDI (he/ him—Playwright) Born in Egypt, raised in London and now based in Seattle, Yussef El Guindi’s work frequently examines the collision of ethnicities, cultures and politics that face immigrants, Arab-Americans and Muslim Americans in particular.

El Guindi holds an MFA in playwriting from Carnegie Mellon University, and has worked as a playwright at Silk Road Rising, literary manager for Golden Thread Productions, and playwright-in-residence at Duke University. He is the recipient of many honors, including the Steinberg/

19

North Carolina School of the Arts. Some of his favorite directing credits include The Shaggs Philosophy of the World (Los Angeles Drama Critic Circle Award for Best Original Musical), and Brothers Karamazov (seven LADCC Awards including Best Production of the year and Best Direction) and directing Kurt Beattie in King Lear.

Langs received the first annual Seattle Gregory Award honoring excellence in direction for The Adding Machine. As a dedicated fan of original work, Langs has shepherded over a dozen projects to their premiere production.

and at Mosaic Theater Company (DC).

Our Enemies: Lively Scenes of Love and Combat was produced by Silk Road Rising and won the M. Elizabeth Osborn award.

His plays Back of the Throat (winner of L.A. Weekly’s Excellence in Playwriting Award for 2006), Pilgrims Musa and Sheri in the New World, Jihad Jones and the Kalashnikov Babes, Such a Beautiful Voice is Sayeda and Karima’s City have been published by Dramatists Play Service. Ten Acrobats in an Amazing Leap of Faith, Collaborator, Threesome, The Talented Ones, and Hostages have been published by Broadway Play Publishing Inc. Also upcoming from Broadway Play Publishing Inc. is a collection of short plays entitled In A Clear Concise Arabic Tongue. Bloomsbury/ Methuen Drama published Selected Works by Yussef El Guindi. Currently a Core Company member at ACT in Seattle, and a Resident Artist at Golden Thread Productions.

NAKISSA ETEMAD (she/ her—Dramaturg, MTC Producer) is thrilled to bring this world premiere co-production to the MTC community fresh from the first leg at A Contemporary Theatre in Seattle. Associate Artistic Director of Marin Theatre Company (MTC) and an Iranian American dramaturg, producer, Nakissa is also a French translator specializing in new BIPOC plays and musicals for over 25 years. She is a Resident Artist of Golden Thread Productions, Regional VP 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. She is proud to serve as dramaturg of this brilliant new play, which she worked on with El Guindi at the 2020 Colorado New Play Summit. Recent dramaturgy: Heather Raffo’s Noura (MTC/ Golden Thread), Marcus Gardley’s Play On! commission of King Lear (Oregon Shakespeare Festival), recent world premiere productions with Marcus Gardley, Lauren Yee, Marisela

JOHN LANGS (he/him— Director) has served as Artistic Director for A Contemporary Theatre (ACT) since 2016. He joined ACT in 2013 as Associate Artistic Director. Langs’ 16–year freelance career afforded him the opportunity to work with many prestigious theatre companies across the country. He has directed productions at Playwrights Horizons NY, Ensemble Studio Theater NY, Milwaukee Repertory Theatre, Lookingglass Theater Company in Chicago, Circle X in Los Angeles, The Resident Ensemble, New Century Theatre Company, Washington Ensemble Theatre, and Seattle Shakespeare Company. Langs received his directing degree from the University of

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

20

Treviño Orta, Margo Hall, and Torange Yeghiazarian, and several ReOrient Festivals of Short Plays and Bay Area Playwrights Festivals. Former positions: Festival Director for the 5th Annual New America Playwrights Fest, featuring Lynn Nottage, Naomi Iizuka and Polly Pen (San Jose Rep); Dramaturg and Literary Manager of The Wilma Theater, San Jose Rep, and San Diego Rep, 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.

view this spring. Upcoming projects include Afterwords at The 5th Avenue Theatre and Pelleas Et Melisande at Opera Southwest.

BA, Yale College; Yale School of Drama.

MELANIE BURGESS+ (she/her—Costume Designer) is a Seattle-based Costume Designer having designed costumes for over 170 productions for: Seattle Opera, Seattle Repertory Theatre, The 5th Avenue Theatre, A Contemporary Theatre (ACT), Intiman Theatre, Village Theatre, Seattle Children’s Theatre, Seattle Shakespeare Company, New Century Theatre Company, Seattle Theatre Company, Strawberry Theatre Workshop, Taproot Theatre, ArtsWest, Tacoma Actor’s Guild and The Empty Space Theatre. Regionally for: The Guthrie, Cincinnati Playhouse, Denver Center, Arizona Theatre Company, Minneapolis Children’s Theatre, Tantrum Theater-Ohio, Idaho Theatre for Youth, Honolulu Theatre for Youth, and Hawaii Opera. Melanie received her MFA from the University of Washington. She is the recipient of the 1st Gregory Award in Seattle for Outstanding Costume Design 2010 and again in 2019. She is an Associate Professor of Costume Design at Cornish College of the Arts. melanietaylorburgess.com

CAREY WONG+ (he/him— Scenic Designer) Theatre credits include the Seattle Repertory Theatre, Berkeley Repertory Theatre, Portland Center Stage, Arizona Theatre Company, Center Stage Baltimore, Syracuse Stage, Intiman, Seattle Children’s Theatre, Village Theatre, Mixed Blood Theatre, Prince Music Theater, Hey City Theater and Spain’s Nearco Producciones.

He has been Resident Designer for Portland Opera, Opera Memphis, and Wildwood Park for the Arts. Opera credits include Seattle Opera, Spoleto Festival USA, New York’s Valhalla Wagnerfest, Pittsburgh Opera, Vancouver Opera, San Francisco Opera Center, and the Beijing and Macao Music Festivals. Carey has designed 15 shows for A Contemporary Theatre. He was exhibition designer for Beyond the Gate: A Tale of Portland’s Chinatowns at the Portland Chinatown Museum, where a retrospective of his design work will be on

JEFF ROWLINGS+ (he/ him—Lighting Designer) is a local set and lighting designer and production manager. He currently is the President of the Board for Mendocino Theatre Company. MTC designs include lights for Jazz and The Oldest Boy and sets & lights for Magic Forest Farm. He was Production Manager at American Conservatory Theater; Production Manager/Resident Designer at

Member of Actors’ Equity Association.

Member of United Scenic Artists, Local USA 829.

*

+

21

includes Noura (Marin Theatre Company), Kansas City: 1924 (foley editor, Kansas City Actors Theatre, available on Spotify), Turkish blockbuster Bizim İçin Şampiyon (available on Netflix). Nihan is very excited to be part of the creative team of this double production by A Contemporary Theatre in Seattle and Marin Theatre Company.

San Diego Rep; and Production Manager/ Resident Designer at the Magic Theatre.

Jeff co-founded Foghouse Productions which produced R. Buckminster Fuller: The History (and Mystery) of the Universe in San Francisco, Chicago and Seattle. Recent designs include lights for Dan Hoyle’s Talk To Your People; set & lights for Viola Davis’ west coast premiere of Paradise; lights for Aurora Theatre’s Detroit ’67 and Eureka Day; set & lights for Fogg Theatre’s The Cable Car Nymphomaniac; sets & lights for Mendocino Theatre Co’s Doll’s House Part 2, Ideation and Rumors. It’s good to be back!

IAN BOND (he/him— Intimacy Director and Fight Choreographer) is a Seattlebased fight and intimacy director, actor, and educator.

His fight and intimacy direction has been seen at The 5th Avenue Theatre (Beauty and the Beast), Seattle Rep (Teenage Dick), Sound Theatre (Gaslight), Seattle Pacific University (Big Love), University of Washington (Monstrosity), Washington Ensemble (Feathers and Teeth, Is God Is), Taproot Theatre (See How They Run), The Shattered Glass Project (Ghosts: An Original Festival of One Act Plays), Book-It Repertory (Behold the Dreamers), Seattle Shakespeare (Comedy of Errors), and ACT Theatre (Hotter Than Egypt).

He has performed locally with Sound Theatre Company (Holiday of Errors), Seattle Children’s Theatre (The Diary of Anne Frank), Seattle Public Theatre (Bad Jews), Taproot Theatre (Jeeves Intervenes, Diana of Dobson’s), Seattle Shakespeare Company (Titus Andronicus, Troilus and Cressida), Book-It Repertory Theatre (American Junkie, Jane Eyre, The Picture of Dorian Gray, Treasure Island, Frankenstein), Washington Ensemble Theatre (Teh Internet is Serious Business, The Things Are Against Us), The Horse in Motion (Hamlet), and ACT (A Christmas Carol). Ian is also a co-founder of PNW Theatrical Intimacy, a motion capture artist who recently worked

JOHANNA MELAMED (she/her—Sound Designer) What a treat to design the sound for Hotter Than Egypt for MTC and A Contemporary Theatre. Recently Johanna designed the sound for eSe Teatro’s Fermin’s Great Book of Dreams and Book-It Repertory Theatre’s Canterville Ghost. Other sound designs for Macha Theatre Works, Thalia’s Umbrella, Seattle Shakespeare Company and The Chekhov Project. Johanna has created multiple sound scores for visual and media artist Barbara Robertson, which have been seen in local museums and galleries, and internationally.

NIHAN YESIL (they/them— Composer) is an awardwinning composer, sound designer, and multimedia artist for film and stage. She started studying classical music at an early age. After her M.M. in Composition (UMKC Conservatory of Music and Dance), she received her M.F.A. in Sound Design (UMKC Theatre). Her music has been performed in various venues, festivals, and artist residencies across the U.S. and Europe. Some of her latest work Member of Actors’ Equity Association.

Member of United Scenic Artists, Local USA 829.

*

+

22

on the hit game Ghost of Tsushima, and a professional Game Master specializing in Dungeons & Dragons. www.ianbond.org

English Diction and Dialect Coach for SF Opera. Most recently she did her first 100% zoom coaching from her Bay Area home for the Seattle leg and world premiere co-production of Hotter Than Egypt at A Contemporary Theatre. This is Ms. Soffer’s 35th production coached for Marin Theatre Company.

LYNNE SOFFER (she/ her—Dialect Coach) has served as dialect, voice and/ or text coach on over 330 productions at theatres across America including Berkeley, San Jose and Seattle Repertory Theatres, The Old Globe (San Diego), Dallas Theater Center, Arizona Theatre Co, A.C.T. SF, Magic Theatre, Denver Center, SF Playhouse, Theatreworks Palo Alto, and the World Premiere of The Laramie Project in Denver and NYC. Her film and television credits include Fruitvale Station, Duets, Metro and the Netflix miniseries Thirteen Reasons Why. Ms Soffer is also a professional actor, teacher, and the

MICHAEL SUENKEL* (he/him—Stage Manager) was the Production Stage Manager at Berkeley Repertory Theatre from 1994 until 2020. Nationally he has worked with the Public Theater, the Second Stage, and the New Victory in New York City, Yale Rep, the Pittsburgh Public Theater, South Coast Rep, and La Jolla Playhouse. Internationally he stage managed with the Hong Kong Arts Festival, the Juste Pour Rire Festival in Montreal, and the Birmingham Repertory Theatre and the Barbican Center in England.

MTC LEADERSHIP

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,

JASSON MINADAKIS (he/him—Artistic Director) is in his 16th 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

23

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

Program that includes productions of world premieres, readings and workshops by the nation’s diverse emerging and established playwrights. MTC’s numerous education programs serve more than 4,500 students from over 40 Bay Area schools each year.

MTC envisions theatre as a vital space for sharing diverse stories to build a more just and equitable world. MTC is dedicated to inspiring conversation, learning and action to build more inclusive communities. We do this by providing a sustainable home for developing the work of diverse American playwrights and producing innovative theatrical experiences. MTC was founded in 1966 and is a 501(c)3 nonprofit organization.

MEREDITH SUTTLES (she/her—Managing Director/Chief Executive Officer) 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.

A CONTEMPORARY THEATRE is where artistic ambition and civic engagement unite. We envision a world where the power of theatre expands our collective understanding of community and our own humanity. One of the great benefits of having a contemporary theatre in our community is that we ensure all artists shaping our culture have a voice in driving the theatre of tomorrow. ACT Theatre is now under the leadership of Managing Director Anita Shah and Artistic Director John Langs. Over the last 55 years, ACT has supported these voices as they sharpen and grow and has honed its mission around nurturing the theatre makers of the next generation. ACT’s dedication to producing bold, relevant, works on contemporary themes sparks an authentic curiosity about the human condition matched by an audacious spirit fueled by groundbreaking work. ACT has produced more than 300 plays and musicals including over 45 World Premieres and is dedicated to producing dynamic and provocative works supporting local excellence reflective of a collective community spirit.

NAKISSA ETEMAD (she/her—Associate Artistic Director) See Dramaturg, MTC Producer bio MARIN THEATRE COMPANY is the Bay Area’s premier mid-sized theatre and the leading professional theatre in the North Bay, producing a five-show season focused on new American plays. MTC is committed to the development and production of new plays, with a comprehensive New Play

24

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 Coordinator & Teaching Artist. . . . . . . . . . . . . . . Daniel Duque-Estrada (he/him) Education Coordinator & Teaching Artist . . . . . . . . . . . . . . . . . . . . . . . Euan Ashley (he/him) Assistant Box Office Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lindsey Abbott (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 415.388.5208 | boxoffice@marintheatre.org Visit our website to join our email list, learn about our plays, and purchase tickets. marintheatre.org

All images and/or content provided by Marin Theatre Company staff, contractors, and/or creative artists, or are in public domain, 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.

25

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 development@marintheatre.org or 415.322.6035. The following gifts were received between July 1, 2020 and December 1, 2021.

PARTNER CIRCLE

Kiki Pescatello 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+ Andrew F. and Ann B. Mathieson Fund Susan + Bill Beech Cheryl + Rick Brandonº Janet Brown Nancy + Gary Carlston Lynne Carmichael Suzanne + Mark Darley 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 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 Robert J. + Paula B. Reynolds Fund Fred + Kathleen Taylor

PRODUCER’S CIRCLE VIP PRODUCER | $15,000+ The Bernard Osher Foundation Lynn Brinton + Dan Cohn 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+ Aldoº Ms. Gatian Cunningham Susan + Dennis Gilardi Tamisie Honey Arthur + Toni Rembe Rock Rosenberger Family Fund/Marin Community Foundation

EXECUTIVE PRODUCER | $10,000+ Gene + Neil Barth Kimberly Marie Huges Gerry Goldsholle + Myra Levensonº Barbara and Jim Kautz Marymor Family Fund

26

Dr. Samuel Test Diane + Bob Wagner

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+ 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 Dr. William + Janet McAllister Tina + Richard McArthur Mary + Steve Mizroch

FRIENDS OF MTC CIRCLE CONTRIBUTOR | $500+ 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 Jeff Freedman Linda Graham Mary Ann Griller Robert L Hall Dr. Sheryl Hausman + Jack Maslow

27

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 Henry Trevor and Elizabeth Werter Hugh Vincent Olivia Warneckeº

Trevor Wilder Family Charitable Trust James + Beth Wintersteen Julie + Tony Zanze FRIEND | $100+ 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

28

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 Hermia James Mia James Mary + Eddy Janigian Bonnie + Peter Jensen Duane Johnson Sheila-Merle Johnson Janet Josselyn Mike + Cindy Kamm Gee Kampmeyer 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 Sharon Leach Gretchen Leavitt

29

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 Paul Melcon 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 Russ and Joni Pratt 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 Phillip Rosenthal Susan Rosin + Brian Bock Alex + Tinka Ross Pepi Ross Ellen Rothman + Ed Koplowitz Francoise Rothstein Marti Roush Dolores + Fred Rudow Mr. + Mrs. William Ryan Diane + Ed Ryken Renee Rymer Angelo + Kimberly Salarpi Jagrit Sandhu 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

30

Claire Simeone + Greg Melcher Jane + Dr. Tom Singer Neil Sitzman Jane + Dan Slack Dorothy Slattery Andrew Smith + Brian Savard Judy + Greg Smith Angelo + Kimberly Salarpi Tracy Solomon 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

FOUNDATION SUPPORT

31

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 VIP PRODUCER | $15,000+ California Arts Council • Haughton Family Charitable Fund John Brockway Huntington Fund • The Sheri and Les Biller Family Foundation Stacy Scott Fine Cateringº EXECUTIVE PRODUCER | $10,000+ Ira and Leonore Gershwin Philanthropic Fund 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 The Tournesol Project • The Tow Foundation 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 Whistlestopº ºIn-Kind Donation

Special Thanks for Hotter Than Egypt Desired Effect Jaleh Etemad Sherif Helmi Kimberly Hughes and Steve Moazed Fred and Kathleen Taylor Torange Yeghiazarian Cecilia Zulueta

32

MTC TOMORROW THE LEGACY GIVING SOCIETY OF MARIN THEATRE COMPANY 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 STEPHANIE GRAY Jill Myers

IN MEMORY OF ALL WHO LOST THEIR LIVES TO COVID-19 Bob Vaddiparty

IN MEMORY OF BARBARA LAVARONI Arthur + Nancy Costa Kathleen Thompson

IN MEMORY OF MICHAEL CURTIS Nancy Barash IN MEMORY OF JACKIE FIELD Mitchell Field

TRIBUTE GIFTS IN HONOR OF SARAH Dave + Bobbie Chapman

IN HONOR OF WENDY FENG Jolie Feng

IN HONOR OF GREAT THEATRE AND ACTORS Cheryl Coles

IN HONOR OF JERRY GEFFNER Carolyn Pines + Judy Schwartz

IN HONOR OF NATIONAL THEATRE LIVE AT HOME Sarah C. + Henry Pruden

IN HONOR OF LAUREN GUNDERSON Jennifer Jenkins Nick Randhawa Janet Cooper

IN HONOR OF FUMIKO BIELEFELDT Erik Bielefeldt

IN HONOR DUFF KURLAND Janet Josselyn

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 KATE CORTESI Anonymous

IN HONOR OF TERESA LAW The Tow Foundation Anonymous

IN HONOR OF BRITTANY DEVER Nancy + David Medford

IN HONOR OF JASSON MINADAKIS & THE DEI COMMITTEE Helen Bruner

33

IN HONOR PATRICIA B. MOLVAR Ronald Denchfield

IN HONOR OF KATE ROBINSON Donna Lee Robinson

IN HONOR OF OUR SON, DAVID EVERETT MOORE Everett + Julia Moore

IN HONOR OF STACY SCOTT Molly + Brett Dick

IN HONOR OF PHOEBE MORRIS Richard + Gretchen Coffey

IN HONOR OF VELMA SHANNON Keenan Norris

IN HONOR OF DANNY OSBURN & RACHEL HURADO-OSBURN Barbara Lesch + Michael J. McCaffry

IN HONOR OF MEREDITH SUTTLES Lynnette Stallworth

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

34

MTC PRODUCTION UNDERWRITERS Marin Theatre Company’s 55th Season and this production of Pass Over 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

PRODUCER CIRCLE

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

35

Special effects equipment provided by •Sound •Lighting •Video •Special Effects

Equipment rentals

Technical staffing

Our $2+ million inventory includes Shure wireless microphone systems, ETC lighting fixtures, Yamaha sound boards, Meyer speakers, incandescent and LED moving lights, EOS boards, special effects machines, and more.

Need a hand? Our experienced staff is trained on all of our equipment and ready to troubleshoot any issues. We offer sound, lighting, and video staff for events of all sizes and durations.

Special effects

Full-service design

In need of some fog or gobos? We have all you need, plus hazers, snow machines, chandeliers, CO2 jets, and multiple sizes of fiber optic star drop. We can also design custom gobos for your company or event.

Have a great idea and prefer talking effects to model numbers? With years of professional theatrical sound and lighting experience, our team of talented designers can bring your vision to life.

36

Multi-camera live video recording and editing Desired Effect now provides an integrated multi-camera video solution, including recording, editing, and DVD and digital file distribution.

Need a live video feed? Our Blackmagic rental stock lets us simultaneously stream and record live multi-camera video so you can watch live while still recording the show for later.

Turnkey educational musical theatre programs For elementary, middle, and high school musical theatre programs, we provide a full lighting, sound, and video setup complete with designers and operators.

Do you run a bigger, multi-school program? With our partners, we staff over 100 after-school programs. We handle the technical design, setup, operation, and takedown (and even video recording!) so you can focus on teaching.

833-2EFFECT www.Desired-Effect.com 37

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