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PRESENTED BY MARIN THEATRE

DIRECTOR'S NOTE

Before founding what would become Marin Theatre, Sali Lieberman immigrated to the United States from Switzerland and settled in Hollywood where he attended Sunday evening salons in Santa Monica with intellectuals and artists, including German theatre maker Bertolt Brecht. Having come of age in an era of reality television and blockbuster movies, and in Silicon Valley where real art has taken a backseat to "innovation," I can only imagine the depth of artistic intercourse that such gatherings would elicit. I am certain that whatever it was that happened in those rooms informed Sali’s approach to presenting theatre here in Mill Valley. When he finally did so for the first time in 1966, it was with our organization's inaugural production of Friedrich Durrenmatt’s The Physicists. Durrenmatt was a proponent and practitioner of Brecht’s “epic theatre,” a revolutionary departure from contemporary realistic and surrealistic works and conventions of dramatic presentation.

The keen theatregoer will recognize the epic theatre in the writing of Suzan-Lori Parks’ Sally & Tom and in the choices we’ve made in staging it. The character doubling, the interruption of the action, the scene changes in plain view (or “a vista”), the tableaus, the signs, these are all hallmarks of theatre that is commonly described as “Brechtian.” So too is the use of historical events as the kernel to tell a contemporary story of fictional individuals, as well as the employment of contradiction as a device to lead you, the audience, to engage with and think critically about the themes and ideas before you. For this reason, it should come as no surprise that Brecht himself came to prefer the term "dialectical theatre” to describe what he had pioneered.

It should be noted that this play is not a work of historical fiction, though it does provide an important conduit to our history as people living in what has become America, as well as to the history of this theatre, from its very origins in the exchange of ideas between Bertolt Brecht and Sali Lieberman, to the indelicate attempt to broach the subject of this work with 2017’s Thomas and Sally, which led so many critics and observers down the garden path.

This play is at once humorous and heartbreaking, irreverent and respectful, understanding and unforgiving, certain and doubtful, and it is, most importantly, unfinished without you, the audience, who does the work of receiving what we have toiled so hard and so thoughtfully to present to you.

I am proud and lucky to be leading a theatre with artistic roots of such integrity as those laid at our founding, and even more proud to have the opportunity to do so with a show that honors my own complicated roots as an American.

I dedicate this work to The Others, named and unnamed, whose stories are lost forever.

Lance Gardner Executive Artistic Director

WRITTEN BY

Suzan-Lori Parks

DIRECTOR

Lance Gardner

CAST

Luce/Sally Emily Newsome*

Mike/Tom Adam KuveNiemann*

Maggie/Mary Asia Nicole Jackson*

Kwame/James Titus VanHook *

Ginger/Patsy Rosie Hallett*

Scout/Polly Nicole Apostol Bruno*

Geoff/Cooper Michael Phillis

Devon/Nathan Kenneth Ray

CREATIVE TEAM

COSTUME DESIGN

Pamela Rodriguez-Montero

SOUND DESIGN

Gregory Robinson+

SCENIC DESIGN

Kate Noll

WIG DESIGN

Jessica Carter

STAGE MANAGER

Toni Ostini*

LIGHTING DESIGN

Spense Matubang+

CHOREOGRAPHER

Lisa Townsend

VOICE/DIALECT COACH

Marie Ramirez Downing

INTIMACY COORDINATOR

Maya Herbsman

FIGHT DIRECTOR

Dave Meier

Originally Developed and New York Premiere Production by The Public Theater: Oskar Eustis, Artistic Director and Patrick Willingham, Executive Director

SYNOPSIS

In Sally & Tom, Suzan-Lori Parks takes us inside a present-day theatre company rehearsing a new play about Thomas Jefferson and Sally Hemings. Luce, the playwright, stars as Sally, while Mike, her partner, co-star, and the play's director, portrays Jefferson. As they and their castmates struggle to bring this charged history to life, the boundaries between past and present begin to blur. Scenes from 18th-century Monticello intertwine with backstage tensions, artistic conflicts, and romantic entanglements. The result is a layered, time-bending exploration of love, power, and storytelling—revealing how America’s history continues to shape the stories we tell, and who gets to tell them.

HISTORY IS NOW

By Jasmine McBride

In a 2022 conversation around her work Sally & Tom premiering at the Guthrie, Playwright Suzan-Lori Parks contextualizes the idea of “being human.” Human, as in the vastness often reduced into singularity in the face of art and identity in society. Parks’ process with Sally & Tom reflects the power of stepping into the story of others’ lives and embodying a collective experience beyond politics — acknowledging the universal web in which we are all spun, regardless of the emotional depths. With Sally & Tom, Parks addresses an underdog truth: universal polarization. The ability to be all and nothing, traumatized yet healed, different yet connected.

JASMINE McBRIDE: How does Sally & Tom compare to some of your earlier pieces? Can you speak to how you’ve evolved in your voice as an artist?

SUZAN-LORI PARKS: Some people go, “Suzan-Lori Parks used to write poetic or beautiful stuff. Now she’s writing this stuff that looks like real life.” I think we’re embracing the concept that people can grow and change in all kinds of ways. I would hope that people can be open to artists who also grow and change. I’m very much everything I write, whether it’s a novel, a play, a song. I am not beholden to people who loved my work in 1990. I answer to the Spirit. I’ve got to be free — because that’s what my people fought and died for. Freedom.

JM: Racism is still very prevalent today. How would you say the experience conveyed between Sally and Tom reflects modern times?

SLP: History is now. What is happening, was happening; what was happening, is happening. 1790 was the year that Thomas Jefferson came back from France after being away for several years. America had already started being established. 1776 was in the rearview mirror. And so, these American ideals were very strong and very present. You could still smell the gunpowder from the American Revolution. The question of freedom was still a real thing. America just won her freedom. What I love about Sally & Tom is that every character in the play is a person. As a writer, I really work to walk in the shoes of the character as much as I can, whether they’re a white guy like Thomas Jefferson or a Black person like Sally Hemings. I step out of myself as I present in this incarnation; I step into the shoes, embrace the heart, wrap myself around the guts of whichever character I’m writing.

JM: Was it an emotional process writing Sally & Tom? Was it difficult, especially as a Black woman? Was it liberating?

SLP: These days, we’re often encouraged to shy away from trauma-based stuff. “Don’t write about that.” Someone like me, someone like you — we can only write about joyous things where everything’s great. There’s a lot of difficulty in the world. We want to hear something that’s gonna make us feel good. There’s nothing wrong with feeling good. There’s nothing wrong with wanting to be entertained. And: Art can entertain and take you places that you can’t go alone. For us to shy away from the difficult stuff because we just want to feel good is a disservice to every person who came before us, regardless of the color of our skin or religion or faith or whatever. It’s a disservice to those people who paved the road for us. They are counting on us to help sing the song. Writing something like Sally & Tom — yeah, it was hard. But there is joy in the difficulty. One thing I know is that at the end of my time on this planet, I will be able to say to the Creator, I did my job. It was hard, many tears, struggling with stuff. I mean, that speech Thomas Jefferson says, that was hard to write. That speech Sally Hemings delivers, that was hard to write. James’ speech … [pauses]

We had to look face to face. That heaviness is made light, is made bearable, when we are walking the path that we should walk and not shying away from it or covering it up with something that will only entertain us.

"JM: You mentioned the importance of doing what our people have fought for. Was there a specific time in your life when doing the work of the ancestors became very important to you? Or was it always part of who you are in your artistry?

SLP: My dad was in the service, so we moved all around the world. There were a lot of people in the places where we lived who had never seen an actual, living Black person, so it was weird. My parents would say “You’re the ambassador of your race” because sometimes I was — or my brother or my sister were — the first Black people they saw. We had to represent very early on. It was clear that was part of our purpose, part of our calling. Never had a problem with it. Don’t have a problem with it now. But it’s expanded. My connection with other people is much more expansive than people who might have just lived in one town. So I listen to the Spirit; the Spirit is singing.

JM: What keeps you pushing through those politics of “Hey, this is uncomfortable”? What keeps you committed to amplifying that voice?

SLP: I am being called. If you’re a writer, if you’re a creative person, if you’re human, if you’re alive, if you’re a rock, if you’re a drop of water in the ocean, you have been called to join in this dance in your special way. I’m doing what I’ve been called to do. And that’s the loudest voice I can hear.

Jasmine McBride is a reporter for BLCK Press. She lives in Minneapolis. www.blckpress.com.Reprinted with courtesy of Jasmine McBride. This interview was originally published by the Guthrie Theater in its play program.

BIOGRAPHIES

EMILY NEWSOME

(Luce/Sally) is so honored to be making her Marin Theatre debut with Sally & Tom. Previous credits include San Francisco Shakespeare Festival’s The Two Gentlemen of Verona (Sylvia/Outlaw), Froggy (Voice of Froggy) at Center Repertory Co., Fallen Angels (Jane Banbury) at Aurora Theatre Co., and A.C.T.’s A Christmas Carol (Belle/Mary). Emily holds a BFA in Acting from UC Santa Barbara, and is a proud co-founder of Berkeley Shakespeare Co.

ADAM KUVENIEMANN*

(Mike/Tom) was last seen at Marin Theatre in Yaga. Credits: Ironbound (Oakland Theatre Project), Indecent, Sweat, and Froggy (Center REP), The Tempest (SF Shakespeare Co.), Exit Strategy (Aurora Theatre Co,), Before the Sword, and The Gentleman Caller (New Conservatory Theatre Center), The Red Shades: A Trans Superhero Rock Opera (Z Space), The Great Khan (SF Playhouse), A Christmas Carol (A.C.T.), and understudying Angels in America (Berkeley Repertory Theatre). Love and gratitude to the exceptional Bay Area theatremakers who make this an artistic home worth fighting for. AdamKuveNiemann.com

ASIA NICOLE JACKSON*

(Maggie/Mary) is excited to make her debut with Marin Theatre. Some of her recent credits Include: Diane in the staged reading of The Recipe with the Actors Reading Collective, Amara in Onwu de Play – A What’s App Drama at Berkeley Rep’s Ground Floor 2025 Summer Residency Lab, and Lily Ann Green in Crumbs from the Table of Joy at Aurora Theatre Co. All praises to Adonai and hugs and kisses to all my loved ones. Enjoy the show!

TITUS VANHOOK*

(Kwame/James) is thrilled to be making his MT debut. He is a multi-hyphenate artist born and raised in Oakland, CA. His most recent stage productions include Sunset Baby with Lorraine Hansberry Theatre, Buttercup at Marin Shakespeare Co., and Paradise Blue at Aurora Theatre Co. in Berkeley. Titus received his MFA in theatre acting from Columbia University and is currently a professor of drama at the Academy of Art University. You can keep up with him on social media @_vanhook_, He would like to send his deepest gratitude to his loved ones for their support.

ROSIE HALLETT*

(Ginger/Patsy) is delighted to return to Marin Theatre, a special artistic home. Her credits here include Mother of the Maid, Thomas and Sally, peerless, Native Son, and The Way West. Other recent credits in the Bay Area include Big Data, Top Girls, and Men on Boats at American Conservatory Theater, Red Speedo at CenterREP, The Country House at TheatreWorks, and Annunciation, Night Vision/Silence, Smut, and You Know When the Men Are Gone with Word for Word Performing Arts Co., where she is a Core Co. member. Rosie holds degrees in English and Drama from Stanford University. rosiehallett.com

NICOLE APOSTOL BRUNO

(Scout/Polly) is a Bay Area-based actor. Favorite credits include - #13 in The Wolves (Marin Theatre); Mai in Cuckoo Edible Magic (SFBATCO); Celestia in The Truer History of the Chan Family (Eugenie Chan Theatre Projects); Liz in A Good Neighbor (Z Space); Sylvia in Bright Shining Sea (PlayGround SF); understudy performances as Harry Percy in Richard II and Clara + Pepper in Great Expectations (Oregon Shakespeare Festival). Nicole holds a BFA from Southern Oregon University.

MICHAEL PHILLIS

(Geoff/Cooper) is an award-winning writer, director, actor, producer, and drag artist. His written works include the solo plays D*Face, Dolls, and Patty From HR as well as full-length plays The Hand That Rocks The Crawford, Sqream, Pride in Gotham, Thighs Wide Shut, Sunnydale Prom, and Jurassiq Parq. He is the writer, director, and co-creator of Baloney, San Francisco’s Gay All-Male Revue. Next up: The Golden Girls Live: The Christmas Episodes this December at the Curran.

KENNETH RAY

(Devon/Nathan) is a New York City based actor and educator whose performance credits include regional theaters across the country and The Kennedy Center. He trained at Howard University and the British American Drama Academy and is currently an MFA candidate at UC San Diego, where he also teaches. Kenneth serves on faculty at Circle in the Square Theatre School and The American Academy of Dramatic Arts in New York City. He is a sought-after audition coach whose clients have appeared on Broadway, national tours, and television. You can learn more about his work on his website thebespokemethod.net.

SUZAN-LORI PARKS

(Playwright) is a multiaward-winning American writer and musician. She is the first AfricanAmerican woman to receive the Pulitzer Prize for Drama for Topdog/ Underdog which recently enjoyed its 20th-anniversary Broadway revival and won the 2023 Tony. Other notable plays include Sally & Tom (2024), Plays for the Plague Year (Drama Desk Best Music, 2023) and Father Comes Home From the Wars (2014). Parks’ first marathon writing “diary play” 365 Days/365 Plays — in which she wrote a play a day for a year — was produced at more than 700 theaters

worldwide, creating one of the largest grassroots collaborations in theater history. A MacArthur “Genius” Fellow, Random House published her novel Getting Mother’s Body. She also writes extensively for the screen — most recently, as the showrunner/executive producer/ head writer for the television show Genius: Aretha. She an alumna of New Dramatists and of Mount Holyoke College where she studied creative writing with James Baldwin, who encouraged Parks to write for theatre. Parks also writes songs and fronts her band SLP & The Joyful Noise.

PAMELA

RODRIGUEZMONTERO (Costume Designer) is an award-winning scenographer, educator, and visual artist from Costa Rica. BFA in Arts and Visual Communications from the National University of Costa Rica. MFA in Scenography from the University of Kansas. She serves as the Assistant Professor of Costume Design at UCSC. With more than 10 years of design in dance, theatre, and devised work, she’s worked at the National Theatre for the Dance in Costa Rica, the Costa Rica National Theatre, the Alliance Theatre, and La MaMa Experimental Theatre Club. In 2024, she received the Costa Rican National Award in Culture in the category of theatrical design for her Noche scenographic design.

GREGORY ROBINSON+ (Sound Designer), an IATSE USA 829 Sound Designer’s creative works have been featured in theatre, radio and television advertising; short film; and documentaries. Featured also in an Emmy Award winning documentary, an HBO Special, and has been recognized by the San Francisco Bay Area Critics Circle with the Excellence in Theatre Award for Water By The Spoonful, and nominations for Proof, Two Trains Running at Marin Theatre, and King James. This is Gregory’s third sound design for Marin Theatre, Jazz and Two

Trains Running. Recent credits: Designed Sound & Composed Music for: Paradise Blue, ReMemori, and Wine in the Wilderness (Penumbra Theatre), Two Trains Running (Hartford Stage), King James (TheatreWorks), Every Brilliant Thing (Center Stage Rep), Salt/City/Blues (Syracuse Stage) Fannie, The Music And Life Of Fannie Lou Hamer (TheatreWorks); Composed Music for: Paradise Blue (Aurora Theatre).

KATE NOLL

(Scenic Designer) is thrilled to be back working at Marin! She has designed for Berkeley Rep, Aurora Theater, Playwrights Horizons, Yale Rep, Williamstown Theater

Festival, American Players Theater, Juilliard Conservatory, Boston Early Music Festival, Yale Opera, Red Bull Theater, Barrington Stage Co., Heartbeat Opera, Shanghai Dramatic Arts, and Theater Squared. Select theater credits include Wet Brain (winning Obie and Lucille Lortel Awards), Art, Lifespan of a Fact, Camino Real, Orlando, Gaslight, Peerless, Orange Julius, Stones in His Pockets, I & You, Accidental Death of an Anarchist. Opera credits include Don Giovanni, Carmen, La Bohème, Agrippina, Dido & Aeneas, Die Zauberflöt, Così Fan Tutte, Arabella, and Agrippina. A graduate of the Rhode Island School of Design, she has studied in Rome, Amsterdam, and Paris. MFA in Scenic Design from Yale.

SPENSE MATUBANG+

(Lighting Designer) is a lighting and projections designer based in Oakland. Spense is very happy to return to Marin Theatre! Spense was the lighting designer for Marin’s 2023 production of Dragon Lady and the Assistant Lighting Designer for Justice in 2023. Recent lighting design credits include: Indecent, The Roommate, FROGGY, The Great Leap, and Dragon Lady (Center Repertory Co.); Yellowface, Thirty-Six, Best Available, and The Triumph of Love (Shotgun Players); The Last of the Love Letters and Edit Annie (Crowded Fire Theater); Dragon Lady

(Center Repertory Co., Geffen Playhouse, Pittsburgh Public Theater, Marin Theatre); and Miss Bennet: Christmas at Pemberley (Theatreworks Silicon Valley). Projection credits include: Home? and Chinglish (San Francisco Playhouse); The Magnolia Ballet (Shotgun Players); The Jungle Book: Rudyard Revised (EnActe Arts); Evolution (Ferocious Lotus Theatre Co.), and Baskerville: A Sherlock Holmes Mystery (Hillbarn Theatre). They received their BA in Theater Arts from UC Santa Cruz. www.spensematubang.com

TONI OSTINI*

(Stage Manager) Broadway/Pre-Broadway: Caroline, or Change, The Mambo Kings, Lestat. Off Broadway: Jewtopia, Mrs. Smith’s Broadway Catacular. Touring/Regional: 42nd Street (Musical Theatre West), Noel Coward’s Fallen Angels (Aurora Theatre Co.), Buttercup (World Premiere: Marin Shakes), The Band’s Visit, Minelli on Minelli, The SF Mime Troupe. Cruise Line Entertainment: Blue Man Group, Legends in Concert, Cirque Dreams, Nickelodeon, Rock of Ages, Burn the Floor, Virgin Voyages Happenings Cast. Child Guardian: Tina, the Tina Turner Musical. Covid Safety: Les Miserables, The Band’s Visit. Huge thanks to my mom and family for their enduring support. For DadTe extrañamos todos los días.

MARIE RAMIREZ DOWNING (Voice Coach) MT Debut. Marie is a Voice, Text, and Dialect Coach, based in Illinois. Regional Voice, Text and Dialect Credits: Oregon Shakespeare Festival (As You Like It); Chicago Shakespeare Theatre (Sunny Afternoon); Steppenwolf Theatre Co. (Leroy and Lucy); The Goodman Theatre (Inherit The Wind). Teaching: Assistant Professor of Acting, Voice and Speech at The University of Illinois Urbana-Champaign. Previously, Sonoma State University, Chico State, U.C. Berkeley, Santa Clara University, Texas Tech School of Theatre and Dance. She is a Designated Linklater Voice Teacher and Faculty at Shakespeare & Co.. MFA, Acting, The Theatre School, DePaul University.

JESSICA CARTER

(Wigs, Hair & Makeup) studied theater at Cabrillo College and San Francisco State. She began her career at Shakespeare Santa Cruz in 2000 and later forayed into wigs, hair and makeup. She’s designed hair & makeup for an array of theaters over the last two decades including Cal Shakes, Opera San Jose, UCSC Opera, Jewel Theatre Co., NCTC, Santa Cruz Shakespeare and is in her fourth season as the head of Wigs, Hair & Makeup at A.C.T. She is thrilled to be back with Marin Theatre!

MAYA HERBSMAN

(Intimacy coordinator)

an award-winning Bay Area intimacy director, educator, and director with over 100 professional credits across theatre, film, and opera. Maya has been the first intimacy professional at theaters across Northern California including Berkeley Repertory Theatre, Theatreworks Silicon Valley, San Francisco Playhouse, California Shakespeare Theater, San Francisco Opera, San Francisco Ballet, and countless more. Her work has been featured in the San Francisco Chronicle, J Magazine, OperaLine, HowlRound, and various podcasts. You can also find her writing in “Supporting Staged Intimacy” by Alexis Black and Tina Newhauser. Selected credits include: The Handmaid’s Tale and Dead Man Walking (San Francisco Opera), White Noise and Goddess (Berkeley Repertory Theatre), IT’S TRUE IT’S TRUE IT’S TRUE and Torch Song (Marin Theatre), Nan and the Lower Body and Gem of the Ocean (Theatreworks), Indecent (CenterREP), Edit Annie and Inked Baby (Crowded Fire Theater). Selected film credits include: Dìdi (Focus Features), Fairyland (Lionsgate), and Sender (Comet Pictures). She is certified as an Intimacy Director by three training organizations, most recently by Intimacy Professionals Education Collective.

LISA TOWNSEND

(Choreographer) is a choreographer, director, performer, and movement educator whose theatrical works have been presented in NYC, Los Angeles, San Francisco and France. As Artistic Director for LTCo dancefracas, Townsend has been awarded choreographic residencies with ODC Theater, CounterPULSE, CHIME Across Borders, The Garage, Joyce SoHo, and a Creative Capital Fellowship. While on faculty for A.C.T.’s MFA program (2012-22), Lisa directed the annually Devised Performance Project and collaborated as choreographer on productions including: Blood Wedding, The Rocky Horror Show, Sense and Sensibility, Crazy for Country, Constellations, and Awakening of Spring. Other collaborations include; Early Shaker Spirituals (The Wooster Group, NYC), King Charles III (A.C.T., SF), EPOCH with Christy Funsch (ODC, SF), HOME with Joanna Haigood (Bolinas), and The Wetlands with AriDy Nox (& PRNSA on the Giacomini Wetlands). For 10 years Lisa directed a Youth Theater company in Bolinas. She holds an MFA in Choreography/Performance from CalArts and is also a certified Intimacy Director with IDC Professionals. Recently, Lisa was the Intimacy Coordinator for Atonement, an upcoming feature film by Oscar nominated director Reed Van Dyk. A heartfelt thank you to everyone involved in this production of Sally & Tom!

DAVE MEIER

(Fight Director) is an award-winning fight director with over 300 professional credits. Marin Theatre work includes Yaga, Othello, The Convert, Peerless, Shakespeare In Love, and Wink. He is in residence at SF Opera, Marin Shakespeare Co., and Oakland Theatre Project. Recent credits include Hamlet (Oakland Theatre Project), Dead Man Walking (SF Opera), The Tempest (Marin Shakespeare Theatre), and Wozzeck (West Edge Opera). Dave is also an instructor of theatrical combat, who teaches classes at Studio ACT, Berkeley Rep School of Theatre, SF Conservatory of Music, UC Santa Cruz, and Dueling Arts San Francisco.

NICK REULBACH

(Assistant Stage Manager) (they/them) is a multi-hyphenate theater artist based in Novato, and is delighted to be returning to Marin Theatre for this production following Eureka Day! A graduate of UC Berkeley’s department of Theater, Dance and Performance Studies, Nick has worked at Bay Area theaters including A.C.T., Oakland Theater Project, and Berkeley Playhouse. They would like to thank the people who have helped them get to this point: friends and family and the amazing theater educators who helped them foster and form their craft. They are a staunch believer in the power theater holds, not just as a story-telling medium, but as a means of better understanding the world around us and the people that inhabit and create it.

SHOW STAFF

Assistant Director Laura Steele

Props Lead ........................................................................................................................ Liam Rudisill

Props Coordinator .......................................................................................................... Ariel Allen

Wardrobe Supervisor .................................................................................................... Daria Perkova

Wig/Wardrobe Dresser .................................................................................................... Tracy Martin

Costume Design Assistant............................................................................. Sam Taylor Robinson

Stitchers ............................................................................................................Ariel Allen, Liesl Seitz

Lighting Programmer & Board Operator............................................. Mary Clare Blake-Booth

Scenic Charge Artist .............................................................................................. Stephanie Jucker

Scenic Painter ............................................................................................ Alexandrite Camerino

Electricians ....................................................... Shy Baniani, Justin Kelley-Cahill, Noah Hewitt Margaret Linn, Brent Wirth

Executive Artistic Director

Development Director

MARIN THEATRE STAFF

Education & Public Programs Director

Technical Director

Artistic Producer

General Manager

Production Manager & Sound Engineer

ATD/Props Lead

Box Office Manager

Costume Shop Manager

Marketing Designer

Development & Administrative Assistant

Lighting & Video Supervisor

Marketing Partner

Patron Services Manager

Front of House Leads

Front of House Associates

Lance Gardner

Kara Leslie

Jackie Katz

Jeff Klein

Laura Steele

Nichole Gantshar

Fiona Sharkey

Liam Rudisill

Jules Simons

Daria Perkova

Robbi Casnellie

Cynthia Whitman Marshall Carla Befera

Carolyn Doyle

Bridget Novak, Perry Parson, Cynthia Whitman

Alexandrite Camerino, Jo Jewell, Arianna Orleans, Sunny Orleans, Serena Palmer, Richard Davis

SPECIAL THANKS

The wonderful staff at the Museum of the African Diaspora (MoAD) and Melissa Hillman and the team at Theatre Bay Area.

Marin Theatre is so grateful to be part of a generouos and supportive community. We could not present our work without the efforts of wonderful supporters and volunteers. An extra thank you to all our volunteer ushers who make everyone feel welcome.

Lobby Artists: Corinne Smith and Nimah Gobir

Thank you to our recording violinist, Mark Jordan, and our lobby violinist, Vincent Tolliver.

PRODUCER’S CIRCLE

Marin Theatre is honored to recognize the following individuals as Sally & Tom Producers: Janice Prochaska & Joan Glassheim

2025-26 SEASON PRODUCERS

Craig & Kathy Moody • Fred & Kathleen Taylor • Suzanne Cross • Clay Foundation-West • Lynne Carmichael •Paula & Bob Reynolds • Robert Talkington

MARIN THEATRE DONORS

Marin Theatre acknowledges the generous support (July 2024 - September 2025) of the following individuals, foundations and corporations whose contributions make our extraordinary theatre productions and education programs possible in the past year. To join our community of contributors, receive sponsorship information, or if you have questions about your gift, please contact Kara Leslie, Director of Development at kara@marintheatre.org.

$100,000+

Ray and Dagmar Dolby Fund of the Marin Community Foundation

$50,000 to $99,000

Vickie Soulier • Christopher B. & Jeannie Meg Smith

$25,000 to $49,999

Anonymous • Gerald Cahill & Kathleen King • Craig & Kathy Moody • Fred & Kathleen Taylor

$10,000 to $24,999

Anonymous (3) • Franklin Amster & Andree Jansheski • Clay Foundation-West • Suzanne Cross & John Simpson • Thomas W. Edwards & Rebecca Parlette-Edwards • Wendy Feng & Michael Wall • Barbara Morrison • Clay Nesbitt • Danielle O’Hare & Federico Barbagli • Owen Marie Fund

$5,000 to $9,999

Anonymous • Lynne Carmichael • David Catania & Diana Gay-Catania • Gatian Cunningham • Kipp Delbyck • Susan & Dennis Gilardi • Daniel Johnson • Fred Levin • Ken & Vera Meislin • Carey Perloff • Janice Prochaska • Josh Rafner • Bob & Paula Reynolds • Barbara & Eric Roberts • Jill & Thomas Sampson • Sharon Straus

$1,000 to $4 ,999

Anonymous (2) • Mollie Allen Kiehfuss • Drs. Paul & Geraldine Alpert • Lois Ashley • Marietta Bartoletti • Blumberg Family Charitable Gift Fund • Ron Clyman & Francoise Mauray • Benjamin Dewees • Stephanie A. Douglass Charitable Fund • Judith & Philip Erdberg •Danny Field & Gary Robinson • Freedman Boylan Family Foundation • David H. Gelfand & Ellen Daniell • Gerry Goldsholle • Joan Glassheim • Mark & Roberta Hoffman • Tracy & Brian Haughton • Linda Hothem • Sean & Melissa Joerg • Heidi Kirsch & Jason Griesbach • Harriet & Tom Kostic • Scott MacLeod & Linda Kislingbury • Melanie Maier • Bob & Donys Powell • Matthew Purdon and Liz Sklar • Gordon Radley • Marie Satterfield & Eliel Johnson • Kurt Schindler • Kathrin Sears • Carol & Rand Selig • Diana & Richard Shore • Marsha Silberstein • Joe & Diane Stemach • Lois Stevens • Bill Strawbridge & Meg Wallhagen • Valerie Stoll Schwimmer • Robert Talkington • Will & Leslie Thompson • Mark Valentine • Bob & Diane Wagner • Sue Yung Li Films

$500 to $999 Anonymous • Marilyn Angelo • Janet Bamberger • Joan Beavin • Carl Bielefeldt • Josh Brier & Grace Alexander • Kim Bromley & David Carson • Noel Butler • Kerry Campbell • The Leo J. & Celia Carlin Fund • Jack Cortis • Ruth Dell • Larry Fahn • David Gast • Ms. Margot Golding • Karen Gottlieb • Rebekah and Larry Helzel • Brian & Jocelyn Herndon • Mark and Lori Horne • Fritz and Karen Kieckhefer • Ken Krich & Nancy Leahong • Gretchen Leavitt • Barbara Laraia & Chistopher Pilcher • Brittany Lockwood • Paulette Lueke • Barbara Meislin • Melanie O’Hare • Tony Origlio • John Osterweis • Mayra Perez • Dr. Rod Ponath • Marianne & Steve Porter • Cooney-Rashti Trust • Edward Reynolds • Tobi and Mark Rubin

• Kimberley Schow • The Nicole Shampaine Charitable Fund • Alice Shelton • Jennifer Sousae • Timothy

Standing • Tappan Wilder and Patricia Bacon • Susan York

$100 to $499

Anonymous (3) • Joe Angiulo • Ron & Marcia Antipa • Ms. Valerie Barth • James Battle • Robert and Barbara Baum • Robert & Wendy Bergman • Elizabeth Bird • Linda Birnbaum • Annette Blanchard • Kay Blonz • Eileen Blum • John Boyajy • Donna Brorby • Deborah Buehler • Patrick Cahill • Robert Camm • Thomas J Carpender • Alan Cascio • Steven and Karin Chase • Nancy Chiesa • Elizabeth Clark • Diane & Bill Clarke • Monifa Clayton • Nathan Cobert • Jim Cohee • Sarah Cole • Dayton & Sheri Coles • Naomi Conroy • Laura Cox • Christina B. Crow • Marjorie Crump-Shears • Michael Darby • Cara David • Larry and Margaret Davis • Naima Dean • Steven DeHart & Sheldon Donig • Stephanie Dorfman • Larry Eggan • John Eichhorst & Jennifer Blackman • Ben and Boriana Fackler • Joseph Faimali & Donita Decker • Pam Feagles • William & Virginia Felch • Anna Gale • Carin Garland • Steve Gensler • Valerie Gnadt • Amy & Howard Goldman • Bruce & Linda Goldman • Tamara Goldsmith & Randal Zucker • Don Graulich • Michelle Griffin • Christopher Haag • Khadija Hansia-Gibson • Lorraine & Steve Harris • Beth Harris • Gillian A Hayward • Terry & Larry Hill • Cathryn Hilliard • Karen Hirsch & Jim Condit • Susan & Bill Hoehler • Daggett & Sara Howard • Auban Jackson • Nick Javaras • Anne D. Kaiser & Robert P. Taylor • Kenneth King • Robert Knox • Jodi Korb • Jay LaBourene & Taissa Cherry • Ellen Lake • Monica & Peter Lange • Douglas Lawrence • David Lesnini • Gail Lester • Elliott Liff • Laura Limber • Jennifer S. Lindsay • Suz & Michael Lipman • Eliza Lochner • Carolyn & David Long • Heather Lutz • Laurence Lyons • Lynn MacDonald • Ronni Maclaren • Mark Maigatter & Heidi Hofer • Jeana Malick • Olga Mandrussow • Lynn Mason • Will Maushardt • Tina McArthur & Richard Rubenstein • Claire McDonald • Robert McDowell • Kay and Steve McNamara • Thomas Mikita • Don & Barbara Miller • Mill Valley Market • Marvin Moskowitz • Margaret Moster • Chris & Bonnie Mumford • Ruth Nash • Betty Obata • Connie Oclassen & Bill

Helvestine • Patrice O’Dwyer • Kathryn Olson • Randy & Mimi Orr • Outdoor Art Club • Mary Papenfuss • James Parsons • Sally Pasternack • Susan & Jon Peck • Sudha Pennathur • Lynn Perry • Stephen Piatek & Meg Rosegay • Janet Poelstra • Wendy Polivka • Robert Popper • Mark Powell • Laurence Pulgram & Kathleen Murray • Kalpana Reddy • Joel & Barbara Renbaum • Susan Reynolds • Eileen Richey • Karen Robbins • Curtis & Xania Robinson • Larissa Roesch • Richard Rose • Larry Rosenberger • Ellen Rothman & Edward Koplowitz • Mr. & Mrs. William Ryan • Mark Sanders • Mara Saulitis • Alan & Wendy Schaevitz • Devon Schultz • Laura and Michael Scott • David A. Shapiro, MD & Sharon L. Wheatley • Douglas & Carole Sheft • Alex Simand • S. Corbett Simons • Neil Sitzman • Susan & Joel Sklar • Judy & Greg Smith • Shelagh Smith • Steven Sockolov & Susan Snyder • Deborah Spanier & Ronald Fishman • Lori Steere • Drs. Shayna & Elliot Stein • Franchesca Stevenson • Gretchen & Grover Stone • Bill Streett • Carol

Svetcov • Candace Swimmer & Philip Rosenthal • Lisa Taylor • Cynthia & Dan Thomas • Sally Thornton • Kathryn Thyret • Danielle Tiedt • Gabrielle Tierney • Beatrice Tocher • Bruce Tremayne • Annette Venables • Oliver Vereschagin • Arlene Waksberg • Victor Walker • Meredith Watts •Stuart Weil • Paul Werner • William & Janet Whitmer • Delene Wolf • Geri Wolff • Darlene Zandanel • Reynaldo Zertuche

CORPORATIONS • FOUNDATIONS • GOVERNMENT

MARIN THEATRE PARTNERS | $50,000+

The Shubert Foundation • William & Flora Hewlett Foundation

$15,000-$49,999

Buck Family Fund • California Arts Council • Clay Foundation-West • Fullerton Family Foundation • Kimball Foundation • Stacy Scott Fine Cateringº

$10,000-$14,999

Koret Foundation • MOJOº • Tow Foundation

$5,000-$9,999

Anonymous • 3 Badge Beveragesº • August Sebastiani • Disney • Kenneth Rainin Foundation • Hafner Vineyardº

$1,000–$4,999

b. wise Vineyards • CAF America • CharterUP • L2-Point

º In-Kind Donation

TRIBUTE

GIFTS

Tracy and Brian Haughton Charitable Fund in honor of Lance Gardner

Kenneth King in honor of Sali Lieberman who helped bring theatre to Marin

Drs. Ben & A. Jess Shenson Fund directed by Fred Levin in honor of Carey Perloff

Mara Saulitis in honor of the Marin Theatre Staff

The Nicole Shampaine Charitable Fund in honor of Francoise and Marshall Rothstein

MEMORIAL GIFTS

Noel Butler via Silicon Valley Community Foundation in memory of Phil Kurjan

Amy & Howard Goldman and Gayle Retske in memory of Joyce Tayer

Gerry Goldsholle in memory of Myra Levenson

Gillian A. Hayward In memory of Ralph Hayward

Anne D. Kaiser & Robert P. Taylor In memory of Breton Kaiser-Shinn

Barbara J. Meislin in memory of Vivienn Fosman

THE LEGACY GIVING SOCIETY OF MARIN THEATRE

To join the esteemed list below and make a legacy gift to Marin Theatre please contact Executive Artistic Director, Lance Gardner at lance@marintheatre.org. With gift planning, you can provide long-lasting support for a vibrant theatre community while reducing the taxation burden on your loved ones.

Linden & Carl Berry‡ • Jack Bissinger‡ • Dave & Bobbie Chapman • John & Shelley Chesley • Sheldon Donig & Steve DeHart • Fred Drexler‡ • Thomas W. Edwards & Rebecca Parlette Edwards • Joseph & Antonia Friedman • Brian & Tracy Haughton • Sandra Hess • James Lilienthal‡ • 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 Majoy

‡ Deceased